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086 of 2012 - Adopting design guidelines for residential properties within the H-Historic Preservation Overlay Dis 0 12-1 0 12-33 SALT LAKE CITY ORDINANCE No. 86 of 2012 (An ordinance adopting a new compilation of design guidelines for residential properties within the H-Historic Preservation Overlay District) An ordinance adopting a new compilation of design guidelines for residential properties within the H-Historic Preservation Overlay District pursuant to Petition No. PLNPCM2011- 00471. WHEREAS, the Salt Lake City Historic Landmark Commission ("historic landmark commission") held public hearings November 17, 2011, December 1, 2011, December 15, 2011 and March 1, 2012 on a petition initiated by Mayor Ralph Becker(Petition No. PLNPCM2011- 00471) to amend the residential design guidelines applicable to residential properties within the II-Historic Preservation Overlay District; and WHEREAS, at its March 1, 2012 meeting, the historic landmark commission voted in favor of forwarding a positive recommendation to the Salt Lake City Council ("city council") on said petition; and WHEREAS, the Salt Lake City Planning Commission ("planning commission") held a public hearing on May 23, 2012 on said petition; and WHEREAS, at its May 23, 2012 meeting, the planning commission voted in favor of forwarding a positive recommendation to the city council on that petition; and WHEREAS, after a public hearing on this matter the city council has determined that adopting this ordinance is in the city's best interests. NOW, THEREFORE, be it ordained by the City Council of Salt Lake City, Utah: SECTION 1. Replacing the Design Guidelines. That the document titled "A Preservation Handbook for Historic Residential Properties & Districts in Salt Lake City", which document is attached hereto as Exhibit"A", is hereby adopted to provide guidelines to assist design choices in land use development activities on residential properties within the II-Historic Preservation Overlay District in accordance with the regulations provided in section 21A.34.020 of the Salt Lake City Code. The document provided herewith in Exhibit"A" shall replace the previously utilized design guidelines adopted in 1999 titled "Design Guidelines for Residential Historic Districts in Salt Lake City". SECTION 2. Effective Date. This ordinance shall become effective on the date of its first publication. Passed by the City Council of Salt Lake City, Utah, this 11 day of December 2012. CHAIRPERSON AT ST N TERSIG ' 6` C Y RECORDER Transmitted to Mayor on December 11, 2012 • Mayor's Action: X Approved. Vetoed. Ps' • MAYOR ITY RECORDER APPROVED AS TO FORM (SEAL) 1 G(' ; Y' +4, } Salt Lake City Attorneys Office ail • Slt e'Yrj KftN' Date: - Bill No. 86 of 2012. h.� .'`..> I By: Published: 12-17-12 �! P I C.Nielson, nor ity Attorney H B_ATTY-#24137-v 1-Ordinance_adopting_H LC_residential_guidelines.DOC ?&: .?4 , ,. \ � i \ram . r.. ''-•.- N .�` 1 1 �'M� � .:irk �t-\r / /JJ t. yea f`�� , :1 • n "M�,, , / el iy r 1 10.t ,, , -J. y J/ /' 11.,'"' J -,% t li'd Te4t, pti!--*.- (I. 'V 7i : 1.\',I A-Trvi..,,,e/ '4 i I I J F1 i � l , 11 A Preservation Handbook for Historic Residential Properties & Districts in Salt Lake City Contents CREDITS Salt Lake City Historic Landmark Commissioners Earle Bevins III Bill Davis Arla Funk Sheleigh Harding Polly Hart, Vice-Chair Stephen James Anne Oliver, Chair Dave Richards Former Commissioner Warren Lloyd, Previous Chair Planning Department Staff Wilford Sommerkorn, Director of Planning Cheri Coffey, Assistant Director of Planning Joel Paterson, Planning Manager Carl Leith, Senior Preservation Planner Janice Lew, Senior Preservation Planner Seth Wright, Planning Intern OTHER RESOURCES Design Guidelines for Residential Historic Districts in Salt Lake City 1999 These design guidelines are adapted and revised from the Design Guidelines for Residential Historic Districts in Salt Lake City adopted 1999 and prepared by Winter & Company, with Clarion Associates. In particular, the Historic Context&Architectural Styles section and the histories of the historic districts, are based on the material written by Elizabeth Egleston Giraud for the 1999 guidelines. Illustrations from 1999 Design Guidelines "The Utah State Historical Society.All rights reserved. Used by permission." Applies to the photographs on pages: 3:6,4:6,4:7(Top),4:17,4:31(Bottom),4:32,14:1,15:1,&15:6(Bottom left). A series of hand drawings in this Handbook are re-used from the 1999 Design Guidelines.They were prepared by Winter & Company for that document and are used again here with their kind permission, copyright reserved.Specifically,these include the hand illustrations on pages: 2:2,2:7,3:3,3:5,3:8,3:9,4:2,5:2,6:2,7:1,7:2, 7:3,7:4,7:6,8:2,9:1 &11:3. Most of the black and white photographs in the Architectural Styles section are retained from the 1999 Design Guidelines,and were taken by Lisa Miller(previously with Salt Lake City Planning Division) and the staff of Winter&Company,except as identified elsewhere in these acknowledgements. Some photographs used in the New Construction chapter are kindly provided from the personal collection of Stephen James, and are used here with permission.These include photographs on pages: 12:5(Bottom), 12:9, 12:10(Top),12:11,12:12(Bottom), 12:13,12:14&12:17 All other photographs (with the temporary exception of a series in the Additions chapter) were taken by the preservation staff of the Planning Division,Salt Lake City Corporation. December 11,2012 Salt Lake City Contents PART I-PRESERVATION IN SALT LAKE CITY Section 1 Why Preserve Historic Buildings&Neighborhoods? Culture, Quality of Life&Livability 1 •2 A Sense of History, Identity&Art 1 2 Economic Vitality&Employment 1 •3 Mobility&Transportation 1 •4 Sustainability&the Environment 1 •4 The Quality of Design&Construction 1 •5 Adaptability 1 •5 Section 2 The Preservation Program in Salt Lake City The Historic Preservation Plan-Draft 2• 1 • National & Local Register Designations 2• 1 Certified Local Government Status 2•2 Policies&Ordinance Standards Underlying the Design Guidelines 2•2 Additional Incentives for Preservation 2•3 Preservation Design Standards&Guidelines 2•3 Section 3 The Design Guidelines Why Have Historic Preservation Design Guidelines? 3 •2 Basic Preservation Theory 3•2 The Concept of Historic Significance 3•2 The Concept of Integrity 3 •3 Historic Preservation Principles 3-3 Respect Historic Character 3:3 Seek Compatible Uses 3•3 Protect&Maintain Significant Features 3 •4 Preserve Original Features&Materials 3 •4 Repair First 3 •4 Selecting a Preservation Approach 3 .4 Adaptive Use 3•5 Maintenance 3 5 Preservation 3•5 Rehabilitation 3•5 Renovation 3•5 Restoration 3 •5 Remodeling 3 6 Combining Strategies 3 •6 How to Use the Design Guidelines 3 •7 Arrangement&Format of Document&Chapters 3 •7 Arrangement&Format of the Historic District Chapters 3 7 Format of a Design Guideline 3 •8 Additional Information&Resources 3• 10 A Preservation Handbook for Historic Residential Properties&Districts Contents • Section 4 Historic Context&Architectural Styles Introduction 4• 1 Historic Overview of Salt Lake City 4.2 Classical 4•5 Picturesque 4•6 Gothic Revival 4•7 Italianate 4•8 Second Empire 4•9 Victorian Era 4:10 Victorian Eclectic 4• 12 Queen Anne 4• 13 Shingle 4• 14 Period Revival 4• 15 Spanish Colonial Revival 4. 16 Tudor Revival 4•17 Colonial Revival 4• 18 Dutch Colonial Revival 4. 18 Georgian Revival 4• 19 Neoclassical Revival 4• 19 Foursquare 4•20 The Bungalow 4•22 Modern 4•27 International 4.27 Art Moderne 4•28 Post-War 4.29 Post-War Cottage 4•29 Ranch 4.30 Multi-Family Structures 4•31 Commercial Structures 4•34 Salt Lake City Contents PART II-DESIGN GUIDELINES: REHABILITATION/GENERAL/NEW CONSTRUCTION Chapter 1 Site Features Context&Character 1 • 1 Design Objective 1 •2 General 1.1 1•3 Historic Fences 1.2—1..5 1 •3 Historic Grading 1.6 1 •5 Masonry Retaining Walls 1.7—1.10 1 •6 Walkways&Sidewalks 1.11-1.12 1 •8 Driveways 1 •9 Park Strips 1• 10 Landscaped Medians or Parkways 1 • 10 Planting Designs&Materials 1.13 1 • 11 Street Lighting 1.14—1.15 1. : 12 Site Lighting 1.6 1 • 12 Chapter 2 Building Materials&Finishes Context&Character 2• 1 Design Objective 2 •3 General 2 1 2•3 Masonry 2.2—2.7 2•4 Wood 2.8—2.11 2•7 Metal 2.12-2.13 2.9 Cleaning 2.14—2.15 2• 10 Repair 2.16—2.18 2. 11 Paint&Other Coatings 2.19—2.21 2. 12 Additional Information 2• 15 Chapter 3 Windows Context&Character 3 •1 Design Objective 3 • 1 Window Features 3 •2 Window Types 3 •2 Window Deterioration 3 2 Window Repair 3.1—3.2 3 •4 Energy Conservation 3.3 3 •6 Replacement Windows 3.4—3.8 3•8 Historic Glass 3 • 11 Additional Information 3. 12 A Preservation Handbook for Historic Residential Properties&Districts Contents Chapter 4 Doors Context&Character 4• 1 Design Objective 4.1—4.2 4• 1 Maintaining a Historic Door 4•2 Repairing of Historic Doors 4•3 Energy Conservation 4•5 Replacement 4.3—4 4 4• 6 Chapter 5 Porches Context&Character 5• 1 Design Objective 5 • 1 Porch Features 5•2 Porch Deterioration 5.1—5 2 5•2 Porch Alterations 5•4 Porch Repair 5•4 Porch Replacement 5.3—5.4 5•5 Additional Information 5:6 Chapter 6 Architectural Details Context&Character 6• 1 Design Objective 6.1—6.2 6• 1 Replacement Materials 6•2 Additional Information 6•4 Chapter 7 Roofs • Context&Character 7•1 Roof Deterioration 7• 1 Design Objective 7.1—7.2 7•2 Roof Materials 7 3 7 3 Gutters&Downspouts 7.4 7 5 Additions 7•6 Dormers 7.5—7.7 7•6 Additional Information 7•8 Chapter 8 Additions Context&Character 8 • 1 Design Objective 8• 1 Existing Additions 8•2 Basic Principles for New Additions 8.1—8.10 8•2 Ground Level Additions 8.14—8.16 8•8 Attic Additions 8•9 Rooftop Additions 8•9 Additional Information 8• 10 Salt Lake City Contents Chapter 9 Accessory Structures Context&Character 9 •1 Design Objective 9 • 1 History of Secondary Structures 9•2 Preserving&Rehabilitating Historic Accessory Structures 9•3 Primary Materials 9 •3 Roof Form&Materials 9.1-9.3 9 •3 Additional Information 9 4 Chapter 10 Seismic Retrofitting Context& Character 10:1 Design Objective 10.1 10: 1 Additional Information 10:2 Chapter 11 General Issues Accessibility 11.1 11 :1 Mechanical Equipment 11.2-11.3 11 : 1 Landscaping 11.4-11.6 11 :2 Service&Parking Areas 11.7-11.10 11 :3 Color 11.11 11 :3 Additional Information 1.1 :4 Chapter 12 New Construction The Design Approach 12: 1 Site Design Guidelines 12:2 Street&Block Patterns 12.1-12 2 12:2 Building Placement&Orientation 12.3-1.2.4 12:4 Building Scale Guidelines 12:5 Mass&Scale 12.5-12.8 12:6 Height 12.9-12.10 12:7 Width 12.11 12:7 Solid to Void Ratio 12.12 12:7 Building Form Guidelines 12:9 Form&Visual Emphasis 12.13-12.14 12:9 Proportion&Emphasis of Facade Elements 12.15 12: 10 Rhythm&Spacing Windows/Doors 12.16 12. 11 Building Materials&Details 12. 12 Materials 12.17-12.19 12. 12 Windows 12.20-12.22 12. 13 Architectural Elements&Details 12.23-12.26 12. 14 Design Criteria Evaluation 12• 16 Street Facade 12• 17 Building 12.19 A Preservation Handbook for Historic Residential Properties&Districts Contents PART III-DESIGN GUIDELINES: HISTORIC DISTRICTS Introduction Chapter 13 The Avenues Historic Architectural Character 13:3 Canyon Road&Memory Grove 13:8 Development Trends 13:8 Characteristics of the Avenues 13 :9 Characteristics of Canyon Road&Memory Grove 13:9 Goals for the District 13 :9 Streetscape Features 13• 10 Park strips&Street Trees 13• 10 Walkways 13.1—13.3 13 10 Landscape Design Features 13• 10 Fences&Retaining Walls 1.3: 10 Site Design Features 13 • 11 Front Setback 13.4 13 11 Side Setback 13.5 13• 11 Accessory Structures 13.6 13• 12 Architectural Features • 13• 12 Building Form 13.7 1.3: 12 Building Materials 13.8 13 • 13 Appropriateness of Use 13.9—13.10 13 • 14 Chapter 14 Capitol Hill Historic Architectural Character 14: Development Trends 14:6 Characteristics of Capitol Hill 14:7 Goals for the District 14:7 Streetscape Features 14:8 Walkways 14:8 Street Pattern 14.1 —14.3 14:8 Landscape Design Features 14:8 Fences&Retaining Walls 14.7 14:8 Site Design Features 14:9 Front Setbacks 14:9 Orientation 14.4—14.6 14:9 Architectural Features 14• 10 Building Form 14.8—14.9 14• 10 Building Materials 14.10 14. 10 Salt Lake City Contents Chapter 15 Central City Historic Architectural Character 15:3 Development Trends 15 :5 Characteristics of Central City 15 :6 Goals for the District 15 :6 Streetscape Features 15 :7 Street Pattern 15.1-15.2 15:7 Landscape Features—Fences 15.3 15:7 Site Design Features 15:7 Front Setback 15.4—15.5 15 :7 Porches 15.6—15.7 15:8 Architectural Features 15 :8 Additions/Alterations 15.8 15 :8 Building Mass 15.9 15 :8 Building Scale 15.10 15 :9 Building Form 15.11 15 :9 Building Materials 15.12 15 :9 Commercial Area Features 15.13—15.16 15: 10 Chapter 16 South Temple Historic Architectural Character 16:3 Development Trends 16:5 Characteristics of South Temple 16:5 Goals for the District 16 : 6 Streetscape Features 16 :6 Walkways 161 16 :6 Site Design Features 16 :7 Front Setback 16.2 16 :7 Side Yard Setback 16.3 16:8 Curb Cuts 16 4 16:8 Service Areas 16.5 16:8 Sitting of.Additions 16:8 Architectural Features 16:9 Porches 16.6—16.8 16:9 Ornamentation 16.9 16:9 Building&Roofing Materials 16.10—16.11 16• 10 Appropriateness of Use 16.12—16.13 16. 10 Additional Information A Preservation Handbook for Historic Residential Properties&Districts Contents Chapter 17 University Historic Architectural Character 17:3 Development Trends 17:5 Characteristics of University 17:5 Goals for the District 17:6 Streetscape Features 17:6 Street Pattern 17:6 Alleys 17.1-17.2 17:6 Architectural Features 17:7 Building Form,Mass,Scale 17.3—17.6 . 17:7 Porches 17.7 17:8 Building&Roof Materials 17.8-17.9 17:8 Chapter 18 Westmoreland Place To be completed in 2012 APPENDICES Appendix A Salt Lake City Historic Design Standards&Secretary of the Interior's Standards Part 1 -Salt Lake City Ordinance A • 1 Section 21A.34.020.G A• 1 Section 2.1A.34.020.H A •2 Part 2-The Secretary of the Interior's Standards for the Treatment of Historic Properties . .A:4 Al The Treatment of Historic Properties A •4 A2 Selecting a Treatment A •4 B1 Standards for Preservation A•5 B2 Standards for Rehabilitation A •6 B3 Standards for Restoration A •7 Appendix B Information&Resources Part 1-Arranged by Subject B • 1 Part 2-Arranged by Key Websites B •7 Part 3- Preservation Briefs.Preservation Technical Services, National Park Service B•9 Appendix C Glossary of Terms Procedural Definitions C• 1 Technical Definitions C• 1 Architectural Terms C•4 Salt Lake City PART I PRESERVATION IN SALT LAKE CITY Section 1 Why Preserve Historic Buildings 1 : 1-5 & Neighborhoods Section 2 The Preservation Program in 2 : 1-13 Salt Lake City Section 3 The Design Guidelines 3 : 1-10 Section 4 Historical Context &Architectural 4 : 1-6 Styles JI , 1. Pi I <t of; ��`. . ' • 1 I , 14w,a.. , 1 .11r 7 �di _ii,, i' t 1 1 ,. 1,'' 1 k .S lit it .I ' � 'i Cover Images: The John and Emily Platts home at 364 Quince Street.Platts was an English stone mason who came to Salt Lake in 1854 and built this house four years later. When the current owners purchased the house in 1975,it was in the state of disrepair seen in the right photograph.Over the years,they have renovated it so that it is a functional house for their family,while preserving the historic character of the home. i 1 Why Preserve Historic Buildings & Neighborhoods? Across the nation, citizens appreciate historic and CULTURE,QUALITY OF LIFE&LIVABILITY 1 :2 architectural character as being essential to the A SENSE OF HISTORY, IDENTITY&ART 1 :2 identity and unique character of their communities. They promote historic preservation because to ECONOMIC VITALITY&EMPLOYMENT 1 :3 do so is essential to cultural, social, economic and MOBILITY&TRANSPORTATION 1 :4 environmental sustainability. Historic resources SUSTAINABILITY&THE ENVIRONMENT 1 :4 are key ingredients in neighborhood livability and THE QUALITY OF DESIGN quality of life, minimizing negative impacts on the &CONSTRUCTION 1 :5 environment and yielding economic vitality and ADAPTABILITY 1:5 reward. In an increasingly fast-paced, anonymous and The historic environment is the cultural landscape 'placeless' form of urban development, the of our community. It represents the historical individual character of each community is a documentation of the incremental evolution of our precious identity. This identity helps to create a society and neighborhoods.These'pages'document sense of stability and enables an understanding the city, reflecting the many thousands of decisions of how this unique character, itself a product of which together have created Salt Lake City's urban incremental development over time, can provide environment, from a cultural legacy representing a direction and inspiration for the form of future many countries, and many families, and many development. skills,and many values. • Many residents and businesses are also drawn ., r. � 7 i sm to historic buildings and neighborhoods because • `�iiurriQ�_•_-the quality and richness of design, construction, craftsmanship and materials, are typically very —� high; buildings that are readily adaptable to = - contemporary needs.Salt Lake City is no exception,and has a series of visually rich and individual 51 residential historic neighborhoods and commercial buildings. - .K .t -- • Liberty Park National Park Service. National Register of Historic Places Program-About.NPS,6/2011 www.cr.nps.gov/nr/about.htm www.nps.gov/history/nr/ www.nps.gov/history/nr/national_register_fundamentals.htm State Historic Preservation Office,Utah.National Register of Historic Places history.utah.gov/historic_buildings/national_register/index.html A Preservation Handbook for Historic Residential Properties&Districts PART I 1 :1 PART I Preservation in Salt Lake City Culture, Quality of Life &Livability A Sense of History,Identity&Art When groups of older buildings occur as a historic Once the basic needs of existence and survival district, they can create a local environmental are met, humanity needs more to enhance its character which is so much greater than the sum experience. There is a need to enrich the everyday of its parts. The district is defined on a human experiences of living and working with a sense of scale, which encourages walking and neighborly history,time and art. interaction. Mature trees and landscaping, stone The historic neighborhoods and buildings of walls and decorative architectural composition and Salt Lake City provide a sense of maturity and features contribute to its sense of individuality,That permanence that can be apparent and also elusive. identity is unique to each historic neighborhood is Why do these streets take this form, and who laid increasingly rare, and is impossible to design into a them out? Who designed and built this building, new development or urban area. and who first lived here?What happened here,and This physical sense of neighborhood cohesion can when? Who decided to alter this part of the house, enhance community stability, reinforce desirable and why?What color was the house originally? social patterns and networks, and contribute to a A principal reason to live in one of the more historic sense of reassurance and security. Many residents parts of our city is not solely connected to proximity of historic districts, for example, note how easily to downtown,walkability and property investment. they get to know their neighbors, and enjoy the fact It is also directly related to the values and experience that they are recognized by others who live in the sought in visiting a historic city or site on vacation. vicinity. It has to do with the elevation and refreshment that Older homes and neighborhoods provide housing comes from the experience of a living work of art in a variety of sizes, serving a wide range of and architecture and is in itself a contribution to housing needs and desires. Within these residential the present and future quality and richness of the neighborhoods small businesses developed, neighborhood and city. providing needed services and creating a rich legacy of architecture, usually as individual commercial buildings which are designed in scale with the houses.Many continue in commercial use today. Maintaining these historic settlement patterns and original fabric preserves the setting from which residents learn about and explore our culture. Our historic neighborhoods are effectively a kaleidoscope of local, regional and global family lineage and cultural backgrounds. This 'stage' or 'classroom' provides a foundation of knowledge for our current and future identity, understanding and National Park Service.National Register of Historic Places achievement. Program.Publications&Links www.nps.gov/history/nr/publications/index.htm www.nps.gov/history/nr/preservation_links.htm 1 :2 PART I Salt Lake City 1 Why Preserve Historic Neighborhoods Economic Vitality&Employment In terms of local economic vitality and employment, Historic resources are finite and cannot be replaced, preservation projects contribute more to the local economy than do new building programs. Each making them precious commodities that many people hold in high regard today. dollar spent on a preservation project has a higher percentage devoted to labor, usually local skilled Preservation tends to enhance the attraction and labor, and to the purchase of materials available appreciation of neighborhoods and the value of locally. By contrast, new construction typically private property. Studies across the nation have has a higher percentage of each dollar devoted to documented that, where local historic districts are materials or components that are usually produced established, property values typically appreciate outside of the local economy,and merely assembled faster, or at very least are stabilized where they on site. Consequently, when money is spent on might have been previously declining. In this rehabilitating a building, it has a higher local sense, designation of a historic district appears "multiplier effect,"keeping more money circulating to establish a climate for enhanced stability, civic for longer in the local economy, when compared pride, and further personal investment in the area. with new construction. (See references on this page.) Rehabilitating a historic building frequently costs Residents within the district know that the time and less than constructing a new one, aside from the money they spend on improving their properties costs arising from any demolition. In fact, the are likely to be matched with similar commitment guidelines for rehabilitation of historic structures and efforts on surrounding properties. These presented in this document promote cost-saving investments will not be undermined by over measures. They encourage smaller and simpler scaled or otherwise inappropriate construction next solutions, which in themselves provide savings. door, or nearby. They consequently tend to have a Preserving building elements that are in good multiplier effect in terms of neighborhood character repair is preferred to replacing them. Preservation and desirability. and repairs are also typically less expensive. The condition of neighboring properties affects In some instances,however,appropriate restoration the value of one's own property. People invest in a procedures may cost more than less sensitive neighborhood at least as much as in the individual treatments, although they are likely to endure structures themselves. Investment in a historic much longer. In such cases, property owners are district is often more attractive, with property compensated for this extra effort, to some extent, in owners recognizing that each owner benefits from the added value that historic district or landmark the commitment of other neighbors. An indication designation provides. Special economic incentives of the success of preservation would be the more also exist to help offset potential added costs where than 1.4 million resources that are listed on the they do arise. National Register of Historic Places;including,sites, districts,structures,and objects. Advisory Council on Historic Preservation.Economic Impact of Historic Preservation [NPS,6/2011,www.cr.nps.gov/nr/about.htm] www.achp.gov/economicstudies.html National Trust for Historic Preservation.Community Revitalization www.preservationnation.org/issues/community-revitalization/ A Preservation Handbook for Historic Residential Properties&Districts PART I 1 :3 PART I Preservation in Salt Lake City Mobility&Transportation Sustainability&the Environment Living in a more historic neighborhood helps Preserving a historic structure makes sound reduce the city resident's dependence upon the car environmental conservation policy and practice. for everyday needs. Older neighborhoods are close Maintaining the use of a building is the ultimate in to the business, retail, cultural and employment recycling since no demolition waste is generated,no centers in the downtown area, the very reasons processing of materials is required, and no energy prompting their initial development. Residents consumed. No new construction materials are were and are able to live closer to where they work, required, avoiding the energy, waste and pollution avoiding or minimizing the need to use the car. from manufacturing, and avoiding energy use for The greater concentration and walkability transportation and construction. provided by these urban residential neighborhoods The embodied energy which was used to create the also enhances the economic viability of public original building and its components is preserved transportation as a convenient and less expensive and reinvested. Old buildings have a great deal of alternative to the car. This settlement pattern was embodied energy. The extraction and processing initially directly influenced by the city's street of building materials (e.g., wood, stone, and brick), car network and now supports its re-emergence. the transportation of those materials, and the There are the further benefits of enhanced air construction labor represented in the final structure, quality through a reduction in gasoline use and mean that demolition of an existing building and toxic exhaust emissions, poor air quality being a constructing anew is notably less energy-efficient persistent issue along the Wasatch Front from early than rehabilitating or constructing an addition development periods to the present. for the existing building. Conserving a building preserves its embodied energy and reduces the need for new materials.Demolition waste alone accounts 4cif°,' t for 25%of waste in municipal landfills every year. Older buildings (up to 1920s) are, as a rule, as � i:-" .• •+ JO' :; .;ti ' ,'•. energy efficient as those buildings built today under increasingly stringent energy efficiency h i I ,, �- 1 ...SIR', vasrequirements. They are more energy-efficient than � •' 4 buildings constructed from the 1920s to the 1990s. - 4 These inherent advantages can be further enhanced -- - ; through an understanding of the materials, _ the construction and the essential qualities of A rich architectural variety and mature landscaping traditional design and craftsmanship. Thick, solid, create an attractive and walkable neighborhood in all of heat-retaining walls in brick and stone, with access the city's historic districts. to natural ventilation, contribute to their excellent energy efficiency.Historic buildings can also benefit from new technology in the form of solar panels or shingles. 1:4 PART I Salt Lake City 1 Why Preserve Historic Neighborhoods The Quality of Design &Construction Adaptability Design, building and craft skills gradually Historic building floor plans tend to be readily focused on Salt Lake City from many parts of the adaptable,accommodating contemporary life-styles world. New residents often brought with them and supporting a diversity of requirements. Rooms centuries-old traditions in construction and the are frequently large, permitting a variety of uses arts, and frequently an appreciation of urban and while retaining the overall historic character of each architectural sophistication. This coincidence of building. In residential areas private open space culture, sophisticated design and traditional craft often exists on the lot to accommodate an addition, skills is reflected in the earlier development of the if needed. In commercial buildings the space city. tends to be both flexible and varied, and usually Most of the historic structures in the city are of high comes with a significant identity and architectural character, factors which are usually very attractive design and construction quality.The wood used for example came from mature old growth trees, was for small business. carefully seasoned and was typically milled to full dimensions, yielding stronger and more durable 81, ' framework, cladding, windows, trim and details. Masonry walls were carefully laid, resulting in buildings with considerable stability, and refined, — I - delicate and precise detailing. � ` Our historic buildings were thoughtfully and A number of larger residences have been traditionally embellished and detailed, while the adapted for business use. materials and finishes, including fixtures, wood National Park Service.Technical Preservation Services. floors and trim were generally of high quality; all Sustainability www.nps.gov/tps/sustainability.htm characteristics which are now increasingly rare,and National Park Service.Technical Preservation Services. highly sought and appreciated. Energy Efficiency www.nps.gov/tps/sustainability/energy-efficiency.htm By comparison, in today's new construction, National Park Service.Technical Preservation Services. materials of such quality are rarely available New Technologies and comparable detailing, if achievable, is vww.nps.gov/tps/sustainability/new-technology.htm National Park Service.Technical Preservation Services. very expensive. The high quality of design and Case Studies construction in historic buildings is consequently www.nps.gov/tps/sustainability/case-studies.htm#fuller-paint a significant asset, with notable durability and National Park Service.Technical Preservation Services. Research needing minimal basic maintenance. www.nps.gov/tps/sustainability/research.htm National Park Service.Technical Preservation Services. Resources www.nps.gov/tps/sustainability/resources.htm National Trust for Historic Preservation.Weatherization www.preservationnation.org/issues/weatherization/ National Trust for Historic Preservation.Sustainability www.preservationnation.org/issues/sustainability/ www.preservationnation.org/issues/sustainability/green-lab/ A Preservation Handbook for Historic Residential Properties&Districts PART I 1 :5 Page left intentionally blank 2 The Preservation Program in Salt Lake City — Defining and Managing Historic Buildings and Districts Historic Preservation Plan-Draft HISTORIC PRESERVATION PLAN-DRAFT 2: I The Historic Preservation Plan for Salt Lake City, NATIONAL&LOCAL developed over several years by consultants and the REGISTER DESIGNATIONS 2:1 City,establishes city-wide policies,goals, objectives j CERTIFIED LOCAL GOVERNMENT STATUS 2:2 and action priorities for the Historic Preservation ' POLICIES&ORDINANCE STANDARDS Program. This is the first such comprehensive UNDERLYING THE DESIGN GUIDELINES 2:2 review and evaluation of the program in Salt Lake ADDITIONAL INCENTIVES City, and will provide common direction for future FOR PRESERVATION 2:3 city policy. The Plan is currently (early 2012) in PRESERVATION DESIGN STANDARDS Draft form. &GUIDELINES 2:3 National &Local Register Designations Like most communities, Salt Lake City has two =' \,`` categories of historic district and landmark sites. • It is important to understand and distinguish the %` . + 'city's designation of historic districts through its ,, i /• ' ._ local ordinance process,from historic designation to , I: - the National Register of Historic Places. i • National Register of Historic Places The National Register of Historic Places is a list `'.' `•`+I- of sites and properties of historic significance. '• _ _ Properties on the Register may have national A sequence of gables and porches create a visual rhythm along significance, but they may also be listed if they the street frontage. have significance at a state or local level. The National Park Service administers the Register. Nominations are submitted through the State Properties listed on the National Register may be Historic Preservation Officer, using criteria adopted eligible for federal and/or state income tax credit by the Secretary of the Interior. Listing in the incentives. Additionally, federal actions that may National Register is a recognition and status that affect these properties must be reviewed for their is honorary and does not involve city review of potential impact.Alterations are not reviewed if the proposed exterior alterations. National Register property owner is not seeking income tax incentives designation brings recognition,research knowledge or if no federal actions are involved. In such cases, and, in appropriate cases for buildings defined as there are no regulations governing compatible 'contributing,'Federal and State tax incentives. alterations,infill or demolition. A Preservation Handbook for Historic Residential Properties&Districts PART I 2: 1 PART I Preservation in Salt Lake City Local Historic Districts Policies &Ordinance Standards The local designation process is established Underlying the Design Guidelines through the city's zoning ordinance. Criteria for The forthcoming Historic Preservation Plan designation are set forth in the City code and will provide comprehensive policy and an designated properties are subject to regulations implementation action plan for the preservation outlined in the ordinance, including demolition, program in the city, in the light of nationally and design review standards for new construction accepted preservation standards, and an evaluation and exterior alterations to existing buildings.These of the current and potential historic and cultural guidelines inform the design review process for resources of the city. The residential, commercial exterior alterations,additions and new construction and sign design guidelines form a key part of the for local historic districts and City designated array of tools available to the City in the role of landmark buildings, providing detail, clarification caring for these assets. and options for the design review standards in the The design guidelines are founded on the goals ordinance. They also provide information resource for preservation as stated in the Salt Lake City and guidance in planning a project affecting these Zoning Ordinance Title 21A of the Salt Lake City areas,sites and buildings. Code, Chapter 34.020 "Purpose Statement." These preservation goals provide direction to projects Certified Local Government (CLG) Status affecting landmark sites or within a historic district. Salt Lake City has agreed to support the principles The guidelines are intended to be used in a number of the Secretary of the Interior's Standards for of ways. Property owners and architects should Rehabilitation of Historic Buildings in a contract use the guidelines when beginning a project. with the State Historic Preservation Officer. [See City staff will use the guidelines when advising Appendix A and below] In that contract, the city property owners and in administrative reviews.The received status as a "Certified Local Government," Historic Landmark Commission(HLC) will use the under the National Historic Preservation Act. This guidelines in review when considering the issuance act provides that a local government,when it meets of a Certificate of Appropriateness. certain guidelines for operation of a preservation National Park Service.Technical Preservation Services program, may become so certified and therefore www.nps.gov/tps/ become eligible for technical and financial assistance Interpreting the Standards Bulletins to administer its preservation activities. www.nps.gov/tps/standards/applying-rehabilitation/standards- bulletins.htm Secretary of the Interior's Standards www.nps.gov/tps/standards/four-treatments.htm www.nps.gov/tps/standards/rehabilitation.htm 4.. , � . :. ',s www.nps.gov/tps/standards/applying-rehabilitation.htm .4 4 Nc Secretary of the Interior's Guidelines www.nps.gov/tps/standards/rehabilitation/rehab/stand.htm www.nps.gov/tps/standards/rehabilitation/sustainability- -41411K _ guidelines.pdf - .b�� State Historic Preservation Office,Utah.Certified Local t4tiGovernment The low,horizontal lines of bungalow design and its history.utah.gov/historic_buildingsicertified_local_govemment/ index.html landscaped setting are mutually complementary. 2:2 PART I Salt Lake City 2 The Preservation Program in Salt Lake City The guidelines are based on the criteria and design Additional Incentives for Preservation standards set forth in Chapter 34.020 of Title 21A, While the economic benefits from historic district of the Salt Lake Code, the city zoning ordinance, status are notable, special incentives also exist which provides for the creation and management to help offset any added costs associated with of historic preservation overlay districts and appropriate rehabilitation. Income tax credits landmarks. are offered at the state and federal levels for The design guidelines, and the ordinance design rehabilitation which meets certain standards. There standards, incorporate principles set out in the are also tax incentives associated with a facade Secretary of the Interior's Standards for Treatment easement on a historic property. In some cases, the of Historic Properties, a nationally accepted set of city can provide special zoning incentives and can basic preservation design principles, standards help to expedite development review associated and guidelines. It is the intent of this document to with preservation projects. There are other city be compatible with the Secretary of the Interior's housing programs which provide some financial Standards, and to clarify, amplify and interpret assistance with rehabilitation projects.Additionally, those essential preservation principles, whether the Utah Heritage Foundation has a low interest at the project planning and design stage, or in the loan program for the rehabilitation of historic subsequent design review and approval process. properties that meet their eligibility criteria. Compliance with the ordinance standards is enforced through the city's permitting and Preservation Design Standards & inspection processes, including the building permit Guidelines review system. Property owners should recognize The design standards in the City Ordinance that most projects require a building permit, which provide the regulatory foundation for the review is issued by the city's building official, in addition of proposals affecting the historic sites and districts to the Certificate of Appropriateness that is issued in the city. [21A.34.020, See Appendix Al They are by the HLC,or Planning Division staff on its behalf. brief and provide little detail as to their application Variation in t � in the context of the variety of circumstances that building forms, massing and occur when designing a particular project, for a ° •J..; `;"i materials illustrate particular house, in a particular district.The design ' _ -,.1 . some of the city's guidelines are non-bindingandprovide the detailed characteristic p �, ! �R�, architecturalguidance and advice on ways to meet the ordinance it14 " i exuberance and standards. They are necessarily flexible, enabling I ,m: vitality. them to relate to conditions which will arise with National Park Service.Technical Preservation Services. the unique nature of each project and property. Incentives There may be a clear answer to a design issue, or www.nps.gov/history/hps/tps/tax/incentives/index.htm State Historic Preservation Office,Utah Financial Assistance more often there may be more than one answer history.utah.gov/historic_buildings/financial_assistance/index. which safeguards the integrity of the building and/ html or district. The design guidelines help to define the Utah Heritage Foundation.Financial Assistance www.utahheritagefoundation.com/preservation-resources/ most appropriate direction/s and answer/s. financial-resources A Preservation Handbook for Historic Residential Properties&Districts PART I 2:3 Page left intentionally blank 3 The Design Guidelines The City has developed design guidelines for WI-TY PRESERVATION DESIGN GUIDELINES? 3:2 Residential and Commercial buildings and sites, BASIC PRESERVATION THEORY 3:2 and for Signs,to help interpret the design standards in the Ordinance, and as an information and THE CONCEPT OF HISTORIC SIGNIFICANCE 3:2 guidance resource for the community and the City. I THE CONCEPT OF INTEGRITY 3:3 These design guidelines apply to construction HISTORIC PRESERVATION PRINCIPLES 3:3 work associated with locally-designated historic landmarks sites. They also apply to work within RESPECT THE HISTORIC CHARACTER 3:3 locally-designated historic districts in Salt Lake City, SEEK COMPATIBLE USES 3:3 including the rehabilitation of historic structures PROTECT&MAINTAIN and landscapes, alterations to "noncontributing" SIGNIFICANT FEATURES 3:4 buildings, and to new construction. They apply PRESERVE ORIGINAL FEATURES to single family and multi-family buildings, &MATERIALS 3:4 commercial buildings and parks. REPAIR FIRST 3:4 The design guidelines for the treatment of historic SELECTING A PRESERVATION APPROACH 3:4 properties and for new construction within a ADAPTIVE USE 3:5 historic district are based on nationally accepted MAINTENANCE 3:5 principles for preservation and apply to designated PRESERVATION 3:5 historic resources across the city. REHABILITATION 3:5 At the same time, different settlement patterns and RENOVATION 3:5 historic resources exist within each of the historic RESTORATION 3:5 districts, and establish a context and character unique to that neighborhood. Variables that define REMODELING 3:6 a distinct context may include topography, street COMBINING STRATEGIES 3:6 pattern, building age, landscape features, and lot HOW TO USE THE DESIGN GUIDELINES 3:7 size. FORMAT-DOCUMENT&CHAPTERS 3:7 Residential guidelines that are tailored to the FORMAT-I IISTORIC individual character of each district are included to DISTRICT CHAPTERS 3:7 supplement the information and guidance provided FORMAT-A DESIGN GUIDELINE 3:8 in the city-wide guidelines. Specific residential LADDITIONAL INFORMATION 3:10 guidelines are provided for the Avenues, Capitol Hill, South Temple, Central City, and University The design guidelines for commercial resources Historic Districts. Additional residential design and signs address more common issues,and do not guidelines will be developed for each future locally have additional guidelines for each historic district. designated district. A Preservation Handbook for Historic Residential Properties&Districts PART I 3:1 PART I Preservation in Salt Lake City Why have historic preservation design Basic Preservation Theory guidelines? The Concept of Historic Significance The design guidelines provide a basis for making What makes a property historically significant? informed and consistent decisions about the rehabilitation and treatment of historic resources. In general, properties must be at least 50 years They also serve as an informational, educational old before they can be evaluated for potential and planning resource for property owners and historic significance, although exceptions do exist when a more recent property clearly is significant. their design professionals who seek to make improvements which may affect historic resources. Historic properties must have qualities that give them significance. A property or a district may be While the design guidelines are written so that they significant for one or more of the following reasons: can be used by the layman to plan improvements, • property owners are strongly encouraged to enlist Association with events that contributed to the the assistance of qualified design and planning broad patterns of history,the lives of significant professionals, including architects and preservation people,or the understanding of Salt Lake City's consultants. prehistory or history. • The purpose of the guidelines, and the review Construction and design associated with process through which they are administered, is distinctive characteristics of a building type, to explain and promote the sound preservation of period,or construction method. the historic and architectural heritage of the city. • An example of an architect or master craftsman These resources are fragile, and are consequently or an expression of particularly high artistic vulnerable to inappropriate alteration and values. demolition. • Physical integrity in terms of location,design, Pressure exists to alter or demolish historic buildings setting,materials,workmanship,feeling and because the close-in neighborhoods where they are association as defined by the National Park found are again regarded as attractive areas to live Service for the National Register of Historic and work,and widely appreciated for their rich and Places,and unique character. These pressures are increasing • The age of the site. as the population grows along the Wasatch Front; as residents face longer commutes, an inner-city The Period of Significance location becomes a more attractive alternative. In most cases, a property is significant because it Passage of the state's Economic Incentives for represents,or is associated with,a particular period Historic Preservation bill in 1993, which provides in its history. Frequently, this period begins with income tax credits for rehabilitation work exceeding the construction of a site or building and continues $10,000 for residential properties listed on the through the peak of its early occupation. Building National Register of Historic Places, has also fabric and features that date from the period of brought new residents and investors into Salt Lake significance typically contribute to the character of City's historic neighborhoods. the site. 3:2 PART I Salt Lake City 1 3 The Design Guidelines The Concept of Integrity Respect the historic design character of the In addition to being historically significant, a building. property also must have integrity. Changing the style of the building or making it look To have integrity a sufficient percentage of the older than it really is should be avoided. Confusing structure or site must date from the period of the character by mixing elements of different styles significance. The majority of the site's features would not respect the historic design character of or the building's structural system and materials the building. should date from the period of significance, and Seek uses that are compatible with the historic its character defining features also should remain character of the building. intact. These may include architectural details, Building uses that are closely related to the original such as dormers and porches, ornamental brackets use are preferred. Every reasonable effort should be and moldings and materials, as well as the overall made to provide a compatible use that will require mass and form of the building. It is these elements minimal alteration to the building and its site. An that allow a building or district to be identified as representing a particular point or period in the example of an appropriate adaptive use might be history of the city. converting a residence into a bed and breakfast establishment. This can often be accomplished See the links below to the basis of preservation without radical external alteration of the original theory and principles which are summarized here. architecture. Historic Preservation Principles Note that the Historic Landmark Commission does not review uses; however, property owners should The following preservation principles and practice consider the impacts that some changes in use reflect national philosophy and should be applied would have upon their historic properties,since this to all historic properties in Salt Lake City. may affect design considerations that are reviewed by the Commission. In addition, the zoning code provides some incentives associated with certain uses and these may require Commission comment. National Park Service.Technical Preservation Services. These uses may aid in interpreting how the building www.nps.gov/tps/ was used historically. Check the zoning code to Online Training&Information determine which uses are allowed. www.nps.gov/tps/education/online-training.htm Secretary of the Interior's Standards When a more radical change in use is necessary to www.nps.gov/tps/standards/four-treatments.htm www.nps.gov/tps/standards/rehabilitation.htm preserve and keep the building in active service, www.nps.gov/tps/standards/applying-rehabilitation.htm then those uses that require the least alteration to Secreatary of the Interior's Guidelines significant elements are preferred. www.nps.gov/tps/standards/rehabilitation/rehab/stand.htm www.nps.gov/tps/standards/rehabilitation/sustainability- guidelines.pdf State Historic Preservation Office,Utah Financial Assistance history.utah.gov/historic buildings/financial_assistance/index. html A Preservation Handbook for Historic Residential Properties&Districts PART I 3:3 PART I Preservation in Salt Lake City It may be, that in order to adapt your building to Selecting a Preservation Approach the proposed new use, such radical alteration to Each preservation project is unique. its significant elements would be required that the entire concept might be inappropriate. Experience Consequently, a 'one size fits all' set of rules has shown,however,that in most cases designs can and regulations will only apply in a minority of be developed that respect the historic integrity of instances. It may include a variety of treatment techniques, including the repair and replacement the building while also accommodating new uses. of features, and the maintenance of those already Note that more radical changes in use can make in good condition. Some of the basic preservation projects more expensive or result in the loss of treatments are described in the section that follows. significant features. Carefully evaluate the cost In each case, it is important to develop an overall of alteration, as adaptation for a radical change strategy for treatment that is based on an analysis of may prove too costly, or may destroy too many the building and its setting. significant features. This research should begin with an investigation of Protect&Maintain Significant Features& the history of the property. Research may identify Stylistic Elements. design alterations that have occurred,and may help Distinctive stylistic features or examples of skilled in developing an understanding of the significance craftsmanship should be treated with sensitivity. of the building as a whole, as well as its individual The best preservation procedure is to maintain components. historic features from the outset so that intervention This historical research should be followed with is not required.Protection includes the maintenance an on-site assessment of existing conditions. In this of historic material through such simple treatments on-site inspection, identify those elements that are as rust removal, caulking, limited paint removal original, and those that have been altered. Also and the reapplication of paint. determine the condition of individual building Preserve Existing Original Site Features or components. Original Building Materials&Features. Finally, list the requirements for continued use of the property.Is additional space needed?Or should Preserve original site features such as grading, the work focus on preserving and maintaining the rock walls, etc.Avoid removing or altering original existing configuration? materials and features. Preserve original doors, windows, porches and other architectural features. By combining an understanding of the history of the house, its present condition, and the need for Repair Deteriorated Historic Features&Replace actions that will lead into the future, one can then Only Those Elements that Cannot be Repaired. develop a preservation approach. In doing so, Upgrade existing materials and elements, using consider the definitions of alternative approaches recognized preservation methods whenever that follow. possible. If disassembly is necessary for repair or restoration, use methods that minimize damage to original materials and replace the original configuration. 3 :4 PART I Salt Lake City 3 The Design Guidelines Adaptive Use Rehabilitation Converting a building to a new use, one that is Rehabilitation is the process of returning a property different from that which its design reflects, is to a state which makes a contemporary use possible, considered to be "adaptive use." For example, while still preserving those portions or features of converting a residential structure to offices is the property which are significant to its historic, adaptive use. A good adaptive use project retains architectural and cultural values. Rehabilitation the historic character of the building while may include the adaptive reuse of the building, accommodating its new functions. and major or minor additions may also occur. Most good preservation projects in Salt Lake City may be Maintenance considered rehabilitation projects. Some work involves keeping a property in good condition by repairing features as or before Renovation any deterioration becomes apparent, and using To renovate means to improve by repair, to revive. procedures that retain the original character and In renovation, the usefulness and appearance of finish of these feature/s. Regular or preventive the building is enhanced. The basic character and maintenance is carried out prior to any noticeable significant details are respected and preserved, deterioration. No alteration or reconstruction is but some sympathetic alterations may also occur. involved.Such work will avoid having to deal with Alterations that are made are generally reversible, future repairs and is considered "maintenance." should future owners wish to restore the building to Residents are strongly encouraged to maintain their its original design. properties in good condition to ensure that more aggressive, and consequently more destructive, Restoration expensive,measures of rehabilitation, restoration or To restore, one reproduces the appearance of a reconstruction will not be needed. building exactly as it looked at a particular moment in time; to reproduce a pure style—either interior Preservation or exterior. This process may include the removal The act or process of applying measures to sustain of later work or the replacement of missing historic the existing form,integrity and material of a building features.A restoration approach is used on missing or structure, and the existing form and vegetative details or features of an historic building when the cover of a site, is defined as "preservation." It may features are determined to be particularly significant include initial stabilization work, and minor repair to the character of the structure, and when the where necessary, as well as ongoing maintenance original configuration is accurately documented. of the historic building materials and details. Essentially, the property is kept in its current good condition. A Preservation Handbook for Historic Residential Properties&Districts PART I 3:5 PART I Preservation in Salt Lake City Remodeling Combining Strategies To remake or to make over the design image of a Many successful rehabilitation projects that involve building is to remodel it.The appearance is changed historic structures in Salt Lake City may include a by removing original detail and by adding new combination of preservation, restoration, and other features that are out of character with the original. appropriate treatments. For example, a house may Remodeling is inappropriate for historic buildings be adapted to use as a restaurant,and in the process, in Salt Lake City. missing porch brackets may be replicated in order to restore the original appearance, while existing original dormers may be preserved. See also Appendix A,Part 2, National Park Service.Technical Preservation Services.Four Approaches to the Treatment of Historic Properties www.nps.gov/tps/standards/four-treatments.htm I 40 Er. ' ,. '.,5: "'Q.v." _-• •'-"' ------.�4•w-= rt�s y w, .- ..�s.•%+' 1 ?<.2� .r- .-. - '�.�t3=� �.. '`. i�.�. ::.rP.:�.J+"«rL. ,''`�!� '�..wnMl�.�-_ ..d —y ti`'�• �•. ,'- • = - 2-;p?�S46. 'fir• ,- ,s v "fro: ?fir.. + • .t" '� n- .-w7 15,.•---y .'-ti. - ': ?.F..r ued; to,. ..i.��jc<., .'es,��` .` r1p,�_ i- .J-ry' ; - r- t' ^ r].7.--7'7.--" , �y' 11 :• ,:ef: 4100 ter,,r sl.' �, hlv,. ` -.r 4I .JJ 'Tt,�j s Jai'. .1 V :e. ,1 _`'•,, •t.i r4''•.-, ,arn^" 'k fir- . ,,e1". c 1( '.11-. fc'*„ '+''.,� 'yf:w..' `�„ V•a 1\ - 'mow-rr L 1} y`�i✓�' ,,,r •. ,---- .1 "` 4•'+ •' j Y • ffr-s;Z 1 7c+7.�_ QBZT IL i i :?s_r,i5":t�=,t:_==`,k-i i=_:=a+ The uniform grid of the City of Zion Plan is readily apparent in this early bird's-eye view. 3:6 PART I Salt Lake City 3 The Design Guidelines How to Use the Design Guidelines Arrangement&Format of Historic District Chapters in the Residential Arrangement &Format of the Document Guidelines and Chapters These chapters provide additional guidance for The Residential Design Guidelines are arranged individual residential historic districts and have a in four sections. Three sections deal with different format. Rehabilitation, General Issues, New Construction Historic Architectural Character in PART II. Additional design guidelines for each Historic District form the fourth section and PART A general description of the district includes a III of the Handbook. summary of the history of its development,helping to explain the historic form and character unique to Within the Rehabilitation section the chapters that historic district. address specific design characteristics of a historic building, and include several topics within one Development Trends subject and chapter. The chapters are organized Based on the type of previous development in an in several sections, including introductory and area, the City has expectations about future trends explanatory information on Context and Character, in development. the overall design objective, and the actual design guidelines, often with illustrations. The chapters The Characteristics of the District also include supplementary resources in the form The key characteristics of the district are of additional reference material and suggested summarized to inform future design considerations. maintenance tips. This summary provides a context within which The guidelines are written to identify what is alterations, and particularly new construction, important and why, when considering a project should be considered. The objective is to support in a historic district or relating to a city landmark form, scale and design which are sensitive to the site. They are intended to be informative, and to immediate context and the district. help with the reasoning and evaluation processes Goals for the District associated with both planning and reviewing a project for sensitivity to its context - whether that The district design goals establish the long-range view for the character of the district, and provide context is a building or a district. a foundation for the design guidelines that follow, The Context and Character paragraphs, the Design like the design objectives in other chapters.In cases Objective, and the specific Design Guideline with where the special conditions in a specific project its illustrations, all form a part of the guideline and are such that the accompanying detailed design help to determine the most appropriate course of guidelines do not appear to address the situation action for a specific circumstance. The process is directly,then this statement of goals should serve as explained in greater detail below. the basis for determining the appropriateness of the proposed work or direction. A Preservation Handbook for Historic Residential Properties&Districts PART I 3:7 PART I Preservation in Salt Lake City The Design Guidelines Format of a Design Guideline The design guidelines are arranged in several The design guidelines' format and structure sections, which include Streetscape Features, Site establish a hierarchical framework that provides and Landscape Design Features, Architectural general and detailed design advice and also design Features and Appropriateness of Use. Design options where the design guideline readily relates guidelines are identified in bold within each to the circumstances of the project, the site or section, and each guideline may have one or more building. Where the relationship is less obvious, on associated bullet point/s to clarify the application the other hand, and the specific guideline/s do not of the guideline. The guidelines are also numbered directly address the individual circumstances of the to provide specific reference in the review process. case, the design objective and the context character The city should assess whether these guidelines and definition discussion immediately preceding the goals have been adequately met in consideration of guideline/s, provide general a direction on the a Certificate of Appropriateness for the proposed design intent and appropriate solutions. work. Each design guideline in the document typically will have five components. 1.Context Character Definition This component describes the elements of the character of the building and/or its setting or context that are most important to retain, if the integrity of the building or district is to be preserved. This may include technical information, such as factors associated with the preservation of a historic building material, for example, as well as general preservation theory that is relevant to the topic at y hand. ,' z.¢ The guidelines and their associated context character ► definitions in each chapter may be divided into pertinent sub-topics. For example, in the chapter `l`,� �' addressing Site Features, the topic "Walkways," is ,, �1 _ i among those discussed. This organization allows � the user to select rapidly the specific design topics \ within a section that are most relevant. II%) �' This discussion provides the rationale and �\ �! foundation for the Design Objective. i Governor's Mansion Carriage House. Utah Heritage Award recipient 2012. 3:8 PART I Salt Lake City 3 The Design Guidelines Design Guideline Format-Example Chapter 1. Site Features A variety of site features are characteristic of early .-.� ' r . { , '� Salt Lake City residential neighborhoods. A house is =loa usually appreciated in its immediate street setting. ;Nit " • Y - . 1 4 Individual sites and gardens may share common j r 1 characteristics which help to define community s- character. 4.11 it, Design Objective n �,11 • Historic site features that survive should be retained, The low retaining wall supporting an ornate historic 2 preserved or repaired when feasible. New site features iron fence contributes significantly to the character of the should be compatible with the historic context and the streetscene. character of the neighborhood. Masonry Retaining Walls 3 Sandstone retaining walls were often used in neighborhoods where steep slopes occurred.Many of 4 these walls survive and often are important character- defining features for individual properties and for the 1 . districts in which they are found.Some early concrete retaining walls also exist.These should be preserved. Each design Guideline in the document typically will have five components. 