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087 of 2012 - Establishing design guidelines for commercial properties within the H-Historic Preservation Overlay 0 12-1 0 12-34 SALT LAKE CITY ORDINANCE No. 87 of 2012 (An ordinance adopting design guidelines for commercial properties within the II-Historic Preservation Overlay District) An ordinance adopting design guidelines for commercial properties within the H-Historic Preservation Overlay District pursuant to Petition No. PLNPCM2009-00628. WHEREAS, the Salt Lake City Historic Landmark Commission ("historic landmark commission") held public hearings November 17, 2011, December 1, 2011, December 15, 2011 and April 5, 2012 on a petition initiated by Mayor Ralph Becker (Petition No. PLNPCM2009- 00628) to adopt design guidelines applicable to commercial properties within the H-Historic Preservation Overlay District; and WHEREAS, at its April 5, 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. Adopting Commercial Design Guidelines. That the document titled "Design Guidelines for Historic Commercial Properties and 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 commercial properties within the H-Historic Preservation Overlay District in accordance with the regulations provided in section 21A.34.020 of the Salt Lake City Code. 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 i 1 day of December 2012. CHAIRPERSON ATTEST AN o C TERSIG Y RECO ER Transmitted to Mayor on December 11, 2012 Mayor's Action: Approved. Vetoed. MAYJR • i'Y ITY RECORDE r . t APPROVED AS TO FORM -' f f _ = Salt Lake City Attorney's Office i, .' ._1.?` Date: Z (SEAL) ' By: Pat . ielson, tot City Attorney Bill No. 87 of 2012. Published: 12-17-12 HB_ATTY-#24146-v 1-Ordinance_adopting_commercial_design_guidelines.DOC Exhibit "A" Commercial Design Guidelines 0. 1 TI I , 1 r- . -. I i• { 7 . 1 1 , I , 1 I I , `' I 1 I , 1 1 I 1 '. • �. Sgr ! f : I 1 i , l I t 1 1 1 1 1 1 1 1 1 - 1 1 I I it 1(11 I Oil 11-I Ala F014 iii , l- � �• II1uP 1 140X1 .' . 11 or - oil , , L_ . . • ..,, --___ :,.: i - TA* I " :� 7. -- , Iii'461- • . 17.,"1:4;\\.\-- ' --ar. ". L 7 - i, Ill- k , '1' &-ii: I I ''' ill IV .. 4,dillir.%., -KeTh 1111111111 11I iI _? `� 1 � ■nnnc.t. . II I I ' , ,., • ■■nnn = - L , ' ` ii1 !' !!! - -:- - , A , Design Guidelines for Historic Commercial Properties & Districts in Salt Lake City June 19, 2012 Page left intentionally blank ACKNOWLEDGEMENTS SALT LAKE CITY Historic Landmark Commission Members Earle Bevins III Bill Davis Arla Funk Sheleigh Harding Polly Hart, Vice-Chair Stephen James Anne Oliver, Chair Dave Richards Former Members Warren Lloyd,Previous Chair Dave Fitzsimmons,Previous Chair Creed Haymond Thomas Carter Planning Department Staff Wilford Sommerkorn, Director Cheri Coffey, Assistant Director 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 Part of the content of these Design Guidelines is adapted from the adopted 1999 design guidelines prepared by Winter & Company,in association with Clarion Associates. Draft Design Guidelines for Commercial Historic Districts in Salt Lake City 2010 The contents of these design guidelines are based on a document prepared for Salt Lake City by Thomason&Associates in close consultation with Planning Division staff. Illustrations "The Utah State Historical Society.All rights reserved. Used by permission." Applies to the photographs on pages: Part I-1:5,1:6, 1:7,1:8, 1:9(Left) Part III-8 The storefront illustration on page 2:1 was prepared by Daniel Echeverria,Associate Planner,Salt Lake City Corporation. The building placement illustration on page13.2 was prepared by Seth Wright,Planning Intern,Salt Lake City Corporation. 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: Part II-13:4(Middle&Bottom), 13:6(Top), 13:8(Top),13:9(Top), 13:10, 13:11(Top) Several photographs were taken by Carl Leith, Senior Preservation Planner, Salt Lake City Corporation. These include photographs on pages: Part II-2:11(Bottom), 13:8(Bottom) Some photographs were taken by Janice Lew, Senior Preservation Planner, Salt Lake City Corporation. These include photographs on pages:Part I-3:3,3:5(Right) Part II-1:2(Middle&Bottom),1:3(Top),2:3(Middle),2:5(Middle),2:7(Middle), 2:8(Middle & Bottom), 2:10, 2:11(Top), 3:2(Top), 3:3(Top), 3:8, 4:3(Top), 4:5, 4:6, 5:2(Bottom), 5:3(Bottom), 5:4(Middle & Bottom), 6:1(Top), 6:2, 6:3, 6:4(Top), 7:1, 7:2, 8:1, 8:2, 11:1, 11:2, 12:1, 12:2(Middle), 13:1, 13:3, 13:4(Top), 13:5, 13:6(Bottom), 13:7,13:9(Middle&Bottom), 13:11(Bottom), 13:14 Part III-3(Bottom),5(Bottom), 11 Contents PART 1 -PRESERVATION IN SALT LAKE CITY Section 1 Overview Who Should Use These Design Guidelines? 1 2 Financial incentives 1 • 3 Historic Overview 1 •5 Section 2 Building Types One-Part Commercial Block 2 •2 Two-Part Commercial Block 2 •2 Enframed Window Wall 2 3 Two-Part Vertical Block 2•3 Three-Part Vertical Block 2 •4 Arcaded Block 2 •4 Vault 2.5 Temple Front 2•5 Central Block With Wings 2 • 6 Enframed Block 2 •6 Neighborhood Shopping Commercial Center 2 •7 Neighborhood Corner Commercial 2 •7 House Store 2• 8 Office&Medical 2 • 8 Section 3 Architectural Styles Architectural Overview 3 •1 Romanesque 3 2 Colonial Revival 3 • 3 Neoclassical 3 •3 Sullivanesque 3 •4 Modernistic 3 •4 international 3 •5 Late Modern 3 •5 PART II-DESIGN GUIDELINES: REHABILITATION/NEW CONSTRUCTION Chapter 1 Site Features Context&Character . . . 1 • l Design Objective 1 •2 General 1.1 -1.5 1 •2 Design Guidelines for Historic Commercial Properties&Districts Contents Chapter 2 Storefronts Context&Character 2 • 1 Design Objective 2 •2 General 2.1-2.3 2 •3 Awnings&Canopies 2.4-2.10 2 •4 Windows&Bulkheads 2.11 -2.13 2 •6 Doors&Entrances 2.14-2.17 2• 8 Staircases&Steps 2.18-2.22 2 • 10 Lighting 2.23-2.25 2 • 11 Additional Information 2 • 11 Chapter 3 Building Material&Finishes Context&Character 3 • 1 Design Objective 3 1 General 3.1 3•2 Masonry 3.2-3 8 3:2 Wood 3.9-3.15 3 . 6 Cast Iron&Metal 3.16-3.19 3 • 8 Tinted Glass,Marble, Concrete, etc. 3.20-3.21 3 . 10 Paint 3.22-3.24 3• 11 Additional Information 3 12 Chapter 4 Windows Context&Character 4 •1 Design Objective 4•2 General 4.1 -4.8 4 •2 Storm Windows 4.9 4 •5 Security Doors &Windows 4.10-4.13 4 •5 Additional Information 4 • 6 Chapter 5 Architectural Details Context&Character 5 •1 Design Objective 5 •1 General 5.1-5.5 5•2 Cornices &Parapets 5.6-5.10 5 •5 Additional Information 5 •6 Chapter 6 Roofs Context&Character 6• 1 Design Objective 6 • 1 General 6.1-6.4 6 1 Chimneys 6.5-6.7 6.2 Gutters&Downspouts 6.8-6.10 6 •3 Skylight 6.11-6.13 6 •4 Additional Information 6 •5 Salt Lake Cihy Contents Chapter 7 Foundations Context&Character 7 • 1 Design Objective 7•1 General 7.1 -7.4 7• 1 Chapter 8 Additions Context&Character 8• 1 Design Objective 8 • 1 General 8.1 -8.4 8 1 Ground Level Additions 8.5 8 •3 Rooftop Additions 8.6 8•4 Additional Information 8 •4 Chapter 9 Accessibility Context&Character 9 • 1 Design Objective 9 • 1 General 9.1 -9.5 9 • 2 Additional Information 9•2 Chapter 10 Seismic Design Context&Character 10 : 1 Design Objective 10: 1 General 10.1 -10.4 10 : 1 Additional Information 10 : 2 Chapter 11 Streetscape Elements Context& Character 11 : 1 Design Objective 11 : 1 General 11.1 -11.5 11 : 1 Chapter 12 Mechanical Equipment&Service Utilities Context&Character 12 : 1 Design Objective 12 : 1 Satellite Dishes 12.1 - 12 2 12 : 1 Solar Collection Systems 12.3-12.5 12 :2 Utilities 12.6-12.8 12 :2 Trash&Recycling Storage Areas 12.9 1.2 :3 Fire Escapes 12.10-12.13 12 :3 Design Guidelines for Historic Commercial Properties&Districts Contents Chapter 13 Design For New Construction Context&Character 13 : 1 Design Objective 13 : 1 Site Design &Orientation 13.1 -13.4 13 :2 Mass,Scale, &Form 13.5-13 9 13 :4 Architectural Character 13.10-13.12 13 :6 Facade Elements 13.13-13.19 13 : 7 Building Materials 13.20-13.22 13 • 10 Lighting 13.23- 13.24 13• 11 Parking 13.25 -13.30 13 • 12 Building &Street Facade Evaluation 13 • 14 PART III-HISTORIC DISTRICTS Chapter 14 The Avenues 1 Chapter 15 Exchange Place 3 Chapter 16 Capitol Hill 5 Chapter 17 Central City 7 Chapter 18 South Temple 9 Chapter 19 University 11 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 21A.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 •6 Part 3-Preservation Briefs.Preservation Technical Services, National Park Service B •7 Salt Lake City Contents Appendix C Glossary of Terms Procedural Definitions C • 1 Technical Definitions C • 1 Architectural Terms C •4 Design Guidelines for Historic Commercial Properties&Districts Page left intentionally blank PART I Preservation in Salt Lake City Section 1. Overview 1 :1-12 Section 2. Building Types 2 : 1-15 Section 3. Architectural Styles 3: 1-12 Page left intentionally blank PART I Preservation in Salt Lake City —E-g-lIllIllr— i ' Tit r. ,1 Ins,'), �- 114'11c. Ia q, ......,L. rk, fticK\Ikliolitt,_ :..!', 111,11' ' i , ---, , k::41\ . , ..,. , 14, , , •� li . I , — i 1 _. __. 111; , lit :4;c, III , , - ---- 1 , - '_ _ __,.., �,-L/1 Cover Page Image: The New York Hotel,located at 72 West 400 South,was constructed in 1906 for Orange J. Salisbury,a prominent mining and businessman of Salt Lake City. The building was designed by well-known architect Richard K.A.Kletting,who was also the architect of Utah's State Capitol Building. 1. Overview This document provides design guidelines WHO SHOULD USE THESE for commercial properties with local historic DESIGN GUIDELINES? 2 designation. The design guidelines are based on FINANCIAL INCENTIVES 3 the premise that change is part of history and that HISTORIC OVERVIEW 4 appropriate alterations must be considered as part of a natural evolution of historic properties and districts. Within this context, the design guidelines ,� �'itri and design reviewprocess attempt to guide and tt er� N ._ 1 tt g p 01.11 / ttit �tttttn� iti ' q' 'lmt 1'1141 direct that change so as to minimize its adverse i t t t I q l I ti tt t� ' ' � 1� a tt tti ' , t t effects on the elements that make a property or area 1111 1'II g 1 1�1 i, tjl ,,1i1 a I1;;t historically significant. j I jilt 1111.1411111.�ti 111 1111 1.� The design guidelines provide a basis for making Elf informed and consistent decisions about the : 011_ I_I ar jai:. rehabilitation and treatment of historic resources. They serve as a planning tool for both property Boston(left)and Newhouse(right)twin structures,classically owners of historic buildings and professionals detailed and part of the Exchange Place Historic District. working within the historic districts. The purpose of the design guidelines is to provide recommendations and practical assistance that promote preservation of historic resources thereby ensuring that the integrity of the architecture and authenticity of the City is retained. The design guidelines assist property owners in maintaining and enhancing the appearance of their properties, keep up property values, and improve the livability of the city. Design Guidelines for Historic Commercial Properties&Districts PART I 1 : 1 PART I Preservation in Salt Lake City The design standards set forth in Section 21A.34.020 Who should use these design guidelines? of the City Zoning Ordinance provide the Sometimes a building's original use changes over regulatory foundation for the review of proposals time.For example, a large home might be converted affecting the historic sites and districts in the city, for commercial use. It is possible that such adaptive The design standards can be found as Appendix A re-use of a building will remove it from the original of this document.These advisory design guidelines context of its surrounding neighborhood or district. have been adopted by the City to help evaluate and The following list identifies property types and/or interpret the design standards. The basic approach contexts to help property owners determine if they is to identify, retain and rehabilitate those buildings should refer to these design guidelines. and features that define the City's unique historic • character.This emphasis is reflected through the use Owners of a commercial property built as a of terms such as retain,maintain,repair and replace commercial property,whether in a commercial district or residential area. in kind. Included in this document is information on • Owners converting a former commercial current preservation practices, recommendations building back to commercial use. for maintaining the site and setting of historic • Owners converting a commercial building to properties, and guidance for new construction. residential use. Photographs of buildings and architectural details Some properties originally constructed as residential in Salt Lake City are included to familiarize property buildings have been converted for commercial owners with typical features and characteristics. purposes. If the historic use of the building was These design guidelines will be supplemented by as a residence, the building will be reviewed separate introductory and historic district sections under the current residential design guidelines. that will be used for the residential and sign design This includes residential buildings that have been guidelines. altered to accommodate offices or other commercial uses. However, if a building historically used as a residence underwent a major exterior conversion, such as the addition of a storefront to the main façade, and its appearance is more in line with that of a commercial property,then the storefront will be reviewed under the commercial design guidelines. 1 :2 PART I Salt Lake City 1 Overview • Financial Incentives Preserving or rehabilitating historic buildings can 'd sometimes add expense to a project, but costs can 7?io-Bwne- be defrayed through two and possibly more tax incentive programs. • ,11 .11 Tax Incentives for Rehabilitation _ - I A federal tax credit is available for properties t�{J �I _ I � ug .P 1�-- listed on the National Register if they are used for '41101 the production of income. This tax credit is 20% of the total amount expended on the rehabilitation The State Historic Preservation Office is located in the Denver of a property. This applies to rehabilitation for Rio Grande Railroad Station at 300 South Rio Grande Street. apartments, retail, offices, and other income producing uses. Property owners who wish to take the tax credit must follow established guidelines for rehabilitation. These guidelines, known as the "Secretary of the Interior's Standards for Rehabilitation," are designed to provide guidance in the rehabilitation of historic buildings in order to preserve their historic architectural character. This program is administered by the State Historic Preservation Office. The State of Utah provides a tax credit for the rehabilitation of historic buildings occupied by owners or used as residential rentals. Qualified applicants can deduct 20% of all qualifying rehabilitation costs from their Utah income or corporate franchise taxes. To qualify, a building must be listed on the National Register or be a contributing building in a National Register-listed district, and be used for residential purposes after rehabilitation. For more information on both tax incentives,contact the Utah State Historic Preservation Office at 801- 533-3562 or visit the website at www.history.utah.gov/ historic_buildings. Design Guidelines for Historic Commercial Properties&Districts PART I 1 :3 PART I Preservation in Salt Lake City Redevelopment Agency of Salt Lake City The Redevelopment Agency of Salt Lake City (RDA) will partially reimburse property owners or developers for costs associated with historic • -- ( MT r r r -Cc_--,_ I preservation. Buildings located in a RDA Project t=rr r r!__- ~' ' ' Area and listed on the National Register of . g, Historic Places or the Salt Lake City Register of ■ t : t if 7 -r if • Cultural Resources are eligible for tax increment III reimbursement up to 50% of the renovation costs. r-' e - ' +' ; Plans for the exterior renovation of the building -: - -_ ,,At �.,,,,,,,, _,/AA..-f , must be approved by the State Historic Preservation _i ,.4. Irma-lk. . .'ni Office. Properties with local historic designation • '-_/i_ - ';trio31 '1 t., must also receive a Certificate of Appropriateness. } ! ' "b `1T�+ _ _ �� c The reimbursement is generated from the increase I N •',�, �- F. 611in property tax assessed as a result of building improvements. For more information, contact the IIIRDA at www.slcrda.com or 801 535 7240. Identify,retain and preserve buildings of character,122 West Pierpont Avenue. 1 :4 PART I Salt Lake City 1 Overview Historic Overview . aria I' Salt Lake City was laid out in 1847 in an orderly plan _ __— that anticipated growth.Large blocks were bounded - - t� � � by wide streets oriented in cardinal directions. 14-1,111A ,,, r s However,theplan made noprovision for a business Q -� i• m. ITT 14 district. Main Street and other major thoroughfares were lined by residential "inheritances," assigned ■ to residents by the Church of Jesus Christ of Latter- leI • ' • day Saints. Early manufacturing in the agrarian � — village included scattered sites for milling,furniture ZCMI first opened for business in 1869 in what was the Eagle making, spinning and weaving, but no central Emporium Building at 102 S.Main Street. The building later housed the Utah State National Bank shown in ca. 1885. concentration of commercial activity. Of necessity, a commercial district began to take shape. In 1850 James Livingston and Charles A wave of growth and change swept through Kinkead erected Salt Lake City's first store on Main Salt Lake City's commercial community with the Street, and other mercantile establishments soon completion of the transcontinental railroad in followed, centered on the west side of Main Street 1869, linking Utah to the rest of the country. With between South Temple and 100 South Streets.These the celebrated driving of the "golden spike" at 1850s buildings were either adobe or frame, with Promontory Summit just 80 miles to the north, Salt adobe most prevalent. For roughly a decade, Salt Lake City gained access to national markets. Lake City's commercial area was contained within a A more complex economy developed locally, one couple of blocks. based on cash rather than trade, and based on Fort Douglas opened in 1862, making Main Street capitalism instead of subsistence. Most notably, the and South Temple Street busy thoroughfares as presence of the railroad opened the mining industry merchants traveled between the fort and downtown in Utah, and fortunes were made. Salt Lake City and increasing commercial activity along Main became more urban within a decade. Street. Commercial buildings became more refined The railroad also enabled Salt Lake businessmen during the 1860s—generally one or two stories high to keep pace with the architectural mainstream. and one to three bays wide with gabled roofs and By the mid-1860s a variety of styles—Neoclassical, extended false "frontier town" fronts that made Romanesque and Gothic Revival—were finding their roofs appear flat. Establishments included expression in the new masonry commercial clothing stores, dressmakers and tailors, groceries, buildings going up at a fast clip along Main Street. dry goods stores, bakers, hotels, restaurants, saloons, a telegraph office, bank, a blacksmith and livery stables. Design Guidelines for Historic Commercial Properties&Districts PART I 1 :5 PART I Preservation in Salt Lake City Meanwhile, in the railroad terminal area west of the central business district, Salt Lake businessman constructed warehouses and light manufacturing a'., � , plants. This development was concentrated 4r Gtoh� ��1•1 i from about 300 West to 600 West. Today, the best `i.4t1 �� 11. nilconcentration of these warehouses from the late 19th remains as the Westside Warehouse hll � century .1—� � 1 � �:,..1j1. 1_,Ismomarjo___tv-I1 �- �� National Re ister Historic District located between ` f t I _ ,_iu , ,4 ! 200 South and Pierpont Avenue and 300 and 400 I t West. ___- _ The Union Pacific Railroad built a depot on South ZCMI,Main Street between 100 South and South Temple Temple at 400 West, while the Denver and Rio Street(1868). Grande Railroad located its depot on 300 South at 450 West.A network of rails began to work its way In 1864, Utah's first millionaire, William Jennings, into the City. By 1900, the tracks of fifteen railroads built his Eagle Emporium on the southwest corner extended into the central sections of Salt Lake City. of Main Street and 100 South Street. Strongly Romanesque with Neoclassical elements, the two story building sported distinctive spires along its ' roofline. The Eagle Emporium is considered the - oldest existing commercial building in downtown Salt Lake City. �',,. GROCER Es-r-� rj11 In 1868, at the request of Brigham Young for a jelai".11 fiiiiiiipirmi I�, church-sponsored cooperative system, the building :.� .- i p p Y — { iII1 ..r..�•�r 1T:lHN iJ 1Cc1'!'1n JIrJ�o•lao. II became Zion's Cooperative Mercantile Institution's _ x; (ZCMI's) first and main store.In 1876, the companyi. i constructed a larger buildingto the north on Main ---- • _ rft'c` Niraii Street that housed a magnificent retail store. In N ar rapid succession, other businesses began to fill - -- .- - . in both sides of the street. The west side of Main Kahn Brothers Wholesale Grocenj shown in 1905. Street, its numerous brick buildings distinguished by pronounced Romanesque arches, became the commercial center of the territory. During the 1880s, streets were surfaced, masonry replaced wood and adobe construction, and new commercial buildings generally reached three stories. Salt Lake City had lost the look of an agricultural village. 1 : 6 PART I Salt Lake City 1 Overview By the turn of the century, Salt Lake City's ►''.1 \ '' growing commercial district was complemented 11 i �l ��Cp . by impressive civic and religious buildings. The I N� • ; six-spired Salt Lake Temple was completed in S•l _ 1892. Two years later, the elaborately sculptured 414 _____. Romanesque Revival style City and County 1- _ �- ® �I Building, which also served as the state capitol, _" �- ' _ was completed. In 1906, the City saw the opening �`li � '� of a Classical Revival style Federal Building and _ _ _ -- - _ . Post Office.The new Union Pacific Station on South ��, .mot + ."'"" ""' •f,,4 Temple Street featured a slate-shingle mansard roof ___- typical of Second Empire styles and stained-glass -� . I. a�" I 'I windows inside. The Romanesque style Denver i-- - i -. t and Rio Grande railroad station, completed in 1909, quickly became a city landmark.In 1911 the opulent z_ ---___ Hotel Utah, a fabulous example of Neoclassical _ . — style, opened with ten stories and 500 rooms at the This photograph of Main Street in 1909 shows the intermingling of earlier two-stony commercial buildings northeast corner of South Temple and Main Streets. with newer,multi stony buildings as Salt Lake City's A beautiful representation of Renaissance Revival economy benefited from the construction of rail lines. style,the Utah State Capitol was completed in 1915. Commercial building during the early years of the 20th century was no less impressive. As the rising cost of downtown land made buildings taller than r— six stories desirable and as passenger elevators z ' made them practical, Salt Lake City businessmen ; i r;Y ' -- • ..a iaia..«� �: : t. 1.. hired architects to design buildings of ten stories • .. � v F jjI II ; and more. The remarkable period of Romanesque N. .� •,•,,4 :':--e--'' ,�, , ti ;...�!s ;ti building in Salt Lake City was over, and early s •_. Nisi ti - Ail skyscrapers had arrived. s•-0 -# 'r ' \�` '�- t,"t141 1,;, !iii The classically detailed Boston and Newhouse : '' i + , 1 + , IIII . 1 jlll i buildings on adjacent corners of Exchange Place 4 ` i ' 4% . 'I '....!1 b, 1 n *in t I 111 were completed in 1910. Hailed as the City's first . ' !Vi 1 t • III 1v skyscrapers, these eleven-story buildings employed 1- a protected steel frame and masonry facing. The �1 ' • - I i,-1131 Boston and the Newhouse were the work of Skyscrapers,like the 11-stony Boston Building(1909), Samuel Newhouse, who used his vast interests in at Exchange Place and Main Street,became more local mining fields to develop a new non-Mormon common with the development of a lucrative mining economy. financial center in downtown Salt Lake City. Design Guidelines for Historic Commercial Properties&Districts PART I 1 :7 PART I Preservation in Salt Lake City Mormon-Gentile rivalry had always played a role _: in Salt Lake City commerce, but in the early 1900s this rivalry played out in the polarization of two ill i II commercial centers. The Mormon district tended ,�` to be concentrated to the north of 200 South. In 19 IF contrast,the Gentile commercial center rested to the ' r r rf ® r south in Newhouse's newly developed Exchange j It R F r IT IIPlace. On Exchange Place, Newhouse not only built 1t . the Boston,the Newhouse and the Newhouse Hotel, _ but he also donated land for the Commercial Club, Ail financed the Chamber of Commerce headquarters and provided land for the Stock and Mining Commercial Club Building at 32 Exchange Place(1908). Exchange building. During this period of rapid growth, even the City's early skyscrapers quickly changed architectural styles. The Kearns Building was completed in r i 4 ii 1-, • 1911 on Main Street. It rises ten stories above the 7 tir , 33 11 '.i ii street and is highly decorative in the Sullivanesque iQ �a i1 II II manner. Only a year later, the tallest building ii ■ �� I II between the Missouri River and the west coast t ,.I 1' II II IN ii 11 II II opened on Salt Lake City's Main Street.The sixteen- ' I 1 1 11 11 II IN II II story Walker Building had a simpler façade, a • 1 I f I II II IIiiIIAI ` harbinger of starker modern design to come. 4 J I II 11 V 11 Ig II 1 - In addition to downtown development, - tMil- neighborhood commercial buildings were i [ constructed in the early 20th century. Commercial I iIitiii'T, , ,'' buildings were mainly groceries and markets on I ! �� , , i'.. '` ., .' the corners of prominent intersections. In some • I ,1l ;.� ' -I- .,- '• cases, another building was added on to an existing tacLI .,. , .— r, Ai building creating a distinctive building type known Kearns Building at 130-142 S.Main Street(1911). as the house store. 1 :8 PART I Salt Lake City 1 Overview r GROG It'll �i�i�- • �/' 1' i it — _4.+u ••.dw� - H. ,/ :zi i F.J.Lucas Grocery at 267-269 West 200 South -__°t (demo.),shown in 1909. II ` _ _ Commercial expansion fueled by the region's 1# i ' 1 rich mineral resources continued into the 1920s. • 0 IT ' 'iii1 1Meanwhile, the City's population nearly tripled = ; !' between 1900 and 1930, reaching 140 000. With ', °i iIi -I- `t "- . the rest of the nation, Salt Lake City's economy �' u (,..1� , .,tom- -_ plummeted following the stock market crash in . ''' i )i�� ail 1929. The value of products from Utah's mines The First Security Bank Building(1955)at 405 S.Main Street dropped 80% from $115 million to $23 million. By was the Cihy's first modern skyscraper. the winter of 1932-33, Utah's unemployment rate was nearly 36 percent.Understandably,construction In addition to the downtown shopping mall, during of commercial buildings had come to a standstill. the 1950s and 1960s, the skyline of downtown Salt Lake City gradually transformed through Fortunately, the New Deal brought public works the construction of modern skyscrapers. The first jobs to 30,000 Utahans.A few years later,World War of these was the First Security Bank Building II revitalized Utah's economy with war industries completed in 1955. This twelve-story building was and military installations. Industrial expansion was designed in the International style with a curtain a factor in the City's population, which reached wall of glass, steel, aluminum and porcelain 189,454 by 1960. The population of Salt Lake City enameled steel panels. Construction of the building dropped during the 1960's, mostly because of a set a precedent for other skyscrapers in the City trend toward suburban living. Several commercial and over the next two decades numerous high-rise and service centers were built in the suburbs, buildings were constructed downtown. drawing businesses and residents away from the downtown area.To help counteract this movement, Salt Lake City's downtown construction boom The Church of Jesus Christ of Latter-day Saints continued into the 1970s, and in 1972 the twenty invested$40 million in the 1970s in development of eight story LDS Church Office Building was a downtown shopping mall, the ZCMI Center Mall completed. This building was distinguished by its on the east side of Main Street between 100 South vertical emphasis and exterior of quartzite columns and South Temple Street. and narrow windows.Additional skyscrapers were built over the next several decades. Design Guidelines for Historic Commercial Properties&Districts PART I 1 :9 PART I Preservation in Salt Lake City With the construction of modern skyscrapers, older blocks were razed to make way for new buildings. I (. Many citizens were disturbed by the demolition of irreplaceable landmarks, and a preservation ethic emerged. Salt Lake City took a second look at the • \\ill' City's historic buildings, and classic older buildings began to see renovation. In recent years many commercial buildings along Main Street, Exchange Place and other sections of downtown have been rehabilitated using federal and state tax credits and other financial incentives. In neighborhoods such as Capitol Hill and the Avenues few new commercial buildings were constructed after 1950. However, in Central City API •f and along South Temple Street,a number of modern ' IISI commercial buildings were built in the 1950s and `' 1960s. Influenced by the International Style, these The LDS Church Office Building(1972)is one of the City's buildings were designed with various exterior tallest buildings. materials such as marble and stone panels and with A T- steel and aluminum doors and windows. Most ,• 4,4.11r.. '` ` . • were built with flat roofs and minimal architectural "•! ', °`' i •. detailing. . .s.....,,.. • 74114,..i.imigiLi 4 lotopesif,,,.._ _ The building at 641-645 E.South Temple Street(1957) displays black marble panels and a sleek exterior. 1 :10 PART I Salt Lake City 2. Building Types Commercial buildings in Salt Lake City can ONE-PART COMMERCIAL BLOCK 2:2 generally be defined by building types and often TWO-PART COMMERCIAL BLOCK 2 :2 by a specific architectural style or style influence. ENFRAMED WINDOW WALL 2 :3 Building types can be categorized by form,massing, door and window openings, and other features TWO-PART VERTICAL BLOCK 2:3 that shape the overall arrangement of the facade. THREE-PART VERTICAL BLOCK 2 :4 The primary facade generally faces the street and ARCADED BLOCK 2:4 serves as the main entrance into the building. VAULT 2:5 Building types may then be embellished to reflect TEMPLE FRONT 2:5 architectural detailing and styles common from CENTRAL BLOCK WITH WINGS 2:6 their construction period. ENFRAMED BLOCK 2:6 The most comprehensive study of commercial NEIGHBORHOOD SHOPPING buildings is The Buildings of Main Street: A Guide COMMERCIAL CENTER 2:7 to American Commercial Architecture by Richard NEIGHBORHOOD CORNER COMMERCIAL 2:7 Longstreth published in 1987.Longstreth's research resulted in the identification of eleven major building HOUSE STORE 2:8 types that dominate the country's commercial OFFICE BUILDINGS&MEDICAL COMPLEXES 2 :8 architecture in the 19th and 20th centuries. Most of these building types are found in Salt Lake City and also reflect a variety of architectural styles. Additional information about commercial building types is available through Utah State History at www.history.utah.gov/architecture. • Design Guidelines for Historic Commercial Properties&Districts PART I 2 :1 PART I Preservation in Salt Lake City One-Part Commercial Block Two-Part Commercial Block A popular commercial design from the mid 19th to The majority of commercial buildings in Salt Lake the 20th century, the one-part commercial block is a City can be characterized in form as two-part simple, one-story box. Street frontages are narrow. commercial blocks. These are buildings which The front facade is typically composed of a main have two primary components — storefronts and entrance, display windows with a transom resting upper facades. Original storefronts are largely on a bulkhead (the lower panels on which the transparent and consist of display windows resting windows rest) and a cornice or parapet. This type on bulkheads, transoms, and entrances with glass commonly persists in neighborhood commercial and wood doors. Upper facades have one or more areas. floors of windows and decorative detailing such as brick, concrete or terra-cotta panels and cornices at . v rooflines. These buildings are generally two to four • 7 stories in height. tip +� ii V, X. ? 