Historic Restoration
Meticulous restoration that brings period buildings back to their original character.

A general contractor specializing in historic restoration, with offices in the Twin Cities and Philadelphia.
Old World Construction and Consulting Inc. is backed by 100 years of combined experience from industry-leading, elite craftsmen. We restore what others replace, preserve the past and build the future.
We bring your structural vision to reality, dedicated to architectural integrity, exceptional durability, and precision engineering. From modern custom designs to meticulous historical restorations, our elite craftsmanship ensures your property stands the test of time.
Each division is held to the same measure: it should look right today and still be right in fifty years.

Meticulous restoration that brings period buildings back to their original character.
Modern custom designs, planned for architectural integrity and built to last.
Hand-finished cedar shake for towers, turrets, dormers and exterior walls.
Traditional slate and tile, set and fastened the way each material demands.
Custom-fabricated flashing, panels and architectural metalwork.
Copper details and gutter systems that protect a building and age well.
Repair, repointing and restoration of brick and stone.
Durable, well-detailed asphalt shingle installation for homes and commercial buildings.
Our work reaches well beyond this list. If your building needs something these divisions do not name, ask us: we take on the wider scope of restoration and construction.
Projects from our crews in slate, copper, cedar, tile and stone. Tap a category to open it, then select any photo to enlarge it.
Blended and dark slate, finished with copper.
A full hip of blended gray and green slate over a rubble-stone carriage house. Gabled dormers with diamond-pane windows are trimmed in copper, copper flashing follows the hips, ridge and eaves, and a copper-capped cupola crowns the peak. A copper gutter and downspout carry water off the stone walls.
The same building from the side. Two gabled dormers with leaded diamond-pane windows sit in the slate, their edges framed in copper, with the cupola at the peak and a copper gutter and downspout running along the fieldstone wall.
Blended slate over a fieldstone cottage. Two dormers carry fabricated copper standing-seam hoods, copper valleys and hip flashing outline each plane, a copper gutter follows the eave, and stepped copper flashing climbs the stone chimney.
The same cottage from the opposite angle. A copper valley runs between the gable and the dormer slope, standing-seam copper hoods shade the dormer windows, and the stepped copper flashing at the chimney sits cleanly in the slate.
Dark slate on two adjoining slopes of a rock-faced stone church. A notched copper cresting runs along the ridges, a copper valley joins the slopes, copper lines the eave, and stepped flashing meets the masonry wall beside the tower.
A long slope of gray and green slate broken by four evenly spaced gabled dormers, with flashed brick chimneys at either end and a copper gutter along the eave above the stucco facade.
A close view of green and charcoal slate laid in staggered courses and fitted tight to a copper valley, with copper capping the edge of the adjoining slope. The natural cleft texture of each slate is visible.
A tall brick chimney with a corbelled cap rises through a slate slope. Copper step flashing climbs the dormer side in overlapping tabs and a formed copper pan wraps the chimney base. A crew member cuts material with an angle grinder from a plank staged on scaffold brackets.
Standing-seam panels, soldered valleys, shop-built caps and cupola cladding.
Standing-seam copper panels run in straight seams across several hips and ridges, with folded detailing at each break in the plane. Beside them, a louvered cupola on a clapboard base is capped in copper laid in a diamond scale pattern.
New copper standing-seam panels cover the main slope and wrap up and over three gabled dormers above fieldstone walls. Wood-sided dormers with trimmed windows sit under the copper; slate remains on the lower eave, and scaffold and a ladder are in place for the work.
Looking down a copper valley where standing-seam panels from both slopes meet. The valley pan is formed in sections with soldered cross joints, visible as the gray lines at each overlap, and the seams on either side run cleanly into it.
A large estate with a conical turret, a curved balcony and several stone chimneys, covered in dark standing-seam metal. The seams follow the cone of the turret and run cleanly across the hips and valleys. Copper trim shows at the eaves, and a detached garage carries the same metal.
Two long copper pans with raised ribs run down the slope beside a field of Carlisle WIP 300HT high-temperature water and ice underlayment. A craftsman trims the next piece of copper by hand, with snips and a seaming tool laid beside him.
A pyramid-shaped copper cap built in the shop. Folded copper rails frame each face, expanded-metal mesh fills the openings, and the cap sits on a plywood base ready to be carried to site and set.
Straight gables, dormers and curved towers.
An aerial view of a fieldstone house covered in fresh cedar shake across a long gable, with shake-wrapped dormer cheeks and a small entry hood. Copper flashing lines the dormer valleys and edges, and a fieldstone chimney rises at the end.
Fresh cedar shake on a gabled brick building in a dense city setting. Gray metal flashing finishes the eave and gable edges, a brick chimney rises from the ridge, and a second lower slope of cedar sits in the foreground.
Cedar shake on the gable and adjoining slope of a fieldstone chapel beside a castellated stone tower. A copper valley joins the gable to the tower slope, the gable edge is framed in new wood trim, and a wheeled work platform stands at left.
Cedar shake laid in curved, graduated courses around a conical tower and tapering to a metal cone cap at the peak. Temporary red brackets and a plank are mounted mid-slope, and a dark-stained shingle wall sits below.
Large-scale tile, natural stone and stucco.
Barrel-profile tile laid across a large brick building with a bell tower. Reds and oranges carry the field, scattered blue, green and gold tiles add a mosaic effect, and the hips and ridges are finished with cap tile around the brick chimneys.
Four stacked-stone piers with cut stone caps carry cedar posts, joined by low stone walls and a flagstone landing. Flagstone treads step up from the lawn on stone risers.
A long brick-faced building with several wings, covered end to end in a blended red and orange tile that varies tone from piece to piece. Hips and ridges are finished cleanly where the wings meet.
The entrance side of the same campus. Finished tile runs along the main wings while one section at the left is still at the underlayment stage, showing how the work is phased around an occupied building.
A gabled stucco farmhouse with a pointed-arch attic window. The slate slope above is complete with copper flashing along its edge, while a fresh coat of stucco has been worked onto the walls. Scaffold stands on the right and a mixer sits in the foreground.
Ceilings, columns, arches and the framing beneath the metal.
A stucco Gothic Revival house with a full-width porch. Rebuilt white columns carry arched spandrels and a bracketed cornice, with the wood ceiling visible above. Copper downspouts run down both ends of the porch and the main house.
Beaded boards run in clean parallel lines the length of a porch ceiling and turn at the hip where the porch ends. New hewn timber posts carry the beam, and small blocks along the stucco wall are set to receive trim.
A carpenter on a ladder fits boards at the wall line while rolling scaffold stands ready. The new timber posts and beaded ceiling are in place above a stucco wall with original double doors.
Plywood sheathing and a framed, built-up channel are laid out with chalk lines and checked with a torpedo level. The surface is prepared here so the metal that follows will sit true and drain correctly.
Staging, removal and installation as the work happens.
The carriage house during the work: blue frame scaffold along the fieldstone wall, a crew member at the dormer, and orange brackets holding planks across the slope. Slate is being set in blended green and gray, with copper flashing in place at the dormer cheeks.
A stucco residence under full-width scaffold, with crew at the dormer line. Existing slate remains on the upper slope while the section at right has been stripped to blue underlayment, ready for new slate around the gabled dormers and brick chimneys.
Crew fitting copper to a louvered cupola cap. Formed copper panels are seamed together with a seaming tool clamped in place, an open triangle of underlayment is still waiting to be covered, and cut copper pieces are staged around the base.
Scissor lifts reach the upper slopes of a fieldstone building with board-and-batten gables and arched windows. Dark slate courses climb each plane, bare blue underlayment waits at the gable peaks, and orange toe-board brackets support the crew.
The same building from the road. The main hip is slated, with copper along the eaves and hip and a copper cupola at the peak. The gabled dormers at left are still at the GAF DeckArmor underlayment stage, and slate is going on in stages from the lower courses up.
A fieldstone cottage with a gabled entry, arched double doors and decorative white bargeboards. New slate with copper edge flashing covers the main slope and gable, with steel scaffold, a ladder and a miter saw staged for the crew.
A long stucco manor with white gabled dormers, wrapped in full-height scaffold. Gray slate covers the slope with copper step flashing at both brick chimneys and along the dormer cheeks, and ladders and platforms carry crew and materials to the work.
A craftsman works up a conical tower, setting each shake by hand and nailing it with a pneumatic nailer. The courses tighten as the cone narrows, with black underlayment at the peak still waiting for its final shake and bundles of cedar staged nearby.
A telehandler lifts material toward a scaffolded stucco house whose upper slopes are at the blue GAF underlayment stage. A new section of copper downspout stands upright in the foreground, waiting to be installed.
Cedar, slate, tile, copper and masonry each have their own rules for how they are cut, set, fastened and flashed. Old buildings carry their character in those details.
Every restoration starts from the original construction, so the finished work looks right and performs for the next century.