2.Design Objective 3.Design Guidelines Drawing upon existing character and/or the desired The design guideline is typically performance- condition of the design element/s or context, the oriented and describes a desired design treatment. design objective is a statement of intent for the There may be one or more design guidelines for treatment of the design feature or characteristic. each design topic. In cases in which special conditions in a specific 4.Design Guideline Application Points project are such that the detailed design guideline/s that follow do not appear to address the situation Additional information about application of the directly, then the design objective provides a basis guideline appears in bullet points,and may include and direction for determining the appropriateness expanded explanation of the guideline, suggestions of the proposed work. on how to meet the guideline objective,or additional application points to consider. A Preservation Handbook for Historic Residential Properties&Districts PART I 3 :9 PART I Preservation in Salt Lake City 5.Design Guideline Illustrations Additional Information Illustrations clarify the intent of the guideline; A further 'side bar' in each chapter provides a captions highlight particular points or examples. brief list of other publications and weblinks as a resource for owners, designers and builders. These Maintenance Tips references may provide more background on a topic A'side bar'in many chapters provides Maintenance or detailed'how to' instruction. Tips for the homeowner as points or matters to Some additional information and considerations consider in the regular upkeep of a building. are provided for Historic Glass and Color, in Regular maintenance will reinvest in the unique Ch.3 Windows and Ch.11 General Issues. This qualities of the property and keep the finishes and information does not form part of the review details in good repair, while avoiding subsequent, process for the ordinance design standards, and is and more expensive,repair or replacement. provided to supplement an understanding of these matters. This informational text is differentiated in dark red. Additional Information Murtagh,William J.Keeping Time:The History and Theory of Preservation in America.Pittstown,New Jersey:The Main Street Press,1988. Design Guidelines Resources-Information+Maintenance Tips-Example Chapter 5. Porches 5.4 The open character and integrity'of a historic r' ' front porch should be retained. .� ,' • Enclosing a porch should be avoided. • Enclosing n wont porch will Restore a previously enclosed porch to its ignihcantly compromise the original open character whenever feasible. architectural integrity of the house. Maintenance Tips Additional Information Maintenance Tips for Porches Additional Information • Maintain drainage off of the main roof of the house,as Massey,James C.and Shirley Maxwell."Reading the Old well as off of the roof of the porch. House"and"Sleeping Porches."Old House Journal,July/ August 1995. • Channel water away from the foundation of the porch. • Maintain a good coat of paint on all exposed surfaces. 3: 10 PART I Salt Lake City 4 Historic Context & Architectural Styles Introduction INTRODUCTION 4:1 Salt Lake City contains a multitude of architectural HISTORIC OVERVIEW OF SALT LAKE CITY 4:2 styles. This rich architectural heritage enhances the CLASSICAL 4:5 city, establishes its identity and provides a strong PICTURESQUE 4:6 "sense of place." It also provides clues about the GOTHIC REVIVAL 4:7 evolution of Salt Lake City,in terms of the sequence ITALIANATE 4:8 of development in different neighborhoods. SECOND EMPIRE 4:9 This chapter provides a brief overview of various f VICTORIAN ERA 4:10 historic styles found in Salt Lake City. While this VICTORIAN ECLECTIC 4:12 section makes reference to a wide range of styles found here,it is not exhaustive.Architectural styles QUEEN ANNE 4:13 may exist that are not included in this section. SHINGLE 4: 14 Property owners should review these descriptions PERIOD REVIVAL 4:15 carefully. In many cases the design guidelines that SPANISH COLONIAL REVIVAL 4:16 follow make reference to the characteristics of TUDOR REVIVAL 4: 17 styles that are presented in this chapter. In some COLONIAL REVIVAL 4:18 cases, specific design guidance is included in the DUTCH COLONIAL REVIVAL 4:18 style description, depending on the prevalence of GEORGIAN REVIVAL 4:19 the style being described. For example, the section on Bungalows provides special guidance because NEOCLASSICAL REVIVAL 4:19 the bungalow is a prevalent building type in many FOURSQUARE 4:20 historic districts in Salt Lake City. The homeowner THE BUNGALOW 4:22 is encouraged to use the styles section in analyzing MODERN 4:27 the overall historic character of his/her building, INTERNATIONAL 4:27 as well as distinguishing its character-defining ART MODERN 4:28 features. This approach should aid the homeowner POST-WAR 4:29 in choosing an appropriate design solution for any proposed work. POST-WAR COTTAGE 4:29 RANCH 4:30 MULTI-FAMILY STRUCTURES 4:31 COMMERCIAL STRUCTURES 4:34 A Preservation Handbook for Historic Residential Properties&Districts PART I 4:1 PART I Preservation in Salt Lake City Historic Overview of Salt Lake City Adobe, rather than wood, was the predominant material in the Salt Lake valley from 1847 until fired The story of Salt Lake City's architectural past bricks became available in the 1860s. We tend to begins with its physical layout, which loosely forget this because so few adobe structures from this conformed to Joseph Smith's Plat of the City of period have survived and because log cabins are so Zion. Salt Lake City was divided into blocks of 10 lovingly presented in public places.None other than acres, with a block in the center reserved for the Brigham Young, however, admonished against the temple and wide streets of 132 feet.The blocks were use of logs, stating that "log buildings do not make divided into 8 lots of 1.25 acres each, enough to a sightly city." While adobe had the disadvantage accommodate a family and the agricultural needs that it could not withstand poor weather and of everyday living,such as a vegetable garden,fruit did not lend itself to complicated construction, it trees and a few livestock and chickens. Residents was cheap, if not free, and didn't require skilled travelled beyond the city wall at 900 South to farm labor. It was used not only for homes, but also for the land that leaders of the Church of Jesus Christ of outbuildings, such as barns and sheds, and also for Latter Day Saints had assigned to them; resources public buildings,such as Social Hall. such as timber and water were communally owned. While the initial village layout prevailed, both This system was designed to establish an efficient physically and socially, throughout the 1860s, the use of land and prevent social isolation. Although city began to push beyond its original boundaries. the blocks were later subdivided into smaller The establishment of Fort Douglas in 1862, the parcels and any semblance to its early appearance activity of the Red Butte quarry, and the moving as an agrarian village has long disappeared, Salt of the slaughter yards in 1860 to the mouth of Dry Lake City's orderly pattern and wide streets identify Canyon, drew residents eastward. Residents also a planned community from its inception. began to consider moving to the lower slopes of the As in any new settlement isolated from an Avenues and Capitol Hill to escape the noise and industrial society, the early residents were driven confusion of Main Street and South Temple; they by expediency and thrift when it came to providing had become busy thorough-fares, as merchants permanent shelter. Dwellings were simple: travelled between the Fort and downtown. ornamentation was sparse,and floor plans consisted Gradually people began to use fired brick instead of of a "double pen," "hall parlor," or a "central adobe. hall" arrangement. Their symmetry, balance, The biggest factor that affected architecture, and simplicity displayed at a very basic level the however,was the completion of the trans-continental classicism associated with the Greek Revival style. railroad in 1869. The built domain began to reflect Salt Lake City's new link to the outside world.Now residents had access to the building guides, pattern books and home magazines used nationally,as well as the necessary materials to construct the homes promoted in the literature. 4:2 PART I Salt Lake City 4 Historic Context and Architectural Styles The railroad was the first, important step that Also by this time, Salt Lake City was home to enabled Salt Lake residents to keep pace with several millionaires who had made great fortunes the architectural mainstream. Access to national in mining and other industrial pursuits. They built markets made for a more complex economy, one imposing residences,usually in classical styles such based on cash, rather than trade, and based on as Renaissance, Classical and Georgian revival. capitalism, instead of subsistence. Most notably for Although several still stand in Central City, Capitol the territory, it opened up the mining industry. In Hill, and the Avenues, the most lavish were located response to this economic development, Salt Lake on South Temple. Salt Lake's prosperity attracted City became more urban within a decade.A variety architects such as Richard Kletting, Walter Ware, of styles, such as the Second Empire,Italianate, and and Frederick Albert Hale. Their professional Gothic Revival and the Queen Anne were used; training and experience coupled with their clients' builders quickly produced the complicated floor means led to a new, more sophisticated approach to plans, asymmetrical facades and mass-produced architecture. During the period from about 1895 to ornamentation that were used in the late Victorian 1915 these architects and others designed structures era. to house the new state's institutions,such as the State The growth of the city led to municipal Capitol, the public Library (later the planetarium improvements such as better water distribution, the and now O.C.Tanner)and the University of Utah in installation of gas lamps and electric street lights and its current location,as well as clubs such as the Alta a mass transportation system using electric railway and University clubs (the latter demolished in the cars. This last development enabled people to live 1960s) in which people could separate themselves increasingly farther from where they worked and socially from the rest of society. The Salt Lake resulted in the development of"streetcar suburbs," Temple was completed in 1893; the construction especially in the area southeast of Liberty Park. of the Cathedral of the Madeleine and the First Class differences emerged and characterized many Presbyterian Church announced that other faiths neighborhoods. In general, working class residents had a permanent stake in the city. lived in Central City and west of the railroad tracks. Professional,middle class people chose the Avenues and outlying suburbs in which to build or purchase homes — more expensive real estate because it was quieter and located on the benches,out of the smog. By the end of the 1880s, Salt Lake City had made the transition from a theocratic utopia to a regional center,one that looked like many other communities west of the Mississippi. A Preservation Handbook for Historic Residential Properties&Districts PART I 4:3 PART I Preservation in Salt Lake City Concurrently, a steady influx of new residents Bungalows and Period Revival cottages dominated provided a healthy market for residential the residential building scene from the end of development at the lower end. This occurred World War I through the 1920s but with the onset both at corporate and individual levels. James of the Great Depression, the construction industry Anderson founded the Anderson Realty Investment ground to a halt. The few people who could afford Corporation in 1892 and constructed many Victorian to build a new home generally picked traditional Eclectic houses, several of which can be seen along designs, such as the Cape Cod cottage or a revival 300 South between 600 and 700 East. These were style, such as Dutch Colonial. In rare instances the substantial, two story structures with a boxy shape International or Art Moderne styles were used. that Anderson could build for about $3,200 and After World War II birth rates soared. Construction sell quickly at almost twice the price. Occasionally boomed and new subdivisions were developed. widows would subdivide their property and build Unprecedented numbers of people could afford cars two or three houses next door in order to get a and the many new consumer goods that flooded monthly income and make a capital investment. the market. With the rise of the automobile, the Such homes — either of professional developers or popularity of the new suburb,and the encroachment individuals — adhered to no particular style and of commercial development east of downtown, were designed according to the whim of the owner. many of Salt Lake's older neighborhoods began to They might be a bungalow, a Foursquare or "box" decline. But as usual, this trend reversed. People type or display a Victorian influence grew weary of commuting and were disturbed About 1900, developers began to invest in large by the demolition of irreplaceable landmarks. A apartment buildings. This was a new building preservation ethic emerged and slowly people began type for Salt Lake City — one that created a more to take a second look at the city's old buildings. urban landscape and indicated a substantial shift in They painstakingly restored historic homes and in demographics.They attracted a variety of residents: the process,revitalized neighborhoods.Today,these the wealthy who didn't want the trouble of owning neighborhoods are Salt Lake City's most desirable a house; the widowed who didn't need the space of real estate. Much has been lost but even more has a house, and people just starting out, who couldn't been saved. afford a house. W.C.A. Vissing constructed several buildings for the Covey Investment Company and was the city's most prolific apartment builder. Elegant apartment buildings,such as the Maryland, were constructed on South Temple, while others, less prestigious but still comfortable, were located east and north of downtown and in the Avenues. 4:4 PART I Salt Lake City 4 Historic Context and Architectural Styles Classical '•1,:.' • 1140.,- c 1851 1885 ~; _ r�•,: .:. Although long out of fashion in the eastern half of i :' `"' fin • ^� ' the United States, variants of the classical styles, t_ Georgian, Federal and particularly Greek Revival, __ continued to be popular in Utah into the 1880s.They were familiar styles to pioneers arriving from New 14'r ' ww !'! i1 England,upstate New York and the Midwest.These r P. ' - - ....... �. t' ' rTl styles are characterized by their symmetry and the , Isf- use of classical features: a wide frieze or fascia at Classical Porch,at central entry. the cornice, pediments over the windows or doors and round columns on porches. The homes from ? this period are generally side gabled, so that when \ .., • viewed from the side they resemble small temples. _ Alternatively they sometimes have one-story, shed- -� _ . -, roof additions at the rear for a"salt-box"profile. � Characteristics _4 II • usually side-gabled massing,one or two rooms I -1 deep ., - , —,� • one or two stories This is an unusual example of a front facing Greek Revival style building in the Capitol Hill Historic District. Despite the • symmetrical facade,with the entrance in the rarity of its orientation,its massing,stucco finish,pronounced middle wood cornices and fascia are clearly in keeping with this style and period. • stone foundations • smooth plaster walls or clapboard siding • two-over-two or one-over-one,double-hung windows • wood cornices and fascia • stone,projecting window sills • low-pitch roof with cornice returns • divided transoms over the doorways • one-story,shed-roof addition at rear A Preservation Handbook for Historic Residential Properties&Districts PART I 4:5 PART I Preservation in Salt Lake City --- ':, :'IEa Picturesque ';" `i •k '• c. 1865-1885 '-o';,.;''I4,;'; :,�;;� Nationally, Picturesque styles — especially the '' /. a w k , . Gothic Revival and the Italianate — represented in • - ,•�: ., "_L.- part a rejection of the Greek Revival,which was seen - " e l I I• •'' •-, •• '� as beingtoo discordant with the landscape and not •. � - ,-�- � � p Fir . ,4-.,: SaF'�� „- ., L _�;�,, easy to remodel, especially for additions. During 4. +� �:c ��h„;j a ;� the 1830s,a group of influential reformers called for'+ °'; ,Sri✓ z_ a house style that would reinforce righteous living, t-_ A �.. .rMIst y` that would help shore up Americans in the face of Gothic Revival social upheaval caused by westward expansion and industrialization.Reformers wrote about residential architecture in terms of morality,and different styles were described as dishonest or honest. Locally,. residents might have been aware of the theory behind the promotion of these styles, but it is more likely they represented something fashionable, that was newly available. The use of the Picturesque styles pushed Salt Lake citizens a little closer to the American mainstream, after enduring two decades of isolation. • 4:6 PART I Salt Lake City Picturesque 4 Historic Context and Architectural Styles Gothic Revival . c. 1865-1880 , • According to Utah's Historic Architecture, 1847- 1940, (Carter & Goss, 1998) the Gothic Revival style was most popular in'Utah during the 1870s, s : and in a broader context, was part of the Romantic - -__, = I movement that valued emotion over rational _ _ iz11 �i,.,�` thought.As a rejection of classicism the most vocal _ proponent of this style,Andrew Jackson Downing, {. -`r,. _ . �` _' emphasized vertical lines, deep colors and the use of applied ornament. Few such homes exist in Salt ',- • .-v:.* Lake's historic districts but, because this style is so ' `q ' ' < • unique in this area, they greatly contribute to the '. ;)? A= architectural texture and richness of the city. Three ...i:,. ' M can be found along Quince Street in the Capitol Hill i',. Historic District;another,built in 1860,is located on 4:; •'_—..!.1.4 B Street in the Avenues Historic District. ;e ' ^ � Characteristics I • steeply pitched roof inr m u►iti ; :twin illllll e • cross gable roof plan,or Gothic Revival • side gable roof plan with central cross gable 'i`, 'r/, i i, i/ over the door (/// • cla board or laster sidin ilt; , l' ,p P g , •}/• quoins ,1 1p • decorative barge board along eaves of main f � �' gables and dormers ° / • two-over-two,double-hung sash windows • !� __ - - - - r - • pediments over windows r - • bay windows _ A - • lancet windows "-` ,,r' __ • elaborate porch railings:turned posts,cut-out illira I i boards A Preservation Handbook for Historic Residential Properties&Districts PART I 4:7 PART I Preservation in Salt Lake City Picturesque NI Italianate Lr W. ..�.��—..�..0• i c.1870-95 �iO.`�' 7eC. Yj�l { The Italianate style was introduced byAndrew i}ail` Y + IiJackson Downin in his 1850 ublication, The i ?;, `. ` g p — ' 't+- ' Architecture of Country Houses. He extolled the f i T ' virtues of the Gothic Revival,but offered the"villa," a version based on Italian country houses that '' 11;1 ' I J7. :�.._". f veered more toward classicism and did not have `,ii ,It I ' 'Ps,' the religious overtones of the Gothic Revival. The y style was used in Salt Lake after 1870,but it was not widely used and few examples remain. .µ t.'3�'� Characteristics - • brick,wood clapboard,stucco . , • double-hung,narrow windows,often with round arch heads Italianate • window panes are either one-over-one or two- over-two . • protruding sills • ornate treatment of the eaves, including the use of brackets,modillions and dentil courses • low-pitched,hipped roof • blocky,cube shape,with a side-passage plan,or cross-gable • bay windows,often rectangular in shape • quoins • cresting • transom,often curved,above the front door • ornate porch treatment, with round columns or square posts,and bargeboard ornament 4:8 PART I Salt Lake City Picturesque 4 Historic Context and Architectural Styles Second Empire }n c.1870-1890 + _ _ t' -� The Second Empire refers to the French reign of � , •- ` ,.. Louis Napoleon, the grand-nephew of Napoleon z Bonaparte, who ruled from 1852 to 1870. In - _ both France and America, the Second Empire , f ill' style coincided with a period of prosperity and ( d 1, Mil I materialism, and was associated with urbanity and ,,-"---, , `%'• i —_ — • cosmopolitan society. In many cities in the United States it was used for government structures, but Second Empire it was popular for residences as well. Classical details, such as quoins, round columns and heavy friezes were often used;however, there was usually Characteristics so much going on that Second Empire buildings, at least high-style examples, took on a life of their • steeply pitched,mansard roof own. Extant Second Empire houses in Salt Lake • roof can be either straight or concave,and is were constructed of brick and wood, and thus do interrupted by dormers not have the rich, sculptural wall texture found • complex massing forms in examples in other parts of the country. Instead, • builders and architects achieved the exuberance of brick,stucco or wood clapboard this style by using asymmetrical and complicated • wrought-iron ornament,such as cresting on massing, and by applying plenty of ornament: roof or heavy,ornate iron fencing cresting,railings,and moldings. • wide eaves,often with modillions • corbelled chimney WI • dormers with heavy moldings .•- ,,„ • double-hung windows,either one-over-one or - 1 I two-over-two lights L,,yY'1, 1-j ��_` • hood moldings over the windows 5 4-..; ,Tyr':., . �- >, <: k.! ��- • sandstone foundation and porch steps Aii A Preservation Handbook for Historic Residential Properties&Districts PART I 4:9 PART I Preservation in Salt Lake City Victorian Era Complex Massing c. 1870-1910 The massing of Victorian era homes is often a profusion of towers, turrets, dormers, gables, bay Technically the word "Victorian" refers to the windows and porches. Even small homes look long reign of Queen Victoria, which lasted from complicated through the use of a cross-wing floor 1833 to 1901 and encompassed the rich variety plan and roofs with a variety of planes and slopes. of architectural styles that were popular during the nineteenth century. Architecturally the word Surface Ornamentation and Materials "Victorian" evokes the complexity and irregularity seen in the massing and materials of modest homes Because fired brick was the most commonly used to large mansions.The use of Victorian era styles in building material from 1865 on, Victorian era Salt Lake City became available with the advent of homes in Salt Lake do not display the abundance rail transportation; access to national markets and of wall decoration as those in cities where wood culture was reflected in its architecture. construction predominated.Still,Salt Lake Victorian era structures display a variety of materials. Three specific styles popular during this period • are discussed below; other examples, such as the Shingles are the most commonly used Richardsonian Romanesque, Eastlake and Stick embellishment on Victorian era homes in Salt style can be found in Salt Lake's historic districts but Lake,especially in gable ends and dormer not in great quantity. (For more information about walls. these styles, refer to Utah's Historic Architecture or • Horizontal wood siding,although also used A Field Guide to American Houses.)The majority of during other periods,can be seen on Victorian Salt Lake's"Victorian"houses do not represent pure era homes.The siding has a crispness that gives examples of anything; simply describing a house the building a repetition of light and shadow built in Salt Lake after 1880 as "Victorian" can be that is texturally rich. misleading because residents and builders tended to take elements from one style and mix with another. Still, among most Salt Lake residents the term conjures up the image of a house built about 1890, either one or two story, with an asymmetrical form, a steeply-pitched roof and "lots of gingerbread." No matter if the house is Queen Anne, Shingle, "eclectic" or "transitional," if it can truly be termed "Victorian" it will have several of the following characteristics: 4:10 PART I Salt Lake City Victorian Era 4 Historic Context and Architectural Styles • Fancy scroll cut wood work,especially around . gables and porches. 0' .� ,I J' • Ornamental brick work,such as corbelling and • , rows of soldier bricks as lintels. r • �� • Use of wrought or cast iron as cresting alongl a • r ridge lines or as railings and fencing.The metal was heavy,in a complicated pattern,and was � r - generally found in more prestigious structures 9: , II14'a i_aN and sites.In contrast the"licorice stick"porch ` supports and railing that became popular Victorian Eclectic in the 1950s had a negative effect on historic character. • 7111111 • Use of stone for foundations(sandstone,in a variety of colors and qualities,is the most common). _ • Combinations of materials.For example, wn r horizontal siding can be seen on the first story 'L - • __ ■ "r: •' and shingles are used on the second.A very , ,=. :. common combination is the use of sandstone -- - -� for the foundation, the use of fired brick on the Classical details combined with Victorian Eclectic massing. walls,and wooden shingles in the gable ends Windows • The standard window in a Victorian era house is the double-hung sash,made of wood. • A large,plate-glass window with a fixed transom,often with leaded or stained glass, is commonly used in the front of the house. These are sometimes flanked by narrower windows that are usually in a one-over-one configuration. • Palladian and oval windows are frequently used in the gable ends. • Windows are often grouped in thirds (tripartite)in varying combinations. A Preservation Handbook for Historic Residential Properties&Districts PART I 4: 11 PART I Preservation in Salt Lake City Victorian Era Victorian Eclectic c. 1885-1910 - As Thomas Carter and Peter Goss point out in Utah's Historic Architecture, 1847-1940, "Victorian Eclectic is less a distinct style than an amalgamation of elements from many popular nineteenth century styles." It often has a massing defined by the Utah State Historic Preservation Office as a "central 14 block with projecting wings"--a central cube with a hipped roof from which a shallow gabled wing projects. Thousands of examples of the one-story form can be seen throughout Utah, but many two- Plate glass window with leaded glass story examples can be found as well. transom. Characteristics • hipped roof over the main block;projecting wing with front-facing gable • porch with shed roof on one-story;often a gable on two-story examples 111 • usually round columns • tripartite,often Palladian window in upper Palladian window story of gable • tripartite division of windows on projecting /" wing J11111 _ • Victorian Eclectic 4: 12 PAR I'I Salt Lake City Victorian Era 4 Historic Context and Architectural Styles Queen Anne c. 1885-1905 Proponents of the Queen Anne style found their 1, inspiration from the medieval art and architecture q 1 I I �'I _\ that proceeded its namesake's reign (1702-1714), 1 I. growing out of recognition of vernacular, modest, pre-industrial structures,and a desire to bring about j a close relationship of architecture and ornament. !` � In the United States, it developed from a desire -' to identify a national style. Both the Centennial Queen Anne with turret. Exposition, held in Philadelphia in 1876, and the popularity of New England coastal towns, exposed Americans to their colonial,vernacular architectural past. The wood clapboard and shingle houses that Characteristics were constructed in eastern Massachusetts during • irregular,asymmetrical massing the seventeenth and early eighteenth centuries • use of bay windows,towers,turrets, dormers, brought about the usual longing of security and gables — anything that protrudes from the wall simplicity that earlier ages always evoke, and were and the roof all the more appealing because they were seen as • pure "American." The new Queen Anne style used use of varying wall textures the broad gables,long sloping roofs and small pane • use of ornament:wooden scroll work on windows of these early houses for the exterior, porches and gables,complicated brick patterns, while giant hearths inglenooks and spacious, ornate metal railings inviting halls influenced interior design. The style • windows with leaded or stained glass introduced a new kind of open planning and a new • way of massing volumes of space;it was inherently Windows with large panes of glass surrounded eclectic and became available to homeowners of all by small panes income levels. • tall brick chimneys A Preservation Handbook for Historic Residential Properties&Districts PART I 4: 13 PART I Preservation in Salt Lake City Victorian Era Shingle • A.11 %."' ' 94' " c. 1885-1900 'e; • The Shingle style is closely related to the Queen r • , ' _ f.'•_,r"; Anne and the Colonial Revival styles in the use of vF asymmetrical massing, broad front porches and LhiliTrit . window treatments. Its defining characteristic is the • ' extensive use of shingles. The Shingle style can be seen on high-style,architect-designed homes;it was not used for more modest homes. Shingle Style Characteristics • structure is almost entirely clad with shingles • secondary materials include sandstone foundations and wood for windows and trim • large,dominant front gable • asymmetrical massing,including the use of towers,dormers and eyebrow windows • the porch is a prominent feature that is tucked under the main roof line • use of classical features,such as round columns on porches,one-over-one double-hung sash windows,and Palladian windows • • 4: 14 PART I Salt Lake City 4 Historic Context and Architectural Styles Period Revival c.1890-1940 Period Revival styles encompass the reworked versions of the Spanish Colonial, the English Tudor, French Norman, and classically-inspired architecture, along with many other variants used throughout the country's colonial history. With the exception of the Neoclassical, which was generally reserved for mansions, period revival styles lent themselves well to designs for modest homes, and offered an alternative to the bungalow. Developers and builders found that evoking a cozy image of the past sold well, and that revival styles satisfied the need of home buyers to conform to tradition, while making use of contemporary convenience and floor plans, such as the L-shaped living room. Several neighborhoods in Salt Lake were constructed with rows of period revival "cottages" -such as the area near the 1500 South and 1500 East intersection - in the same way that scores of bungalows were used in subdivisions surrounding Liberty Park. However, many Period Revival styles, especially the Spanish Colonial and the English Tudor,are less common in specific local historic districts because the development of these areas occurred prior to the popularity of these styles.Period Revival homes are more common in districts which developed after the turn of the century,such as the University district. A Preservation Handbook for Historic Residential Properties&Districts PART I 4: 15 PART I Preservation in Salt Lake City Period Revival Spanish Colonial Revival i n c. 1915-1935 J.� This style was popularized by the Panama- ~' >> California Exposition, held in San Diego in 1915. „fir : P g . J: ;. . � '�- -, .;t, � - The exposition was widely publicized, and the use of architectural examples from the Spanish Colonies "' encouraged Americans to realize that their country ' g "^l' ",; • • - + : had a rich Spanish heritage, as well as an Anglo- +l4# '' . _ Saxon past.Several modest and high style examples Spanish Colonial Revival of this style exist in the historic districts. Characteristics • use of stucco,often with a textured pattern • use of tile roofs,usually red • use of wrought-iron for balcony and porch railings • decorative wall surfaces,using tile or low-relief terra-cotta sculpture • round-arched openings • 4: 16 PART I Salt Lake City Period Revival 4 Historic Context and Architectural Styles Tudor Revival (c. 1915-1935) ,, As with many styles, the Tudor Revival does not t i1!! rt lttl adhere to the source of its inspiration, that of ar'`' •r r;„ sixteenth-century English architecture, but instead is a mixture of elements from an American image of -"R. ' medieval forms that resulted in something"quaint." • 1 li The development of the Tudor Revival style was •" " associated with the Arts and Crafts movement in -• • which medieval architecture and crafts were valuedad as a rejection of the industrialized age. Ironically, I the popularity of the style was due in large part to its exposure through mail-order catalogues such as Sears Roebuck and the Aladdin Company, in which parts of the house were pre-assembled and shipped Tudor Revival by rail anywhere in the United States.The style was used extensively during the 1920s and 1930s; it was used both in large, formal examples (particularly in the University Historic District) and for smaller, modest homes. Characteristics • steeply pitched roof • cross-gabled roof lines • decorative half-timbering • decorative masonry • arched doorways • casement windows,often with leaded, diamond panes • projecting entryway that follows slope of front gable • rolled edges on roofing(an attempt to imitate thatch) • use of stucco or brick A Preservation Handbook for Historic Residential Properties&Districts PART I 4: 17 PART I Preservation in Salt Lake City Period Revival Fif it '�. .. Colonial Revival i„1t' 1 t,: • ;•: c. 1890-1940 ft 1 "Colonial Revival" encompasses many variants of . r yy�;s; k._i, (}I. •r;�.1�e ,� residential architecture used from about the turn of ! ! 1 I . ' ,, -, the century through the 1930s, and was especially . Int '.1 popular during the teens.It can apply to a Georgian E I Revival mansion, a Neoclassical home, a Dutch L, -3= ° Colonial house or a structure in which elements of several of these styles were used. Massing forms li•s-♦s..x.,-/rr_.. ....: +^..,.. t..-- ..'/r - r_am-i.:; _ _-_.__Ace Colonial Revival vary but they often have classical details, such as dentil moldings, pediments over the doorways, round columns and lunette windows. Dutch Colonial Revival , c. 1890-1915 The "Dutch Colonial Revival," style has a gambrel • ' roof form. This style is closely allied with the *. ��`y Shingle and the Queen Anne styles. The details, . t? - -- such as the window pattern, porches and materials ii,I • ‘ are very similar. y t r ..- Lial _ • gambrel roof-both side-and front-facing -= variations can be found. :$.•'1- , 'i 111, • • shingle gable end • two story • prominent front porch,with classically-detailed Dutch Colonial Revival porch supports and plain balustrades • double-hung sash windows,with either single panes or multiple panes in the upper light. • lunette windows in the upper gable. • large,single pane windows with a fixed transom on the first story i 4:18 PART I Salt Lake City Period Revival 4 Historic Context and Architectural Styles Georgian Revival - c.1895-1930 '`.'�'�' ;, ' • usually large,elaborate �� .� „! 1 .1, 1r� • brick(often red)or wood clapboard s• +� t ' o — • ornate moldings,such as dentils and modillions ► i 7-1 . • round columns with complex capitals _ r• • hipped roofs with shallow pitches • dormers Georgian Revival • double-hung windows,either one-over-one, -- six-over-one or six-over-six • low porch railings with turned balusters • prominent center window on second story, — often arched or curved • quoins • shutters , • Neoclassical Revival I I I I_. -!IfflI1ftAN� Ifi111ANItIR 1111111I111140 - c. 1895-1925 UM MSS • full-height porch with a pediment,round columns with complex capitals.In some Neoclassical instances the porches are curved porticoes • hipped roofs • eaves with dentils,modillions,prominent frieze • shutters • panelled doors surrounded by pilasters and a pediment • double-hung windows;usually one-over-one, but sometimes six-over-six or six-over-one • low porch rails with turned balusters A Preservation Handbook for Historic Residential Properties&Districts PART I 4: 19 PART I Preservation in Salt Lake City The "Foursquare," also known as "the Box" c. 1895-1915 The Foursquare, also known as "the box," is - really more of a type or a form than a style, and architectural historians differ as to its origins.Some jsay that it is a descendent of the classical styles • that were popular in the United States during the late 17th and 18th centuries because of their blockyshape and hipped roofs.These earlyhouses, PP Arthowever, were wide and two rooms deep and not suitable for urban lots one hundred years later.The- is _Ai Foursquare was thus devised to adapt to narrow • parcels of land. Other historians claim that it is merely a transition between the Victorian era and The Foursquare the bungalow — lacking the fussiness of the former but not achieving the cozy,earth-hugging quality of the latter.Mail order catalogs disseminated the style from 1900 to the 1930s.throughout the country.Salt Lake City has numerous examples, and this style is especially prevalent in the Avenues, and in the blocks east of 1000 East on South Temple. 4:20 PART I Salt Lake City Foursquare 4 Historic Context and Architectural Styles Characteristics • looks like a box -71 iregirr • low-pitched hipped roof i ; • one-over-one,double-hung windows,or • one-light, fixed window;with fixed transom -s ' I 1 II 11� I) • " t 'IUIG11IIIIIIIpU • • prominent lintels and sills ': • � tag. :s - • full,open porch • wide eaves • brackets in some instances Because of its simplicity,the Foursquare lends itself to many • dormers:shed roof,hipped (with a low pitch), styles. With thick square posts and exposed rafters it take on a Craftsman tone. Witli rounded porch columns and a pediment gabled(sometimes with a pediment) on the porch roof it becomes classical. • outside siding:wood clapboard,stucco,brick. Dormer walls shingled in Craftsman examples. • rare examples have quoins • concrete or brick foundation • rear,frame,shed roof addition(or secondary space)at rear • if Classical or Colonial Revival:vertical rail balustrade on porch,round porch columns with Doric capitals that are sometimes doubled and a broad fascia that is an entablature • if Craftsman,porch has square posts,tapered arched openings,brick pony walls A Preservation Handbook for Historic Residential Properties&Districts PART I 4:21 PART I Preservation in Salt Lake City The Bungalow c. 1905-1925 Like the term "Foursquare," the word "bungalow" denotes a type rather than a style. The word probably comes from a type of East Indian dwelling with broad verandas. Its immense popularity in the United States springs from a rejection of the constraints of the Victorian era, from the Arts and Crafts movement,and from the fact that it lent itself well to both modest and impressive house designs. Although bungalows display a variety of materials and details, they are easily recognized by their wide, low-pitched roofs and broad front porches that create a deep,recessed space.Many bungalows fall readily into the Arts and Crafts categories, with exposed brackets and rafters, the use of "art" • glass in windows and the combination of different textures, such as cobblestone and shingles. Others represent scaled-down Prairie-style versions, with low-pitched roofs, broad eaves and simple geometric shapes that provide an overall horizontal appearance. Thousands of the second type were built in new subdivisions in Salt Lake City about 1910. These are especially prevalent east, west and south of Liberty Park. Examples of Prairie-style bungalows occur in the city's historic districts, but by the time the bungalow appeared there was not enough undeveloped land in the established neighborhoods to build rows and rows of them. Even when scattered among older structures, they represent an important era in the city's architectural development, continuing to evoke their original intent:comfortable,informal living. 4:22 PART I Salt Lake City The Bungalow 4 Historic Context and Architectural Styles Characteristics • a rectangular plan with one or two stories • different roof types: a more steeply pitched roof with the ridge line parallel to the street that covers a porch extending the full width of the house and hip-roofs with a shallow pitch • exposed rafters,brackets — anything to evoke the structural composition of the building • brick,wood shingle or clapboard siding • broad eaves • thick,tapered porch posts • rectangular bay windows • casement windows • large,plate glass windows • wing walls on the porch • dormers that follow the line of the roof • use of cobblestone • concrete cap around porch wall • both sandstone and concrete foundations were historically used on bungalows.Concrete foundations generally extend one to two inches beyond the exterior wall. A Preservation Handbook for Historic Residential Properties&Districts PART I 4:23 PART I Preservation in Salt Lake City The Bungalow 4:„..:**- ' 71� .. ,ITN 'i Wall Materials « o"•4, 'er,) - • Many materials were historically used on -� a bungalows. i • Arts and Crafts bungalows often had wooden L shingles or shakes,cobblestone and brick. • J • Prairie-style bungalows were usually brick,and sometimes had a brick wainscoting with stucco .. -lip above. 1, Bungalow with projecting porch. • Although a variety of materials were often used on the same house,too many materials can ruin • the simplicity that is an inherent characteristic - • `Lb, of the bungalow.Shingles,for example,would be inappropriate on Prairie-style bungalow. Windows i 1 ..` 111 Many different window types are appropriate for 1. bungalows.Solutions will depend on what style the ' *• ' f' lir ..:...s bungalow is and where the window is located on the house. Bungalow with inset porch. Arts and Crafts These windows are generally more complex than those of the Prairie style. • Tripartite(divided into thirds)arrangements: two long windows flanking a wider central window which has a transom;windows of an even size,either aligned vertically or horizontally. • Small paned windows.These are frequently seen in attic windows,in transoms and in the upper sashes of single hung windows. • Casement.Probably not as prevalent in Arts and Crafts,but still appropriate. 4:24 PART I Salt Lake City The Bungalow 4 Historic Context and Architectural Styles Prairie `.-7: t - ~• Large,plate glass windows are appropriate for f: s this style. - - • Casement windows are a hallmark of this style, ! and are appropriate. Single or double-hung windows can also be used. • Long,wide concrete lintels and sills are =" frequently seen on this style;these features - - should be retained. Prairie-style bungalow Doors • The doors of bungalows often imitate the geometric / }' ' qualities found with this house type. ` • Historically the doors are wooden with panels �/ , and windows in the upper third. - • Sidelights were occasionally used,but are not ,....r1111110>11 a common feature.If they exist,they should be ____ retained. • • Doors with Victorian era elements,such as ovals or frosted glass,are not in keeping with _ the bungalow style. • Heavy,elaborate storm doors should not be Inn MIN N ill used. J e - - Porch columns with Arts and Crafts details, rafter tails. ' 1, if 1 , 464 I-, ' JP'' ii 11' �.\ .1 1 Bungalow with Arts and Crafts details. A Preservation Handbook for Historic Residential Properties&Districts PART I 4:25 PART I Preservation in Salt Lake City The Bungalow • Porches '4111110`' • Along with the wide eaves and the broad roof form,the wide,prominent porch is the most f!G - _ important feature of the bungalow,and should t 11�.1 be maintained. I •4 I .4 • Posts vary,and include tapered,square or .` C. k= round columns.Materials can be brick;brick to > = �'•'� the rail level with wood above;stucco;wood; and for Arts and Crafts bungalows,cobblestone Arts and Crafts style bungalow with rock porch piers. and shingles.Again,too many materials can overwhelm the design. • Railings also took on different forms.Balusters could be wooden 2 by 2's,spaced about 2 inches apart.They could be flat with a"cut- out" shape.The wall around the porch could also be brick,particularly appropriate for Prairie-style bungalows;or if the house was shingled,the porch wall might also be shingled. In a few instances,a heavy,curved wrought- iron was used. 4:26 PART I Salt Lake City 4 Historic Context and Architectural Styles Modern The modern styles discussed below originate from a variety of sources, but overall the impetus for � . the "modern" styles was a rejection of all historical 111: references. Proponents of modernity did not S... , differ from reformers of other eras in their desire to use design to address social issues, but they distinguished themselves by shunning the past as _ _-.- well as cultural or national contexts. Additionally, _ modern architects stressed the emphasis on volume International Style and the inherent value and elegance of materials. Architects had new structural options,primarily the steel frame and reinforced concrete.They could use International flat roofs, greater window space and cantilevered elements.They embraced new technology and "the c. 1930-1940 machine age,"and their imprint has had a profound The use of the words "international style" refers to effect on American architecture and urbanism. the title of the exhibit promoted by the Museum of Modern Art in New York City in 1931 presenting the work of forty architects from fifteen countries. It has become synonymous with modern styles and post-World War II architecture. Characteristics • flat roofs • an emphasis on volume,rather than mass,most often expressed through an extensive use of glass and angular,horizontal shapes - • asymmetrical facades • corner windows • metal casement windows,often multi-paned • metal pipes used for balusters • no surface ornamentation • an attempt to create smooth wall surfaces, although brick,as the predominant Utah material,was often used A Preservation Handbook for Historic Residential Properties&Districts PART I 4:27 PART I Preservation in Salt Lake City Modern : - r` Art Moderne • : ■ c. 1930-1940 •• •� ■ ■ Often closely related to the International Style in ■ lk _ ■ • I appearance, the Art Moderne was devised as a r- ■ ■ way of incorporating the machine aesthetic into 0 architecture, in the sense that buildings could i, ;1111 emulate motion and efficiency. It is also referred to < � • I as the Streamlined Moderne,and always carried the �!1 aura of the futuristic.Whatever the term,in this case architecture followed industrial design,as"the slick Art Moderne look" was used for everything from irons to baby carriages. Characteristics • an asymmetrical facade, with a combination of rounded corners and angular shapes • use of glass block • use of metal sash windows with small panes, often placed at corners • horizontal bands at the cornice,referred to as "speed bands" • references to ocean lines,as in the use of "porthole"windows and metal railings 4:28 PART I Salt Lake City 4 Historic Context and Architectural Styles Post-War Ni. 4 kl ,;, tiv Post-War Cottage A- T.V. - MT - �, c. 1930-1950 `'v'`' The Post-War Cottage (sometimes referred to as ~� U;-- a "Cape Cod cottage" or a "World War II Era - ._:: _ q lir cottage)is often considered as a sub-category of the 7:40111L:-...: Colonial Revival. They mark a transition between ` the Colonial Revival examples constructed before Cape-Cod Cottage the war and the ubiquitous ranch type homes built afterwards. Because of their relatively recent ~— .- — = construction many people have a difficult time thinking of them as"historic," but in most instances - - - _ they have met the fifty-year mark establishing r r r significance, and their distinctive characteristics r ``=•` . (listed below) make these buildings worthy of a sensitive and appropriate preservation approach. `"i r— r re: . -r* • brick,shingles or wood clapboard ��1 1"- J_, �'ct • panelled door,surrounded by pilasters and an entablature Detail on a Post-War Cottage • small entrance porch with round columns with a simple capital • double-hung windows,often with six-over-six lights • alternatively multi-pane metal sash windows • shutters dormers on front roof slope A Preservation Handbook for Historic Residential Properties&Districts PART I 4:29 A PART I Preservation in Salt Lake City Post War 4 y ., 4: '• s Ranch ► • c.1946-1970 1111 The ranch style, with its roomy interior and "easy . � living" connotation, appealed to the post-World War II generation. Because of the Depression and • • the war,Americans had been deprived of consumer goods for fifteen years. During this period the home-building industry was at a standstill, but Ranch Style House after 1945, the pent-up demand, coupled with the provisions of the G.I. Bill, led to an explosion of single-family home construction. Sometimes referred to as a "rambler," ranch style homes were built in great quantities. Not many can be seen in the city's historic districts because the style achieved popularity after their development; instead, they were built as infill housing. Characteristics • flat or slightly pitched roof • prominent,built-in garages • one story • decorative iron or wooden porch supports • asymmetrical massing and forms • metal or wood window frames • use of flagstone for decorative purposes,such as planter boxes 4:30 PART I Salt Lake City 4 Historic Context and Architectural Styles Multi-Family Structures — The construction of apartment buildings at the turn L of the century represented one indication of the psi urbanization of Salt Lake City.An article in the Salt I I t ; Lake Tribune in 1902 stated: iS V "It is generally recognized by farseeing investors that the period of cottages in Salt Lake has reached _ __ its highest point and the period of flat buildings, marking another stage in the evolution from town to city,has just begun." (July 27, 1902,p.32). / During the period from 1902 to 1931, at least 180 apartment buildings were constructed in the central - city (including the Avenues) sections of Salt Lake. i ` They did not house the inner city poor; rather, I = �> _� � ia occupants included members of the middle-class ~_- �"`'�. [, `i,. who were either at a transient period of their lives, �� t or as a choice of longer-term residence: unmarried -- young adults, widows, childless couples, retired workers and people starting new careers. The Kensington Apartments were constructed about 1905,and represent a type of apartment known as a"walk-up." All of the apartment buildings had fired brick exteriors and were usually at least three stories tall. Prior to World War I, "walk-up" apartments were the norm.They contained six to eight units(three or four stories) with two units off of a central hallway. They almost always have projecting porches on the front and frame utility porches with back stairways at the rear. After World War I the "double-loaded corridor" type replaced the walk-up.These have a narrow end facing the street and are long, rectangular blocks. They are usually between three and five stories tall. There are several units on each floor that flank a long corridor.These apartment buildings were well- suited to the large,deep blocks in Salt Lake A Preservation Handbook for Historic Residential Properties&Districts PART I 4:31 PART I Preservation in Salt Lake City Multi Family " . Other variants exist, but are not as numerous. ! . ' These include the "U," the "H," and the hotel block (similar to the"U"but with a commercial use on the _ first story)." Walk-up • brick exterior walls z., — - • flat roof [ • L • front porch bay that extends the full height of the building r ▪ frame,often enclosed,porch at the rear • high,raised basements,often stone but also ` — •.,� � concrete • defined front and back facades A double-loaded corridor apartment building. Double-Loaded Corridor • brick exterior walls • flat roof • if balconies exist,they are purely ornamental, very shallow,often with wrought iron railings • bay windows or French doors on the street facade • the"front" of the apartment,from the perspective of the tenant,is the corridor,and the exterior side walls form the"back." Both types exhibit a variety of styles, most commonly Classical or Colonial Revival. Walk-ups are generally classical. 4:32 PART I Salt Lake City Multi Family 4 Historic Context and Architectural Styles Classical Revival • Appearance of a parapet because of an applied, •t - projecting cornice,usually about one foot from �; ;; the top of the wall. i , r:{'. • I • Round columns on porches -- - i • Large capitals,especially Corinthian,at the top hhi • . 1,j, of the porches of walk-ups. Pi • • Quoins , -1' I. . 1 I iii • Pastiche keystones and imposts over doorway . arches - -+.' �f • The use of mutules,dentil courses 11; • Pediments over the porches. Classical Revival Tudor Revival • Steeply pitched roofs over the entrances _ - IIX • Multi-pane windows,sometimes diagonal '�= 1, ,-. -- - panes e 1Li' •�iII I • Crenulation as a cornice detail , _ i • Half-timbering -`.' I I - •".5- '!'I-1` . - -'.z. _ 4 N II • Crenulation around the entrance way -_'_U_ I All " Prairie 5 - - II '_ r • Casement windows .1~'.'. .' ''0'i.:I. • Wide,overhanging eaves • _�_ Tudor Revival • Heavy lintels to emphasize horizontal orientation • 1,Phr �/ I I I I Ltlilk ., Gov Prairie Style A Preservation Handbook for Historic Residential Properties&Districts PART I 4:33 PART I Preservation in Salt Lake City Commercial Structures c. 1900 Compared to the number of residential structures, there are few historic commercial buildings in the Avenues, South Temple, Central City, Capitol Hill and University districts. In contrast,Exchange Place district is entirely commercial. Historic commercial buildings in the Avenues,Central City, Capitol Hill, and the University districts were typically small stores which provided services to nearby residents. In the University district several historic homes and institutions have been converted to commercial use. Commercial and institutional buildings on South Temple may be historic if close to Downtown. East of Downtown these non-residential structures were frequently built following the demolition of historic homes. They are now becoming old enough to be considered historic in their own right,although they were not the basis for establishing the district. The • most recent historic district, Westmoreland Place, does not have any commercial buildings. See also the Design Guidelines for Commercial Historic Properties in Salt Lake City. Characteristics • One-or two-story • Flat roof • The street elevation of the first story is almost all plate glass above a knee wall.There is often a transom above the plate glass. Additional Information • There is often a parapet wall on the street Carter,Thomas and Peter Goss. Utah's Historic Architecture, elevation,with decorative corbelling. 1847-1940. Salt Lake City, Utah:University of Utah and Utah • Signage was either painted on the building State Historical Society,1988. history.utah.gov/architectureJindex.html above the transom;most often the business was history.utah.gov/architecture/bibliography.html identified by the use of an awning.The awning was angled(not rounded)with a valance of McAlester, Virginia and Lee McAlester. A Field Guide to American Houses.New York:Alfred A.Knopf,1984. about 4". 4 :34 PART I Salt Lake City PART II Design Guidelines REHABILITATION, GENERAL ISSUES & NEW CONS FRUCTION Ch 1 Site Features 1 : 1-12 i , ' ,41 i ce' Ch 2 Materials 2 : 1-15 -_ Ch 3 Windows 3 : 1-12 i m id,. , Ch 4 Doors 4 : 1-6 . % Ch 5 Porches 5 : 1-6 "�w 7j Ch 6 Architectural Details 6 : 1-4 / J� i�o.a+..h�,,.a 11 hi 1 Ch 7 Roofs 7 : 1-10 "' il'A': L titiVtiv tititi.„ ,. Ch 8 Additions 8 : 1-10 it Fl` Ch 9 Accessory Structures 9 : 1-5 rt_AL: ,.,, Ch 10 Seismic Design 10 : 1-2 Ifs i Ch 11 General Issues 11 : 1-4 h . -1::.), 1 i' Ch 12 New Construction 12 : 1-19 kipt Page left intentionally blank Chapter 1. Site Features Context&Character CONTEXT&CHARACTER 1: I I A variety of site features are characteristic of early DESIGN OBJECTIVE 1:2 Salt Lake City residential neighborhoods.A house is GENERAL 1 :3 usually appreciated in its immediate street setting. HISTORIC FENCES 1 :3 Individual sites and gardens may share common HISTORIC GRADING 1 :5 characteristics which help to define community character. MASONRY RETAINING WALLS 1:6 WALKWAYS&SIDEWALKS 1:8 Fences were popular and often defined property I boundaries;masonry walls were used to retain steep DRIVEWAYS 1 :9 hillsides and various paving materials, particularly PARK STRIPS 1 :10 concrete and sandstone, were used for walkways. LANDSCAPED MEDIANS OR PARKWAYS 1 :10 A variety of plantings, including trees, lawns and i PLANTING DESIGNS&MATERIALS 1 :11 shrubbery also were seen.In a few cases,distinctive STREET LIGHTING I : 12 lawn ornaments or sculpture were introduced, or SITE LIGHTING 1 :12 an irrigation ditch ran across a site. Each of these elements contributes to the historic character of a `-` '" ' ' . ::' = .' ;;�' s neighborhood. They also help to add the variety ram:�.` '`4- ==.. of scale, texture and materials associated with '. !I �•= the streetscape, enriching community experience. ;. .�„� '. w• .. .f r - . Collectively these elements often help to establish "' ''•'•.`iL" •, `CIF`•4 ,:it ' the historic and architectural context. •I.j .;-,_„ti\ ii,'•:;', 'i'i '.1 ''',4ilr.'..-, , 4,r d ...','‘YA", ,ct: i 4"4,4' •1 1.141:::117 .'.' '' • "7..-':--' ° Illik tiltiV;ItiA74i'Pliej11411 it1114-.:,;:'.t.'''' '.:i. �i r _il t, 1 414 r3 \ ' �U r- - j•- -_ \1 `' 'ter • ! it �� , ll ��0r ;All', t ,o . i.i _ t. . •/ .�:II: r..ii 1 it , '.' r 2•-;�.• rY�+ .-, �� 4 �r' T `"' 1`l, ' 2 �\ � - -f I . tip- . _ -. a • a -.6 .I�, Enriching community experience. Historic fences,often of wrought and cast iron, and original retaining walls provide visual richness and a sense of time in the streetscape. A Preservation Handbook for Historic Residential Properties&Districts PART II 1 :1 PART II Design Guidelines Most residential properties have a progression of i V 1 spaces leading from the public realm of the street, Itransitioning into a semi-public/semi-private area of the front yard, to perhaps a semi-private porch and ending with the building entry, and the private realm of the house. This progression may •+� 1 r be extensive, and include a sidewalk area and then ,t 1 a yard with a walkway that leads to a porch. Or, { i it may be more compressed, with a small stoop •}'! ► near the street edge. Nonetheless, there is in each •4 `� t 1 case a sense of progression from the public to the •,.;ff , 'f„i1:•...�•01 private realm, and a visual continuity is apparent, i lig. contributing to the character of the street scene and �o .a i . f m context. -_ _ __ There is often a demarcation of the front yard • with a low fence, often in wood picket form or .�=%— -,. • . , • decorative wrought and/or cast iron, which helps ! .• ii to maintain the visual continuity between the house • *i� and the street. Where a fence is higher and/or less i�=',•�' J "transparent", it will disrupt this relationship. • Shrubs may also have been planted to define a fence (ii - -_ line,sometimes in the form of a hedge.Again these _. tend to be more compatible where they retain some - --- 1 . - of the visual continuity between the street and the 6, house. a . t: • ; Design Objective MI 1111111111_ _ _jill III Historic site features that survive should be retained, Early fencing defined the lot,and added preserved or repaired when feasible. New site decorative detail,while maintaining the visual relationship between private and features should be compatible with the historic public space. context and the character of the neighborhood. 1 :2 PART II Salt Lake City Chapter 1. Site Features General l,, i 1.1 Historically significant site features should be `' k ,_ I'i .,. ,�_ ( t►q preserved. a �‘ ,F i •tt" ')`` " 4 l '' :n'. , "'1 'I � 111110.1, • These may include historic retaining walls, 'poi,,;� ii r ' l i , it,, irrigation ditches,gardens, driveways and ` i •, 'q (19i walkways. l .1.,�; !1 • Fences and street trees are also examples of 1 '"� ' `I r .'0 10 ",, • original site features that should be retained - i �[ �A,ti� 1 r whenever feasible. _ IL it , •• ,,_; • Civic maintenance and improvements should , • �., ii; _ - identify,recognize and retain important 1 `. . • streetscape features such as sidewalks, -- . rY .. parkways,planting strips,street trees and -_, street lighting. -�t--7`"t 4- "s_• ,:t.- = _ • Historic Fences - _. 4 Originally,painted wood picket fences were used to - I. r 'I enclose many front yards.The vertical slats were set .`'t , w apart, with spaces between, and the overall height Low fences,retaining walls and landscape design help to of the fence was generally less than three feet. This define the identity and richness of parts of an established combination of low height and semi-transparency neighborhood. helped to both identify individual sites and property, while retaining the visual relationship between gardens and the streetscape. r Wrought iron and wire fences were also used in early domestic landscapes. Early cast iron and wrought iron frequently add decorative detail and a sense of maturity to the design character of a ...: neighborhood. ; ;� `VT. =c; Where such fences survive, they should be retained. v Often, however, original fences are missing. Replacement with a fence similar in character to that � _ "' �•,.,, t used historically is appropriate in such conditions. 'h' l a , , I i The street lighting on South Temple contributes significantly to the character and grandeur of the street. A Preservation Handbook for Historic Residential Properties&Districts PART II 1 :3 PART II Design Guidelines 4 .,�; f, '' .t• r • .; Historic photographs portray fence heights at a , a^ r +,': - �.r L •r ' # . ' much lower level than we are used to seeing today. • . ; _ ,a Consider using a lower fence height to enclose a cre ' `' i 5` �' i front yard, in keeping with historic patterns and to rr j , _- _ retain a sense of continuity along the street frontage. -�:," `ul� 1.2 An original fence should be retained ii (�, 1 -0 ,:,4-r, • Replace only those portions that are ,'ig r•,iti r +� ..; • �i1. a __� s . . - - . I deteriorated beyond repair. " s .� -iii' "P°i 1.3 Use materials that appear similar to that of the IOW alg_ _ original for a replacement fence. A low height and the sense of transparency created by this wall • A painted wood picket fence is an appropriate and fence help to retain views to the building and along the street. replacement in many locations. a' ,. ' i- .;. • A simple metal fence,similar to traditional , Al t t.,"-;• ' lb -.~'•.; -- "wrought iron"or wire,may also be '�- .fi g tt` . considered. ,• " �� s .� • Review early examples nearby to identify h • "ill-: } % sr: appropriate design options. f R • • Fence components should be similar in scale to - ' ` ,;� those seen historically in the neighborhood. `ae, __ - ^ 1.4 Design a replacement fence with a"transparent" - /0., ' ~ quality, allowing views into the yard from the street. A progression of spaces and landscaping from the street to the building helps to establish the character of the street. • Avoid using a solid fence,with no spacing between the boards. • Chain link and vinyl fencing are inappropriate as fence materials where they would be visible from the street. 1.5 Consider "transparency" in the design of higher privacy fencing for the side yard of a corner property. • This helps to maintain a sense of visual continuity. • Locate a higher street-facing side fence behind Note All fences will require a Building Permit and all fences in a the front facade. historic district will require a Certificate of Appropriateness 1 approval. 1 :4 PART II • Salt Lake City Chapter 1. Site Features Historic Grading \ ; • 1, r In some areas, steep topography dictated that U._ Aii, r ,building sites be sloped. Portions of the Capitol . �.1,1 Y Hill, Universityand Avenues Historic Districts r1! - ' lit° t • � . :- are examples. Yards typicallyincline steeply in {�1'(r • j p P Y ��IIMI�} 'ti1' ,, � , these locations, reflecting the original topography. _ ' ., rrhjtil;llt ddd111 ! Elsewhere, in the Avenues and South Temple ► i''• for example, the grading is often more gentle "� , {-:• : and provides a unifying visual coherence to the •• / streetscape. This historic grading pattern is an — i ` important characteristic that should be retained. The low retaining wall supporting an ornate historic iron fence contributes significantly to the character of the streetscene. Modifying this historic slope, as it is seen from the street, can negatively affect the historic character of X. , A an individual site and also its context.For example, ` `. .yr I$ r- Y •, r • excavating a hillside to create a flat building site, ui <.•cat IV or cutting it into a series of stepped terraces would yj, „,,� detract from the historic character. However, in ._ '; .t '•-•s;:3.,-,'- ;; \ ' -- some parts of the city, this has occurred in the back `f'• •-: op_ -- yard. Because altering the historic slope in the M�iw . y...: ; back yard has less impact on the historic character ` hvs '." ►.