1, f 111111 v sn m' 11 7! gi gi .. l i- ii 'i 1 ii ..r' • r _ . t. -- I Ill 1■ .. l . , ,. _ ~"'' The building 342 West 200 South are representative of Salt \ ,• . _ " .., 1 - Lake City's two-part commercial blocks. This one stony building at 271 N.Center Street(c.1900)is an example of a one-part commercial block. 2 :2 PART I Salt Lake City 2 Building Types Enframed Window Wall Two-Part Vertical Block The enframed window wall was primarily used The two-part vertical block is a building type of four on small to moderate sized commercial buildings. or more stories constructed as a way to simplify This building type had an emphasis on order and and unify facades as buildings grew taller in the unity by enframing or surrounding the storefront late 19th century. The buildings generally have two or storefront and upper facade within a wide and zones:the base of the building and the upper facade. continuous design. This is often reflected through The base is usually the storefront or storefront and the use of a consistent exterior material such as similar designed second story with a continuous brick, stone, terra-cotta or glass panels. On upper designed facade above. First floors typically served facades this border was generally around large as commercial space while upper floors were used windows or bands of windows. for a variety of purposes, including residential or office use, or additional retail space. The upper facade often repeats the design on each floor and )'� then terminates at the roofline with a cornice or --, r parapet. Numerous examples of this building type I, `-'-i -I _ _ can be found in downtown Salt Lake City. 1 a a j — 4�rpeu� ,' % 1 { . I f1. i 1 1% . x-. II An enframed window wall plan is the Felt-Buchorn Building _ :_� �1; at 445 E. South Temple Street(1959).It displays a continuous Li; '! _ W - surround of porcelain steel panels which frame the display 11 windows and entrance. fl U Por'7,M111III ill _ .--Iir, 'MIR 1 IV A 1L-1 n' 1 II1`y4: I } _"� The Felt Building at 335-339 S.Main Street(1909)has a separate storefront zone and unified upper facade.The building is distinguished by its glazed terra-cotta and arched panels below the cornice. Design Guidelines for Historic Commercial Properties&Districts PART I 2 :3 PART I Preservation in Salt Lake City Three-Part Vertical Block Arcaded Block The three-part vertical block building is similar to Arcaded block buildings are characterized by a the two-part vertical block except that it has three series of evenly spaced, rounded arch openings on separate and distinct zones. This building type is the primary facade. These arches can be one-story generally associated with tall buildings constructed in height or extend over several stories.They reflect in the early 20th century. It is related to the designs the large loggias or arcading built in Italy during of architect Louis Sullivan who felt that buildings the Renaissance and are often essential features should have separate zones including a base, shaft of the Renaissance Revival style of the early 20th and capital. Many of the older high rise buildings century.Arcaded blocks were often used for banks, in downtown Salt Lake City are three-part vertical large retail stores,post offices and theaters. block designs. Ilf 1 h ' 'at 0, * * _ - IV----.,',T-5S• 1 0 , •' .i, ": 1 -______ - . _ , ' 1,,X.:4;" 11 1 �i : 11 • I s ii Y r • a - '. I1. -' _ ` ' , 4, il , j ':.. ._.� -:,i1' i L�` ��-r'I. -a ter' 14 it ft .. .3 it I • N 1 - • The Orpheum(Capitol Theatre(1913))reflects the arcaded t �A. 1 block building type and Renaissance Revival architectural 1 Ail l Jr'" r.. i style.The building displays terra-cotta on the main facade and - has been restored into a multi-use theater building. '. . tla .1 in I 7_, 1 kl -ii . The Commercial Club Building(1908)at 32 Exchange Place features inlaid panels of colorful mosaic tiles. 2 :4 PART I Salt Lake City 1 2 Building Types Vault Temple Front Vault building types are generally two to three Temple Front buildings are derived from the designs stories in height and have central openings flanked of classical Greece or Rome and feature classical by smaller end bays. These types of buildings columns, pilasters and pedimented entrances. are similar to enframed wall designs but are They are generally of one continuous design or distinguished by the size and scale of the central composition across the width of the facade.They are opening. These buildings often display classical usually two to three stories in height. The solidity elements such as columns or pilasters. This and formal appearance of these buildings was design was popular for banks, movie theaters and popular with banks and other financial institutions. particularly retail stores. .',47:_.: iji.‘ii .:.‘'''.' ... h fs '41Nik:51N - .„,,,,,, -1.A• ' C ;. -'‘ ''44,‘ , ,.... Y \ I ": /Or r 0 ! ..,.'Ns i . ho VP i ®► , 1, h—, iiiiiiKOR „, \_, ,i , - y 4 . , 10 i -'6 l' 14 . _ ,,, . it , , . . .:,:., , ,•,...„ •.,. , ' : , 7,,,,,,N.',.....,..I. 11:1 '':'''..„." ':_.._-__:11- ',.11 , ,... , -....„ • , N ....— — -"."-.4. 111.. r----• The building at 102 S.Main Street was originally the Eagle The Tracy Loan Trust Company(1916)was constructed at Emporium and was built in the mid-19th centuny.In 1916, 151 S.Main Street. This vault design features a large central the building was remodeled for its occupant, the Zion's First bay with a pedimented entrance flanked by Ionic columns.In National Bank. The facade features central Corinthian columns addition to the entrance,the central bay is composed of a large flanking a pedimented entrance. window wall. Design Guidelines for Historic Commercial Properties&Districts PART I 2 :5 PART I Preservation in Salt Lake City Central Block With Wings Enframed Block The central block with wings is characterized by a The enframed block is generally two to three stories projecting central bay with flanking wings. These in height with most of the facade divided into bays buildings are generally two to four stories in height by classical columns or pilasters. There is usually and often the projecting bay has a pediment and a continuous central bay section flanked by narrow classical features such as columns and pilasters. bays at each end.The bays often display windows or Its origins are based on Greek and Roman temples other openings. This design was popular for public and this design was popular for residences, public buildings,banks and other financial institutions. buildings and financial institutions in the early 20th century. tt Ni ! il ! I i li . ', , . i 11111)Ii ''• \ 1 1'. - ii 0.1. 11. , .a.11.1.11. _ le I ' ' i� - The Federal Building and former Post Office at 350 S.Main , - a Street(1906)is an example of an enframed block designed in • 1 --- the Neoclassical style. The building is distinguished by its long The Salt Lake Stock and Mining Exchange at 39 Exchange row of engaged Doric columns on each facade. Place(1908)retains much of its original design. The building's form is central block with wings while its architectural style is Neoclassical. The projecting central bay displays Ionic columns and a large pediment with modillion blocks. 1 2 :6 PART I Salt Lake City 2 Building Types Neighborhood Shopping Commercial Neighborhood Corner Commercial, 1890- Centers, 1890-1960 1960 As residential areas developed outside the Often neighborhood commercial buildings were downtown area, small individual businesses often located on corners at primary cross streets within clustered together on major streets to serve the neighborhoods. These locations gave a business residents of the neighborhood. The businesses good visibility to potential customers and offered were often small markets or groceries, drug stores easy access. Corner commercial buildings were and sometimes restaurants, dry cleaners or other often two stories in height and featured a recessed service types. The buildings were typically one or corner entrance. In many cases the first floor two stories, housed a single business, and were business owners resided in rooms on the second owner occupied. The buildings were sometimes floor. Neighborhood commercial buildings were built in a row or had houses built in between. Built also constructed in the middle of blocks but corner and owned by small business owners, the buildings locations were preferred. generally were simple vernacular designs and did Characteristics not display the high style architecture of downtown • location on corner lot or mid-block commercial buildings. • recessed corner entrance Characteristics • One to two stories in height • simple design • Simple architectural design ;' a—:- ; • Traditional storefront on first story . • Linear clusters along the street `. _ .` t�,,�,yam,'. ' '-"` 3 •. '11II! 4.0-4:*,..-1:- : - .. '' ":'::;---.;'• :. ..•• • A. 11 111011111 MIIIIIIN:4.; litr=.44" :";41411111.- - .: . --'-' 1101."rt..' ' - "rim iii . Corner entrances and corner lot locations gave neighborhood commercial buildings such as this one at 740 East 2nd Avenue ---... ., - (1891)easy access to customers. The O.P. Skaggs building at 422-426 North 300 West(1926) is a good example of the type of commercial buildings built along 300 West. Design Guidelines for Historic Commercial Properties&Districts PART I 2 :7 PART I Preservation in Salt Lake City House Stores, 1890-1940 Office Buildings and Medical Complexes, Salt Lake City is distinctive in having numerous 1950-1980 house store examples within the Avenues,University Salt Lake City's commercial districts also include and Capitol Hill Historic Districts.This commercial mid-to-late 20th century office and medical building form combines commercial and residential buildings. These buildings tend to emphasize the structures in one location,but with distinct separate horizontal plane with rows of full-height windows architectural units. The form is characterized by a and roof overhangs. They are generally one or two one or two story commercial structure attached story at most. Windows are fixed in metal frames. to a residential structure on a side facade. The These types of buildings often feature exteriors commercial unit typically is the dominant structure with new materials, such as tinted glass, aluminum and features a traditional commercial storefront. and stainless steel, porcelain panels, and concrete The residential unit is commonly set back from the panels. facade of the commercial unit and features a more domestic, yet compatible, architectural design. This type of building form allowed business owners to maintain businesses on their own property and closely combine their work and living space, yet maintain distinctly separate spaces for each. Characteristics • one to two story commercial structure laterally `.4 �y 1� _J I 1 _1 11 I t attached to a one story residential structure. t_= _ _, • traditional storefront on commercial section - 348 E. South Temple Street(1961) • domestic architectural design of residential unit • residential units set further back from the street than commercial unit il . This building at 82 North 'Q'Street(1898)features an original storefront in the commercial section. 2 :8 PART I Salt Lake City 3. Architectural Styles Architectural Overview ARCHITECTURAL OVERVIEW 3:1 Salt Lake City contains a wide range of commercial ROMAN ESQUE 3:2 architectural styles and designs.Historic commercial COLONIAL REVIVAL 3 :3 buildings in the City date from the late 19th century NEOCLASSICAL 3:3 through the mid-20th century and reflect the City's • SULLIVANESQUE 3:4 commercial growth. The commercial buildings in Salt Lake City follow the stylistic designs of MODERNISTIC 3 :4 the period. Those built from about 1880 to 1910 INTERNATIONAL 3 :5 generally display the influences of the Italianate LATE MODERN 3:5 and Romanesque styles. These styles placed an As Salt Lake City grew and its residential areas emphasis on round-arched windows, decorative expanded, many neighborhoods supported local cornices at the roofline and extensive decorative commercial businesses that were housed in one detailing on upper facades.Romanesque-influenced or two story buildings on primary streets within buildings also often featured a variety of materials residential areas. Often these neighborhood on upper facades including stone arches and terra- commercial buildings were located on prominent cotta decorative panels. corners for high profile and easy access. These By the early 20th century, commercial buildings neighborhood commercial buildings tended to be exhibited the influence of the Colonial Revival simpler interpretations of the high-style buildings and Neoclassical styles. Buildings with Colonial found downtown. Revival characteristics were generally built with Advances in construction technology also led to the rectangular rather than arched windows and with development of the first multi-storied buildings or classical detailing such as Doric and Ionic pilasters, "skyscrapers" during the early 20th century. Many and cornices with dentils and modillion blocks. of these reflect the Chicago School style,also known Neoclassical designs featured a dominant entrance as Sullivanesque after architect Louis Sullivan and large classical columns typically with Ionic or who popularized the modern design. These tall Corinthian capitals. buildings emphasized their verticality through rows of windows within a steel frame grid pattern topped with a bold cornice. Design Guidelines for Historic Commercial Properties&Districts PART I 3 : 1 PART I Preservation in Salt Lake City In the 1920s and 1930s commercial buildings Romanesque, 1880-1900 generally became more restrained in their use of This late 19th century architectural style was very detailing and many buildings were designed with popular for commercial buildings and many of simple inset concrete or brick panels on the upper downtown Salt Lake City's buildings from the facade. An increased emphasis on commercial turn of the century reflect this style. The style marketing in the 1930s and 1940s led to the was adopted for many public buildings as well remodeling of storefronts with new materials such as residential and commercial forms. The style as colored glass known as Carrara glass, copper employs a variety of masonry, rounded arches, and glass display windows, and recessed entrances and emphasizes sculpted shapes. Romanesque with terrazzo floors. Since World War II, some of buildings with massive stone arches and facades are Salt Lake City's commercial buildings have been known as Richardsonian Romanesque, named for remodeled with new storefronts and some upper architect Henry H. Richardson who was influential facades have been concealed beneath false fronts. in the late 19th century. In some cases, changes to buildings that were made over fifty years ago can be architecturally or Characteristics historically important, and in such cases are to be • masonry walls,often of two or more colors, retained when the building is rehabilitated. Typical types or textures to create decorative wall changes include the addition of Carrara glass in patterns storefronts and terrazzo floor entrances,which gave • rough-faced, squared stonework the buildings a more modern appearance. In other • asymmetrical facade cases it may be more appropriate to remove later additions when rehabilitating a building. • wide,round-topped arches featured over windows or entryways • • deeply recessed windows,usually with one- over-one sashes • floral or other decorative details on wall surfaces and column capitals • rectangular sash windows • simple,unadorned cornice 111 • wA w:- oppl Ewl11� I• II - £. - . r r on Rounded arches and textured masonry are common features of the Richardsonian Romanesque style. 3 :2 PART I Salt Lake City 3 Architectural Styles Colonial Revival, 1900-1955 Neoclassical, 1895-1950 The Colonial Revival style recalls the symmetrical Renewed interest in earlier Classical Revival and unadorned architecture of the nation's colonial and Greek Revival architectural styles led to period. A widely dominant style in American the development of the Neoclassical style of the residential architecture throughout the first half early 20th century. This interest was spurred by of the 20th century, Colonial Revival designs the architecture of the 1893 World's Colombian were also prominent in commercial architecture. Exposition held in Chicago. The exposition The style emphasizes symmetry and balance and promoted a classical theme and many of the employs classical detailing such as dentil molding. country's leading architects designed large Pilasters are often utilized to divide storefronts into columned buildings which were placed around a a balanced facade. Decorative embellishments, if central court. The exposition was a huge success, present, are minimal. heavily attended and widely photographed and Characteristics reported on across the country, thus making the Neoclassical style a fashionable trend. The large • symmetrical facade scale of the exposition's central building inspired • rectangular sash windows numerous public and commercial buildings of • simple,unadorned cornice similar designs across the country during the following decades. i Characteristics • large columns,typically with Ionic or r - Corinthian capitals 3 �s- + • ,,-- • elaborate entrance,often with a pediment y h!'; -- • rectangular, double-hung sash windows - "� • dentil molding or modillions at the cornice !. 4 r_ 1.,' *----*"----%;: ,. i • ' Y 1,• 1 � I tr . _. ' '..-4.7.5.. r i rIi lr , •11), r The Salt Lake Stock and Mining Exchange at 39 Exchange Place demonstrates the Neoclassical style with prominent classical columns and accentuated entrances. Design Guidelines for Historic Commercial Properties&Districts PART I 3 :3 PART I Preservation in Salt Lake City Sullivanesque, 1885-1920 Modernistic, 1930-1960 Tall commercial buildings, those over six stories Modernistic styles such as Art Moderne and Art in height, became possible in the late 1880s after Deco developed in the early- to mid-20th century advances in construction technology such as the and modeled the streamlined industrial designs of use of iron and steel skeleton frames,wind bracing, airplanes and automobiles. They feature smooth elevators, and improved foundation technology surfaces, curved corners, and horizontal emphasis became available.This new technology was initiated to present a streamlined quality. The Art Deco style by Chicago architects in the late 19th century, and placed more emphasis on angularity and stylized the tall commercial buildings that they produced floral and geometric designs. Neither the Art became known as the Chicago School style. The Moderne or Art Deco styles were utilized widely in Chicago architect best associated with the style was Salt Lake City for commercial buildings. Louis Sullivan. His distinct designs divided the tall Characteristics buildings into three divisions similar to a classical column: a base consisting of the lower two stories; • smooth wall surfaces a main shaft that emphasized the verticality of • curved walls the building via piers between windows; and an • limited ornamentation elaborate projecting cornice, often of terra-cotta. • glass block windows Ornamental details often included foliate designs at • the entrance and window divisions. horizontal emphasis Characteristics • storefronts of aluminum,stainless steel and Cararra glass • multiple stories • windows fill a large portion of wall space r - fk ,;_ , • elaborate decorative cornice t ► AT iii ' • decorative embellishments at entrance • piers between windows . ♦ Y tk 1 ;:?kt 1--- i - 4' " '. . .'' if, 1 ::•:.::.:•:: ::.:;:..i1:; ;'.:-..-1 ii•::::'::li . ►.,:if.. .' ' :: I __ I aauoo tl�c 7 t It, k ^ i f �'t t\ _ t, i i I I[ The McKay Jewelry Company at 157 S.Main Street(ca. 1950) The Kearns Building at 136 S.Main Street is representative of features a restrained upper facade and original aluminum and glass storefront. the Sullivanesque shyle. 3 :4 PART I Salt Lake City 3 Architectural Styles International, 1950-1970 Late Modern, 1950-1970s The International Style was introduced for Salt Lake In reaction to the distinct characteristics of the City's commercial buildings in the 1950s. This style International Style, architecture took the form of originated in Europe before World War II and soon numerous architectural styles during the later part became the design of choice for high rise buildings of the 20th century. Contributing to these design in America. The style emphasized simplicity of expressions were the new building techniques that design, steel frames with curtain walls of glass, allowed new forms to be possible.Some of the other concrete and metal and rectilinear forms. Buildings styles that developed during this period include: could be designed with both interior and exterior New Formalism,Brutalism and Expressionism. columns to maximize usable floor space. The first 1 % N+r' International style high rise commercial building ° '?` ` constructed in the City was the First Security Bank I f.�: - i 4 completed in 1955. ., , ' . ii- 11 Characteristics ` 4 'u. ';'•-� If . ,: , • rectangular forms -5,'• '' ' • glass,concrete,stone veneer and metal curtain ; walls —� - -j • limited or no ornamentation • open floor plans - t1, -. 't k".[ I - 'ill _ 0 I , �. . kill ali •;'/ . :.�;� " ,.ti;; _ ., (' ' ,: -itg . .. . i, .7„. , ;,1 IIII 4.,„„,,,,.__ _,...,.. ...,. _ The First Security Bank Building at 405 S.Main ._ �* •,-«,,41r4., Street(1955)features an exterior curtain wall of glass,aluminum,and enameled porcelain panels. Design Guidelines for Historic Commercial Properties&Districts PART I 3:5 Page left intentionally blank PART II Design Guidelines Rehabilitation / New Construction PART II Table of Contents REHABILITATION CHAPTERS 1 Site Features 1 • 1-3 2 Storefronts 2 • 1-12 3 Building Materials &Finishes 3 • 1-13 4 Windows 4 •1-7 5 Architectural Details 5 • 1-6 6 Roofs 6. 1-5 7 Foundation 7• 1-2 8 Additions 8. 1-3 9 Accessibility 9 • 1-2 10 Seismic Upgrade 10 : 1-2 11 Streetscape Elements 11 : 1-2 12 Mechanical Equipment&Service Utilities 12 : 1-3 NEW CONSTRUCTION CHAPTER 13 New Construction 13• 1-12 Salt Lake City 1. Site Features Context & Character CONTEXT&CHARACTER 1 :1 Site features and plantings are important elements DESIGN OBJECTIVE 1 :2 that provide a context and setting for a historic GENERAL 1 :2 building. The relationships between buildings, walkways, landscape features and open space - J together contribute to the distinctive character of a - ' property and neighborhood. They also add variety • .4, '1 ' in scale, texture and materials to the street scene, 4)4 • enhancing the public experience. . II • f l In its early years, downtown Salt Lake City •- • 1 originally had streets and sidewalks of dirt which * were both dusty and muddy depending on the ' South Temple is a mature boulevard notable for its large weather. As the City grew, sidewalks of wood older shade trees. planks were added and these in turn were replaced by brick and concrete sidewalks in the late 19th and early 20th centuries. Most commercial buildings were constructed directly adjacent to the public sidewalk, resulting in little need for retaining walls or similar features. Commercial buildings in Salt Lake City's historic residential areas were designed to be as open, inviting, and as accessible as possible. As a result, there are few instances of historic fence materials or retaining walls in front of these buildings.However, many were built, or were later enhanced, with broad concrete sidewalks or concrete extending the width of the storefront. Potential customers could consequently avoid the dirt and mud and experience a more pleasant shopping experience. Many of the neighborhood commercial and corner commercial buildings in areas such as Capitol Hill and the Avenues retain their early- to mid-20th century concrete walkways. Design Guidelines for Historic Commercial Properties&Districts PART II 1 : 1 PART II Design Guidelines Store owners also added landscape features such �� as planter boxes, at the front of their buildings, `: �f . r, > i and in the park strips between the sidewalk and �„.' 1 '' ' ' street. While most historic plant materials have "�� - been replaced over time, the use of native plants _- _ as well as traditional planting patterns should be Retaining walls in front of commercial buildings such as this utilized when planning new landscape treatments example at 445 E.South Temple Street provide interest to the for historic commercial buildings. street frontage. The South Temple Historic District is particularly characterized by its long avenue of mature street trees. These trees add greatly to the character of •+- "` . the district and are an important historic element '> • p' ;40P of the streetscape. This district also contains a large number of commercial buildings from the 1940s V_ �I .„111 '' and 1950s that were designed with landscaped front - yards and concrete walkways.Several also have low masonry retaining walls adjacent to the sidewalk. Design Objective Historic site features, as an integral part of the original development pattern, should be retained as part of the street scene. New site features should be compatible with their context and reinforce the - historic character of the neighborhood. -a -'` : • , ,' IF 7.;151 General ; _ 1.1 Historically significant site features should be J reserved and maintained. - • This can include original site features such as y' A. fencing,retaining walls and driveways. .1 • Grading profiles and designs in front of .,.• ',' commercial buildings should be retained where c' . • they are a historic characteristic. •_ iv, Repair masonry retaining walls,walkways and Historic wrought or cast iron fences provide visual richness drive strips using compatible mortar mixes and and contribute to the unique character of the street scene. materials. 1 :2 PART II Salt Lake City 1 Site Features 1.2 Historically significant planting designs - and hardscape features,which are part of the traditional setting of a property,should be y,,,- ►v,' maintained. v ,_ '. * • The historic progression of spaces between ,---- the street and the building, including mature ' trees,sidewalks,walkways and planting strips, "1 �r 1 ,pj 4' should be maintained. 1 I I .� t i 1.3 New site features should be designed to t . recognize and strengthen the sense of visual continuity and cohesiveness on a block. (: M► 41)114 • Design a wall to reflect those found —— _ , 1 traditionally. t— - ,. . n . I� ." I• Design new landscaping to integrate with ,i'.1%I IF„. � •'' = `t� II• 1,''w- existing mature planting. l �„ l � ! I i ,i3OI ILIIIO . ,� IIhl i 111111110111LII i � • Select indigenous plants suitable to the climate. g 1.4 A new fence should be similar in character I t, with those seen historically. I1 +-- • A fence that defines a front yard or a side yard on a corner lot should have a'transparent I _ ----t . 'y quality'. 'L L�;kni.V • Consider using a lower height fence(less than -+S'' ...111, three feet) in the front yard,so as to maintain . .el) r„�, ,_... the relationship between the individualrico ,, ... building and the streetscape. - ' 1` • New fence designs and quality materials111 r « that are similar to those used historically are , P] j 11141 1 1appropriate. f I ItI '1.5 An outdoor dining area should be compatible s 18*�,- 7ir • •� , I �'IR'i•lrbr�'•'I'.,.,+lilllf let,., Ili .4 11"l�"' III'111.11.• with the character of the building and streetscape. ,lfMi��'��I °1 • The materials,finishes,colors and otherpoi lir '_" -- character-defining elements of furniture, fences, lighting and planters or plantings should — Outdoor activities enhance the pedestrian experience. complement the storefront. Design Guidelines for Historic Commercial Properties&Districts PART II 1 :3 Page left intentionally blank 2. Storefronts Context & Character CONTEXT&CHARACTER 2 :1 Storefronts are often the most prominent or DESIGN OBJECTIVE 2:2 important architectural feature of a historic GENERAL 2:3 commercial building.They attract attention,provide A1'NINGS 2:4 effective display space, invite pedestrian activity, WINDOWS&BULKHEADS 2 :6 allow natural light into the store and enhance the character of the street scene. A storefront's DOORS&ENTRANCES 2:8 distinguishing design, architectural details and STAIRCASES&STEPS 2:10 materials are character-defining features of the LIGHTING 2:11 building and often help to convey its architectural ADDITIONAL INFORMATION 2:11 style. Parapet Historically, a storefront comprises the first story of a commercial building's primary facade and is f _— _ Cornice visually separated from the upper floors of the building through design and architectural details. Common components of storefronts include 1 Cornice awnings, display windows, bulkheads, pilasters, Sign Band entrances, beltcourses and cornices. Large display jIrjr1 rTransom lusr windows allowed proprietors to showcase theiri� ��rm.— Pilaster merchandise and entice prospective customers Recessed Enfry Display Window into their stores. Many storefronts of the late 19th and early to mid-20th centuries featured recessed Bulkhead entrances, which simultaneously helped to extend ' I the display area and draw pedestrians inward. __... In the 19th and early 20th centuries, signs were __ `_ ..,. an integral component of storefronts. Today, signs .---. ...4,- s; continue to play an important role in promoting ti lilt 1 , ' a business and attracting attention, and usually °i ` contribute to the character of an area. Refer to the ,. M I J r i .R Design Guidelines for Signs for more information. 11 i! ii! e : d 1,• -d : L-- a _et_, _ i, _ Traditional storefronts tend to comprise similar design elements.(68 N. 'K'Street) Design Guidelines for Historic Commercial Properties&Districts PART II 2 : 1 PART II Design Guidelines . j".--- .71 With changes in merchandising trends, technology and tenants, original storefronts were particularly ' vulnerable to remodeling. Storefronts from the ��'� I- 1920s to the 1940s reflect an important movement in 11 merchandising and sales of the period and also are Mil I le+ highly decorative in their designs.Materials such as ;- I 1Ila11;17111-111' ' marble, tile,and colored glass, commonly known as �I id., 11'�IIf' I I�, illii "Carrara" glass, were all used to update storefronts . -4,1111PP‘. 1��I�Ir during these decades. Commercial buildings The bowed display windows at 140 E.South Temple constructed in the 1950s and 1960s may also possess Street are a unique feature of the building facade and storefronts with historically significant materials district. and detailing. See also Chapter 2 on materials and repair. Storefronts on older buildings which were altered within the past fifty years are often not compatible with overall building character and their removal may be appropriate when rehabilitation is undertaken. Later materials that may cover or I 1; conceal original or early storefront elements,should II 7 be removed with care to avoid damage to underlying historic materials. n "rig, , iiiitsis, • IF \iI 111 Design Objective I If E. ' Historic storefronts should be retained, repaired and = restored if necessary. Later alterations that have achieved historical significance should be retained and preserved. l(rni, The Carrara glass is a distinctive characteristic of the storefront at 432-434 E. South Temple Street. 