We walk the property and listen.
Scope and materials, in writing.
Fine craftsmanship, then a final walk-through together.
Choose the work, enter the size and describe the building. You will see a price range, and you can send it to us with your request. Every project is confirmed with a site visit before it is priced.
Send the details and we will follow up to talk through next steps. Proudly serving Minnesota and Pennsylvania.
Chief Executive Director & Master Architectural Preservationist
Every building I have worked on has told me something. A hand-set cedar shake, a slate laid by someone long gone, a copper valley soldered a century ago: each one holds a decision somebody made with care. My work is to understand that decision, honor it, and carry it forward so it lasts another hundred years.
I came to this trade because I love it, and I stay in it because I love the people I get to serve. Your property is not a job number to me. It is a story, and you are trusting us with the next chapter. I treat that trust as the most valuable thing we are ever given.
So here is my word. I will tell you the truth, including the parts that are not easy to hear. I will explain what we find in plain language, put every detail in writing, and keep you informed from our first conversation to the final walk-through. And we will not stop until the finished work is something you are proud to stand in front of.
If you are planning something worthy of your building, I would be glad to hear about it. Call me, write to me, or ask us to meet you on site. We will walk it together, and I will show you what is possible.
Eric MoeChief Executive Director & Master Architectural Preservationist
I built Old World on a simple idea: a restoration company should earn your trust at the kitchen table long before it asks for it on your building.
Recognized by the manufacturers and associations whose names carry weight in this work.