• xy+✓'` r,. of the site, more flexibility may be appropriate for •'' s"'� '"' - •_. k.''- ''3, modifying back yards. _ _ _- - 1.6 The historic grading pattern and design of the The form,construction,detailing and materials of a retaining wall may complement both the architectural setting and site should be preserved. character of the neighborhood. • In general altering the overall appearance of the historic grading is inappropriate. • Where change is considered,it should be subordinate to the overall historic grading character. • Avoid leveling front gardens and introducing Maintenance tip retaining walls where this disrupts theMany historic masonry retaining walls are damaged by water pressure that builds up behind the wall.This may result from established pattern. watering a lawn or from natural site drainage. This pressure can erode mortar and it can cause movement of stones. Water pressure can be reduced by improving the drainage uphill of the wall.Small weep holes or drains also may be created in the wall to allow moisture to pass through. A Preservation Handbook for Historic Residential Properties&Districts PART II 1 :5 PART II Design Guidelines Masonry Retaining Walls ••• Sandstone and cobblestone retaining walls were i3 °- often used in neighborhoods where steep slopes occurred.Many of these walls survive and often are important character-defining features for individual ' • ;;,a:�;:� + properties and for the districts in which they are ;.��• _. e found. Some early concrete retaining walls also ! - `. exist.These should be preserved.As retaining walls I - •;; frequently align along the edges of sidewalks, they help establish a sense of visual continuity in the neighborhood. - These walls also may have distinct stone coursing and mortar characteristics. Some joints are deeply raked, with the mortar recessed, creating strong shadow lines. Others have mortar that is flush with s . . 7,r `�'` 'ice h! the stone surface, while some have a bead that J. , projects beyond the stone face.The bond,color and•` ; - . -.h. r,:• / '- finish of the stone, as well as its mortar style, are • r distinctive features that contribute to the historic - vim•: character of a neighborhood. \ In some cases, the mortar may have eroded from the retaining wall. Such walls should be repointed, using a soft mortar mix that is similar in color, texture and design to the original (see also Ch.2, Building Materials and Finishes). On occasion, some stones are badly deteriorated or may even be missing. New replacement stones should match the original as closely as possible when this occurs. A new retaining wall will affect the character of the streetscape. This should be considered in its immediate and then broader context. Where a new retaining wall interrupts an established pattern of gradual grading of front lawns it will be less With steeper topography,a retaining wall often becomes a visually and historically appropriate. significant element framing the public realm and defining the boundary and form of the site. 1 :6 PART II Salt Lake City Chapter 1. Site Features 1.7 The historic height of a retaining wall wherever possible should be maintained. A • Increasing the height of a wall to create a •` s , Y` ,rq;al. • privacy screen is inappropriate. • a} ( •'"'14! � `,r • If a fence is needed for security,consider using '' •' i._' �F 1 • a transparent wrought iron or wood picket A; ,. .`+ �� I I :v;.. F . design that is mounted on or just behind the k,f1_ ••, ,>1 :,•' �:,`„ • �! ,. ey top of the wall.This will preserve the wall, . a.e �° , allow views into the and and minimize the _'= i 11'. ~' '' t:if -'t' ►' •: �A overall visual impact of the new fence. 1.8 The historic finish of a masonry retaining wall should be retained. _.. • If repointing is necessary,use a mortar mix that ' .. is similar to that used historically. �. .. .,sF • Repoint using a joint profile that matches the I original. i:. .1- ''4111 ., r [.= Z--. • Painting a historic masonry retaining wall,or r'°" ��- �' s� covering it with stucco or other cementious & $ _... ' ' - coating,is usually inappropriate. 1.9 Retain and preserve the materials and . '.��" " ',j Y,, i�• '::, construction pattern of a historic masonry retaining • '; r .4 '- wall wherever possible. .,,,k_'=s. ; j o.ir � . -' ; '-'•;' y;'t; • Ifportions of the wall are deteriorated,replace 1`°.:••r'.e.. N., 17,F P _ '.:1.. . : < '�1 wti ,_fi•r-: a4� �, G only those portions that are beyond repair. '� 'r• • Replacement material should match the ''° ``. original in color, texture and finish,including `- N the color of historic concrete. "�� • • Masonry units of a size similar to that used • -- r % --r^,N - historically should be employed. Retaining walls,fences and steps may jointly contribute to the definition and character of the immediate setting and the • Respect the original bond and construction district. The variety of materials often complements those of the pattern of the stonework. building. A Preservation Handbook for Historic Residential Properties&Districts PART II 1 :7 PART II Design Guidelines ,: „'':,,, " 1.10 Consider a new retaining wall in the context of its immediate setting and the established relationship of landscaping within the streetscape. • I, '; • A new retaining wall should be avoided where - 4 i' 4 i it would disrupt a shared gentle grading -.4 III between buildings and the street. • Limit wall height to that defined as characteristic of the setting. _ • Design a wall to reflect those found traditionally. • Use materials that define the character within the immediate and broader setting. Walkways & Sidewalks L j • f 1 .- Walkways often contribute a sense of visual / ' I _ - • continuity on a block and convey a "progression" r 1 _ of walking experiences along the street. This progression, comprised of spaces between the street and the house, begins with a walkway that leads from the sidewalk; this is often in turn ,�' punctuated by a series of steps. Because many of : . �=- the neighborhoods in Salt Lake City were plotted ___ - on a grid, this progression of spaces, coupled Mature natural stone paving and with landscape features such as fences and walls, landscaping enrich the streetscnpe. is a common feature and greatly enhances the \ , .rrt.. j streetscape. T•''';`.. ` . ! ;k Often this common pattern creates a shared rhythm ,\ti, ' of walkways and steps, helping to unify varied ., .,Ilv iii building scales and styles. New site work that alters . ..• ' = the historic pattern of the block can negatively affect "_ ..._•- 16.' a,1 "�� upk its visual continuity and coherence. The use of appropriate materials is a key factor in preserving _ __ ! the historic character and the relationship between a A historic building,its neighbors and its context. A shared pattern of walkways and steps can help to create a sense of rhythm along a streetscape. 1 :8 PART II Salt Lake City Chapter 1. Site Features Historic sidewalks may have a variety of Driveways features which establish the age and character Historic driveways are characteristic of many of a neighborhood, and which in turn enrich the neighborhoods in the city, frequently dating to the experience of living there. Natural sandstone original construction of the house and landscaping paving for example weathers to exhibit the bedding of the site. These often retain their original paving plane'figuring'of the stone, enhancing the sense of materials, and may demarcate the original two time and maturity in the neighborhood. wheel 'drive strips' in a different material. A 1.11 Respect a common historic walkway pattern historic driveway, both its design and materials, in form,design and materials wherever possible. can contribute to the character of the immediate • Review the prevailing patterns in the setting of the house and its wider context,adding to immediate neighborhood. the sense of maturity of the neighborhood. Repair • Design alterations or a new walkway to of a historic driveway is preferred to its complete complement a traditional pattern. replacement, wherever possible. If a new driveway 1.12 Historic paving materials should be retained is proposed, the use of drive strips may help to where these still occur. integrate this within its context, especially where it would replace existing grass. • Early sandstone flags should be retained,and carefully relaid if uneven. A historic driveway should be retained and repaired • Replace any broken stones with matching wherever possible. material. • The driveway layout in original materials • Where it has been a tradition,consider the should provide a basis from which to repair or use of natural stone paving where streetscape replace. improvements are considered. • The'drive strips'should be retained where • Stamped concrete is not a historic material or these are a historic feature. design in sidewalks and driveways. • Anew driveway should be designed to avoid or minimize the loss of grass,established .0 I + 77.441e landscaping and mature trees. 7 •- • Drive strips can help to integrate a driveway with the landscaping. A Preservation Handbook for Historic Residential Properties&Districts PART II 1 :9 PART II Design Guidelines .__ - - - ' Park Strips ^^� = In many historic neighborhoods in Salt Lake Immemag- the the streetscape contains park strips, the band of grass between the curb and the public sidewalk. iiimmis These may contain rows of street trees if the park strip is wide enough to support the root systems. This coupling of planting strips and street trees • - - provides a rhythm along the block,as well as shade '- for pedestrians, and should be preserved. Often '- these spaces are creatively landscaped to reflect the . •' adjacent yard, adding a sense of seasonal variety and landscape maturity to the streetscape. Only if the park strip is less than 24" wide are 41 impervious materials such as brick pavers,concrete pavers and concrete allowed. Refer to Chapter 21A.48 of the Salt Lake City Zoning Ordinance for information on the landscaping of park strips. 0 Landscaped Medians or Parkways • i' Parkway are large grassed or treed medians that Historic paving will include both natural stone and concrete. line the center of a street, such as along 600 East in Central City, and on 1200 East and 200 South •t'`> :- ►.;.y.,p; in the University district. They provide a unique . }-".. s ,. ,'.41. ram.=�.'*''C . • :.'by7'_;, historical landscape amenity and are often used - , ' •..��. ,, rf as recreational or leisure spaces. They markedly i +>.K enhance and unify the character of both the street •, and that part of the district. Where they are found, - parkways add a unique character to the streetscape, and consequently should remain. Where they have . been removed,consider their reinstatement. A park strip is often experienced as an extension of the front yard,integrating private and public spaces,and enhancing the established character of the neighborhood. 1:10 PART II Salt Lake City Chapter 1. Site Features Planting Designs &Materials While most historic plant materials have been _ replaced over time,some specimens do survive,and • \�.•. ` in other situations, the traditional planting pattern - _l • `.' `ki�its1 has been retained even if new plants have been y t ti -,r installed. In the South Temple district, for example, '� • r /' s• f mature street trees are an important historic element • ( �' �` ; of this street. The trees create a border between the .) Ir ' ' street and the buildings and are a character-defining l feature of the boulevard and the district.If possible, 1 l these historic trees should be retained; if their Planting design can make a significant contribution. removal is necessary then replacement trees should -f. - • s conform to the plantingpattern of the existingtrees. • '"� 8 , 1.13 Historically significant planting designs ' should be preserved. • w :- r • Preserve a row of street trees which is an . `: • -s' -:,=.} �.; established historic feature. F . • �' ,,- .• • Maintain existing trees in such a setting that are y. r`` ,It A in good condition. j :`�`,H,. r .11` • Replant with a species that is similar in = _ character to that used historically if removal ii. ~ - - ; can't be avoided. Mature trees are often a character defining feature of the streetscape and the neighborhood. • Replacement and pruning of street trees requires approval of the City's Urban Forester. N .•r ,`• .:'� ;h..:. : i 4 Y ,, www.slcclassic.com/publicservices/forestry/ �.. i r. contact.htm E v .. p ;t '' v • .•�,�p • .r•• '' Retain historic planting beds and landscape y �►; ', .<r ; ' features as part of the established character of a 'yr f .; �.. i neighborhood wherever possible. I • • • Utah has a Heritage Tree List,administered by : "-N.. the Sovereign Lands and Forestry Division of __ _-..— the Utah State Natural Resources Department. Owners interested in finding out if a historic tree is located on their property or who are Trees in the front yard area may complement those nearby in the park strips and lining the street. interested in listing a tree,should contact this agency. A Preservation Handbook for Historic Residential Properties&Districts PART II 1 : 11 PART II Design Guidelines Street Lighting Site Lighting When new street lights are to be installed, they Lighting in the historic districts can affect the should be designed to be compatible with the manner in which historic resources are interpreted neighborhood and with other elements of the at night. Lighting is a design feature therefore that streetscape. The design for street lighting should is important in site planning; the approach to a be subtle and unobtrusive. Often, photographic lighting scheme should consider lighting intensity, archives can provide inspiration for the design of a spillover into adjacent properties and fixture design. new street lighting system. It should also consider the appreciation of the street 1.14 Historic street lighting contributes to the at night as a visual composition, and the effect that character of the district and should be retained. excessive lighting of an individual building might • Adaptation to meet current standards of have in this composition. lighting and energy efficiency can often be 1.16 Minimize the visual impacts of site lighting. achieved. • Shield site lighting to avoid glare and spillover 1.15 Design new street lighting as a subtle onto adjacent properties. complement to the streetscape. • Focus lighting on walks and entries,rather than • Consider appearance and impact during both up trees and facade planes. daytime and nighttime hours. • Lighting intensity and design should not draw • Avoid damage to established features such as undue attention to a particular property at early stone paving. the expense of the appreciation of the street composition. -ies. • ... ,:itti. , ----..,--, .../ I.:. ------_—__ I1111 . I %. .r r.. III, i; ' :x i ( .) .,,_,,,.. IIIIIIIIIIIIII! Inn r�' 4: ., _......,„9.0,i,c,t-. ,. .i-!- ; ,... ..,_ . __ „....,....„,..„._. AK - , .' r.12 i.•:. rso .4. • It Lighting the building or the site can also Street lights can quietly contribute to the complement the architectural setting and character and interest of the street scene. character of the street. 1: 12 PART II Salt Lake City Chapter 2. Building Materials & Finishes Context&Character CONTEXT&CHARACTER 2:1-1 The architectural forms and styles in Salt Lake's DESIGN OBJECTIVE 2:3 historic residential neighborhoods are usually GENERAL 2:3 carefully articulated in a variety of primary MASONRY 2:4 building materials. These materials are generally WOOD 2:7 of high decorative and structural quality, durable METAL 2:9 and usually resistant to premature deterioration if understood and cared for through basic CLEANING MATERIALS&METHODS 2:10 maintenance. REPAIR 2:11 { PAINT&OTHER COATINGS 2:12 Brick and wood siding are typical primary building materials.Stone and adobe were also used,although ADDITIONAL INFORMATION 2:15 adobe frequently was stuccoed or clad with ti A clapboard siding.Terra-cotta and cast masonry were .`��`'. used for decorative detailing.Concrete and concrete 1.'t.Z.4. block were also increasingly used as the 20th • ?century progressed. While wood siding occurred ° in a variety of forms, painted, horizontal clapboard 1�3 and novelty siding were the most popular.A variety • ,'_' . of lap profiles were used. �+ ' In each case, the distinct characteristics of the primary building materials, including the scale of w� t ; 1 ,%• '.' the material unit,its texture and finish,contribute to .ti u '. the historic character of a building.These materials may form the external structural wall or may be the external cladding system. Contrasting materials, Historic architecture in the city makes colors or textures are often employed for decorative decorative use of a rich palette of detail and embellishment in the form of framing for materials,colors and finishes. doors and windows or belt courses. The best way to preserve historic building materials is through well-planned maintenance. Wood surfaces should be protected with a good application of paint. Both wood and masonry should be kept dry by preventing leaks from roofs and guttering washing over the surface and also by maintaining positive drainage away from foundations, such that ground moisture does not rise through the wall. A Preservation Handbook for Historic Residential Properties&Districts PART II 2:1 PART II Design Guidelines Typical historic building materials In some cases,historic building materials may have in Salt Lake City deteriorated.Horizontal surfaces such as chimneys, sills, and parapet copings are most likely to show Wood Siding the most deterioration because they are more / M _ !. - ,I i, exposed to weather and are more likely to hold _ water for longer periods. Nil When deterioration has occurred, repair the III'IIII material after addressing any other related — flit problems that might be the cause. In most cases damaged materials can be patched or consolidated. Clapboard Drop or Novelty Shingle Masonry Wall Patterns In other situations, however, some portions of t 1r t� the material may be beyond repair. In such a case 1� i V ' j'VEI replacement will be required.With primary historic '—+'� 1:1121 }-O--��1:11 ��El buildingmaterials, the new material should match imam the original if feasible. If wood siding had been +--.1= Er=iEt used historically, for example, the replacement also English Brick Flemish Brick American Stretcher should be wood. In the case of primary materials, replacement in kind is relatively easy because these materials are readily available and are of high quality. i / N It is important, however, that the extent of replacement materials be minimized, because the . . original materials contribute to the authenticity and / fr. . .. integrity of the property as a historic resource.Even / .--)--- IF : when the replacement material exactly matches that of the original, the integrity of a historic ' iT� building is to some extent compromised with the loss of original or early materials. This is because / y /j9 --: the original material exhibits a record of the labor r and craftsmanship of an earlier time and this is lost -'.• when it is replaced. Original materials also help to ' .7define the authenticity,integrity,and help to convey lif_ . the age,maturity and'patina'of the building. Original materials are essential to the integrity of a building and convey a sense of authenticity and maturity. 2 :2 PART II Salt Lake City Chapter 2. Building Materials & Finishes It is also important to recognize that all materials d. • will weather over time and that a scarred or f r . weathered finish does not represent an inferior 444 material or structural problems, but simply reflects ,• -.,,--,!. 4 r the age and maturity of the building. This 'patina of age' is a tangible and distinct characteristic of -*' . any historic building or neighborhood. In some R respects they acquire the wisdom that comes with Jt:4 i;.. r,s„ long-standing experience. Preserving original ✓t s • } Di ., ��' materials that show signs of wear and age is ' '' therefore preferred to their replacement. Cleaning ; t methods, specifically abrasive, high pressure and A'. •••,;. o chemical cleaning, can severely damage or destroy �� ' primary building materials, and in general should —` ` be avoided. Design Objective A , Primary historic building materials should be / = preserved in place whenever feasible. When the i material is damaged, then limited replacement, :/matching the original, may be considered. Primary 1building materials should never be covered or /JVI. subjected to harsh cleaning treatments. i �� — �'General 1 ,`1,j, :::k.e..1 LPL': 2.1 Primary historic building materials should be Y1. ., retained in place whenever feasible. � � • Limit replacement to those materials thatrf �4r= ` 3 Eve':i .-!;44-'0 cannot be repaired. is '� .;,, �� • When the material is damaged beyond repair, ,j ' , • ,. . ,- li, match the original wherever feasible. _a -�' :+, . 'b.• •., 'ii71...:• Covering historic building materials with new i y ?` materials should be avoided. ?. •: • Avoid any harsh cleaning treatments,since i 17+ sk :'' these may cause permanent damage to the material. The variety of brick and siding,the color variation,patterns and textures,create a rich visual experience and help to establish a sense of human scale. A Preservation Handbook for Historic Residential Properties&Districts PART II 2:3 PART II Design Guidelines ;I ";f „�;�� Masonry ''`'-mil'+.' -s�'.- ,?:+aw Masonry includes a range of solid construction �9 "' ! materials. The following guidelines apply to the fo. masonry surfaces, features, and details of historic - s'►'_ buildings in the city's designated residential 44,444,.. districts. ..-I Masonry in its many forms is one of the most - =L iiIll important character-defining features of a traditional building.Brick, stone, adobe, terra-cotta, ceramics, stucco, cast artificial stone, and concrete ,.:pi ti,f ` are typical masonry construction materials used `• II across the city, reflecting its sequence of settlement ./4. , k - `,, , _,i .� and development, as well as personal means and .' ,.'.�Y�; : -, architectural style. Masonry materials of various so - _ types exist as walls, cornices, pediments, steps, chimneys, foundations, and functional and/or \A decorative building features and details. SCi'lft, , In a brick wall, the particular size of brick used . - 'i� 4 'WI and the manner in which it is laid is a distinctive lli characteristic. Similarly, the pattern or 'bond' in IT the construction of a brick or stone wall helps to establish its character. This pattern combines with the choice and nature of the material, the choice of cut, rough and/or dressed stone, to create a unique \ physical and visual character. IS � :P, Masonry is usually comprised of the masonry unit, e.g. the individual brick of stone, and the medium used to bind these units, e.g. the mortar, each with IV I ' a mutually supporting role.The pattern used to lay Brickwork lends itself to an endless variety the brick (the bond) is directly influenced by the of creative architectural compositions with hardness, color, thickness and profile of the mortar associated decorative relief and textures. coursing with which it is laid. Historically, a soft mortar was used. In post-war years the use of a harder brick was matched by a harder mortar. The mortar should always be softer than the brick or the stone. 2 :4 PART II Salt Lake City i Chapter 2. Building Materials & Finishes In earlier masonry buildings, a soft mortar was used, which employed a high ratio of lime. (Little, if any, Portland cement was used.)This soft mortar - if' � u was usually laid with a finer joint than we see Amoy d today.The inherent color of the material was also an important characteristic; mortars would be mixed using sand colors to match or contrast with the brick.The size of the bricks contributed to the sense of scale of the wall and building, expressed by the profile and color of the mortar joints; both express z`.S a range of construction patterns or brick bonds. When repointing such walls, it is important to use a mortar mix that approximates the original in color, ,�: •Dill texture and strength. t Most contemporary mortars are harder in composition than those used historically. They should not be used in mortar repairs because this • stronger material is often more durable than the brick itself, causing the brick to fracture or spall d i :cRrn ' during movement or moisture evaporation/freezing. err ; `f b When a wall moves during the normal changes in ^3f o� ` `�� season and temperatures,the brick units themselves _ );,_1 - can be damaged and spalling of the brick surface +T'�`'' can occur. t •lt `- - Normally, moisture within the wall should be , able to evaporate through the softer ("sacrificial") _�—, J mortar course, requiring repointing after a number of years. Where the mortar is harder than the brick, water evaporates through the brick, damaging and Brickwork,including the bond and mortar destroying its harder surface. If moisture in the joint width and profile,may be an essential component of the architectural character. brick freezes,it accelerates the deterioration. 2.2 Traditional masonry surfaces, features, details and textures should be retained. • Regular maintenance will help to avoid undue deterioration in either structural integrity or appearance A Preservation Handbook for Historic Residential Properties&Districts PART II 2:5 PART II Design Guidelines - 2.3 The traditional scale and character of masonry surfaces and architectural features should be -/ . retained. • This includes original mortar joint characteristics such as profile,tooling,color, ," and dimensions. E • Retain bond or course patterns as an important character-defining aspects of traditional masonry. ..... .1"117 2.4 Match the size, proportions, finish, and color of the original masonry unit, if replacement is ""*".' necessary. i i 2.5 The existing mortar mix should be retained if 1 ;,' it was designed for the physical qualities of the -.',' i I masonry. Variation in the brick texture and the pointing • Retain original mortar in good condition. profile are used in this case to define the wall, the window bay and the chimneys. • Match the mix of the existing mortar as closely r - as possible when re-pointing mortar. --`" y O. Ensure that the strength of the mortar mix is 1�0�' ,, _ _� weaker than the material it bonds,since it will — _'^' -.ram ', damage the existing brick or stone otherwise. a�=,v �" 4. Mortar is intended to be the sacrificial(see I�j•,►•'`ilr Glossary)component of a masonry system. -1, 1 •`- -.- �' • When the mortar mix is harder than the R I- ® • alp. strength of the masonry units, the brick or block will be damaged and deterioration T .` #� accelerated as the new system ages. � - • If previous re-pointing mix is comprised of ' t li- / _l hard cement mortar (e.g. "Portland cement"), this should be removed and the masonry re- .4.. i e _ _ j pointed with an appropriate mortar mix. :IN - • Mortar mix for re-pointing original masonry should be compatible with the qualities of Matching the existing brick pattern or bond and the composition of the mortar help to ensure the masonry,local climate characteristics and the integrity of the brick and stonework and exposure to extremes of weather. consequently architectural character. 2:6 PART II Salt Lake City Chapter 2. Building Materials & Finishes 2.6 Masonry that was not painted traditionally Typical masonry joint types should not be painted. • Brick has a hard outer layer,also known as �/ V-Shape the'fire skin,'that protects it from moisture penetration and deterioration in harsh weather. � � • Natural stone often has a similar hard protective surface created as the stone ages Inafter being quarried and cut. pr / Concave -•. • • Painting traditional masonry will obscure and '. may destroy its original character. • Painting masonry can trap moisture that would otherwise naturally evaporate through the wall,not allowing it to"breathe"and causing extensive damage over time. Struck with a drip • See also the discussion on Cleaning Materials and Methods below. 2.7 Protect any masonry structures from water deterioration. Beaded • Provide proper drainage so that water does notP.M stand on horizontal surfaces or accumulate in decorative features. • Provide positive drainage away from masonry foundations to minimize rising moisture. , I ' ! r •' 001.1. _ Maintenance Tip When repointing eroded mortar in a masonry wall,use a recipe for new mortar that is similar to the original in color,texture f and hardness.This will ensure that damage will not occur from the use of mortar that is harder than the brick or stone,and that the detailed craftsmanship and character of the building is Brickwork can be used as a sculptural retained.Originally,a mortar mix of 5 parts sand,2 parts lime, architectural medium,combining visual 0 parts cement was used.* drama and complexity. • Up to 0.5 parts cement may be OK. A Preservation Handbook for Historic Residential Properties&Districts PART II 2 :7 PART II Design Guidelines Wood �� ; — Wood has been used historically for framing, - exterior siding, trim, ornamental details and in 'log' form as a complete construction material. ---- Traditional wood framing and cladding were M.- ', I ' . usually carefully selected, cut and seasoned. �r Whether used for construction, principal elements = / - .4 such as windows and doors, or for trim and detail, ',,.r.....-..w.... y early wood tends to be tough and durable. It is worth retaining for reasons of historic integrity and its enduring physical qualities. New replacement wood is unlikely to match these same physical qualities, resilience and durability. Historic wood windows are reviewed in Ch.3 Windows. When properly maintained,historic wood will have a long lifespan. Early woodwork should be retained W li , ' and if necessary repaired. New sections can be 1 readily spliced in.Painted surface finishes should be maintained in order to preserve originally painted '.il, ` _ exterior wood features and details. 1, u ,.: ; .: t< X',,, 2.8 Original wood siding should be preserved. • Avoid removing siding that is in good /e : . condition or that can be repaired in situ. � '� = • Only remove the siding which has deteriorated ,i•= 11 // 9' ' ' ' .' 4 beyond repair. �:� �� y+_ i • Match the dimensions,form,style,profile, i.- , _ detail and finish of the original or existing ' siding,if new siding is required. "/ 4 - pm/4 i a f b � + r r, ri1111 . Wood is perhaps the single most important material for decorative Maintenance Tip architectural features and detail in all city historic neighborhoods.It is also a Most wood siding in Salt Lake City was manufactured locally, very resilient and durable material. and can be easily replicated by local nulls. 2:8 PART II Salt Lake City Chapter 2. Building Materials &Finishes 2.9 Protect wood features from deterioration. - - __.-1 i/ • Provide proper drainage and ventilation to r, • minimize decay. — Q • Maintain protective paint coatings to decrease r — damage from moisture. I- - • If the building was painted historically,it • , It should remain painted,including siding and Ii; trim. as'• — ^ -s- 0 .. v 2.10 Repair wood features by patching,piecing-in, fie-1 consolidating, or otherwise reinforcing the wood ', ,.' ,.ttttttitttt, wherever necessary. 'r� vwst L un��III�'iiiiili • Match the form,dimensions,profile,and detail 1401111 ilk ., • 11 _ `_ ! , 1 1 fthlflhIj of the original wood feature when patching, k.- . _' piecing in or repairing wood features. CO 2.11 Original wood cladding and siding should not f" be covered. ip— ,_• r r. .- t^ r* r • Avoid obscuring these character-defining A . features of the building. • Aluminum or vinyl siding applied over original 't_ _ wood siding traps water vapor and moisture, ii- P; •and leads to physical deterioration and failure - ?�/ -''?•' ' ', 1 of new and original building materials. ;`� V . • Remove non-original or non-traditional siding ' i: '�. ',,., gi at the earliest opportunity,for this reason. A�" „ - , LL • Repair the underlying original siding as n s. ` ' , , iis required. ;/ �i��,� '..P. •a AI • t t Metal L, ' Metals in historic buildings were used in a variety of Chosen for its qualities of resilience and applications including columns, roofing, canopies, adaptability,metal has provided a versatile medium storefronts, window frames, and decorative for fine decorative detailing,including cornice features.The types of metals used include cast iron, profiles,sofit paneling and railings. steel, aluminum, lead, bronze, brass, and copper. Metals should therefore be retained and repaired, wherever this is possible A Preservation Handbook for Historic Residential Properties&Districts PART II 2:9 PART II Design Guidelines 2.12 Architectural metal features that contribute to the historic character of the building should be r `\ retained and repaired. , • All original or early metals are part of the historic architectural character of the building. N pi • Ensure proper drainage on metal surfaces to minimize water retention and deterioration. VOI • Restore protective coatings,such as paint,on exposed metals that have been traditionally coated. Awl � 2.13 Repair traditional metal features by patching, mil consolidating, or otherwise reinforcing the original. • Only replace the original metal feature in _ —- its entirety if the majority of the feature is deteriorated beyond repair. Finely detailed brickwork warrants special care in • New metal should be compatible with the maintenance or repair. original,not only to preserve visual character but to prevent galvanic reactions and • 1 accelerated deterioration of original and/or •'�41 - replacement metal. Cleaning Materials &Methods Original building materials rarely need to be NIOINOISIPMMOMPImpowei cleaned. Some cleaning materials and methods can harm the building fabric. Many cleaners can be harsh and abrasive, often permanently damaging . ' ' the surface and durability of building materials, _ such as brick and stone. In particular, abrasive 3 ' cleaning methods can remove the hard outer layer ti of masonry material, and thereby accelerate the deterioration and failure of the masonry. When maintaining historic buildings, only cleaning materials and methods that do not harm the original building materials should be used. Cleaning is a Mature and weathered stonework,here contrasted specialized area of expertise, and much irreparable with a new cornice profile,demonstrates a sense of damage can be caused by inexperience or architectural time and history. misapplication. 2: 10 PART II Salt Lake City Chapter 2. Building Materials & Finishes See also the discussion regarding Masonry above. r 1 ,. Refer to the information and advice contained in l+y the National Park Service Technical Preservation b�� 4 Services Preservation Briefs (Referenced at the end 11 4 k of this chapter and in the Appendix). ____-°°‘-___.--.L*. Illi 2.14 Cleaning original buildingmaterials should be avoided in most circumstances. 2.15 Use the gentlest cleaning method possible to L j%":11i-iti - :=- achieve the desired result,if cleaning is needed. ( i • Avoid abrasive cleaning methods including i 1 �I- ' l j� I� t, sandblasting,pressurized water blasting,or '_l-!I It: other blasting techniques using any kind of .. materials,such as soda,silica,or nut shells. I • Research appropriate cleaning methods for the ` material and the location prior to any cleaning • procedures. (See in particular the references sources at the end of this chapter and in the Appendix.) �. , „ 1, - ,, ,:tit• p. - _. • Test any proposed cleaning in a small,less _, _.• visible,location first. „ A , ` • Hire a specialist in the cleaning of historic I' �� buildings to advise on the lowest impact 311111s .:--,-14-4 method of cleaning. - ,rj{f ' Repair ww _ :- - 2.16 Repair deteriorated primary building ►_ i materials. r`.,. " • Isolated areas of damage may be stabilized or T . strengthened,using consolidants. • Resins and epoxies are effective for wood r_ Great care is required to ensure that if cleaning is repair. really required this is achieved using the gentlest • Special repair compounds for brick,stone and means possible,and not using abrasive methods.In contrast to the care taken above,the brick surface terra-cotta are also available. below has been completely destroyed using abrasive cleaning methods. A Preservation Handbook for Historic Residential Properties&Districts PART II 2: 11 PART II Design Guidelines '�� 2.17 When repointing masonry, preserve original mortar characteristics, including composition, profile,and color. ' • In some cases,matching the composition of the historic mortar mix will be essential to the preservation of the brick itself. 2.18 Consider removing later covering materials, except where these might have achieved historic t -14 significance. • Repair of the original material may be required after it is uncovered. The appearance and integrity of the • Removal of other materials,such as stucco, original masonry can be successfully should be tested in a small area to ensure that maintained through appropriate repair. the original material will not be damaged. ��— • If masonry has a stucco finish,removing the covering may be difficult and may reveal airMilextensive damage to the original material.For example,original brickwork was sometimes �, chipped to provide a'key'for the stucco. • If removing stucco is considered,first remove .1.I. the material from a test patch to determine the 40 ow— condition of the underlying masonry. i t t •_:, li ' Paint & Other Coatings Removing later materials may Historic buildings that were clad with wood siding reveal the original materials,such as were usually painted to protect the wood. Some this siding,which with care can be stucco, brick, and concrete buildings may also successfully repaired. have been painted. Masonry surfaces that have not Safety concerns relating to handling lead-based paint should been painted, or that were not painted historically, be borne in mind when working with paintwork dating from before 1978.Recommendations and/or requirements for lead- such as stone, brick, and terra-cotta, should not be safe working should be reviewed prior to any work. Lead- painted. Usually these materials were chosen for based paint should not be considered a reason to remove and replace historic, character-defining materials or features, their decorative as well as their functional qualities. including windows,doors details and trim.There are remedial techniques which can be used to either safely remove or To paint over these characteristics will adversely encapsulate any lead-based paint. See the accompanying affect the historic integrity of the building. links for further information. www.preservationnation.org/issues/lead-paint/ www.nps.gov/history/hps/tps/briefs/brief37.pdf 2:12 PART II Salt Lake City Chapter 2. Building Materials & Finishes Painting brick or stone is rarely if ever warranted to enhance water resistance. Rather, it tends to seal moisture into the wall,hastening deterioration. r^__i� Although color is not a matter considered by the 1\ City in design review, consider using historic color I when undertaking regular maintenance of _ I' painted surfaces, including wood windows, doors, _ and trim. Refer also to the discussion on historic illi color in Ch.11 General Issues.A considered color scheme for the building will enhance appreciation of historic architectural .M 1?„� I 1!,•! r)I character and its contribution to the streetscape. ,..� M �_% If the original color scheme is unknown, choose several discrete locations to sample paint layer t 11111; II history.Historic photographs can also be consulted. Periodic maintenance of painted surfaces While these are usually black and white, the photos maintains weather resistance and enhances show relative color values (darks and lights) the character of the building. used on the building. Generally, one muted color y' . .s A,. would be considered appropriate as a background , unifying the building form and mass. For accents, »,' `,7F Jj y1 one or two additional colors would be appropriate r' to highlight building details and trim.In the absence : / . ' of historic photographs or physical paint layers, an ,, y-� .N interpretation of paint colors on similar historic . .00.11 buildings is appropriate. l•-• 2.19 Prepare the surface or substrate well prior to • •011i°1111."-- applying new paint. • Remove damaged or deteriorated paint only to . the next intact layer using the gentlest method , AN possible. • Do not paint previously unpainted masonry ;;' surfaces. ..: t - _ Color can be used to complement the texture • Consider removing paint from previously and qualities of the materials and detailing. painted masonry surfaces that were not painted historically. A Preservation Handbook for Historic Residential Properties&Districts PART II 2:13 PART II Design Guidelines 2.20 Use paint products designed for the existing materials and the environmental conditions of the :: • locations. �5 • Follow the manufacturer's directions when applying paint products. 10000/110' iii • Use primer coats as directed by the paint manufacturer's instructions.Some latex paints, ✓ • '_; " ',;%.," for example,will not bond well to earlier oil- �� I_ ,. • " based paints without a primer coat or proper surface preparation. ;.,4 ': ' • Employ special procedures for removal, , , "'` • �' "� preparation for new paint,or encapsulation of older paint layers that may contain lead. ✓.4? ' 11 2.21 Maintaining or re-establishing the historic , ty r. -''1 color scheme is appropriate. /.' ' • • Research what the historic painting scheme / is had been and use it as a basis for deciding on a f new color scheme if the historic scheme is not r if _ otherwise known. /4 W • Sample paint layer history in a discrete 1 location,using a simple means of sanding `Ide through each layer revealingthe color of Irf•l g Y '$ different paint layers through time. r • Professional paint analysis and color matching iis also an option. Materials and details express • Use a comprehensive color scheme for a architectural celebration throughout building's entire exterior,so that upper and • the historic districts. lower floors and subordinate masses of a building are seen as components of a single structure. • Refer to Ch.11 General Issues for further discussion on historic color. 2: 14 PART II Salt Lake City Chapter 2. Building Materials &Finishes Additional Information Park, Sharon C. Preservation Technical Notes. Exterior Woodwork #1: Proper Painting and Surface Preparation. Masonry&Ceramics Washington, DC: Technical Preservation Services Division, De Teel Patterson Tiller.Preservation Briefs 7:The Preservation National Park Service,US Department of the Interior.1986 of Historic Glazed Architectural Terra-Cotta. Washington, www.nps.gov/tps/how-to-preserve/tech-notes/Tech-Notes- DC: Technical Preservation Services Division, National Park Exterior0l.pdf Service,US Department of the Interior.1979 www.nps.gov/history/hps/tps/briefs/brief07.htm Weeks,Kay D.and David W.Look,AIA.Preservation Briefs 10: Exterior Paint Problems on Historic Woodwork. Washington, Grimmer, Anne. Preservation Briefs 22: The Preservation DC: Technical Preservation Services Division, National Park and Repair of Historic Stucco. Washington, DC: Technical Service,US Department of the Interior Preservation Services Division, National Park Service, US www.nps.govlhistory/hps/tps/briefs/briefl0.htm Department of the Interior.1990 www.nps.gov/history/hps/tps/briefs/brief22.htm See also"Utah's Historic Architecture"Glossary history.utah.gov/architecture/glossary.html Gaudette, Paul and Deborah Slaton. Preservation Briefs 15: Preservation of Historic Concrete.Washington, DC:Technical Metals Preservation Services Division, National Park Service, US Waite,John G.,AIA.Preservation Briefs 27: The Maintenance Department of the Interior.2006 and Repair of Architectural Cast Iron. Washington, DC: www.nps.gov/history/hps/tps/briefs/briefl5.htm Technical Preservation Services Division, National Park London, Mark, Respectful Rehabilitation -Masonry-How to Service,US Department of the Interior.1991 Care for Old and Historic Brick and Stone. Washington, DC: www.nps.gov/history/hps/tps/briefs/brief27.htm The National Trust for Historic Preservation,1988 Cleaning&Repair books.google.co.za/books/about/Masonry. Grimmer,Anne E.,Preservation Briefs 6:Dangers of Abrasive html?id=COZSAAAAMAAJ Cleaning to Historic Buildings. Washington, DC: Technical Mack, Robert C., FAIA;Anne Grimmer. Preservation Briefs 1: Preservation Services Division, National Park Service, US Cleaning and Water-Repellent Treatments for Historic Masonry Department of the Interior.1979 Buildings. Washington, DC: Technical Preservation Services www.nps.gov/hps/tps/briefs/brief06.htm Division,National Park Service,US Department of the Interior. Mack, Robert C., FAIA, and John P. Speweik. Preservation 2000 Briefs 2:Repointing Mortar Joints in Historic Masonry Buildings. www.nps.gov/history/hps/tps/briefs/brief0l.htm Washington, DC: Technical Preservation Services Division, Pieper, Richard. Preservation Briefs 42: The Maintenance, National Park Service,US Department of the Interior.1998 Repair and Replacement of Historic Cast Stone.Washington, www.nps.gov/history/hps/tps/briefs/brief02.htm DC: Technical Preservation Services Division, National Park Myers, John H., -revised by Gary L. Hume, Preservation Service,US Department of the Interior.2006 Briefs 8: Aluminum and Vinyl Siding on Historic Buildings- www.nps.gov/history/hps/tps/briefs/brief42.htm The Appropriateness of Substitute Materials for Resurfacing Preservation Briefs 5: The Preservation of Historic Adobe Historic Wood Frame Buildings. Washington, DC: Technical Buildings. Washington, DC: Technical Preservation Services Preservation Services Division, National Park Service, US Division,National Park Service,US Department of the Interior. Department of the Interior.1984 1978 www.nps.gov/hps/tps/briefs/brief08.htm www.nps.gov/history/hps/tps/briefs/brief05.htm Park,Sharon C.,AIA,and Douglas C.Hicks.Preservation Briefs Preservation Briefs 12:The Preservation of Historic Pigmented 37:Appropriate Methods of Reducing Lead-Paint Hazards in Structural Glass (Vitrolite and Carrara Glass). Washington, Historic Housing. Washington, DC: Technical Preservation DC: Technical Preservation Services Division, National Park Services Division, National Park Service, US Department of Service,US Department of the Interior.1984 the Interior.2006 www.nps.gov/history/hps/tps/briefs/briefl2.htm www.nps.gov/history/hps/tps/briefs/brief37.htm Wood Park, Sharon C., AIA. Preservation Briefs 39: Holding the Line: Controlling Unwanted Moisture in Historic Buildings. O'Bright, Alan. Preservation Technical Notes. Exterior Washington, DC: Technical Preservation Services Division, Woodwork#2:Paint Removal from Wood Siding.Washington, National Park Service,US Department of the Interior.1996 DC: Technical Preservation Services Division, National Park www.nps.gov/history/hps/tps/briefs/brief39.htm Service,US Department of the Interior.1986 www.nps.gov/tps/how-to-preserve/tech-notes/Tech-Notes- Park, Sharon, FAIA. Preservation Briefs 47: Maintaining Exterior02.pdf the Exterior of Small and Medium Size Historic Buildings. Washington, DC: Technical Preservation Services Division, National Park Service,US Department of the Interior.2007 www.nps.gov/history/hps/tps/briefs/brief47.htm A Preservation Handbook for Historic Residential Properties&Districts PART II 2:15 PART II Design Guidelines • t 4 1 ♦ �., Weaver, Martin E. Preservation Briefs 38: Removing Graffiti from Historic Masonry.Washington,DC:Technical Preservation •!.< • �;-', q Services Division, National Park Service, US Department of " .� the Interior.1995 I www.nps.gov/history/hps/tps/briefs/brief38.htm Energy Efficiency —gym , Hensley, Jo Ellen and Aguilar,Antonio. Preservation Briefs 3: Improving Energy Efficiency in Historic Buildings.Washington, may-- DC: Technical Preservation Services Division, National Park � ;,. Service,US Department of the Interior.2011 04"' www.nps.gov/history/hps/tps/briefs/brief03.htm _ Other Park,Sharon C.,Preservation Briefs 16:The Use of Substitute Materials on Historic Building Exteriors. Washington, DC: Technical Preservation Services Division, National Park Service,US Department of the Interior.1988 • • www.nps.gov/hps/tps/briefs/briefl6.htm Historic Color For information on historic color please see Chapter 11; "Additional Information" • 1 • q. Effective use of texture in stone, brick and concrete. 2: 16 PART II Solt Lake City Chapter 3. Windows Context& Character CONTEXT&CHARACTER 3:1 I Windows are character-defining features of most DESIGN OBJECTIVE 3: I historic structures. They give scale to buildings WINDOW FEATURES 3:2 and are an essential element in the architectural WINDOW TYPES 3:2 composition of individual facades. Distinct window designs and the pattern of windows (the WINDOW DETERIORATION 3:2 fenestration) help to define many historic building WINDOW REPAIR 3:4 styles. , ENERGY CONSERVATION 3:6 Historic windows differ from contemporary ones in REPLACEMENT WINDOWS 3:S fundamental ways. One is their relationship to the I-IISTORIC GLASS 3:11 wall plane of the building. Historic windows are ` ADDITIONAL INFORMATION 3: 12 often inset into relatively deep openings or reveals. — --- Second, they have surrounding casings and sash components with substantial and complex profiles which cast shadows. These shadows then create __ even more complex patterns on the facade. The window proportion, profiles and details often help 11111 • to define the age and style of the building. hii Because windows so significantly affect the ` c +• t i 2 , character of a historic structure, the treatment of a I+� T ik historic window and also the design of a new one, •Windows help to - ' ;1 A3 Pa:are consequently very important considerations. define the design '4-" •!,..Y ieg � composition,style and i a Design Objective historic integrity of a •-' - . building. it _... ........... 7 The character-defining features of historic windows and their distinct arrangement should be preserved. I. In addition, new windows should be in character with the historic building. This is especially important on i 1 i primary facades. i , i T a 4 '7 r Ornamental trim Alit, ,, around historic '• ° ' windows should be - • retained. ; A Preservation Handbook for Historic Residential Properties&Districts PART II 3 :1 PART II Design Guidelines Window Features Window Types The size, shape, proportions and profiles of a Windows types typically found in historic structures historic window are among its essential features. in Salt Lake City(see sketches)include: Many early residential windows in Salt Lake City • Casement-Hinged windows that swing open, were vertically-proportioned, for example. Another typically to the outside important feature is the number of "lights," or • panes dividing a window. Typical windows for Double hung sash-Two sash elements,one many late nineteenth century cottages were "one- above the other.Both upper and lower sash slide within tracks on the window jambs. over-one" sash types, in which one large pane of glass was hung above another single pane. Other • Fixed-The sash does not move. important features are the design of surrounding • Single hung sash-Two sash elements,one window casings, the depth and profile of window above the other.Only the lower sash moves. sash elements,and the materials of which they were • Ornamental or specialty windows-Unusual constructed. shapes,such as a circular window;or distinct The majority of early residential windows use wood glazing patterns,such as a diamond-shaped, as a framing material. From the late 19th century multi-pane window subdivided with wood steel became a window frame option, initially for muntins or lead cames,which may be commercial, industrial and civic buildings, and associated with a particular building style. increasingly for residential structures.In both cases, These may be fixed or operable. wood or metal, the components of the frame have Windows are also defined and characterized by their distinct roles, patterns, dimensions and profiles, materials.Wood frames are the common residential arising from a combination of style and function. type, often combined with decorative leadwork. The manner in which windows are combined or Steel frames become more popular for residential arranged on a building facade (the fenestration) buildings with changes in manufacturing and style, also may be distinctly associated with a building usually in casement form and often for apartment style. For example, on some bungalows a large buildings. Each material has a very distinctive central pane of fixed glass was flanked by a pair character.Each is also strong and durable. of vertically-proportioned casement windows. This compound window frequently occurred on Deterioration of Historic Windows building fronts under broad porches. (See the Properly maintained, original wood windows discussion of individual building styles in the will provide excellent service indefinitely. Historic Context and Architectural Styles, PART I Most problems that occur result from a lack of Section 4, for additional information about specific maintenance. The accumulation of layers of paint window types.)All of these features are elements of on a wood sash for example may make operation historic window designs that should be preserved. difficult. Using proper painting techniques, such as removing upper paint layers and preparing a proper substrate, can solve this problem.Repairs to restore the functionality and efficiency of a double-hung sash,for example,are usually relatively simple. 3:2 PART II Salt Lake City Chapter 3. Windows Historic Buildings - Typical Window Types and Styles . i r: 1" , \44' Double-hung Window Composite Window Diamond Pattern Window Characteristic of Characteristic of Characteristic of All styles except Art Moderne or • Classical Revival(simpler than • Tudor Revival International Style. above) • Dutch Colonial Revival • Bungalow • All Victorian styles • Dutch Colonial Revival • Four Square 1431 . . 147<5..IHN 1,...k i ,,W- kr._ 'A4',,N,, ..:••••• Craftsman Window Geometric Window Casement Window Characteristic of Characteristic of Characteristic of • Bungalow • Queen Anne • Tudor Revival • Prairie Style • Italianate • Prairie Style • Foursquare • Second Empire • International Style(with steel Art Moderne muntins) • • Arts&Crafts • Ranch A Preservation Handbook for Historic Residential Properties&Districts PART II 3:3 PART II Design Guidelines F ti Often the appearance of peeling paint creates a • - visual impression of deterioration, when in most �� ---- cases the wood frame may be structurally sound and is %^ stable,and may warrant only remedial maintenance I .. or perhaps minor repair. Water damage and the degradation caused by 4 sunlight are concerns. If surfaces fail to drain properly, water may collect and eventually seep rIffr • 1. ,d �� through. Condensation during winter months , can also cause problems over time. Deterioration will gradually occur when the paint surface or il the putty is cracked, peeling or loose. Decay may make operation of the window difficult and, if left untreated, can result in significant deterioration • of window components. In most cases, historic •411 A ii ' � windows are not susceptible to damage if a good • coat of paint is maintained and the putty is sound. ill Steel frames are vulnerable to the same processes, g , l 11 I although they react differently. Moisture [ •-11 penetration to the frame will cause rust which will • i' gradually expand and distort the surface of the i frame section. The rusting of steel frames tends to be slow and in most cases the corrosion will be relatively superficial, with the original frame still Ornamental windows,such as these structurally sound. intricate stained glass designs,are character-defining features which Repair of Historic Windows contribute significantly to the historic and architectural integrity of Whenever possible,repair a historic window, rather the building. than replace it. In most cases it is in fact easier, and more economical, to repair an existing window Safety concerns relating to handling lead-based paint should rather than to replace it. In addition the original be borne in mind when working with paintwork dating from materials contribute to the historic character of the before 1978.There are a series of recommendations and/or requirements for lead-safe working which should be reviewed building. The materials and craftsmanship tend to prior to any work. Lead-based paint should not be considered be of very high quality, and even when replaced a reason to remove and replace historic, character-defining materials or features, including windows, doors details and with an exact duplicate window, which is difficult trim. There are remedial techniques which can be used to to achieve, a portion of the historic building fabric either safely remove or encapsulate any lead-based paint. is lost and therefore such treatment should be See the accompanying links for further information. www.preservationnation.org/issues/lead-paint/ avoided. When considering whether to repair or www.nps.gov/history/hps/tps/briefs/brief37.pdf replace a historic window,evaluate the following: 3:4 PART II Salt Lake City Chapter 3. Windows First, determine the window's architectural Wall % Head significance. Is it a key character-defining element of the building? Typically, windows on the front Muntin of the building, and on sides designed to be visible from the street,are key character-defining elements. A window in an obscure location, or on the rear Glazing / I Stile of a structure, may not be. Greater flexibility in the treatment or replacement of such secondary Stops windows may be appropriate. Sash Second, inspect the window to determine • Jamb its condition. Distinguish superficial signs of / deterioration from the actual failure of window Casing components. Peeling paint and dried wood, for example, may be more superficial than serious Rail problems, and often do not indicate that a window Sill is beyond repair. What constitutes a deteriorated window?A rotted sill may require its replacement, but it does not indicate the need for an entire new Double-hung sash window components window. Determining window condition should occur on a case-by-case basis.However,as a general ---________ rule, a window merits preservation, with perhaps ''`'� Head • II selective replacement of components. If more than 1 50 percent of the window components can not be --Lj' 1 Stile , repaired, then consider replacement. }{�� + Muntin Third, determine the appropriate treatment for the I' 1� window. Where the window is inoperable, remove I IfLexcess paint and free or replace any mechanism . -- Glazing components that don't work. Surfaces may require � Jamb � cleaning and patching. Some components may �I]' have deteriorated beyond repair. Patching and __,, Rail splicing in new material for only those portions '�.` -r that are decayed should be considered in such a , f-_- "__.--- case, rather than replacing the entire window. If Casement window components the entire window must be replaced, the new one should match the original in appearance. (See "Replacement Windows"in following section.) A Preservation Handbook for Historic Residential Properties&Districts PART II 3 :5 PART II Design Guidelines 3.1 The functional and decorative features of a historic window should be preserved. Ij _ • Features important to the character of a window include its frame,sash,muntins, 1141k)!.-• mullions,glazing,sills,heads,jambs,moldings, IilW ' operation,and the groupings of windows. • Frames and sashes should be repaired rather than replaced whenever conditions permit. p lj • 3.2 The position,number,and arrangement of ( historic windows in a building wall should be preserved. lilirillMIIIIIIIIIIIII • Enclosing a historic window opening in a key character-defining facade would be I inappropriate,as would adding a new window It sl 1 opening. t .7.1 • This is especially important on primary facades,where the historic ratio of solid-to- void is a character-defining feature.Greater flexibility in installing new windows may be appropriate on rear walls or areas not visible 9 I f from the public way. J Energy Conservation In some cases, owners may be concerned that an older window is less efficient in terms of energy f conservation. In winter, for example, heat loss associated with an older window may make a room uncomfortable and increase heating costs. In fact, most heat loss is associated with air leakage through gaps around the frame sections of an older window, Historic window frames are well constructed and made from tough and durable wood.With minimum maintenance they will and is often the result of insufficient maintenance last as long as the building,Maintaining the glazing compound over time. Loss of energy through the single pane and sound paintwork,with minimal maintenance of opening mechanism and sliding surfaces,is usually all that is required. of glass found in historic windows is a very small When weather-stripped, and with the addition of a storm proportion of the total. Glazing compound may be window,they will match the energy efficiency of replacements cracked or missing,allowing air to move around the and out-perform them in acoustic insulation. They are also maintainable, rather than having to be completely replaced glass. Sash members also may have shifted, leaving when a component fails. a gap for heat loss. www.nps.gov/tps/sustainability/research.htm 3:6 PART II Salt Lake City 1 Chapter 3. Windows The most cost-effective energy conservation measures for most historic windows are to replace glazing compound, repair the wood members if - - necessary (usually the frame will be structurally - sound) and install weather stripping. These steps ,. will dramatically reduce heat loss,while preserving • 46.;`' the character-defining historic features of the s� r window.They will also improve acoustic efficiency. r Steel frames can be upgraded through attention to ;7_', and removal of paint or rust accumulation,followed .,:i.7. by weatherization. Paint and rust become common _ ------- issues that result from deferred maintenance and that can inhibit the effective opening and operation of the window. Remedial work will restore the When a window is to be replaced,the new one should match the appearance of the original to profiles of the opening and fixed sections of the the greatest extent possible. frame and the precise fit of the original frame. The T_ window can then be weatherstripped to enhance energy and acoustic efficiency. r Where additional energy or acoustic efficiency i might be a concern, consider installing a storm - 111 window. It may be applied to the interior or the _ '`j exterior of the window.A storm window should be I f -}-- designed to match the historic window divisions 'Ng Itnrv' 111;j MI such that the exterior appearance of the original . ; d 1I I II window is not obscured. ' IC Research in recent years confirms that a weatherized . historic window with an additional storm window lx�il ,` (internal or external) will match or exceed the f, . .r �� energy efficiency of a replacement window, at �F^�_. a small proportion of the cost. Acoustically, the External wood framed storm windows designed original with a storm window will tend to be more to fit the primary framework of the original. efficient than a replacement window, as a result of the wider air gap between the two planes of glass. Refer to the Additional Information section at the end of this chapter, or the Appendix, for more information. Maintenance tips for Windows • Maintain a good coat of paint on all exposed surfaces. • Replace old glazing compound. • Install new weather-stripping to reduce air leaks. A Preservation Handbook for Historic Residential Properties&Districts PART II 3 :7 PART II Design Guidelines 3.3 To enhance energy efficiency,a storm window • should be used to supplement rather than replace a historic window. • Install a storm window on the interior where * feasible.This will allow the character of the original window to be seen from the public k way. I+` . ( ' •di• . • If a storm window is to be installed on the Y ! i ' exterior,match the sash design of the original i windows. .