2 :2 PART II Salt Lake City 2 Storefronts General ' 2.1 Historic storefronts and their components should be retained and maintained. Ai . ; arts of,he' 111'-r- • - f World Gallery . • Storefront components include display windows,bulkheads, transoms,doors, cornices, I t laiall pillars and pilasters. / Y • Deteriorated or damaged storefronts and their 1 J components should be repaired to retain their , • - ! 111 111.1911116, historic appearance. • Covering or concealing historic storefront A simple one-part commercial block at 779 South 500 East. components with modern materials should be avoided. 2.2 If a historic storefront has been altered or components are missing, consider reinstatement. • Consult historical evidence like photographs ` . and drawings to help determine the design and _ ` style of missing components. .' • •y�g, '-" - _�" • Carefully remove later materials that obscure ."''.. ,�� .,, p • e—� —la • . original designs, detail or materials and restore ,L_ . the original if possible. WWI • Alterations that have acquired historic significance in their own right should be _r retained and preserved. This simply detailed storefront is typical of the early 20th century. 2.3 An alternative design that is compatible with the remaining character-defining features of the historic building should be considered where an original facade is missing and no evidence exists - - of its original appearance. • The new design should take into consideration /s�' i the proportions, dimensions and hierarchy of i ( , , , gl r'l� �� 7' Il the historic building. r • A simplified interpretation of a traditional ' ' t e }P f ii storefront is appropriate. -. • The new design should be subtly differentiated This is one design approach for replacing a missing so that a false historical appearance is not storefront. created. Design Guidelines for Historic Commercial Properties&Districts PART II 2 :3 PART II Design Guidelines ' — Awnings & Canopies • . ` i Historically, shopkeepers commonly used awnings j/� rho ~� on their storefronts. Not only did they provide f✓ shelter for shoppers,but they also helped in climate 1..... ri i control. Awnings were simple in design, sloped in form and fit within the opening they covered. Canvas fabric was most common for awnings prior to the 1940s, when metal awnings became ;' prevalent.Awning use declined as air conditioning The distinctive Luxfer glass transom on the New Grand became more common after the 1940s. Today, Hotel at 369-379 S.Main Street is intact and not concealed by the awning. they maintain a significant role in solar shading, regulating the amount of sunlight that penetrates ,o'' building windows. --"\ a Early canopies were generally modest in detail and reflected the character of the building to which they were attached. As the design of buildings grew to �� be more elaborate, the detailing of canopies also •• �l�1. - became more sophisticated. Usually horizontal, they provided shelter and shade for the entrance or !I across the front of the building. ! 2.4 Preserve a historic awning or canopy when The awning fits within the window opening at 501 East feasible. 300 South. • Maintain and repair existing original elements • \� ` \ -A\ of awnings and canopies. t •-.....,.......... `��; • Replace in kind only those parts that are {. � �r beyond repair. .4.. 71111114%‘:,fr ... 1/4-,-4% ' .\ •`fo No NI • Substitute materials may be considered if they 00 `,. convey the same visual appearance of the 111 ''' replacement part. 11 ',r, s,•• 2.5 If a canopy has been altered or is missing consider restoring it to the original design. The distinctive canopy on the New Grand Hotel at 369-379 S.Main Street defines an entrance and provides shelter. • Use photographic evidence to determine the original design of the canopy. • Where an original canopy is missing,and no evidence of the original design exists, consider using a simplified interpretation of a traditional canopy as a replacement. 2 :4 PART II Salt Lake City 2 Storefronts 2.6 Replacement awnings of historical designs should be selected. . •• Simple shed awnings are appropriate for 7 rectangular openings. - �� • Arched awnings may be appropriate for arched . openings. ce°" / • Awnings may be retractable or fixed in place. • ,..& • 4,aaae: U :' is I' • The use of bubble, concave,or convex awning ,.y -[ -� -Lod ,,� , forms is discouraged except where used - originally. This shed awning draws attention to the window at 736 2.7 New awnings should be designed and placed North 300 West. so that they do not span or detract from character- aaln Mw� i ' defining details and features of the building. ~ _,'1 ,Q • Storefronts are an appropriate location for I kj`, k -y.:;� awnings. ; ,,.,�W • • If pilasters or columns define the storefront, ��i, : lit lif, - . _ place awnings within this framework rather '. than overlap the entire storefront. 1 JN114, ' , • Transom lights of prism glass or stained glass - - . - i are important features of a building and should not be covered with an awning. - 2.8 Awnings should be of materials used r I historically such as canvas. 11111 /�� • Alternative materials may be considered if they // / resemble canvas in appearance. _ • Metal awnings may be appropriate for some .Airt MAm'"" building styles. 'I'! Hi • Internally lit awnings and vinyl awnings are • 1 QfC generally inappropriate. /_ - - 2.9 Solar panels should not be placed on front facade awnings or canopies. Awnings are generally simple in design,angled and fit • Solar collectors should be installed in an zuithin the building opening. unobtrusive location. 2.10 Refer to the Design Guidelines for Signs for appropriate advertising space. Design Guidelines for Historic Commercial Properties&Districts PART II 2 :5 PART II Design Guidelines Windows &Bulkheads �nI''�PIP Display windows and bulkheads are essential elements of traditional storefronts which provide a sense of scale and aesthetic quality to the facade n_- of a commercial building. The arrangement, - I? proportions and design of openings("fenestration") { are important design elements of the architectural !, composition. Traditional storefronts of the late 19th and early to mid-20th centuries featured 1 large plate glass windows at the street level of the I facade to display merchandise. The lower panels or s 1• ' 40:11 : bulkheads on which the display window rest are -� often of wood or brick. Transoms are traditional components of storefronts An original display window at 82 N. 'Q' Street. of the late 19th and early 20th centuries. Transoms appear above display windows and doors and ` ` are key architectural features of storefronts and entrances. On the practical side, transoms allowed • i/1041 additional natural light and often ventilation in stores. They also offered additional opportunities for visual interest and decorative detail especially • r 7 decorative glass such as Luxfer glass or other divided glass. Original transoms contribute to the character 2.11 Original window configurations and of this historic storefront at 271 N. Center bulkheads should be preserved and maintained. Street. • Original features should be repaired rather t ' 7'4 than replaced. i I ' ` , , • Replacement should only be considered if the iVF1 original is irreparably damaged. • ::011 Original wood bulkheads such as those at 361 N.Main Street are central elements of historic storefronts. 2 :6 PART II Salt Lake City 2 Storefronts 2.12 Design a replacement window and bulkhead - _ that reflects the traditional hierarchy of storefront �_ elements. dim • If original display windows or bulkheads are I ! , t ' ' missing or deteriorated beyond repair,replace . • with new to match the originals. v \ _:fair .`. • If the original window design is unknown, ' 44.7 a replacement window should maintain the traditional proportions and transparent quality - of a storefront. An original tile bulkhead at 422-426 North 300 West. • Where the original bulkhead design is .','' unknown, a complementary replacement 04 0 F: . ' , design in wood,masonry,metal or other 440 a material that is compatible with the facade may Frtgw . r�r 'Op be used. _. .,....i. I ." • Tintedglass is onlyappropriate if it was used E....,, ! a pp P ir : l historically. it- 11..-., is •, 2.13 Transom lights should not be obscured. -- I 1. • Covering or concealing transoms with signs., • the introduction of new materials,or other _��I t .' -. .` .it— d ; - items should be avoided. ( : i . • Awnings may be appropriate as they do not . + �-,. obscure transoms from complete view. 1 1 It I . ...: . , •,3,rfr lirr gil Ai -- Bulkheads act as a platform for display windows. Design Guidelines for Historic Commercial Properties&Districts PART II 2 :7 PART II Design Guidelines v Doors &Entrances As points of entry, doors and entrances are important visual elements of commercial buildings. -,, _ Common door designs for commercial properties of the late 19th and early to mid-20th centuries are single-light wood or metal forms, varying !ti'! - td from simple flush or paneled designs to those !1:21. with elaborate decorative detail. Double doors are 2 common, and many entrances feature transoms of a decorative nature. Traditional materials include $ wood and various metals, often with glazing. 1 Because they are a key focal point of commercial 7G I properties, major alterations to entrances or Wood doors on the Utah Commercial& replacement with inappropriate doors can severely Savings Bank Building at 22 East 100 affect the character of a historic building. South. 2.14 The decorative and functional features of an 11 f• 1 original primary entrance should be preserved . — and maintained. E0 • Primary doors, or those on the main facade, 7 .. should be preserved. t: u • Original framing such as jambs, sills, and 1• : headers of openings should be retained and I . maintained. j I • Removing or altering original doors, Traditional storefronts consisted of recessed single or surrounds,transoms,or sidelights should be double doors flanked by display windows. avoided. % dr • Filling or partially blocking historic door lll - — openings is inappropriate. kt I, I . ' ii 1, 1. ' I f., 1 � I et • These three center bays are framed by four freestanding Ionic columns. Salt Lake Stock and Mining Exchange,39 Exchange Place. 2 :8 PART II Salt Lake City 2 Storefronts 2.15 Repairs to deteriorated or damaged historic doors should maintain the historic materials. • When repairing historic doors,use methods to retain their historic fabric and appearance wherever possible. fir. • Epoxy is helpful in strengthening and replacing ,6n deteriorated wood. 2.16 Replace historic doors that are beyond repairinni6,_ or missing with new doors that are consistent with the style of the original door or building. ., MI • Match replacement doors to the historic door in materials and size;ensure they are consistent r_ 1 ��M I - AM -,- for the style and period of the building. ��MN�.�M. ........NM — _r, r ism mi I-L _'- • Ideally, a replacement door will have the same -'II:__ series of panels and have a frame of the same MN MNIII= dimensions. - OM MIS • Refer to documented research and/or historic �,,,�� • ® "' MOINIIIIM photographs when replacing doors. SIM ° _W --1 OM M MIS . NM 111111 2.17 New openings should be located on side = -1 �.r or rear facades rather than the main facade to m minimize visual impact. - 4,, , I _ , A 4. , rf 1 r1 1 1 -' I.- ?--' M' �4 I -- Salt Lake Cihj's commercial buildings have a variety of doors and entrances. Design Guidelines for Historic Commercial Properties&Districts PART II 2 :9 PART II Design Guidelines 1p` .L.. ' Staircases & Steps Ir .rr ,r .!w 11: Because of changes in grade along Salt Lake City's streets, not all commercial entrances are at street ii, 1 _ _ level and some commercial buildings have exterior t * � . steps or staircases as part of their original design. A 1116 Staircases and steps that are original to a site are therefore important character-defining features of a historic property. 2.18 Original staircases and steps should be retained. , A WNW 2.19 Repairs should be made with similar materials. r • Repair wood,stone and concrete stairs with iIllli;ll materials to match the original. rII(� Ir. • If tile or stone was used historically, its use in r repair work is appropriate. 2.20 If the original steps are beyond repair, 1 replacement stairs should match the originals or complement the character of the building. 2.21 Adding exterior staircases or steps to key . building facade where none historically existed should be avoided. 2.22 The design of additional handrails should !ii contribute to the architectural character of the building. 1 i ' V' • Historic stairs or steps that never had handrails ,I I C I r' 1 may have wood or metal handrails added if ''1I1111 ,S. they are compatible with the style and design IOW* I iiiil(II i mimmiof the building. • New or replacement stairs or steps can be designed to include handrails that are simple in A progression of spaces between the street and the building, design. including a walkway,steps and landscape features,is typical of most buildings along South Temple. 2 : 10 PART II Salt Lake City 2 Storefronts Lighting Adequate exterior lighting has long been an / I important consideration for business owners. The advent of electric lighting enabled store owners to call attention to their entrance and display windows / + and permitted shopping at night. Original light fixtures contribute to a building's unique historic • character and detail, and help to convey a sense of time and place. • 2.23 Historic light fixtures should be preserved and maintained. 40.• r • Deteriorated or damaged historic light fixtures �`• should be repaired using methods that allow them to retain their historic appearance. Historic lighting provides distinctive detail to the Kearns Building at 136 S. 2.24 Replacements for missing or severely Main Street. damaged historic light fixtures should replicate the originals where possible. • Original light fixture design may be vt documented through photographic or physical r evidence. • If evidence of the original design is missing,a ii design that is compatible with the character- • defining features of the historic building is — j appropriate. I1 Architectural lighting provides illumination as well as ornamentation on the Commercial Club Building at 32 Exchange Place. Additional Information Jandl, H.Ward. Preservation Briefs 11:Rehabilitating Historic Storefronts.Washington, DC:Technical Preservation Services, National Park Service, U.S.Department of the Interior. 1982 www.nps.gov/history/hps/tps/briefs/brief32.htm Design Guidelines for Historic Commercial Properties&Districts PART II 2 : 11 PART II Design Guidelines �_= 2.25 New exterior light fixtures should be simple ' in design and appropriate to the scale and character of the building. •Z: '�t • If modern light fixtures are desired as .r replacements or where light fixtures previously j` did not exist,ensure that they are unobtrusive 9;- ' and shield the light source. '�( 1 • __ 441 • The use of exterior spotlights on a key 4 character-defining facade is discouraged. ,..,. • Light fixtures that are installed in a way that Good lighting choices for historic buildings are simple and damages or obscures architectural features or • unobtrusive,such as this example at 361 N.Main Street. other building elements should be avoided. • Lights should be positioned in a manner that enhances visibility without detracting from the building's historic character. 2 :12 PART II Salt Lake City 3. Building Materials & Finishes Context & Character CONTEXT&CHARACTER 3 :1 The exterior surfaces of a building are important DESIGN OBJECTIVE 3 :2 elements to a building's composition and GENERAL 3:2 relationship with adjacent buildings.The distinctive MASONRY 3:2 qualities of building materials, including pattern, WOOD 3 :6 texture, finish and color, add character and scale. Many buildings in the districts are distinguished METALS 3 :8 by their masonry wall surfaces (brick, stone, TINTED GLASS,MARBLE,CONCRETE,ETC 3:10 terra-cotta). There are a few frame buildings, but PAINT 3:10 wood is frequently the material used for window ADDITIONAL INFORMATION 3: 12 and door framing, trim and moldings. Glass is usually a character-defining feature for storefronts. -, - ... . Ornamentation,such as columns,piers and pilasters ' . . '1=;: '? of the storefront, is of various materials including __ - metals. '7 �\ i In the mid-20th century a number of new materials ,ti were introduced for use on commercial building I e, �_` facades. These include colored glass, also known as `Y` , .. 4ttbiii i'' "Carrara Glass" which was a popular material for :LT1 - J tl storefronts in the 1930s and 1940s. Other storefront `.,. ;a. T_, materials include aluminum and stainless steel for display window surrounds. ! `• 4 1 II During the 1950s, the use of thin veneers for exterior _ - _~ ‘10"'U I sheathing became popular and these materials included marble and other stone. The use of _ ; • ''-I! porcelain panels was also introduced during these ' I I< years. Concrete panels and glass curtain walls The decorative combination of contrasting masonry were used for Salt Lake City's high rise commercial materials,color and texture is used to full architectural effect at 328 S.Main Street. buildings in the 1950s and 1960s. Design Guidelines for Historic Commercial Properties&Districts PART II 3 :1 PART II Design Guidelines Design Objective • Primary historic building materials should be . preserved in place whenever feasible. Retard ` L: • - deterioration or prevent damage through routine maintenance and repair. If damaged, repair or I ...tit,..-nir„ 7 - minimal replacement with matching material should ? be the objective. General Brickwork,combined with contrasting masonry details,can enhance the appearance of a building 3.1 Historic building materials,such as brick, facade. stone,terra-cotta,cast concrete,mortar,wood, stucco and metals should be preserved and + maintained. / ii' t' ,��, 1;�)I• ,+/� • Harsh or abrasive cleaning treatments should / :. be avoided. / �� • When the material is damaged,then limited �. replacement,matching the original,may be 0 ( ri 1 /t . considered. 01 • Covering or concealing historic building f 000 material should be avoided. O ir Masonry Masonry can be worked to create unique classical detailing. Masonry includes a range of building materials, such as stone,brick,terra-cotta, concrete and stucco. Brick and stone were the most prevalent types of "!=?� masonry used in Salt Lake City. The unique scale, 11 1 texture, color and finish of the brick or stone used 1 if in a given building are important character-defining ,.4._ I - i\ features. .. -_ q- —...II The color, texture, and joint profile of the historic r • - t mortar are also important characteristics. Soft , ' ' t mortar with a high ratio of lime was traditionally _____ IV used in masonry buildings constructed prior to IR�111� the 1930s. Relatively low proportions of Portland Rounded arches and textured masonry are common features of cement were used if any. Harder mortars appear in the Richardsonian Romanesque more modern buildings. style. Utah Commercial and Savings Bank,22 East 100 South. 3 :2 PART II Salt Lake City 3 Building Materials & Finishes If properly maintained, masonry can last ' v I indefinitely. The keys to brick and mortar / - preservation are to keep water out and to apply the - % '• correct type of mortar when repairs are needed. Treatments of historic masonry including cleaning, `, 0 IV i r 1 1 I strengthening, repointing, etc, can be complex �� .-<' % �� 1 and it may be necessary to consult with a historic 11 3 a 1��ii architect, architectural conservator, or experienced - J�' contractor to determine the appropriate treatment. =" 1 3.2 The traditional scale,texture and character of i masonry surfaces and architectural features such - --} '=� as the original tooling,bonding and mortar joints Variations in brickwork color,texture and should be retained. pattern can provide interest to a relatively simple street facade. 3.3 When cleaning masonry,use the gentlest .. means possible. • Historic masonry should only be cleaned when "' necessary to halt deterioration or to remove 414 0 '- �� graffiti and stains. ,, (" r ' l • When cleaning masonry,it is advisable to 1 r ,,, ` p ', test a small area first to ensure the procedure = �` f"'" i 'j i,_ 11 and cleaning agent are compatible with the .11 a.•-ft . masonry. ��". jd �r r - ;- • The use of detergent cleansers to remove dirt or ;. - • grime from masonry is acceptable. Water and E-" -�'". mild detergent using natural bristle brushes, ;,=J R,-• �, , and/or a non-harmful chemical solution,both • `.E , 1___ - , ,,, u it;, ni followed by a low-pressure water rinse is ._ r� ' L , •I recommended. '4—. - - — - • The use of any kind of harsh, abrasive cleaning The appearance and integrity of original masonry can such as sandblasting should be avoided. be successfully maintained through appropriate repair. Commercial Club Building,32 Exchange Place. • Cleaning or removing paint from masonry with high pressure water should be avoided. Design Guidelines for Historic Commercial Properties&Districts PART II 3 :3 PART II Design Guidelines 3.4 Masonry materials should be protected from water deterioration. 4110111 • If water is penetrating historic masonry,water- repellent coatings can be used. tp •• There are very good non-paint related treatments that are highly effective in i strengthening damaged sandblasted or abrasively cleaned masonry and rendering Hand tools are preferred when removing mortar. it more water repellent and resistant to the elements. • �'�'+ • Avoid the use of silicone-based sealants on masonry walls they do not allow the brick • •. ti or stone to "breathe" and can trap moisture within walls. ►�� • Proper drainage is essential to ensure that water does not collect and penetrate flat, horizontal surfaces or accumulate in decorative features. Hard impermeable modern mortars force moisture through the more permeable brick and allow mechanical • Positive drainage away from masonry stresses to be relieved through the softer brick which may foundations should be provided to minimize lead to cracking,spalling and erosion. Here,new mortar moisture migration from the ground. fails to match the original. 3.5 Covering or concealing original masonry surfaces with other materials such as stucco,metal or vinyl should be avoided. 3.6 The use of power tools on historic masonry should be avoided. • Power tools can readily damage masonry and are not recommended when removing mortar. • Hand tools allow for precision work and help to avoid damage to adjacent brick and stone. 3:4 PART II Salt Lake City 3 Building Materials & Finishes 3.7 When repointing is necessary use mortar - - 1 1 mixes similar to the original. . .. - i .' � MIN I • New mortar should match the original mortar - in width, depth,color,joint profile, and texture. . 4....____ IMMO ., • It is important to use a mix that is softer and rr ' -. -� ORM� more permeable than the masonry units to F ' - 113,111M 11111M ensure the preservation of the historic masonry. PIP Mill .y I.. - -*' 'L M1 not uuti • Hard and impermeable modern mortar is inappropriate for repointing older brick and stone because it will force moisture through the �! - - more permeable softer masonry accelerating , _ . , deterioration. • Modern mortars may contain harmful soluble • �'" ern.- salts that further accelerate brick and stone ►... - r� 1_-- deterioration. art r'" Painting brick changes the character of a building. • Water-driven deterioration mechanisms like freeze-thaw will be relieved in the masonry rather than the mortar if the latter is harder than the former. 3.8 Historic masonry should remain unpainted. • Painting masonry that has never been painted should be avoided. • Painting masonry can seal in moisture already in the material,not allowing it to breathe and causing extensive damage over time. • Painting masonry establishes a future cycle of periodic repainting. Design Guidelines for Historic Commercial Properties&Districts PART II 3 :5 PART II Design Guidelines Wood Siding Wood - - Wood has been used historically for framing, cladding, trim and decorative features. These elements contribute to the authenticity of the building as a historic resource. Historic wood building materials were generally carefully selected, seasoned and resilient. Original woodwork will last ' a long time with periodic maintenance. 3.9 Original wood features should be preserved ila and maintained. ... i Y ' • Loss of original wood features will adversely J affect the historic character of a building. r 3.10 Original wood features should be repaired if 1 necessary, and replaced only if they are proven to be deteriorated beyond repair. Shiplap siding • Repair wood features by patching,splicing, consolidating or other reinforcement r. ` + +OV treatments. • <' 7. If portions of the woodwork must be replaced '+; i hit- v.:' Al., due to deterioration,match the dimensions, � .'., l� , °. profile, detail and finish of the original. d ' r,i • Replace in kind an entire wood feature that is - too deteriorated to repair. i / , ,,p 3.11 Exterior woodwork should be cleaned with - - 11, the gentlest means possible. • Destructive, dangerous,and/or abrasive \11'' cleaning techniques,such as propane torching and sand-or water-blasting are not ,.• fr. recommended. Clapboard siding 3 :6 PART II Salt Lake City 3 Building Materials & Finishes 3.12 Historic wood should be protected from :; }'' deterioration. - . jllike . - -- - . • If the building had a painted finish historically, = _._M ' it should remain painted. - - ' I • Properly prepare new and old wood surfaces : ; - -- I- 1 first and apply a coating such as paint to help .. _ • • _ protect the wood from moisture and ultraviolet _ light. -" .• ;�;. :mot, • Paint removal should be considered only where -/:'if paint is damaged or has lost its bond to the " igimmaiiMall surface. Woodwork is a character-defining feature of this storefront at • Proper drainage should be provided to 361 N.Main Street. minimize decay.• Painorisnot reviewed. c: ::! - ' - T - 1`� ' 3.13 Original wood siding should be retained and _ preserved. . limmi , ,\_ • : , • Removing deteriorated siding that can beIlk _ Ad- repaired in place should be avoided because - significant damage may result from its removal. —__- • If portions of the siding must be replaced, I,1111 ,44 match the style, dimensions,profile and finish of the original siding. • Only siding that is deteriorated and beyond --'- repair should be removed. The wood framing distinguishes this historic window design, profile and detailing in an upper story window treatment. 3.14 Synthetic or substitute materials such as vinyl,aluminum and asbestos are not recommended as replacement siding materials on earlier historic buildings. • Generally, synthetic or substitute sidings do not adequately replicate siding of traditional Maintenance Tips for Wood materials and greatly detract from a building's • Protect woodwork with a good coat of paint. historic appearance. • Prepare the surface or substrate well prior to applying • These types of materials might be suitable for new paint. buildings constructed in more recent decades if • Use special procedures for removal,preparation for new the materials were used originally. paint,or encapsulation of older paint layers that may contain lead. Design Guidelines for Historic Commercial Properties&Districts PART II 3 :7 PART II Design Guidelines I 3.15 Original wood building materials should not 4 be covered. •1 i This obscures the original character of the I • `---` ' building. anrz m ,,,,,,� i •• An aluminum or vinyl covering over original i tOM r - r materials will trap moisture that will damage e the building materials underneath. clJlWx;A FL IOl{s IceCRCAII& ri: .1A - _ :TOES TOOL fa _ - i • Removal of any later siding and the rehabilitation of original wood siding are _— highly encouraged. Metals Many of Salt Lake City's historic commercial buildings display decorative cast iron and other t < metals including copper, tin, and steel. Exterior f o ' 0.4 • 4 metals may have both structural and decorative "'� + �' uses and are found in cornices, window hoods, = .�`A �y - capitals, columns, lintels, sills, awnings and other ;� � `. If!. 1 -- ��. _ features. These elements are important in defining r !,� f i;! a building's historic character and architectural � i I,�r�;,.�; significance. ' 3.16 Cast iron and metal original to a building should be preserved and maintained. 111111111111 • Original metal features should be properly : -iM B OPUS GRID q1A iWijiiiii ...,_ � cared for and not covered,removed or "p' obscured. Original materials demonstrate a record of labor and craftsmanship of an earlier time that is lost when it is replaced. 3 :8 PART II Salt Lake City I 3 Building Materials & Finishes 3.17 Metal elements should be cleaned with 11 the gentlest means possible and kept free of corrosion. • Soft metals such as bronze,lead, tin,and • copper should be cleaned with appropriate chemical methods because their finish can easily be damaged with abrasive methods. • Use the gentlest cleaning methods for cast iron, wrought iron and steel to remove paint buildup and corrosion. • If hand-scraping and wire brushing have - proven ineffective,low pressure dry grit blasting(less than 100 pounds per square inch)may be appropriate as long as it does not damage the surface. Decorative metal detailing is a significant characteristic of 3.18 Metal features should be repaired by the street facade. patching,splicing,or otherwise reinforcing the - - — - metal using recommended preservation methods. 'ale p1%, • For extensively deteriorated or missing parts, repair may also include limited replacement in - - kind or with a compatible substitute material. - • Substitute material should be physically compatible with the original metal and have no possibility of a galvanic reaction. 3.19 Missing elements should be replicated with new metal to match the original as closely as • - ' possible in texture,profile,and appearance. Cast iron columns embellish the window frame on the • There may be sufficient documentation for an Brooks Arcade at 268 S.State Street. accurate reconstruction of the original. • In some situations,substitute materials such as aluminum,wood,plastics, and fiberglass, painted to match the metal,can be used. Design Guidelines for Historic Commercial Properties&Districts PART II 3 :9 PART II Design Guidelines Tinted Glass, Marble & Stone Veneers, Concrete Panels, Porcelain &Aluminum Beginning in the mid-20th century, a new generation of stores, office buildings and medical complexes became incorporated into Salt Lake City's commercial and sometimes residential districts. These buildings introduced a number of new cladding materials for building facades, including tinted glass, aluminum and stainless steel for window surrounds, porcelain panels, concrete iii. 11111 panels and glass curtain walls. Some of these Porcelain panels on the Felt-Buchorn Building materials are no longer manufactured, and pose a at 445 E. South Temple Street. challenge to match,repair or replace. 3.20 Historic materials from the mid-20th century !mil_ should be preserved and maintained. hl ; � ' - 3.21 If exact replacement materials cannot be CiA , �.�,+,- ,�',�,� �+, , obtained,use materials that replicate the original , ► � :-_ as closely as possible in appearance,color and ., , \Iip ; texture. �V(4)'44s1V r, • There is a growing industry in salvaging and i �� "� ,, selling materials from this time period.If they t'� . N' ��.I are not available locally, seek materials from A!► Ili ► N�;: 1' companies on the internet. Paint This stone veneer corner bay is at 633 E. South Temple Street. Historic buildings clad with wood siding were . typically painted to provide a weather protective r` coating. Some stucco and concrete buildings may , _eli also have been painted. Property owners are , • =ti encouraged to use historic color schemes when is t' 1 ' performing regular painting maintenance of wood , - ,j -- ' ++�' ' -- surfaces, which visually unifies the elements of a h historic building. ‘„11 J I .\` V •: Marble paneled veneer on the main facade at 641-645 E. South Temple Street. 3: 10 PART II Salt Lake City 3 Materials & Finishes 3.22 A building's original historic painted or �1 unpainted appearance should be maintained. • The painted surface of historically painted �, �. buildings or features should be maintained. t_i7ling • Masonry buildings that have never been painted should not be painted. ®, I F • Consider removing paint from previously 11 painted masonry surfaces that were not painted IIII ¶ „ historically. I ' 3.23 Use non-abrasive methods to remove paint f - and protect historic materials during removal. r _ .. • To remove paint,non-abrasive methods such Color contributes to the character of the building at 128 S. as chemical cleaning,hand-scraping, or hand- Main Street. sanding should be used. • Remove damaged or deteriorated paint to the 3.24 Maintaining or re-establishing the historic next sound layer. color scheme is appropriate. • Abrasive or high-pressure removal methods • Sample paint history in a discrete location, can be destructive and should be avoided. using a simple means of sanding through each layer revealing the color of different paint • If continuous patterns of deep cracks and/or layers over time. extensive blistering and peeling occur,remove • Professional paint analysis and color matching the old paint completely before repainting. is also an option. • Apply a protective paint coating following • If the color scheme is not known,use historic proper surface preparation. paint schemes as a basis for decision on a new • Use special methods for removal of older paint color scheme. layers that may contain lead. • Use a comprehensive color scheme for a building's entire exterior,so that upper and lower floors and subordinate masses are seen as components of a single building. Safety concerns relating to handling lead-based paint should be borne in mind when working with paintwork dating from before 1978.There are a series of recommendations and/or requirements for lead-safe working which should be reviewed prior to any work. Lead-based paint should not be considered a reason to remove and replace historic,character-defining materials or features,including windows,doors details and trim.There are remedial techniques which can be used to either safely remove or encapsulate any lead-based paint. See the accompanying links for further information. www.preservationnation.org/issues/lead-paint/ www.nps.gov/history/hps/tps/briefs/brief37.pdf Design Guidelines for Historic Commercial Properties&Districts PART II 3: 11 PART II Design Guidelines 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 National Park Service,US Department of the Interior. 1986 Preservation of Historic Glazed Architectural Terra-Cotta. www.nps.gov/tps/how-to-preserve/tech-notes/Tech-Notes- Washington,DC:Technical Preservation Services Division, Exterior0l.pdf National Park Service,US Department of the Interior. 1979 Weeks, Kay D.and David W.Look,AIA.Preservation www.nps.gov/history/hps/tps/briefs/brief07.htm Briefs 10:Exterior Paint Problems on Historic Woodwork. Grimmer,Anne.Preservation Briefs 22:The Preservation Washington,DC:Technical Preservation Services Division, and Repair of Historic Stucco.Washington, DC:Technical National Park Service,US Department of the Interior Preservation Services Division, National Park Service, US www.nps.gov/history/hps/tps/briefs/briefl0.htm Department of the Interior. 1990 See also"Utah's Historic Architecture"Glossary www.nps.gov/history/hps/tps/briefs/brief22.htm history.utah.gov/architecture/glossary.html Gaudette, Paul and Deborah Slaton.Preservation Briefs 15: Metals Preservation of Historic Concrete.Washington,DC:Technical 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/brief15.htm Technical Preservation Services Division, National Park Service,US Department of the Interior. 1991 London,Mark,Respectful Rehabilitation-Masonry-How to www.nps.gov/history/hps/tps/briefs/brief27.htm Care for Old and Historic Brick and Stone.Washington, DC: 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 Preservation Services Division,National Park Service, US 1:Cleaning and Water-Repellent Treatments for Historic Department of the Interior. 1979 Masonry Buildings.Washington,DC:Technical Preservation www.nps.gov/hps/tps/briefs/brief06.htm Services Division, National Park Service,US Department of Mack, Robert C.,FAIA,and John P.Speweik.Preservation the Interior.2000 Briefs 2:Repointing Mortar Joints in Historic Masonry www.nps.gov/historylhps/tps/briefs/brief0l.htm Buildings.Washington,DC:Technical Preservation Services Pieper, Richard.Preservation Briefs 42: The Maintenance, Division,National Park Service, US Department of the Interior. Repair and Replacement of Historic Cast Stone.Washington, 1998 DC:Technical Preservation Services Division,National Park www.nps.gov/history/hps/tps/briefs/brief02.htm Service, US Department of the Interior.2006 Myers,John H.,revised by Gary L. Hume,Preservation www.nps.gov/historylhps/tps/briefs/brief42.htm Briefs 8: Aluminum and Vinyl Siding on Historic Buildings- Preservation Briefs 5: The Preservation of Historic Adobe The Appropriateness of Substitute Materials for Resurfacing Buildings.Washington,DC:Technical Preservation Services Historic Wood Frame Buildings.Washington,DC: Technical Division, National Park Service, US Department of the Interior. Preservation Services Division,National Park Service, US 1978 Department of the Interior. 1984 www.nps.gov/history/hps/tps/briefs/brief05.htm www.nps.gov/hps/tps/briefs/brief08.htm Preservation Briefs 12: The Preservation of Historic Park,Sharon C.,AIA,and Douglas C.Hicks.Preservation Pigmented Structural Glass(Vitrolite and Carrara Glass). Briefs 37:Appropriate Methods of Reducing Lead-Paint Washington, DC:Technical Preservation Services Division, Hazards in Historic Housing.Washington,DC:Technical National Park Service,US Department of the Interior. 1984 Preservation Services Division,National Park Service, US www.nps.gov/history/hps/tps/briefs/briefl2.htm Department of the Interior.2006 www.nps.gov/history/hps/tps/briefs/brief37.htm Wood Park,Sharon C.,AIA.Preservation Briefs 39:Holding the O'Bright,Alan.Preservation Technical Notes.Exterior Line:Controlling Unwanted Moisture in Historic Buildings. Woodwork#2:Paint Removal from Wood Siding.Washington, Washington,DC:Technical Preservation Services Division, DC:Technical Preservation Services Division,National Park National Park Service, US Department of the Interior. 1996 Service, US Department of the Interior. 1986 www.nps.gov/history/hps/tps/briefs/brief39.htm www.n ps.gov/tps/how-to-preserve/tech-notes/Tech-Notes- Exterior02.pdf 3 : 12 PART II Salt Lake City 4. Windows Context & Character CONTEXT&CHARACTER 4 :1 Windows are some of the most significant DESIGN OBJECTIVE 4:2 architectural features and visual components of a GENERAL 4:2 historic building. Window design, placement and STORM WINDOWS 4:5 arrangement ("fenestration") all help to convey the SECURITY DOORS&WINDOWS 4:5 early character of a building.Just as windows define the character of a building, they also contribute ADDITIONAL INFORMATION 4: 6 to the unique visual and historic qualities and I + character of a neighborhood or downtown. J Windows provide scale and visual interest, and Illag ` -- Irr they often have unique ornamental trim, hoods } "' or surrounds that help to define a building's style. - Features important to the character of a window H , include its frame, sash, muntins, mullions, glazing, . sill, head, jambs, moldings, and operation. See _ diagram to follow. The pattern or grouping of .. the windows in relationship to other windows or building features is also important. Because Window configuration and detailing can be important to the composition of a facade. historic windows are so significant to the character of a building, their retention and treatment is very important. A loss of historic integrity results when Alit original windows or window features are lost. The old-growth lumber that was used to construct t historic wood windows can last indefinitely when '' 1 maintained, unlike modern replacement windows, ' even wood ones. For example, vinyl elements of 1 , modern windows expand more than twice as much 1 • Ili as wood and seven times more than glass due to temperature changes. This often results in failed i seals between the frame and glass and a significant reduction in performance. Once modern windows fail, there are few ways they can be repaired or `' t' recycled,instead ending up in landfills. This begins + - T ,i a cycle of removal and replacement that could be This window design is significant to the character of the avoided if the original windows were preserved building at 702 N. 'K'Street. and maintained. Design Guidelines for Historic Commercial Properties&Districts PART II 4 : 1 PART II Design Guidelines Wall Head Energy efficiency is a common concern when considering window alterations, and is frequently Muntin cited as a reason to install modern replacement windows. Most historic windows are inherently energy efficient and durable. They can be made Glazing if. Stile more energy efficient with proper maintenance and / , ' by installing weather-stripping. Adding internal Stops or external storm windows will also improve the thermal efficiency of a window. These treatments Sash — can match or exceed the performance of replacement • Jamb windows. They also have distinct cost advantages / over the replacement of original windows. Casing Design Objective Rail Sill Preserve, maintain and repair original windows. / Concealing, enclosing or covering historic windows � should be avoided. If replacement windows are Double-hung window components necessary due to deterioration, match the historic windows in size, design and material. r— �r' l' , _ General I - 4.1 The position,number,pattern and I ~ . arrangement of original windows in a building i , facade should be maintained and preserved. • Window openings,window details,and the` size and shape of these elements help establish the rhythm,scale and proportion of buildings and reflect architectural style and character. • �� Altering the composition of windows in a key --- 111 ._, facade by adding new window openings is yi -' -) inappropriate. Profile of typical sash weights and cords. • Enclosing a historic window opening is also inappropriate. • Greater flexibility in the placement of new windows may be considered on rear walls. 4 :2 PART II Salt Lake City 4 Windows 4.2 The traditional ratio of window opening to solid wall("solid to void") should be maintained on a primary facade. • Changing the amount of glass on a character • — .'^ • defining facade will adversely affect the EN `�. ' •�"' integrity of the building. I 4.3 The size,shape and proportions of original window openings should be retained. • Changes to original window openings in a key - character-defining facade should be avoided. 11111' ® r=1 t Li • The proportions of the original window should The pattern and alignment of windows is essential to the facade be respected and retained in any alterations or composition. repair. 4.4 The functional and decorative features of early �.- or original wood windows should be retained and _ repaired if necessary. • Retaining as much of the historic window material and detail as possible will help protect the historic integrity of a building. vAt., • Repair frames and sashes rather than replace �Rmai - - n►-aa�►o►� . them wherever possible. - -.-___ .. _ _ _ agar • Match the original detail and materials in any .- repair as closely as possible. Steel frame windows are characteristic of many historic Consolidants or epoxies may be used to buildings of the 20th century.• strengthen deteriorated wood. 4.5 Upgrade historic steel windows through • Only those elements of an original window routine maintenance,repair and weatherization. which are beyond repair should be replaced. • Remedial work will restore the profiles of the • The deteriorated parts should be replaced with opening and fixed sections of the frame and the new matching pieces,or by splicing new wood precise fit of the original frame. into existing members. • Caulk around the masonry openings and apply weather striping to reduce air infiltration, and enhance energy and acoustic efficiency. Design Guidelines for Historic Commercial Properties&Districts PART II 4 :3 PART II Design Guidelines //-- 4.6 Replace windows only if they are beyond repair and the new windows match the original in I', size,materials,and number and arrangement of 1 ._•' lights. / • The acceptability of any replacement window is based upon matching the appearance of a historic window through appropriate dimensions,profile,finish, depth of frame,and the appearance of true divided lights. I • Using the same material as the original is 0 preferred. (.,—_-, 1 • When replacing a historic window, it is important to retain original window casings The number and position of glass panes in a window are important character-defining features of a building. and trim when possible. • Match the replacement window to the original Milill._____._ in the number,position and size of glass panes. True divided lights are preferred. • In some cases exterior applied muntins may be 16 appropriate if the appearance of the muntins i will match that of the original in dimension, profile and detail. f , • Alternative materials may be appropriate in ' dig 'i _ secondary locations if the appearance of the F window will match that of the original in design, dimension,profile and finish. Regular maintenance is essential and will markedly improve the longevity of a historic window. 4.7 Missing original windows should be replicated to match the original. • Consult historical,pictorial and physical documentation to help determine the original design. • Match the original window in style,frame, sash,glazing and muntin configuration. • Use materials that match the original. Maintenance Tips for Windows Maintain a good coat of paint on all exposed surfaces. • A new design may be appropriate if it is • compatible with the window opening and • Replace old cracked glazing compound. historic character of the building. i • Install new weather-stripping to reduce air leaks. 4 :4 PART II Salt Lake City 4 Windows 4.8 A new window opening may be appropriate in Security Doors & Windows a less public location if the design of the window is compatible with the historic character of the Security can be an important issue to commercial building. businesses, with many owners choosing to install security doors and windows to protect their Storm Windows properties. There are increasingly broader options for security including the addition of alarms and The installation of storm windows can help in video surveillance. lowering energy costs and improve acoustic efficiency. Storm windows also provide additional 4.10 Keep security doors and windows to rear and protection from the weather and can be an effective side facades wherever possible. tool in retaining historic windows. They should, • Entrance doors and windows on a character- however, be carefully integrated with historic defining facade are key visual elements of framing and details. historic building. Security doors and windows 4.9 Storm windows should be installed when can detract from the building s historic possible to enhance energy efficiency rather than appearance. replacing a historic window. 4.11 Where security doors or windows are • The installation of a storm window, combined installed, they should not detract from a with weather-stripping,will notably enhance building's historic character and appearance. energy conservation. • When metal window bars are to be used, they • Consider installing a storm window on the should be installed on the interior side of the interior if feasible. This will allow the external window. character and profile of the original window to be seen. - - T • - • If a storm window is to be installed on the exterior, match the design of the original I windows and keep it as simple as possible. ti• A storm window should fit tightly within the window opening without the need for subframes, and be set back from the plane of ~�" the wall surface as far as possible. ---16001P I , • Select painted wood, anodized aluminum or baked enamel storm windows,preferably —+ matching the materials of the original or Security bars are more appropriate on side or rear facades. historic windows. Design Guidelines for Historic Commercial Properties&Districts PART II 4 :5 PART II Design Guidelines 4.12 Match security doors and windows to the • • historic door. ,ii • Security doors and windows with ornate 0 or decorative grillwork can obscure historic features and if so should be avoided. 4.13 The use of solid,roll down security shutters is strongly discouraged. , .41, • i • When closed,solid shutters diminish the visual it( } • - > interest of individual buildings and the street S`., yl • ;?x`�;„, )y•:'.."; .-'; l: • scene. Installing security bars on the inside of windows is a solution • If it is necessary to install a physical barrier that accommodates both design and security considerations. within the storefront, the most appropriate _ ix — 04, „, ., option is an external lattice or brick bond grille. ., j .. ',,.,,e, '%; i Additional Information Maintenance,Repair,Weatherization&Energy Efficiency "How to Restore Sash Windows","Window Repair Tips",& _ "Glass Replacement"Old House Journal .� , www.oldhouseonline.com/how-to-restore-sash-windows/ A.#* = ' �. www.oldhouseonline.com/window-repair-tips-from-john-leeke/ www.oldhousejournal.com/magazine/1506 Zr * ilk National Park Service.Technical Preservation Services. www.nps.gov/tps/sustainability/energy-efficiency/ weatherization/windows-doors.htm www.nps.gov/tps/sustainability/research.htm Lower level windows may be protected by unobtrusive security www.nps.gov/tps/sustainability/resources.htm measures. National Trust for Historic Preservation.Weatherization www.preservationnation.org/information-center/sustainable- communities/weatherization/windows/ Historic Scotland.Managing Change in the Historic Environment-Windows.2010 www.historic-scotland.gov.uldindex/heritage/policy/ managingchange.htm English Heritage. Thermal Performance of Traditional Windows.2009 www.english-heritage.org.uk/professional/research/buildings/ energy-efficiency/thermal-performance-of-traditional-windows/ Northen Ireland Environment Agency. Windows.A Guidance Booklet on Openings.Technical Note 4A.2010 www.doeni.gov.uk/niea/windows_a_guidance_booklet_on_ openings_tn_4a.pdf Department of Arts,Heritage and the Gaeltacht.Ireland. Windows.A Guide to the Repair of Historic Windows.2007 www.ahg.gov.ie/en/Publications/HeritagePublications/ BuiltHeritagePolicyPublications/Windows%20-%20A%20 Guide%20to%20the%20Repair%20of%20Historic%20 Windows%20(2007).pdf 4 :6 PART II Salt Lake City 4 Windows Myers,John H.Preservation Briefs 9:The Repair of Historic Storm Windows Wooden Windows.Washington,DC:Technical Preservation Trissler,W.&Fisher,C.E. Windows 3:External Storm Services Division, National Park Service,US Department of Windows:Casement Design Wooden Storm Sash. the Interior. 1981 Preservation Technical Notes.Washington,DC:Technical www.nps.gov/history/hps/tpslbriefs/brief09.htm Preservation Services,National Park Service,US Department Park,Sharon C.,AIA,Preservation Briefs 13:The Repair and of the Interior. 1984 Thermal Upgrading of Historic Steel Windows.Preservation www.nps.gov/tps/how-to-preserve/Tech-Notes-Windows03.pdf Technical Notes.Washington,DC:Technical Preservation Fisher,Charles E.&Muckenfuss,Laura A. Windows 5: Services, National Park Service,US Department of the Interior Metal Storm Windows. Preservation Technical Notes. Interior. 1984 Washington,DC:Technical Preservation Services,National www.nps.gov/hps/tps/briefs/brief13.htm Park Service,US Department of the Interior. 1984 Park,Sharon C.,AIA,and Douglas C. Hicks.Preservation www.nps.gov/tps/how-to-preserve/tech-notes/Tech-Notes- Briefs 37:Appropriate Methods of Reducing Lead-Paint Windows05.pdf Hazards in Historic Housing.Washington, DC:Technical Park,Sharon C. Windows 8:Thermal Retrofit of Historic Preservation Services Division, National Park Service, US Wooden Sash Using Interior Piggyback Storm Panels. Department of the Interior.2006 Preservation Technical Notes.Washington,DC:Technical www.nps.gov/history/hps/tps/briefs/brief37.htm Preservation Services, National Park Service, US Department Randl,Chad. Windows 19:Repairing Steel Casement of the Interior. 1984 Windows. Preservation Technical Notes.Washington,DC: www.nps.gov/tps/how-to-preserve/tech-notes/Tech-Notes- Technical Preservation Services, National Park Service,US Windows08.pdf Department of the Interior.2002 Fisher,Charles E. Windows 9:Interior Storm Windows: www.nps.gov/tps/how-to-preserve/tech-notes/Tech-Notes- Magnetic Seal. Preservation Technical Notes.Washington, Windows19.pdf DC:Technical Preservation Services,National Park Service, Staveteig,Kaaren R. Windows 22:Maintenance and Repair US Department of the Interior. 1984 of Historic Aluminum Windows.Preservation Technical Notes. www.nps.gov/tps/how-to-preserve/tech-notes/Tech-Notes- Washington, DC:Technical Preservation Services,National Windows09.pdf Park Service,US Department of the Interior.2008 Fisher,Charles E. Windows 15.'Interior Storms for Steel www.nps.gov/tps/how-to-preserve/tech-notes/Tech-Notes- Casement Windows.Preservation Technical Notes. Windows22.pdf Washington,DC:Technical Preservation Services,National Vogel,Neal A.and Rolf Achilles.Preservation Briefs 33: The Park Service,US Department of the Interior. 1986 Preservation and Repair of Historic Stained and Leaded www.nps.gov/tps/how-to-preserve/tech-notes/Tech-Notes- Glass.Washington,DC:Technical Preservation Services Windows15.pdf Division,National Park Service, US Department of the Interior. Replacement Windows 2007 www.nps.gov/history/hps/tps/briefs/brief33.htm Replacement Windows That Meet the Standards. Preservation Technical Notes.Washington,DC:Technical New York Landmarks Conservancy.Repairing Old and Preservation Services, National Park Service, US Department Historic Windows:A Manual for Architects and Homeowners. of the Interior Washington,DC: National Trust for Historic Preservation, www.nps.gov/tps/standards/applying-rehabilitation/successful- 1992 rehab/windows-replacement.htm www.barnesandnoble.com/w/repairing-old-and-historic- windows-new-york-land marks-conservancy/1022158945?ean =9780471144182&itm=8&usri=windows+repair Fisher,Charles E. Windows 2:Installing Insulating Glass in Existing Steel Window.Preservation Technical Notes. 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- Windows02.pdf Fisher,Charles E. Windows 11:Installing Insulating Glass In Existing Wooden Sash Incorporating the Historic Glass. Preservation Technical Notes.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- Windowsll.pdf • Design Guidelines for Historic Commercial Properties&Districts PART II 4 :7 Page left intentionally blank 5. Architectural Details Context & Character CONTEXT&CHARACTER 5:1 Architectural details are essential to historic DESIGN OBJECTIVE 5:1 character, defining building styles, exhibiting GENERAL 5:2 design and craftsmanship and adding visual CORNICES&PARAPETS 5:5 interest. Architectural details can include columns, ADDITIONAL INFORMATION 5:6 pilasters, window hoods and surrounds, brackets, cornices, windows, decorative panels and other J ai�i� ii�i7-1 ornamentation. A variety of finishes and materials, I I including brick, stone, concrete, metal and tile, ", • — I L L' are used to provide unique features to individual buildings. Character-defining features of historic ~ - buildings collectively contribute to the design I vitality, human scale and visual continuity of a • - street scene. Refer to Chapter 3 for appropriate repair of materials and methods. _a a { I Design Objective AWL INIK. As important stylistic elements of a building's character, preserve and maintain historic architectural details and features. Avoid removing 111 t or concealing historic architectural details. If repair or replacement is necessary, match replacements • -- to the original as closely as possible in material, Architectural details help to define the distinctive visual character of this historic building at 145 S. design, color and texture. State Street. Design Guidelines for Historic Commercial Properties&Districts PART II 5 :1 PART II Design Guidelines General 5.1 Traditional architectural details and features should be retained and maintained. _ - _.7. : •r f -• - - - -• - - • Proper care and maintenance will help to -; r , Vrttg:t4 tf'ttf ensure the integrity and longevity of historic - ,y.kv t-,.c ' -; features. . `' • Avoid the removal or concealment of original ' � \ architectural features to prevent undermining a ' 6 building's overall historic character. r1 Architectural details exhibit craftsmanship and help • It may be necessary to consult with a convey the unique character of the Felt Building at 341 historic architect, architectural conservator S.Main Street. or experienced contractor to determine the - . I appropriate treatment. 5.2 Architectural details and features should only A be cleaned when necessary in order to prolong their lifespan. t_ • In general,water,mild detergent and brushes iip , 40 are appropriate cleaning tools. r • Decorative keystone of the Commercial Club Building at 32 Exchange Place. , ' , . , . 410 r ... . . ,.../Aikifor ., 4110100, Molded terra-cotta rosettes adorn the facade of the Kearns Building at 136 S.Main Street. I 5 :2 PART II Salt Lake City 5 Architectural Details 5.3 When repairing deteriorated or damaged historic architectural features,retain their historic appearance and as much of the building's historic material as possible. - • For decaying wood,it is appropriate to apply re- epoxy to strengthen damaged areas and fill in small openings. ' • For large areas of decay,cutting out damaged a areas and piecing-in new wood into the gap are appropriate. 4 ` $ I 1' • For light metal corrosion,hand scraping, 1 hand chipping and use of a wire brush are appropriate ways to remove rust and damaged , paint. Orpheum Theatre(Promised Valley • With heavy corrosion on architectural metals, Playhouse),132 S. State Street. alternative methods include low pressure grit or sand blasting, flame cleaning,and chemical treatment. • Adjacent materials such as masonry,glass, and 'M4A-", wood should be covered during grit or sand `'"�+w;, blasting for their protection. • Metal pieces should be painted or sealed „�` .� immediately following rust and paint removal. • Epoxies may be used to fill small gaps. ' • Decorative embellishment plays a significant role in the facade composition of the Alta Club at 100 E. South Temple Street. Design Guidelines for Historic Commercial Properties&Districts PART II 5 :3 . PART II Design Guidelines 5.4 Missing or severely damaged historic `��. , architectural details and features should be c`'' . I ' replaced with examples that replicate the original. a I • Replacements to the original should match in '` 11 design,proportion, and detail. ' '' g P p 6 'es • , • S9ebsa'•. „',;'• ' •• Original features may be documented through to .•.• j photographs,drawings,graphics, or physical < j evidence. • • ::1,_ ;:' ''.n: •, _ • Where no such evidence exists,a simple Classical adornment at the Salt Lake Stock and Mining design in keeping with the building's historic Exchange,39 Exchange Place. architectural style and period is appropriate. • Replication with the same material is """fit encouraged. ' 1it !ltlt!!!!!!f • Substitute materials may be considered if: .✓ +4, • • They successfully match the original detail i i , I / r "'�`,,7 • Are not readily visible from the street,such • as along upper facades and cornices. Have an established record for durability and weathering. Cornices and balustrade add classical detailing to the street • They are installed in a manner that facade at 151 S.Main Street. tolerates differences in physical properties I between materials. 4 S ,'' 5.5 Adding architectural features to buildings where none historically existed will adversely -14 ' • .11''• ' . affect historic integrity and should be avoided. r $ 1r . ,i, i1± . .„-,., . An ornate cornice crowns the Herald Building at 169 S. Main Street. 5 :4 PART II Salt Lake City 5 Architectural :eat::ls Cornices &Parapets Cornices and parapets are important character- defining elements of historic buildings and are usually associated with a particular architectural ,� .• �" style. Historic commercial buildings typically have .. 0 • • • • !a cornice at the top of the building and often to „ 0 01 III- fli III signify an upper level floor. Parapets finish the top - /•,••of of a wall shielding flat roofs and rooftop mechanical r r r al equipment systems from view; both also provide - ._ building decoration. A cornice or parapet may be constructed from a variety of materials, including stone, brick, cast masonry, stucco, terra-cotta, wood or metal. Their different configurations, details, materials and colors all enrich the character of a v building facade. 5.6 A historic cornice or parapet should be - /✓` v preserved and maintained. j;✓`"�1 ^ 1 5.7 Removing, concealing or covering original ' cornices or parapets with modern materials should be avoided. %d: 1, , 5.8 When replacing a missing cornice or parapet, C the replacement should match the original in . - style,materials,size,and design. • In cases where the original cornice or parapet \_ is missing, the installation of a new cornice or .- ,, parapet,based on physical or pictorial evidence of the original design,is encouraged. Q- - _ • If no historical,physical and/or pictorial - evidence exists for a particular building,new --'. cornices may be of a design that is compatible , ' Salt Lake City commercial buildings offer a wide variety in style,size,scale,and materials. of cornice styles and materials,each helping to create the 5.9 Adding cornices or parapets to a building distinct character and identity of the building. should be avoided if the building appears to have never had such a feature. • This will detract from the building's integrity. Design Guidelines for Historic Commercial Properties&Districts PART II 5 :5 PART II Design Guidelines 5.10 A plan for seismically retrofitting a historic cornice or parapet should be developed. • A historic cornice can be secured by installing a continuous horizontal channel across its surface _ ___ with pins imbedded vertically into the cornice. .. ,� _ _, MS A steel angle brace is welded to the channel and attached with a lag bolt to the roof. — — _ • Parapets can be stabilized or reinforced in - visually unobtrusive ways along the top surface — or rear side. Broadway Hotel,222 West 300 South. I it Architectural details of the Capitol Theatre include an ornate cornice and decorative window hoods and surrounds. Additional Information One of the best sources for historic photographs is Utah State Historical Society,which maintains early photographs for thousands of buildings. http://history.utah.gov/research_and_collections/photos/index. html I 5 : 6 PART II Salt Lake City 6. Roofs Context & Character CONTEXT&CHARACTER 6:1 Roof shape and design are major features of DESIGN OBJECTIVE 6:1 historic buildings. Although the function of a roof GENERAL 6:7.