\f•' i; 4 , • A metal storm window may be appropriate. n• • The storm window should fit tightly within�` the window opening without the need for sub I The curved sash glass and frame in these frames around the perimeter. windows are distinctive features that • Match the color of the storm window sash with should be preserved. the color of the window frame;avoid a milled ` \ (a silver metallic)aluminum finish if possible. � \` •• Finally,set the sash of the storm window back El fromthe plane of the wall surface as far as El possible. Replacement Windows While replacing an entire window assembly is No Historic discouraged,it may be necessary in some cases. A replacement window should match the original in its design. The new window(onWhen a window is to be replaced, the new one • the left)is smaller than the historic opening should match the appearance of the original to and would be inappropriate. the greatest extent possible. To do so, the size and proportion of window elements, including glass iii and sash components,should match the original. In i most cases,the original profile,or outline of the sash 1.no components, should be the same as the original. At 1 a minimum, the replacement components should Yes No match the original in dimension and profile and Preserve the historic ratio of windowthe original depth of the window opening (reveal) openings to solid wall on a primary facade. should be maintained. 3:8 PART II Salt Lake City Chapter 3. Windows A frequent concern is the material of the W L replacement window. While wood was most often used historically, metal and vinyl clad windows are common on the market today and sometimes are suggested as replacement options by window suppliers. In general, using the same material as the original is preferred. If the historic window was _ wood, then using a wood replacement is the best When replacing a historic window, approach. match the profile of the sash and its components,as closely as possible to that However, it is possible to consider alternative of the original window. materials in some special cases, if the resulting appearance will match that of the original, in terms of the finish of the material, its proportions and the profiles of the sash members.For example,if a metal window is to be used as a substitute for a wood one, the sash components should be similar in size and design to those of the original. The substitute material also should have a demonstrated durability in similar applications in this climate. Unacceptable replacement prottle Finally, when replacing a historic window, it is , important to preserve the original frame casing whenever feasible. This trim element often conveys distinctive stylistic features associated with the historic building style and may be costly to reproduce. Many good window manufacturers today provide replacement windows that will fit exactly within historic window casings. Appropriate replacement profile 3.4 The historic ratio of window openings to solid wall on a primary facade should be preserved. • Significantly increasing the amount of glass on a character-defining facade will negatively affect the integrity of the structure. A Preservation Handbook for Historic Residential Properties&Districts PART II 3:9 PART II Design Guidelines 3.5 The size and proportion of a historic window e ___ k opening should be retained. • An original opening should not be reduced to - f "' ma accommodate a smaller window,nor increased - _ _. , _ , to receive a larger window,since either is likely ,, - - to disrupt the design composition. _ 3.6 A replacement window should match the r �y7 !i original in its design. I'` '4‘.. L. - • If the original is double-hung, then the I1 • . replacement window should also be double- hung,or at a minimum appear to be so. • Match the replacement also in the number and position of glass panes. 4 , • Matching the original design is particularly important on key character-defining facades. 3.7 Match the profile of the sash and its ` ' i, � 0 - , • components,as closely as possible to that of the p original window. ...... -.._.1 .rii�1 . • A historic wood window has a complex i‘i 1 i r \ profile within its casing.The sash steps back i to the plane of the glazing(glass)in several ■ increments(see illustrations of frame sections on page 3:9). • These increments,which individually are measured in fractions of an inch,are important details. 1111 • They distinguish the actual window from the l;, l surrounding plane of the wall. • The profiles of wood windows allow a double- ..;; •„ • I hung window,for example,to bring a rich M 'r �•��s.. • texture to the simplest structure. a • These profiles provide accentuated shadow Framing sections,profiles and details and depth to the facades of the building. materials define the type of window and add considerable detail to the facade. 3 : 10 PART II Salt Lake City Chapter 3. Windows • In general,it is best to replace wood windows Historic Glass with wood on contributing structures, especially on the primary facades. Historic glass is not a matter considered in design • Non wood materials,such as vinyl or review in Salt Lake City. An understanding of its aluminum,will be reviewed on a case-by-case role and origins however helps to inform decisions basis.The following will be considered: on maintenance, repair and alterations. Whether as a decorative feature window, or in the irregularities • Will the original casing be preserved? and reflective qualities of plain historic glass, • Will the glazing be substantially it contributes significantly to the character of a diminished? building. • What finish is proposed? Glass is sometimes overlooked as a key building • Most importantly,what is the profile of the material, although it may comprise a significant proposed replacement window? proportion of the facades of a building, as the primary surface in the pattern and detail of 3.8 In a replacement window,use materials that windows and doors (fenestration). Decorative glass appear similar to the original. is widely used in older neighborhoods as a form of • Using the same material as the original is artwork embellishing and celebrating the building. preferred,especially on key character-defining Symbolism,pattern,color and texture are employed facades. to great creative effect in windows and doors. The • A substitute material may be appropriate in traditional skills used to create leaded and stained glass windows are many centuries old. Curved, secondary locations if the appearance of the window components will match those of the convex glass is often used where a sash window is designed to reflect a curved corner or bay. original in dimension,profile and finish. • Installing a non-wood replacement window usually removes the ability to coordinate the windows with an overall color scheme for the house. It.o I1f UII 7II 1 s e f II 6111 I8r -1 - _ I lilt ,11. -- ill 1 The reflective ripple characteristics of early glass can be appeciated when Lail compared to the regular w MEL .. 'L. surface of more recent replacement glass. A Preservation Handbook for Historic Residential Properties&Districts PART II 3:11 PART II Design Guidelines Plain window glass, as well, until the middle of Additional Information the 20th century contributed its own dimension Maintenance,Repair,Weatherization&Energy Efficiency in shaping light and reflection through the almost "How to Restore Sash Windows", "Window Repair Tips", & 'organic' figuring or ream in the glass. These "Glass Replacement"Old House Journal www.oldhouseonline.com/how-to-restore-sash-windows/ characteristics derive from earlier manufacturing www.oldhouseonline.com/window-repair-tips-from-john-leeke/ processes which were much more reliant on ^ •oldhousejournal.com/magazine/1506 individual craft skills, ensuring that each sheet of National Park Service.Technical Preservation Services. www.nps.gov/tps/sustainability/energy-efficiency/ glass has unique visual qualities. The result is a weatherization/windows-doors.htm www.nps.gov/tps/sustainability/research.htm medium which contributes its own character to www.nps.gov/tps/sustainability/resources.htm . internal and external views and reflections. The National Trust for Historic Preservation.Weatherization sparkle and characteristics associated with historic www.preservationnation.org/information-center/sustainable- communities/weatherization/windows/ glass directly affect the perception of windows as Historic Scotland. Managing Change in the Historic the"eyes of a building." Environment-Windows.2010 www.historic-scotland.gov.uk/index/heritage/policy/ To preserve these unique characteristics retain managingchange.htm early glass wherever possible in the maintenance, English Heritage. Thermal Performance of Traditional rehabilitation and repair of a historic building. Windows.2009 www.english-heritage.org.uk/professional/research/buildings/ Once lost,early glass can not be replaced. If broken, energy-efficiency/thermal-performance-of-traditional-windows/ reclaimed historic glass can sometimes be found to Northen Ireland Environment Agency. Windows. A Guidance match the original.Reproduction glass,with historic Booklet on Openings.Technical Note 4A.2010 www.doeni.gov.uk/niea/windows_a_guidance_booklet_on_ glass characteristics can be found,but at some cost. openings_tn_4a.pdf Department of Arts, Heritage and the Gaeltacht. Ireland. Retain and reuse original glass when carrying out Windows.A Guide to the Repair of Historic Windows.2007 repairs. Where energy and acoustic performance www.ahg.gov.ie/en/Publications/HeritagePublications/ BuiltHeritagePolicyPublicationsIWndows%20%20A%20 may be a concern, consider using an internal or Guide%2oto%20the%20Repair%20of%20Historic%20 external storm window, to retain the original glass Windows%20(2007).pdf and its individual qualities. See the Additional Myers,John H. Preservation Briefs 9: The Repair of Historic Wooden Windows. Washington, DC: Technical Preservation Information section for further reference material. Services Division, National Park Service, US Department of -____ the Interior.1981 www.nps.gov/history/hps/tps/briefs/brief09.htm Park,Sharon C.,AIA,Preservation Briefs 13:The Repair and Thermal Upgrading of Historic Steel Windows. Preservation Technical Notes. Washington, DC: Technical Preservation Services, National Park Service, US Department of the Interior.1984 www.nps.gov/hps/tps/briefs/briefl3.htm IPark, Sharon C., AIA, and Douglas C. Hicks. Preservation dgit Briefs 37.: Appropriate Methods of Reducing Lead-Paint 1rHazards in Historic Housing. Washington, DC: Technical * 4. Preservation Services Division, National Park Service, US I!It,: Department of the Interior.2006 www.nps.gov/history/hps/tps/briefs/brief37.htm JL. ii - 3: 12 PART II Salt Lake City Chapter 3. Windows Randl, Chad. Windows 19: Repairing Steel Casement Park, Sharon C. Windows 8: Thermal Retrofit of Historic Windows. Preservation Technical Notes. Washington, DC: Wooden Sash Using Interior Piggyback Storm Panels. Technical Preservation Services, National Park Service, US Preservation Technical Notes. Washington, DC: Technical Department of the Interior.2002 Preservation Services,National Park Service,US Department www.nps.gov/tps/how-to-preserve/tech-notes/Tech-Notes- of the Interior.1984 Windows19.pdf www.nps.gov/tps/how-to-preserve/tech-notes/Tech-Notes- Staveteig,Kaaren R.Windows 22:Maintenance and Repair of WindowsOB.pdf Historic Aluminum Windows. Preservation Technical Notes. Fisher, Charles E. Windows 9: Interior Storm Windows: Washington, DC: Technical Preservation Services, National Magnetic Seal. Preservation Technical Notes. Washington, Park Service,US Department of the Interior.2008 DC:Technical Preservation Services,National Park Service, www.nps.gov/tps/how-to-preserve/tech-noteslTech-Notes- US Department of the Interior.1984 W ndows22.pdf www.nps.gov/tps/how-to-preserve/tech-notes/Tech-Notes- Vogel,Neal A.and Rolf Achilles.Preservation Briefs 33: The Windows09.pdf Preservation and Repair of Historic Stained and Leaded Glass. Fisher, Charles E. Windows 15: Interior Storms for Steel Washington, DC: Technical Preservation Services Division, Casement Windows. Preservation Technical Notes. National Park Service,US Department of the Interior.2007 Washington, DC: Technical Preservation Services, National www.nps.gov/history/hps/tps/briefs/brief33.htm Park Service,US Department of the Interior.1986 New York Landmarks Conservancy. Repairing Old and www.nps.gov/tps/how-to-preserve/tech-notes/Tech-Notes- Historic Windows:A Manual for Architects and Homeowners. Windows15.pdf Washington, DC: National Trust for Historic Preservation, Replacement Windows 1992 Replacement Windows That Meet the Standards.Preservation www.barnesandnoble.com/w/repairing-old-and-historic- Technical Notes. Washington, DC: Technical Preservation windows-new-york-landmarks-conservancy/1022158945?ean Services, National Park Service, US Department of the =9780471144182&itm=8&usri=windows+repair Interior Fisher, Charles E. Windows 2: Installing Insulating Glass www.nps.gov/tps/standards/applying-rehabilitation/successful- in Existing Steel Window. Preservation Technical Notes. rehab/windows-replacement.htm Washington, DC: Technical Preservation Services, National Park Service,US Department of the Interior.1984. ! www.nps.gov/tps/how-to-preserve/tech-notes/Tech-Notes- I' Windows02.pdf /`, /Fisher, Charles E. Windows 11: Installing Insulating Glass I r iii rl- In Existing Wooden Sash Incorporating the Historic Glass. , t t Preservation Technical Notes. Washington, DC: Technical Preservation Services,National Park Service,US Department • of the Interior.1984. `'-f"'— 1 www.nps.gov/tps/how-to-preserve/tech-notes/Tech-Notes- �— „ Windowsll.pdf i Pr Storm Windows 4,,„..._i_.. ,...1! Trissler, W. & Fisher, C.E. Windows 3: External Storm Windows: Casement Design Wooden Storm Sash. ,r Preservation Technical Notes. Washington, DC: Technical i Preservation Services,National Park Service,US Department ,� 1 OMof the Interior.1984 -1" Amop www.nps.gov/tps/how-to-preserve/Tech-Notes-Windows03.pdf Fisher, Charles E. & Muckenfuss, Laura A. Windows 5: \ i Interior Metal Storm Windows.Preservation Technical Notes. Washington, DC: Technical Preservation Services, National Park Service,US Department of the Interior.1984 ,, 1/w "'`� " www.nps.gov/tps/how-to-preserve/tech-notesfrech-Notes- * A(1):`t,`,ti /, Windows05.pdf c" �� ;,� ` v 1111 ii-N's _Ili' di A Preservation Handbook for Historic Residential Properties&Districts -Al PART II 3:13 Page left intentionally blank Chapter 4. Doors Context &Character CONTEXT&CHARACTER 4 7-1 Doors are usually an important character defining DESIGN OBJECTIVE 4:7 i feature of a historic structure. They provide scale MAINTAINING AIIISTORICDOOR 4:2 to a building and help to define the importance REPAIRING OF HISTORIC DOORS 4:3 of the significant facades, as well as being central to the composition of the individual building ENERGY CONSERVATION 4:5 facades. Some doors are associated with specific REPLACEMENT DOORS _ 4:6 architectural styles, although glass paneled doors with stained glass for example are used in a variety of period designs. Many historic doors are notable for their craftsmanship, materials, placement and finishes. Since an inappropriate door can severely affect the character of a historic house, one should be careful to avoid radical alteration to an old door and to choose a new door that is appropriate to the design of the house. p I E ' Design Objective — T. The character-defining features of a historic door The decorative detail I did W and its distinct materials and placement should be of the porch and ;M • � balustrade complement preserved. In addition, a new door should be in this entrance and character with the historic building.This is especially panelled doorway. - , w ,• important on primary facades. The design of the door is often a key element of the architectural character of the building. 4 A Preservation Handbook for Historic Residential Properties&Districts PART II 4:1 PART II Design Guidelines Typical Historic Front Door Designs 4.1 Preserving the functional, proportional and decorative features of a primary entrance is Jj.,I important. �_„r_„. Doors with Transom and Sidelights • These features may include: the door,door Typically a wooden door flanked frame,screen door,threshold,glass panes, by sidelights and topped with a paneling,hardware,detailing,transoms and rectangular transom, flanking sidelights,and any associated porch or hood. • 11 • Maintain the position and function of an original front doors and primary entrance. • If necessary,use a replacement door with a Craftsman Door design and finish similar to the historic door. This type of door is distinctive for 4.2 When a historic door is damaged, repairing its thick wood plank design,often with upper glass sashes divided by and maintaining its general historic appearance is heavy muntins.Some may have preferred. a wood shelf bracket under the sashes. Maintaining A Historic Door Because a historic door is typically of robust wood construction and is often sheltered by a porch, it tends to be durable and long-lasting.Most problems 1 lg. iiii Paneled Door that occur result from a lack of maintenance and Wooden door with recessed and/or from swelling and warping due to seasonal changes. raised panels. A door may also be worn and sagging because of weathering and constant use. As a result, some 11 la =, historic doors do not properly fit the door frame, allowing moisture and air into the house. �� Water, heat and the ultra-violet rays from sunlight • 46. It I' are major causes of deterioration. Condensation I. 1, during winter months also can cause problems Glass Paneled Door with glass panels and sashes on doors. Damage This type of door has a wide sash Iii il occurs when the painted or finished layer is of glass in the upper portion of the or,1. cracked or peeling. Decay may make operation of door.Many Victorian era houses have glass paneled doors that are the door difficult and, if left untreated, can result embellished with turned wood �� in significant deterioration of door components. In details and etched or stained glass. ( most cases,doors are not susceptible to damage if a 1 I good coat of paint or varnish is maintained. It- 4:2 PART II Salt Lake City Chapter 4. Doors Repairing A Historic Door i Repairing a historic door is preferred to replacing - - ---�� -- -- -A it, thereby retaining a character-defining feature and an important aspect of the building's integrity. Repair is also usually much less expensive than replacement and retains the quality and the ibdt craftsmanship of the original, which with minimal W maintenance will last indefinitely. In many cases a historic door merely needs to be re-hung. Even when replaced with an exact duplicate door, a portion of the historic building fabric is lost. Such treatment should be avoided. When deciding whether to repair or replace a historic door,consider - the following: MI 181 First Determine the door's architectural significance. Is it a key character-defining element of the building? This single panelled oak door reflects the simpler Is the front door visible on the primary facade? forms and detailing of the Arts&Crafts design Is the design of the historic door indicative of the philosophy. architectural style or type of the house? If the answer to one or more of these questions is "yes," then preservation is the best approach.A door in an obscure location or on the rear of a structure may Z ____. _ not be considered a prominent feature of the house. Thus, greater flexibility exists in the treatment or , . .�•`�y+3is replacement of such doors. r` Second Inspect the door to determine its condition. Is the :'+ door hanging wrong or does it lack proper hardware and framing components to make it functional? If I so, replacing these elements is appropriate. Check , 9 the door to see that it opens and closes smoothly and that it fits in its jamb. Some problems may be superficial ones, such as peeling paint, deteriorated detailing or broken sashes.These are issues that can The panelling on this door is echoed in the adjacent sidelight panel,and together with the doorframe be remedied without altering the historic character. detail create a coherent design composition. A Preservation Handbook for Historic Residential Properties&Districts PART II 4:3 PART II Design Guidelines t'A k Third / itDetermine the appropriate treatment for the door. 10 ‘4410.1In many cases the door may not fit the door jamb 0;11•. or threshold as it should. In this case the hinges and the threshold of the door should be tightened d' I i&" i s+m+ or refit to allow smooth opening and closing of the i . door. Surfaces may require cleaning and patching. Some components may be deteriorated beyond AL. ` �. repair. Patching and splicing in new material for " ^= only those portions that are decayed should be i_ considered in such a case, rather than replacing the i ,t_.,1•Elf Cientire door. If the entire door must be replaced, the ' i new one should match the original in its general ! f �_ appearance and should be in character with the I building style. When rehabilitating a historic t. , ' 4,_ 11 .,lfi.� doorway it is important to maintain original doors, jambs, transoms, window panes and hardware x where feasible,even if the door itself is replaced. rilml".1. r • I• i • • •1• 4 • - 415 • i , r r 1,„,„ 4 ''' . , . __,. , 1, ft tit klll 1 The design composition,materials and detailing of the entranceway contribute to the character of the building and its context. Tip Historic and reproduction hardware greatly enhance entries and can readily be found online. 4:4 PART II Salt Lake City Chapter 4. Doors Energy Conservation - - In some cases, owners may be concerned that �''� ` ~ - an older door is less efficient in terms of energy conservation. In winter, for example, heat loss associated with an older door may make a room uncomfortable and increase heating costs. In most - - cases heat loss is associated with air leakage through the space around the door and through glass panes t 1 1111 in the door,if it has any. The most cost-effective energy conservation measures for a typical historic door are to install weather stripping along the door frame and base of the door, to fit the door to the jamb and threshold . and to caulk any window panes if required. These measures will dramatically reduce heat loss while A storm door designed to enable the form preserving historic features. and detail of the door to be readily seen. If additional energy savings are a concern,consider installing a storm door. It should be designed such that the exterior appearance of the original door is not obscured. . . . : f:;11j;-. •,. "Tr •'1 N�1•,'� ,•• •ti The design composition of the door,in this case with stained glass transom light,is important to the architectural and historic integrity of the building. A Preservation Handbook for Historic Residential Properties&Districts PART II 4:5 PART II Design Guidelines Replacement Doors While replacing an entire door assembly is discouraged, it may be necessary in some cases. of), When a door is to be replaced, the new one should • match the appearance of the original. In replacing ' a door, one should be careful to retain the original door opening location, door size and door shape. - In addition, one should consider the design of the door, choosing a replacement that is compatible with the style and type of the house. • A frequent concern is the material of the replacement ` I door. In general, using the same material as the original is preferred. If the historic door was wood, I then using a wood replacement is the best approach. -main Where a historic door or its components are Finally, when replacing a historic door, it is damaged,repair them and maintain their important to preserve the original door frame when general historic appearance. feasible. This is important in keeping the size and configuration of the original door. 4.3 Materials and design that match or that appear similar to the original should be used when replacing a door. 4.4 A design that has an appearance similar to the original door or a door associated with the style of the house should be used when replacing a door. • When the appearance of the original door is unknown,other properties of similar style and period may provide evidence of appropriate design directions. Additional Information Hensley,Jo Ellen and Aguilar,Antonio.Preservation Briefs 3: Improving Energy Efficiency in Historic Buildings.Washington, DC: Technical Preservation Services Division, National Park Service,US Department of the Interior.2011 www.nps.gov/history/hps/tps/briefs/brief03.htm Inappropriate Replacement Doors.Washington,DC:Technical Preservation Services,National Park Service,U.S.Department of the Interior,1999. www.nps.gov/tps/standards/applying-rehabilitationfits- bulletins/ITS04-Doors-Replacement.pdf 4:6 PART II Salt Lake City Chapter 5. Porches Context&Character CON 1'EXT Sr CHARACTER 5:1 Historically porches were popular features in DESIGN OBJECTIVE 5: 1 residential design. From the period of the Classical PORCH FEATURES 5:2 Revival of the nineteenth century to the Craftsman PORCH DETERIORATION 5:2 and Period Revivals of the early and middle twentieth century, architects have integrated PORCH ALTERATIONS 5:4 porches into their buildings. A porch protects an PORCH REPAIR 5:4 entrance from rain and snow and provides shade in PORCH REPLACEMENT 5:5 the summer. It also provides a sense of scale and ADDITIONAL INFORMATION 5:6 aesthetic quality to the facade of a building. A porch catches breezes in the warmer months, providing a ,.• - is space for residents to sit and congregate. Finally, J a porch often connects a house to its context by orienting the entrance to the street. Many architectural styles and building types, .:11111 .-..111111°I...711111.1.........1- - .-- - I including Victorian and Craftsman styles, ! - ► developed with the porch as a primary feature of the front facade. Porches often emphasize the ' - !,, . 41 11 01111111111P1111111. 11111 design expression of the house, such as the Prairie style porch, which usually echoes the horizontal orientation of the house. Because of their historical ,, ,4}4 • importance and prominence as character-defining features,porches should receive sensitive treatment - --1 during exterior rehabilitation and restoration work. __ _ i . I With some more recent, mid-century architectural styles, for example Minimal Traditional, the porch ,,11,..... Il 1___ i .Htt': _'.,"r iti was not a characteristic feature. In such cases :- adding a porch on the primary facade may be out of i - character with the building. : —I Design Objective . ilIli'u, Where a porch has been a primary character- •c,t defining feature of a front facade, this emphasis should continue.A new (replacement) porch should .;, ..--. •ram►''- _ < *, .;e"' be in character with the historic building, in terms of The porch still helps to define the character and style of many of the city's historic buildings,although some may have suffered scale, materials and detailing. insensitive alteration or been removed over time. A Preservation Handbook for Historic Residential Properties&Districts PART II 5:1 PART II Design Guidelines ../;/ ,,,,,,-- `�%� ._ Porch Features '� SO , c / Porches vary as much as architectural styles. They ~4:1 differ in height, scale, location, materials and •�i r / . :, - // articulation. Porches may be simple one or two 1 � / story structures. A porch may project or wrap �.. 9•0 around much of the ground floor, and may often 9 have elaborate details and finishes. Although they I•4-�-- • 0, ,/ ✓1' 1 vary in character,most porches have a few elements Porches take many forms and have various functions: they in common: orient buildings to the street,integrate a house with its context • roof and are often a key catalyst for social interaction. • steps Roof Covering ` al lain Column • columns _ __ _ Railing • balustrading and railings I�I11=7:4111e- �- •I Balusterarchitectural details IL'jI ■!!11II Joints, decking, ��lillllh�(��III�= �71��i�l I�� flooring •These elements often correspond to the architectural E;;\ ;' ?%5'; _ \ , Pier style of the house. Therefore the building's design g - ` _ Steps character should be considered before any major Typical porch components rehabilitation or restoration work is carried out. -. - T. ''''r '' : Porch Deterioration .. . •-• #4 •0.. '�` Because of constant exposure to sun and rain and �1� pp. the fact that a porch is open to the elements, it . I � •' decays more quickly than other portions of a house. Much deterioration is caused by rain spilling onto the porch from the main roof of the house. If this I water does not drain away, then deterioration ioccurs. Furthermore, if the water is not then channeled away from the foundation of the porch ,�,_ its footings may be damaged. One type of damage ; '41 is "rising damp," a condition in which masonry o • . absorbs ground moisture and begins to decay. Other problems include weathering of features such as posts, columns, steps and decorative detailing. In this porch,grouped slender columns Peeling paint is a common symptom. In some support an entablature and the gable above. These are key architectural features that cases the porch itself may experience sagging or should be preserved. detachment from the house due to settling of the house and/or the porch. 5 :2 PART II Salt Lake City Chapter 5. Porches 5.1 Preserve an original porch whenever feasible. ► • �• T �' '"'0''" f._ Replace missingposts and railings when r ''', i 1 ) • Re P g 6,it f— _ /- t necessary. . ,, • Match the original proportions and spacing of '1 balusters when replacing missing ones. • Unless used historically, wrought iron, ,'l !- especially the"licorice stick"style that emerged � � in the 1950s and 1960s,is inappropriate. I hill 1 11111111 I • Consult Chapter 2 for appropriate materials `m 4 for masonry,wood,metal and other porch I i materials. The porch may form a principal characteristic of the composition. 5.2 The historic materials and the details of a porch should not be removed or covered. • Removing an original balustrade, for example, r is inappropriate. - - r ^4 - • Original materials and surfaces, like ceilings, • i . - - eaves, and columns should not be covered or --1*' obscured. r I n<e, f •r. IuM.. A porch creates attractive shaded semi-private outdoor living space. 11 r. —- Aill 5,I r tiir4:411 r t ' dE ,rair , — .0.04tri0 •. ,o'er• ' '.. j.. ' y Elegant classical proportions and Bungalow porch with battered(tapered)columns. detailing mark the entrance. A Preservation Handbook for Historic Residential Properties&Districts PART II 5:3 PART II Design Guidelines Porch Alterations - Many porches have been altered or removed. Some .�=r-•".1 ( ,,. - have had minor changes, such as roof repairs or �- repainting, while others have been altered to the - 1' degree that they have lost much of their character.In 1. .W1I-,- '`! many cases a porch may have lost character defining %,.. - features, such as balustrades, posts, columns and r "`�r,. �1. decorative brackets. These are features that usually s v define architectural styles, and that may have been replaced by incompatible substitutes. For instance, Square columns in various designs create detailed variety and a visual richness in this complementary sequence of full-width wood columns and balustrades were commonly porches. replaced with thin "wrought iron" railings and . - - • -;�.:.. - - a —' posts in the 1950s.This alteration compromised the `�_ proportions and architectural integrity of the house. ._ramini In the mid-twentieth century,it was also fashionable to remove the front porch completely. Since the ( . . ..• - 1950s, it has also been popular to enclose a front • ` • — I, porch to create an interior room, which destroys its NI ' historic character and function, and compromises ' I ;IP''• the architectural integrity of the building. .:,....� +— Porch Repair Wood columns and balustrades were commonly replaced with After discovering structural or cosmetic problems thin"wrought iron"railings and posts in the 1950s. This compromised the proportions and architectural integrity of the with a porch, one should begin to formulate a house. strategy for its treatment.The most sensitive strategy :`S ' is to repair the porch. This treatment is preferred, rather than replacing the porch altogether. In most • cases it is in fact easier, and more economical, to •.•_- - •.J,': is repair an existing porch or porch elements (usually �0� r; ( �, constructed of very durable materials) rather than I `-_:,� to replace them.This approach is preferred because .. • I/ the original materials and craftsmanship of a porch '.11 i contribute to the historic character of the building. ' I I Even when replaced with an exact duplicate porch, I 1 FR or -- a portion of the historic fabric is lost. Porch design is usually a notable part of the architectural style and composition,articulating building orientation and scale, while emphasizing intricate detailing and craftsmanship. 5:4 PART II Salt Lake City Chapter 5. Porches Porch Replacement ; illi While replacing an entire porch is discouraged in 11 El *j favor of its repair, severe deterioration may render --"' - Ir. it necessary in some cases. When a porch is to be _ ~• replaced, the first step is to investigate the current i ' porch to determine its history,as well as to ascertain . 111i1111li11llll11Th1111 ,,,, .I! which features, if any,are original.The second step , t'>; Ar•'": ., 4, is to research the history of the house to determine - ' - ' the appearance and materials of the original porch and in doing so search for: ily '---- 1. • Written documentation of the original porch in ,e'A the form of historic photographs, sketches and/ or house plans; - Y ii -1'P' • Physical evidence of the original porch, _ f 4 including "ghost lines" on walls that indicate 1,t4!I f.: sr • nu r 4 the outline of the porch and/or holes on the 1 i rq'� •' exterior wall that indicate where the porch may Repair original elements of the porch and consider have been attached to the front facade; reinstating original features which have been lost. • Examples of other houses of the same period and style that may provide clues about the design A . -`:-:- . ikui: and location of the original porch. Sanborn $ �e insurance maps may help with location. The most important aspects of the project involve V,A the location,scale,and materials of the replacement . .s_ porch. It is not necessary to strictly replicate ` ' 141, " the details of the porch on most "contributing" einMillIg buildings.It is important,however,that new details be compatible with the design of the original porch ILI and the style of the house. `�•� , ...1111 A rear porch may be a significant feature,including �r' a first or second story sleeping porch. Historically, A i . . these served a variety of utilitarian functions and t'`- ;;I �:, �•helped define the scale of a back yard. Preservation � -_�-•� = ..�.,,, of a historic rear porch should be considered as an option, whenever feasible; at the same time it is - . recognized that such a location is often the preferred The detailing of a porch,whether entablature and position for an addition. columns or this jigsaw ornamentation with intricate balustrade,should be preserved. A Preservation Handbook for Historic Residential Properties&Districts PART II 5:5 PART II Design Guidelines 5.3 If porch replacement is necessary,reconstruct 1 — it to match the original in form and detail when feasible. 1/0111111111le • Use materials similar to the original where >= possible. i us -A'' • On contributing buildings,for which no I I I t evidence of the historic porch exists,a new r !'. , '7"t porch may be considered that is similar in t ,' J ,11iti character to those found on comparable ,,— —__--- buildings. ._ • Avoid applying decorative elements that are Intricate detailing is reflected on the not known to have been used on the house or porch and elsewhere on the building. others like it. l: • Matching original materials is the first 0 , ,., ,- - --- choice.Yet if detailed correctly and painted aril b = �▪ xt - .r4i • appropriately,new materials such as fiberglass o.i' A,.�" columns and composite decking may be I `iromysi ,. acceptable alternatives. iP :, ‘ • The height of the railing and the spacing of r± balusters should appear similar to those used 'h'� historically. 111 ,11 1r 5.4 The open character and integrity of a historic Rivet I► ' • •' •, • - front porch should be retained. This porch reconstruction drew • Enclosing a porch should be avoided. inspiration from historic details. • Restore a previously enclosed porch to its original open character whenever feasible. i- till • Additional Information Inappropriate Porch Replacements.Washington,DC:Technical __ _•Slia Oe6:-_ Preservation Services,National Park Service,U.S.Department of the Interior,1999. Enclosing a front porch will www.nps.gov/tps/standards/applying-rehabilitation/its- signiflcantlycompromise the bulletins/ITS09-Porch-Alterations.pdf architectural integrity of the house. Massey,James C.&Maxwell,Shirley."Reading the Old House" and"Sleeping Porches."Old House Joumal,July/August 1995 Maintenance Tips for Porches Sullivan, Aleca and John Leeke. Preservation Briefs 45: • Maintain drainage off of the main roof of the house,as Preserving Historic Wooden Porches. Washington, DC: well as off of the roof of the porch. Technical Preservation Services Division, National Park • Channel water away from the foundation of the porch. Service,US Department of the Interior.2006 www.nps.gov/history/hps/tps/briefs/brief45.htm • Maintain a good coat of paint on all exposed wood surfaces. 5 :6 PART II Salt Lake City Chapter 6. Architectural Details Context& Character ' CONTEXT&CHARACTER 6:1 Architectural features and details play several roles DESIGN OBJECTIVE 6: I in defining the character of a historic structure: REPLACEMENT MATERIALS 6:2 they add visual interest, define certain building ADDITIONAL INFORMATION 6_4 styles and types, and often showcase superior craftsmanship and architectural design. Features such as window hoods, brackets and columns 111 exhibit materials and finishes often associated with 1i 'y� particular styles. Their preservation is therefore \ ' important. Preserving original architectural details is critical to the integrity of the building,and its context.Where replacement is required, one should remove only those portions that are deteriorated beyond repair. ;.'2 Even if an architectural detail is replaced with an r 4 exact replica of the original detail, the integrity of the building as a historic resource is diminished. • Preservation of the original material is preferred. The fine Classical details help to define the facade and fenestration of See Chapter 2 on materials and repair. this Italianate style. Design Objective The architectural details associated with a historic � 4 building are essential to its character, style and integrity, and should be retained and preserved. _ - - -t'111/4 �+ 6.1 Protect and maintain significant stylistic elements wherever possible. • Distinctive stylistic features and examples of it skilled craftsmanship should be treated with sensitivity. • The best preservation procedure is to maintain ?TIT historic features from the outset so that repair The deep eaves,rafter tails,arches or replacement is not required. and columns help to define the individuality of this bungalow design. A Preservation Handbook for Historic Residential Properties&Districts PART II 6:1 PART II Design Guidelines • Protection includes maintenance through rust removal,caulking,limited paint removal and \ reapplication of paint,as well as maintenance 1► of roof drainage and water removal systems. 1i 1r • Refer to Chapter 2 for appropriate repair 1► materials and methods. 6.2 If replacement is necessary,design the new element using accurate information about the Where replacement of a detail is required,one original features. should remove only those portions that are deteriorated beyond repair. • The design should be substantiated by physical or pictorial evidence. • In historic districts,intact structures of similar age may offer clues about the appearance of specific architectural details or features. • Speculative reconstruction is not appropriate for individual landmarks,since these structures have achieved significance because of their historical and architectural integrity.This integrity may be jeopardized by speculative reconstruction. - • Replacement details should match the original in scale,proportion,finish and appearance. fri Replacement Materials Using a material to match that employed historically 't\i t6\-t h�L -.r -- is always the best approach. However, a substitute �•``,�= k . material may be considered when it appears similar 8 I ! in composition, design, color, and texture to the r; original. _ 1 Original and reinterpreted/restored intricate detailing helps to define the front facade of both properties. 6:2 PART II Salt Lake City Chapter 6. Architectural Details In the past, substitute materials were employed as ' ' . 1."; '' ' . ,f- ,j •; . cheaper,quicker methods of producing architectural < -? z- •:r- ;' t features.For example,in the late nineteenth century r cast metal window hoods replaced those previously -"`' a ram.,• ' Li constructed of wood or stone.Many of these historic it : t _ - :Nil✓ "substitutes" are now referred to as traditional �..__ materials. Just as these historic substitutes offered �i advantages over their predecessors, many new 3_ materials today hold promise. In Preservation Brief 16, The Use of Substitute I -1". 1— ;,:�`!1 ",� ,s,4 Material, the National Park Service comments that . - "some preservationists advocate that substitute 11 dllr� 4; materials should be avoided in all but limited i iji if,,.a it , cases.The fact is,however, that substitute materials ilw ,--- _ are being used more frequently than ever. They 1i' __ �>a i golip,2Gr•seiaia7 can be cost-effective, can permit the accurate ''t+rrg t Via:f,.11111101$ 1.ji- ..., 'z ,;, . • , visual duplication of historic materials, and last a "�"` �' 9 Maintaining the composition and embellishment reasonable time." [www.nps.gov/history/hps/tps/briefs/ provided by original architectural detail is essential. brief16.htm] However, these substitute materials should not be used wholesale, but only when it is f �: absolutely necessary to replace original materials �^ �. with stronger,more durable substitutes. :.Y (� . Substitute materials may be considered when ',,— the original is not easily available, where the / / 1 original is known to be susceptible to decay, or where maintenance may be difficult (such as on a �'/ K 7;01K church spire). / Many materials that might appear to be a substitute .: r for the original material have not been in use long [2.1 enough to have an established record for durability ' . and weathering. Care should be exercised to ensure that they will maintain the appearance of the original after installation. Additionally, certain / _ materials will not readily maintain a coat of paint, 11 ti and hence may preclude the use of a color scheme to unify the building materials or enhance the - •�-- architectural details. Using non-paintable substitute materials may preclude enhancing architectural details through a carefully considered color scheme. A Preservation Handbook for Historic Residential Properties&Districts PART II 6:3 PART II Design Guidelines 4 1 1 rii7 -e i Another factor that may determine the 0 ::'" appropriateness of using substitute materials for ,: 'G architectural details depends on their location and f'` degree of exposure. For example, lighter weight F:19 — b materials may be inappropriate for an architectural ,. detail that would be exposed to intense wear. ; ;.4.. - t i' ; 6.3 When the original element is missing and A_— r•: cannot be documented,develop a new design ' _ ,=„�„_T for the replacement feature that is a simplified i• ----- interpretation of the original. A new porch in character with the house. • The new element should relate to comparable features in general size,shape,scale and finish. • Such a replacement should be identifiable as . 61 \ being new. m - • Use materials similar to those that were used historically,wherever feasible. - - .,1 ,i ,r-irli d ['. 7/1)s 1►. , Ile Liriggill / -- Aii rr"' L-- t All J 1111111111i 'NI Restoring the detail,character and architectural importance of Intricate detail picked out in color. an original porch(below)following insensitive alterations in the past(above). Additional Information One of the best sources for historic photographs is Salt Lake County Records Management, which maintains early tax photographs for thousands of buildings. 6:4 PART II Salt Lake City Chapter 7. Roofs Context&Character CONTEXT&CHARACTER 7: I The character and profiles of the roof are major ROOF DETERIORATION 7: 1 features of most historic buildings. When repeated DESIGN OBJECTIVE 7:2 along the street, the repetition of similar roof forms ROOF MATERIALS 7:3 also contributes to a sense of visual continuity for the neighborhood. In each case, the roof pitch, GUTTERS&DOWNSPOUTS 7:5 , its materials, size and orientation are all distinct ADDITIONS 7:6 . i features that contribute to the character of that DORMERS 7:6 roof. Gabled and hip forms occur most frequently, ADDITIONAL INFORMATION 7: although shed and flat roofs appear on some building types. r While the function of a roof is to protect the house from the elements, the roof form is a major `, element establishing the character of the building. ii,r r r Historically, the roof shape was influenced by Gabled Roof ! "` E �' � climatic considerations, which determined roof lr forms and pitch. Salt Lake City has seen them'', iy construction of various roof forms. Gabled Chimneys and dormers can be major character- defining features of the roofscape, and are often Hipped Roof -.pro* designed to great effect to crown and embellish the , • 1 architectural composition. In many instances they i_� ;;' ` 1 • ,3 combine functionality with great decorative impact. L\ I �� _ � Roof Deterioration �- I MR Shed Roof behind gabled roof 77 , - The roof is the building's main defense against the : '.,,`'rtr�-" *"' .-� elements. All components of the roofing system Hipped 11. are, however, vulnerable to leaking and damage. I1;11 When the roof begins to experience failure, many I � gip •.. ,�`'': { other parts of the house may also be affected. For __ __ ,y ?; example, a leak in the roof may lead to damage Fla t Roofp '�` elsewhere,such as attic rafters and wall surfaces. _ li ' I• 1 is:. Clipped Roof Clipped A Preservation Handbook for Historic Residential Properties&Districts PART II 7:1 PART II Design Guidelines Appropriate Roofing Materials Common sources of roof leaks include cracks in chimney masonry, failed valley (lashings, loose Flashing around chimneys and ridges, loose or missing roof shingles, cracks in roof membranes caused by settling rafters, or water backup from plugged valleys,gutters or moss accumulation. Chimneys are by nature very exposed,cope with Bar-Tiles.Appropriate for: greater temperature extremes and are consequently Spanish Colonial Revival Buildings susceptible to more rapid weathering than other masonry features. Additional maintenance here may be required to avoid premature deterioration. In repairing or altering a historic roof,it is important / to preserve its historic character.For instance,one should not alter the pitch of the historic roof,the - -.1 ._L perceived line of the roof from the street,or the orientation of the roof to the street. The historic depth of overhang of the eaves,which is often based on the style of the house,should also be preserved, as should the roof shape,eaves,cladding and the I •I features of historic dormers. Design Objective The character of a historical roof should be Asphalt Shingles preserved,including its form,features and materials Appropriate for:All except Spanish whenever feasible. Colonial Style 7.1 The original roof form and features should be preserved. • Altering the angle of a historic roof should be ravoided. _;">v%' •-- • Maintain the perceived line and orientation of the roof as seen from the street wherever possible. • Historic chimneys and their details should be i c retained. • Historic dormers and their details should be Wood Shingles retained. Appropriate for:All except Ranch Style 7:2 PART II Salt Lake City Chapter 7. Roofs • Retain and repair roof detailing wherever Finial possible. Ridge/Crest Pendant 7.2 The original historic depth of the eaves should Vergeboard be preserved. Gable • The shadows created by traditional overhangs Cornice Return contribute to one's perception of the building's Soffit Fascia historic scale and therefore,these overhangs should be preserved. Elements of a Roof • Cutting back roof rafters and soffits or in other `r ��'- ways altering the traditional roof overhang is _— -_" — \— y therefore inappropriate. -_ \ :r, Roof Materials _ T—— ., :" When repairing or altering a historic roof, one — should avoid removing historic roofing materials _ that are in good condition. Where replacement is ikk necessary,such as when the historic roofing material Natural slate is rare in the city and is the most fails to properly drain or is deteriorated beyond durable of traditional roof materials,usually requiring use, one should use a material that is similar to the only piecemeal replacement of damaged individual slates. original in style and texture. The overall pattern of the roofing material also determines whether or not ! ,�.;'- • w certain materials are appropriate.For instance,cedar _ ,i,.; and asphalt shingles have a uniform texture, while ' 8• , standing seam metal roofs create a vertical pattern. h- The color of the repaired roof section should also \I . l _— be similar to the historic roof material. Wood and s asphalt shingles are appropriate replacement `4� materials for most roofs. A specialty roofing c\ material, such as tile or slate, should be replaced • ' ' ,,? with a matching material whenever feasible. i 'Alt' ,N\. . '.. Unless the existence of a historic metal roof can be l ` demonstrated,either by existing material or through historic documentation such as photographs, the use of metal shingle or standing seam roofs on itR ` • contributing structures should be avoided because of their texture,profiles and reflectivity. Gables,deep cave profiles&rafter tails are key elements of the design. A Preservation Handbook for Historic Residential Properties&Districts PART II 7:3 PART II Design Guidelines Appropriate Eaves Depths on Various 7.3 Preserve original roof materials wherever Architectural Styles feasible. Eave:The lowest part of the roof.It is the section of a roof that • Removing historic roofing material that is in projects beyond the juncture of the roof and the wall. good condition should be avoided. P _ • Where replacement is necessary,use materials that are similar to the original in both style and ( physical qualities wherever possible. • ��:. • Use a color that is similar to that seen �� \ hi... , historically. 11 t 11 • Specialty materials such as tile or slate should 1 IR \ be replaced with matching material whenever Vernacular Building feasible:replacement of a few individual units may be all that is required with these durable Bungalow materials. ,AA. CCa)�i, rl;T 7 , ,i Ii - Queen Anne Style z'', t '' '' ��, r= Maintenance &Repair Tips .: -, . ... . Roof Repair r n Working with a roof should be prioritized to reflect importance. ; 11 1. Chimney-repair,clear and clean(rebuilding,repointing, .III - [1.chemical cleaning). 2. Roof-repair or replacement. • 3. Eaves-Paint the eaves. 4. Gutters&Downspouts-Installation&/or replacement. " -�" + Drip Edge • Coordinate the color of the drip-edge with the color of Asphalt shingles are the typical and the roof. The roof will last much longer than the choice of appropriate roofing material for this paint colors. style and period of architecture. Gutters&Downspouts • Maintain gutters and downspouts in good condition. • Keep glitters and downspouts free from debris to ensure proper drainage. • Patch holes in gutters and downspouts to keep water from seeping onto walls and foundations. • Install glitters in a manner that is not detrimental to historic building materials. • Ensure that downspouts drain away from the foundations of the building. 7:4 PART II Salt Lake City Chapter 7. Roofs Gutters&Downspouts ki' -1�,-,--i,: Gutters and downspouts are mechanisms for i, ,o�...t.' . diverting water away from a structure.Without this drainage system, water would splash off the roof -, ?x~ onto exterior walls and run along the foundation `., ,,S, Nt•: t' of the building. If gutters and downspouts are to • ' z� M • perform adequately, certain requirements should it" r _ ; ,�" e be met. They must be large enough to handle w t r.L i the discharge. They must have sufficient pitch to i , .. 1 1 , carry the water off quickly. They must not leak. .- t. t They - must not be clogged with debris. 5. /11 / gg ��a ass- / ; Because of low rainfall, many residential buildings ......_kfir ilk lkAt/ . , in Salt Lake City were not designed with any , drainage system, or only a partial system(e.g. over ,`. , .11ill entryway).Installation of a new system,where none 1� I"� `i • ' ,.. ,,,,. 44, , previously existed, is appropriate if drainage is an r 0:444111,\ ,,; M1,4h1,4•.+ �% ik4h44\�� issue.These should be designed to have least impact ,M44%woo,: on historic materials, and not obscure important ?� "�A�., . 1:7:y.r?b.;, .. design features (such as rafter tails,cornices,etc.). __ '___•_ ., 7.4 Design new guttering and downspouts to retain historic architectural features and details. • This may affect the choice of gutter profile and • '"`.r...•.•_..._..., l': r.f :.;;, the method of attaching the gutters. _ ```_ I?,4 i s 1,.::•4 1 I: . i.1:;114-'", *•:_ z �i Op ._14.1. .9-1 1..',.. illa III III.,, -- C � nc 1 in 4 C.` i -i►sjpll - F 1 i lit__ Gutters and downspouts may Gen Cedar,clay and slate create special considered part of the building design. roof textures,colors and character. A Preservation Handbook for Historic Residential Properties&Districts PART II 7:5 PART II Design Guidelines ...i., Additions ir.'`,. ' It is important that the roof form of an addition be compatible with the roof form of the primary Istructure, in terms of its pitch and orientation. In planning an addition, one should review the architectural form and massing of the original building. The design should recognize the historic I roof configuration and avoid altering the pitches of ' I the roof and its sections.The perceived historic roof .41 lines should be maintain and reflected in the form of 'Iti ti,,, ; InnNT,,,rr,;,,.,r!l No the addition.See also the discussion on Additions in Rear addition which reflects the Chapter 8. eaves heights and profiles. - - - r Dormers T II , A: :. Historically a dormer was sometimes added to /iv/ .':)-. 4,4. -,e.. : create more head room in upper floors or attic spaces. It typically had a vertical emphasis and ,........*„., was usually placed singly or in a pair on a roof. One exception to this would be a more horizontal - r ti, proportion often found in the bungalow style. I ,1 1 I 1 I I' _ A dormer did not dominate a roof form, as it was Rear addition designed to integrate with the historic roof form. subordinate in scale to the primary roof. Thus, a new dormer should always read as a subordinate �� L element to the primary roof plane. A new dormer should never be so large that the original roof line is obscured. It should also be set back from the roof Gabled Dormer:appropriate for most architectural styles.s. endge and located below the roof ridge in most cases. � I% addition, the style of the new dormer should be # * ' _ - �� in keeping with the style of the house. \ 7.5 When planning a roof-top addition,the Hip Dormer:appropriate for most Shed Dormer: overall appearance of the original roof should be architectural styles. appropriate for Bungalow styles. preserved. eS '� b • An addition should avoid interrupting the '� original ridgeline whenever possible. i 1 , • See also the design guidelines for Additions in Gable roof Hip roof Place a new dormer such that the roof Chapter 8. line is preserved,as in the sketches, above. 7:6 PART II Salt Lake City Chapter 7. Roofs 7.6 The visual impact of skylights and other x " A.. rooftop devices should be minimized i'ay'yV a r • Skylights or solar panels should be installed to -r'a4. � M: ; V---A �w reflect the plane of the historic roof. A t`�. 1 •`' rtk -1r •_•- 1 L • They should be lower than the ridgeline,when ! •, possible. i la?1 p v rfr •M • Flat skylights and solar panels that are parallel - .r� with the roof plane may be appropriate on the J 1 IIIJJ� - ' I. rear and sides of the roof. r--o '!... • Avoid locating a skylight or solar panel on a , ____ front roof plane wherever possible. ,, • See also the policy and standards for Small Solar Energy Collection Systems in the Zoning • j Ordinance-21A.40.190. ?' i - •- 7.7 Conjectural materials or features on a roof _ t .' =-- should be avoided. '� `• �?e • Applying a modern material that is 1• i 1 •,r supposed to look like slate but is not slate, to a contributing structure,for example,will I; • 4• 1 overpower and detract from the architectural _, J integrity of the home. •,, y 1 • Adding elaborate eave details or a widow's j • - 1. .,.ab .1. .::1YI: �l,*-, _walk(an ornate railing around the roof ridge) ii . . on a house,where there is no evidence that any r ..j,, existed,creates a false impression of the home's P.- original appearance,and is inappropriate. 44 1 ; 7� 4_ N_. f 1 • _ �J iII l i__Alill _ - _ �r % 441% A 4-,., ,..., ., Dormer design is usually an integral part of the roof ; __ composition. A Preservation Handbook for Historic Residential Properties&Districts PART II 7:7 PART II Design Guidelines y Additional Information ! 1/4 Grimmer,Anne E. and Paul K. Williams. Preservation Briefs alli 30: The Preservation and Repair of Historic Clay Tile Roofs. 1 \ Washington, DC: Technical Preservation Services Division, 111111141 �. j � \ National Park Service,US Department of the Interior.1982 \\ www.nps.gov/history/hps/tps/briefs/brief30.htm 1 I Levine, Jeffrey S. Preservation Briefs 29: The Repair, : \\\ Replacement and Maintenance of Historic Slate Roofs. r _ \` • ii Washington, DC: Technical Preservation Services, National � Park Service,US Department of the Interior.1982 II , ` Z\ www.nps.gov/hps/tps/briefs/brief29.htm oil, �•rr�+7 �: ``` Pieper, Richard. Preservation Technical Notes: Metals #2: (: 4t,» Restoring Metal Roof Comices. Washington, DC: Technical r Preservation Services,National Park Service, US Department f. of the Interior.1990 . , www.nps.gov/tps/how-to-preserve/tech-notes/Tech-Notes- t Metals02.pdf Slate Roof Treatments. Washington, DC: Technical i Ii- --' • Preservation Services,National Park Service, US Department \ of the Interior,2005. .L \44- www.nps.gov/tps/standards/applying-rehabilitation/its- bulletins/ITS32-SlateRoof-Treatment.pdf -:� S Sweetser,Sarah M.Preservation Briefs 4:Roofing for Historic ` Buildings. Washington, DC: Technical Preservation Services - F E=' Division,National Park Service,US Department of the Interior. 1978 www.nps.gov/history/hps/tps/briefs/brief04.htm Park,Sharon C.,AIA. Preservation Briefs 19:The Repair and L Replacement of Historic Wooden Shingle Roofs.Washington, DC: Technical Preservation Services Division, National Park Service,US Department of the Interior.1989 www.nps.gov/historylhps/tps/briefs/briefl9.htm -. r ik , _ r ,.. , _ . , . -4 ' —• INni ----- ...... i -.,‘ i i ' . _- �r��r�rrrr t I1 . : • t 7:8 PART II Salt Lake City Chapter 8. Additions Context&Character CONTEXT&CHARACTER 8:I Over time, additions were made to many historic DESIGN OBJECTIVE 8: 1 buildings as residents needed more space. In EXISTING ADDITIONS 8:2 some cases, an owner would add a wing for a new NEW ADDITIONS BASIC PRINCIPLES 8:2 bedroom,or would expand the kitchen. GROUND LEVEL ADDITIONS 8:8 An early addition typically was subordinate in scale ATTIC-ADDITIONS S:9 and character to the main building. The height of ROOFTOP ADDITIONS 8:9 the addition was usually positioned below that of the main structure and was often located to the side ADDITIONAL INFORMATION 8:I() or rear.The primary facade remained unaltered. r An addition was often constructed of materials that were similar to those in use historically; clapboard siding,brick and vertical,narrow bead boards were • the most common. In some cases, owners simply 'I r� ` added dormers to an existing roof, creating more usable space without increasing the footprint of the .,� r "•4 structure. ,tfy This tradition of adding onto historic buildings • should continue. It is important, however, that `j'- + ` . t ' 4111 new additions preserve the historic character of the This a esi to the rear adopts similar n d desiggn language,detailing original building. and materials. Design Objective dry, The design of a new addition to a historic building e� ,r should ensure that the building's early character is maintained. Older additions that have taken on f: ��+" fI• significance also should be preserved. ; • This recent addition reflects the design traditions of the original with a change in material to siding. The change from original to new is emphasized by a break in the wall plane and roof plane. A Preservation Handbook for Historic Residential Properties&Districts PART II 8 :1 PART II Design Guidelines ��'� Addition Existing Additions \ Some early additions may have taken on historic ri-4.. `�\ significance. One constructed in a manner that was compatible with the original building, and that is also associated with the period of historic Link ft \\\\\,,,-,\�. ,�\\ \s.i� significance, may merit' preservation in its own \\ , right. Such an addition should be carefully ;� �\ evaluated before developing plans for its alteration. In contrast, more recent additions usually have no historic significance. Some later additions in fact ,� detract from the character of the building through \ � �W the use of incompatible materials, design and/or location, and may also obscure significant historic additional architectural features. Where this is the case, typical \,' ��\ width is set back removing such noncontributing additions should facade width \ ��i`�� r-, be considered. Set back an addition from historically important primary facades in order to allow the original proportions and character New Additions - Basic Principles to remain prominent,or set the addition apart from the historic building and connect it with a connecting"link"(Top). When planning an addition to a historic building or structure, one should minimize negative effects 11. -_. that may occur to the fabric and the character of ._ , the building. With the objective of designing an . i ,,, addition which is sensitive to the character and integrity of the building, several considerations ' should be borne in mind. fi - All efforts should be made to build within the a . `- existing envelope, using basement and attic space . .;�`, �� whenever possible. If the only option is outside .--. this envelope, then it is preferable to design for a horizontal addition to the rear rather than the side, J,, if possible. If building upward appears to be the only solution,then a house with a steeper roof pitch ' presents an easier design challenge than a house -- 1 with a shallow roof pitch. This rear addition respects the principal building by continuation of wall plane, eaves and bracket details,while changing the materials and fenestration. 8 :2 PART II Salt Lake City Chapter 8. Additions While some destruction of historic materials is almost always a part of constructing an addition, ' r.!., e such loss should be minimized. Locating an addition so that existing side or rear doors may be / used for access, for example, will help to minimize the amount of historic wall material that must be ♦1-7, • ,- removed. **IV — The addition also should not affect the perceived • character of the building. In most cases, loss of ' ,` �i - �.f I character can be avoided by locating the addition Large rear detached addition incorporating garage with to the rear. The overall design of the addition also dwelling space above. should be in keeping with the design character of the historic structure.At the same time,it should be1E7 distinguishable from the historic portion,so that the evolution of the building can be understood. This record of the building's history can be achieved in a variety of subtle ways. Keeping the size of the : addition smaller and subservient, in relation to the , ail III It main structure, will also help to minimize its visual impacts. If an addition must be larger, it should be .