• is to protect a building from the elements, it also CHIMNEYS 6:2 contributes to the overall character of the building. GUTTERS&DOWNSPOUTS 6:3 Roof pitch, profiles, materials, size, and orientation are all distinct features that convey the historic SKYLIGHTS 6:5 { character of a building. Repetitions of similar roof ADDITIONAL INFORMATION 6:5 forms along a street or block create or add to the sense of rhythm,scale,and cohesiveness. The most common roof forms for commercial buildings are flat or shed roofs, with gable and 4 - -�A�V�� hipped forms being less common. Traditional ,� materials include wood, slate and tile. Associated �_��- ', j .r detailing may include parapets, cornices and • , - 4 „ r,�„��;11, - decorative elements such as finials and cresting. In many cases,these are an expression of the building's architectural style. Design Objective Most historic commercial buildings were designed with flat or gently sloping roofs. The roof form, its pitch, materials and associated parapets are all character-defining features that should be retained and preserved. General 6.1 Historic roof forms,features and materials should be retained. g, i „dam • Removing original or early roofing material •• that is in good condition should be avoided. Decorative elements such as this statue at the Promised Valley • Avoid altering the angle of an original roof. Theatre are part of a building's unique roof profile. • Original features including parapets, cornices, decorative features and chimneys should be retained. Design Guidelines for Historic Commercial Properties&Districts PART II 6 : 1 PART II Design Guidelines 6.2 Materials that convey a scale and physical Iquality similar to those used historically should d be used where replacement is necessary. 'I • Style,texture and color are important V . kik ,�I characteristics. • Specialty materials such as tile or slate should be replaced with matching material whenever ` feasible:replacement of a few individual units ;.,.` ° '.-- may be all that is required with these durable �� ,_;yam materials. 6.3 The profiles associated with the original 1 historic eave depth should be preserved. • The shadows created by the overhang of traditional eaves contribute to the perception of A decorative chimney can be a unique element of the building's historic scale and character. the city's skyline. • Eaves also provide weather protection for the i , , building, and therefore should be preserved. ' • Exposed roof rafters, soffits and other eave '14a details should be retained and restored. '`' 6.4 Introducing new roof elements that detract from building's historic appearance and J o a bu g r� character should be avoided. • New roof elements should not be highly visible ... ii: _ . a .. from the street or obscure original features. Chimneys �` _ The design of a historic chimney may be decorative „� I as well as functional.A chimney may be integrated " �-#� into a building wall or it may form an important I _, __' part of the roofprofile, addingto the visual quality q tY of the surrounding skyline. Removing an original This chimney is incorporated into the building chimney may adversely affect the architectural facade. integrity of the building. 6 :2 PART II Salt Lake City 6 Roofs 6.5 Original chimneys should be retained and repaired. �!r • Care for chimneys should follow the guidelines for brickwork/masonry in Chapter 3. • Match the original material, color and shape as closely as possible when making repairs and finding replacement material. %� • A disused chimney should be retained,but may be capped in an unobtrusive manner. ~` 6.6 Consider reconstructing a previously existing historic chimney if historical documentation • ti," supports that it was a significant feature of the building and previously removed or damaged. 6.7 Chimneys may be supported for seismic Chimneys can be an integral part of the roof stability. composition. • Physical structural supports may include metal straps or brackets anchored to the roof framing. • Seismic upgrades should not be over- engineered. 111111111 Gutters & Downspouts Gutters and downspouts are important utilitarian elements used to safely convey water away from buildings. Some historic buildings were clearly The half-round design is intended to hang free of built with gutters and downspouts. Boxed or built- trim details and rafter tails. in gutters, an internal gutter system integrated within the structure of a roof, are the type most used through the early 20th century. For externally mounted drainage, the "K-style" gutter trough has become the standard today. Prior to the advent of • the "K-style" gutter, the most common external gutter was the half-round gutter. Use"K"style gutters on buildings with vertical fascia boards on the eaves. Design Guidelines for Historic Commercial Properties&Districts PART II 6 :3 PART II Design Guidelines 6.8 Historic gutters, downspouts,and splash �" •;') -'•~',�`. blocks should be retained and maintained. , • ,' 1 , ��; ' • Existing boxed or built-in gutters should be � \ir �� retained and kept in good working order. � J ,%' Deteriorated or damaged historic external \li: tti • gutters should be repaired to match wherever ', 11' . ' . , possible. i' '�i. ,` • Perform seasonal maintenance to ensure proper 1 _ ., 'y drainage. .� l .. . ii 6.9 If original gutters are beyond repair, �__ replacement gutters of an appropriate type should � � be installed. • Retain historic molding and rafter details. Underground downspout extensions move • Ogee or"K" design gutters may be considered, water away from the foundation. if there is no evidence of an external gutter or the original design of a gutter. • New external gutters should be simple in design and not detract from the historic character of a building. I 1 - 11 6.10 Downspouts should be located away from Ai a architectural features and on the least public facade of the building. i • Proper placement of downspouts will protect %1.z ,4 _et t the building and not detract from its historic .0; y character. • Downspouts should drain away from 4 foundations and not affect neighboring buildings. An appropriate downspout and splash block. 6 :4 PART II Salt Lake City 6 Roofs Skylights Additional Information Original skylights on historic buildings often play Grimmer,Anne E.and Paul K.Williams.Preservation Briefs 30:The Preservation and Repair of Historic Clay Tile Roofs. a significant architectural role in the exterior of the Washington,DC:Technical Preservation Services Division, National Park Service, US Department of the Interior. 1982 building, while also adding more natural light to a www.nps.gov/history/hps/tps/briefs/brief30.htm building's interior. The installation of new skylights Levine,Jeffrey S.Preservation Briefs 29:The Repair, can enhance daylighting of a historic building, but Replacement and Maintenance of Historic Slate Roofs. Washington,DC:Technical Preservation Services,National should only be considered when these features do Park Service,US Department of the Interior. 1982 not adversely affect the architectural integrity of the www.nps.gov/hps/tps/briefs/brief29.htm Pieper, Richard.Preservation Technical Notes:Metals#2: building. Restoring Metal Roof Cornices.Washington,DC:Technical Preservation Services,National Park Service, US Department 6.11 Skylights that are original to a building of the Interior. 1990 should be preserved and maintained. www.nps.gov/tps/how-to-preserve/tech-notes/Tech-Notes- Metals02.pdf 6.12 New skylights should be placed in Slate Roof Treatments.Washington,DC:Technical Preservation Services,National Park Service, US Department inconspicuous areas where they will not detract of the Interior,2005. from the historic appearance of the building. www.nps.gov/tps/standards/applying-rehabilitation/its- bulletins/ITS32-SlateRoof-Treatment.pdf • Skylights should not be readily visible from the Sweetser,Sarah M. Preservation Briefs 4:Roofing for Historic street. Buildings.Washington,DC:Technical Preservation Services Division,National Park Service,US Department of the Interior. • Skylights should be placed in less obvious 1978 www.nps.gov/history/hps/tpsibriefs/brief04.htm locations such as on rear rooflines or behind Park,Sharon C.,AIA.Preservation Briefs 19:The Repair and gables,parapets, or dormers. Replacement of Historic Wooden Shingle Roofs.Washington, DC:Technical Preservation Services Division, National Park Service,US Department of the Interior. 1989 6.13 Use appropriate skylight design. www.nps.gov/history/hpsitpst riefs/briefl 9.htm • When installing skylights, the most appropriate types are those that lie level with the roofline. • Convex or"bubble" designs are not recommended. A skylight constructed flush with the roof. Design Guidelines for Historic Commercial Properties&Districts PART II 6 :5 Page left intentionally blank 7. Foundations Context & Character CONTEXT&CHARACTER 7:1 Foundations are a significant feature of historic DESIGN OBJECTIVE 7:1 buildings. The design of a foundation is influenced GENERAL 7:7 by location, proportions, types of materials used 00001 and pattern of openings.Above ground foundations can be visually differentiated from the wall above by a change in plane. For example, masonry foundations are often separated from the main wall by a plain or modeled ledge or projection. In other cases, foundations are distinguished from walls by a change in material. The arrangement of these elements, an important architectural characteristic, should be preserved. Proper maintenance and .1111 repairs will help ensure the longevity of historic foundations. Design Objective Preserve and maintain original foundation design, profile, texture and materials. l' General 7.1 Original foundations should be preserved and maintained. • This would include original foundation L • materials,finish, design and detailing. - '' • Avoid covering original foundations with other • , materials or finishes. 7.2 Masonry guidelines for cleaning, care, • and repair of masonry foundations should be followed. • See the design guidelines on Building Materials Foundation walls with high quality materials and intricate detailing are important in establishing the &Finishes in Chapter 3. architectural character of a historic building. Design Guidelines for Historic Commercial Properties&Districts PART II 7 :1 PART II Design Guidelines 7.3 If replacement foundations are necessary, match the original as closely as possible. i , . •, , ' •• Replacement materials should match the WO` historic foundation. " • :' p, •a . • Install using similar construction techniques if .1% possible. g � • It may be necessary to consult with a historical architect,architectural conservator, 44, or experienced contractor to identify the appropriate treatment. " • . 7.4 Direct water away from foundations as much as possible. -41114.1*.NPIx' • Site and direct irrigation devices away from foundations. • Woody shrubs and trees should be kept away Moisture,wind-borne grit and pollutants can affect to prevent damage to historic materials. all types of foundation materials. • Downspouts should drain away from foundations through the use of splashblocks, drains,site grading etc. • Avoid contact between foundation and salts or other ice melts to avoid destructive effects on historic masonry. 7:2 PART II Salt Lake City 8. Additions Context & Character CONTEXT&CHARACTER 8: 1 Additions provide owners with flexibility in their DESIGN OBJECTIVE 8:1 building use.As businesses grow and change, they GENERAL 8:1 often require more space and additions fill this GROUND LEVEL ADDITIONS 8:3 need.Additions may range in form from expanding ROOFTOP ADDITIONS 8 :4 the footprint of a building to a rooftop addition. When adding to historic commercial buildings, the ADDITIONAL INFORMATION 8:4 most important consideration is to minimize any negative effects to the historic fabric of a building as well as to its character and setting. Design Objective 11 ill The placement, design and materials of an addition 1': '^CC should respect and complement the historic i ;'.. 1 character of the building and its context. ;` 1 J ar`General __ 8.1 A new addition should be situated and designed to preserve the established massing and orientation of the historic building. A change in material and a differentiation between historic and more current styles help define the change from old to new • For example,if the building historically has a construction. horizontal emphasis,this should be reflected in the addition. Design Guidelines for Historic Commercial Properties&Districts PART II 8 : 1 PART II Design Guidelines .$, 8.2 The overall design of the addition should be in keeping with the character of the historic buildingand not detract from its historic integrity. • • The addition should be compatible with the , ;; -I' original building in scale,proportion and kit ,lj I rhythm. • Elements such as roof form,window design, ' A IT ratio of solids to voids,materials and general -F form of the addition should complement the original building. Variations in setback and materials can provide a visual • The design of the addition should be distinction between the historic building and its addition. distinguishable from the historic building. • Subtle differences in materials or detailing can help differentiate new from original portions of the building. 8.3 An addition should not obscure or damage significant architectural features. • Loss or alteration of cornices, architectural details, and other important features should be avoided. • A new addition should cause minimal damage to significant materials. • An addition should minimize the overall loss of historic walls and roofs. • Use existing openings to connect the building and the addition where possible. • Drainage patterns should not be adversely affected in siting and designing an addition. 8:2 PART II Salt Lake City 8 Additions 8.4 Consider materials that are similar to the historic materials of the primary building for a new addition. • Brick,stone and wood are the predominant Q O materials in the districts and their use in new construction is preferred. ; • Use building materials that are similar in their • � ' ri dimensions to historic units. 8 , 00 ' ;,y y `- • New materials may be considered if they are a quality material that conveys a sense of scale similar to that seen in historic materials. Constructing a new addition on a less visible rear facade will Ground Level Additions help preserve the character of the original building. 8.5 The addition should be physically and visually subordinate to the historic building and compatible with the scale of the historic building. • Locating an addition at the front of a building is usually inappropriate. • An addition should be sited to the rear of a building or set back from the front wall plane to allow the original proportions and character of the historic building to remain prominent. • Rear additions should not be prominently visible from the street. • If it is necessary to install a lateral addition,set it apart from the historic building and use a "connector" to link it. Design Guidelines for Historic Commercial Properties&Districts PART II 8 :3 PART II Design Guidelines Rooftop Additions '---/\\\.`\ 8.6 A rooftop addition should not adversely affect / \ c, .` the architectural proportions of the building. • The original profile of the historic building as .,,',I l-.i ��- seen from the street should be maintained. 1 I .,- 1— • The mass and scale of the key character- defining facades should be preserved;the 5 re 5 rooftop addition should not overwhelm or �� \\\\\ overhang the facade. ��\. �,�I,� • • An addition should be constructed so that it is recessed to minimize visibility from the street. % • An addition should be designed so that it will appear subordinate to the original building in This rooftop addition is set back from the wall plane of the front form,height,massing,materials and color. facade. • The addition of rooftop gardens,terraces, decks and outdoor dining are encouraged. 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/brief14.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 8:4 PART II Salt Lake City 9. Accessibility Context & Character CONTEXT&CHARACTER 9:1 The Americans with Disabilities Act (ADA) was DESIGN OBJECTIVE 9:1 passed in 1990 and requires that all places of GENERAL 9:1 public accommodation be accessible to everyone. ADDITIONAL INFORMATION 9:2 Historic commercial buildings must meet ADA requirements. Local and state codes apply as well. ., Commercial property owners need to consult • the Americans with Disability Act Accessibility Guidelines (ADAAG) when complying with ADA requirements. State and local requirements, ' however, may differ from the ADA requirements, and property owners need to be aware of all applicable accessibility requirements before makingF j . any modifications to their buildings. tom' ` • •x• Compliance with ADA requirements,however,does • { " not mean that the historic integrity of a building has to be compromised. Property owners can reach Push plates for ADA access are appropriate solutions for access into commercial buildings. the goal of providing a high level of accessibility without compromising significant features or the overall character of their historic property. Creative solutions include incorporating ramps, General installing wheelchair lifts, creating new entrances, 9.1 Accessibility solutions must meet all state and and modifying doors,hardware, and thresholds. In local accessibility requirements as well as ADA addition, alternative measures can be considered if mandates. there is a threat to the historic resource. 9.2 Identify and evaluate accessibility options within a preservation context. Design Objective • Damage to significant architectural features Modifications to a building or site to meet ADA and materials should be avoided. accessibility requirements should not adversely affect character-defining spaces, architectural features or finishes. Design Guidelines for Historic Commercial Properties&Districts PART II 9 : 1 PART II Design Guidelines 9.3 The design and location of ramps should not compromise the historic character of a building. ' ' • Access ramps should be located where they •—•�l will have the least visual impact on the ~ character and important architectural features ; / of a historic building. — •^ ' Access ramps should be simple in design. • • Ramps of concrete,metal,wood or similar materials that are compatible with the primary materials of the building should be constructed. This accessibility ramp is successfully integrated with the 9.4 Access to historic buildings through a primary historic building both in scale and materials. public entrance should be retained. • Historic doors and door frames should be retained. • Historic doors should be upgraded with a device to reduce door pressure. • The use of automatic door openers with push plates is an appropriate alternative to meet ADA door requirements. • If a primary public entrance cannot be Doors can be modified with pressurized door openers to retrofitted,make a secondary public entrance allow for ease of access. accessible. 9.5 Accessible elevators should be inconspicuous from the public way. • New elevators should be enclosed by an additional structure compatible with the design of the building. • Consider using a glass cladding system. Additional Information Jester,Thomas C.and Sharon C. Park,AIA.Preservation Briefs 32:Making Historic Properties Accessible.Washington, DC:Technical Preservation Services, National Park Service, U.S.Department of the Interior. 1995 www.nps.gov/history/hps/tps/briefs/brief32.htm 9 :2 PART II Salt Lake City 10. Seismic Design Context & Character CONTEXT&CHARACTER 10:1 Most historic buildings were constructed when little DESIGN OBJECTIVE 10:1 was known about seismic design thus increasing GENERAL 10:1 their vulnerability in the event of an earthquake. gDDITIONAL LNFORMATION 10:2 Modern technologies, however, have made it possible to retrofit historic buildings to improve shear shear transfer i.� transfer their ability to withstand such an event. Upgrades ties �� 'AI, , ties to foundations, floors, ceilings, walls, columns, and j " ' i �� roofs can greatly improve a building's resistance to ; /`1`, bolts seismic activity. mui with ,IM1 ° f plates bolt o placement Design Objective4iiii.,,,, ` h in cement shear wal `�. If a seismic upgrade to a historic building is nailed,with O. ventilation considered, it should be sensitive to historic holes architectural features and building materials. Typical seismic retrofitting includes reinforcing the foundation through added ties,bolts and plates. General _ 10.1 Historic materials should be preserved and •retained to the greatest extent possible. �� MUMMYv • The wholesale replacement of historic material I ,IL_ , should be avoided. '/1' ,„4„,.. 10.2 The architectural integrity of a historic building should be respected with seismic work {.y that is sensitive to its historic appearance. - _ � , • New seismic systems should be installed to be l" — ' Seismic retrofitting can include adding steel frames and compatible in design with the historic building. dampers in basement and parking areas of commercial buildings. Design Guidelines for Historic Commercial Properties&Districts PART II 10 : 1 PART II Design Guidelines 10.3 Seismic retrofitting of a historic building should be undertaken in a manner that will not damage structural systems or character-defining architectural features. • Materials used in seismic retrofitting should be located on the interior and/or blend with existing architectural features. • Unavoidable alterations should be repaired with compatible materials and techniques. 10.4 Seismic work should be"reversible"to the greatest extent possible. • This will allow for traditional repair of remaining historic materials,and provide an opportunity for the application of future improved systems. Additional Information Utah Division of State History,Office of Preservation."Bracing for the Big One:Seismic Retrofit of Historic Houses,"1993 history.utah.gov/historic_buildings/information_and_research/ bracing_for_the_big_one.html "Controlling Disaster: Earthquake-Hazard Reduction for 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 and 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 11. Streetscape Elements Context & Character 1CONTEXT&CHARACTER 11 : 1 Streetscapes are the inter-relationship of public DESIGN OBJECTIVE 11 :1 spaces and buildings. Local amenity and identity GENERAL 11 :1 are closely linked to the quality of the streetscape, which is defined by the character of the buildings, i Jup„, r------ the space between them, ground surfaces, emtuiNGI 4 III vegetation,walls,fences and furnishings that enrich r 1 the space. ; ..'; Streetscape elements reinforce the unique .,'� . '•F . p q .1....; J {;, ,y character of a block, neighborhood, downtown or ,,�;..: . • _, historic district. For example, shaded sidewalks :•-s on a residential street or benches in downtown a. dynamic L ft ' encourage activity and create a lively, y t environment that contributes greatly to the overall _ '' livability of an area. Viii 8� I Design Objective - Retain and preserve original elements that "---�' combine to form the street scene. New streetscape improvements should respect the historic character '3"- ` - - 4 II IP 1 of the area and complement historic scales, designs .. '* k y ,and landscaping. . . , . - . � ; General 1�.4 \ , .r's; : �- - ••,+4 I 1 1 ' .STV 1 . 11.1 The historic character of a streetscape should ' 51. Itilim,_ be protected and maintained. • Retain the distinctive historic features that give a streetscape and/or district its distinguishing character. • Original street lights should be preserved and maintained. 11.2 A historic feature of the streetscape that is too deteriorated to repair should be replaced using Many downtown blocks display added street physical evidence to guide the new work. trees, traditional lighting and varying sidewalk paving materials. Design Guidelines for Historic Commercial Properties&Districts PART II 11 : 1 PART II Design Guidelines ' _-.-`;_ ¢ ,pry• f •_c, 11.3 New streetscape elements should be P , . ' , compatible in scale,design and style with the -*.' ' surrounding environment. 4 ♦ ice! '< 47, . ..ii. Y 9. r I • This includes street furniture,trash receptacles, r' . ; c _ bike racks,planters and landscaping. )R MI is � `w•1-. I. Ma!_''�' • New elements should be simple in design and �P'!:.,,;i•-=� compatible with the appearance and scale sue—=�- — ter.: ' of adjacent buildings,structures and public - - spaces. . _ - - - ' .. • Curb cuts, driveways and off street parking South Temple has a unified treatment of streetscape features that contribute to the character of the district. should be carefully planned to protect the historic character of the streetscape and/or I 1 district. __ _1 -' • Use indigenous plants for landscaping,when feasible. 1 Mil 1 1 __,r� 1 L • • Signs are an integral part of the street scene; 1'�O.1111 see the Design Guidelines for Signs for more r Alit' 3 A. information. ,, . . • An outdoor dining area should complement 1 III( ' L' the building facade and streetscape in terms of design character,materials,finishes and color. 11 I I 1 % 11.4 All streetscape elements should work together to create a coherent visual identity and public space. -\\1 • The visual cohesiveness and historic character - - of the area should be maintained through the - use of complementary materials. �� ! • Consider a compatible substitute material if With steeper topography,steps become a significant element of the street scene. using the same kind of material is not feasible. 11.5 New street lights should be compatible with the historic character of the district. • The design of lighting fixtures and poles should be compatible in scale, design,material and Iillumination level with the setting. • Simple new designs may be appropriate. 11 :2 PART II Salt Lake City 12. Mechanical Equipment & Service Utilities Context & Character CONTEXT&CHARACTER 12:1 Modern developments in technology have resulted i DESIGN OBJECTIVE 12:1 in the increased use of devices such as satellite SATELLITE DISHES 12 :1 dishes, solar panels and air conditioning systems. SOLAR COLLECTION SYSTEMS 12:2 Commercial buildings also require trash and UTILITIES 12:2 recycling storage areas and other equipment. These elements can be effectively integrated into TRASH AND RECYCLING STORAGE 12 :3 historic properties without detracting from their FIRE ESCAPES 12:3 historic character as long as property owners are conscientious about their placement and installation. - �� 1 v. Design Objective 's`al 0> .. Minimize the visual impacts of mechanical equipment _ and service utilities to the historic character of a I.AT building and its setting. Locate equipment such that i ' 2 11, 111 it will not damage historic building fabric. ' Satellite Dishes 12.1 Satellite dishes should be installed in Ii I ii, inconspicuous areas where they are not readily lIhlfl ap ;Illuh i�l Hi IIh1 111111 1111��1111�1 visible from the street. 1I imam • Mounting satellite dishes on key facades of a It WI. .` building should be avoided. �- jig r' j • Existing parapets and roof profiles should be used to screen these additions. This satellite dish is appropriately placed towards the 12.2 Satellite dishes that are small in size are more rear of the building. appropriate. Design Guidelines for Historic Commercial Properties&Districts PART II 12 : 1 PART II Design Guidelines -- -- • :; Solar Collection Systems 12.3 Solar collection systems should be located T . ''. . . J where they are least visible and unobtrusive. .- ;— 4 Rooftops,rear and side yards or rear accessory buildings are the preferred locations for solar .-- 440 �411` ,` devices. ioe12.4 Solar panels that are attached to a building • _• should not be readily visible from the street. ls $-- - Rooftops may be an appropriate location for solar panels. • Solar panels should be mounted on rooftops - flush with the roofline or hidden behind cornices or parapet walls. • Consider appearance and situation to minimize visual impact. ILL__ Mil. . %.....4,4111.1h. . 12.5 Install to minimize damage to character- ° - - -- , defining features of the building, structure or 7 --- _ site. • - Utilities 12.6 Mechanical service equipment should be This low-profile mechanical equipment is situated in an designed and installed where it will not be inconspicuous area on top of the building. readily seen from the public way. ' •I , `\ • The equipment should be positioned towards :�� ` the rear of the building. ma --��I1. ` • If located on top of a building,the equipment 1 �a �. ----�' should be set back and/or behind a parapet or roofline. 12.7 Window-mounted mechanical systems 1111-� / ''wpA• should be located on the side or rear facades;their -��■ , ��r� �� visibility should be minimal. r'r/ 12.8 Meters,conduits,and associated equipment �.�r;� j should be designed and located to avoid /;�// , /j detracting from the appearance of the building ��/� /� and damage to original facade materials. Meters are correctly placed on a secondary facade. 1 12 :2 PART II Salt Lake City 12 Mechanical Equipment and Service Utilities Trash & Recycling Storage Areas - \ y": . 9, \ ,,, \N 12.9 Garbage containers should not be readily i , •�,� , visible from the street. i- '` • Consider location. -rj /'ter ' 1.V • Consider well designed screening. \. Fire Escapes \ alik 12.10 Original fire escapes should be retained ,'��,,��.:. '4 `�� when possible. , . . �`. .'1ii&E. • A historic fire escape should be repaired rather Historic fire escapes,such as the one at 379 S.Main Street, • can be decorative as well as functional. than replaced. • If repair is not possible,replace a fire escape tob match the original as closely as possible. 12.11 New fire escapes should be located on building facades that are not readily visible from the street. ilk. It, 1 • Fire escapes traditionally are located on the —' t-- rear or sides of buildings. I, 12.12 The addition of a fire escape should not j damage or obscure historic architectural features. / I , h 12.13 New fire escapes maybe either open or I 1 enclosed. i 01 • For enclosed fire escape surfaces,materials 1/11ill a Imatching or compatible with those used on the .:' : wit historic building should be selected. i h.. 6; • For open fire escape surfaces,metal or similar materials should be used. This metal fire escape has been appropriately added to the side facade of the building. Design Guidelines for Historic Commercial Properties&Districts PART II 12 :3 Page left intentionally blank 13. New Construction Context & Character CONTEXT&CHARACTER 13:1 While historic districts convey a sense of time and SITE DESIGN &ORIENTATION 13:2 place which is retained through the preservation MASS,SCALE&FORM 13 :4 of historic buildings and relationships, these ARCHITECTURAL CHARACTER 13:6 areas continue to be dynamic, evolving settings. FACADE ELEMENTS 13:7 Where there are vacant lots in a historic district, new construction should add to the vitality of the BUILDING MATERTALS 13: 10 historic district or neighborhood. Constructing a LIGHTING SIG 13:11 new commercial building can be a challenge, but PARKING 13:12 careful thought and planning can result in a design BUILDING&STREET that enhances the character of the district. FACADE EVALUATION 13: 14 These guidelines are intended to promote sensitive �I design. The guidelines provide a basic framework to create an environment that respects the special setting of Salt Lake City commercial properties, l maintains a cohesive hood identity neighborhood !�� g and is • •r f 111 pedestrian-oriented. All new commercial buildings , / ' A�. _ %- ,':_ e.t within the districts should be compatible with both ` d q1� the visual qualities of the immediate area in which -1 - .00, �r� r � it ;I . the property is located, as well as the overall context `l j `' ' of the district. — - New construction can reinforce the basic visual Maintains the distinction between the ground level and upper elements of an area by incorporating the design floor,and features high quality materials that add scale, texture relationships that define the historic character of and variety. the district with contemporary design and current methods of construction. New construction may achieve compatible design through appropriate massing,form,scale,rhythm,orientation,materials, fenestration and/or patterns. Design using these characteristics can contribute to the overall sense of cohesiveness and continuity of the district, without imitating historic architectural styles. Design Guidelines for Historic Commercial Properties&Districts PART II 13: 1 PART II Design Guidelines Site Design & Orientation .:��-. • The elements within and adjacent to the public way, '''` •:t-:,:" • including lighting,trees and landscaping,sidewalks ‘4°'� '. --------_— and street furniture, commonly referred to as the streetscape, all combine to establish the unique iiiiii II character of a block or district. Successful new it �" �., ��,..,,//idevelopment recognizes, reinforces and enhances 1 i i !Ithe sense of place associated with a particular urban setting. �---_, The street block,often with its network of secondary streets and alleys, provides a common, unifying Building placement includes consideration of setbacks, framework for the pattern, scale, dimensions and orientation,open space and parking. orientation of the individual lots, and consequently the buildings. Commercial buildings traditionally • \, , ..,.: have storefronts and primary entrances oriented ,. Ls :t ..,\ 1 ; �t toward the street. Buildings are also generally _ , s: �`' it� f �� .{, _ '' �' �� 'I oriented with their primary facades parallel iFill. i. '.4+� 1'. 1 '�> ' i • •.I with the front property boundary of the lot. This arrangement and relationship respects the established grid street pattern that is prevalent in __ most historic districts, with the exception of the Capitol Hill Historic District. Since the automobile was not a consideration when 'illellIMPOPIMMIllene. the city first developed, incorporating modern parking requirements into a historic context can This simplified version of a one-part commercial block,while be a challenge. Siting and design should minimize a compatible design could have been improved by stepping it forward to the street frontage. The rear of the building would the impacts of parking and driveways on the have been a better location for the surface parking. appearance of the street scene. 13:2 PART II Salt Lake City 13 New Construction 13.1 The traditional historic development pattern 4.1Ya — — -- should be recognized and maintained in new . i,' ,...c_s= development. • A new building should be situated on its site in ____ k�,, � - 4:,y- a manner similar to the historic buildings in the 4 __� IgI Y { no MIDot E Np A 1,l," area. - ,-s.- 'I. • Orient a building facade and primary entrance - toward the street. 7.7 ' I , T, - I '` , • The relationship between building,landscape features and open space should relate to These street facades maintain the pattern of a strongly defined building wall at the sidewalk's edge. existing front yard setbacks and spacing of side yard setbacks within the block. " II 13.2 Historic street patterns should be maintained. `' • New construction should not interfere with or encroach upon historic or early street or alley glil ' _ - ' patterns and widths. 11• I !IF 1 • Extend intern alley networks wherever .1 I; . 1 possible. - i� , y •;'.• 0• i A: t y �� — r 13.3 Distinctive features that emphasize buildings _IN..- on corner lots should be considered. A step back provides a transition between the historic ZCMI • A corner entrance can be used to accentuate storefront and the infill construction. corner sites. • Both street facades should be designed as ''.1.1,;,.. important public facades. . • Design emphasis can accentuate the corner AVAi- AN role. j, 13.4 Indigenous plant materials should be included in new landscape designs. 1 II411 I , w 1 i! • Drought-tolerent varieties,which are in _ character with plantings used historically, are preferred. A cutaway corner entrance emphasizes the corner location. Design Guidelines for Historic Commercial Properties&Districts PART II 13 :3 PART II Design Guidelines Mass, Scale & Form Mass and scale are significant design considerations I with major influence on compatible infill M 1 ' construction. Historically, commercial buildings ,qt 1 3 • had varied heights, a similarity of form, visually ®" ee _ K. �z. • interesting profiles and a sense of human scale. Y.1 ' - - . I' While the trend has been for commercial buildings • --- x lo. - to become increasingly larger over time, it is important that new construction respect the scale of The new infill buildings maintain and continue the buildings in the immediate context and within the characteristic scale and rhythm of the streetscape. historic district. 13.5 The height of a new building design should Ai 1 �. reflect the established building scale of the setting 1 and area. • . . •,.,... ,1 • Design the building to equate with the height .�; .1 . "' "'"' range seen in the area. � i�`"R • Consider stepping back upper stories from the plane of the primary facade where a building is taller than those found in the block. Typical facades that enhance the pedestrian friendly • The mass of a new tall building should step quality of the street scene. down in height to lower adjacent development. 13.6 The massing characteristics of the area Pk should form the basis for the scale of new development. E! v • Simple rectangular solids on smaller lots are ilk r i y typically appropriate. •" • i I vi F Considermorecomplexmassingonlargesites. " 1� �� (i • If a new building would be wider than the . ' c - __ buildings along the block, consider dividing the f — building into parts that are similar in scale to Smaller building "modules"can be expressed within buildings seen historically. a single building using variations in window patterns and cornice detailing. 13 :4 PART II Salt Lake City 13 New Construction 3.7 The street facade should appear similar in scale to the established scale of the current street _, block. b �. • The primary plane of the front facade should �� ,, i. ■ II��I��Illl��x` reflect the typical widths and heights of historic -S°'-F,' — - ---' ;4,buildings in the block. ;�.; �.s ... ,.As.„A 1.1 ! • The front facade should include a one-story ` i • storefront element influenced by traditional " ~6"..-'_ design proportions. ,.�:rc. _ 13.8 A new building should be designed to Compatible infill construction respects the established rhythms and architectural patterns found along the reinforce a sense of human scale. street frontage. • A new building may convey a sense of human scale by employing techniques such as these: • Using quality building materials that help , - express human scale in their design, detail ,r , r _ and proportions. • ;� �� ilk + - I . 11 11 __II ,I il_II i • Using changes in building materials, color en Blue and texture. -- , • Using vertical and horizontal divisions and , . lC t, emphasis. - _i* — • Using architectural features to create visual interest. 13.9 Roof forms should be an integral part of the r,i 'j t ..,,, building design and overall form of the building. I:h. , t��l{ • Where roof lines are visible, they should relate ,` - to the general design of other commercial roofs �( f - 4 Ak- in the district. , f flt • • Flat roof forms are characteristic and ,, : / li ► : appropriate for primary roof forms in most II AI. Er commercial areas. ' lr • Screen roof top mechanical equipment from view with architecturally compatible screening features or parapet walls. - Achitectural proportions and detailing of the street facade create a friendly pedestrian experience. Design Guidelines for Historic Commercial Properties&Districts PART II 13 :5 PART II Design Guidelines ` Af f Architectural Character r / While it is important that new development il reinforce the basic character-defining features in Van area, it is not necessary that it replicate or echo , • historic architectural styles. Stylistic distinctions between new buildings and historic buildings are P f� - preferred, when the design of the new building is sensitive and complementary to the context. These �t. '. v: guidelines are intended to encourage creative t ' ' ' - f"� - design solutions.At the same time, they respect the :� patterns and characteristics of the historic districts. ,' ,"f �� 13.10 Contemporary designs compatible with the `' character of the area and/or district may be used. • A new design should draw upon the fundamental design elements of its context. • An interpretation of a historic style may be considered if it is subtly distinguishable as This contemporary interpretation of a traditional being new. storefront features a display window that is predominantly transparent glass. • New storefront designs create interest and visual compatibility,while helping to convey the fact that a building is new. ILliii t __ 13.11 The exact imitation of earlier architectural styles is discouraged. pi • • This can blur the distinction between old and �--'' '- - . s new buildings making it difficult to interpret z�, ' S -' j the architectural evolution of the district. N r7 c .. "=3 at- ill ` ' -fir; #1 • New buildings should reflect their period of 4' .:. _` 1 construction. et _ , 4 JA"."....- -. 13.12 Creative interpretations of historical Street facing facades should be well designed and feature architectural details can be successful. high quality detailing and materials. • New designs for traditional detailing such as columns and cornices can be used in new ways to create aesthetic appeal. • Materials, finishes,structural systems and construction methods may be used to express a compatible new building design. 13 : 6 PART II Salt Lake City 13 New Construction Facade Elements . The range and variety of facade elements along .. r3"1 , a street frontage can play an important role in t�rhi I . ' I .1— defining the unique character of historic districts. In particular, windows, doors and architectural p•1.• ,7iy• N 110 ' i'.I.i i1 detailing such as cornices and moldings appear � T�=- _ frequently. These integral elements of a building _ _ —NC . /,�tn facade create a three-dimensional quality that adds `'''L ; 1 i ; ' I ':.1 -- to the complexity of the design. The architectural �'• =� characteristics of surrounding buildings can help This building has a clearly delineated base,middle and top that new buildings fit into the existing context,especially conveys a sense of human scale. This is defined by a ground if a consistent architectural pattern is already level storefront,the fenestration pattern as well as cornice established. elements and other types of horizontal banding. 13.13 The design of a new building should include the three basic building elements:a base,a middle and a top. • On low rise buildings, the different parts might be expressed through detailing at the building ��_ f— t,L,,�.x,C base and eave or cornice line. '":It . fi'i -- —— —1 d • On taller buildings,the distinction between upper and lower floors can be expressed ' through detailing,material,fenestration and ir: ' 4,. y I i, F color. _ • Departures may be considered if the project better meets the intent of the design guidelines. Facade articulation enables a larger building to successfully integrate with its setting.It also provides an opportunity to focus visual interest and invite pedestrian activity. • Design Guidelines for Historic Commercial Properties&Districts PART II 13 :7 PART II Design Guidelines - — - 13.14 The ground floor level of a building should be designed to encourage pedestrian activity and 1 I . provide visual interest. ' �� += • Historically, the first floor usually received greater design attention and embellishment. --''•""So - .4! • Primary building entrances should be clearly `. ,.. �r ' �. • , identifiable and help define a human scale. I •• The ground level of the primary facade is 4 k_ III-� I generally predominantly transparent glass. �'%` . II I • Facades that are visible from the public way p l l • should be visually interesting. . '{ i • Extensive blank walls detract from the experience and appearance of an active street ra scene. • The use of shaded or reflective glass should be `0,,or avoided. fr. - 15.0';'. r 13.15 Design elements and details should be ''' yy employed to integrate a new building with its r ALI'f'Ef51'iosetting. I'�+ {� I • Scale,proportion and composition should be influenced by the design traditions found in the immediate and wider setting. 1 '., r 351 • Similarity in fenestration patterns (arrangement A ill ,' • 11 - Ill of openings) among buildings in a block is an 111 i. I ` _ „. - important characteristic to continue. _ I1: 1' I tiji . '' • Overhangs,projections,moldings and reveals air _ I create light and shadow patterns and are r -1---"Agiat encouraged. s • Other elements might include signs,lighting, cornices, parapets, awnings and other Creative new designs for windows,storefronts decorative features. and architectural details help convey the fact • The absence of ornamentation may be that a building is new. appropriate for contemporary interpretations of modern architecture. 13: 8 PART II Salt Lake City 13 New Construction 13.16 Consider building designs that emphasize - —r• ,`. floor levels. i` 4 • • Express the distinction between the street level 0 ^y and upper floors through rhythm and patterns O' 4ti , --- of windows,building materials and other II architectural features. i .1 Ir. 3 011* • Adequate visual access and potential physical - '"j t"' '�� access to ground floor spaces should be ' ` provided. 13.17 Canopies and awnings should be considered to emphasize the first floor and entrance. Transparent storefronts bring in more sunlight and glow at night with illumination and vitality. • Install awnings that fit the dimensions of the opening to emphasize the rhythm and ;' • pro ortions. - P , a+rewi►re.rri • Cloth,canvas, or metal awnings or canopies are ► 11 . - - appropriate. ", • Vinyl and other synthetic materials are '" i ,' ''' 1 li." to, r,`- discouraged. I '' - , • Illumination that shines through an awning is _ I I 1_ inappropriate and should be avoided. 13.18 Consider signs as an integral design feature Canopies provide shelter of the public,can be used to of the overall facade composition. define an entry and add interest to a building facade. • Refer to the Design Guidelines for Signs. - -.T ` 13.19 The use of datestones or cornerstones ii• ill \II displayingthe building's date of construction is 111 g • encouraged. 16? • I . µ,. ` f Awnings add color and enliven storefronts while enhancing the character of the street scene. Design Guidelines for Historic Commercial Properties&Districts PART II 13 : 9 PART II Design Guidelines - - yt �Av Building Materials iI Building materials are an essential characteristic of ��;/ ;/ the visual continuity of a historic district. Masonry, predominantly brick and stone, was the material II ' primarily used for historic commercial buildings; hoatweverdraws, wood om was also u ese of md. New ateriaconstru lshelpsctioto n It . th this ale tt I ` i reinforce the quality and integrity of its historic Pl. i -i • context. 1 13.20 Exterior building materials should be of a high quality and compatible with adjacent buildings. I This building design uses a material • Materials should be varied to provide palette that conveys the building's architectural interest. construction period. _ • Combine building materials in patterns • J. - to articulate the design and create a sense i of human scale through the scale of the i,,,,,,„„„,,,,,,Z components. III J 'i : . is • The character and properties of materials lb - - -I • I_ ill :r r _ "s— should inform the facade design. ''_� 13.21 New alternative materials that are compatible in character to historical materials The heavy stone base creates a visual transition from may be acceptable with appropriate detailing. sidewalk to building wall. • Alternative materials for new buildings may ; _ , be used if they provide texture and scale that , ;.,,, - complements their surroundings. ` L. a • Alternative materials should have a proven LTA illi durability in Salt Lake City's climate. —011 • Different materials may be appropriate for NIL, ; commercial areas with historic architecture i i -- -- from the recent past. Simple building forms can be enlivened with the 1 creative use of materials and color. 13 : 10 PART II Salt Lake City 13 New Construction 13.22 Large areas of wall plane should have an .-' appropriate finish. _. l Y' M• Consider articulation and modeling of the _ materials. ► • Mirrored glass should be avoided as a primary iii material. .- 1 1 . r, Lighting Commercial buildings often have exterior lighting to • enhance the visibility of the businesses. Historically, r,r this type of lighting or presence has usually been limited and subtle, with modest fixtures that '. i I accentuate features such as entrances, architectural details and/or signs. This overall effect of simple, i 111110 -- directed lighting can be effective and appropriate on new buildings. a ��h Lighting used to highlight the building entrance and 13.23 The visual impact of site and architectural windows. lighting should be minimized. • Lighting should be a subtle addition to the 11111-0—/ property. 4 • It should not visually dominate the site or intrude on adjacent property. ., - .. i_ • Where used,lighting should accent architectural details,building entrances and 1 signs. • Avoid lighting expansive wall planes. Lighting can enhance a facade and as a design 13.24 Fixture design should complement the element provide visual interest along the street design of the building. Design Guidelines for Historic Commercial Properties&Districts PART II 13 : 11 PART II Design Guidelines I 4 Parking 'e 1 ! Most older buildings were not designed to • accommodate the automobile. So vehicle parking , P" _ may detract from the visual character and quality of �� ' an area. Therefore, a new parking facility should be el Rir , TTi ! an attractive,well designed addition to the area. �t ?" ( — 1 I 3.25 Parking areas should be located away from -Al'• ., ` , .j:"i III ._vimorL the street frontage and where they are least -tea visually obtrusive. 1~ • Off-street parking should be located inside or When built directly on the street,design new parking garages to complement adjacent historic buildings in materials, behind a building,where its visual impact will fenestration and overall design. be minimized. 13.26 Landscaping should be integrated with surface parking to screen the view of parked .-11 :�,{;yy vehicles from the street. :'--- j11. . • New parking areas should be screened through �, ."'�� , , •� the use of planted areas,fences,hedges and 1< `'�, m decorative walls. "" ��`� Landscape materials should have a similar '.„` setback and location as the streetscape elements Landscaping helps to screen this parking lot. of adjacent properties. • Large parking areas should be divided with plantings. • Mature trees should not be removed to construct new lots or expand parking areas. 13.27 Bikeways and pedestrian walkways should be separated and buffered from external and internal circulation within parking lots. I 13: 12 PART II Salt Lake City 13 New Construction 13.28 Parking structures should be sensitive 07, 7- .` _`-( • to the surrounding historic neighborhood and 1 ': streetscape. \ 1 • Pay particular attention to the visual continuity -m"ifflowiwal i N. ..••••••• - : and cohesiveness of the street scene. , _ , • Iit =% Mass,scale,materials, detailing and �� I • �\ ��, • fenestration should be comparable to historic P. / r I I'I I I ii:. buildings. if I, i .. • Allow space for active uses that provide ,,_ I p 1 pedestrian interest along the sidewalk. I .� , ,r i • This may include retail or office space, display windows,built-in benches or street furniture, Site multi stony parking lots in the downtown area at interior areas of the block;design them to screen vehicles as much as murals and public art, and plantings. possible,such as this garage in the 100 block of State Street. • Sloping circulation bays should be internal to the building and not expressed in the exterior treatment of the building. 13.29 Consider locating a parking structure behind a commercial and/or residential front to shield the facility from the street. 13.30 Walkways should safely lead pedestrians from parking areas to building entrances. Design Guidelines for Historic Commercial Properties&Districts PART II 13 : 13 PART II Design Guidelines Building & Street Facade Evaluation . ..... _- _ 1 _ - 1 , MINI i f ' , , la . I - —1 IIIIIII ,,i 1 . MIME 117 I 'aim i F.11,-fi 1171_ . , Ir, III III 1 i. • .:' IN It li it gill i I IN IV _. -H , ,, m. c-K-,• -=.----' ,: • .4. 1 . If R III III 1111 - - II. Flii MO MI MI ir.fil --- , -... AO 110 OM MO rigi4„ 1r • ,...1.- •ro_ , _ ..ir _ , q , r .--- fil -- NI • . 4.- 11-_,10 1, I - - ir,a; ammo • .-- l':: 'mi. ------ tIF.• ... II. ci 6 , 1_ 1:1 A, 1..at, ' ‘* Li___ • 111. ....z-:it 4.-ii_1,—L•_:_.-:_;. These are illustrations of the Y•',' application of the Design Guidelines . .41, \ for New Construction. viONIN ----N ', •. - *,‘ " .. The facing page evaluates the role and ."'..... ........_ 'performance'of the design guidelines in the composition of the street facade. "- ' --- 11 tokrio..ikl! ‘.N. ,11, ''khqiikN474k\e'elM , I "•-• r . W. .t\I„\tpr, *---.. -... ih •-• itit ,Ikylk V t .:- • .....,. -----.."-----"•-• .1 k:'i%rillis\4,\1'g t. ‘1...- .i 1111 • II ONO OIL/ ' ''..1.••,-P.,,41, • h.?, az , -§7.1,L3Z....:7.6•43&5,14;111 r 13 •' 1111 . I 1 1 i; I, :•,: ...V I \ I I .k• .°A.V•'*$tIA1 • _or- •- :., • . _ ;..,,,v,\._,e4, ` '11 it• .:1',;74ka''.;.•71,P 4 RI if . •• I. ,A I. `"1.:::: II I US...41' • ,, -'!!..1 ^•.. ),,Z,ge 'A MI\ I : 1 ts .... 1 . _ 13 : 14 PART II Salt Lake City 13 New Construction New Construction Design Guidelines Criteria & Performance Evaluation SITE DESIGN GUIDELINES FACADE ELEMENTS (13.1,13.2,13.3,13.4) (13.13,13.14,13.15,13.16,13.17) Respects typical orientation&setbacks Vertically articulates the street facade,establishing different treatment for the building's base,middle Frontage and entrances orient to the street and top Maintains street patterns Employs a different architectural treatment on the ground floor facade than upper floors PARKING Employs shade and shadow to enhance the (13.25,13.26.13.27,13.28,13.29,13.30) composition Vehicle parking is internal to the project and effectively screened from the street BUILDING MATERIALS (13.20,13.21,13.22) MASS,SCALE&FORM The palette of materials reinforces massing and (13.5,13.6,13.Z 13.8,13.9) changes in horizontal or vertical planes Height falls within the established range Materials contribute to a sense of human scale The sense of human scale,established by Materials appear to have a proven durability variations in materials,texture,patterns,color and architectural details,is reinforced LIGHTING Uses complex massing,variations in height and (13.23,13.24) vertical bay divisions,to reduce mass Provides a subtle addition to the building design Reflects the character of roof forms in the area ARCHITECTURAL CHARACTER (13.10,13.11,13.12) Draws upon the fundamental similarities among historic buildings without replicating them Design Guidelines for Historic Commercial Properties&Districts PART II 13: 15 Page left intentionally blank PART III Historic Districts Ch 14. The Avenues Ch 15. Capitol Hill 3 Ch 16. Central City 5 Ch 17. Exchange Place 7 Ch 18. South Temple 9 Ch 19. University 11 Page left intentionally blank PART III Historic Districts PART III Table of Contents 14 The Avenues 14 : 1 15 Capitol Hill 15 : 1 16 Central City 16 : 1 17 Exchange Place 17: 1 18 South Temple 18: 1 19 University 19 : 1 Salt Lake City 14. The Avenues The Avenues is Salt Lake City's largest locally- Alq.Ii designated historic district and the one best-known C>, for the preservation efforts of its property owners. e I Fine views of the valley, proximity to downtown �� t and long-standing diversity of both architecture p' i' and population make the Avenues a desirable place , t to live. From its inception, the Avenues differed from the rest of the City in that it was laid out in smaller "' - - blocks with smaller building lots. Smaller lot size and narrower streets and sidewalks,coupled with The building at 702 E 3rd Avenue(ca.1940)was designed with simple detailing and has rectangular steel casement large scale houses,made the Avenues denser than windows and original display windows. other 19th century Salt Lake City neighborhoods. To serve the Avenues residents, stores were built The result is a particularly rich collection of era- throughout the neighborhood from approximately specific urban architecture. 1910 to 1950.These buildings housed neighborhood Many of the early houses in the Avenues are services such as grocery stores, hardware stores, best described as Victorian Eclectic, indicating a barbershops and restaurants. While some were flexible approach to Victorian design.On the other constructed in the middle of blocks, others were hand,a few Avenues residents adopted high-style built at prominent corner locations.Typically these architecture such as Queen Anne,Shingle,Colonial, commercial buildings were two stories in height Classical Revival and Italianate styles. Soon after with large storefronts and businesses on the first 1910,bungalows came into vogue,and the streets floor and living quarters for the proprietors on the of the Avenues reflected the popularity of these second story.Known as two-part commercial blocks, livable, low-profile homes. Churches and schools these buildings were designed with detailing of were also located in the Avenues. the period such as Romanesque,Colonial Revival, and Craftsman. These commercial buildings in the neighborhood continue to provide important - a►� `` business locations while others have been converted into residences. .�►. I` `- Additional Information Haglund,Karl T.&Notarianni,Philip F.The Avenues of Salt si Lake City. Published by Utah State Historical Society.1980 books.google.com/books/abouVfhe_avenues_of_Satt_Lake_ - ,I , i. • _ — City.html?id=yrciAAAACAAJ _— • - • LeSieur,Cevan The Avenues.Images of America. Published by Arcadia Publishing.2012 The building(ca.1906)at 187N'E'Street is a good example books.google.com/books/aboutfrhe_avenues_of Salt_Lake_ of a house store. • City.htmi?id=yrciAAAACAAJ Design Guidelines for Historic Commercial Properties&Districts PART III 1 Page left intentionally blank 15. Capitol Hill The Capitol Hill Historic District lays claim to being 'Nr"' the City's most distinctive neighborhood.Its steep and varying topography demands construction features such as high foundations and retaining walls. Blocks are oddly shaped, street patterns are unpredictable and dwellings are haphazardly • oriented to the street.In both layout and architecture • Capitol Hill is highly eclectic,with a continuum of { :•,%c '' • at building styles and types that span early settlement •;x to the present. During the 1880s when water became more widely A goad example of a one-part commercial block is the building at 361 N Main Street(ca.1919). available in the Capitol Hill area, development intensified and,for the first time,was carried out .11." minr,„ in an orderly manner. The earliest lots had been arranged haphazardly along the hills.During the rapid growth of the 1880s, standard rectangles were laid out.As a result,the orientation of houses // / changed from facing the hillside, regardless of �� relationship to the street, to being parallel to the street. This is one source of today's interesting Capitol Hill streetscapes. �1_—. -- �� _ In addition to the various residential buildings, a '> number of brick and frame commercial buildings were also constructed in the neighborhood.Most The building at 736 North 300 West is an example of the commercial buildings that continued to be constructed into the of these were one-part commercial blocks with 1940s. large storefronts and detailing on the upper facade such as corbelled brick cornices.Businesses in these The Capitol Hill neighborhood was also served buildings provided groceries, restaurants, and by a neighborhood shopping area along 300 West. other services for the neighborhood. These types A series of one-story brick commercial buildings of commercial buildings are scattered throughout were built along this busy street in the early 20th the Capitol Hill Historic District and continue to be century and provided a cluster of businesses to used for restaurants and other businesses. serve the neighborhood.In addition to stores such as groceries and hardware stores, clothing stores and other retail specialty shops were located along several blocks of this street on the western edge of the district. Design Guidelines for Historic Commercial Properties&Districts PART III 3 Page left intentionally blank 16. Central City One of Salt Lake City's oldest neighborhoods, the "'Sr ' y Central City Historic District is associated with Joseph Smith's original City plan. His "Plat for the y Cityy of Zion" designated ten-acre blocks which ; Films of tie g World Gallery 3 ilk remain intact in Central City. That said, the district contains the most varied and complex land-use patterns in Salt Lake City. Central City's eclectic mix of historic architecture includes unique examples • I II. i[rtNR4 of building styles from many periods. Some of the 11 ._ I City's original adobe vernacular homes survive • •. • here. Yet Central City streets also contain fast-food restaurants,office buildings and retail centers. The commercial building at 802 South 600 East is one of several located at prominent corner locations in the Central Within the Central City Neighborhood are a number City neighborhood. of commercial buildings. Many of these have been built within the past thirty years, especially those along sections of 400 South. However, there are still a number of corner commercial buildings • constructed in the early 20th century. Most of these are modest one-part commercial blocks with - 4 ,•. 1 minimal architectural detailing. r As a dense inner city neighborhood, Central City has always been beset by land-use conflicts.Its large blocks led to haphazard,incompatible development -- as early as 1900, and the area has been subject to the problems associated with absentee ownership for decades. 400 South has developed as a major commercial corridor. In addition, the area incorpates a mix of tranportation options. Elements of connection include the Trax light rail system, street system, bus transit system, bicycle system and pedestrian system. The City has undertaken a number of actions to encourage transit oriented development that integrates land use and transportation to help create vibrant and sustainable development in this area. Design Guidelines for Historic Commercial Properties&Districts PART III 5 Page left intentionally blank 17. Exchange Place The distinctive buildings that make up the Exchange Major Institutions Place Historic District appear much as they did Newhouse donated Exchange Place land for a when they were built between 1903 and 1917. Their new Commercial Club Building. Essentially the architecture suggests a mini Wall Street for their era, Chamber of Commerce of its day, the Commercial a major financial center for the rapidly developing Club chose to build a luxurious building designed American West. Developed as a result of Mormon to look like a smaller version of the New York Gentile commercial rivalry, this narrow street, Athletic Club, complete with a swimming pool, one block long, was Salt Lake City's second major banquet room, private dining rooms, and game business district. rooms. The building was designed with the influences of the Second Renaissance Revival style Commercial Rivalry in its arched windows and entrance on the first floor In 1855, east of the temple block stood the Deseret and elaborate cornice at the roofline. Store, General Tithing Office, Bishop's Storehouse, Locating the Commercial Club in Exchange Place the territorial mint and Deseret News buildings. In helped assure the area's success, but even more an effort to establish a non-Mormon counterweight important was the Salt Lake Stock and Mining to this dominant business hub, a small group Exchange. Organized in 1888, the exchange of businessmen set out to move the focus of Salt provided the mechanism for raising capital to Lake finance and enterprise to Exchange Place four develop Utah's lucrative mines. Built in 1908, the blocks to the south. building was designed in the Neoclassical style with The most important contributor to Exchange prominent Ionic columns supporting a dentilled Place was Samuel Newhouse. Before he was forty, pediment. The engine that drove Salt Lake City Newhouse had made several million dollars in growth for decades, the Exchange was especially western mines. With vast interests in Utah mining vibrant during the uranium boom of the 1950s when fields and with offices in New York, London and a mania for buying penny stocks to finance the Paris, Newhouse attracted large sums of capital development of uranium mines swept the country. to Salt Lake City. It was Newhouse who financed Because of the speculative nature of the uranium the hallmark buildings of the district—Utah's first trade, one historian described Salt Lake City in the skyscrapers, the 12-story Boston and Newhouse, 1950s as "the gambling capital of the world." completed in 1910. These twin structures frame the entrance to Exchange Place and even today tower over nearby buildings. With their distinctive New York look, the Boston and the Newhouse buildings reflect Samuel Newhouse's desire to transplant the affluent image of East Coast cities to Utah. Design Guidelines for Historic Commercial Properties&Districts PART III 7 PART III Historic Districts Decades of Success and Recent Sustainability "' 1 R Prominent Utah businessman Orange J. Salisbury �� G ® A shared Samuel Newhouse's goal of shifting the 6 r center of Salt Lake City's business district to the south try ,� h �" t',l ri •-,1,p1 end of downtown.He financed the Felt Building,an ® rf a, a,$1. early example of Sullivanesque architecture in Utah. f f ,':" Salisbury also financed the New York Hotel with the _ _ II ji latest in luxury—steam heat and electric lights in �' I every room. Other buildings in the district include ; ' "- .