�. set apart from the historic building, and connected pc.w, with a smaller linking element. This will help maintain the perceived scale and proportion of the • historic portion of the building. Small rear addition of individual design and materials,though in keeping with It is important that the addition should not obscure the design character and materials of the significant features of the historic building. If the original building. addition is set to the rear, it is less likely to affect such features. In historic districts, one should consider the effect the addition may have on the character of the district, as seen from the public right of way.A side addition, for example, may change the sense of rhythm established by the side yards in the block. Locating the addition to the rear could be a better solution in such a case. A Preservation Handbook for Historic Residential Properties&Districts PART II 8 :3 PART II Design Guidelines Two distinct types of additions should be - . Y't= � considered: ground level additions, which involve - expanding the footprint of the structure, and attic ' additions, which are usually accomplished by II ? ; installing new dormers to provide more living t ; �' <, space and headroom in an attic or second floor \�' ` ' space. In either case, the addition should be sited and designed so that it minimizes any negative . effects on the building and its setting. At the same II up - � time, the roof pitch, materials, window design and :fir l ^iji, , e general form should be compatible with, though •- . i subtly distinct from,the original building. a A further form is the rooftop addition, involving Early rear addition following the increasing the height and scale of the building. tradition of continuing the eaves line, Since the height and roof form of the structure are stepping back and using contrasting materials and fenestration. usually primary character-defining elements,it may be difficult to design this form of addition without f adversely affecting the character and integrity y 00 of the original building. Rooftop additions are `t i consequently generally discouraged because their design requires special care to locate, compose, II i Of - i . scale, and detail appropriately in order to maintain or enhance the character of a contributing structure. I - �� ,,;J Some houses, in particular the bungalow, do not ; easily lend themselves to rooftop additions. ;d. Small staggered rear addition continuing the axis and Good examples of rooftop additions however eavesline of the residence and distinguished by design and materials. have been built in the city over the years. They are executed in a manner which allows them to _. _ contribute in their own right and enhance the_ �.j w,' significance of the structure. A high bar for design - 11lih1.. nrg1' and construction detailing will consequently be I Lei required for any rooftop addition. >6 i � • `i 8.1 An addition to a historic structure should be .4... designed in a way that will not destroy or obscure ►ii, • q ' historically important architectural features. _-�- • Loss or alteration of architectural details, This rear addition continues the design tradition and cornices and eave lines,for example,should be language of the original with a change in external materials. avoided. 8:4 PART II Salt Lake City Chapter 8. Additions ?+' 8.2 An addition should be designed to be _14 compatible in size and scale with the main '" building. P3 j ,,•t ;@) • An addition should be set back from theprimary facades in order to allow the original r Dirv; proportions and character of the building to 'i>' fIIJ;jI1'/ e .t remain prominent. • ='�! ",• • The addition should be kept visually • I. ; subordinate to the historic portion of the s,� r , • building. • If it is necessary to design an addition that is taller than the historic building,it should be set back substantially from significant facades, with a"connector"link to the original building. Recent rear addition continuing the eaves line and using contrasting materials and 8.3 An addition should be sited to the rear of a fenestration. building or set back from the front to minimize the visual impact on the historic structure and to allow the original proportions and character to remain prominent. • Locating an addition at the front of a structure is usually inappropriate. 8.4 A new addition should be designed to be recognized as a product of its own time. • An addition should be made distinguishable from the historic building,while also remaining visually compatible with historic features.• - A change in setbacks of the addition from the historic building,a subtle change in material, or the use of modified historic or more current styles are all techniques that may be considered to help define a change from old to new Upper and lower level rear additions differentiated by fenestration and materials. construction. • Creating a jog in the foundation between the original building and the addition may help to establish a more sound structural design to resist earthquake damage, while helping to define it as a later addition. A Preservation Handbook for Historic Residential Properties&Districts PART II 8:5 PART II Design Guidelines \_ Tit"io - .- ,' 8.5 A new addition should be designed to \ preserve the established massing and orientation of the historic building. • For example,if the building historically has a -lid f the addition. • 8.6 A new addition or alteration should not hinder Y_ one's ability to interpret the historic character of • i the building or structure. ). 11. • A new addition that creates an appearance inconsistent with the historic character of the building is inappropriate. Rear addition designed to echo the original scale and form. • An alteration that seeks to imply an earlier �� ,Il period than that of the building should be avoided. V • An alteration that covers historically significant features should be avoided. I 8.7 When planning an addition to a building,the ' i historic alignments and rhythms that may exist on . `4"``0 the street should be defined and preserved. • it r, � ;V m� Some roof lines and porch eaves on ,� , ,.. `A. 'r .' — historic buildings in the area may align at ;F ': >> a . •, '` ! .•/ , t •� approximately the same height.An addition .,„icy.-. 2' i should not alter these relationships. 1 • Maintain the side yard spacing,as perceived \t 4.7 ._ 0 from the street,if this is a characteristic of the .4i setting. 1NII 0 r --ia r- 3 , ram, kph'-QMr.- Front and rear views of substantial rear addition adopting the height,scale and forms of the original house. 8:6 PART II Salt Lake City Chapter 8. Additions 8.8 Exterior materials that are similar to the historic materials of the primary building or those used historically should be considered for a new addition. • Painted wood clapboard,wood shingle and , • 11,‘ a brick are typical of many historic residential ' l irr additions. • .' • See also the discussion of specific building types and styles,in the History and .1.. '` N I ' 4 Architectural Styles section of the guidelines. • Brick,CMU,stucco or panelized products may aftr . fi. a , 1be appropriate for some modern buildings b 8.9 Original features should be maintained Rear addition reflecting form and wherever possible when designing an addition. scale and distinguished by wall plane, fenestration,detail and materials. • Construction methods that would cause vibration which might damage historic , ' •' ��' ,;�i foundations should be avoided. ` "'. :'� • New drainage patters should be designed to ` r` '1,y-`.0 avoid adverse impacts to historic walls and -`� r �, li 7.01___:_NA• 4 foundations. ,:: r. . f, • New alterations also should be designed in 'I I r, % : such a way that they can be removed without destroying original materials or features - - — ;,*,,..- - - - -r_... - - -- *``�'- wherever possible. •.. - -,,- Separate Separate and linked addition including garage and living 8.10 The style of windows in the addition should space. be similar in character to those of the historic building or structure where readily visible. ` ? ;,-,,, 'i,�'",,fir i • If the historic windows are wood,double-hung, j: `:- J-' for example,new windows should appear to be f similar to them,or a modern interpretation. _ VI '= ^ .r. 16 hop ..i!' - -mac iT r The addition here takes the form of a new single story wing to the left of the two story earlier building,itself with an early addition of the second floor. A Preservation Handbook for Historic Residential Properties&Districts PART II 8 :7 PART II Design'� Guidelines • ; Ground Level Additions � ''•••.''''V.:4•••iir, 8.11 A new addition should be kept physically 'tom �4 I and visually subordinate to the historic building. .�- ,, ,1-1,*;,;,.;.;.; --__v • The addition should be set back significantly " a < from primary facades. 1t•f! ; r,i,, , #, ,�� •�' The addition should be consistent with the l' F.-.rrt .:. 4 'w- ,'"i'' - t., scale and character of the historic buildingor ,, •.-- " ,.., - , .• structure. ti Large additions should be separated from the The creative use of dormers provides significant additional historic building by using a smaller connecting space in a way that complements the design of the house. element to link the two where possible. 8.12 Roof forms should be similar to those of the }4„ historic building. } • Typically,gable,hip and shed roofs are 1 1 , Id appropriate. - j • Flat roofs are generally inappropriate,except tt'� '.;' where the original building has a flat roof. •- - • 8.13 On primary facades of an addition,a'solid- i to-void'ratio that is similar to that of the historic l,. - building should be used. -/4 • The solid-to-void ratio is the relative percentage V 1• of wall to windows and doors seen on the ', facade. L'V , , , ` A rear addition which is subordinate to the house and differentiated by height,materials, febnestration and simpler profiles and details. 8 :8 PART II Salt Lake City Chapter 8. Additions Attic Additions 8.14 When designing an attic addition,the mass and scale of alterations to the rooflines should be subordinate to and compatible with the scale of the historic building. • An addition should not overhang the lower floors of the historic building in the front or on the sides. • Dormers should be subordinate to the overall roof mass and should be in scale with those used originally on the building(or on similar styles of building if none are present originally). • Greater flexibility may be considered in the setback of a dormer addition on a hipped or pyramidal roof. Rooftop Additions 8.15 A rooftop addition should be situated well back from the front of the building. • This will help preserve the original profile of • the historically significant building as initially perceived from the street. 8.16 The roof form and slope of the addition should be in character with the historic building. • If the roof of the historic building is symmetrically proportioned, the roof of the addition should be similar. • Eave lines on the addition should be similar to those of the historic building or structure. A Preservation Handbook for Historic Residential Properties&Districts PART II 8 :9 PART II Design Guidelines 8.16 The composition and detailing of the addition should reflect those of the house. • Designs for a rooftop addition should derive from a thorough evaluation of the composition of the historic building. • An inventory of the detailed elements of the building can facilitate the integration of the addition and the historic structure. Additional Information Celebrating Compatible Design. Creating New Spaces in Historic Homes.Utah Heritage Foundation,2008 Weeks,Kay D.,Preservation Briefs#14:New Exterior Additions to Historic Buildings:Preservation Concerns.Washington,DC: Technical Preservation Services, National Park Service, US Department of the Interior.1987 www.nps.gov/hps/tps/briefs/briefl4.htm Bock,Gordon."Making Sense of Sensitive Additions,Ways to Get a Handle on Enlarging Old Houses."Old House Journal, May/June,1995 Alterations to Rear Elevations. Washington, DC: Technical Preservation Services,National Park Service, US Department of the Interior,2005. www.nps.gov/tps/standards/applying-rehabilitation/its- bulletins/ITS33-RearElevation-Alterations.pdf Rooftop Additions. Washington, DC: Technical Preservation Services,National Park Service,US Department of the Interior, 2006. www.nps.gov/tps/standards/applying-rehabilitation/its- bulletins/ITS36-Rooftop-Additions.pdf Rear Additions to Historic Houses.Washington,DC:Technical Preservation Services,National Park Service, US Department of the Interior,2006. www.nps.gov/tps/standards/applying-rehabilitation/its- bulletins/ITS37-Houses-RearAdditions.pdf 8: 10 PART II Salt Lake City Chapter 9. Accessory Structures Context& Character CONTEXT Sr CHARACTER 9:1 Accessory structures include original or early DESIGN OBJECTIVE 9: 1 garages, carriage houses or sheds. Traditionally HISTORY OF ACCESSORY STRUCTURES 9:2 these structures were important elements of a PRESERVING&REHABILITATING residential site. Because secondary structures make HISTORIC ACCESSORY STRUCTURES 9:3 important contributions to a site and the district, PRIMARY MATERIALS 9:3 helping to interpret how an entire site was used ROOF FORM& MATERIALS 9:3 historically, their retention and preservation are strongly encouraged. ADDITIONAL INFORMATION 9:4 When treating a historic accessory building, respect its character-defining features such as the primary materials, roof materials, roof form, historic windows,historic doors and architectural details. Design Objective Significant historic accessory structures should be preserved when feasible.This may include preserving the structure in its present condition, rehabilitating it or identifying an adaptive use so that the accessory structure provides new functions. Newly constructed secondary structures should remain subordinate to ' the primary building, and compatible in mass and scale. `11„1�`", 1 =1_ ••••••• 111 is �•Ui ■■ ■E ■■ �j— ''1 if ME MB MEI WE Historically,accessory structures were sited at the rear of a lot;this pattern should be Carriage house with hay maintained wherever feasible, loft door A Preservation Handbook for Historic Residential Properties&Districts PART II 9:1 • PART II Design Guidelines . -tr History of Accessory Structures 'W Studies of accessory structures document a progression from the barn or carriage house to the :. garage. When the automobile arrived, it was often 'i, stored in the barn or carriage house. Later,however, 146./ �11�� '-- �J as the automobile became prevalent, the garage I took on a building form of its own. According to i "Garages in Salt Lake City's Avenues District," % � many characteristics of the carriage house were adapted to accommodate the car. Continuing scale and/or use of early rear garage structures with For instance,due to fear of its potential flammability, shared access driveway. the garage was detached from the house and located a distance from it, usually along an alley, if one existed. Also, various fire resistant materials - 4 _ - •\�. -.' were used in garage walls,including:vitrified brick, ...ow"— V , cast concrete, pressed metals or hollow tile. Roof materials included slate, metal, terra-cotta, wood, .41d1r.._ —.amasphalt and asbestos. IIIg _ , Originally garage doors were similar to those iseen customarily on barns and carriage houses: „ 3, Vi double doors that were side-hinged or that slid horizontally. The use of double doors eventually .:" gave way to a vertically rolling overhead garage - Um I door, which was the prototype for the electric Street facing accessory structure garage door.The location of the garage itself moved reflecting the house design,and using a pair of side hinged doors. as owners became less worried about the threat of flammability. During the 1920s,homeowners began to build garages to the side of their house, and by A '' 1-- , • the 1960s the garage was often part of the house. 1 r' . Early garage slidingdoor arrangement with later alterations. J8 8 8 9:2 PART II Salt Lake City Chapter 9. Accessory Structures Preserving or Rehabilitating =;,l, - :.. % ,F� Historic Accessory Structures =t t :� 4 ^, tr Ru , Primary Materials. " . ..•r - Many of the materials that have been used " 7 j historically in accessory structures are those r ., +I . qs'�. ' , _ employed in the construction of primary buildings. r r ..? ;, a=:03 r . . ;: . 't_ _ _ The characteristics, use, repair and replacement ' It ,. ..,z ', ) •i of these materials are addressed in the preceding ..' chapters. In preserving or rehabilitating accessory This garage reflects the design of the house in form,details and structures, it is important to preserve the original materials. materials to retain the character of the historic ' " structure and its relationship to the house. .L •- a"' ` Roof Forms and Materials - ` ::''r.• 1 1 r Most historic accessory structures had gabled or a ,y shed roofs,with flat roofs becoming more common - from the 1930s. Roofing materials included slate, - v + 00 metal, terra-cotta, wood, asphalt and asbestos. Property owners are encouraged to use period- appropriate roof forms and materials if undertaking more extensive projects, such as converting an 11 1 accessory structure to a new use. However,because Garage&accessory space accessory structures are often subordinate to the • designed to complement the main house, greater flexibility in their treatment historic house. may be appropriate. ,.�, , 9.1 Preserve a historic accessory building when rr_., . . ,.., , feasible. • When treating a historic accessory building, ' . respect its character-defining features such 1i as primary materials, roof materials,roof form,historic windows,historic doors and "�architectural details. •.• . ,;.`'"• A. ;` " y:.l =,4 n 1.0 • Avoid moving a historic secondary structure .- �- 3.;. '' from its original location if possible. `�i.-. - — ---- -'• rf:' r _ A traditional design as garage and accessory space. A Preservation Handbook for Historic Residential Properties&Districts PART II 9 :3 PART II Design Guidelines ` ,s.1 .7. ,3• ' o- '. 9.2 New accessory buildings should be constructed • . 1,''�" to be compatible with the primary structure. ` .) • In general,garages should be unobtrusive and I _'4... not compete visually with the house. `• ' • While the roofline does not have to match the '` d`:,•` house,it should not vary significantly. _ '� ., I • Appropriate materials may include horizontal 4".` siding,wood shingles,brick,and in some cases r` stucco. -- -4V • In the case of a two-car garage consider using Al two single doors since they help to retain a sense of human scale and present a less blank .1 look to the street. Rear garage designed to complement the 9.3 Attaching garages and carports to the primary house. structure should be avoided. illik.:fy 7,,, aka:•.;t: • Typically before c. 1940 a garage was a separate r.-�s' `r=• r«. structure,at the rear of the lot,and this pattern ., •,. ,N- should be maintained where possible. p; .•/1�� 1R;� • The City considers attached accessory .. structures on a case-by-case basis. • An attached garage may be treated as an addition.Regulations and guidelines(Chapter ✓ ' .:! 8)for additions may apply. Recent rear garage designed to complement the scale and character of the house and setting. R'a.z: .. its. ' � e.` i' —;.4.c.tvFF , -' } --.:-T 445,404 - - -- Additional Information - Miller, Lisa. Garages in Salt Lake City's Avenues Historic limo ••••• iitoi , . District.Published by the Utah Heritage Foundation t ,;- Halda, Bonnie J., AIA, Preservation Tech Notes. Doors #1: % r Historic Garage and Carriage Doors:Rehabilitation Solutions. Washington, DC: Technical Preservation Services Division, National Park Service,US Department of the Interior.1989 www.nps.gov/tps/how-to-preserve/tech-notes/Tech-Notes- Early multi-car garage with simple form and materials. Doors01.pdf 9:4 PART II Salt Lake City Chapter 9. Accessory Structures ;1`312: .:- ' .,,,- r_i_.— 1111 ------' 2,,:' ---- :7'-- ' s.. 417: .....________ftb,---s.... _-7, II _____ f , i . ,__________. ....,..... �• ,, �_ = — : k:.'''t1, rs t...‘ Wi t* - ..�r" ,` T t. r .. Early street facing'sunken'garage using river rock facing. Recent street facing garage addition designed to respect scale& it .,..... ' '» J character. .may:y ]] ,� . f'-:i• .it0 �('it( .. �;` ,- • S'AV.01;.-. .� , , �. F :;' ..0 ___:_ ...., 2. .- - • . i • . u'1 , 1 ., 1111/4-i'' PrIFIV)1 _____ ....., , -...-. 7..--: -_- = "_ __=- �� ,_' An original carriage house now - • - . _ converted to an individual dwelling. ...CZ _s I \` r . l •� hi - ... - Many early garages with alley access are still found throughout w the Avenues neighborhood. Context sensitive design of accessory space&garage. A Preservation Handbook for Historic Residential Properties&Districts PART II 9:5 Chapter 10. Seismic Retrofitting Chapter 10. Seismic Retrofitting Context &Character CONTEXT&CHARACTER 10:1 Many historic structures were built during times DESIGN OBJECTIVE 10: 1 when there was less knowledge of seismic design ADDITIONAL INFORMATION 10:2 and building codes were less restrictive. This may make them vulnerable to damage or destruction - u.,<xa;,. -, 8 .,.. in earthquakes. However, today there are methods ,IT y -4.- of reducing the risk of earthquake damage. If - E «- . .. carefully planned and executed, these retrofitting -a1— ".r-- techniques can upgrade the safety of the home, I_ T - -.- while at the same time being sensitive to the historic ,,; `� :: fabric of the house. By upgrading such features as SC `"' foundations, floors, ceilings, walls, columns, and Horizontal forces of earthquakes cause damage to roofs, homeowners can improve the resiliency of historic structures.(Courtesy of Utah Division of State History,Office of Historic Preservation). . their historic houses. This will ensure increased personal safety and protection of their investments. . The first step in retrofitting a historic house is to I.,- =�� , investigate the premises and identify its weak "A =i�C* J , / _ points and features that can be strengthened and �, ^_ reinforced. For an inspection checklist and more : ,�f�. - `- -gy p .f--,' information, see "Bracing for the Big One: Seismic ., I j Retrofit of Historic Houses," published by the 'i„ . I •''' _}^) Iii ti..i I' - r li Act .. , I� :-,: :State of Utah's State Historic Preservation Office. J. :j,!`r; i" i.,' 0 Alternatively, consult a structural engineer with ,t-. .. '.'' .: ' 1..4.' KA. experience in assessing older buildings. Salt Lake City lies within an area regarded as seismically active. Design Objective OUP Retrofitting a historic structure in Salt Lake City to �\ �� improve its ability to withstand seismic events can >± be carried out while minimizing negative impacts upon historic features and building materials. - - — 1 ; -" Ian 111= i I IIIIIIIIIIIIII' =a -^u ,�— , — ,ors ,, ice. The Stanley E Taylor building,a residence dating to c. 1906,was recently seismically upgraded as part of an extensive rehabilitation. A Preservation Handbook for Historic Residential Properties&Districts PART II 10 : 1 PART II Design Guidelines Seisrliic LOWER RISK MODERATE RISK HIGHER RISK 10.1 Seismic retrofitting of a historic building Risk I. :- �s ;,•:t= - ,^,... �V;,-:;P:';;, should be designed in a way that has the least Factors .'7. .1:c.;r;' `'. „, -' <.> �,. ,' ' ' ,z': impact on the architectural integrity of the .,„,,'„ ..••,_. . building. FOOTPRINT•.Regutar, mmetrk r;k.. -rr (t ,3iA•-;, ,s alU ne;' • ` = =,"�,°_,,,ss+`` 1—.. ;'•y4, '.=. • Building materials used in seismic retrofitting ''1N1 F.F_. 4___ -..s;=c'•. , should be located on the interior and/or "L i ` S' k -• - blended with existingarchitectural features. HEIGHT' .I story,noo basement'=r: 'soft e• basement i; .MI, w sten• .::*.::','1:.7.:'.. :;';l-rs*y?".1•ViP310, `',Vx•t!-.'Wi';',fAl.i'''',:','''','::'.- . PROFILE :5imple bmt-IF,S?ki:''yuhiple he: tetg..Towers •es -r:•..,.,etc. �' FOUNDATION.Felnf°reed aorerete"WO Brick'. ,- Gut atone 'ubble,Beidetane• t•5 • l. ?9" c `gl tkt: �� •1 Ja` Ian tr•• •f w St ' 17k. Nom •.c is �`` t .4. 1.. WALLS a`Rt: "'c • , is. r• i, Frame .z;Back ..ZTip ,,,, 9•,maso .'re-1900 ma CONDITION .Well maintained %Y53:tti Average maintenance Deteriorated t ' Seismic Risk Factors(Courtesy of Utah Division of State History,Office of Historic Preservation). r, �• ,' ..: � .� Seismic bracing on one of the many .' ' i decorative chimney stacks in the city. R1Ai • >r ra `�� Additional Information - 7, 'I'k. I 4 7 �� ' " Utah Division of State History,Office of Preservation."Bracing � { I for the Big One:Seismic Retrofit of Historic Houses,"1993 , • history.utah.gov/historic_buildings/information_and_research/ d 1 ' �...- '; bracing_for_the_big_one.html Vista from the Avenues highlighting architectural variety in "Controlling Disaster: Earthquake-Hazard Reduction for historic and topographic contexts. Historic Buildings." Information Series, National Trust for Historic Preservation, 1785 Massachusetts Avenue, NW, Washington DC 20036. 1992 www.preservationbooks.org/Bookstore. asp?Type=epolicy&Item=1172 Look David W., Terry Wong, PE & Sylvia Rose Augustus, Preservation Briefs 41: The Seismic Retrofit of Historic Buildings:Keeping Preservation in the Forefront.Washington, DC: Technical Preservation Services, National Park Service, U.S.Department of the Interior.1997 www.nps.gov/history/hps/tps/briefs/brief41.htm 10:2 PART II Salt Lake City Chapter 11. General Design Guidelines This section discusses design topics that may be ACCESSIBILITY 11 :1 associated with all types of projects,including those MECHANICAL EQUIPMENT 11 : 1 affecting historic properties as well as other work and new construction in local historic districts. LANDSCAPING 11:2 SERVICE&PARKING AREAS 11 :3 Accessibility COLOR 11 :3 The Americans with Disabilities Act 1990 mandated ADDITIONAL INFORMATION 11 : 4 that all public places are to be accessible to everyone.This mandate includes historic structures that are used for commercial and multi-family Mechanical Equipment uses. While all buildings must comply, alternative New technologies in heating, ventilating and measures are possible when the integrity of a telecommunications have introduced mechanical historic resource would be threatened. In most equipment into historic areas where they were cases though,property owners can comply without not seen traditionally. Satellite dishes and rooftop compromising the integrity of the historic resource. heating and cooling equipment are among those that may now intrude upon the visual appearance 11.1 These guidelines should not prevent or of historic districts. Wherever feasible, the visual inhibit compliance with laws on access. impacts of such systems should be minimized such • All new construction should comply that the historic character is not negatively affected. completely with the ADA. Locating equipment so that it is screened from • Owners of historic properties should comply public view is the best approach. to the fullest extent possible,while also preserving the integrity of the character- defining features of their buildings. • Special provisions for historic buildings exist in the law that allow some alternatives in meeting the ADA standards. A Preservation Handbook for Historic Residential Properties&Districts PART II 11 :1 PART II Design Guidelines 11.2 The visual impacts of mechanical equipment Landscaping as seen from the public way should be minimized. Native and established plant materials significantly • Mechanical equipment should be screened contribute to the sense of a "natural setting" from view. that is part of the heritage in many of the historic • Ground mounted units should be screened districts. Where buildings are set back from the with fences,walls,or hedges. sidewalk, they typically have yards, walks, fences and plant materials that all contribute to the sense • Where roof top units are visible,provide of open space in the community. This character screening with materials that are compatible with those of the building itself. should be maintained as it plays an important role in establishing a context for the historic buildings. • Window air conditioning units should not be Preserving established street trees and replacing located on a primary facade. them when necessary would be examples. • Use low-profile mechanical units on rooftops to 11.4 Established plantings on site should be avoid visibility from the street or alley. maintained • The visual impacts of utility connections and • Established trees should be preserved on site service boxes should be minimized. when feasible. • Use smaller satellite dishes,mounted low to the • ground,and away from front yards,significant Protect established vegetation during construction to avoid damage. building facades or highly visible roof planes when feasible. • Replace damaged,aged or diseased trees. • Muted colors on telecommunications and • If street trees must be removed as part of a mechanical equipment should be used to development,replace them with species of a minimize appearance and blend with the large enough scale to have a visual impact in background. the early years of the project;refer to the City's Urban Forester requirements. 11.3 Locate and attach standpipes and other service equipment and pipework such that they � fi"!= " : , t do not damage historic facade materials. , • �/ � Cutting channels into historic facade materials � , � � - -4Tri i,' damages the historic building fabric and T '. should be avoided. 'Sr" • Keep such equipment and service connections • r}. d l away from the primary facades wherever X ,' �t : feasible. notz '. .�..�}r Established landscaping in for example this street in the Avenues contributes significantly to the character,identity and residential amenity of a neighborhood. 11 :2 PART II Salt Lake City Chapter 11. General Design Guidelines 11.5 Indigenous plant materials should be 11.9 Large expanses of parking should be avoided. included in new landscape designs. • Divide large parking lots with planting areas. • Drought-tolerant varieties,that are in character • In the context of the character and scale of with plantings used historically, are preferred historic residential areas,large parking areas • A list of drought-tolerant plants is available are those with more than five cars. from the Salt Lake City Planning Division. 11.10 Parking areas should be screened from 11.6 The use of traditional site structures is views from the street. encouraged. • Automobile headlight illumination from • Constructing retaining walls and fences that are parking areas should be screened from adjacent similar in scale,texture and finish to those used lots and the street. historically is appropriate. • Fences,walls,arid plantings,or a combination • See also PART II,Ch.1 Site Features. of these,should be used to screen parking. Service &Parking Areas Locate parking areas to the 11.7 Minimize the visual impacts of service areas rear of the ' ;` ��p as seen from the street,wherever possible. property, ':a:0i fl� ! I� when physical 1 • Service areas should be sited away from public conditions �• 1. permit. ' view,whenever feasible. • Service areas,especially those associated with N" = commercial and multifamily developments, • should be screened from view,wherever Color possible.This includes locations for trash and Color is not a matter considered in design review recycling containers,and loading docks. in Salt Lake City.It can however dramatically affect the perception of a building and its contribution to 11.8 Large parking areas,especially those for its setting. commercial and multifamily uses,should not be visually obtrusive. Color schemes vary throughout the historic districts in Salt Lake City.Many are associated with • Locate parking areas to the rear of the property, individual building types and styles, while others when physical conditions permit. reflect the tastes of distinct historical periods. Color • An alley should serve as the primary access to in itself does not affect the actual form of a building, parking,whenever possible. but it can dramatically affect the perceived scale of • Parking should not be located in the front yard. a structure, and it can also help to blend a building with its context. Property owners should also refer to more detailed discussions of specific color schemes associated with individual architectural styles. (PART I, Section 4, Historic Context & Architectural Styles) A Preservation Handbook for Historic Residential Properties&Districts PART II 11 :3 PART II Design Guidelines Property owners are particularly encouraged to employ colors that will help establish a sense of visual continuity for the block. Several major paint " ' companies produce a range of historical colors, -, , N'' often drawing from extensive research. See also } i \� , the Additional Information panel at the end of this ► apter. 11.11 ch Color schemes should be simple. 11 ' � • Using one base color for the building is `� L . - preferred. }�� i" • Muted colors are appropriate for the base color w ,, �It, 2• ..�Y Using only one or two accent colors is also ., r -...'4•>-t �.�- �'I.-' .' '".�N " encouraged,except where precedent exists ve.fifor using more than two colors with some A considered color scheme here complements both building and setting. architectural styles. • See the discussion on Historic Context With respect to colors on a historic building, a Architectural Styles. scheme that reflects the historic style is preferred, although some new color selections can also be 11.12 Coordinating the entire building in one compatible. For a non-historic building in a historic color scheme is usually more successful than district, a color scheme that complements the working with a variety of palettes. historic character of the district should be used. • Using the color scheme to establish a sense of overall composition for the building is strongly encouraged. Additional Information • A better sense of the coherence of the Moss, Roger W. and Gail Caskey Winkler. Victorian Exterior Decoration, How to Paint Your Nineteenth-Century American architectural composition is likely to be House Historically.New York:Henry Holt and Co.,1987 achieved. books.google.com/books/about/Victorian_Exterior, Decoration.html?id=BsxfPQAACAAJ • Where a color is used can be very important to Schwin III,Lawrence. Old House Colors-An Expert's Guide to a successful outcome.Consider a hand drawn Painting Your Old(Or Not So Old)House. New York: Sterling or computer generated'mock-up'to judge the Publishing Co.,Inc.,1990 www.barnesandnoble.com/w/old-house-colors-lawrence- success of the color scheme. schwinn/1015622126 • Alderson,Caroline."Re-creating A 19th Century Paint Palette", Assess the impact upon adjacent buildings. APT Vol.XVI No.1,pgs.47-56.1984 www.jstor.org/pss/1493914 Bock, Gordon. "Colorful Issues in Choosing Exterior Paint", Old-House Journal,pgs.50-55.July/August 1996 www.oldhousejournal.com/Choosing_Exterior_Paint/ magazine/1321 11 :4 PART II Salt Lake City Chapter 12. New Construction in Historic Districts These guidelines apply to the design of new principal THE DESIGN APPROACH 12:1 buildings in the City's local historic districts. They SITE DESIGN GUIDELINES 12:2 apply in addition to specific historic district design , STREET&BLOCK PATTERNS 12:2 guidelines for historic districts in PART III. BUILDING PLACEMENT Creative solutions that are compatible with the &ORIENTATION 12:4 established character of a historic neighborhood BUILDING SCALE GUIDELINES 12:5 are strongly encouraged. Designs that seek to MASS&SCALE :12:6 contrast with the existing context, simply for the HEIGHT 12:7 sake of being different, however, are unlikely to be WIDTH 12:7 compatible and are discouraged. The goal of the SOLID TO VOID RATIO 12:7 guidelines in this chapter is to protect the historic and architectural character of each neighborhood, BUILDING FORM GUIDELINES 12:9 while allowing new,compatible design. FORM&VISUAL EMPHASIS 12:9 PROPORTION&EMPHASIS The Design Approach OF FACADE ELEMENTS 12:10 RHYTHM&SPACING Designing a building to fit within a historic district OF WINDOWS&DOORS 12: 11 requires careful thought. Initially, it is important BUILDING MATERIALS&DETAILS 12: 12 to realize that, while a historic district conveys a MATERIALS 12:12 certain sense of time and place associated with its history, it also remains dynamic, with alterations WINDOWS 12:13 and additions to existing structures and the ARCHITECTURAL ELEMENTS &DETAILS 12: 14 construction of new buildings occurring over time. DESIGN CRITERIA EVALUATION 12:16 Designating a district recognizes this dynamic. It STREET FACADE 12:17 ensures that, when new building does occur, it will BUILDING 12:19 be in a manner that reinforces the basic visual and — historical characteristics of the area. This does not mean, however, that new buildings should look old. Imitating historic styles found in a historic district is generally discouraged. It is preferable to be able to perceive the evolution of the street and neighborhood, discerning the apparent age of each building by its architectural expression and method These design guidelines apply to all new of construction. Placing a building's architectural construction in historic districts. The General style in relative chronological order helps in Issues section and the guidelines for the specific interpreting the development of the neighborhood. historic district in PART III will also apply. A Preservation Handbook for Historic Residential Properties&Districts PART II 12: 1 PART II Design Guidelines A new building should relate to the essential Site Design Guidelines characteristics of the district and setting and complement the character with creative yet Street and Block Patterns compatible new design. To do so relies upon reading and understanding the patterns underlying Historic settlement patterns, evident in street and the character of each district and each setting, as alley plans and the form of the urban block,establish well as the role of time in creating and maturing the distinctive identity of each of the City's historic these patterns, evolving the urban landscape. Such districts,and the traditional'grain'of the city.These characteristics would include the way in which a patterns effectively create the'infra structure'of the building is located on its site, the manner in which character of the district.They are characteristics that it relates to the street and its scale,height, massing, should be respected and preserved. The detailed form and materials. When these design variables configuration of the pattern of streets and alleys are arranged in a new building to be similar to those varies for each district and frequently through the seen traditionally in the area, visual compatibility layout of each street block,often creating sub areas results. within that individual district. These street plans, with their internal network of streets and alleys, These basic design relationships are more establish the manner in which primary structures fundamental than the details of individual are sited and oriented. This pattern also influences architectural styles. It is possible, therefore, to be the disposition of secondary structures and compatible with the historic context of the district, landscape features on the lot and the street block. while creating a design that is identifiable as being The street block,often with its network of secondary newer than the historic buildings of the area. streets or alleys, provides a common, unifying The design guidelines that follow encourage framework for the pattern, scale, dimensions and contemporary creativity. At the same time, they orientation of the individual lots, and consequently promote new design that relates to the patterns and the houses. Lot size often varies considerably, characteristics of the historic district. with smaller lots and houses being a common The principal design features that help a building characteristic of the interior of many of the City's integrate with its context in any historic district in large blocks. The.contrast in character between the the city are described in the sections that follow,and exterior and the interior of some blocks establishes in the two design criteria evaluations at the end of a variety in lot and building scale as a principal the chapter. More specific points about the unique characteristic of several districts. character of each of the local historic districts follow in PART III of the preservation handbook. 12:2 PART II Salt Lake City Chapter 12. New Construction in Historic Districts These'urban fra mework'patterns are also influenced 1 r r.._ [ - r by topography.In The Avenues,University and part ! �a 2:-.%. w r R �. ..- ra MI- of Capitol Hill districts, the grid continues into ~ '� Z ►M I ii m ■ sl• notable inclines, creating interesting streetscapes and views as the houses step up or down the hill. it. I 1111111; la-MI Ai _ ow In older sections of Capitol Hill,the street and block ��r; . w•.-IN -••- patterns respond more closely to the contours of s . -no ... �j tm - �• i i On � ■MN the landscape, creating dramatic and unexpected . • . No I_� Not i I. -1�r �j-■ .. • -. 1 � .s. 7.•r streetscapes and relationships between buildings. 'visa' �Ilt - Ili_um phalli% The common patterns of lot and building facing the University Historic District street are still maintained. See comparative layout Ill ■ ., - plans(to scale)of four of the city historic districts. y� _.L . .11 C- 12.1 The plan of alleys and streets in a historic 01 aqua Ei i.: ?.� vol. . • _rr a• I;•-ra district is essential to its historic character and w•.11 j !r� NI- 1 _�'�� should be preserved. _�ill 1111 hC a •j,HP ' ' iTr • Most historic parts of the city developed in . r6 . 14 ■i ■.:■ traditional grid patterns,with the exception of - ■� -- . .. -■ . , s,.. J ■ Capitol Hill which has a more irregular street 5 I.`� :_ _1 t pattern. • „'-' - Central City Historic District • In Capitol Hill,the street system initially followed the steep topography,and later a grid ■ . �`�■ :r� �: �'•�•1 Iliar . r._ -.-..■ a a 17 system was overlaid with limited regard for the �rl -mr. p'■rrmill iii1 iiii ruins topography. =am.= :i ram N-l� ' • i. .. . .-- The grid plan also takes different forms,with C•:- �� a" i„�r. 7',eT for example the much tighter pattern of urban �ati111 •■ whist �i i�i itTii : • N■.r.1 Mill i blocks in the Avenues being one its distinctive - �I•isr� q �! !1 Z.. a . it._ C C-: - characteristics and attractions. =��y` ;1r�r,i. ±e: t • Closing streets or alleys and aggregating lots The Avenues Historic District into larger properties would adversely affect ir } - .7 -,..._1„,\rA,\,,, ,•.. \\,,:.,,- the integrity of the historic street pattern. • Refer to the specific design guidelines for the --Ile i !y. ts.. historic district for additional detail.(PART III �"'�� -�i. -�i0. tiia a a� Oft of these guidelines). I . ;.__", E.■ll ,. .:`' �_• I. - i ■' ■• ' ram , - o. .. . .. . t i +c .z ;'1-1 a i�'.7 z S I% -.di -H,H M imp• f .-; ••• • Capitol Hill Historic District A Preservation Handbook for Historic Residential Properties&Districts PART II 12 :3 PART II Design Guidelines 12.2 The role of the street pattern, including the Traditionally, a typical building had its primary layout of the individual block, as a unifying entrance oriented to the street. Frequently this framework and setting for a variety of lot sizes was accompanied by a front porch designed to and architecture,should be retained. create a semi-private space and functioning as a • The orientation,scale and form of a building social interface with the street. This characteristic established a "pedestrian-friendly" quality, has a role in supporting a coherent street pattern. encouraging walking and social engagement. In most cases, similar entry ways and front porches Building Placement and Orientation were evenly spaced along a block,creating a rhythm that also contributed to the sense of visual continuity In the historic neighborhoods of the city, the house in a neighborhood. tends to be situated towards the front of the lot with Where they presently exist, these characteristics most of the private open space behind. Side yard space is usually limited and shared between the should be maintained in new design. Locating properties. Front setbacks may vary on occasionbut the entrance of a new building in a manner that tend to be within a well-defined range,establishing is similar to those seen traditionally is a means of a common visual relationship between buildings doing so.The front porch is often the characteristic of differing scale and character. The shared sense element that reinforces this common pattern of of openness enjoyed by residents in front and orientation, as well as helping to retain a sense of behind the property relies upon the situation of the human scale. buildings and coincidental private open space. 12.3 When designing a new building,the historic Buildings also tend to be sited in alignment settlement patterns of the district and context with their lots, creating both a defined pattern of should be respected. frontages and a sense of visual rhythm established • A new building should be situated on its site in by the space between the buildings.The frontage of a manner similar to the historic buildings in the the building also tends to be the focus of the greatest area. architectural interest. • This includes consideration of building setbacks,orientation and open space. (See also the individual district guidelines in PART III.) 12.4 The front and the entrance of a primary A): structure should orient to the street. • A new building should be oriented parallel to t the lot lines,maintaining the traditional grid �4 pattern of the block. Es- • An exception might be where early Orientation of porch and entrance towards the street helps to developments have introduced irregular or integrate new design into the street setting. curvilinear streets,such as in Capitol Hill. 12:4 PART II Salt Lake City Chapter 12. New Construction in Historic Districts Building Scale Guidelines Mass & Scale The mass and scale of a building are also important +1,1tan" design issues in a historic district. The traditional • scale of single-family houses is a characteristic of is i I' ' : most of the neighborhoods.This similarity of scale, �, i_ although it can range from single story to over - - two stories, also enhances the pedestrian-friendly The massing of the building can be effectively integrated with character of many streets. the topography to reduce the scale of a new building. Often, earlier buildings were smaller than typical more recent houses; nonetheless, a new building . should, to the greatest extent possible, maintain - - ' i. this established scale. While new buildings and additions may be anticipated to be larger than many 11".:,i; , [ _ `-1 _ of the earlier structures, new construction should - ,' °4 r_ -`, t,3 r maintain a compatibility with the established scale ;1/ ,4 jii i `', ',, • of the context.The visual continuity and cohesion of 1. , 1.i ,'�* --- _�_..- Iry the district should be maintained. • .,,fr,/,;!� 'y ,.- �ii ..-fir' 12.5 A new building should be designed to 1.— ANE reinforce a sense of human scale. Front and side facing gables,single story porch,materials and fenestration are characteristics compatible with the setting. • A new building may convey a sense of human scale by employing techniques such as these: -' • ."0tI'r -, "' iii • Using building materials that are of s . 0, ; ,y, ra 4 traditional dimensions. • 4 -":.ti;� , ,r �, • Providing a porch,in form and in depth, rM i that is similar to that seen traditionally . - � • Using a building mass that is similar in size • . : r to those seen traditionally. •, i... .$ `. ,4 • Using a solid-to-void(wall to window/door) _ i• t ( , p _ -� ratio that is similar to that seen traditionally. • Using window openings that are similar in size to those seen traditionally. Traditional forms,including tall front porch,are used with materials to convey a strong sense of human scale. A Preservation Handbook for Historic Residential Properties&Districts PART II 12:5 PART II Design Guidelines poLmmir- --im ---- 12.6 A new building should appear similar in scale to the established scale of the current street © � block. q '4 I • Larger masses should be subdivided into ' . -• ---' ! smaller"modules"similar in size to buildings :T I I I�1 1 11 seen traditionally,wherever possible. .,?: �e ,,'T. . I' :!f e ' 'N • The scale of principal elements such as porches �` „� '_ `i and window bays is important in establishing i l' - and continuing a compatibility in building A group of new dwellings are staggered along the street _ scale. frontage,with front entrances,balconies,porches and stairs emphasizing rhythm and human scale. 12.7 The roof form of a new building should _ be designed to respect the range of forms and y...'a► x; • )... •.ii` ` . At',,, `' massing found within the district. J �., • This can help to maintain the sense of human �'�, `r fit! _ _ scale characteristic of the area. ''• hA lill , ' ',l • The variety often inherent in the context "'L of • �! , ;e i A can provide a range of design options for �o iw••�l i -- '�` '-� compatible new roof forms. 12.8 A front facade should be similar in scale to -•»� _ _ — __ those seen traditionally in the block. Although distinctly different in design composition,the • The front facade should include a one-story building in the foreground achieves a compaibility with its element,such as a porch or other single story context in terms of massing and scale. feature characteristic of the context or the ' neighborhood. L'}.'. J •• r� _ The primary plane of the front facade should •• __ - not appear taller than those of typical historic • • -i. structures in the block. U. , •, ! •• A single wall plane should not exceed the 111.L.. i i I typical maximum facade width in the district. The massing of this building is designed to mediate between the scale of the adjacent single story and two story buildings, increasing in height incrementally as it steps back from the sheet frontage. 12:6 PART II Salt Lake City Chapter 12. New Construction in Historic Districts Height Width A similarity in building heights also contributes In many of the districts, buildings were designed to the visual relationships and continuity of an to be similar in width to nearby structures, often individual district.In this context,the height of a new echoing similar lot widths.This helps to establish a building should not overwhelm historic structures relatively uniform scale for the neighborhood and, in the immediate setting,and should fall within the when these buildings were evenly spaced along a range of height defined by historic structures in the block,a sense of rhythm resulted.In such a case,the district. Similarities in heights among prominent perceived width of a new building should appear building features,such as porches and cornices,are similar in size to that of historic buildings in the equally important. These features often appear to neighborhood in order to help maintain this sense align along the block and contribute to the sense of of visual rhythm and continuity. For example, if visual rhythm and continuity. a new building would be wider than those seen historically, it should be divided into modules that 12.9 Building heights should appear similar to appear similar in width to traditional buildings. those found historically in the district. 12.11 A new building should appear similar 12.10 The back side of a building may be taller in width to that established by nearby historic than the established norm if the change in scale buildings. would not be perceived from the public way. • If a building would be wider overall than structures seen historically,the facade should be divided into subordinate planes that are similar in width to those of the context. • Stepping back sections of wall plane helps to create an impression of similar width in such a case. • • „� - t - The height and width of these buildings equate with the scale of The width of this building reflects building width and scale in the immediate setting,while adopting an alternative front and this setting,while the strong horizontal emphasis of one street side gabled form. frontage is counter-balanced by the vertical emphasis of the modules of the other frontage. A Preservation Handbook for Historic Residential Properties&Districts PART II 12:7 PART II Design Guidelines Solid to Void Ratio T� -.444: ' •`. In most historic residential districts, a typical,�'' = ''.lr Y`6�'7; building appeared to be a rectangular solid, v.,,, r+_K •• • _ . -.f., �' •:�: �'x` with holes "punched" in the walls for windows and doors. Most buildings had relatively similar }ys .y d f t l' :ri , amounts of glass, resulting in often fairly uniform ` atJ Jc rry ,, ,-,, solid to void ratio.This ratio on a new building,the I� • amount of facade that is devoted to wall surface, as jf +,' :J'� s . compared to that developed as openings,(known as �11 ""'il - ' I. 1 the 'solid to void ratio') should be similar to that of ' ' historic buildings within the neighborhood. The solid to void ratio here closely reflects that12.12 The ratio of wall-to-window (solid to characteristic of the setting and the historic void) should be similar to that found in historic neighborhood. structures in the district. • Large surfaces of glass are usually .I. inappropriate in residential structures. - ',. a • Divide large glass surfaces into smaller windows. It r .a i Despite the contrasting geometric modules of this building,the subdivision of the fenestration helps to convey a sense of human scale and to integrate the design with setting. 12:8 PART II Salt Lake City Chapter 12. New Construction in Historic Districts Building Form Guidelines t. _ w � so Form and Visual Emphasis • While there may be great variety inherent in - if { i • �the architectural styles and composition in most ,, Y`.` .11 ' 5 districts, a similarity of building forms contributes �;: �IIIIti . to a sense of visual continuity and identity. In '' i I `�` 't I f ,,,J.,10,00,0;:. order to maintain this sense of relationshipand v ' visual continuity, a new building should have basic - ,- roof and building forms that are similar to those _ seen traditionally. Overall facade proportions also Several building designs and forms create variety and visual should be in harmony with the range found within vitality,yet instill a strong vertical visual emphasis using the immediate area. facade or module width.Single story porches and projecting window bays sharing a common eaves height establish a A building can also be categorized by its visual rhythm. emphasis. This might be vertical, as found in for example Queen Anne or Victorian styles,horizontal a\ as with the bungalow type,or more balanced in for - example the Foursquare. Frequently, a street blockr---- if:-.. might be composed of buildings reflecting this IIf I � a -. ' " �" complete range. - — kir ' f i' -.� i - - - The emphasis adopted in the design of a new 6 building should be informed by an evaluation of its context. Look at the neighboring buildings on both sides of the street. From this review identify A variety of building forms,roof profiles and entrances share common heights with strong horizontal elements.Equally how a new design can both reflect and complement strong vertical features are evident in the columns,bays and existing character.An increase in scale,for example, dormer windows. can be more effectively integrated using a design . composition with more vertical emphasis. 12.13 Building forms should be similar to those seen traditionally on the block. • Simple rectangular solids are typically appropriate. • These might characteristically be embellished by front porch elements,a variation in wall planes,and complex roof forms and profiles. A Preservation Handbook for Historic Residential Properties&Districts PART II 12:9 PART II Design Guidelines 12.14 Roof forms should be similar to those seen traditionally in the block and in the wider district. • Visually,the roof is the single most important element in the overall form of the building. • Gable and hip roofs are characteristic and appropriate for primary roof forms in most j residential areas. ITlI • Roof pitch and form should be designed to II wi i. •. .A .Is relate to the context. • Flat roof forms,with or without a parapet,are an architectural characteristic of particular building types and styles. • In commercial areas,a wider variety of roof The steeply gabled roof design and chimney become forms might be appropriate for residential uses. the most important element,visually unifijing the house around corner fenestration and understated doorway. Proportion and Emphasis of Building Facade Elements 12.15 Overall facade proportions should be designed to be similar to those of historic buildings in the neighborhood. ij • The"overall proportion"is the ratio of the 1111"1'''��1 ® width to height of the building,especially the Imo front facade. I 14 • The design of principal elements of a facade, , for example projecting bays and porches,can F_ provide an alternative and balancing visual 1 i. III �` . r �, •:rs emphasis. IIII See the discussions of individual historic l 1 i,:111:'ir districts(PART III),and the review of typical ' � p t."'1 tc!•;;i i I historic building styles(PART I,Section 4),for .4 more details about facade proportions. A strong vertical emphasis is created by the facade modules,tall entrance porchways and the composition and proportions of doors and windows. 12:10 PART II Salt Lake City 1 Chapter 12. New Construction in Historic Districts Rhythm & Spacing of Windows&Doors The manner in which openings are arranged across a facade, their grouping or individual placement, (the fenestration pattern) will be an essential component of the architectural composition. The fenestration can also be an important feature of a building's contribution to the street and the district. When similar patterns occur among buildings in a I • 11 ___ block, a sense of affinity and visual continuity can O ' ; , , /� girt l: emerge from a variety of architectural forms or i L/1♦ styles. When such characteristics occur, this sense �tr of similarity and coherence should be preserved. 12.16 The pattern and proportions of window and door openings should fall within the range Much of the design composition of these buildings relies upon the fenestration pattern'punched'into associated with historic buildings in the area. sheer white walls,strong gables and soaring chimney. • This is an important design criterion, because these details directly influence the - ' compatibility of a building within its context. • Where there is a strong fenestration / • : l relationship between the current historic _ buildings,large expanses of glass,either _ • vertical or horizontal, may be less appropriate in a new building. • - -- 111 ■ IAr 1. ,r 141111111111161.. Although higher than would normally be appropriate in Salt Lake City historic residential neighborhoods, the spare openings in this tall gabled building effectively create a central focal accent for this building. A Preservation Handbook for Historic Residential Properties&Districts PART II 12: 11 PART II Design Guidelines • . j Building Materials and Details Much of the character of a building resides with the variety and composition of architectural details, the windows and the materials. The combination brings a finer grain of design detail, texture and visual interest to each building and therefore to the street, helping to define architectural style and —ram the richness and identity of that part of the district. Materials and details also help to convey a sense of the maturity of the building and that part of the neighborhood. Traditional design elements, details and materials were frequently functional as well as decorative. A cornice, inspired by classical architecture for example, could have a strong projecting, profile composed of a complex hierarchy of detailed An interplay of several characteristic materials (brick,siding&stucco)and colors can help profiles. It might alternatively have decorative to integrate simple rectilinear forms with the supporting brackets. At the same time the depth of palette of materials and colors of the context. the cornice or eaves will efficiently throw rainwater a away from the walls and effectively shelter parts of the wall from direct exposure and splashback. The choice of materials, and the way they are used, can help to reflect the sense of human scale inherent in a historic residential area. The individual brick or block of stone can be instinctly perceived as a dimensional unit with which we are familiar. Building details and materials play a major role,not just in defining the detailed visual character of a building, but in establishing its age and maturity. The dimension of time is something we inherently read and interpret in a historic neighborhood. The -11 durability and quality of both materials and design details should ensure that a new building endures ,and gradually mellows into the'historical narrative' 44, of the district. Creative use of new details can effectively draw from traditional architecture. 12:12 PART II Salt Lake City Chapter 12. New Construction in Historic Districts Materials 11- 12.17 Use building materials that contribute to the 1" traditional sense of human scale of the setting. • This approach helps to complement and reinforce the traditional palette of the neighborhood and the sense of visual continuity in the district. 12.18 Materials should have a proven durability for the regional climate and the situation and aspect of the building. • Materials which merely create the superficial appearance of authentic,durable materials should be avoided,e.g. fiber cement siding stamped with wood grain. • The weathering characteristics of materials become important as the building ages;they can either add to or detract from the building and setting,depending on the type and quality I of material and construction,e.g. cedar shingles 12.19 New materials that are similar in character to traditional materials may be acceptable with ' + l appropriate detailing. }1 11%. 4 • Alternative materials should appear similar in --, scale,proportion,texture and finish to those used historically. It tili . Windows Window openings often provide a considerable degree of modeling to the building facades, with a distinctive recess (window reveal) of the plane of the window from the plane of the wall. This Window proportions,reveals and frame characteristic enhances the visual strength of a details can add visual strength and decorative embellishment to otherwise plain facades. facade,conveying a sense of the depth and solidity of the wall,and distinct areas of shadow which change with the time of day and the season.This recess also helps to shelter the window and the window frame. A Preservation Handbook for Historic Residential Properties&Districts PART II 12: 13 PART II Design Guidelines . _ _ i' Windows also provide a medium for fine detail and craftsmanship, using decorative pattern, lead and il Ic often stained glass. .,,, 12.20 Windows with vertical emphasis are 4---3-- encouraged. • A general rule is that the height of a vertically 1111 ' - vo-, proportioned window should be twice the 4 : . - dimension of the width in most residential it '` I . contexts. • Certain styles and contexts,e.g.the bungalow %"— " ' ' form,will often be characterized by w ' horizontally proportioned windows. /,' • See also the discussions of the character of the relevant historic district(PART III) and Window reveals and contemporary detailing to the architectural styles(Ch.4,PART I). porch and front dormer window add both a visual strength and human scale interest. 12.21 Window reveals should be a characteristic of 4111111111.11611 most masonry facades. 4. • This helps to emphasize the character of the facade modeling and materials. i -i I i • It should enhance the degree to which the ,P . . 1-- building integrates with its historic setting. y: Jill • It also helps to avoid the impression of superficiality which can be inherent in some more recent construction,e.g.with applied Pronounced eave lines,cladding details and a combination of details like window surrounds. materials and finishes can help establish both human scale and visual character. 