• !� 4 the New Grand Hotel, also built with wealth from — _J; Utah mines, and the Hotel Plandome, built by non- The Commercial Club Building(1908)borrows its Mormon businessman Albert Fisher. In addition, architectural detailing and overall style from the Second the U.S. government built a Classical Revival style Renaissance Revival style. Federal Building and Post Office on Main Street where it served as a visual terminus for Exchange This early 20th century flurry of building on Exchange Place was dramatic. Not only did the Place.The overall effect was powerful. buildings rise high, opulently and quickly, they did I ' -'` indeed draw focus from Temple Square. However, f c' '{{{/ 1 (44 by 1915 Samuel Newhouse was bankrupt. The I k�.. P Newhouse Hotel, originallylanned as one of the . ( — _z+«Eu-- premier hotels in the West,was quite austere in the "�, ^. end. ErrJ7 j 7] Exchange Place was a busy business center for I, Elii 1 decades, but during the 1960s and 1970s, the area l - ili lip' _ ]i _ experienced neglect. By the late 1970s, the State _ II " 11 ii 1i III and the City were encouraging the restoration and preservation of Exchange Place's unique buildings . _ - NI MI li II I1 li - and streetscape. Fortunately, the district's original _ . -— r feel remains intact and, with the recent addition of INK". adequate parking, attractive to business. With its ©—_` lye i' ` A narrow streets and sense of enclosure, Exchange _ z l Place is more protected and intimate than many ') ®-ter..__ acme_.. - --�.- - =i _^y - parts of the City.There is even a milder microclimate The Felt Building(1910)at 339 S.Main Street displays at the street level where pedestrians are shielded early use of terra-cotta as a decorative element. from the weather. What Newhouse intended in 1900, a New York-like streetscape housing a financial center,remains intact today. 8 PART III Salt Lake City 18. South Temple South Temple,formally known as Brigham Street,is I frequently referred to as Utah's premier residential 61 i I boulevard, a testament to the transformation of Salt - Lake City from an agricultural village to an urban �IL , :` ��r center that could support the elegant architecture `` ---- along this street. 1►11 During the 1850s and 1860s, South Temple was rural, lined with adobe homes, orchards and barns. : ; 11 Then the railroad arrived, and fortunes were made. i I,./ - Z. _ _ By 1880 frame and brick had replaced adobe. a '__. ' Orchards and barns were replaced with two-story _'--_ - shops and homes. By the 1890s South Temple was This storefront was an early addition to the foursquare house at 434 E South Temple Street. fulfilling Brigham Young's prediction that it would become the finest street in Zion.As the 20th century +'i ►1,4. * ,A began,South Temple took on the elegant appearance we associate with it today. The most imposing ' .I `:.' mansions belonged to an influential group of men :`'`sr.`;' who had earned great wealth through mining Y �-r and who had no cultural or religious association . ,' with the LDS Church. Their desire to separate themselves socially led to the establishment of the I *;' Alta and the University clubs while the construction The storefront was a 1930s addition to the building at 754 E of the Cathedral of the Madeleine and the First South Temple Street. Presbyterian Church announced that non-Mormons { had a permanent stake in this prestigious area of the :- 4 City. I ► . T Professional people who were not as wealthy but ` •'`, " prominent nonetheless were also building in the — 1___;__kupl ;-.1. hi! South Temple area. They built four-square boxes, - 1 Shingle style houses and Arts and Crafts bungalows. a (J WI 0 !'-1 These styles were popular throughout the City, ;t. Il ' m 'a a �._ but South Temple residents built more elaborate "' r 4i . �,l., `,'., ��. versions representing some of the finest work of the `__ State's best-known architects. The building at 430 E South Temple Street was constructed to serve as a garage for the production of electric automobiles. Design Guidelines for Historic Commercial Properties&Districts PART III 9 PART III Historic Districts _ South Temple's grandeur began to wane during the 1920s and 1930s. Wealthy families aged and P dispersed. New construction along South Temple during this period consisted primarily of apartment 111 ,,.,,at;,.., buildings and clubhouses for fraternal and women's SSIGAI REGISTRY organizations. While these buildings were among *CHINA-SILVER •RIGOUTS the most elegant clubs and multifamily structures IFFIr kin the City, they still represented change for South =. Temple. Zoning changes allowed commercial encroachment and higher residential densities. 445 E South Temple Street(1959) As land value increased, many architecturally significant single family residences were lost. As residences were demolished they were replaced in the 1950s and 1960s with modern commercial f• '4. 1i I and office buildings. These buildings brought a lI I 1- • different character to the street and represent a wave of construction that is now appreciated for its - mid-20th century modern and late modern designs. The City designated South Temple as an historic district in 1976, providing for the preservation of 633 E. South Temple Street(1960) the unique buildings and street features that once made South Temple the City's premier address. Additional Information Lester,Margaret D. Brigham Street. Published by Utah State Historical Society. 1979 books.google.com/books/about/Brigham_Street. html?id=EZhCPQAACAAJ r 10 PART III Salt Lake City 19. University Between 1900 and 1920, Salt Lake City experienced :.." -- i4' prosperity and growth, and the University Historic ,._ r `' J '; District is lasting evidence of that expansion. The •:-= „ . success of this East Bench community was assured {,�,, when the University of Utah was established in • . ' 1901. Soon after, the City installed utilities and � ' 11 11111 extended electric streetcar lines to the University I1 ; 7 (I 1111 i area. Stimulated bythe presence of the University, r FL 11� , - '"'" the district filled with homes and businesses - ''r'-- T-- - - _ ,,,,,,,m....e relatively quickly, making for a homogenous blend of architecture and consistent streetscapes. More than any other Salt Lake City historic district, the These homes along 1300 East have been adaptability reused for University Historic District has a uniform character commercial purposes. and identity. - t / The University district has a small but lively neighborhood shopping area on the blocks between 200 and 300 South and 1300 East and University $I f 9�. , Street. Some of the businesses are located within '�' V F former homes including several four-square r/»� �.r'•�J , residences. This district lacks the types of historic / ////l//// L?' h corner commercial buildings found in areas such as 1 Central City and the Avenues.While the remaining '` - ;--* r �Y one and two-part commercial blocks interspersed r - -- - in the more residential areas have generally been '~_- - - - -- - converted to residences. Fire Station Number Eight at 260 South 1300 East(1929)has been converted into a restaurant and maintains much of its original character. Design Guidelines for Historic Commercial Properties&Districts PART III 11 Page left intentionally blank Appendices Appendix A. Salt Lake City Historic Design Standards & Secretary of the Interior'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 taken SECTION 21A.34.020.G A:1 from the Salt Lake City Code.This code is available SECTION 21A.34.020.H A:2 online at: PART 2-THE SECRETARY OF THE • www.sterlingcodifiers.com/codebook/index.php?book_ id=672 INTERIOR'S STANDARDS A:4 Al THE 11(EATMENT OF HISTORIC Section 21A.34.020.G PROPERTIES A:4 A2 SELECTING A TREATMENT A:4 G. Standards For Certificate Of Appropriateness For Alteration Of Bl STANDARDS FOR PRESERVATION A:5 A Landmark Site Or Contributing B2 STANDARDS FOR REHABILITATION A:6 Structure: In considering an application B3 STANDARDS FOR RESTORATION A:7 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; Design Guidelines for Historic Commercial 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. 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; c. Roof Shape:The roof shape of a structure shall be visually compatible with the surrounding structures and streetscape; and d. Scale Of A Structure:The size and mass of the structures shall be visually compatible with the size and mass of surrounding structure and streetscape. A:2 APPENDICES Salt Lake City Appendix A. Part 1. Salt Lake City Ordinance 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). Design Guidelines for Historic Commercial Properties&Districts APPENDICES A:3 Appendix A. Part 2. The Secretary of the Interior's Standards Part 2. The Secretary of the A2 Selecting a Treatment Interior's Standards for the www.nps.gov/tps/standards/four-treatments.htm Treatment of Historic Properties Choosing an appropriate treatment for a historic building or landscape is critical. Preservation focuses on the maintenance and repair Al The Treatment of Historic Properties of existing historic materials and retention of a www.nps.gov/tps/standards.htm property's form as it has evolved over time. The Standards are a series of concepts about Rehabilitation acknowledges the need to alter maintaining,repairing, and replacing historic or add to a historic property to meet continuing materials,as well as designing new additions or or changing uses while retaining the property's making alterations.The Guidelines offer general historic character. design and technical recommendations to assist Restoration depicts a property at a particular in applying the Standards to a specific property. period of time in its history,while removing Together,they provide a framework and guidance evidence of other periods. for decision-making about work or changes to a historic property. Reconstruction re-creates vanished or non- surviving portions of a property for interpretive The Standards and Guidelines can be applied purposes. to historic properties of all types,materials, construction,sizes, and use.They include both the The choice of treatment depends on a variety exterior and the interior and extend to a property's of factors,including the property's historical landscape features,site, environment,as well as significance,physical condition,proposed use,and related new construction. intended interpretation.Historic buildings are used as an example below.The decision making process Federal agencies use the Standards and Guidelines would be similar for other ro er t es. in carrying out their historic preservation p P ty types. responsibilities.State and local officials use Relative importance in history.Is the building them in reviewing both Federal and nonfederal nationally significant?Is it a rare survivor or the rehabilitation proposals.Historic district and work of a master architect or craftsman?Did an planning commissions across the country use the important event take place in it? National Historic Standards and Guidelines to guide their design Landmarks, designated for their"exceptional review processes. significance in American history," or many buildings individually listed in the National The Standards offer four distinct approaches to Register often warrant Preservation or Restoration. the treatment of historic properties—preservation, Buildings that contribute to the significance of a rehabilitation,restoration,and reconstruction with historic district but are not individually listed in Guidelines for each. the National Register more frequently undergo The Standards for the Treatment of Historic Rehabilitation for a compatible new use. Properties are regulatory for all grant-in-aid projects assisted through the national Historic Preservation Fund. The Standards for Rehabilitation, codified in 36 CFR 67,are regulatory for the review of rehabilitation work in the Historic Preservation Tax Incentives program. The Guidelines are advisory,not regulatory. 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 to stabilize, consolidate,and conserve existing character and even integrity. 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. Design Guidelines for Historic Commercial 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 Preservation as a Treatment preserved. 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 the historic significance without extensive repair or deterioration requires replacement of a distinctive replacement;when depiction at a particular period feature,the new feature will match the old in of time is not appropriate;and when a continuing design, color,texture,and,where possible, materials.Replacement of missing features will or new use does not require additions or extensive alterations,Preservation may be considered as a be substantiated by documentary and physical evidence. treatment. The Guidelines for the Treatment of Historic Chemical or physical treatments, if appropriate, Properties illustrate the practical application of will be undertaken using the gentlest means these treatment standards to historic properties. possible.Treatments that cause damage to historic These Guidelines are also available in PDF format. materials will not be used. The Guidelines for the Treatment of Cultural Archeological resources will be protected and Landscapes apply these treatment standards to preserved in place.If such resources must be disturbed,mitigation measures will be undertaken. historic cultural landscapes. New additions, exterior alterations,or related B2 Standards for Rehabilitation new construction will not destroy historic www.nps.gov/tps/standards/four-treatments/treatment materials,features,and spatial relationships that rehabilitation.htm characterize the property.The new work will be A property will be used as it was historically or be differentiated from the old and will be compatible given a new use that requires minimal change to its with the historic materials, features,size,scale and distinctive materials,features,spaces,and spatial proportion, and massing to protect the integrity of relationships. the property and its environment. The historic character of a property will be retained New additions and adjacent or related new and preserved.The removal of distinctive materials construction will be undertaken in such a manner or alteration of features,spaces, and spatial that,if removed in the future,the essential form relationships that characterize a property will be and integrity of the historic property and its avoided. environment would be unimpaired. 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 historical significance during a particular period record of its time,place, and use.Work needed of time outweighs the potential loss of extant to stabilize,consolidate and conserve materials 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 is substantial physical and documentary evidence upon close inspection, and properly documented for the work;and when contemporary alterations for future research. and additions are not planned,Restoration Materials,features,spaces,and finishes that 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. Design Guidelines for Historic Commercial Properties&Districts APPENDICES A:7 Appendix B. Appendix B. Information & Advice Part 1. Arranged by Subject PART 1 -ARRANGED BY SUBJECT B:1 PART 2-ARRANGED BY KEY WEBSITES B:6 National Park Service. National Register of Historic Places Program. Glossary of National Register PART 3-PRESERVATION BRIEFS B :8 Terms • www.nps.gov/history/nr/publications/bulletins/nrbl6a/ London,Mark,Respectful Rehabilitation-Masonry nrbl6a_appendix_IV.htm -How to Care for Old and Historic Brick and Stone. Washington,DC:The National Trust for Historic SITE FEATURES [CHAPTER 1] Preservation, 1988 STOREFRONTS [CHAPTER 2] books.google.co.za/books/about/Masonry. html?id=COZSAAAAMAAJ Jandl,H.Ward.Preservation Briefs 11:Rehabilitating Historic Storefronts. Washington,DC:Technical Mack,Robert C.,FAIA;Anne Grimmer.Preservation Preservation Services Division,National Park Briefs 1: Cleaning and Water Repellent Treatments Service,US Department of the Interior. 1982 for Historic Masonry Buildings.Washington,DC: www.nps.gov/history/hps/tps/briefs/brief11.htm Technical Preservation Services Division,National Park Service,US Department of the Interior.2000 BUILDING MATERIALS&FINISHES www.nps.gov/history/hps/tps/briefs/brief01.htm [CHAPTER 3] Pieper,Richard.Preservation Briefs 42: The Masonry&Ceramics Maintenance,Repair and Replacement of Historic Cast Stone.Washington,DC:Technical Preservation De Teel Patterson Tiller.Preservation Briefs 7: The Services Division,National Park Service,US Preservation of Historic Glazed Architectural Terra- Department of the Interior.2006 Cotta.Washington,DC:Technical Preservation www.nps.gov/history/hps/tps/briefs/brief42.htm Services Division,National Park Service,US Department of the Interior. 1979 Preservation Briefs 5: The Preservation of Historic www.nps.gov/history/hps/tps/briefs/brief07.htm Adobe Buildings.Washington,DC:Technical Preservation Services Division,National Park Grimmer,Anne.Preservation Briefs 22: The PreservationService,US Department of the Interior. 1978 and Repair of Historic Stucco. www.nps.gov/history/hps/tps/briefs/brief05.htm Washington,DC:Technical Preservation Services Division,National Park Service,US Department of Preservation Briefs 12: The Preservation of Historic the Interior.1990 Pigmented Structural Glass (Vitrolite and Carrara www.nps.gov/history/hps/tps/briefs/brief22.htm Glass).Washington,DC:Technical Preservation Services Division,National Park Service,US Gaudette,Paul and Deborah Slaton.Preservation Department of the Interior. 1984 Briefs 15:Preservation of Historic Concrete. www.nps.gov/history/hps/tps/briefs/briefl2.htm Washington,DC:Technical Preservation Services Division,National Park Service,US Department of the Interior.2006 www.nps.gov/history/hps/tps/briefs/brief15.htm Design Guidelines for Historic Commercial Properties&Districts APPENDICES B : 1 Appendix B. Wood Myers,John H.,revised by Gary L.Hume, O'Bright,Alan.Preservation Technical Notes. Exterior Preservation Briefs 8: Aluminum and Vinyl Siding on Woodwork#2:Paint Removal from Wood Siding. Historic Buildings- The Appropriateness of Substitute Washington,DC:Technical Preservation Services Materials for Resurfacing Historic Wood Frame Division,National Park Service,US Department of Buildings.Washington,DC: Technical Preservation the Interior. 1986 Services Division,National Park Service,US www.nps.gov/tps/how-to-preserve/tech-notes/Tech- Department of the Interior. 1984 Notes-Exterior02.pdf www.nps.gov/hps/tps/briefs/brief08.htm Park,Sharon C.Preservation Technical Notes. Exterior Park,Sharon C.,AIA, and Douglas C.Hicks. Woodwork#1:Proper Painting and Surface Preparation. Preservation Briefs 37:Appropriate Methods of Washington,DC:Technical Preservation Services Reducing Lead-Paint Hazards in Historic Housing. Division,National Park Service,US Department of Washington,DC:Technical Preservation Services the Interior. 1986 Division, National Park Service,US Department of www.nps.gov/tps/how-to-preserve/tech-notes/Tech- the Interior.2006 Notes-Exterior01.pdf www.nps.gov/history/hps/tps/briefs/brief37.htm Weeks,Kay D.and David W.Look,AIA. Park,Sharon C.,AIA.Preservation Briefs 39:Holding Preservation Briefs 10:Exterior Paint Problems on the Line: Controlling Unwanted Moisture in Historic Historic Woodwork.Washington,DC:Technical Buildings.Washington,DC:Technical Preservation Preservation Services Division,National Park Services Division,National Park Service,US Service,US Department of the Interior Department of the Interior. 1996 www.nps.gov/history/hps/tps/briefs/briefl0.htm www.nps.gov/history/hps/tps/briefs/brief39.htm See also"Utah's Historic Architecture" Glossary Park,Sharon,FAIR.Preservation Briefs 47: history.utah.gov/architecture/glossary.html Maintaining the Exterior of Small and Medium Size Metals Historic Buildings.Washington,DC:Technical Preservation Services Division,National Park Waite,John G.,AIA.Preservation Briefs 27:The Service,US Department of the Interior.2007 Maintenance and Repair of Architectural Cast Iron. 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, Hensley,Jo Ellen and Aguilar,Antonio.Preservation DC:Technical Preservation Services Division, National Park Service,US Department of the Briefs 3:Improving Energy Efficiency in Historic Buildings.Washington,DC:Technical Preservation Interior. 1979 www.nps.gov/hps/tps/briefs/brief06.htm Services Division,National Park Service,US Department of the Interior.2011 Mack,Robert C.,FAIA, and John P.Speweik. www.nps.gov/history/hps/tps/briefs/brief03.htm Preservation Briefs 2:Repointing Mortar Joints in Historic Masonry Buildings.Washington,DC: Technical Preservation Services Division,National Park Service,US Department of the Interior. 1998 www.nps.gov/history/hos/tps/briefs/brief02.htm B :2 APPENDICES Salt Lake City Appendix B. Other Department of Arts,Heritage and the Gaeltacht. Park,Sharon C.,Preservation Briefs 16: The Use of Ireland.Windows.A Guide to the Repair of Historic Substitute Materials on Historic Building Exteriors. Windows. 2007 www.ahg.gov.ie/en/Publications/HeritagePublications/ Washington,DC:Technical Preservation Services BuiltHeritagePolicyPublications/Windows%20-%20A%20 Division,National Park Service,US Department of Guide%20to%20the%20Repair%20of%20Historic%20 the Interior.1988 Windows%20(2007).pdf www.nps.gov/hps/tps/briefs/brief16.htm Myers,John H.Preservation Briefs 9: The Repair WINDOWS [CHAPTER 4] of Historic Wooden Windows.Washington,DC: Maintenance, Repair, Weatherization & Energy Technical Preservation Services Division,National Park Service,US Department of the Interior. 1981 Efficiency www.nps.gov/history/hps/tps/briefs/brief09.htm "How to Restore Sash Windows", "Window Repair Park,Sharon C.,AIA,Preservation Briefs 13: Tips", & "Glass Replacement" Old House Journal The Repair and Thermal Upgrading of Historic www.oldhouseonline.com/how-to-restore-sash-windows/ www.oldhouseonline.com/window-repair-tips-from-John- Steel Windows.Preservation Technical Notes. leeke/ Washington,DC:Technical Preservation Services, www.oldhousejournal.com/magazine/1506 National Park Service,US Department of the National Park Service.Technical Preservation Interior. 1984 www.nps.gov/hps/tps/briefs/brief13.htm Services. www.nps.gov/tps/sustainability/energy-efficiency/ Park,Sharon C.,AIA,and Douglas C.Hicks. weatherization/windows-doors.htm Preservation Briefs 37:Appropriate Methods of www.nps.gov/tps/sustainability/research.htm Reducing Lead-Paint Hazards in Historic Housing. www.nps.gov/tps/sustainability/resources.htm Washington,DC:Technical Preservation Services National Trust for Historic Preservation. Division,National Park Service,US Department of Weatherization the Interior.2006 www.preservationnation.org/information-center/ www.nps.gov/history/hps/tps/briefs/brief37.htm sustainable-communities/weatherization/windows/ Randl, Chad.Windows 19:Repairing Steel Historic Scotland.Managing Change in the Historic Casement Windows.Preservation Technical Notes. Environment-Windows. 2010 Washington,DC:Technical Preservation Services, www.historic-scotland.gov.uk/index/heritage/policy/ National Park Service,US Department of the managingchange.htm Interior.2002 English Heritage. Thermal Performance of Traditional www.nps.gov/tps/how-to-preserve/tech-notes/Tech- Windozus. 2009 Notes-Windowsl 9.pdf www.english-heritage.org.uk/professional/research/ Staveteig,Kaaren R. Windows 22:Maintenance and buildings/energy-efficiency/thermal-performance-of- traditional windows/ Repair of Historic Aluminum Windows.Preservation Technical Notes.Washington,DC:Technical Northen Ireland Environment Agency.Windows.A Preservation Services, National Park Service,US Guidance Booklet on Openings.Technical Note 4A. Department of the Interior.2008 2010 www.n ps.gov/tps/how-to-preserve/tech-notes/Tech- www.doeni.gov.uk/niea/windows_a_guidance_booklet_ Notes-Windows22.pdf on_openings_tn_4a.pdf Design Guidelines for Historic Commercial Properties&Districts APPENDICES B :3 Appendix B. Vogel, Neal A. and Rolf Achilles.Preservation Briefs Park,Sharon C.Windows 8: Thermal Retrofit of 33: The Preservation and Repair of Historic Stained Historic Wooden Sash Using Interior Piggyback Storm and Leaded Glass.Washington,DC:Technical Panels.Preservation Technical Notes.Washington, Preservation Services Division,National Park DC:Technical Preservation Services,National Park Service,US Department of the Interior.2007 Service,US Department of the Interior.1984 www.nps.gov/history/hps/tps/briefs/brief33.htm www.nps.gov/tps/how-to-preserve/tech-notes/Tech- New York Landmarks Conservancy.Repairing Old Notes Windows08.pdf and Historic Windows:A Manual for Architects and Fisher, Charles E.Windows 9:Interior Storm Homeowners.Washington,DC: National Trust for Windows:Magnetic Seal.Preservation Technical Historic Preservation,1992 Notes.Washington,DC:Technical Preservation www.barnesandnoble.com/w/repairing-old-and-historic- Services, National Park Service,US Department of windows-new-york-landmarks-conservancy/1022158945 the Interior.1984 ?ean=9780471144182&itm=8&usri=windows+repair www.nps.gov/tps/how-to-preserve/tech-notes/Tech- Fisher, Charles E.Windows 2:Installing Insulating Notes Windows09.pdf Glass in Existing Steel Window.Preservation Fisher, Charles E.Windows 15:Interior Storms for Technical Notes.Washington,DC:Technical Steel Casement Windows.Preservation Technical Preservation Services,National Park Service,US Notes.Washington,DC:Technical Preservation Department of the Interior. 1984. Services,National Park Service,US Department of www.nps.gov/tps/how-to-preserve/tech-notes/Tech- the Interior.1986 Notes-Windows02.pdf www.nps.gov/tps/how-to-preserve/tech-notes/Tech- Fisher,Charles E.Windows 11:Installing Insulating Notes Windows15.pdf Glass In Existing Wooden Sash Incorporating the Replacement Windows Historic Glass.Preservation Technical Notes. Replacement Windows That Meet the Standards. Washington,DC:Technical Preservation Services, Preservation Technical Notes.Washington,DC: National Park Service,US Department of the Technical Preservation Services,National Park Interior. 1984. Service,US Department of the Interior www.nps.gov/tps/how-to-preserve/tech-notes/Tech- Notes Windows11.pdf www.nps.gov/tps/standards/applying-rehabilitation/ successful-rehab/windows-replacement.htm Storm Windows ARCHITECTURAL DETAILS [CHAPTER 5] Trissler,W. &Fisher,C.E. Windows 3:External One of the best sources for historic photographs is Storm Windows: Casement Design Wooden Storm Salt Lake County Records Management,which Sash.Preservation Technical Notes.Washington, maintains early tax photographs for thousands of DC:Technical Preservation Services,National Park buildings Service,US Department of the Interior. 1984 archives.slco.org/recMgmt/recMgmt.html www.nps.gov/tps/how-to-preserverrech-Notes- Windows03.pdf ROOFS [CHAPTER 6] Fisher,Charles E. &Muckenfuss,Laura A.Windows Grimmer,Anne E. &Paul K.Williams.Preservation 5:Interior Metal Storm Windows.Preservation Briefs 30: The Preservation and Repair of Historic Clay Technical Notes.Washington,DC:Technical Tile Roofs.Washington,DC:Technical Preservation Preservation Services,National Park Service,US Services Division,National Park Service,US Department of the Interior. 1984 Department of the Interior. 1982 www.nps.gov/tps/how-to-preserve/tech-notes/Tech- www.nps.gov/history/hps/tps/briefs/brief30.htm Notes-Windows05.pdf B :4 APPENDICES Salt Lake City Appendix B. 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 www.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- ACCESSIBILITY [CHAPTER 9] bulletins/ITS32-Slate Roof-Treatment.pdf jester,Thomas C. &Sharon C.Park,AIA. Sweetser,Sarah M.Preservation Briefs 4:Roofing Preservation Briefs 32:Making Historic Properties for Historic Buildings.Washington,DC:Technical Accessible. Washington,DC:Technical Preservation Preservation Services Division,National Park Services,National Park Service,U.S.Department of Service,US Department of the Interior.1978 the Interior.1995 www.nps.gov/history/hps/tps/briefs/brief04.htm www.nps.gov/history/hps/tps/briefs/brief32.htm Park,Sharon C.,AIA.Preservation Briefs 19: The Utah's Historic Architecture Guide Repair and Replacement of Historic Wooden Shingle history.utah.gov/architecture/index.html Roofs.Washington,DC:Technical Preservation Services Division,National Park Service,US SEISMIC DESIGN [CHAPTER 10] Department of the Interior. 1989 Utah Division of State History,Office of www.nps.gov/history/hps/tps/briefs/briefl9.htm Preservation. "Bracing for the Big One:Seismic FOUNDATIONS [CHAPTER 7] Retrofit of Historic Houses,". 1993 history.utah.gov/historic_buildings/information_and_ ADDITIONS [CHAPTER 8] research/bracing_for_the_big_one.html Celebrating Compatible Design. Creating New Spaces in "Controlling Disaster:Earthquake-Hazard Historic Homes.Utah Heritage Foundation,2008 Reduction for Historic Buildings." Information Weeks,Kay D.,Preservation Briefs 14:New Exterior Series, National Trust for Historic Preservation,1785 Additions to Historic Buildings:Preservation Concerns. Massachusetts Avenue,NW,Washington DC 20036. 1992 Washington,DC:Technical Preservation Services, www.preservationbooks.org/Bookstore. National Park Service,US Department of the asp?Type=epolicy&Item=1172 Interior. 1987 www.nps.gov/hps/tps/briefs/brief14.htm Bock,Gordon. "Making Sense of Sensitive Additions,Ways to Get a Handle on Enlarging Old Houses." Old House Journal,May/June,1995 Design Guidelines for Historic Commercial Properties&Districts APPENDICES B :5 Appendix B. Look David W.,Terry Wong,PE&Sylvia Rose Part 2. Arranged by Key Website Augustus,Preservation Briefs 41: The Seismic Retrofit of Historic Buildings:Keeping Preservation in the SALT LAKE CITY CORPORATION— Forefront.Washington,DC:Technical Preservation PLANNING &HISTORIC PRESERVATION Services,National Park Service,U.S.Department of www.slcclassic.com/ced/planning/ the Interior. 1997 www.slcclassic.com/ced/hIc/default.asp www.nps.gov/history/hps/tps/briefs/brief41.htm NATIONAL PARK SERVICE—TECHNICAL STREETSCAPE ELEMENTS [CHAPTER 11] PRESERVATION SERVICES MECHANICAL EQUIPMENT&SERVICE www.nps.gov/tps/ UTILITIES [CHAPTER 12] S of I Standards NEW CONSTRUCTION [CHAPTER 13] Four Approaches to the Treatment of Historic AVENUES [CHAPTER 14] Properties www.nps.gov/tps/standards/four-treatments.htm Haglund,Karl T. &Notarianni,Philip F. The www.nps.gov/tps/standards/rehabilitation.htm Avenues of Salt Lake City. Published by Utah State Interpreting the Standards Bulletins Historical Society. 