12 : 14 PART II Salt Lake City Chapter 12. New Construction in Historic Districts 12.22 Windows and doors should be framed in 12.26 The replication of historic styles is generally materials that appear similar in scale,proportion discouraged. and character to those used traditionally in the • Replication may blur the distinction between neighborhood. old and new buildings,clouding the • Double-hung windows with traditional reveal interpretation of the architectural evolution of a depth and trim will be characteristic of most district or setting. districts. • Interpretations of a historic form or style may • See also the rehabilitation section on windows be appropriate if it is subtly distinguishable as (PART II,Ch.3)as well as the discussions of new. specific historic districts(PART III)and relevant architectural styles(PART I,Ch.4). Architectural Elements &Details 12.23 Building components should reflect the size, depth and shape of those found historically along the street. • These include eaves,windows,doors,and porches, and their associated decorative composition and details. 12.24 Where they are to be used, ornamental elements, ranging from brackets to porches, should be in scale with similar historic features. • The proportion of elements such as brackets for example should appear to be functional as well as decorative. 12.25 Contemporary interpretations of traditional details are encouraged. • New designs for window moldings and door surrounds, for example,can provide visual interest and affinity,while helping to convey the fact that the building is new. • Contemporary details for porch railings and columns are other examples. • New soffit interest and visual compatibility, while expressing a new,complementary form or style. • A Preservation Handbook for Historic Residential Properties&Districts PART II 12: 15 PART II Design Guidelines New Construction Design Criteria for Street Facades SITE DESIGN GUIDELINES 1 STREET&BLOCK PATTERNS(12.1,12.2) Buildings maintain the street plan. Front facades maintain the role of street pattern as a unifying framework for a variety of architecture. 2 BUILDING PLACEMENT Placement respects(or establishes)a consistent orientation &ORIENTATION(12.3,12.4) &setbacks. Frontage&entrance orient to the street. BUILDING SCALE GUIDELINES 3 MASS&SCALE(12.5,12.6,12.7,12.8) The sense of human scale,established by heights,widths, modules&porches, is reinforced. A similarity of scale is maintained. Roof forms&building massing fall within the established range. Front facades are similar in scale. 4 HEIGHT(12.9,12.10) Heights fall within the established range. 5 WIDTH(12.11) Building width reflects the established range. 6 SOLID TO VOID RATIO(12:12) Solid to void ratio is a unifying factor. BUILDING FORM GUIDELINES 7 FORM&VISUAL EMPHASIS(12.13,12.14) Building forms reflect the range in the context. Roof forms vary within a defined range. 8 PROPORTION&EMPHASIS The proportions of the facades&principal design OF FACADE ELEMENTS(12.15) elements have a distinct vertical emphasis. 9 RHYTHM&SPACING WINDOWS/DOORS(12.16) Fenestration patterns vary but have an affinity. BUILDING MATERIALS&DETAILS 10 MATERIALS(12.17,12.18,12.19) Materials contribute to the sense of human scale. Materials appear to have a proven durability. 11 WINDOWS(12.20,12.21,12.22) Windows share a vertical proportion. Windows in masonry facades.are emphasized by reveals. Windows and doors are framed to reflect the setting. 12 ARCHITECTURAL ELEMENTS Building components echo those of the context. &DETAILS(12.23,12.24,12.25,12.26) Ornamental elements are in scale. The interpretation of traditional details is contemporary. 12: 16 PART II Salt Lake City Chapter 12. New Construction in Historic Districts Street Facade Evaluation ri t 1 i • {; 1 r• _ ��` 1 ....-,..-- t r" I • 4 11 r I te, il :.•,4 70--/ r.' 1 . , i 1... 16 lt. 11 II,,f ,;1; j.1 - Mil 1....'Aj* Ill ,i '• !4 ";Pj17 7I II-%r .... __. l'i I. 71I - lilt; r� 1RI III a • r..'. fir. � >; s C Y� ;;•�.r 'l,;d.� ' i•. tar— ; � RI . h_ i` I h' .. •r - •� J ' . :. . r h l r� - r ,:q - , - R> �1 This is an illustration of the application of the Design Guidelines for New Construction for a Street Facade. The design guidelines for New Construction are summarized above under the principal topic headings,with the numbers of the pertinent design guidelines. . The facing page evaluates the role and'performance'of the design guidelines in the composition of this street facade,with the number reference relating to the design guideline topic above. A Preservation Handbook for Historic Residential Properties&Districts PART II 12 : 17 PART II Design Guidelines New Construction Design Criteria for Buildings SITE DESIGN GUIDELINES 1 STREET&BLOCK PATTERNS(12.1,12.2) The historic street pattern and its role are respected. 2 BUILDING PLACEMENT Building placement,orientation and setbacks are &ORIENTATION(12.3,12.4) reflected. The frontage and entrance orient to the street. BUILDING SCALE GUIDELINES 3 MASS&SCALE(12.5,12.6,12.7,12.8) The massing of the modules stepping down towards the street helps achieve a human scale. The building is subdivided into three principal modules equating with the scale of the context. The flat roof forms at different heights mediate between buildings either side. The front facades,arranged in three parts,are in scale with other buildings on this street block. 4 HEIGHT(12.9,12.10) Building height falls within the range established by the current street facade and mediates between adjacent buildings. 5 WIDTH(12.11) Building width is similar and is modulated in three primary facade planes. 6 SOLID TO VOID RATIO(12:12) Solid to void ratio is within the established range;glass is subdivided. BUILDING FORM GUIDELINES 7 FORM&VISUAL EMPHASIS(12.13,12.14) The building design is composed with three rectangular sections,with front porch. The flat roof form is a characteristic and equates with the immediate and wider setting. 8 PROPORTION&EMPHASIS The vertical emphasis of the bays is balanced by the OF FACADE ELEMENTS(12.15) horizontal eaves lines. 9 RHYTHM&SPACING WINDOWS/DOORS(12.16) The fenestration pattern is within the local characteristic range. BUILDING MATERIALS&DETAILS 10 MATERIALS(12.17,12.18,12.19) Primary materials,brick,wood and stucco,contribute to the sense of human scale. Facade materials are generally durable. 11 WINDOWS(12.20,12.21,12.22) The horizontal emphasis of the windows is balanced by their vertical subdivision. Window framing reflects traditional patterns. 12: 18 PART II Salt Lake City Chapter 12. New Construction in Historic Districts Building Evaluation �, _ _ p - , r a _ T-_,IiiIN - , ,, f . i ,. .......,• _puff • 1424 A..i Al ^7I a '! -tJi'1 !i .71 I [irki---- ' ;---- - ---_ ---- -...---',,,t. ,it A xi 1 lid. 1 This is an illustration of the application of the Design Guidelines for New Construction for an indi- vidual Building in context. The design guidelines for New Construction are summarized above under the principal topic headings,with the numbers of the pertinent design guidelines. The facing page evaluates the role and'performance'of the design guidelines in the composition of this building,with the number reference relating to the design guideline topic above. 12 ARCHITECTURAL ELEMENTS The building components-eaves,porch,door,window &DETAILS(12.23,12.24,12.25,12.26) - are characteristic. They are also in scale. Contemporary interpretations are used in the design. This architectural composition does not replicate a historic style. A Preservation Handbook for Historic Residential Properties&Districts PART II 12: 19 Page left intentionally blank PART III Historic Districts lii 1 S` f Introduction & District Maps i - iv .t f fr Ch 13 The Avenues 13 : 1-14 IIIUIUIp Ch 14 Capitol Hill 14 : 1-10 : Ch 15 Central City 15 : 1-10 Ch 16 South Temple 16 : 1-10 Ch 17 University 17 : 1-8 ` r' _ME Ch 18 Westmoreland Place 18 : PART III Historic Districts Introduction The guidelines that follow apply to five of the locally designated residential historic districts in Salt Lake City: the Avenues, Capitol Hill, Central City, South Temple and University. The recently designated Westmoreland Place will be included in the next revisions to the guidelines. The purpose of this section is to highlight the character of each district, as well as to offer guidelines that address issues and trends unique to each historic district. These guidelines are intended to preserve the historic character of each district, while accommodating the incremental evolution of the district through sensitive change. Some of the guidelines presented may address topics covered in other sections of the document, and appear again here in order to emphasize their specific relevance and importance to the particular district. Each historic district section has five components: • a developmental history, • a description of development trends, • a statement of goals for the district, • a description of design character,and • the design guidelines. Each district has its own distinct character,which is due in part to factors such as topography and the individual pattern of incremental development.The developmental history for each district explains its evolution. This information, along with the summary of development trends,statement of goals and description of design character, provides an orientation to the context for property owners. The design guidelines that then follow provide special design principles that apply to the specific context. PART III Salt Lake City Salt Lake City Local Historic Districts ,.„, .. . Il ...., I I N •,., E. i a a S • '1 Capitol Hill - 1 _ _ - s Avenues , 1 { n- _ South Temple " •• $ S. , 1 ti- , o . y i , ai i s > ` e. c L.1a, w 1 E A 5 1' I Exchange _ v ' Place o ._To'. F C d . C.) •„ 1 • G ,. , F . ' s i . d. • S ' — n • 01 • s . Westmore.lend . Place f Feet, 0287.575 1,150 1,725 2.300 - A Preservation Handbook for Historic Residential Properties&Districts PART III ii Salt Lake CityNational Historic DistrictsOrdath g 1500 'E� . Covell Coral N 6, ppom �i0os o' o LAE „� %ice (,6-. i.gaan I Elm1ne ADO 4rc'der dry er ,Wl"""" I71, 4'' i LIoBlL+W 800 f7 E101 d Ak64Naa 1608 q aPla.en,y ti 1/00 W Nyel 'Z fblAaesl Lanraa,:1$Sm«a 700 1!5 114 W Fern t C.b sr Y r+am�P n ,an IAn atw,y, s f I . �$BgFVM o = Y 600 7� g$e 12P $ �' PnbmY'e•t a,.ro Sa (Irani Si.i g$ �w. IDnf1n a L7 Chose"'"" n1 i a 200 O sm ' sad. 6lvanla mar a Hodges Ath Cky Northwest V Capitol Hill 4,-,..„ Pai0000NA K.b,,, Et II F. rgrou ds 0 200 2m •1 „ Avenues = dd R _— 2w , a 0 ac m F Ind I6Sbry Lamed' C ri SON ' _` m .0 n >• — `� PYIY �, �o+ ,°4ba South I mpN Saari Tarok=— ` ��_Sout1,�emple 3 W'— F'�n,1 o,,. folio. a OansN 2 i 4 . Iran Alameda "L , •b lax 1- ova t00 �a00_ ,• !e - #'lao �' og$ EWvI ^N4, o Warehouse 'L .nab i na I— >•no p . ?Ngml "•wB leOEBx-0 NB goo Exchan•e Place s'•di " Bryant circle gs ld, of $ Man 1 `a .>_ (d` , 8 ' O75 § yGo OD 0 C 69 Gat°' SO' • + Paul= A o I F Nark a Col nos. _ q" wh 500 5 0 �} 1_ Q 500 500 Boo. Gam Tu jai U' ....d , 4 ealmn U eerie.'. a 1 .w' P i s 02 1"m`p°'No+� 'B N PoPob col3eAry Cdb. ,a Sego 1 E Bennion-Douglasu g r4a14' 4. 2�`� v• S ,e j 41. ! .- 2 �r e < Le... 7 2. �'`' j Loral 5� .'w i R w 'i -his. uu"k Canoga y p I l kr v cm,. 1 2 Sinn,+ 5pr *aS 33I v, yg 2 F R' KbNagw a s 1 $ Hbbrd y j d 0��S. HeO Y lfebaia rc Aorncaol fap0. Below! ,y w ... a Gilmer Ilddgra Mead €d / e,55B 9OOSOn IAaada. VFW. Wdan,. 4 cilyr 'mason Or mm a &ao1n Nwa aac a 1� E 02a lag Yakg I yr. Park Yalecrest$ qq+r� Namara firm.,;Remng, , '2' r_L I�.rd H�Wo• d . 3e rW Have INnartl d r.• 'a Olro} go Gad Pulm g PI L r I 3 wN.e 15O f51amen T to I Romeo,s, S' $ I ?' L.I[ uo j 1 ,� Edel Eder Ede, 10", y 31 WE L.N s lard lard • q00 — S I 1303 mil' �p7 yl ^ 8 .CP:10, a a ('1355 ,g U dbe,�N WrIMq 1 2 Stem 'i =, S n g 3d,1 Oxman § Westmoreland pp Vy,,„ .Y p 3 N' o _ Mormon F IdCe .i {den^x i M cNw.,e tl a.,,,, R.a.e%II . 4 ` Place t 3 Rarl /ad,q,•�, A,.t.. Plasm,. Emma E N•B.ngbn Eoonon Em.non g Emwison • a? SS_.,,a kraN asuman I`a'rngbn w.,aa� 15.1 �,Marra Mann, al" Liberty Wells B„'`" ,,, 6aan Bryn Bryan �.•n n 163) 4OA•' Logan toga, 500 d 1 8 Mara s... sr,,„„Blom Wdan � QOr+'. ca•n.., c..N.r caws. we,Y,1. �� ,l1'dlrn WA.r, waran� wdwn WO., Mrgxet .. +830 0o.mgan 'dll (Io m0an 0des*. On.rfngbn Ca.nngan 3 tarn>_ laydm y Iorbn 2 Cre.d � ▪ "•�4N° Waal e, Gratl n wl.a $ . Jan1 Gra,• la WeatnnNl Bamonr y" }Ramona wa.Mn.b{ y We.•nnsM n Ibd ar litho Federal Rmona 8� KW& Rama I Wer.a0dI RWoi�,d Radonb 8` ' I+aA"aoad Redo(ao SE�M*ood _ lirdrpood r;ean,ao� __ tA5 r $ 5R-201 WB SR.201 EB I IS NB -110 ES Canmannaw aI 0 Stpadause Pa,k IbdK n R h il 8 Een Wan noeo - Wdo �� Wdnrpbn 8 P • oN C gi 2 s"" ores -..... a s''''''''1 Dale n.wan e k99• .t00 E... 4," h '✓rLLaMin 600 N81-IS NB ILO WBSR 701 WI fB0F8 Para., '••r 8 Ream N,s,,,,,, C �+••+' iF rang "km, Lawlmd Highland 50 S0o5ald r.. $- FI 015,{., t a Park §1 f8s 8 CM,. Fe1 s F IA.1 R ° t. A r 8 O 750 1,500 3,000 4,500 0,000 9 I,, ea. >' iii PART III Salt Lake City Salt Lake CityLocal & National Historic District„..,„,„ 15m Eveen Everett 'fib a N agont o 3, g c Tap Pa sis no /, g 1 < Ter �� W , ):171f E 'tooR s coal g ,iii0 5J0 Slednq LEya Tree 900 0 l'eabJ Rys so,50500 1BA W8'a S T,Fsman /r tet g ty sea °`'r 1611 b g spa' roB at, F i .Rmpero. M h>j Nnlhaal 51Fern CW mNo L' _• Mont fan fa o, lr.� i = g .E6Impasy`.5 pig.. 200 715` W 4 C.P5Mp,,�,, 11tl 4'.8 ._ q �j tAardN 'b ^� y'C 3 9 Itn § E'mala.i % fCa • = -!Da so0�df g E rX @ - A P¢• Nokw g Grad '9 is. guard 9 Q `8 `J WAIt1A $ C1aMrr�a S • $� g M oaa F pee it 500 w ...y 5M sales gn *manna 0,77 y C. ]" a eh °seed s Cb'7 ,n ad Northwest - al Capito Hill on _ Pai erren Pat aay® 4r ea I r 51A u 8 tkyl g ^ `S Hlbde 9 Qpo toi Fa rgrounlds '�CAfen �° �" J� �° -T Avenues 3rd cis' 9 R- 2r1 o d a re o z d 6M116 . Leal'n:OA .,Erred. 0011 -� s,y.r. - ._ PON 53 0C �'rG swGTempk. 9, Seaps Temple South Temple l_e_ a s ,.qa "k, iobon1 tTsrsb • 2a„+Hd1 p Y € g Paaaa bra '-bg 1M 100 1%_S Q t3 o lo° ', ng•b Eudtl +g o Warehouse `•: „�,, ii ,ena o ` �, ° aoWB kOEeaes Sled Bryant,. a r circle � '""` "B v a Exchan s e Place o A d i " s bb A 4' 4 9 ,,,,,: R '' s a cam $ I . � e 5 ays . $ ea 400 j C j ` ,,.,,, c,Fo'' S„ Pa:de I B d PaaLcr ^ Pas& 2 IS E Easr L . = jE g` 0.asa0 Q' �q 5 x rtin F m9 . L~ y° 500 pennon aeraPe adaJd V Hawthorne -a A ' WO as r -�--_ Sm '' 4".. 'c" V- ov, ' ;Saar opal 9 es 1 Pooh -aaq6y' Co1aa e,B si;, �a Eta Bennion-Douglas' „v� y' r s - y Laic! s ...1 d 9 1 1.na.7 - Adana , s > 5 V aa z a. J,� $f Ew c.na:ea g 3_ wod g ,.. oeb 1 Claae 8 stamp. - s 8 E a rionlagee 5's 1 71 gated I a mooed oar...‘�9� Hm� a!Abbate Ammura € w k�dtgan Mead Eason Bdmmt 1410, a aw 1,155ewB;On hood Wdam:sd Av q l e Gitmer Gloat 1,>nen- s € x pen �; n"amra liabeet 102010401 3 R H;ba,i Park Yalecrest m U....e - Dabn - Ga1k'a laarbe t ]sss seb F Yale - Fae4at Ilawrsranonl Fremont Rdmnpbn I _x nerd Hvnp'Pn ar o YaL Hama( Howard rm g y Nerved 'GM • 2 € Palm `§d Pasµ}, - •- P7• i r Nebey s59 l�r P{azasan 4 Promme P .. Memos 9 g R m LSO luc^/3.� s. EdA E6N E0.1A h § 31 Lord - e !N Lad 8 V drEW"LMd SI nao o 1 taro - l 4. s ' g Coruna CA•°`�1us. 2- H.I,., Sherman `$ Sherman z Sherman VWestmoreJand a utaA,p uml A AbaJmaM . wn�n a rtan�n 8 S Ranson g a •iw°- c,h.Hope 1aW 9 R ri,..• -Gmemnq e-1g, 8rowrmiq sla ro nMani CortlaM K - Place X a+aJ aoo.dl Rms m .3 Rouse) Rooaavm (§hy -' S e Emerson Emerson gagmen ' g S - oe Fidrei rWIM gnsngbn Kensbgtln N Un Emerson- g g i 'Elmerson c7 1•Jennp z' IT,On 0rJi0q Rensn9Uny s n Bryan Bryan $ y 60 :Nana cr'P' Liberty Wells La,an. 5em agars ogae,n Lave, Tanen, 1830 1200 I. aD F. 1 R a E, E'.sme s WAoo 3 i 81ane 8 2,1ane,no''a at,. e4.4- 81ane, e-yb Comm% Caaba�h Comae Wtbon Cwbvr W'�8on Iq^yon Wrbon WAm Wawa- Wt1. aw9and 009 oown�,n . - nn n Oowti D"wnng g L.P. won INO 9'da °oaring* �' Oo.+ 4d_ rgrm br a 8 ed" La}son- 44 p.. OArAtd 1_vv GA.", LarEdd m Goners p8 - -kwel awe d? Wesennsat RRam0o1 G.x44i1R. I ?Ramma Vint.. 8 - Ptasannilat W:me11• &shop federal Ran....--_g me- g �• -Kal31n W:lvta -'•a 'wood VMd Ftllesvi i , g "'"if NNprood' Wesµaod x1 I JM00d Rednrd Redondo w"9 a;T / al i • iL31 Redondo Redondo �' g� ��_ _ 146.6. Sykan, •••, Sagad5.ase Park North SR-201158 Can SR 20I ES 615 k9 SR'210 Cy mmwedb in g $ an n I err. .A ' 5 R 1. 'Wilmot 3 Win Wanagba 1 y S jamrml 8 — Fr r'z ores , sanynam j, Dale a roof p Anm aL ¢•bY a ypWTS ivW81.15 NB H30 WBSR-201 WB .80E0 �j96 Pae6./ a"- r,may g G�D.y Local Historic Districts S Rd'e� w,m,.4 1 bk.., a = E Le..bna Highland B t 4 ''.,'- National Historic Districts r a 3 v 0 n.*-Sn,tbrd g a § caps 1 Park A g;g§'a ° Felt 9 .2- Narks o S ms.,-¢ 8 m mt 0 750 1,500 3,000 4,500 6,000 y x 4 m R� 8 A Preservation Handbook for Historic Residential Properties&Districts PART III iv Chapter 13 The Avenues ar .• • _.,r i 1- 1 :7 ' !'. 11 F I. I1 �� ,.R ;I� 1 . p �> fJar �► 1 PART III Historic Districts L._. ILJL JLJ LJLJLJ I .11._JLJ L .1 �— ,Y `� i-i HSme Capild Pldp r P L7 — ^� -- -- maw 1- - fl Ir - ---b---- w—ri.-�w-r{.-i' City Cemetery L 1 C EL 11 1 1. tEr'�J s L J�l �� = I�� J�� UI� I JC_i Li I�CQC ___ _ AVi—'E J C_ICl _ [__J _ „�,e„l, [_J _._ Imo _-! f .......±:1—=...... lin m_f__.4EIHE—____.arm=1111M144•11+ii•ms orm-m.E4 1 11 — I—) t I r---) The Avenues Historic District Not to scale Cover page image:Elmer Romney's birthday party. In the background,Queen Anne details add interest to a cottage typical of the Avenues. 13:2 PART III Salt Lake City Chapter 13 The Avenues Historic Architectural Character HISTORIC ARCHITECTURAL CHARACTER 13:3 The Avenues is Salt Lake City's largest locally- CANYON ROAD&MEMORY GROVE 13:8 designated historic district, and the one best- DEVELOPMENT TRENDS 13:8 known for the preservation efforts undertaken by CI IARACTERISTICS OF THE AVENUES 13:9 its property owners. The fine views of the valley, CHARACTERISTICS OF CANYON ROAD the proximity to downtown and the long-standing &MEMORY GROVE 13:9 diversity of both its architecture and population GOALS FOR THE DISTRICT 13:9 make the Avenues a desirable place to live. STREETSCAPE FEATURES 13: 10 The appearance of this district is characterized by PARK STRIPS&STREET TREES 13:10 the predominantly residential use of the buildings, by the variety of architectural styles, and by the WALKWAYS 13:10 unity of the streetscape. Although platted in the LANDSCAPE DESIGN FEATURES 13: 10 1850s, with development occurring in the 1870s, FENCES&RETAINING WALLS 13:10 the neighborhood did not begin to grow until about SITE DESIGN FEATURES 13:11 1880, when the difficulty of bringing water up the FRONT SETBACK 13:11 steep slope was alleviated by diverting water from SIDE SETBACK 13: 11 City Creek Canyon along Sixth Avenue. ACCESSORY STRUCTURES 13:12 The subsequent growth of the Avenues corresponded ARCHITECTURAL FEATURES 13:12 both with the emergence of Salt Lake City as a regional center,and the variety of architectural styles BUILDING FORM 13:72 popular in the United States during the last half of BUILDING MATERIALS 13: 13 the nineteenth century.By 1889,most of the residents APPROPRIATENESS OF USE 13:14 were middle- or upper-middle class professionals and trades people. Some hired architects to design their homes, but the majority relied on building firms who used pattern books and constructed small , ;, 4- -- scale developments of three or four houses using -• repetitious designs. Although several pre-1880 homes exist,most of the buildings in the district date • from the fifty year period between 1880 and 1930. They include many variants of the Victorian style,as ;- 11[1 .- ' I ltl ti5rklrz...L well as bungalows. ANIL�, " ' (;; ."' -t_- An early adobe house in the Avenues retains its vernacular simplicity. A Preservation Handbook for Historic Residential Properties&Districts PART III 13:3 PART III Historic Districts i, o , - From its inception, the Avenues differed from the "'.; I' • • ' rest of the city. First surveyed in the 1850s as Plat °.• ii •`"1 s �• ` t I D, the Avenues was platted in 56 blocks of 2.5 acres, ,t _ li'j� _�, - . 1, 11 with each block subdivided into four lots. This oisiiit '�.'r r`" A. Ill deviated from the rest of Salt Lake, which was laid - - -_ out in ten-acre blocks,with eight lots per block.The j' smaller lots and narrower streets and sidewalks, `' '-'' ~ `" --. "" coupled with the large scale of many of the houses, -- . - - - made the Avenues appear much denser than other . r� 'tea.?• •= - a. "— w neighborhoods that developed during the same Park strips,access steps and mature landscaping help to unifii period. and enrich the streetscape,and here provide the transition between the street and the elevated position of the houses. Originally the east-west streets were known as Fruit, Garden, Bluff and Wall (First through Fourth )_ avenues,respectively),and north-south streets were -— ! i.w named after various species of trees. By 1885 the p • east-west streets had become First through Fourth In ' i. e��'�'IA�,I I�•�"•W'i""""'"'"• �`` and the north-south streets had been given the Kg.. :.,14 ., • - �� 01 • alphabetical titles of A through V (V later became _ Virginia). When the word "street" was changed to "avenue," the area became known as the Avenues. 1 Prior to 1880, development in the Avenues was confined to two areas. The earliest Avenues Cast and wrought iron railings with low concrete retaining —. residents constructed homes in the 1850s in the walls are still a characteristic streetscape feature,defining portion encompassed by A and N streets and First public and private,while providing decoration and maturity. and Fourth avenues (Fourth Avenue following ,r ri ` .4-; _- -' - the wall of the city). In 1860, slaughter yards were . .5. 1 . . moved to the mouth of Dry Canyon in order to take ' 1�'-jt I advantage of the water sources of Dry and Red Butte - .. & -r. canyons.Men who wanted to live close to work built 11774.•! •.1''''';: houses for their families in the eastern portion of t'� the Avenues and present-day Federal Heights — a ,;•, neighborhood known as"Butcherville." man ti:::42 ''s An elevated porch defines the semi- private space facing the front yard and the street. 13:4 PART III Salt Lake City Chapter 13 The Avenues The availability of water paralleled other civic improvements, most notably the municipal rail . transportation. One of the earliest routes in the _ Avenues was in place by 1875 with mules providing ,�,C:.• p``' �� '• the power. In 1889, an electric rail system was ' : iii iii ;per available and within several years trolley lines ran ifs; along Third,Sixth and Ninth Avenues.These streets "LL7.4' are wider and flatter than others in the neighborhood c e---- as a result. Once the necessary infrastructure was 1 WI 1.- constructed, Salt Lake's expanding economy and - w ` growing population assured the development of the la_ , 95 Avenues. �' -:- "Victorian Eclectic," a loose but apt description, was the most popular style used in the first wave • of building after about 1885. In the context of the ' ' -. - r Y y'. 7. Avenues, as in other neighborhoods throughout x;• '''. the city, the term indicates the "casual and general "� ';, approach to house design" and not a slavish irr''',?`' ' adherence to a particular style. It also indicates the - - flexibility this term provides. ' 'IN)! it') . �, i 1111111II1M(�M While not as numerous, examples of more high- I . 1 _ style architecture also can be seen throughout the - district, and include such styles as Queen Anne, -,o Shingle, Dutch, Colonial and Classical Revival, and 11 , oe ea7 - � Italianate. Residential design immediately after the i� turn of the century consisted primarily of two types, _ rather than styles, of structures: the bungalow and ' ,• the box. - - I A variety of house types and styles characterize the Avenues and reflect the evolving development of the neighborhood and preferences in residential forms A Preservation Handbook for Historic Residential Properties&Districts PART III 13 :5 PART III Historic Districts Toward the end of the nineteenth century the numbers of renters in the Avenues increased.Rental properties were typically managed by widows who needed the income after their husbands died, ' / and by builders and development companies, r iii who constructed both apartment buildings and subdivision homes. Often individuals would i acquire two or three lots and build houses,then sell them to large real estate corporations. While small- scale rental properties were constructed throughout the entire district, large apartment complexes exist ._*i. A,'. I primarily in the southwest quadrant of the Avenues, •- (??- r •• closest to Temple Square and downtown.Apartment T _ _ - Al. _,l - buildings of the historic period were built in a '"; 1;, • ;'.�_ , : number of styles, such as Classical Revival, Prairie (Caithness),Tudor Revival and Art Moderne. The Dorius building is one of many early apartment structures in the Avenues. Churches, schools and small businesses were also 4\44 - - _ �� - located in the Avenues. Religious denominations - built churches in the Avenues and the general i _ vicinity. Members of the Catholic and Presbyterian faiths could worship at the Cathedral of the 11111 r�,"' �`;' *g ,. . Madeleine or First Presbyterian Church,respectively, �l ?. on South Temple, and Episcopalians had the option -- -- At' , ,i of St. Mark's Cathedral,or after 1928,St. Paul's.The `°"1"-rt �r� ! Danish Evangelical Lutheran Church was finished :. '.. in 1911,but was converted into offices in the 1970s. A coincidence of setbacks and common eaves height help No historic public schools are extant. The Choir to create an affinity between individual house scales and styles. School of the Cathedral of the Madeleine, previously Rowland Hall-St.Marks private school,is located in •--,t the block between First and Second Avenues and , A and B Streets. Historic buildings on this campus �I 1 include four homes,a chapel and a classroom wing. ] '= Neighborhood stores also sprang up throughout the Avenues. In general these were one or two story structures with flat roofs and parapet walls. [See 111 also the Commercial Design Guidelines.] f � .. _L —�1` :i,iinu Ir:1 11 Early commercial buildings can be found throughout the Avenues,some now converted to residential use. 13:6 PART III Salt Lake City Chapter 13 The Avenues In the mid-twentieth century, the popularity of the Avenues declined as other subdivisions - were constructed. Federal Heights also offered proximity to downtown and the University of Utah but offered more consistently high-end housing. Subdivisions were developed throughout the city; mass-transit and the automobile made living close to the workplace less of a consideration.By the 1960s IlliOrC ---- absentee landowners owned much of the property -'77, _ and the resulting deterioration was obvious. High- 0 '" density residential zoning resulted in the demolition , of many historic properties and the construction of /'�� "' apartment buildings that were inconsistent with the E trif >.---y character of the surrounding buildings. Gradually the Avenues were rediscovered,however, V • by those interested in historic homes and by those Si ____.i tired of long commuting distances. Low-interest �r / 1 loans provided by the City assisted renovation Ottinger Hall was constructed in 1900 for the Volunteer Fireman's Association. activity, and the neighborhood was declared a local historic district in 1978. The next year residents successfully petitioned the city to downzone most of the Avenues to a land use designation that is more • ;4 compatible with its historic character. ' .........4 ., •+ ; • U /� ! + , ,' ' 'fit . 1,:::'_ s SI 11 t t ! i ?.,‘,. 4, 1, • ik % ,,k., --- lis,i,,,,,,,,,,..",,,y,,,,,,,r,_.,. ,, '4 . Houses in the vicinity of Canyon Road bring a rich The concentration of the curved woodwork, eclectic range of types and styles. latticework and ornamental shingle patterns reflect the carpentry skills of the late 19th century. A Preservation Handbook for Historic Residential Properties&Districts PART III 13:7 PART III Historic Districts Canyon Road& Memory Grove Development Trends The environs of Canyon Road and Memory Grove Known for its ongoing preservation efforts, are divided between the Avenues and the Capitol the Avenues District is experiencing continued Hill historic districts. Their dramatic siting at the investment in the area, including renovation, mouth of City Creek Canyon makes this area unique additions to existing structures and infill and geographically isolated. City Creek, the stream construction. that originally ran down the center of the canyon was one of the determining factors in the decision to 47 _ �o,f•, , settle in the Great Salt Lake Valley.William Clayton, et , - ( ,rhE 1 one of the first pioneers to arrive in the valley, "r described the mouth of the City Creek in his journal: ' '•- . ' . "At the east part [of their camp] there is a "" . `^f' `• considerable creek of clean,cold water descending _ -- from the mountains, and just above this place it r _ - - — r� -_branches into two forks, one running northwest, - the other southwest, and the two nicely surround this place and so well arranged that should a city Memory Grove's contemplative ambience is a significant be built here the water can be turned into every feature of this park. street at pleasure." The source of water led to the construction of several , .4. . '` mills along the canyon — the first as early as 1847 ,,. _ . • ,:; �.. •� pit, or 1848.The earliest homes were built in the area in Y -' ,4 the 1880s,many by prominent leaders of the Church "�4• of Jesus Christ of Latter Day Saints.Architecturally w: -'' the homes are no different than those seen in the Avenues or Capitol Hill, and vernacular, Eastlake, ;� ;'J ` "�a*: , Italianate and other late Victorian styles, Dutch . tt• ,� ' r' Colonial Revival and bungalows are among the 0V.4� , •.ti et styles represented.The Veteran Volunteer Firemen's `' ,,t �r i -` *' i Association building,also known as Ottinger Hall,is Ill • -t an unusual institutional use in the city but is visually `• •' compatible with the density of the buildings along •"-%.,, • Canyon Road. - -__— ,�,,i....6 The Avenues District is especially characterized by its mature vegetation,which adds a sense of visual richness to the area. 13:8 PART III Salt Lake City Chapter 13 The Avenues Characteristics of the Avenues Characteristics of Canyon Road & Historic District Memory Grove • Concrete is the common paving material for • The siting of the homes in Canyon Road makes sidewalks in the Avenues. the neighborhood unique.On the east side of • A few remnants of sandstone sidewalks and the canyon they follow the slope and a dense stone paving blocks remain,and these should pattern is created.Also,Canyon Road splits be retained. into two streets,forming a central park space. • Streets are in a regular grid pattern;blocks are • The neighborhood has narrow streets;Spencer 2.5 acres each. Court is particularly narrow. • Lots and setbacks are uniform. • Many homes do not have garages.With the exception of Spencer Court,garages are not a • Overall development is dense. part of the streetscape. • Current commercial uses are scattered • Memorials of several varieties-buildings,a throughout the district,and tend to enhance the chapel,water features,flagpoles-are placed livability of the district. against the east side of the park.This forms • Garages are usually located behind houses;if a"presentation" that can be viewed from the they exist they are detached.Most are accessed road on the west side. from single-car wide driveways from the street, • Memory Grove has a formal landscape pattern; although a few blocks have alleys with access the hillsides do not. to rear-yard parking. • Architectural styles are varied,although Goals for the District setbacks are usually constant. The design goal for the Avenues District is to • Landscaping is mature. preserve its historic scale and unique character, while accommodating compatible new construction. The distinctive design characteristics of individual ..- ,y. building types and styles should be preserved here. New construction should be compatible with its historic context while also reflecting current design. 4 •,,:40, t ti • A modest yet handsome vernacular building in the Avenues, Classical detailing frames the door A Preservation Handbook for Historic Residential Properties&Districts PART III 13:9 PART III Historic Districts Streetscape Features 13.2 A walk to the primary building entry from the public sidewalk should be provided. Park Strips & Street Trees • The walkway should be distinct from any Park strips, the bands of grass that lie between driveway the curb and the sidewalk, are found throughout • Concrete is the dominant material;however, the Avenues District. Often mature trees grow in other materials,including modular pavers,may the park strip. This coupling of planting strips be appropriate. and mature trees lining the streets provides a shaded environment for pedestrian activity. These 13.3 The use of curb cuts in the Avenues District elements also establish a rhythm along each block should be minimized. and contribute to the sense of its visual continuity. In an effort to preserve the character of the The Avenues District is especially characterized by sidewalk and the adjoining streetscape,avoid its mature vegetation, which adds a sense of visual installing new curb cuts,whenever feasible. richness to the area. • Historically,the use of curb cuts was quite limited. Walkways • New curb cuts will interrupt the continuity Typically, a "progression" of walking experiences of the sidewalks,and will potentially destroy is encountered along the street. This begins historic paving material where it exists. with a walkway that leads from the sidewalk to each building entry; this in turn is occasionally punctuated by a series of steps. Dictated by the topography, the walk often slopes, sometimes quite Landscape Design Features steeply. Because the Avenues was platted on a grid, and many architectural and landscape features Fences &Retaining Walls appear consistent, this system of walks contributes In many sections of the Avenues,yards are bounded strongly to the character of the district. by retaining walls, commonly of natural stone or This progression of entry elements is important, plain cement facing. Because many yards have and of these, the walkway itself is an extremely natural slopes, retaining walls have always been significant element. This progression should be features of the district. Walls or terraced yards are preserved. often used to create level building sites.Historically, these walls were often topped with cast iron fences. 13.1 The historic materials and position of The repetition of masonry retaining walls and fences a sidewalk,usually detached from the curb, throughout the district lends a sense of continuity and separated by a planting strip should be and character to the streetscape that should be maintained. continued.See Chapter 1 of PART II of these design • Historic paving material,such as sandstone guidelines on Site Features for specific guidelines on sidewalks,where it exists,should be preserved. Fences and Retaining Walls. 13: 10 PART III Salt Lake City Chapter 13 The Avenues Site Design Features Due to its small,gridiron plan platted on steep slopes, '` Y-,4'' the development patterns of the neighborhood have ••• .:- Nc distinguished the Avenues as an area with smaller ,—iii 11. t _ blocks and concentrated residential growth. ` ^ (l • ,,t ",,'` Front Setback of PrimaryStructures I r, 7- 9 X-, Historically, uniform setbacks in the Avenues • _ _ , established a sense of visual continuity, sometimes '-� ��' , 4 — • expressed as an "architectural wall." Although a -_ variety in setbacks is seen throughout the district, r , in fact the setback depths lie within a narrow range, and within an individual block, most buildings . I JI� appear to align. Thisgenerally uniform setback �` / t ! s�rI Li PP g = ill alignment should be maintained. IIIIII ' " ••',.�,''' ill_,.; _— ._';. `, 13.4 The front setback of a new structure should ,- 1 be kept in line with the range of setbacks seen u. , historically on the block. `' --__ • In general,larger, taller masses should be -- set back farther from the front than smaller t, structures. f ::-. ilA >. , I . .. Side Yard Setback of Primary Structure "" _ �"- r , In the Avenues,side yards are generally very narrow -i`^F•`y.r , M1 : and in some cases almost nonexistent. This pattern 'li of moderate density was first established during the _ i; early development of the neighborhood, when the , II `t blocks were subdivided into long,narrow lots.This "� pattern creates an urban feel.As a result,the narrow ' Building setbacks in the Avenues neighborhood create a shared end of the house often faced the street, and the side sense of order and rhythm in a diversity of the architectural • yards were tight. forms,scales and styles. A Preservation Handbook for Historic Residential Properties&Districts PART III 13: 11 PART III Historic Districts 13.5 Side yard setbacks of a new structure or Architectural Features an addition should be similar to those seen traditionally in the block. Building Form • Follow the traditional building pattern in order The Avenues District includes a range of architectural to continue the historic character of the street. styles, resulting in a variety of building forms. The • Consider the visual impact that new large number of Victorian-era structures in the construction and additions will have on district has established a pattern of buildings with neighbors along side yards. irregular forms and a profusion of wall planes and • Consider varying the setback and height of details. the structure along the side yard to minimize Depending on the style, some buildings are simple impacts of abrupt changes in scale. rectangles, with details applied; others are more complex, asymmetrical forms composed of several Accessory Structures subordinate masses. Other structures, such as the Garages in the Avenues District are simple wood bungalow and box types, consist of simpler shapes. or metal structures generally detached and located Free-form, domed or angular forms are not part of behind the house.Most are accessed from single-car the building tradition in the district. width driveways from the street, while a few are 13.7 A new buildings should be designed to be accessed through a rear alley. New garages in the similar in scale to what was seen traditionally on district should follow these development patterns in the block. terms of location,size,and character. • Historically,most houses in the Avenues 13.6 Secondary structures should be located appeared to have a height of one,one-and-one- and designed in a manner similar to those seen half or two stories. historically in the district. • Front facades should appear similar in height • Most secondary structures were built along to those seen historically in the block. the rear of the lot,accessed by the alley,if one • Taller portions should be set back farther on the existed.This should be continued. lot. • Garages,as well as driveways,should not • Story heights should appear similar to those dominate the streetscape;therefore,they seen historically.Architectural details should should be detached from the main house and convey a sense of the traditional scale of the located to the rear of the house, if possible. block. • Historically,garages and carriage houses in the Avenues were simple wood structures covered with a gabled or hipped roof. • A new secondary structure should follow historic precedent,in terms of materials and form. 13 :12 PART III Salt Lake City Chapter 13 The Avenues Building Materials Historically, masonry and wood building materials - characterized the district. Painted clapboard is typical of frame buildings,although stained shingles appear in wall planes of gables and dormers.Brick is 44, EJ most frequently unpainted. ` �� a i C, I 13.8 The primary materials of a building should be similar to those used historically. • Appropriate building materials include brick �A� (unpainted),stucco,stone and wood. i • Building in brick,in sizes and colors similar to a 1.,1 those used historically,is preferred.Jumbo,or • oversized,brick is inappropriate. • Using stone,similar to that used historically, - F - also is preferred. • Using field stone,or veneers applied with • ,;! j the bedding plane in a vertical position,is II r • __' _ inappropriate. • L IIIIIIIIII III. III Stucco should appear similar to that used historically. • Using panelized products in a manner that A rich palette of building materials.patterns and reveals large panel modules is inappropriate. textures characterize individual buildings and the neighborhood as a whole. • In general,panelized and synthetic materials are inappropriate for primary structures.They may be considered on secondary buildings. These design guidelines apply in addition to those in relevant preceding chapters,including Rehabilitation Guidelines, Guidelines for New Construction and General Issues Design Guidelines. A Preservation Handbook for Historic Residential Properties&Districts PART III 13: 13 PART III Historic Districts Additional Information Appropriateness of Use Haglund, Karl T. &Notarianni, Philip F. The Avenues of Salt In some cases,a residential structure in the Avenues Lake City. Published by Utah State Historical Society.1980 books.google.com/books/about/fhe_avenues_of_Salt_Lake_ may be converted to commercial use. When this City.html?id=yrciAAAACAAJ occurs, the residential character should be retained, LeSieur,Cevan The Avenues. Images of America. Published to ensure that the traditional character of the by Arcadia Publishing.2012 books.google.com/books/about/The_avenues_of_Salt_Lake_ neighborhood is maintained. Site planning and City.html?id=yrciAAAACAAJ landscaping should also be designed to respect the residential character of the neighborhood. 13.9 When adapting a residence to a new use,the original design character of the building should be preserved. • When converted to a new use,a house should retain its residential image. 13.10 If the change from residential to another use requires more parking,locate spaces to the rear of the property and provide landscaping as a buffer. II _ I N. �...! 741 fig The forms,massing and decorative composition of roofscapes in Meditation Chapel,Memory Grove. the Avenues help to establish its essential character. 13: 14 PART III Salt Lake City Chapter 14 Capitol Hill 'Y lr`1 's fib;, �`ti .M1, fy • 4 7,,,b.:v.::,.: „,:'.V,, , ' e, , , .,i..,1:i....,;,i,:.:le' ..'1/41-'' .-1 ' 1. > .4-A 4 11- ail : 9' t " 'q ' ,use,, _ ' l'6� `�f �i' . , ;; e -1. ';te$'#1117 r a J�; PART III Historic Districts • 1 Warm Park BS n r...H lig, \\ QS- 7. �w' I I N5/7 �� I C P L ,..in i[ I ' 1: i I 1 [ l L ° . [ _ 1 1\ \\ \� State Cap' mo [ a I D �` , Building very --[ , a I i \1 U � F West LJC High i 111rni. IHj17 -School I �-- t.i L.. .nr ■ --- I [ YLL 1 of [ Temple IL Square 1 aw�uI1/eu, I .,1 1 i r The Capitol Hill Historic District II Scale:1"=1000' Cover page image:Sarah Hancok Beesley in front of the home of Ebenezer Beesley on 200 North Street. Ilalianate posts support a railing with turned balusters for a second floor porch in the background. Also note the wooden picket fence. 14:2 PART III Salt Lake City Chapter 14 Capitol Hill Historic Architectural Character HISTORIC ARCHITECTURAL CHARACTER 14:3 The area encompassed by the Capitol Hill Historic DEVELOPM ENT TREN DS 14:6 District has always been predominantly residential, CHARACTERISTICS OF CAPITOL HILL 14:7 but while the land use pattern historically has been GOALS FOR THE DISTRICT 14:7 consistent, it is the high degree of physical diversity STREETSCAPE FEATURES 14:8 that makes the neighborhood distinct. This is the result of a varying topography, which resulted in WALKWAYS 14:8 i construction features such as high foundations and STREET PATTERN 14:8 retaining walls, in oddly-shaped blocks, a chaotic LANDSCAPE DESIGN FEATURES 14:8 street pattern and a haphazard orientation of FENCES& RETAINING WALLS 14:8 dwellings to the street;and to the architecture itself, SITE DESIGN FEATURES 14:9 which represents a continuum of styles and building FRONT SETBACKS 14:9 types that span from early settlement to the present. ORIENTATION 14:9 Like the Avenues,over the last twenty years Capitol Hill residents have saved their neighborhood from ARCHTTECTURALFEATURES 14: 10 derelict housing, neighborhood apathy and the BUILDING FORM 4:10 perception that the area was an undesirable place BUILDING MATERIALS 1.4:10 to live. Both areas have benefited from widespread • down zoning that occurred during the 1980s, and from the commitment of residents to undertake the expense and effort of appropriate renovation. Despite the poor quality of the soil and the difficulty of obtaining water, Capitol Hill has always been a popular place to live. It was close to Main Street businesses and nearby manufacturing establishments,and yet was removed from the noise and commotion of downtown.The earliest residents were immigrants of limited means from Great SOft Britain and Scandinavia, and even after 1900 the neighborhood continued to attract recent arrivals in ' I 1 similar social and economic circumstances.Because }; ; / tti;.• . "' Tip the water supply was erratic and sparse until the ,14• : ;;` 9 ', ( ° ►'z! 1900s, early settlement occurred only on the lower h'�r . . .' g? ,;;s°r`t� �f,Al western and southern reaches of the slope. Prior 1, s „ to about 1890, therefore, the neighborhood had a r r .;r � ; rural appearance. In fact, one of its most notable MIT A!' characteristics was the proliferation of orchards. . • -- Steep slopes and elevated sites are central to the character of much of Capitol Hill. A Preservation Handbook for Historic Residential Properties&Districts PART III 14:3 PART III Historic Districts Most Capitol Hill residents during this time were Capitol Hill was becoming an increasingly craftsmen, and their homes reflected their trade. fashionable place to live. Although it remained an John Plaits, for example, was a stonemason who enclave of members of the Church of Jesus Christ arrived in the valley from England in 1854. The longer than other Salt Lake neighborhoods,it began original block of his home at 364 Quince Street is to change as the city's population accommodated the a one-story fieldstone structure, with a hall-parlor influx of non-Mormons during the last two decades plan. Although simple in massing and materials, of the nineteenth century. The families of men in Plaits' use of sandstone quoins, red rock sills and mining, Denver and Rio Grande Western Railroad lintels indicates his pride in his home and that he workers, and the trades associated with the new viewed it as permanent shelter. Similarly, another industries of the telegraph and the telephone found immigrant, William Asper, arrived in Salt Lake in Capitol Hill as appealing as their neighbors. In an 1861 and built a house down the street from Plaits' effort to create a stylish image, street names on the at 325 Quince Street. Asper was a carpenter who west slope were changed from "Bird", "Cross" and eventually founded a lumber and planing mill. His "Locust" to those of names of fruits, and this "sub- house, constructed of brick in 1870, has a profusion neighborhood" became known as "the Marmalade of wooden moldings and trim. District." By the 1880s water had become available through The designs of residential architecture shifted a series of cast iron mains that extended from City from the simplicity and balance of classical styles, Creek to distributing reservoirs at high points along exhibited on many of the most modest pioneer the foothills. The reservoir that serviced most of dwellings in the district, to the exuberance of the Capitol Hill was situated northeast of where the late Victorian era.These newer residents used many Capitol is now.The accessibility of water made more Victorian styles, but Queen Anne variants and the intense development possible and this, combined ubiquitous Victorian Eclectic prevail in the older with changing architectural styles, altered the sections of Capitol Hill. Some owners remodeled appearance of Capitol Hill. The subdivision of lots homes that were built during the earlier years of shifted from the earlier haphazard arrangement settlement, updating them with elaborate porches to that of a standard rectangular lot, so that the or bay windows. orientation of the houses changed from one of facing the hillside, regardless of the relationship to the streets, to that of being parallel to the street and _. 410''" later, of being oriented to the points of the compass '' ';; even if the street ran at a diagonal. .••• ' ;' to • :f C. `4; t . -el.Lr Parkways are a characteristic,sylvan amenity of 200 West, contributing significantly to the mature landscape character of the western section of Capitol Hill. 14:4 PART III Salt Lake City Chapter 14 Capitol Hill Another neighborhood within the district,known as .er" "Arsenal Hill," developed later than the Marmalade ; district and the lower slopes.It consists of the upper I ,'- portion of the south slope, and it did not take on its current layout and appearance until the 1890s.This _-it area takes its name from the fact that the city arsenal was located here. When forty tons of blasting - t powder accidentally exploded there in 1876, the _ :- r i city ceased to operate the facility,and eventually the large amount of land formerly used for the arsenal`�l �'''i became available for building.By this time Salt Lake . ' I_ _ was undergoing a period of rapid urbanization and •,';•_• ) ' - ' prosperity. This, combined with the fine views and - close location of downtown, made Arsenal Hill :,'it°" tatrA-4... appealing to residents who could afford high style, N 'f.�; t-� architect-designed houses. \\� " • The completion of the State Capitol building added .r;` , ' 4 '� y. ANY . to the neighborhood's desirability. Its extensive I f 1 , grounds and the imposing structure at the top of , . ' I ti the hill spurred new residential construction to the ` south and the west. Today, Arsenal Hill contains the only large historic apartment buildings in the s F I I. 4- district. Apartments such as the Kensington at 1 N t I180 North Main (1906) and the Kestler at 264 andIT 268 North State (1913 - 1915) are similar to others 1 1 built during the "apartment boom" that occurred between 1900 and 1930. 1 7 .7- - ,. c.. v . ..„ „, t . , .7..........._ . ....isi ,f .�4. 0:- 111111 _ t1 1�: - III ilia- !, ' 4 Architectural character varies considerably, whether set back from or immediately enclosing the street. A Preservation Handbook for Historic Residential Properties&Districts PART III 14:5 PART III Historic Districts — — After World War II, and the ensuing exodus to the suburbs, the housing stock and overall atmosphere • of Capitol Hill began to decline. The neighborhood ' was too eclectic and too old to compete with the postwar attitude that valued new goods and , _ 1 1 0 conformity. By the 1960s the area had a reputation r,,,II' _ _ of housing unstable residents with questionable 3� k•' 1' t • backgrounds. Architecturally, Capitol Hill fell to its nadir with the construction of Zion's Summit, A row of Dutch Colonial structures angled with the street provides a distinct character to the streetscape of this block inwhich was built in the early 1970s. These high the Capitol Hill district. rise condominiums dwarfed the surrounding structures and have marred the historic ambiance of the Marmalade district. Other modern buildings, . 1 ," ____ particularly apartments, have detracted from J —�. al .8 the architectural integrity of the area as well. Happily, about this time preservationists and . "urban pioneers" began to invest in Capitol Hill T sowr by renovating historic homes. The small scale of h: ... ' the neighborhood, its close location to Downtown, .` . ', t. and its unique architectural resources — the very lam. > s, ' "MO qualities that drove residents away earlier — now proved to be its biggest appeal.Today it is a vibrant neighborhood, with many examples of successful N N., �.� sensitive renovation projects. k A _ 7_ Development Trends %_ bi Known for its ongoing preservation efforts, the 4 i Capitol Hill District is experiencing continued II 14 investment in the area, including renovation, .g WA au - '. ' additions to existing structures and infill , . %s7 s '' construction. A wide range of renovation and new construction projects is therefore anticipated. Duplex houses contribute to the character of Capitol Hill in a variety of forms and scales 14:6 PART III Salt Lake City Chapter 14 Capitol Hill Characteristics of the Capitol Hill Goals for the District Historic District The design goals for Capitol Hill are to preserve The following is a summary of key features of the the unique historic character of the district and to district. ensure that improvements respect the contrasting character of the two subdistricts, which differ in • Capitol Hill has the most uneven street pattern several respects: in the city.The streets are narrow and steep.Lot sizes are odd shapes. • topography • The orientation of the buildings to the streets • street pattern is somewhat varied,as some structures face • orientation of houses to the street,and directly and other diagonally. • size/ornamentation of housing stock. • Some smaller streets have been closed by the Preservation of the key details of high style city;as a result there are homes in the middle buildings should be a priority as well.New building of a block. should respect the historic scale of construction, • Builders compensated for the steep which consists of structures no higher than four or topography by constructing retaining walls five stories, and in many contexts much lower in and high foundations,rather than having the height. architecture of a structure itself address the lot. • Most of the buildings are residential,with 300 West containing most of the commercial structures in the district. 1•f� Q�9 , • Capitol Hill contains some of the oldest extant • . ;� ; �`` homes in the state.These can be found on the �� ! �` j,. lower slopes(below Wall Street)and in the ,;�' : , Marmalade neighborhood. • Street landscaping consists of informal � N. plantings;the district's irregular street pattern and demographics has never lent itself to a formal layout,such as the trees along South tr r . %_, Temple.Early on,fruit trees predominated; today "volunteer trees" make up the bulk of the trees. Retaining walls provide visual interest to the street,and serve as distinct character- defining features. This characteristic should be preserved. A Preservation Handbook for Historic Residential Properties&Districts PART III 14:7 PART III Historic Districts Streetscape Features Walkways Typically,a "progression" of walking experiences is 1 — encountered alongthe streets of Capitol Hill. This �_ P 4.: I, • •4 � begins with a walkway that leads from the sidewalk t i• ,.j and is occasionally unctuated by a series of steps. ✓ tr. • •`h' ' + `•. ." Dictated by the topography, the walkway is often '} gar. •A�' ''""` •{ t 1 .ti,, , sloping, sometimes quite steeply.In most cases,this •' v walk leads to a front entry,which is clearly defined. The"Woodruff-Riter-Stewart Home"at 93 East Second North In sections of the district without a grid street Street is an example of the variety of architectural styles that pattern, no system of walks is prevalent. However, can be found in the Capitol Hill Historic District. this system is found in other parts of Capitol Hill, especially in the Arsenal Hill subdistrict. Where Landscape Design Features these walks were seen historically, they should be maintained. Fences &Retaining Walls The steep topography of the entire Capitol Hill Street Pattern district dictates the need for an extensive system of The two subdistricts developed distinctly different large retaining walls. These retaining walls, which street patterns, which provide the district with have been used frequently to adjust for changes in a high degree of visual diversity. This diversity slope, vary in texture, length and layout and are characterizes the neighborhood, provides clues often paired with fences and plant materials. As a about the developmental history of the district, and result,they provide visual interest to the street,and therefore,should be preserved. serve as distinct character-defining features. These characteristics should be preserved. 14.1 The traditional rectilinear grid pattern of streets found on the western edge of the district 14.7 Original or early retaining walls and fences should be maintained. should be retained wherever possible. • 14.2 The angular,irregular street pattern found in Historic materials,detailing and finishes the Marmalade portion of the district should be should be retained. maintained • Consider terracing where the gradient is steep to minimize the height of a retaining wall. 14.3 A new driveway,as well as any street • improvements,should be arranged so that they Refer to guidelines and advice on fences in the continue the respective street pattern. Site Features chapter. 14:8 PART III Salt Lake City Chapter 14 Capitol Hill Site Design Features • This positioning,mixed with variations in slope,caused rows of staggered houses,each Front Setback of Primary Structure with limited views of the streetscape. The southern edge of the district(Arsenal Hill): • Staggered setbacks are appropriate in this This area of the Capitol Hill district was settled on part of the district because of the historical a grid pattern similar to that of the Avenues district, development. with more uniform setbacks and lot patterns. • Traditionally,smaller structures were located closer to the street,while larger ones tended to Marmalade District: be set back further. In this area of the district, the orientation of a building to the street varies, depending on the 14.5 The side yard setbacks of a new structure, angle of the street itself.This irregular organization or an addition,should be similar to those seen developed because many buildings were traditionally in the subdistrict or block. constructed to the points of the compass rather than • The traditional building pattern should be at right angles to the street. The result is a wider followed in order to continue the historic variety in setback and orientation of buildings to the character of the street. street. • Consider the visual impact of new construction Because distinct differences in street pattern exist, and additions on neighboring houses and the setback and orientation of the primary structure yards. to the street should continue to be based on the • Consider varying the setback and height of the established character of the subdistrict. structure along the side yard to reduce scale Orientation and impact. Despite the variety of setbacks and the mixture of 14.6 The front of a primary structure should be lot shapes in the district, buildings in Capitol Hill oriented to the street. traditionally had their primary entrance oriented to • The entry should be defined with a porch or the street.This relationship should be continued. portico. 14.4 The traditional setback and alignment of buildings to the street,as established by traditional street patterns,should be maintained. • In Arsenal Hill,street patterns and lot lines call for more uniform setback and sitting of primary structures. These design guidelines apply in addition to • Historically,the Marmalade district developed those in relevant preceding chapters,including irregular setbacks and lot shapes. Rehabilitation Guidelines, Guidelines for • Many homes were built toward compass New Construction and General Issues Design points,with the street running at diagonals. .Guidelines. A Preservation Handbook for Historic Residential Properties&Districts PART III 14:9 PART III Historic Districts Architectural Features r % / �/ ' i';'-; Building Form '"-� _ i'rl `� ....,..,,,co'?°QC -2 Ammo The Capitol Hill district contains a wide range '` of architectural styles, resulting in a variety of r....1 II building forms.Perhaps the most distinctive feature I e,;" et , of the Marmalade area is the profusion of dwellings . of simple design and detailing and of modest scale. Although Arsenal Hill has examples of vernacular designs,it also has numerous Queen Anne and two- vi,- A;ti ,. . " . _____ story box-style buildings. Staggered setbacks in the Marmalade district are due to a diagonal street pattern. 14.8 A new building should be designed to be •similar in scale to those seen historically in the T neighborhood. • In the Marmalade area,homes tended to be more modest,with heights ranging from one to r 11. ,.. 1, two stories. r I _li„ ., • Throughout Arsenal Hill larger,grander homes • reached two-and-half to three stories. _. . .;'� • Front facades should appear similar in height i.f;'• Y _ to those seen historically on the block. This classically-inspired duplex is an example of high style 14.9 A new building should be designed with multifamily housing in Salt Lake City. A centrally located porch defines the entrance. This structure was extensively a primary form that is similar to those seen renovated in 1995. historically. • In most cases,the primary form for the house was a single rectangular volume. Building Materials • In some styles,smaller,subordinate masses Historically, masonry and wood building materials were then attached to this primary form. characterized the district.Brick and rusticated stone • New buildings should continue this tradition. were also evident,as was painted clapboard. 14.10 Building materials that are similar to those used historically should be used. • Appropriate primary building materials include stone,brick,stucco and painted wood. 14: 10 PART III Salt Lake City i Chapter 15 Central City .. ,, _ t ft II ' i tal TA d -L.,_ • .., • ...!-, L Llb e ILL, 4- , . Cr.' ...._. . I% .".'-'''.''..............., — MTP-4) ' 1 -•' . 7111114 1.-f----.1*,—...,""t3,•--y',- ,,,x,, 1.:;,/r. L-.1.4,i?"'""•-• •„ .r,t,;',..4_,,p,::.' ..- _ _ _ _,- • :,7cpt-•,-- ' , i -pe ,• • -- , ,t' - --" .. 1.• 4 , ...• 4t,Appkik,f, .-, 4 ..0- 4"I'"•-":; 0,44 7 - .*-''--6• -_,. .kK 4 ' '' . e -Tition,r, ..40 •, '''' ,''.- i t i OA '' li:Zt 4 a . - - ' -- 17 - • t'll ki 4-- VACS i "V01 - ----'--"--2'''' ',Z- 1 _ , ..."7..7.--ar. ,-- _ -- _ — - , _... _- -- _ - - ---•_. _ / , • _ _ -, PART III Historic Districts _ut—�uuuu_ LJLJLJU L emu _ ;tom i H iiii___ _il__ El [-r_U [ ' —1[ 1� ❑' ___] ,-Bri li t I7olley I Squsr _ ,. q❑ I , ri L LLi1 1CI_r I [ ] = U C ir� Li ICI Park i t� r--,r-1 A Lr Central City Historic District Scale:1"=100' Cover page image:A 1909 view looking north from 100 South up 700 East and current view along 600 East.. 15:2 PART III Salt Lake City Chapter 15 Central City Historic Architectural Character HISTORIC ARCHITECTURAL CHARACTER 15:3 Encompassing one of the oldest neighborhoods of DEVELOPMENT TRENDS 15:5 the city, the Central City Historic District is part CHARACTERISTICS OF CENTRAL CITY 15:6 of a larger area, known by the same name that is GOALS FOR THE DISTRICT 15:6 associated with the original plan of Salt Lake. Out STREETSCAPE FEATURES 15:7 of all of the requirements outlined by Joseph Smith's i • STREET PATTERN 15:7 "Plat for the City of Zion" only the size of the blocks — ten acres — remains intact, and what was once a LANDSCAPE FEATURES FENCES 15:7 village and agricultural landscape now reflects the SITE DESIGN FEATURES 15:7 fact that Central City has the most complex zoning FRONT SETBACK 15:7 and land-use patterns in Salt Lake. Although a few PORCHES 15:8 adobe vernacular homes still exist, the commercial ARCHITECTURAL FEATURES 15:8 development, including fast-food restaurants, ADDITIONS/ALTERATIONS 15:8 office buildings and retail centers, belies its early history. Despite recent, incompatible intrusions, BUILDING MASS 15:8 Central City still has the most eclectic mix of historic BUILDING SCALE 15:9 architecture in Salt Lake, including several unique BUILDING FORM 15:9 examples of a variety of building types. BUILDING MATERIALS 15:9 Central City began to lose its early appearance and COMMERCIAL AREA FEATURES 15:10 social structure with the building of the railroad and later the opening of the Bingham copper441, V. `49 mine. These developments created a demand for �,"tip;' r�'� ^ A. ' t unskilled workers who needed affordable places :' '' .; `•':-- to live. In addition, Central City's proximity to the • b` "i,,=;%,� ' :./• . expanding downtown business district and nearby °z >r,,..� Y,.: ''� ` manufacturing and processing plants attracted ¢'�," .y1' ',? ' 2 i,,; y clerks, laborers and craftspeople, so that earlyon it i''+li:: �• .� :0(.! ;.,.. : . became known as a neighborhood for the working „ , 9_+;, �•- r; '4 ,1 lower- and middle-class. With the exception '•` } , r a -• of imposing residences at the north end of the ',I"', �k'» �.--w_ fi ' district, Central City never became a fashionable y' ' - .•', � neighborhood and the population was unstable. As :.-- • - the Central/Southern area survey states, "Workers '.--- ,-.4_ -0 moved on to other jobs, to other towns; more •: • +/T prosperous families were attracted to the benches, = W where the air was cleaner,and to new subdivisions." r Mature landscaping now contributes significantly to the character of the Central City district. A Preservation Handbook for Historic Residential Properties&Districts PART III 15:3 PART III Historic Districts Given these demographics, rental housing has Central City was not only home to working-class proliferated and much of the housing stock has citizens,and not all of the buildings are unassuming always been modest. Thomas Newton was typical or were built as rentals. Professionals, businessmen of the nineteenth-century Central City resident, and politicians lived in Central City, many residing as was his house. Newton worked as a clerk and in the neighborhood for decades. Frederick Albert shoemaker for ZCMI and constructed a small, side- Hale,a Cornell-educated architect,lived on 600 East gabled house in 1888 at 326 South 700 East. With from 1905 to 1934. He was one of the state's finest its side-gabled massing and simple two-over-two architects, designing for wealthy clients. His work windows, this house exhibited the simple forms of includes the Alta Club, the First Methodist Church early Utah architecture, as well as illustrating how and the Salt Lake Public Library (subsequently long such forms remained popular. This property the Hansen Planetarium and now O. C. Tanner). was demolished and is now a parking lot. Several lawyers and executives associated with Central City also has an extensive stock of the mining industry lived in the north end of the "Victorian Eclectic" architecture. Several examples district.Politicians included Utah's fourth governor, can be seen along 600 East between 600 and 800 Simon Bamberger who lived at 623 East 100 South, South. Although not as popular for Central City's and more recently, Palmer dePaulis, mayor from small houses, the exuberant Queen Anne style was 1986 to 1992. also used.Victorian styles continued to be built until Similarly, not all of the buildings are modest. the turn of the century but were quickly replaced by Mansions include Francis Armstrong's, at 679 East the bungalow,which by 1915 had become the small 100 South, and Orange Salisbury's, designed by house of choice. Because the bungalow was more Frederick Hale, at 574 East 100 South. Within the of a type rather than a style, this architectural form historic period affluent families built residences as also lent itself well to many variations. four-squares,or in the Victorian Eclectic and Queen The transient nature of Central City's population Anne styles. encouraged the construction of many rental units, Almost all of the buildings in Central City including duplexes, fourplexes and multi-unit constructed before 1945 are residential. Exceptions apartment buildings. Because of their small size, include the Swedish Baptist Church, constructed duplexes took on the style of whatever was popular in 1913, and the Twelfth Ward Chapel, built in at the time;and thus late Victorian, Craftsman, and 1939. The Swedish Baptist Church is Craftsman Tudor Revival examples can be found. Apartment in style, and blends in well with the surrounding buildings, on the other hand, developed as their homes. The chapel is an unusual example of Art own form: the walk-up flat type used before 1918, Moderne for this building type, and is located at and the "double-loaded corridor" introduced later. 630 East 100 South. There are several small grocery Central City also has several apartment types that stores scattered throughout the district, but the are very unusual, such as one-story courtyard most impressive nonresidential structure is Trolley structures, and the only remaining example of Square. Built as trolley barns for the Utah Electric Victorian row housing left in Salt Lake. and Railway Corporation from 1908 to 1910, the barns became a shopping and entertainment complex in the early 1970s. 15 :4 PART III Salt Lake City Chapter 15 Central City Because of its early layout, large blocks and role Development Trends as "the inner city," Central City has always been The district has experienced a surge of beset by land-use conflicts. The large blocks led to renovation and improvements to properties. haphazard development as early as 1900 and were Continued investment is expected, particularly in subject to incompatible development because of rehabilitation. New infill construction is anticipated . insensitive zoning and an encroaching downtown. in current plans for 400 South with specific focus on Central City has been subject to the problems the station areas. associated with absentee ownership for decades. Fourth South developed as a commercial corridor 't r after World War II and, with the addition of TRAX, '• 4, �J � `L is now a very busy street, with need for pedestrian- -'''• lir- .1Wiko Agit 4 -- friendly improvements. The City and residents have, if periodically, made t,, ' attempts to improve Central City. One effort, still �, '� �= _" intact,was the creation of"parkings,"or landscaped medians, down several streets, including 600 East, ,,.`++!o �'✓_-," ••-?;x>= �. as part of the removal of electrical wires and poles from the center of the street to accommodate the new street car system. In response to the deteriorating conditions of many houses because of foreclosures during the Depression, the first neighborhood , • beautification program was organized in the 1930s. i� . Local resident Sheldon Brewster headed up the lt ,campaign to influence people to buy homes in the t !! j '' 1,41 E . area and maintain them. In 1932 an organization ----� .. o..". , called "the Central Civic Beautification League" fought an uphill battle to "turn the tide of decay and stultification back."This group concentrated its efforts on keeping business out of residential areas, N4\ Allii�,� �h i •��,'�� soliciting money for structural repair and attempting iiftem.,5 .� ��, to instill a sense of community in the neighborhood. _�- ' '- Most recently, neighborhood residents have been .�' - i 4 4 •, fig` renovating structures, and petitioned the City to _ � „ rh. 11: adopt part of Central City as a local historic district. 1 e ii�1 t i + The designation was accomplished in 1991. Willi'i :in1a �' .,. . ..._. , �•:, Houses in the northern part of the district contrast with the more modest range of residences in the southern section. A Preservation Handbook for Historic Residential Properties&Districts PART III 15 :5 PART III Historic Districts Characteristics of the Central City Goals for the District Historic District The most significant feature of this district is its The following is a summary of key features of the overall scale and simple character of buildings as a neighborhood. group, as a part of the streetscape. As a result, the primary goal is to preserve the general, modest • Large,ten-acre blocks are located north of 600 character of each block as a whole, as seen from South. the street. Because the overall street character is • Residential,interior block development exists the greatest concern, more flexibility in other areas, south of 600 South.Streets such as Green,Park particularly renovation details should be allowed. and Lowell are several interior streets that This goal for preservation should also be considered are very narrow,from 15'to 25'wide.The lots in the context of related neighborhood goals to are typically about 2,500 square feet,setbacks attract investment and promote affordability. about 10'. • Garages are set at the rear of the lot and are • accessed by alleys. "-- i • Grass medians run the length of the district from Liberty Park to South Temple. • • Architectural styles range from the 1870s to I the contemporary."High-style"examples are l generally located north of 400 South.Smaller, %' I more modest homes are located in the southern r.1 portion of the district. I • Fourth South is totally commercial,and has no I n • remaining historic structures. ;1 1 Ji [MI 'I_ P if • The centers of several of the large blocks north of 400 South are vacant 1 1 1 '! I T---:,,T; _'/, il r ' - Duplex and apartment buildings .4...t't reflect the early development of the Trolley Square under construction. neighborhood. 15:6 PART III Salt Lake City Chapter 15 Central City Streetscape Features Street Pattern s•, ! The Central City district developed on a rectilinear w • plan, with spacious blocks intersected by wide streets. Sidewalks are detached and street trees '4L4*. �.-✓5 �'- are located in the park strips in many cases. Street — 111 widths vary considerably,ranging from a boulevard ;••• #` along 600 East Street to short, narrow alleys and 4~ r tl►.", •lanes. tom'' _ While the setback alignments of building frontages may vary 15.1 The character and scale of the side streets in they do so within a well defined range,helping to establish the character of the street block frontage. the district should be maintained. • Many side streets,particularly the lanes,have a distinct character and scale that should be preserved. 15.2 Alleys should be maintained where they Site Design Features exist. Front Setback of Primary Structure • Their modest character should be preserved. Although the district contains variety in setbacks, most buildings within a block appear to align Landscape Features-Fences along their front setbacks, within a narrow range Many of Central City's yards are bounded by fences. of dimensions. Historically, larger buildings in Historically,materials were wood and metal. the district, such as apartment buildings, were set 15.3 The use of wood,iron and wire fences is back farther away from the street than the single structures. In some cases, small dwellings sit at the preferred,since they are more in character with the neighborhood patter edge of the sidewalk, creating a very urban feel. This is particularly evident along Park Street,which has the character of a developed lane or alley.These traditional setbacks should be maintained. 15.4 The established alignment of building fronts in the block should be maintained. • In general,larger,taller masses should be set back farther from the front than smaller The design guidelines apply in addition to those in relevant preceding chapters,including structures. Rehabilitation Guidelines, Guidelines for • In some cases,therefore, a setback that is New Construction and General Issues Design greater than the median setback may be Guidelines. appropriate. A Preservation Handbook for Historic Residential Properties&Districts PART III 15 :7 PART III Historic Districts 15.5 The rhythm established by uniform setbacks Architectural Features in the block should be maintained. It is particularly important that the traditional Additions/Alterations • spacing pattern be maintained as seen from the p g 15.8 An addition should be in character with street. the main building,in terms of its size,scale and • The traditional building pattern should be appearance. followed in order to maintain the historic • This is especially important in portions of the character of the street. district where buildings are modest in size and • The visual impact of new construction and scale and have limited architectural detailing. additions on neighbors adjoining yards should • Greater flexibility is appropriate,in terms of be considered. size of additions,on the northern edge of the • Varying the height and setback of the structure district near South Temple Street,where many along the side yard should be considered. of the historic buildings are quite large. Porches Building Mass A clear definition of the entry to each building 15.9 New buildings should appear similar in is one of the most significant character-defining mass to those that were typical historically in the elements in the district. In a typical situation, the district. primary entrance faces the street and is sheltered with a porch. • If a building would be larger than others on the block,the larger masses of the building should 15.6 Where historic porches exist,they should be be subdivided into smaller"modules" that are preserved. similar in size to the historic buildings. • They also are strongly encouraged as a feature • Orienting the entry to the street is preferred. in new construction. • Establishing a"progression" of entry elements, 15.7 The primary entrance to the house should be including walkway,landscape elements and clearly defined. porch also is encouraged. • Use a porch,stoop,portico or similar one-story feature to indicate the entry. • Orienting the entry to the street is preferred. • Establishing a"progression"of entry elements, including walkway,landscape elements and porch also is encouraged. 15 :8 PART III Salt Lake City Chapter 15 Central City Building Scale 15.10 New buildings should be designed to -, •--rti ' appear similar in scale to those seen traditionally -II - ' on the block. 1, 1/S?1. il 1 ii h • Historically,most houses appeared to have a height of one,one-and-one half or two stories. 1 t' . • A new front facade should appear similar in ler _ _— — height to those seen historically in the block. _ • Taller portions should be set back farther on the Use building materials that will appear similar to those used lot. historically. • Story heights should appear similar to those seen historically. • Also,consider using architectural details to give a sense of the traditional scale of the block. Building Form 111rartH' 15.11 A new building should be designed to have --,4111 i 4 a form similar to those seen historically. \c, • In most cases,the primary form of the house {�y`�� _��was a simple rectangle. M4� r, • In some styles,smaller,subordinate masses : , � i �were then attached to this primary form. 4 l' `a Building Materials • • T 15.12 Primary building materials that will appear // = _= similar to those used historically should be used. ® - • Appropriate building materials include:brick, stucco,and painted wood. �/P Alt -i .-.. • Substitute materials may be considered under some circumstances. ,J1111111111. INAl • See PART II,Chapter 2. ,::'1 k,f.v., ! i.:,. .ji I i frto The choice and decorative use of detailing and materials helps to define the human scale of many buildings. A Preservation Handbook for Historic Residential Properties&Districts PART III 15:9 PART III Historic Districts Commercial Area Features The design goal for these commercial areas is to enhance the pedestrian environment and to While most of the district retains a traditional minimize negative visual impacts as seen from the residential character,some major commercial streets historic residential portions of the district. It is not bisect the neighborhood in an east-west direction. the intent to create a"historical"image for buildings These have redeveloped recently with commercial in these areas,but simply to apply principles of good uses in auto-oriented designs and as a result, no urban design that will enhance the visual quality historic context exists there. while accepting the "contemporary" character that Franchise facilities appear frequently along the exists here. cross streets.Most of these are set back substantially from the street, with large parking areas located in 15.13 The visual impacts of automobile parking as front. Large signs are often mounted on tall poles seen from the sidewalk should be minimized. and landscaping is used sparsely. Curb cuts appear • Landscaped buffer areas should be used to frequently and extensive portions of most sites screen and separate the sidewalk from parking are paved with hard surfaces. The result is that and drive lanes within individual commercial these areas offer little to pedestrians, in contrast sites. to the pedestrian friendly character of the historic residential streets in the district. When viewed 15.14 Service areas should be screened from the from within the more intact residential portions residential portions of the historic district. of the district, these commercial zones are visually • Fences,walls and planting materials should be disruptive. used to screen service areas. • When feasible,locate service areas away from residential portions of the historic district. 15.15 The visual impacts of signs should be minimized. • This is particularly important as seen from JI r within the residential portions of the historic district. • Smaller signs are preferred. • Monument signs and low pole-mounted signs f • 111 are appropriate. tfY . ■ . et 15.16 All site lighting should be shielded so that it ,_�� ; does not spill over into residential portions of the -:Eva "' � �" I historic district. 4101111 . • New buildings in the context of the original in Trolley Square. 15: 10 PART III Salt Lake City Chapter 16 South Temple / i , \ -• ,,t ' PART III Historic Districts -1- ---------- -=J-� _ _II City Cemetery .=t L igq)i— — L Li_ Li h� • ---1 1-1 LI —II MOO_ 10I Li ._� rarr �� I I 1 1 - r�1 — mv � �. A[-� —_ � � �� .�-� -�.Hi.-- I— - - I -.r- oly Cro Hospital C o III f— --,— l r----1 U_ r�U I 1 , — L University — - LtIIEE R I t. ! UN ER I f Y of I- — — I — -- -- --... - L I L rl 1 —1 171-1 1 it Utah [ I�[ i t--i I I I I ]I I I I f I [— The South Temple Historic District Scale:NTS 16:2 PART III Salt Lake City Chapter 16 South Temple Historic Architectural Character HISTORIC ARCHITECTURAL CHARACTER 16:3 South Temple is frequently referred to as Utah's DEVELOPMENT TRENDS 16:5 premier residential boulevard, a testament to the I CHARACTERISTICS OF SOUTH TEMPLE 16:5 transformation of Salt Lake City from an agricultural i GOALS FOR THE DISTRICT 16:6 village to an urban center, one that could support STREETSCAPE FEATURES 16:6 the elegance and grandeur seen in the architecture WALKWAYS 16:6 along this street. SITE DESIGN FEATURES 16:7 Although it was not until around 1900 that South Temple took on the stately appearance associated FRONT SETBACK 16:7 with the mansions, South Temple has played an SIDE YARD SETBACK 16:8 essential role in the development of Salt Lake since CURB CUTS 16:8 the City was founded. It served as a connection SERVICE AREAS 16:8 between the East Bench and Downtown and SITING OF ADDITIONS 16:8 provided a delineation between the small lots of i ARCHITECTURAL FEATURES 16:9 the Avenues neighborhood and the larger blocks PORCHES 16:9 of Central City. In general, South Temple has attracted people of prominence and prosperity, but ORNAMENTATION 16.:9 within this group residents represented a variety BUILDING&ROOFING MATERIALS 16:I0 of religious faiths, occupations and backgrounds. 1 APPROPRIATENESS OF USE 16:10 People of lesser means, including skilled craftsmen 1 ADDITIONAL INFORMATION 16:10 and teachers, have also resided on South Temple. • South Temple was not immune to the surge of city- '� le wide apartment construction that occurred from -..,' ;ram 1902 to 1931. 1' tl .1 #'I 1 Despite the impact of later development, South '. i., Temple was identified in 2007 by the American %it; ,'. �\ r Planning Association as one of America's Great "r; } I I I 1 Streets. www.planning.org/greatplaces/streets/2007/ , (; !� J- southtemplestreet.htm 111 i hI i_16 4 A sequence of porches along parts of South Temple introduce the building scale and style,creating a vibrant street facade. A Preservation Handbook for Historic Residential Properties&Districts PART III 16:3 PART III Historic Districts The history of South Temple begins with the Professional people who were not as wealthy but founding of Salt Lake City, which was laid out prominent nonetheless were also building large according to Joseph Smith's plan for the City of comfortable homes in the variety of styles popular Zion.It was originally platted as the major east-west throughout America. They built four-square boxes, axis, but because nothing but open country existed using simple classical capitals on porch columns to the east until Fort Douglas was founded in 1862, and Palladian windows, Shingle style houses with construction along South Temple during the 1850s complex floor plans and rich surface texture, and was confined to the blocks between 200 East and Arts and Crafts bungalows. These styles could be 400 West.The decision of Brigham Young and other seen throughout the city,but South Temple residents church leaders to build homes on South Temple built more elaborate versions representing some of set an early precedent for the street's residential the finest work of the state's best-known architects, prominence.Although early church leaders did not including Walter Ware, Frederick Albert Hale, C.M. anticipate South Temple's eventual role as the home Neuhausen and Richard A.Kletting. of wealthy miners and the most urbane street in the During the 1920s and 1930s, building along state, there is no doubt that they intended South South Temple consisted primarily of apartment Temple to be an important thoroughfare for the buildings and clubhouses for fraternal and women's religious kingdom of Zion. organizations,although significant examples of both The landscape and architecture of South Temple uses had also been erected in earlier decades. The had the same agrarian look — small, adobe homes, apartment buildings along South Temple were part orchards, and barnyards — as the rest of the city of a construction boom of this building type and through the 1860s. Once the railroad brought represented some of the most elegant multifamily prosperity and expansion it gradually lost its structures in the city. The earliest clubhouse still rural appearance. By the 1890s, South Temple extant on South Temple is the Ladies Literary Club was fulfilling Brigham Young's prediction that at number 850 East, an outstanding Prairie-style it would become the finest street in Zion. The example designed by Ware and Treganza in 1912. most imposing mansions, those of David Keith, Two of the largest buildings constructed during the Thomas Kearns, Enos Wall, and Louis Terry 1920s included the Masonic Temple and the Elks represented an influential group of men who had Buildings, both designed by the firm of Scott and earned great wealth through mining and had no Welch. cultural or religious association with the Church of Jesus Christ of Latter Day Saints. Their desire to separate themselves socially could be seen in the establishment of the Alta and the University clubs (the latter demolished in the 1960s) while the construction of the Cathedral of the Madeleine and the First Presbyterian Church announced that other faiths had a permanent stake in the city. 16:4 PART III Salt Lake City Chapter 16 South Temple Although many handsome structures were built Characteristics of the South Temple during the 1920s and 1930s, South Temple's Historic District grandeur began to wane during these years, ultimately resulting in the awkward blend of The following is a summary of key features of the residential buildings and commercial structures district: evident today.Wealthy families aged and dispersed, • Street features continue to reflect South and federal income tax, imposed in 1913, eroded Temple's historic grandeur.These features personal fortunes. Most devastating to the street, include sandstone curb and gutters,sandstone however, were zoning changes that allowed carriage steps and hitching posts. commercial encroachment and higher residential • About 1890 the city erected metal lattice-work densities. As land value increased, significant posts to accommodate the trolley lines.Later structures were lost. these were used for traffic signals. Historically This problem became acute after World War II, roses were planted to climb them to prevent when shifts in style and technology encouraged children from playing on them. architecture that was incompatible with the • South Temple has mature landscaping,and the traditional scale, massing and materials seen on large trees planted in a formal manner are an South Temple. Some of these buildings are now in important characteristic of the street. excess of 50 years of age,the period usually adopted • While South Temple is known for its mansions, to allow for a more considered assessment of their there are many other homes that are not as architectural merit. grand but still continue to contribute to the Probably the most discouraging episode in the streetscape and knowledge of the city's history. street's history occurred during the 1960s and 1970s; Similarly,historically South Temple dwellings so much so that the erosion of South Temple's have not been only single-family,owner historic appearance played a very large role in occupied,nor has it been only residential. spurring the preservation movement in Utah. Since Several apartment buildings and commercial its adoption as a local district in 1976, efforts have structures are of the historic period. focused on preserving historic buildings and on Psv- maintaining historic street features,such as carriage steps and sandstone retaining walls, that also r; «< tt contribute to our understanding of the history of . , South Temple and the city. Development Trends 3' Known for its ongoing preservation efforts, the South Temple District is experiencing continued South Temple is the investment in the area, including renovation, setting for many of the r ► additions to existing structures and infill city's grander houses and — if •_ r� mansions,including the ' construction. A wide range of construction projects work of many notable t�;. n: •.,; :, is therefore anticipated. architects. A Preservation Handbook for Historic Residential Properties&Districts PART III 16:5 PART III Historic Districts Goals for the District Streetscape Features The design goal for the South Temple district is to preserve its unique character. Preservation of the Walkways character, style and details of the many high style Many residences are on a system of "platforms," buildings is a high priority, as is assuring that new which were created to provide level building areas. building will be in scale and compatible in character As a result, most of the South Temple mansions sit with the historic context. above street level, often with a series of stairs that link the front entry with the public sidewalk. The • system of terraced building sites also establishes " a fairly consistent pattern of landscaping and retaining walls that visually connect the blocks. ti. These characteristics should be maintained. ~ I ! - 410,V4 , 16.1 A walkway to the building entry from the t� l i . ``` h. public sidewalk should be provided. 5tt:a• `,; I: Om • The walk should be distinct from a driveway. 1 ..Vhr : ` • Concrete is the dominant material;however, '- . _ other materials,including modular pavers,also ,•-,, are appropriate for new walkways. With the style and scale of many of the buildings in the district,roof " ' materials can be n very important �-- '- Jr __; architectural characteristic. r)Il w\ - %O.Illi -'•.,,,,,I1/2 , ,14, 1 lf- J - . 1 I ' L` a ik Ilt • �rhI 5 — Several impressive apartment The streetscape is well defined by mature trees and buildings characterize parts of South landscaping and by the drive and walkways to individual Temple. buildings. 16: 6 PART III Salt Lake City • Chapter 16 South Temple Site Design Features • + r South Temple Street developed with a variation ..a in block sizes between the north and south sides •n ti-- of the street. Both sides were platted with larger t'�. d , ' and smaller lots. The district is unified, however, ,.��'' ,,e •'' h ^ by its consistent streetscape design and traditional u`�`i'1' Ito.` , ''l•'; r siting, and its concentration of larger houses. The - pl l j '4. i �` I guidelines that follow strive to reinforce these i t 'A.ti ' 1.� f `, traditional patterns. . ,.: ,: , �" \':''" •1':;; '�c Front Setback of Primary Structure eV Alit r ; Historically, the larger mansions on the street were .' ,r . - —` sited farther from the sidewalk than the smaller �',,, i.'r residences. Although a variety of setbacks is seen t.. _ throughout the district, within individual blocks, Original iron fences continue to enclose and embellish sections of the streetscape. most buildings appear to align within a narrow range of dimensions. This generally uniform setback alignment of an individual block should be ' _ - ,y maintained. _ ' �4,14 16.2 The front setback of a new structure shouldr1t be kept in line with the median setback of historic t •,l /1.! on the block. properties '''+ • In general,larger,taller masses should be • •- g - ._.6.lr t:€ set back farther from the front than smaller — t structures. • - " - -= • In some cases, therefore,a setback that is greater than the median setbacks may be - appropriate. IN IN 4'41 'N• •, ', I Side Yard Setback of Primary Structure !;: Many . . of the larger houses on the street have large .. .M; ,, l� i g g .*zx side yard setbacks, which reinforce their stately ;�:R,.:.:.:::''x. •�w,r appearance. Smaller residences are typically sited , r , .- 1'-l� • with their narrow side to the street. Both situations - i • . "f#�' suggest that, traditionally, the side yard width Shared setbacks,front porches and common eaves heights was in proportion to the width of the lot. This help to create a visual rhythm through a varied range of characteristic should be maintained. architectural forms. A Preservation Handbook for Historic Residential Properties&Districts PART III 16:7 PART III Historic Districts 16.3 Side yard setbacks of a new structure,or an Service Areas addition,should appear similar to those seen traditionally in the block. 16.5 The negative visual impacts of service areas should be minimized. • The traditional building pattern should be followed in order to continue the historic • Service areas include locations for trash and character of the street. recycling containers,transformers and other mechanical and electrical equipment that may • The visual impact of both new construction and require exterior facility. additions on neighboring side yards should be considered. • In all cases,these features should remain visually unobtrusive. Curb Cuts • Locate dumpsters and other service equipment to the rear of the lot,when physical conditions 16.4 The visual impacts of curb cuts should be permit. minimized. • Service areas should be screened from • When planning a driveway,consider the impact public view with fences,walls,planting,or a of curb cuts on historic curbing material, combination of these elements. such as granite and sandstone.Consider their retention and reuse. Siting of Additions Buildings located along South Temple are generally large two and three story structures that i I , " `•._ can accommodate larger additions than houses ., '�'•• in other districts. Although there should be a IC,III iii ,,I..L� degree of flexibility in the size of additions in the .`? , .,; South Temple district, these additions still should . ; it' ';ihPr it • be designed to be compatible with the original structure. y.•• I The front porch helps to relate a diversity of buildings and '',�,:_• :� styles. 9 , d L.A. 1 r I , jAi; ti. \'''' The design guidelines apply in addition to t those in relevant preceding chapters,including . '`;. ! iirrp , 1 , Rehabilitation Guidelines, Guidelines for New Construction and General Issues Design - - — A detached carriage house is characteristic of many major Guidelines. houses,often relating closely in style and materials. 16:8 PART III Salt Lake City Chapter 16 South Temple Architectural Features • Use architectural details to give a sense of the traditional scale of the block. Porches • In the case of new apartment buildings,they Porches were important design feature themselves should appear to be similar in mass and scale and were also embellished with details that to historic apartment structures in the district. enlivened the character of the street. Porches also add interest to the street and help establish a human Ornamentation scale in the district. Most of the buildings in the South Temple district represent high-style forms of architecture, and in 16.6 When constructing a new building,the many cases, have been designed with elaborate primary entrance to the house should be clearly architectural detailing, including intricate features defined. and finishes. Ornamentation typically embellishes • Use a porch,stoop,portico or similar one-story doors and windows,eaves,porches,and gable ends, feature to indicate the entry. while major wall surfaces are relatively simple. • Orienting the entry to the street is preferred. The use of ornamentation on buildings is art • Establishing a"progression" of entry elements, established tradition in the district, and its including walkway,landscape elements and continued use is encouraged. On new buildings, porch also is encouraged. contemporary interpretations of building ornament and detail are especially appropriate. 16.7 When converting a building to another use, the historic location and character of the porch 16.9 The use of ornament and detail is and primary entrance should be preserved. encouraged. • Such details should have a substantial"depth," 16.8 A new building should be designed to be similar in scale to those seen traditionally on the and be constructed of durable materials. block. • While a range of materials is appropriate, • Historically,most of the larger houses on South details should have finishes that appear similar Temple appeared to have a height of two to to those used traditionally. three stories,while the smaller ones generally • The details should appear integral to the had heights of two stories. overall design. • A front facade should appear similar in height to those seen historically on the block. • A taller portion should be set back further on the lot. � l 1JI • Story heights should appear similar to those seen historically. Local sandstone is widely used in a variety of ways,making significant use of form,texture and decorative detailing. A Preservation Handbook for Historic Residential Properties&Districts PART III 16:9 PART III Historic Districts Building&Roof Materials Appropriateness of Use Due to the large size of many of the buildings in 16.12 When adapting a residence to another use, the district,roof materials are very important visual the original design character of the building features. Slate, asphalt, wood, and tile shingles are should be preserved. all materials found on historic buildings. These • materials and textures contribute to the character of When converted to a new use,a house should the district. When roofing must be replaced, using retain its residential image. a material similar to the original is preferred. On a 16.13 If the change from residential to another use new building, using a material similar in color and requires more parking space,the parking should texture to those seen historically in the block also is be located to the rear of the property and provide appropriate. landscaping as a buffer. 16.10 Building materials that are similar to those • Landscape design for rear parking areas should used historically should be used. help to integrate this use with its context. • Appropriate building materials include brick, -wood horizontal clapboard and shingles, stucco,smooth-faced stone and river rock. �1 16.11 Roofing materials that are similar in appearance to those seen historically should be Iwo used. • Asphalt and wood shingles are appropriate for I many styles seen historically. • Clay tile is appropriate to Spanish,Mission - and Colonial styles only.Concrete tiles may be appropriate because they often convey a scale and texture similar to materials employed historically. • Large panelized products,such as standing .� seam metal,should be avoided. • Colors should be muted;the overall texture Wood shingles help to unify both walls and of a roof should be uniform and consistent roofscape,creating visual texture as a background throughout the building. to Classical detail. Additional Information Lester,Margaret D. Brigham Street. Published by Utah State Historical Society. 1979 books.google.com/books/about/Brigham_Street. html?id=EZhCPQAACAAJ 16:10 PART III Salt Lake City Chapter 17 University //, Oi 1. R c. ir• • ' :. r ` ,• ! a ., , ,-..,,,..,,,,. ,, . .I' /' .apt\..1 •:.:' 'I'JI I1) ' to ' 1 ' '"tit) • h ':a PART III Historic Districts J u�J J1_ JLu_J L Iuru� F.. F 1P cn a ' Holy Cros i "^� __ --_— _Hospital r 1 u II oI1 III I _ Ln 1 L�, J 11JN11 E I Univers � : 1 R L - - �-300 -- M. The University Historic District Scale:1"=100' 17:2 PART III Salt Lake City • Chapter 17 University Historic Architectural Character HISTORIC ARCHITECTURAL CHARACTER 17:3 Although several homes remain that were built as DEVELOPMENT TRENDS 17:5 early as 1885, for the most part the development of I CHARACTERTSTTCS OF UNIVERSITY 17:5 the University district coincided with the first two GOALS FOR THE DISTRICT 17:6 decades of the 20th century — a period marked by STREETSCAPE FEATURES 17:6 prosperity and growth. Municipal improvements, STREET PATTERN 17:6 such as the installation of utilities and the extension of electric streetcar lines throughout the city ALLEYS 17:6 created new opportunities for suburban expansion, ARCHITECTURAL FEATURES 17:7 especially on the east bench. The establishment BUILDING FORM,MASS,SCALE 17:7 of the University of Utah at its current location in PORCHES 17:8 1901 ensured the viability of this neighborhood BUILDING&ROOF MATERIALS 17:8 and influenced its development. Since that time the — — area has been home to many University faculty and staff members, although the area was not popular for student residency until after World War II. Many professional people not affiliated with the4 11 (.• i University have also resided in the neighborhood. ,- i ' The affluence of its residents, its comparatively :. i 1 orderly development, and the influence of the -.,` 7/ >" Q .•` �10.5 f Progressive era, are all reflected in the district's i ``d. . �• ' . `�1'~ii 1141 architecture and streetscapes. Four square j',,, I•'., . . `l architecture, also known as the "box," was . ,,d.":""4 ' �.:. r another popular choice during this time and is �`' ''+� well represented in the University district. Some have Colonial Revival details, such as Doric porch columns, but examples in this neighborhood are !'• , �� t ', generally Prairie School in style.Many are scattered "' ' throughout the district, but several of the most ':' a 415.~ ' appealing are clustered along 100 South between R` �p 1200 East and 1300 East. " ' eir , ` j` ,� , . .4. .wr Wide park strips and periodic walkways combine with front yards to mediate between the varying levels of the house and street in much of the University neighborhood. A Preservation Handbook for Historic Residential Properties&Districts PART III 17:3 PART III Historic Districts The few pre-1900 structures are most prevalent near the western and northern boundaries of the neighborhood. Not everyone who resided in the neighborhood was affluent, professional or associated with the University of Utah. A look at city directories indicates that government clerks, railroad workers and tradesmen lived on Bueno '' Avenue, a street lined with similar frame and brick cottages that were constructed about 1905. ' z Speculative development undertaken by real estate In the early decades of the twentieth century,the bungalow companies, similar to that erected by the Anderson proved to be a very popular building form in the University Real Estate firm in Central City, also occurred near district. the University. At least two of the bungalows were designed by the The University district also has a small but lively local firm of Ware and Treganza and represent the commercial area on the six blocks between 200 and firm's earliest work in the Prairie style. While not 400 South and University and 1300 East streets. as elaborate as the mansions along South Temple No business building is higher than two stories that were built for similarly wealthy and prominent and few are from the historic period. Exceptions citizens,many of the homes in the University district include several four-square residences that now were beautifully fitted and very comfortable. house small businesses and the old Crystal Palace The majority of the existing construction occurred Market,built in 1930.Fire station number eight was after 1900, but this district contains many structures converted into a restaurant, but has maintained built before this time that exhibit the asymmetrical, much of its original character. It was designed by vertical and multi textured surface treatment the City Engineer's office in the Period Revival style: associated with Victorian-era styles. Shingle style a conscious attempt by Salt Lake City Corporation houses and Victorian Eclectic examples exist to ensure that this institutional structure was throughout the district.The Hudson Smith house at compatible with its residential surroundings. 221 South 1200 East,built in 1896,was apparently an ornate Victorian with plenty of surface decoration. However, when subsequent owners, Seibert and Emily Mote purchased it in 1930, they undertook - \'=..._ 'tl,:'°. tr • ri an extensive remodeling to make the house look "old." Their attempts reflect the popular revival of4,*,4011404111.0"4-44' . .` federal and Georgian styles in the 1920s and 1930s • = � . and resulted in a unique blend of the Federal and • tT s .,.r„� ,: .• ' Shingle styles. ` ,` N 4 • The topography of the East Bench creates many elevated vistas across the University neighborhood. 17:4 PART III Salt Lake City Chapter 17 University As in all of the historic districts, more recent, Characteristics of the University incompatible architecture has detracted from the Historic District visual unity of the streetscape. Because of their low massing and because of zoning restrictions The following is a summary of key features of the district that should be respected. commercial structures are not the problem; instead multifamily structures represent the most • Setbacks are uniform. disruptive intrusions. The 1960s era apartment • Garages are set back on the lot and are buildings, known as "box-cars" because of their detached from the house.They are almost all long narrow shape with an orientation away from accessed by single-car driveways from the the street, are scattered in the neighborhood. It streets;however,north/south alleys bisect the should be noted that several earlier apartment street grid. buildings contribute architecturally to the district, • There is a substantial variation in topography. such as the Commander Apartments,built in 1928. Rather than address this through the Within the last decade more interest has been shown architecture,it historically was addressed in maintaining the historic streetscape and integrity through site features such as retaining walls. of the University neighborhood. These efforts The materials of the walls vary and include resulted in a successful request to the City to create cobblestone,sandstone,and concrete.Yards a local historic district requiring design review, and often have steep slopes. in the rewriting of the zoning ordinance in 1991 that • The street pattern is one of a grid.Lot size is reduced permitted densities in the neighborhood. uniform,although Bueno,Alameda and some blocks of Elizabeth Street have smaller lots, Development Trends increasing the density. Known for its ongoing preservation efforts, the • The small stores,restaurants and businesses University district is experiencing continued along 1300 East and University streets provide investment in the area, including renovation, a neighborhood commercial center unusual additions to existing buildings and infill in Salt Lake because of their pedestrian construction. A wide range of construction projects orientation.Parking is generally only available is therefore anticipated, including renovation and on the street.Many of the businesses are new buildings. located in former homes, and thus are of a scale compatible to the district's residential character. • The large retaining wall and corresponding street pattern on 200 South and 1200 East is a x unique feature to the neighborhood.Nearby _f ystairs provide pedestrian access between these - two streets. i______ Historic sandstone paving _' adds considerable character to sections of existing sidewalk. A Preservation Handbook for Historic Residential Properties&Districts PART III 17:5 PART III Historic Districts Goals for the District Streetscape Features The design goal for the University district is to preserve the character of its streetscapes and the Street Pattern integrity of its individual historic structures. In The University district developed according to a particular,preservation of the streetscape,including grid system, which is characterized by wide streets parkways, park strips, front yards and walkways is and large blocks. Sidewalks are detached with a a high priority. planting strip between the sidewalk and the curb. The broad center medians on 200 South and 1200 East establish a tranquil mature landscape character ' through a major section of the district.Narrow lanes ii with small cottages sometimes occur, contrasting with the broader streets.This traditional rectilinear a, pattern, along with a uniformity of siting and : i 4 —6"b somewhat homogeneous housing stock, created IR r the district's distinct continuity of the streetscape. ,..„. Preservation of this street pattern is a high priority. Alleys A system of alleys provides a contrast to the wide, Architectural integrity contributes formal streets and large blocks on the University significantly to the street scene. district. Aside from creating visual diversity in the ;. ,;.: c.Er neighborhood, alleys are functional spaces that 5 y ��`;, relieve traffic on larger streets and provide access to • f parking and service areas. The historic character of '' . alleys should be maintained. A-; 17.1 Alleys where they exist should be maintained, r IM1 -)- •:` :=' preserving their simple character. _ , -.,- ' ". ;; 17.2 The established pattern of on-street parking --��ff' '`, `� should be maintained. it rf. - . 'l'4.4%. 1 The design guidelines apply in addition to • Y �'. those in relevant preceding chapters,including '' t •"*",4►. "'M Rehabilitation Guidelines, Guidelines for . 1,L4 ill`; - ---,, h -•aa.�, ` _ "" ,�� New Construction and General Issues Design Guidelines. . Classical design,park-ways and mature trees create a quiet park-like character to the streetscape in the neighborhood. 17:6 PART III Salt Lake City Chapter 17 University Architectural Features 17.4 A new building should be designed to be similar in scale to those seen traditionally on the Building Form, Mass and Scale block. The University district consists primarily of turn • Historically,most houses appeared to have a of the century residential structures, which are height of one,one-and-one half or two stories. generally similar in mass and scale. However, a • A new front facades should appear similar in commercial area along 1300 East and University height to those seen historically in the block. Street and various apartment buildings exhibit • Taller portions should be set back farther on the slightly larger building massing. Nonetheless, lot. these structures generally conform to a consistent, • relatively low neighborhood scale.This character of Story heights should appear similar to those the district provides a context with which to relate seen historically. new infill. • Use architectural details similar in size and proportion to those seen traditionally to give a 17.3 A new building should be designed to sense of scale,wherever feasible. be similar in mass to those that were typical historically in the district. 17.5 A new building should be designed to have a primary form similar to those seen historically. • Subdivide a larger mass into smaller "modules"that are similar in size to buildings • Since there is such a high concentration of seen traditionally,wherever feasible. bungalows in the University district,the primary form of the house was a single • Where a new commercial structure is to be rectangular volume. constructed adjacent to a residential area,the building should be stepped down in height to • In some styles,smaller,subordinate masses minimize impact on the residences. were then attached to this primary form. • New buildings should continue this tradition. �, 17.6 A new roof should appear similar in form and scale to those of typical houses seen . .._.!I historically in the block. • Pitched roofs,either hip or gable,are preferred. ��, ' • Slopes should be within the range of those seen ' historically in the block. . , j = • The depth of the overhang of the eaves should also follow historic precedent.This is especially important on bungalows,where the overhang is fairly deep. Despite its two story height and elevation above the street,the strong eaves line of this bungalow reduces its apparent scale. A Preservation Handbook for Historic Residential Properties&Districts PART III 17:7 PART III Historic Districts Porches Building&Roof Materials Because of the number of early twentieth century Due to the relative architectural homogeneity of residences, including period revival houses and the district, the range of historic roof materials craftsman bungalows, the streetscape is unified by is narrow. This similarity of materials should be the strong presence of porches.In fact,the bungalow maintained. was customarily designed with a spacious front porch, usually accented by features such as wide, 17.8 Building materials should appear similar to those seen historically. stone piers and brackets. Where historic porches exist, they should be preserved. They also are • Brick,stucco,and wood are all appropriate strongly encouraged in new construction. building materials. • 17.7 The primary entrance to the house should be Because of the large number of bungalows in clearly defined. the district,many foundations and posts are constructed of stone. • A porch,stoop,portico or similar one-story • feature should be used to indicate the entry. Using stone,similar to that employed historically,is preferred. • Orienting the entry to the street is preferred. • Using field stone,veneers applied with • Establishing a"progression"of entry elements, the bedding plane in a vertical position,or including walkway,landscape elements and aluminum or vinyl siding are inappropriate. porch also is encouraged. 17.9 Roofing materials should be similar in appearance to those seen historically. • Asphalt and wood shingles are appropriate. • Concrete tiles may also be appropriate where they convey a scale and texture similar to materials employed historically for that style. • Large panelized products,such as standing seam metal,should be avoided. , '�± • Colors should be muted;the overall texture Via of a roof should be consistent throughout the • 1 • building. :�. : . -1 • A sequence of porches helps to emphasize building orientation to the street and a sense of human scale. 17:8 PART III Salt Lake City Chapter 18 Westmoreland Place r k. kj The chapter outlining the history,principal characteristics and additional design guidelines for Westmoreland Place will be developed over the coming year.In the interim the following link to background material on the Utah Heritage Foundation website will be of interest. utahheritagefoundation.com/saving-places/409-westmoreland-place Appendices Appendix A. Salt Lake City Historic Design Standards& Secretary of the Interim's Standards Part 1 - Salt Lake City Ordinance Part 2- The Secretary of the Interior's Standards for the Treatment of Historic Properties Appendix B. Information &Resources Part 1 -Arranged by Subject Part 2-Arranged by Key Websites Part 3- Preservation Briefs. Preservation Technical Services, National Park Service Appendix C. Glossary of Terms Page left intentionally black Appendix A. Historic Design Standards for Alterations & New Construction Part 1. Salt Lake City Ordinance PART 1 -SALT LAKE CITY ORDINANCE A:1 This appendix displays relevant excerpts from the SECTION 21 A.34.020.G A:I Salt Lake City Code.This code is available online SECTION 21A.34.02II.1-1 A:2 at:www.sterlingcodifiers.com/codebook/index. PART 2-THE SECRETARY OF THE php?book_id=672 INTERIOR'S STANDARDS A:4 ALTERATIONS A I THE TREATMENT OF HISTORIC PROPERTIES A:4 A2 SELECTING A TREATMENT A:4 Section 21A.34.020.G B1 STANDARDS FOR PRESERVATION A:5 G. Standards For Certificate Of Appropriateness For B2 STANDARDS FOR REHABILITATION A:6 Alteration Of A Landmark Site Or Contributing B3 STANDARDS FOR RESTORATION A:7 Structure: In considering an application for a certificate of appropriateness for alteration of a landmark site or contributing structure,the historic landmark commission,or the planning director, for administrative decisions,shall find that the project substantially complies with all of the following general standards that pertain to the application and that the decision is in the best interest of the city: 1. A property shall be used for its historic purpose or be used for a purpose that requires minimal change to the defining characteristics of the building and its site and environment; 2. The historic character of a property shall be retained and preserved.The removal of historic materials or alteration of features and spaces that characterize a property shall be avoided; 3. All sites,structures and objects shall be recognized as products of their own time.Alterations that have no historical basis and which seek to create a false sense of history or architecture are not allowed; 4. Alterations or additions that have acquired historic significance in their own right shall be retained and preserved; 5. Distinctive features,finishes and construction techniques or examples of craftsmanship that characterize a historic property shall be preserved; 6. Deteriorated architectural features shall be repaired rather than replaced wherever feasible. In the event replacement is necessary,the new material should match the material being replaced in composition,design,texture and other visual qualities. Repair or replacement of missing architectural features should be based on accurate duplications of features,substantiated by historic, physical or pictorial evidence rather than on conjectural designs or the availability of different architectural elements from other structures or objects; A Preservation Handbook for Historic Residential Properties&Districts APPENDICES A: 1 Appendix A. Part 1. Salt Lake City Ordinance 7. Chemical or physical treatments,such as sandblasting,that cause damage to historic materials shall not be used.The surface cleaning of structures, if appropriate,shall be undertaken using the gentlest means possible; 8. Contemporary design for alterations and additions to existing properties shall not be discouraged when such alterations and additions do not destroy significant cultural, historical, architectural or archaeological material,and such design is compatible with the size,scale,color, material and character of the property, neighborhood or environment; 9. Additions or alterations to structures and objects shall be done in such a manner that if such additions or alterations were to be removed in the future,the essential form and integrity of the structure would be unimpaired.The new work shall be differentiated from the old and shall be compatible in massing,size,scale and architectural features to protect the historic integrity of the property and its environment; 10. Certain building materials are prohibited including the following: a. Vinyl or aluminum cladding when applied directly to an original or historic material,and b. Any other imitation siding material designed to look like wood siding but fabricated from an imitation material or materials; 11. Any new sign and any change in the appearance of any existing sign located on a landmark site or within the H historic preservation overlay district,which is visible from any public way or open space shall be consistent with the historic character of the landmark site or H historic preservation overlay district and shall comply with the standards outlined in chapter 21A.46 of this title; 12. Additional design standards adopted by the historic landmark commission and city council. NEW CONSTRUCTION Section 21A.34.020.H H. Standards For Certificate Of Appropriateness Involving New Construction Or Alteration Of A Noncontributing Structure: In considering an application for a certificate of appropriateness involving new construction,or alterations of noncontributing structures,the historic landmark commission, or planning director when the application involves the alteration of a noncontributing structure,shall determine whether the project substantially complies with all of the following standards that pertain to the application, is visually compatible with surrounding structures and streetscape as illustrated in any design standards adopted by the historic landmark commission and city council and is in the best interest of the city: 1. Scale And Form: a. Height And Width:The proposed height and width shall be visually compatible with surrounding structures and streetscape; b. Proportion Of Principal Facades:The relationship of the width to the height of the principal elevations shall be in scale with surrounding structures and streetscape; A:2 APPENDICES Salt Lake City Appendix A. Part 1. Salt Lake City Ordinance c. Roof Shape:The roof shape of a structure shall be visually compatible with the surrounding structures and streetscape;and d. Scale OfA Structure:The size and mass of the structures shall be visually compatible with the size and mass of surrounding structure and streetscape. 2. Composition Of Principal Facades: a. Proportion Of Openings:The relationship of the width to the height of windows and doors of the structure shall be visually compatible with surrounding structures and streetscape; b. Rhythm Of Solids To Voids In Facades:The relationship of solids to voids in the facade of the structure shall be visually compatible with surrounding structures and streetscape; c. Rhythm Of Entrance Porch And Other Projections:The relationship of entrances and other projections to sidewalks shall be visually compatible with surrounding structures and streetscape;and d. Relationship Of Materials:The relationship of the color and texture of materials(other than paint color)of the facade shall be visually compatible with the predominant materials used in surrounding structures and streetscape. 3. Relationship To Street: a. Walls Of Continuity: Facades and site structures,such as walls,fences and landscape masses,shall,when it is characteristic of the area,form continuity along a street to ensure visual compatibility with the structures, public ways and places to which such elements are visually related; b. Rhythm Of Spacing And Structures On Streets:The relationship of a structure or object to the open space between it and adjoining structures or objects shall be visually compatible with the structures,objects, public ways and places to which it is visually related; c. Directional Expression Of Principal Elevation:A structure shall be visually compatible with the structures,public ways and places to which it is visually related in its orientation toward the street;and d. Streetscape; Pedestrian Improvements: Streetscape and pedestrian improvements and any change in its appearance shall be compatible to the historic character of the landmark site or H historic preservation overlay district. 