1980 www.nps.gov/tps/standards/applying-rehabilitation/ books.google.com/books/about/The_avenues_of Salt_ standards-bulletins.htm Lake_C ity.htm I?id=yrciAAAACAAJ Applying Rehabilitation LeSieur, Cevan.The Avenues.Images of America. www.nps.gov/tps/standards/applying-rehabilitation.htm Published by Arcadia Publishing.2012 books.google.com/books/about/The_avenues_of Salt_ S of I Guidelines Lake_City.html?id=yrciAAAACAAJ www.nps.gov/tps/standards/rehabilitation/rehab/stand. htm THE AVENUES [CHAPTER 14] www.nps.gov/tps/standards/rehabilitation/sustainability- guidelines.pdf CAPITOL HILL [CHAPTER 15] National Register of Historic Places Program CENTRAL CITY [CHAPTER 16] Publications&Links EXCHANGE PLACE [CHAPTER 17] www.nps.gov/history/nr/publications/index.htm SOUTH TEMPLE [CHAPTER 18] www.nps.gov/history/nr/preservation_links.htm Glossary of National Register Terms Lester,Margaret D. Brigham Street. Published by www.nps.gov/history/nr/publications/bulletins/nrbl6a/ Utah State Historical Society. 1979 nrbl6a_appendix_IV.htm books.google.com/books/about/Brigham_Street. html?id=EZhCPQAACAAJ Preservation Briefs www.nps.gov/tps/how-to-preserve/briefs.htm UNIVERSITY [CHAPTER 19] Preservation Technical Notes www.nps.gov/tps/how-to-preserve/tech-notes.htm Cultural Landscapes www.nps.gov/tps/how-to-preserve/cultural-landscapes. htm Incentives www.nps.gov/history/hps/tps/tax/incentives/index.htm B :6 APPENDICES Salt Lake City Appendix B. Online Training&Information Celebrating Compatible Design. Creating New Spaces in www.nps.gov/tps/education/online-training.htm Historic Homes.2008 National Center for Preservation Technology & NATIONAL TRUST FOR HISTORIC Training PRESERVATION ncptt.nps.gov/ www.preservationnation.org/ STATE HISTORIC PRESERVATION OFFICE, Resources for Homeowners UTAH www.preservationnation.org/resources/homeowners/ history.utah.goy/state_historic_preservation_office/index. Sustainability html www.preservationnation.org/issues/sustainability/ National Register of Historic Places Community Revitalization history.utah.gov/historic_buildings/national_register/ www.preservationnation.org/issues/community- index.html revitalization/ Research ADVISORY COUNCIL ON HISTORIC history.utah.gov/historic_buildings/information_and_ research/index.html PRESERVATION www.achp.gov/ Certified Local Government history.utah.gov/historic_buildings/certified_local_ Economic Impact of Historic Preservation government/index.html www.achp.gov/economicstudies.html Financial Assistance NATIONAL ALLIANCE OF PRESERVATION history.utah.gov/historic_buildings/financial_assistance/ COMMISSIONS index.html napc.uga.edu/ Historic Preservation Contractor Directory Publications history.utah.gov/apps/contractors.html napc.uga.edu/programs/napc/publications.htm Utah's Historic Architecture Guide Preservation Links history.utah.gov/architecture/index.html napc.uga.edu/programs/napc/links.htm Preservation Organizations THE ASSOCIATION FOR PRESERVATION history.utah.gov/historic_buildings/preservation_ organizations/index.html TECHNOLOGY INTERNATIONAL www.apti.org/ Publications history.utah.gov/historic_buildings/publications/ Publications preservation_publications.html#pubs www.apti.org/publications/index.cfm UTAH HERITAGE FOUNDATION Resources www.utahheritagefoundation.com/ www.apti.org/publications/tech-publications.cfm Financial Assistance PRESERVATION TRADES NETWORK www.utahheritagefoundation.com/preservation- www.iptw.org/ resources/financial-resources WINDOW PRESERVATION STANDARDS Resources COLLABORATIVE www.utahheritagefoundation.com/preservation-resources ptnresource.org/WPSC/about/ Tours and Events NATIONAL PRESERVATION INSTITUTE www.utahheritagefoundation.com/tours-and-events www.npi.org/ Awards www.utahheritagefoundation.com/saving-places/heritage- awards Design Guidelines for Historic Commercial Properties&Districts APPENDICES B :7 Appendix B. Part 3. Preservation Briefs. 8 Myers,John H.,revised by Gary L.Hume. Preservation Technical Services, Aluminum and Vinyl Siding on Historic Buildings: The Appropriateness of Substitute Materials for Resurfacing National Park Service Historic Wood Frame Buildings. 1984 www.nps.gov/tps/how-to-preserve/briefs.htm www.nps.gov/history/hps/tps/briefs/brief08.htm Preservation Briefs help historic building owners 9 Myers,John H. The Repair of Historic Wooden recognize and resolve common problems prior to Windows. 1981 www.nps.gov/history/hps/tps/briefs/brief09.htm work. 10 Weeks,Kay D.and David W.Look,AIA.Exterior The briefs are especially useful to Historic Paint Problems on Historic Woodwork. 1982 Preservation Tax Incentives Program applicants www.nps.gov/history/hps/tps/briefs/brief10.htm because they recommend methods and approaches for rehabilitating historic buildings that are 11 Jandl,H.Ward.Rehabilitating Historic Storefronts. consistent with their historic character. 1982 www.nps.gov/history/hps/tps/briefs/brief11.htm Some of the web versions of the Preservation Briefs 12 The Preservation of Historic Pigmented Structural differ somewhat from the printed versions.Many Glass (Vitrolite and Carrara Glass). 1984 illustrations are new and in color rather than black www.nps.gov/history/hps/tps/briefs/briefl2.htm and white;Captions are simplified and some complex charts are omitted.To order hard copies of 13 Park,Sharon C.,AIA. The Repair and Thermal the Briefs, see Printed Publications. Upgrading of Historic Steel Windows. 1984 www.nps.gov/history/hps/tps/briefs/brief13.htm 1 Mack,Robert C.,FAIA;Anne Grimmer. Cleaning 14 Grimmer,Anne E. and Kay D.Weeks.New and Water-Repellent Treatments for Historic Masonry Exterior Additions to Historic Buildings:Preservation Buildings. 2000 www.nps.gov/history/hps/tps/briefs/brief01.htm Concerns. 2010 www.nps.gov/history/hps/tps/briefs/brief14.htm 2 Mack,Robert C.,FAIA,and John P.Speweik. 15 Gaudette,Paul and Deborah Slaton.Preservation Repointing Mortar Joints in Historic Masonry of Historic Concrete. 2006 Buildings. 1998 www.nps.gov/history/hps/tps/briefs/brief15.htm www.nps.gov/history/hps/tps/briefs/brief02.htm 16 Park,Sharon C.,AIA. The Use of Substitute 3 Hensley,Jo Ellen and Aguilar,Antonio.Improving Materials on Historic Building Exteriors. 1988 Energy Efficiency in Historic Buildings. 2011 www.nps.gov/history/hps/tps/briefs/brief16.htm www.nps.gov/history/hps/tps/briefs/brief03.htm 17 Nelson,Lee H.,FAIA.Architectural Character- 4 Sweetser,Sarah M.Roofing for Historic Buildings. 1978 Identifying the Visual Aspects of Historic Buildings as www.nps.gov/history/hps/tps/briefs/brief04.htm an Aid to Preserving their Character. 1988 www.nps.gov/history/hps/tps/briefs/brief17.htm 5 The Preservation of Historic Adobe Buildings. 1978 www.nps.gov/history/hps/tps/briefs/brief05.htm 18 Jandl,H.Ward.Rehabilitating Interiors in Historic Buildings — Identifying Character-Defining Elements. 6 Grimmer,Anne E.Dangers of Abrasive Cleaning to 1988 Historic Buildings. 1979 www.nps.gov/history/hps/tps/briefs/briefl8.htm www.nps.gov/history/hps/tps/briefs/brief06.htm 19 Park,Sharon C.,AIA. The Repair and Replacement 7 De Teel Patterson Tiller. The Preservation of of Historic Wooden Shingle Roofs. 1989 Historic Glazed Architectural Terra-Cotta. 1979. www.nps.gov/history/hps/tps/briefs/brief19.htm www.nps.gov/history/hps/tps/briefs/brief07.htm B :8 APPENDICES Salt Lake City Appendix B. 20 Auer,Michael J. The Preservation of Historic 33 Vogel, Neal A.and Rolf Achilles. The Barns. 1989 Preservation and Repair of Historic Stained and Leaded www.nps.gov/history/hps/tps/briefs/brief20.htm Glass. 2007 21 MacDonald,Mary Lee.Repairing Historic Flat www.nps.gov/history/hps/tps/briefs/brief33.htm Plaster—Walls and Ceilings. 1989 34 Thornton,Jonathan and William Adair,FAAR. www.nps.gov/history/hps/tps/briefs/brief21.htm Applied Decoration for Historic Interiors:Preserving 22 Grimmer,Anne. The Preservation and Repair of Historic Composition Ornament. 1994 Historic Stucco. 1990 www.nps.gov/history/hps/tps/briefs/brief34.htm www.nps.gov/history/hps/tps/briefs/brief22.htm 35 McDonald,Travis C.,Jr. Understanding Old 23 Flaharty,David.Preserving Historic Ornamental Buildings: The Process of Architectural Investigation. Plaster. 1990 1994 www.nps.gov/history/hps/tps/briefs/brief23.htm www.nps.gov/history/hps/tps/briefs/brief35.htm 24 Park,Sharon C.,AIA.Heating, Ventilating, and 36 Birnbaum, Charles A.,ASLA.Protecting Cultural Cooling Historic Buildings:Problems and Recommended Landscapes:Planning, Treatment and Management of Approaches. 1991 Historic Landscapes. 1994 www.nps.gov/history/hps/tps/briefs/brief24.htm www.nps.gov/history/hps/tps/briefs/brief36.htm 25 Auer,Michael J. The Preservation of Historic Signs. 37 Park,Sharon C.,AIA, and Douglas C.Hicks. 1991 Appropriate Methods of Reducing Lead-Paint Hazards www.nps.gov/history/hps/tps/briefs/brief25.htm in Historic Housing.2006 www.nps.gov/history/hps/tps/briefs/brief37.htm 26 Bomberger,Bruce D. The Preservation and Repair of Historic Log Buildings. 1991 38 Weaver,Martin E.Removing Graffiti from Historic www.nps.gov/history/hps/tps/briefs/brief26.htm Masonry. 1995 www.nps.gov/history/hps/tps/briefs/brief38.htm 27 Waite,John G.,AIA. The Maintenance and Repair of Architectural Cast Iron. 1991 39 Park,Sharon C.,AIA.Holding the Line: www.nps.gov/history/hps/tps/briefs/brief27.htm Controlling Unwanted Moisture in Historic Buildings. 28 Chase,Sara B.Painting Historic Interiors. 1992 1996 www.nps.gov/history/hps/tps/briefs/brief28.htm www.nps.gov/history/hps/tpslbriefs/brief39.htm 29 Levine,Jeffrey S. The Repair,Replacement, and 40 Grimmer,Anne E.and Kimberly A.Konrad. Maintenance of Historic Slate Roofs. 1992 Preserving Historic Ceramic Tile Floors. 1996 www.nps.gov/history/hps/tps/briefs/brief29.htm www.nps.gov/history/hps/tps/briefs/brief40.htm 41 Look,David W.,AIA,Terry Wong,PE,and 30 Grimmer,Anne E.and Paul K.Williams. The Preservation and Repair of Historic Clay Tile Roofs. Sylvia Rose Augustus. The Seismic Retrofit of Historic 1992 Buildings:Keeping Preservation in the Forefront. 1997 www.nps.gov/history/hps/tps/briefs/brief30.htm www.nps.gov/history/hps/tps/briefs/brief41.htm 31 Park,Sharon C.,AIA.Mothballing Historic 42 Pieper,Richard. The Maintenance,Repair and Buildings. 1993 Replacement of Historic Cast Stone. www.nps.gov/history/hps/tps/briefs/brief31.htm ✓•nps.gov/history/hps/tps/briefs/brief42.htm 32 Jester,Thomas C. and Sharon C.Park,AIA. 43 Slaton,Deborah. The Preparation and Use of Making Historic Properties Accessible. 1993 Historic Structure Reports. www.nps.gov/history/hps/tps/briefs/brief32.htm 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 Design Guidelines for Historic Commercial Properties&Districts APPENDICES B :9 Appendix B. 45 Sullivan,Aleca and John Leeke.Preserving Historic Wooden Porches.2006 www.nps.gov/history/hps/tps/briefs/brief45.htm 46 Randl, Chad. The Preservation and Reuse of Historic Gas Stations.2008 www.nps.gov/history/hps/tps/briefs/brief46.htm 47 Park,Sharon,FAIA.Maintaining the Exterior of Small and Medium Size Historic Buildings.2007 www.nps.gov/history/hps/tps/briefs/brief47.htm B :10 APPENDICES Salt Lake City Appendix C. Glossary of Terms Appendix C. Glossary of Terms See also "Utah's Historic Architecture"Glossary history.utah.gov/architecture/glossary.htm l Procedural Definitions PROCEDURAL DEFINITIONS C:I Certificate of Appropriateness A document issued TECHNICAL.DEFINITIONS C:1 by the Historic Landmark Commission(HLC) ARCHITECTURAL TERMS C:4 allowing an applicant to proceed with a proposed alteration, demolition,or new construction in Technical Definitions locally-designated historic districts or properties listed in the Salt Lake City Register of Cultural Adaptive Use Original use such as a residence converted into offices.The reuse of a building Resources,following a determination of the proposal's suitability according to applicable or structure,usually for purposes different from criteria. the original use such as residence converted into offices. Process The established procedures by which the various actions that may be take by the Historic Addition New construction added to an existing Landmark Commission are is carried out. building or structure. Public notice Notice provided to interested parties Alteration Work that affects the exterior before a commission takes action. appearance of a property. Building A structure with a roof,intended for shelter or enclosure such as a dwelling or garage. Character The qualities and attributes of a building,structure,site,street or district. 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 in whole or in part a building or structure. Demolition by Neglect The destruction of a building or structure through abandonment or lack of maintenance. Design Guidelines for Historic Commercial Properties&Districts APPENDICES C :1 Appendices Design Guidelines Criteria developed to provide Infill New construction in historic districts on direction to projects conducted within the context vacant lots or to replace existing buildings. of an area regarding design concerns and to Landmark Site Any site included on the Salt Lake help ensure that rehabilitation projects and new City Register of Cultural Resources. Such sites are construction respect the character of designated of exceptional importance to the City,State,region buildings and districts. or nation and impart high artistic,historic and/or Element A material part or detail of a site,building, cultural values. structure,street,or district. Landscape The totality of the built or human- Elevation Anyone of the external vertical planes influenced habitat experienced at anyone place. of a building. (or)An external vertical plane of a Dominant features are topography,plant cover, structure. buildings, or other structures and their patterns. Fabric The physical material of a building, Maintain To keep in an existing state of structure,site,or community conveying an preservation or repair. interweaving of component parts. Mothballing Implementing temporary measures to Floor Area Ratio The relationship of the total stabilize and protect a building from deterioration floor area of a building to the land area of its site, and vandalism. as defined in a ratio in which the numerator is the New construction Construction which is floor area,and the denominator is the site area. characterized by the introduction of new elements, Historic District A geographically definable sites,buildings,or structures or additions to area with a significant concentration of buildings, existing buildings and structures in historic areas structures, sites,spaces, or objects unified by past and districts. events,physical development, design,setting, Preservation Generally,saving from destruction materials,workmanship,sense of cohesiveness or or deterioration old and historic buildings, related historical and aesthetic associations.The sites,structures,and objects and providing for significance of a district may be recognized through their continued use by means of restoration, listing in a local,state,or national landmarks rehabilitation, or adaptive use. register and may be protected legally through enactment of a local historic district ordinance Proportion Harmonious relation of parts to one administered by a historic district board or another or to the whole. commission. Protection The act or process of applying Historic Imitation New construction or measures designed to affect the physical condition rehabilitation where elements or components of a property be defending or guarding it from mimic an architectural style but are not of the same deterioration,loss or attack, or to cover or shield historic period as the existing buildings (historic the property from danger of injury.In the case replica). of buildings and structures,such treatment is generally of a temporary nature and anticipates Historic Landmark Commission The City's future historic preservation treatment;in the case of governmental entity responsible for administering archaeological sites,the protective measure may be the criteria set forth in this document and in the Salt temporary or permanent. Lake City Zoning Ordinance (Section 21A.34.020) as applies to locally-designated landmark sites and Reconstruction The act or process of reproducing historic districts. by new construction the exact form and detail of a vanished building,structure,or object, or a part thereof,as is appeared at a specific period of time. C :2 APPENDICES Salt Lake City Appendix C. Glossary of Terms Rehabilitation The act or process of returning a Style A type of architecture distinguished by property or building to usable condition through special characteristics of structure and ornament repair,alteration,and/or preservation of its features and often related in time;also a general quality of a which are significant to its historical, architectural, distinctive character. and cultural values. Visual Continuity A sense of unity or belonging Renovation The act or process of returning a together that elements of the built environment property to a state of utility through repair or exhibit because of similarities among them. alteration which makes possible a contemporary use. Restoration The act or process of accurately taking a building's appearance back to a specific period of time by removing later work and by replacing missing 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. Stabilization The act or process of applying measures to reestablish a weather resistant enclosure and the structural stability of a deteriorated property while maintaining its present form. Streetscape The distinguishing character of a particular street as created by its width, degree of curvature,paving materials, design of the street furniture, and forms of surrounding buildings. Design Guidelines for Historic Commercial Properties&Districts APPENDICES C :3 Appendices Architectural Terms Bracket A projecting element of wood,stone or metal which spans between horizontal and vertical Alignment The arrangement of objects along a surfaces(eaves,shelves,overhangs) as decorative straight line. support. Apron A decorative,horizontal trim piece on the Bulkhead The structural panels just below display lower portion of an architectural element. windows on storefronts.Bulkheads can be both supportive and decorative in design. 19th century Arch A construction which spans an opening and bulkheads are often of wood construction with supports the weight above it. (see flat arch,jack rectangular raised panels.20th century bulkheads arch,segmental arch and semi-circular arch). may be of wood,brick,tile, or marble construction. Ashlar A square,hewn stone used in building.It Bulkheads are also referred to as kickplates. also refers to a thick dressed, square stone used for facing brick walls,etc. Came Metal struts supporting leaded glass. Attic The upper level of a building,not of full Canopy A roofed structure constructed of fabric or other material placed so as to extend outward ceiling height,directly beneath the roof. from a building providing a protective shield for Balcony A platform projecting from the wall of an doors,windows and other openings,supported by upper story,enclosed by a railing or balustrade, the building and supports extended to the ground with an entrance from the building and supported directly under the canopy or cantilevered from the by brackets,columns,or cantilevered out. building. Baluster One of a series of Short,vertical, often Capital The head of a column or pilaster. vase-shaped members used to support a stair or Carrara Glass Tinted glass widely used for porch handrail, forming a balustrade. storefront remodeling during the 1930s and 1940s. Balustrade An entire rail system with top rail and Carrara glass usually came in black, tan, or dark balusters. red colors. Bargeboard A board which hangs from the Casement window A window with one or two projecting end of a gable roof,covering the end sashes which are hinged at the sides and usually rafters,and often sawn into a decorative pattern. open outward. Bay The portion of a facade between columns Clapboards Horizontal wooden boards,thinner or piers providing regular divisions and usually at the top edge,which are overlapped to provide a marked by windows. weather-proof exterior wall surface. Bay window A projecting window that forms an Classical order Derived from Greek and Roman extension to the floor space of the internal rooms; architecture,a column with its base, shaft, capital usually extends to the ground level. and entablature having standardized details and Belt course A horizontal band usually marking the proportions,according to one of the five canonized floor levels on the exterior facade of a building. modes Doric,Tuscan,Ionic,Corinthian, or Board and batten Siding fashioned of boards set Composite. vertically and covered where their edges join by Clipped gable A gable roof where the ends of narrow strips called battens. the ridge are terminated in a small, diagonal roof Bond A term used to describe the various patterns surface. in which brick(or stone)is laid,such as "common Column A cylindrical or square vertical structural bond'or"Flemish bond." or ornamental member. C :4 APPENDICES Salt Lake City Appendix C. Glossary of Terms Common bond A brickwork pattern where most Engaged column A column that is in direct contact courses are laid flat,with the long"stretcher" with a wall;at least half of the column extends edge exposed,but every fifth to eighth course is beyond the plane of the wall to which it is attached. laid perpendicularly with the small"header" end Entablature A part of a building of classical exposes,to structurally tie the wall together. order resting on the column capital;consists of an Corbel In masonry, a projection, or one of a series architrave,frieze,and cornice. of projections, each stepped progressively farther Facade Any of the exterior faces of a building. forward with height and articulating a cornice or False Front A front wall which extends beyond the supporting an overhanging member. sidewalls of a building to create a more imposing Corinthian order Most ornate classical order facade. characterized by a capital with ornamental acanthus leaves and curled fern shoots. Fanlight A semi-circular window usually over a door with radiating muntins suggesting a fan. Cornice The uppermost,projecting part of an entablature,or feature resembling it.Any projecting Fascia A projecting flat horizontal member or ornamental molding along the top of a wall, molding;forms the trim of a flat roof or a pitched building, etc. roof;also a part of a classical entablature. Cresting A decorated ornamental finish along the Fenestration The arrangement of windows and top of a wall or roof,often made of ornamental other exterior openings on a building. metal. Finial A projecting decorative element at the top of Cross-gable A secondary gable roof which meets a roof turret or gable. the primary roof at right angles. Fishscale shingles A decorative pattern of wall Dentils A row of small tooth-like blocks in a shingles composed of staggered horizontal rows of classical cornice. wooden shingles with half-round ends. Doric order A classical order with simple, Flashing Thin metal sheets used to prevent unadorned capitals,and with no base. moisture infiltration at joints of roof planes and between the roof and vertical surfaces. Dormer window A window that projects from a roof. Flat arch An arch whose wedge-shaped stones or bricks are set in a straight line;also called a jack Double-hung window A window with two sashes, arch. one sliding vertically over the other. Flemish bond A brick-work pattern where the long Eave The edge of a roof that projects beyond the "stretcher" edge of the brick is alternated with face of a wall. the small"header" end for decorative as well as EIFS Stands for"Exterior Insulating and Finish structural effectiveness. System."This is a process by which a styrene board Fluting Shallow,concave grooves running is adhered to wall sheathing and an elastomeric, vertically on the shaft of a column,pilaster, or other synthetic stucco is applied.At this writing EIFS is surface. generally referred to as "dryvit," but this is a brand Foundation The lowest exposed portion of the name. building wall,which supports the structure above. Ell The rear wing of a house,generally one room wide and running perpendicular to the principal Frieze The middle portion of a classical cornice; building. also applied decorative elements on an entablature or parapet wall. Design Guidelines for Historic Commercial Properties&Districts APPENDICES C :5 Appendices Gable The triangular section of a wall to carry a Luxfer glass A glass panel made up of small leaded pitched roof. glass lights either clear or tinted purple.These Gable roof A pitched roof with one downward panels were widely used for storefront transoms slope on either side of a central,horizontal ridge. during the early 20th century. Gambrel roof A ridged roof with two slopes on Mansard roof A roof with a double slope on all either side. sides,with the lower slope being almost vertical and the upper almost horizontal. Ghosts Outlines or profiles of missing buildings or building details.These outlines may be visible Masonry Work using brick,stone,concrete block, through stains,paint,weathering,or other residue tile, adobe or similar materials. on a building's facade or side elevation. Massing The three-dimensional form of a building. Guardrail A building component or a system of Metal standing seam roof A roof composes of building components located at or near the open overlapping sections of metal such as copper- sides of elevated walking surfaces that minimizes bearing steel or iron coated with a terne alloy of the possibilities of a fall from the walking surface to lead and tin.These roofs were attached or crimped a lower level. together in various raised seams for which the roof Handrail A horizontal or sloping rail intended for are named. grasping by the hand for guidance or support. Modillion A horizontal bracket, often in the Hipped roof A roof with uniform slopes on all form of a plain block, ornamenting, or sometimes sides. supporting,the underside of a cornice. Hood molding A projecting molding above an arch, Mortar A mixture of sand,lime, (and in more doorway, or window, originally designed to direct modern structures, cement), and water used as a water away from the opening;also called a drip binding agent in masonry construction. mold. Molding A decorative band or strip of material Ionic order One of the five classical orders used to with a constant profile or section designed to cast describe decorative scroll capitals. interesting shadows.It is generally used in cornices and as trim around window and door openings. Jack arch (see Flat arch) Mullion A heavy vertical divider between Joist One of the horizontal wood beams that windows or doors. support the floors or ceilings of a house.They are set parallel to one another—usually from 1'0" to Multi-light window A window sash composed of 2'0" apart—and span between supporting walls or more than one pane of glass. larger wood beams. Muntin A secondary framing member to divide Keystone The wedge-shaped top or center member and hold the panes of glass in multi-light window of an arch. or glazed door. Knee brace An oversize bracket supporting a Oriel window A bay window which emerges cantilevered or projecting element. above the ground floor level. Lancet Window A narrow,vertical window that Paired columns Two columns supported by one ends in a point. pier, as on a porch. Lap Siding See clapboards. Palladian window A window with three openings, the central one arched and wider than the flanking Lintel The horizontal top member of a window, ones. door,or other opening. C :6 APPENDICES Salt Lake City Appendix C. Glossary of Terms Paneled door A door composed of solid panels Roof The top covering of a building.Following are (either raised or recessed)held within a framework some types: of rails and stiles. • 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. Pier A vertical structural element,square or • Shed roof(lean-to)has one slope only and is rectangular in cross-section. built against a higher wall. Pilaster A rectangular pillar attached,but • Clipped gable or hipped gable is similar to projecting from a wall,resembling a classical gable but with the end clip'ped back. column. • Gambrel roof is a variation of a gable roof,each Pitch The degree of the slope of a roof, side of which has a shallower slope above a Pony wall Low wall,between 24" to 36"high, steeper one. that are used to enclose porches or balconies.Also known as "wing walls. • Mansard roof is a roof with a double slope; the Portico A roofed space, open or partly enclosed, lower slope is steeper than the upper. forming the entrance and centerpiece of the facade Rusticated Roughening of stonework of concrete of a building, often with columns and a pediment. blocks to give greater articulation to each block. Portland cement A strong, inflexible hydraulic Sash The moveable framework containing the cement used to bind mortar. glass in a window. Post A piece of wood,metal, etc.,usually long Segmental arch An arch whose profile or radius is and square or cylindrical,set upright to support a less than a semicircle. building,sign, gate, etc.;pillar;pole. Semi-circular arch An arch whose profile or radius Pressed tin Decorative and functional metalwork is a half-circle the diameter of which equals the made of molded tin used to sheath roofs,bays, and opening width. cornices. Shape The general outline of a building or its Pyramidal roof A roof with four identical sides facade. rising to a central peak. Sheathing An exterior covering of boards of other Quoins A series of stone,bricks, or wood panels surface applied to the frame of the structure. (see ornamenting the outside of a wall. Siding) Rafter Any of the beams that slope from the ridge Shed roof A gently-pitched,almost flat roof with of a roof to the eaves and serve to support the roof. only one slope. Ridge The top horizontal member of a roof where Sidelight A vertical area of fixed glass on either the sloping surfaces meet. side of a door or window. Siding The exterior wall covering or sheathing of a structure. Sill The bottom crosspiece of a window frame. Design Guidelines for Historic Commercial Properties&Districts APPENDICES C:7 Appendices Soffit The underside of a structural part, as of a Weatherboard Wood siding consisting of beam,arch, etc. overlapping boards usually thicker at one edge Spindles Slender, elaborately turned wood dowels than the other. or rods often used in screens and porch trim. Window Parts The moving units of a window Stile A vertical piece in a panel or frame,as of a are known as sashes and move within the fixed door or window. frame.The sash may consist of one large pane of glass or may be subdivided into smaller panes Stretcher bond A brickwork pattern where courses by thin members called muntins or glazing bars. are laid flat with the long"stretcher" edge exposed. Sometimes in nineteenth-century houses windows Stucco An exterior wall covering that consists of are arranged side by side and divided by heavy lime,cement and sand,applied directly or over a vertical wood members called mullions.For a wood or metal lath.It is usually applied in three diagram of window parts, see PART II 3 :5. coats. Surround An encircling border or decorative frame, usually at windows or doors. Swag Carved ornament on the form of a cloth draped over supports, or in the form of a garland of fruits and flowers, Terra-cotta Decorative building material of baked clay.Terra-cotta was often glazed in various colors and textures.Terra-cotta was widely used for cornices,inset panels,and other decorative facade elements from ca.1880 to 1930. Transom A horizontal opening(or bar) over a door or window. Trim The decorative framing of openings and other features on a facade. Turret A small slender tower. Veranda A covered porch or balcony on a building's exterior. Vergeboard The vertical face board following and set under the roof edge of a gable,sometimes decorated by carving. Vernacular A regional form or adaptation of an architectural style. Wall dormer Dormer created by the upward extension of a wall and a breaking of the roofline. Water table A projecting horizontal ledge, intended to prevent water from running down the face of a wall's lower section. C: 8 APPENDICES Salt Lake City