4. Subdivision Of Lots:The planning director shall review subdivision plats proposed for property within an H historic preservation overlay district or of a landmark site and may require changes to ensure the proposed subdivision will be compatible with the historic character of the district and/ or site(s). A Preservation Handbook for Historic Residential Properties&Districts APPENDICES A:3 Appendix A. Part 2. The Secretary of the Interior's Standards Part 2. The Secretary of the The Standards for Rehabilitation,codified in Interior's Standards for the 36 CFR 67,are regulatory for the review of rehabilitation work in the Historic Preservation Tax Treatment of Historic Properties Incentives program. The Guidelines are advisory,not regulatory. Al The Treatment of Historic Properties www.nps.gov/tps/standards.htm A2 Selecting a Treatment The Standards are a series of concepts about www.nps.gov/tps/standards/four-treatments.htm maintaining,repairing,and replacing historic Choosing an appropriate treatment fora historic materials,as well as designing new additions or building or landscape is critical. making alterations.The Guidelines offer general Preservation focuses on the maintenance and repair design and technical recommendations to assist of existing historic materials and retention of a in applying the Standards to a specific property. property's form as it has evolved over time. Together,they provide a framework and guidance for decision making about work or changes to a Rehabilitation acknowledges the need to alter historic property. or add to a historic property to meet continuing or changing uses while retaining the property's The Standards and Guidelines can be applied historic character. to historic properties of all types,materials, construction,sizes,and use.They include both the Restoration depicts a property at a particular exterior and the interior and extend to a property's period of time in its history,while removing landscape features,site,environment,as well as evidence of other periods. related new construction. Reconstruction re-creates vanished or non- Federal agencies use the Standards and Guidelines surviving portions of a property for interpretive in carrying out their historic preservation purposes. responsibilities.State and local officials use The choice of treatment depends on a variety them in reviewing both Federal and nonfederal of factors,including the property's historical rehabilitation proposals.Historic district and significance,physical condition,proposed use,and planning commissions across the country use the intended interpretation.Historic buildings are used Standards and Guidelines to guide their design as an example below.The decision making process review processes. would be similar for other property types. The Standards offer four distinct approaches to Relative importance in history.Is the building the treatment of historic properties—preservation, nationally significant?Is it a rare survivor or the rehabilitation,restoration,and reconstruction with work of a master architect or craftsman?Did an Guidelines for each. important event take place in it?National Historic The Standards for the Treatment of Historic Landmarks,designated for their"exceptional Properties are regulatory for all grant-in-aid significance in American history,"or many projects assisted through the national Historic buildings individually listed in the National Register often warrant Preservation or Restoration. Preservation Fund. Buildings that contribute to the significance of a historic district but are not individually listed in the National Register more frequently undergo Rehabilitation for a compatible new use. A:4 APPENDICES Salt Lake City Appendix A. Part 2. The Secretary of the Interior's Standards Physical condition.What is the existing condition, The Guidelines for the Treatment of Cultural or degree of material integrity,of the building Landscapes apply the treatment standards to prior to work?Has the original form survived historic cultural landscapes. largely intact or has it been altered over time?Are the alterations an important part of the building's B1 Standards for Preservation history?Preservation may be appropriate if www.nps.gov/tps/standards/four-treatments/treatment- distinctive materials,features,and spaces are preservation.htm essentially intact and convey the building's A property will be used as it was historically,or be historical significance.If the building requires more given a new use that maximizes the retention of extensive repair and replacement,or if alterations distinctive materials,features,spaces,and spatial or additions are necessary for a new use, then relationships.Where a treatment and use have not Rehabilitation is probably the most appropriate been identified,a property will be protected and,if treatment. necessary,stabilized until additional work may be Proposed use.An essential,practical question undertaken. to ask is:Will the building be used as it was The historic character of a property will be historically or will it be given a new use?Many retained and preserved.The replacement of intact historic buildings can be adapted for new uses or repairable historic materials or alteration of without seriously damaging their historic character. features,spaces,and spatial relationships that However,special-use properties such as grain characterize a property will be avoided. silos,forts,ice houses,or windmills may be extremely difficult to adapt to new uses without Each property will be recognized as a physical major intervention and a resulting loss of historic record of its time,place,and use.Work needed character and even integrity. to stabilize,consolidate,and conserve existing historic materials and features will be physically Mandated code requirements.Regardless of the and visually compatible,identifiable upon close treatment,code requirements will need to be inspection,and properly documented for future taken into consideration.But if hastily or poorly research. designed,code-required work may jeopardize a • building's materials as well as its historic character. Changes to a property that have acquired historic Thus,if a building needs to be seismically significance in their own right will be retained and upgraded,modifications to the historic appearance preserved. should be minimal.Abatement of lead paint Distinctive materials,features,finishes, and asbestos within historic buildings requires and construction techniques or examples of particular care if important historic finishes are craftsmanship that characterize a property will be not to be adversely affected.Finally,alterations preserved. and new construction needed to meet accessibility The existing condition of historic features will requirements under the Americans with Disabilities be evaluated to determine the appropriate level Act of 1990 should be designed to minimize of intervention needed.Where the severity of material loss and visual change to a historic deterioration requires repair or limited replacement building. of a distinctive feature,the new material will match The Guidelines for the Treatment of Historic the old in composition,design,color,and texture. Properties illustrate the practical application Chemical or physical treatments,if appropriate, of each treatment to historic properties.These will be undertaken using the gentlest means Guidelines are also available in PDF format and are possible.Treatments that cause damage to historic sold in printed format. materials will not be used. A Preservation Handbook for Historic Residential Properties&Districts APPENDICES A:5 Appendix A. Part 2. The Secretary of the Interior's Standards Archeological resources will be protected and Distinctive materials,features,finishes, preserved in place.If such resources must be and construction techniques or examples of disturbed,mitigation measures will be undertaken. craftsmanship that characterize a property will be preserved. Preservation as a Treatment Deteriorated historic features will be repaired When the property's distinctive materials,features, rather than replaced.Where the severity of and spaces are essentially intact and thus convey deterioration requires replacement of a distinctive the historic significance without extensive repair or feature,the new feature will match the old in replacement;when depiction at a particular period design,color,texture,and,where possible, of time is not appropriate;and when a continuing materials.Replacement of missing features will or new use does not require additions or extensive be substantiated by documentary and physical alterations,Preservation may be considered as a evidence. treatment. Chemical or physical treatments,if appropriate, The Guidelines for the Treatment of Historic will be undertaken using the gentlest means Properties illustrate the practical application of possible.Treatments that cause damage to historic these treatment standards to historic properties. materials will not be used. These Guidelines are also available in PDF format. Archeological resources will be protected and The Guidelines for the Treatment of Cultural preserved in place.If such resources must be Landscapes apply these treatment standards to disturbed, mitigation measures will be undertaken. historic cultural landscapes. New additions,exterior alterations,or related • new construction will not destroy historic B2 Standards for Rehabilitation materials,features,and spatial relationships that www.nps.gov/tps/standards/four-treatments/treatment- characterize the property.The new work will be rehabilitation.htm differentiated from the old and will be compatible A property will be used as it was historically or be with the historic materials,features,size,scale and given a new use that requires minimal change to its proportion,and massing to protect the integrity of distinctive materials,features,spaces,and spatial the property and its environment. relationships. New additions and adjacent or related new The historic character of a property will be retained construction will be undertaken in such a manner and preserved.The removal of distinctive materials that,if removed in the future,the essential form or alteration of features,spaces,and spatial and integrity of the historic property and its relationships that characterize a property will be environment would be unimpaired. avoided. Each property will be recognized as a physical Rehabilitation as a Treatment record of its time,place,and use.Changes that When repair and replacement of deteriorated create a false sense of historical development,such features are necessary;when alterations or as adding conjectural features or elements from additions to the property are planned for a new other historic properties,will not be undertaken. or continued use;and when its depiction at a Changes to a property that have acquired historic particular period of time is not appropriate, significance in their own right will be retained and Rehabilitation may be considered as a treatment. preserved. A:6 APPENDICES Salt Lake City Appendix A. Part 2. The Secretary of the Interior's Standards The Guidelines for the Treatment of Historic Replacement of missing features from the Properties illustrate the practical application of restoration period will be substantiated by these treatment standards to historic properties. documentary and physical evidence.A false sense These Guidelines are also available in PDF format. of history will not be created by adding conjectural The Guidelines for the Treatment of Cultural features,features from other properties,or by Landscapes apply these treatment standards to combining features that never existed together historic cultural landscapes. historically. Chemical or physical treatments,if appropriate, B3 Standards for Restoration will be undertaken using the gentlest means www.nps.gov/tps/standards/four-treatments/treatment- possible.Treatments that cause damage to historic restoration.htm materials will not be used. A property will be used as it was historically or Archeological resources affected by a project will be be given a new use which reflects the property's protected and preserved in place.If such resources restoration period. must be disturbed,mitigation measures will be Materials and features from the restoration period undertaken. will be retained and preserved.The removal of Designs that were never executed historically will materials or alteration of features,spaces,and not be constructed. spatial relationships that characterize the period will not be undertaken. Restoration as a Treatment Each property will be recognized as a physical When the property's design,architectural,or record of its time,place,and use.Work needed historical significance during a particular period to stabilize,consolidate and conserve materials of time outweighs the potential loss of extant and features from the restoration period will be materials,features,spaces,and finishes that physically and visually compatible,identifiable characterize other historical periods;when there upon close inspection,and properly documented is substantial physical and documentary evidence for future research. for the work;and when contemporary alterations Materials,features,spaces,and finishes that and additions are not planned,Restoration may be considered as a treatment.Prior to characterize other historical periods will be undertaking work,a particular period of time, documented prior to their alteration or removal. i.e., the restoration period,should be selected and Distinctive materials,features,finishes, justified,and a documentation plan for Restoration and construction techniques or examples of developed. craftsmanship that characterize the restoration The Guidelines for the Treatment of Historic period will be preserved. Properties illustrate the practical application of Deteriorated features from the restoration period these treatment standards to historic properties. will be repaired rather than replaced.Where the These Guidelines are also available in PDF format. severity of deterioration requires replacement of a The Guidelines for the Treatment of Cultural distinctive feature, the new feature will match the Landscapes apply these treatment standards to old in design,color, texture,and,where possible, historic cultural landscapes. materials. A Preservation Handbook for Historic Residential Properties&Districts APPENDICES A:7 Page left intentionally black Appendix B. Information & Advice Part 1. Arranged by Subject PART 1 -ARRANGED BY SUBJECT B:1 [Section & Chapter noted] PART 2-ARRANGED BY KEY WEBSITES B:7 PART 3-PRESERVATION BRIEFS B:9 National Park Service.National Register of Historic Places Program.Glossary of National Register Terms www.nps.gov/history/nr/publications/bulletins/nrb16a/ National Park Service.Technical Preservation nrbl6a_appendix_IV.htm Services.Resources www.nps.gov/tps/sustainability/resources.htm WHY PRESERVE HISTORIC BUILDINGS & NEIGHBORHOODS [SECTION 1] National Trust for Historic Preservation. Weatherization Murtagh,William J.Keeping Time: The History and www.preservationnation.org/issues/weatherization/ Theonj of Preservation in America.Pittstown,New National Trust for Historic Preservation. Jersey:The Main Street Press, 1988 Sustainability books.google.com/books/about/Keeping_time. wwwpreservationnation.org/issues/sustainability/ html?id=7pnzAAAAMAAJ www.preservationnation.org/issues/sustainability/green- National Park Service. National Register of lab/ Historic Places Program About.NPS,6/2011 ECONOMIC VITALITY&EMPLOYMENT www.cr.nps.gov/nr/about.htm Advisory Council on Historic Preservation. National Park Service.Tax Incentives Program www.nps.gov/tps/tax-incentives.htm Economic Impact of Historic Preservation www.achp.gov/economicstudies.html SUSTAINABILITY&THE ENVIRONMENT National Trust for Historic Preservation. National Park Service.Technical Preservation Community Revitalization Services.Sustainability www.preservationnation.org/issues/community- www.nps.gov/tps/sustainability.htm revitalization/ National Park Service.Technical Preservation INCENTIVES [SECTION 2] Services.Energy Efficiency National Park Service.Technical Preservation www.nps.gov/tps/sustainability/energy-efficiency.htm Services.Incentives National Park Service.Technical Preservation www.nps.gov/history/hps/tps/tax/incentives/index.htm Services.New Technologies www.nps.gov/tps/sustainability/new-technology.htm HISTORIC PRESERVATION PRINCIPLES National Park Service.Technical Preservation [SECTION 3] Services.Case Studies National Park Service.Technical Preservation www.nps.gov/tps/sustainability/case-studies.htm#fuller- Services. Online Training&Information paint www.nps.gov/tps/education/online-training.htm National Park Service.Technical Preservation Services.Research www.nps.gov/tps/sustainability/research.htm A Preservation Handbook for Historic Residential Properties&Districts APPENDICES B:1 Appendix B. Part 1. Arranged by Subject HISTORIC CONTEXT&ARCHITECTURAL Mack,Robert C.,FAIA;Anne Grimmer.Preservation STYLES [SECTION 4] Briefs 1: Cleaning and Water-Repellent Treatments Carter,Thomas and Peter Goss. Utah's Historic for Historic Masonry Buildings.Washington,DC: Architecture, 1847 1940.Salt Lake City,Utah: Technical Preservation Services Division,National University of Utah and Utah State Historical Park Service,US Department of the Interior.2000 www.nps.gov/history/hps/tps/briefs/brief01.htm Society, 1988. history.utah.gov/architecture/index.html Pieper,Richard.Preservation Briefs 42: The history.utah.gov/architecture/bibliography.html Maintenance,Repair and Replacement of Historic Cast McAlester,Virginia and Lee McAlester.A Field Stone.Washington,DC:Technical Preservation Guide to American Houses.New York:Alfred A. Services Division,National Park Service,US Knopf,1984 Department of the Interior.2006 books.google.com/books?id=CEjZBG4n10gC www.nps.gov/history/hps/tps/briefs/brief42.htm SITE FEATURES [CHAPTER 1] Preservation Briefs 5: The Preservation of Historic Adobe Buildings.Washington,DC:Technical MATERIALS [CHAPTER 2] Preservation Services Division,National Park Masonry&Ceramics Service,US Department of the Interior. 1978 www.nps.gov/history/hps/tps/briefs/brief05.htm De Teel Patterson Tiller.Preservation Briefs 7:The Preservation of Historic Glazed Architectural Terra- Preservation Briefs 12: The Preservation of Historic Cotter Washington, DC:Technical Preservation Pigmented Structural Glass(Vitrolite and Carrara Services Division,National Park Service,US Glass).Washington,DC:Technical Preservation Department of the Interior. 1979 Services Division,National Park Service,US www.nps.gov/history/hps/tps/briefs/brief07.htm Department of the Interior.1984 www.nps.gov/history/hps/tpsibriefs/brief12.htm Grimmer,Anne.Preservation Briefs 22:The Preservation and Repair of Historic Stucco. Wood Washington,DC:Technical Preservation Services O'Bright,Alan.Preservation Technical Notes.Exterior Division,National Park Service,US Department of Woodwork#2:Paint Removal front Wood Siding. the Interior.1990 Washington,DC:Technical Preservation Services www.nps.gov/history/hps/tps/briefs/brief22.htm Division,National Park Service,US Department of Gaudette,Paul and Deborah Slaton.Preservation the Interior.1986 Briefs 15:Preservation of Historic Concrete. www.nps.gov/tps/how-to-preserve/tech-notes/Tech- Notes-Exterior02.pdf Washington,DC:Technical Preservation Services Division,National Park Service,US Department of Park,Sharon C.Preservation Technical Notes.Exterior the Interior.2006 Woodwork#1:Proper Painting and Surface Preparation. www.nps.gov/history/hps/tps/briefs/briefl5.htm Washington,DC:Technical Preservation Services London,Mark,Respectful Rehabilitation Masonry Division,National Park Service,US Department of -How to Care for Old and Historic Brick and Stone. the Interior. 1986 www.nps.govItps/how-to-preserve/tech-notesfrech- Washington,DC:The National Trust for Historic Notes-Exterior0l.pdf Preservation, 1988 books.google.co.za/books/about/Masonry. Weeks,Kay D.and David W.Look,AIA. html?id=COZSAAAAMAAJ Preservation Briefs 10:Exterior Paint Problems on Historic Woodwork.Washington,DC:Technical Preservation Services Division,National Park Service,US Department of the Interior www.nps.gov/history/hps/tps/briefs/brief10.htm B :2 APPENDICES Salt Lake City Appendix B. Part 1. Arranged by Subject See also"Utah's Historic Architecture"Glossary Park,Sharon,FAIA.Preservation Briefs 47: history.utah.gov/architecture/glossary.html Maintaining the Exterior of Small and Medium Size Metals Historic Buildings.Washington,DC:Technical Waite,John G.,AIA. Preservation Briefs 27:The Preservation Services Division,National Park Maintenance and Repair of Architectural Cast Iron. Service,US Department of the Interior.2007 www.nps.gov/history/hps/tps/briefs/brief47.htm Washington,DC:Technical Preservation Services Division,National Park Service,US Department of Weaver,Martin E.Preservation Briefs 38:Removing the Interior.1991 Graffiti from Historic Masonry.Washington,DC: www.nps.gov/history/hps/tps/briefs/brief27.htm Technical Preservation Services Division,National Park Service,US Department of the Interior.1995 Cleaning&Repair www.nps.gov/history/hps/tps/briefs/brief38.htm Grimmer,Anne E.,Preservation Briefs 6:Dangers of Energy Efficiency Abrasive Cleaning to Historic Buildings.Washington, DC:Technical Preservation Services Division, Hensley,Jo Ellen and Aguilar,Antonio.Preservation National Park Service,US Department of the Briefs 3:Improving Energy Efficiency in Historic Interior. 1979 Buildings.Washington,DC:Technical Preservation www.nps.gov/hps/tps/briefs/brief06.htm Services Division,National Park Service,US Mack,Robert C.,FAIA,and John P.Speweik. Department of the Interior.2011 www.nps.gov/history/hps/tps/briefs/brief03.htm Preservation Briefs 2:Repointing Mortar Joints in Historic Masonry Buildings.Washington,DC: Other Technical Preservation Services Division,National Park,Sharon C.,Preservation Briefs 16:The Use of Park Service,US Department of the Interior. 1998 Substitute Materials on Historic Building Exteriors. www.nps.gov/history/hps/tps/briefs/brief02.htm Washington,DC:Technical Preservation Services Myers,John H.,revised by Gary L.Hume, Division,National Park Service,US Department of Preservation Briefs 8: Aluminum and Vinyl Siding on the Interior. 1988 Historic Buildings-The Appropriateness of Substitute www.nps.gov/hps/tps/briefs/briefl6.htm Materials for Resurfacing Historic Wood Frame WINDOWS [CHAPTER 3] Buildings.Washington,DC: Technical Preservation Maintenance, Repair, Weatherization & Energy Services Division,National Park Service,US Efficiency Department of the Interior.1984 www.nps.gov/hps/tps/briefs/brief08.htm "How to Restore Sash Windows","Window Repair Park,Sharon C.,AIA,and Douglas C.Hicks. Tips",&"Glass Replacement"Old House Journal www.oldhouseonline.com/how-to-restore-sash-windows/ Preservation Briefs 37:Appropriate Methods of www.oldhouseonline.com/window-repair-tips-from-john- Reducing Lead-Paint Hazards in Historic Housing. leeke/ Washington,DC:Technical Preservation Services www.oldhousejournal.com/magazine/1506 Division,National Park Service,US Department of National Park Service.Technical Preservation the Interior.2006 Services. www.nps.gov/history/hps/tps/briefs/brief37.htm www.nps.gov/tips/sustainability/energy-efficiency/ Park,Sharon C.,AIA.Preservation Briefs 39:Holding weatherization/windows-doors.htm the Line:Controlling Unwanted Moisture in Historic www.nps.gov/tps/sustainability/research.htm Buildings.Washington,DC:Technical Preservation www.nps.gov/tps/sustainability/resources.htm Services Division,National Park Service,US Department of the Interior.1996 www.nps.gov/history/hps/tps/briefs/brief39.htm A Preservation Handbook for Historic Residential Properties&Districts APPENDICES B :3 Appendix B. Part 1. Arranged by Subject National Trust for Historic Preservation. Randl,Chad.Windows 19:Repairing Steel Weatherization Casement Windows.Preservation Technical Notes. www.preservationnation.org/information-center/ Washington,DC:Technical Preservation Services, sustainable-communities/weatherization/windows/ National Park Service,US Department of the Historic Scotland.Managing Change in the Historic Interior.2002 Environment-Windows.2010 www.nps.gov/tps/how-to-preserve/tech-notes/Tech- www.historic-scotland.gov.uk/index/heritage/policy/ Notes-Windows19.pdf managingchange.htm Staveteig,Kaaren R. Windows 22:Maintenance and English Heritage. Thermal Performance of Traditional Repair of Historic Aluminum Windows.Preservation Windows.2009 Technical Notes.Washington,DC:Technical www.english-heritage.org.uk/professional/research/ Preservation Services,National Park Service,US buildings/energy-efficiency/thermal-performance-of- Department of the Interior.2008 traditional-windows/ www.nps.gov/tps/how-to-preserve/tech-notesffech- Northen Tech- Northen Ireland Environment Agency. Windows.A Notes-Windows22.pdf Guidance Booklet on Openings.Technical Note 4A. Vogel,Neal A.and Rolf Achilles.Preservation Briefs 2010 33: The Preservation and Repair of Historic Stained www.doeni.gov.uk/niea/windows_a_guidance_booklet_ and Leaded Glass.Washington,DC:Technical on_openings_tn_4a.pdf Preservation Services Division,National Park Department of Arts,Heritage and the Gaeltacht. Service,US Department of the Interior.2007 Ireland. Windows.A Guide to the Repair of Historic www.nps.gov/history/hps/tps/briefs/brief33.htm Windows.2007 New York Landmarks Conservancy.Repairing Old www.ahg.gov.ie/en/Publications/HeritagePublications/ and Historic Windows:A Manual for Architects and BuiltHeritagePolicyPublications/Windows%20-%20A%20 Guide%20to%20the%20Repair%20of%20Historic%20 Homeowners.Washington,DC: National Trust for Windows%20(2007).pdf Historic Preservation, 1992 www.barnesandnoble.com/w/repairing-old-and-historic- Myers,John H.Preservation Briefs 9: The Repair windows-new-york-landmarks-conservancy/1022158945 of Historic Wooden Windows.Washington,DC: ?ean=9780471144182&itm=8&usri=windows+repair Technical Preservation Services Division,National Fisher,Charles E. Windows 2:Installing Insulating Park Service,US Department of the Interior. 1981 Glass in Existing Steel Window.Preservation www.nps.gov/history/hps/tps/briefs/brief09.htm Technical Notes.Washington,DC:Technical Park,Sharon C.,AIA,Preservation Briefs 13: Preservation Services,National Park Service,US The Repair and Thermal Upgrading of Historic Department of the Interior.1984. Steel Windows.Preservation Technical Notes. www.nps.gov/tps/how-to-preserve/tech-notes/Tech- Washington,DC:Technical Preservation Services, Notes-Windows02.pdf National Park Service,US Department of the Fisher,Charles E. Windows 11:Installing Insulating Interior. 1984 Glass In Existing Wooden Sash Incorporating the www.nps.gov/hps/tps/briefs/briefl3.htm Historic Glass.Preservation Technical Notes. Park,Sharon C.,AIA,and Douglas C.Hicks. Washington,DC:Technical Preservation Services, Preservation Briefs 37:Appropriate Methods of National Park Service,US Department of the Reducing Lead-Paint Hazards in Historic Housing. Interior.1984. Washington,DC:Technical Preservation Services www.nps.gov/tps/how-to-preserve/tech-notes/Tech- Division,National Park Service,US Department of Notes-Windowsl l.pdf the Interior.2006 www.nps.gov/history/hps/tps/briefs/brief37.htm B :4 APPENDICES Salt Lake City Appendix B. Part 1. Arranged by Subject Storm Windows DOORS [CHAPTER 4] Trissler,W.&Fisher, C.E. Windows 3:External Hensley,Jo Ellen and Aguilar,Antonio.Preservation Storm Windows: Casement Design Wooden Storm Briefs 3:Improving Energy Efficiency in Historic Sash.Preservation Technical Notes.Washington, Buildings.Washington,DC:Technical Preservation DC:Technical Preservation Services,National Park Services Division,National Park Service,US Service,US Department of the Interior. 1984 Department of the Interior.2011 www.nps.gov/tps/how-to-preserverfech-Notes- www.nps.gov/history/hps/tps/briefs/brief03.htm Windows03.pdf Inappropriate Replacement Doors.Washington,DC: Fisher,Charles E.&Muckenfuss,Laura A. Windows Technical Preservation Services,National Park 5:Interior Metal Storm Windows.Preservation Service,U.S.Department of the Interior, 1999. Technical Notes.Washington,DC:Technical www.nps.gov/tps/standards/applying-rehabilitation/its- Preservation Services,National Park Service,US bulletins/ITS04-Doors-Replacement.pdf Department of the Interior. 1984 PORCHES [CHAPTER 5] www.nps.gov/tps/how-to-preserve/tech-notes/Tech- Notes-Windows05.pdf Inappropriate Porch Replacements.Washington,DC: Park,Sharon C.Windows 3:Thermal Retrofit of Technical Preservation Services,National Park Historic Wooden Sash Using Interior Piggyback StormService,U.S.Department of the Interior,1999. www.nps.govItps/standardslapplying-rehabilitationlits- Panels.Preservation Technical Notes.Washington, bulletins/ITS09-Porch-Alterations.pdf DC:Technical Preservation Services,National Park Service,US Department of the Interior.1984 Massey,James C.&Maxwell,Shirley. "Reading the www.nps.gov/tps/how-to-preserve/tech-notes/Tech- Old House"and"Sleeping Porches." Old House Notes-Windows08.pdf Journal,July/August 1995 Fisher,Charles E. Windows 9:Interior Storm Sullivan,Aleca and John Leeke.Preservation Briefs Windows:Magnetic Seal.Preservation Technical 45:Preserving Historic Wooden Porches.Washington, Notes.Washington,DC:Technical Preservation DC:Technical Preservation Services Division, Services,National Park Service,US Department of National Park Service,US Department of the the Interior.1984 Interior.2006 www.nps.gov/tps/how-to-preserve/tech-notes/Tech- www.nps.gov/history/hps/tps/briefs/brief45.htm Notes-Windows09.pdf ARCHITECTURAL DETAILS [CHAPTER 6] Fisher,Charles E. Windows 15:Interior Storms for Steel Casement Windows.Preservation Technical One of the best sources for historic photographs is Notes.Washington,DC:Technical Preservation Salt Lake County Records Management,which Services,National Park Service,US Department of maintains early tax photographs for thousands of the Interior. 1986 buildings www.nps.gov/tps/how-to-preserve/tech-notes/Tech- archives.slco.org/recMgmt/recMgmt.html Notes-Windows15.pdf ROOFS [CHAPTER 7] Replacement Windows Grimmer,Anne E. &Paul K.Williams.Preservation Replacement Windows That Meet the Standards. Briefs 30: The Preservation and Repair of Historic Clay Preservation Technical Notes.Washington,DC: Tile Roofs.Washington,DC:Technical Preservation Technical Preservation Services,National Park Services Division,National Park Service,US Service,US Department of the Interior Department of the Interior. 1982 www.nps.gov/tps/standards/applying-rehabilitation/ www.nps.gov/history/hps/tps/briefs/brief30.htm successful-rehab/windows-replacement.htm A Preservation Handbook for Historic Residential Properties&Districts APPENDICES B:5 Appendix B. Part 1. Arranged by Subject Levine,Jeffrey S.Preservation Briefs 29:The Repair, Alterations to Rear Elevations. Washington,DC: Replacement and Maintenance of Historic Slate Roofs. Technical Preservation Services,National Park Washington,DC:Technical Preservation Services, Service,US Department of the Interior,2005. National Park Service,US Department of the www.nps.gov/tps/standards/applying-rehabilitation/its- Interior.1982 bulletins/ITS33-RearElevation-Alterations.pdf www.nps.gov/hps/tps/briefs/brief29.htm Rooftop Additions.Washington,DC:Technical Pieper,Richard.Preservation Technical Notes:Metals Preservation Services,National Park Service,US #2:Restoring Metal Roof Cornices.Washington,DC: Department of the Interior,2006. Technical Preservation Services,National Park www.nps.gov/tps/standards/applying-rehabilitation/its- Service,US Department of the Interior.1990 bulletins/ITS36 Rooftop Additions.pdf www.nps.gov/tps/how-to-preserve/tech-notes/Tech- Rear Additions to Historic Houses.Washington,DC: Notes-Metals02.pdf Technical Preservation Services,National Park Slate Roof Treatments.Washington,DC:Technical Service,US Department of the Interior,2006. `^ Preservation Services,National Park Service,US ww nps.gov/tps/standards/applying rehabilitation/its Department of the Interior,2005. bulletins/ITS37-Houses-RearAdditions.pdf www.nps.gov/tps/standards/applying-rehabilitation/its- ACCESSORY STRUCTURES [CHAPTER 9] bulletins/ITS32-SlateRoof-Treatment.pdf Miller,Lisa.Garages in Salt Lake City's Avenues Sweetser,Sarah M.Preservation Briefs 4:Roofing Historic District.Published by the Utah Heritage for Historic Buildings.Washington,DC:Technical Foundation Preservation Services Division,National Park Service,US Department of the Interior.1978 Halda,Bonnie J.,AIA,Preservation Tech Notes.Doors www.nps.gov/history/hps/tps/briefs/brief04.htm #1:Historic Garage and Carriage Doors:Rehabilitation Solutions.Washington,DC:Technical Preservation Park,Sharon C.,AIA.Preservation Briefs 19:The Services Division,National Park Service,US Repair and Replacement of Historic Wooden Shingle Department of the Interior.1989 Roofs.Washington,DC:Technical Preservation www.nps.gov/tps/how-to-preserve/tech-notes/Tech- Services Division,National Park Service,US Notes-Doors01.pdf Department of the Interior. 1989 www.nps.gov/history/hps/tps/briefs/briefl9.htm SEISMIC RETROFITTING [CHAPTER 10] ADDITIONS [CHAPTER 8] Utah Division of State History,Office of Preservation. "Bracing for the Big One:Seismic Celebrating Compatible Design. Creating New Spaces in Retrofit of Historic Houses,". 1993 Historic Homes.Utah Heritage Foundation,2008 history.utah.gov/historic_buildings/information_and_ Weeks,Kay D.,Preservation Briefs 14:New Exterior research/bracing_for_the_big_one.html Additions to Historic Buildings:Preservation Concerns. "Controlling Disaster:Earthquake-Hazard Washington,DC:Technical Preservation Services, Reduction for Historic Buildings."Information National Park Service,US Department of the Series,National Trust for Historic Preservation,1785 Interior. 1987 Massachusetts Avenue,NW,Washington DC 20036. www.nps.gov/hps/tps/briefs/brief14.htm 1992 Bock,Gordon. "Making Sense of Sensitive www.preservationbooks.org/Bookstore. Additions,Ways to Get a Handle on Enlarging Old asp?Type=epolicy&Item=1172 Houses."Old House Journal.May/June,1995 B :6 APPENDICES Salt Lake City Appendix B. Part 2. Arranged by Key Website Look David W.,Terry Wong,PE&Sylvia Rose CAPITOL HILL [CHAPTER 14] Augustus, Preservation Briefs 41:The Seismic Retrofit CENTRAL CITY [CHAPTER 15] of Historic Buildings:Keeping Preservation in the Forefront.Washington,DC:Technical Preservation SOUTH TEMPLE [CHAPTER 16] Services,National Park Service,U.S.Department of Lester,Margaret D. Brigham Street. Published by the Interior. 1997 Utah State Historical Society. 1979 www.nps.gov/history/hps/tps/briefs/brief41.htm books.google.com/books/about/Brigham_Street. COLOR [CHAPTER 11] html?id=EZhCPQAACAAJ Moss,Roger W. &Gail Caskey Winkler. Victorian UNIVERSITY [CHAPTER 17] Exterior Decoration,How to Paint Your Nineteenth- WESTMORELAND PLACE [CHAPTER 18] Century American House Historically.New York: Henry Holt and Co.,1987 books.google.com/books/about/Victorian_Exterior_ Decoration.html?id=BsxfPQAACAAJ Schwin III,Lawrence. Old House Colors-An Expert's Guide to Painting Your Old(Or Not So Old)House. New York:Sterling Publishing Co.,Inc.,1990 www.barnesandnoble.com/w/old-house-colors-lawrence- schwinn/1015622126 Alderson,Caroline. "Re-creating A 19th Century Paint Palette",APT Vol.XVI No. 1,pgs.47-56. 1984 www.jstor.org/pss/1493914 Bock,Gordon. "Colorful Issues in Choosing Exterior Paint", Old-House Journal,pgs.50-55.July/ August 1996 www.oldhousejournal.com/Choosing_Exterior_Paint/ magazine/1321 NEW CONSTRUCTION [CHAPTER 12] AVENUES [CHAPTER 13] Haglund,Karl T.&Notarianni,Philip F. The Avenues of Salt Lake City. Published by Utah State Historical Society. 1980 books.google.com/books/about/The_avenues_of_Salt_ Lake_City.html?id=yrciAAAACAAJ LeSieur,Cevan.The Avenues.Images of America. Published by Arcadia Publishing.2012 books.google.com/books/about/The_avenues_of Salt_ Lake_City.htm I?id=yrciAAAACAAJ A Preservation Handbook for Historic Residential Properties&Districts APPENDICES B:7 Appendix B. Part 2. Arranged by Key Website Part 2. Arranged by Key Website National Center for Preservation Technology & Training SALT LAKE CITY CORPORATION— ncprt.nps.gov/ PLANNING &HISTORIC PRESERVATION STATE HISTORIC PRESERVATION OFFICE, www.slcclassic.com/ced/planning/ UTAH www.slcclassic.com/ced/hlc/default.asp history.utah.gov/state_historic_preservation_office/index. NATIONAL PARK SERVICE—TECHNICAL html PRESERVATION SERVICES National Register of Historic Places www.nps.gov/tps/ history.utah.gov/historic_buildings/national_register/ index.html Secretary of the Interior Standards Research Four Approaches to the Treatment of Historic history.utah.gov/historic_buildings/information_and_ Properties research/index.html www.nps.gov/tps/standards/four-treatments.htm www.nps.gov/tps/standards/rehabilitation.htm Certified Local Government history.utah.gov/historic_buildings/certified_local_ Interpreting the Standards Bulletins government/index.html www.nps.gov/tps/standards/applying-rehabilitation/ standards-bulletins.htm Financial Assistance history.utah.gov/historic_buildingsffinancial_assistance/ Applying Rehabilitation index.html www.nps.gov/tps/standards/applying-rehabilitation.htm Historic Preservation Contractor Directory Secretary of the Interior Guidelines history.utah.gov/apps/contractors.html www.nps.gov/tps/standards/rehabilitation/rehab/stand. Utah's Historic Architecture Guide htm www.nps.gov/tps/standards/rehabilitation/sustainability- guidelines.pdf Preservation Organizations National Register of Historic Places Program history.utah.govlhistoric_buildings/preservation_ organizations/index.html Publications&Links www.nps.gov/history/nr/publications/index.htm Publications www.nps.gov/history/nr/preservation_links.htm history.utah.gov/historic_buildings/publications/ preservation_publications.html#pubs Glossary of National Register Terms www.nps.gov/history/nr/publications/bulletins/nrbl6a/ UTAH HERITAGE FOUNDATION nrbl6a_appendix_IV.htm www.utahheritagefoundation.com/ Preservation Briefs Financial Assistance www.nps.gov/tps/how-to-preserve/briefs.htm www•utahheritagefoundation.com/preservation- resources/financial-resources Preservation Technical Notes www.nps.gov/tps/how-to-preserve/tech-notes.htm Resources www.utahheritagefoundation.com/preservation-resources Cultural Landscapes www.nps.gov/tps/how-to-preserve/cultural-landscapes. Tours and Events htm www.utahheritagefoundation.com/tours-and-events Incentives Awards www.nps.gov/history/hps/tps/tax/incentives/index.htm www.utahheritagefoundation.com/saving-places/heritage- awards Online Training&Information www.nps.gov/tps/education/online-training.htm Celebrating Compatible Design. Creating New Spaces in Historic Homes.2008 B:8 APPENDICES Salt Lake City Appendix B. Part 3. Preservation Briefs NATIONAL TRUST FOR HISTORIC Part 3. Preservation Briefs. PRESERVATION Preservation Technical Services, www.preservationnation.org/ National Park Service Resources for Homeowners www.preservationnation.org/resources/homeowners/ www.nps.gov/tps/how-to-preserve/briefs.htm Sustainability Preservation Briefs help historic building owners www.preservationnation.org/issues/sustainability/ recognize and resolve common problems prior to Community Revitalization work. www.preservationnation.org/issues/community- The briefs are especially useful to Historic revitalization/ Preservation Tax Incentives Program applicants ADVISORY COUNCIL ON HISTORIC because they recommend methods and approaches PRESERVATION for rehabilitating historic buildings that are www.achp.gov/ consistent with their historic character. Economic Impact of Historic Preservation Some of the web versions of the Preservation Briefs www.achp.gov/economicstudies.html differ somewhat from the printed versions.Many NATIONAL ALLIANCE OF PRESERVATION illustrations are new and in color rather than black COMMISSIONS and white;Captions are simplified and some napc.uga.edu/ complex charts are omitted.To order hard copies of Publications the Briefs,see Printed Publications. napc.uga.edu/programs/napc/publications.htm 1 Mack,Robert C.,FAIA;Anne Grimmer. Cleaning Preservation Links and Water-Repellent Treatments for Historic Masonry napc.uga.edu/programs/napc/links.htm Buildings. 2000 www.nps.gov/history/hps/tps/briefs/brief01.htm THE ASSOCIATION FOR PRESERVATION 2 Mack,Robert C.,FAIA,and John P.Speweik. TECHNOLOGY INTERNATIONAL Repointing Mortar Joints in Historic Masonry www.apti.org/ Buildings. 1998 Publications www.nps.gov/history/hps/tps/briefs/brief02.htm www.apti.org/publications/index.cfm 3 Hensley,Jo Ellen and Aguilar,Antonio.Improving Resources Energy Efficiency in Historic Buildings.2011 www.apti.org/publications/tech-publications.cfm www.nps.gov/history/hps/tps/briefs/brief03.htm PRESERVATION TRADES NETWORK 4 Sweetser,Sarah M.Roofing for Historic Buildings. www.iptw.org/ 1978 WINDOW PRESERVATION STANDARDS www.nps.gov/history/hps/tps/briefs/brief04.htm COLLABORATIVE 5 The Preservation of Historic Adobe Buildings. 1978 ptnresource.org/WPSC/about/ www.nps.gov/history/hps/tps/briefs/brief05.htm NATIONAL PRESERVATION INSTITUTE 6 Grimmer,Anne E.Dangers of Abrasive Cleaning to www.npi.org/ Historic Buildings. 1979 www.nps.gov/history/hps/tps/briefs/brief06.htm 7 De Teel Patterson Tiller. The Preservation of Historic Glazed Architectural Terra-Cotta. 1979. www.nps.gov/history/hps/tps/briefs/brief07.htm A Preservation Handbook for Historic Residential Properties&Districts APPENDICES B:9 • Appendix B. Part 3. Preservation Briefs 8 Myers,John H.,revised by Gary L.Hume. 20 Auer,Michael J. The Preservation of Historic Aluminum and Vinyl Siding on Historic Buildings:The Barns. 1989 Appropriateness of Substitute Materials for Resurfacing ` WW.nps.gov/history/hps/tps/briefs/brief20.htm Historic Wood Frame Buildings. 1984 21 MacDonald,Mary Lee.Repairing Historic Flat www.nps.gov/history/hps/tps/briefs/brief08.htm Plaster—Walls and Ceilings. 1989 9 Myers,John H. The Repair of Historic Wooden www.nps.gov/history/hps/tps/briefs/brief21.htm Windows. 1981 22 Grimmer,Anne. The Preservation and Repair of www.nps.gov/history/hps/tps/briefs/brief09.htm Historic Stucco. 1990 10 Weeks,Kay D.and David W.Look,AIA.Exterior www.nps.gov/history/hps/tps/briefs/brief22.htm Paint Problems on Historic Woodwork. 1982 23 Flaharty,David.Preserving Historic Ornamental www.nps.gov/history/hps/tps/briefs/brief10.htm Plaster. 1990 11 Jandl,H.Ward.Rehabilitating Historic Storefronts. www.nps.gov/history/hps/tps/briefs/brief23.htm 1982 24 Park,Sharon C.,AIA.Heating, Ventilating,and www.nps.gov/history/hps/tps/briefs/brief11.htm Cooling Historic Buildings:Problems and Recommended 12 The Preservation of Historic Pigmented Structural Approaches. 1991 Glass(Vitrolite and Carrara Glass). 1984 www.nps.gov/history/hps/tps/briefs/brief24.htm www.nps.gov/history/hps/tps/briefs/briefl2.htm 25 Auer,Michael J. The Preservation of Historic Signs. 13 Park,Sharon C.,AIA. The Repair and Thermal 1991 Upgrading of Historic Steel Windows. 1984 www.nps.gov/history/hps/tps/briefs/brief25.htm www.nps.gov/history/hps/tps/briefs/briefl3.htm 26 Bomberger,Bruce D. The Preservation and Repair 14 Grimmer,Anne E.and Kay D.Weeks.New of Historic Log Buildings. 1991 Exterior Additions to Historic Buildings:Preservation www.nps.gov/history/hps/tps/briefs/brief26.htm Concerns.2010 27 Waite,John G.,AIA. The Maintenance and Repair www.nps.gov/history/hps/tps/briefs/briefl4.htm of Architectural Cast Iron. 1991 15 Gaudette,Paul and Deborah Slaton.Preservation www•nps.gov/history/hps/tps/briefs/brief27.htm of Historic Concrete.2006 28 Chase,Sara B.Painting Historic Interiors. 1992 www.nps.gov/history/hps/tps/briefs/brief15.htm www.nps.gov/history/hps/tps/briefs/brief28.htm 16 Park,Sharon C.,AIA. The Use of Substitute 29 Levine,Jeffrey S. The Repair,Replacement,and Materials on Historic Building Exteriors. 1988 Maintenance of Historic Slate Roofs. 1992 www.nps.gov/history/hps/tps/briefs/briefl6.htm www.nps.gov/history/hps/tps/briefs/brief29.htm 17 Nelson,Lee H.,FAIA.Architectural Character— 30 Grimmer,Anne E.and Paul K.Williams.The Identifying the Visual Aspects of Historic Buildings as Preservation and Repair of Historic Clay Tile Roofs. an Aid to Preserving their Character. 1988 1992 www.nps.gov/history/hps/tps/briefs/briefl7.htm www.nps.gov/history/hps/tps/briefs/brief30.htm 18 Jandl,H.Ward.Rehabilitating Interiors in Historic 31 Park,Sharon C.,AIA.Mothballing Historic Buildings —Identifying Character-Defining Elements. Buildings. 1993 1988 www.nps.gov/history/hps/tps/briefs/brief31.htm www.nps.gov/history/hps/tps/briefs/brief18.htm 32 Jester,Thomas C.and Sharon C.Park,AIA. 19 Park,Sharon C.,AIA. The Repair and Replacement Making Historic Properties Accessible. 1993 of Historic Wooden Shingle Roofs. 1989 www.nps.gov/history/hps/tps/briefs/brief32.htm www.nps.gov/history/hps/tps/briefs/brief19.htm B: 10 APPENDICES Salt Lake City Appendix B 33 Vogel,Neal A.and Rolf Achilles. The 45 Sullivan,Aleca and John Leeke.Preserving Preservation and Repair of Historic Stained and Leaded Historic Wooden Porches.2006 Glass.2007 www.nps.gov/history/hps/tps/briefs/brief45.htm www.nps.gov/history/hps/tps/briefs/brief33.htm 46 Randl,Chad. The Preservation and Reuse of • 34 Thornton,Jonathan and William Adair,FAAR. Historic Gas Stations.2008 Applied Decoration for Historic Interiors:Preserving www.nps.gov/history/hps/tps/briefs/brief46.htm Historic Composition Ornament. 1994 47 Park,Sharon,FAIA.Maintaining the Exterior of www.nps.gov/history/hps/tps/briefs/brief34.htm Small and Medium Size Historic Buildings.2007 35 McDonald,Travis C.,Jr. Understanding Old www.nps.gov/history/hps/tps/briefs/brief47.htm Buildings:The Process of Architectural Investigation. 1994 www.nps.gov/history/hps/tps/briefs/brief35.htm 36 Birnbaum,Charles A.,ASLA.Protecting Cultural Landscapes:Planning, Treatment and Management of Historic Landscapes. 1994 www.nps.gov/history/hps/tps/briefs/brief36.htm 37 Park,Sharon C.,AIA,and Douglas C.Hicks. Appropriate Methods of Reducing Lead-Paint Hazards in Historic Housing.2006 www.nps.gov/history/hps/tps/briefs/brief37.htm 38 Weaver,Martin E.Removing Graffiti from Historic Masonry. 1995 www.nps.gov/history/hps/tps/briefs/brief38.htm 39 Park,Sharon C.,AIA.Holding the Line: Controlling Unwanted Moisture in Historic Buildings. 1996 www.nps.gov/history/hps/tps/briefs/brief39.htm 40 Grimmer,Anne E.and Kimberly A.Konrad. Preserving Historic Ceramic Tile Floors.1996 www.nps.gov/history/hps/tps/briefs/brief40.htm 41 Look,David W.,AIA,Terry Wong,PE,and • Sylvia Rose Augustus.The Seismic Retrofit of Historic Buildings:Keeping Preservation in the Forefront. 1997 www.nps.gov/history/hps/tps/briefs/brief41.htm 42 Pieper,Richard. The Maintenance,Repair and Replacement of Historic Cast Stone. www.nps.gov/history/hps/tps/briefs/brief42.htm 43 Slaton,Deborah. The Preparation and Use of Historic Structure Reports. www.nps.gov/history/hps/tps/briefs/brief43.htm 44 Randl,Chad. The Use of Awnings on Historic Buildings:Repair,Replacement and New Design. www.nps.gov/history/hps/tps/briefs/brief44.htm A Preservation Handbook for Historic Residential Properties&Districts APPENDICES B:11 Appendix B B: 12 APPENDICES Salt Lake City Appendix C. Glossary of Terms See also"Utah's Historic Architecture" Glossary history.utah.gov/architecture/glossary.html Procedural Definitions PROCEDURAL DEFINITIONS C: 1 Certificate of Appropriateness A document TECi 1NICA L DEFINITIONS C: "l issued by the Historic Landmark Commission ARCHITECTURAL TERMS C:4 (HLC)allowing an applicant or owner to proceed with a proposed alteration,demolition,or new construction in Locally-designated historic district Technical Definitions or on property listed in the Salt Lake City Register of Cultural Resources,following a determination Adaptive Use The reuse of a building or structure, of the proposal's suitability according to applicable usually for purposes different from the original use criteria. such as residence converted into offices. Process The established procedures followed by Addition New construction added to an existing the HLC,Salt Lake City Planning staff and other building or structure. City departments.These procedures may be Alteration Work that affects the exterior established by City ordinance,the Commission,or appearance of a property. professional planning practice. Building A structure with a roof,intended for Public notice Notice provided to interested parties shelter or enclosure such as a dwelling or garage. before a commission takes action. Character The qualities and attributes of a building,structure,site,street or district. Character may include individual structures or he relationship between structures. Configuration The arrangement of elements and details on a building,structure or site which help to define its character. Compatible In harmony with surroundings. Context The setting in which a historic element, site,building, structure,street,or district exists. Demolition Any act which destroys a structure, either partially or entirely. Demolition by Neglect The destruction of a building or structure through abandonment or lack of maintenance. A Preservation Handbook for Historic Residential Properties&Districts APPENDICES C: 1 Appendix C. Glossary of Terms Design Guidelines Criteria which provide direction Ittfill New construction in historic districts on to projects regarding design and help ensure that vacant lots or to replace existing buildings. rehabilitation projects and new construction respect the character of designated buildings and districts. Landmark Site Any site included on the Salt Lake City Register of Cultural Resources. Such sites are Element A material part or detail of a site,building, of exceptional importance to the City,State,region structure,street,landscape or district. or nation and impart high artistic,historic and/or cultural values. Elevation Any one of the external vertical planes of a building.(or)An external vertical plane of a Landscape The totality of the natural,built or structure. human-influenced habitat experienced at any one place.Dominant features may be topography, Fabric The physical material of a building, plant cover,buildings,or other structures and their structure,site,or community conveying an patterns. interweaving of component parts. Maintain To keep in an existing state of Floor Area Ratio The relationship of the total preservation or repair. floor area of a building to the land area of its site, as defined as a ratio in which the numerator is the Mothballing Implementing temporary measures to floor area,and the denominator is the site area. stabilize and protect a building from deterioration and vandalism. Historic District A geographically definable area with a significant concentration of buildings, New construction Construction which is structures,sites,spaces,or objects unified by past characterized by the introduction of new elements, events,physical development,design,setting, sites,buildings,structures or additions to existing materials,workmanship,sense of cohesiveness or buildings and structures in historic areas and related historical and aesthetic associations.The districts. significance of a district may be recognized through listing in a local,state,or national landmarks Preservation Generally,saving from destruction register and may be protected legally through or deterioration old and historic buildings, enactment of a local historic district ordinance sites,structures,and objects and providing for administered by a historic district board or their continued use by means of restoration, commission. rehabilitation,or adaptive use. Historic Imitation New construction or Proportion Harmonious relation of parts to one rehabilitation where elements or components another or to the whole. mimic an architectural style but are not of the same Protection The act or process of applying historic period as the existing buildings(historic measures designed to affect the physical condition replica). of a property by defending or guarding it from Historic Landmark Commission The City's deterioration,loss or attack,or to cover or shield governmental entity responsible for administering the property from danger of injury.In the case the criteria set forth in this document and in the Salt of buildings and structures,such treatment is Lake City Zoning Ordinance(Section 21A.34.020) generally of a temporary nature and anticipates future historic preservation treatment;in the case of as they apply to locally-designated landmark sites and historic districts. archaeological sites,the protective measure may be temporary or permanent. C:2 APPENDICES Salt Lake City Appendix C. Glossary of Terms Reconstruction The act or process of reproducing Stabilization The act or process of applying by new construction the exact form and detail of measures to reestablish a weather resistant a vanished building,structure,or object,or a part enclosure and the structural stability of a thereof,as is appeared at a specific period of time. deteriorated property while maintaining its present form. Rehabilitation The act or process of returning a property or building to usable condition through Streetscape The distinguishing character of a repair,alteration,and/or preservation of its features particular street as created by its width,degree of which are significant to its historical,architectural, curvature,paving materials,design of the street and cultural values. furniture,and forms of surrounding buildings. Renovation The act or process of returning a Style A type of architecture distinguished by property to a state of utility through repair or special characteristics of structure and ornament alteration which makes possible a contemporary and often related in time;also a general quality of a use. distinctive character. Restoration The act or process of returning a Visual Continuity A sense of unity or belonging building's appearance to a specific period of time together that elements of the built environment by removing later work and by replacing missing exhibit because of similarities among them. earlier features to match the original. Retain To keep secure and intact.In the guidelines, "retain" and"maintain"describe the act of keeping an element,detail,or structure and continuing the same level of repair to aid in the preservation of elements,sites and structures. Re-use To use again.An element,detail,or structure might be reused in historic districts. Rhythm Movement or fluctuation marked by the regular occurrence or natural flow of related elements. Scale Proportional elements that demonstrate the size,materials,and style of buildings. Setting The sum of attributes of a locality, neighborhood,or property that defines its character. Significant Having particularly important associations within the contexts of architecture, history,and culture. A Preservation Handbook for Historic Residential Properties&Districts APPENDICES C:3 Appendix C. Glossary of Terms Architectural Terms Bond A term used to describe the various patterns in which brick(or stone)is laid,such as"common Alignment The arrangement of objects along a bond'or"Flemish bond." straight line. Bracket A projecting element of wood,stone or Apron A decorative,horizontal trim piece on the metal which spans between horizontal and vertical lower portion of an architectural element. surfaces(eaves,shelves,overhangs)as decorative support. Arch A construction which spans an opening and supports the weight above it.(see flat arch,jack Bulkhead The structural panels just below display arch,segmental arch and semi-circular arch). windows on storefronts.Bulkheads can be both supportive and decorative in design.19th century Ashlar A square,hewn stone used in building.It bulkheads are often of wood construction with also refers to a thick dressed,square stone used for rectangular raised panels.20th century bulkheads facing brick walls,etc. may be of wood,brick,tile,or marble construction. Attic The upper level of a building,not of full Bulkheads are also referred to as kickplates. ceiling height,directly beneath the roof. Caine Metal struts supporting leaded glass. Balcony A platform projecting from the wall of an Canopy A roofed structure constructed of fabric upper story,enclosed by a railing or balustrade, or other material placed so as to extend outward with an entrance from the building and supported from a building providing a protective shield for by brackets,columns,or cantilevered out. doors,windows and other openings,supported by Baluster One of a series of short,vertical,often the building and supports extended to the ground directly under the canopy or cantilevered from the vase-shaped members,used to support a stair or porch handrail,forming a balustrade. building. Balustrade An entire rail system with top rail and Capital The head of a column or pilaster. balusters. Carrara Glass Tinted glass widely used for storefront remodeling during the 1930s and 1940s. Bargeboard A board which hangs from the projecting end of a gable roof,covering the end Carrara glass usually came in black,tan,or dark rafters,and often sawn into a decorative pattern. red colors. Bay The portion of a facade between columns Casement window A window with one or two or piers providing regular divisions and usually sashes which are hinged at the sides and usually marked by windows. open outward. Bay window A projecting window that forms an Clapboards Horizontal wooden boards,thinner extension to the floor space of the internal rooms; at the top edge,which are overlapped to provide a usually extends to the ground level. weather-proof exterior wall surface. Belt course A horizontal band usually marking the Classical order Derived from Greek and Roman floor levels on the exterior facade of a building. architecture,a column with its base,shaft,capital and entablature having standardized details and Board and batten Siding fashioned of boards set proportions,according to one of the five canonized vertically and covered where their edges join by modes Doric,Tuscan,Ionic,Corinthian,or narrow strips called battens. Composite. C:4 APPENDICES Salt Lake City Appendix C. Glossary of Terms Clipped gable A gable roof where the ends of EIFS Stands for"Exterior Insulating and Finish the ridge are terminated in a small,diagonal roof System."This is a process by which a styrene board surface. is adhered to wall sheathing and an elastomeric, synthetic stucco is applied.At this writing EIFS is Column A cylindrical or square vertical structural generally referred to as"dryvit," but this is a brand or ornamental member. name. Common bond A brickwork pattern where most Ell The rear wing of a house,generally one room courses are laid flat,with the long"stretcher" wide and running perpendicular to the principal edge exposed,but every fifth to eighth course is building. laid perpendicularly with the small"header"end exposes,to structurally tie the wall together. Engaged column A column that is in direct contact with a wall;at least half of the column extends Corbel In masonry,a projection,or one of a series beyond the plane of the wall to which it is attached. of projections,each stepped progressively farther forward with height and articulating a cornice or Entablature A part of a building of classical supporting an overhanging member. order resting on the column capital;consists of an architrave,frieze,and cornice. Corinthian order Most ornate classical order characterized by a capital with ornamental Facade Any of the exterior faces of a building. acanthus leaves and curled fern shoots. False Front A front wall which extends beyond the Cornice The uppermost,projecting part of an sidewalls of a building to create a more imposing entablature,or feature resembling it.Any projecting facade. ornamental molding along the top of a wall, building,etc. Fanlight A semi-circular window usually over a door with radiating muntins suggesting a fan. Cresting A decorated ornamental finish along the top of a wall or roof,often made of ornamental Fascia A projecting flat horizontal member or metal. molding;forms the trim of a flat roof or a pitched roof;also a part of a classical entablature. Cross-gable A secondary gable roof which meets Fenestration The arrangement of windows and the primary roof at right angles. other exterior openings on a building. Dentils A row of small tooth-like blocks in a classical cornice. Finial A projecting decorative element at the top of a roof turret or gable. Doric order A classical order with simple, unadorned capitals,and with no base. Fishscale shingles A decorative pattern of wall shingles composed of staggered horizontal rows of Dormer window A window that projects from a wooden shingles with half-round ends. roof. Flashing Thin metal sheets used to prevent Double-hung window A window with two sashes, moisture infiltration at joints of roof planes and one sliding vertically over the other. between the roof and vertical surfaces. Eave The edge of a roof that projects beyond the Flat arch An arch whose wedge-shaped stones or face of a wall. bricks are set in a straight line;also called a jack arch. A Preservation Handbook for Historic Residential Properties&Districts APPENDICES C:5 Appendix C. Glossary of Terms Flemish bond A brick-work pattern where the long Jack arch (see Flat arch) "stretcher"edge of the brick is alternated with the small"header" end for decorative as well as Joist One of the horizontal wood beams that structural effectiveness. support the floors or ceilings of a house.They are set parallel to one another—usually from 1'0"to Fluting Shallow,concave grooves running 2'0" apart—and span between supporting walls or vertically on the shaft of a column,pilaster,or other larger wood beams. surface. Keystone The wedge-shaped top or center member Foundation The lowest exposed portion of the of an arch. building wall,which supports the structure above. Knee brace An oversize bracket supporting a Frieze The middle portion of a classical cornice; cantilevered or projecting element. also applied decorative elements on an entablature or parapet wall. Lancet Window A narrow,vertical window that ends in a point. Gable The triangular section of a wall to carry a pitched roof. Lap Siding See clapboards. Gable roof A pitched roof with one downward Lintel The horizontal top member of a window, slope on either side of a central,horizontal ridge. door,or other opening. Gambrel roof A ridged roof with two slopes on Luxfer glass A glass panel made up of small leaded either side. glass lights either clear or tinted purple.These panels were widely used for storefront transoms Ghosts Outlines or profiles of missing buildings during the early 20th century. or building details.These outlines may be visible through stains,paint,weathering,or other residue Mansard roof A roof with a double slope on all sides,with the lower slope being almost vertical on a building's facade or side elevation. and the upper almost horizontal. Guardrail A building component or a system of building components located at or near the open Masonry Work using brick,stone, concrete block, sides of elevated walking surfaces that minimizes tile,adobe or similar materials. the possibilities of a fall from the walking surface to Massing The three-dimensional form of a building. a lower level. Metal standing seam roof A roof composes of Handrail A horizontal or sloping rail intended for overlapping sections of metal such as copper- grasping by the hand for guidance or support. bearing steel or iron coated with a terne alloy of Hipped roof A roof with uniform slopes on all lead and tin.These roofs were attached or crimped sides. together in various raised seams for which the roof are named. Hood molding A projecting molding above an arch, doorway,or window,originally designed to direct Modillion A horizontal bracket,often in the water away from the opening;also called a drip form of a plain block,ornamenting,or sometimes mold. supporting,the underside of a cornice. Ionic order One of the five classical orders used to Mortar A mixture of sand,lime, (and in more describe decorative scroll capitals. modern structures, cement),and water used as a binding agent in masonry construction. C:6 APPENDICES Salt Lake City Appendix C. Glossary of Terms Molding A decorative band or strip of material Portico A roofed space,open or partly enclosed, with a constant profile or section designed to cast forming the entrance and centerpiece of the facade interesting shadows.It is generally used in cornices of a building,often with columns and a pediment. and as trim around window and door openings. Portland cement A strong,inflexible hydraulic Mullion A heavy vertical divider between cement used to bind mortar. windows or doors. Post A piece of wood,metal,etc., usually long Multi-light window A window sash composed of and square or cylindrical,set upright to support a more than one pane of glass. building,sign,gate,etc.;pillar;pole. Muntin A secondary framing member to divide Pressed tin Decorative and functional metalwork and hold the panes of glass in multi-light window made of molded tin used to sheath roofs,bays,and or glazed door. cornices. Oriel window A bay window which emerges Pyramidal roof A roof with four identical sides above the ground floor level,generally supported rising to a central peak. by brackets or corbels. Quoins A series of stone,bricks,or wood panels Paired columns Two columns supported by one ornamenting the outside of a wall. pier,as on a porch. Rafter Any of the beams that slope from the ridge Palladian window A window with three openings, of a roof to the eaves and serve to support the roof. the central one arched and wider than the flanking Ridge The top horizontal member of a roof where ones. the sloping surfaces meet. Paneled door A door composed of solid panels (either raised or recessed)held within a framework Roof The top covering of a building.Following are of rails and stiles. some types: • Gable roof has a pitched roof with ridge and Parapet A low horizontal wall at the edge of a roof. vertical ends. Pediment A triangular crowning element forming • Hip roof has sloped ends instead of vertical the gable of a roof;any similar triangular element used over windows,doors,etc. ends. • Shed roof(lean-to)has one slope only and is Pier A vertical structural element, square or rectangular in cross-section. built against a higher wall. • Clipped gable or hipped gable is similar to Pilaster A rectangular pillar attached,but projecting from a wall,resembling a classical gable but with the end clipped back. column. • Gambrel roof is a variation of a gable roof,each side of which has a shallower slope above a Pitch The degree of the slope of a roof. steeper one. Pony wall Low wall,between 24"to 36"high, • Mansard roof is a roof with a double slope;the that are used to enclose porches or balconies.Also lower slope is steeper than the upper. known as"wing"walls. A Preservation Handbook for Historic Residential Properties&Districts APPENDICES C:7 Appendix C. Glossary of Terms Rusticated Roughening of stonework of concrete Swag Carved ornament on the form of a cloth blocks to give greater articulation to each block. draped over supports,or in the form of a garland of fruits and flowers, Sash The moveable framework containing the glass in a window. Terra-cotta Decorative building material of baked clay.Terra-cotta was often glazed in various colors Segmental arch An arch whose profile or radius is and textures.Terra-cotta was widely used for less than a semicircle. cornices,inset panels,and other decorative facade Semi-circular arch An arch whose profile or radius elements from ca. 1880 to 1930. is a half circle the diameter of which equals the Transom A horizontal opening(or bar)over a door opening width. or window. Shape The general outline of a building or its Trim The decorative framing of openings and other facade. features on a facade. Sheathing An exterior covering of boards of other Turret A small slender tower. surface applied to the frame of the structure.(see Siding) Veranda A covered porch or balcony on a building's exterior. Shed roof A gently-pitched,almost flat roof with only one slope. Vergeboard The vertical face board following and set under the roof edge of a gable,sometimes Sidelight A vertical area of fixed glass on either decorated by carving. side of a door or window. Vernacular A regional form or adaptation of an Siding The exterior wall covering or sheathing of a architectural style. structure. Wall dormer Dormer created by the upward Sill The bottom crosspiece of a window frame. extension of a wall and a breaking of the roofline. Soffit The underside of a structural part,as of a Water table A projecting horizontal ledge, beam,arch,etc. intended to prevent water from running down the Spindles Slender,elaborately turned wood dowels face of a wall's lower section. or rods often used in screens and porch trim. Weatherboard Wood siding consisting of Stile A vertical piece in a panel or frame,as of a overlapping boards usually thicker at one edge door or window. than the other. Stretcher bond A brickwork pattern where courses Window Parts The moving units of a window are laid flat with the long"stretcher"edge exposed. are known as sashes and move within the fixed frame.The sash may consist of one large pane of Stucco An exterior wall covering that consists of glass or may be subdivided into smaller panes lime,cement and sand,applied directly or over a by thin members called muntins or glazing bars. wood or metal lath.It is usually applied in three Sometimes in nineteenth-century houses windows coats. are arranged side by side and divided by heavy vertical wood members called mullions.For a Surround An encircling border or decorative frame, diagram of window parts,see PART II 3:5. usually at windows or doors. C:8 APPENDICES Salt Lake City