088 of 2012 - Establishing guidelines for exterior signs within the H-Historic Preservation Overlay District & lan 0 12-1
0 12-11
SALT LAKE CITY ORDINANCE
No. 88 of 2012
(An ordinance adopting design guidelines for exterior signs
within the H-Historic Preservation Overlay District)
An ordinance adopting design guidelines for exterior signs within the H-Historic
Preservation Overlay District pursuant to Petition No. PLNPCM20 1 1-00472.
WHEREAS, the Salt Lake City Historic Landmark Commission ("historic landmark
commission") held public hearings July 7, 2011, September 15, 2011, and November 3, 2011 on
a petition initiated by Mayor Ralph Becker (Petition No. PLNPCM2011-00472) to create
guidelines for all existing and new exterior signs within the H-Historic Preservation Overlay
District; and
WHEREAS, at its November 3, 2011 meeting, the historic landmark commission voted
in favor of forwarding a positive recommendation to the Salt Lake City Council ("city council")
on said application; 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. Creating the Guidelines. That the document titled "Design
Guidelines for Signs in Historic Districts", which document is attached hereto as Exhibit
"A", is hereby adopted to apply to all new and existing exterior signs within the H-
Historic Preservation Overlay District as stated in the attached Design Guidelines for
Signs in Historic Districts.
SECTION 2. Effective Date. This ordinance shall become effective on the date
of its first publication,
Passed by the City Council of Salt Lake City, Utah, this 11 day of December ,
2012.
CHAIRPERS N
ATTEST AND C UNTERSIGN:
Y RECORD R
Transmitted to Mayor on December 11,2102 .
Mayor's Action: X Approved. Vetoed.
MA •
1111)
ITY RE RDE
APPROVED AS TO FORM
(% i ,,' ' Salt Lake City Attorney's Office
(SEAL) 3..'' 1 �.`'_ -.. 1 61)
-, :.xzs:::
•
Bill No. 88 of 2012. r7 ?..- .- - By:
Published: 12-17-12 P ul C.Nie eni r City Attorney
H B_ATTY-N 22013-v 1-Ordinance_sign_design_guidelines_in_historic_overl ay_distri ct.docx
2
Exhibit A:
Design Guidelines for Signs in Historic Districts
3
Design Guidelines
for Signs in
Historic Districts
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This streetscape of the 200 block of Main Street taken in 191■2 shows a large variety of signs
including sign panels over storefronts,projecting signs,awning signs,window signs and signs
painted on the sides of buildings. (Photo courtesy of the Utah Historical Society).
Contents
Design Guielines for Signs:
Introduction 3
Applicability 4
Objectives 5
Salt Lake City Context 6
Appropriate and Innappropriate Types of Signs 7
Compatibility 8
Architectural Context 8
Proportions Scale and Dimensions 10
Positioning 11
Projecting 13
Sign Attachment Parts 15
Illumination 16
Material 19
Color 20
Form and Lettering 21
Sign Types-Specific Design 23
Historic Signs 23
Awnings and Canopy Signs 25
Wall Signs 27
Projecting Signs 28
Menu Boards 29
Monument Signs 30
Directory and Tenant Signs 30
Internally Eliminated Signs 31
Definitions 33
CH:2 Salt Lake City
Guidelines for Signs
Introduction -
These design guidelines apply to all existing
and new exterior signs within the H-Historic
Preservation Overlay District in Salt Lake City. The
goal of the guidelines is to meet the needs of various
interests in the community by providing guidance
in determining the suitability and architectural
compatibility of proposed signs, while at the same BR 1111 ■ 1
time, allowing for reasonable changes to individual 11
signs and sites to meet current needs. For property _ . �__,
owners, architects, designers and contractors, they T
ZCMI front facade.
provide guidance in planning and designing future
projects. For City staff and the Historic Landmark
Commission, they provide an outline through -
which projects can be evaluated for compliance with
Zoning Ordinance standards. Further,they provide •
the community as a whole with an idea of what to , = "_�
expect when signs are proposed in historic districts ' r
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or landmark sites. • r'.._
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The guidelines are not designed to be a technical _ :_ : � :""
manual for the rehabilitation of historic signs and i -. µ ,
the construction of new signs,nor are they intended j'
to be a regulatory document for the review of City ;t�
historic district related applications. Rather, they When this building was renovated,the signs on the front
provide property owners, citizens, City staff and facade were preserved.
the Historic Landmark Commission with a guide
toward making consistent and fair decisions.
Policy directives from various City Master Plans and
the City Zoning Ordinance are fulfilled through this
document. Guidelines are designed to clarify Master
Plan policies and Zoning Ordinance regulations
relating to exterior signs in local historic districts or
on landmark sites. Included are policies,definitions,
and guidelines for maintaining existing signs,
as well as for new construction. Photographs of
various types of signs are included in the document
to familiarize property owners with typical styles
and types of signs featured.
Design Guidelines for Residential Historic Districts 3
Guidelines for Signs
Applicability
�_n ' ':`1' These design guidelines apply to the exterior signs
t J 9,E11E .
within the H-Historic Preservation Overlay District
•
•
in Salt Lake City (interior signs are not regulated
4
through the historic overlay), including new signs
F and the rehabilitation of existing signs. The Historic
WAT Ht ,\ _ Landmark Commission has the authority to further
regulate signs to ensure that new and altered signs
are appropriate for the historic setting. Chapter 46 of
:.* t ( the Salt Lake City Zoning Ordinance governs signs
;______J '. in the City,including in historic overlay zones. Signs
should be designed and installed in accordance with
This jewelry company at 170 S Main Street advertised through the City's Zoning Ordinance combined with the
a large wall sign mounted at the roofline,a projecting sign,
sign above the storefront and window signs. This photograph is guidance provided in this document. Whenever
from ca.1880.(Photo courtesy of the Utah Historical Society). there is a conflict between the regulations of the
base zoning district and the H-Historic Preservation
Overlay district standards, the regulations in the
Overlay Zoning District take precedent.
All signs in a historic preservation overlay must meet
Certificate of Appropriateness applications are the provisions of the Salt Lake City Zoning Ordinance
available on line at: as well as receive a Certificate of Appropriateness.
http://www.slcgov.com/CED/planning/pages/ Certificate of Appropriateness review will determine
applications.htm whether a sign proposal meets the context of these
guidelines and the H-Historic Preservation Overlay
Zone requirements while a building permit review
will determine whether the sign complies with the
Zoning Ordinance and International Building Code.
-�- The guidelines establish a range of considerations
to ensure compliance with the standards listed
in Section 21A.34.020 of the Zoning Ordinance
CYCLESMITH ' H-Historic Preservation Overlay Zone.
•
Creativity in sign design can be fun and attractive.
4 Salt Lake City
Guidelines for Signs
Objectives -K f
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It is anticipated that these guidelines will help both4...41.,c,
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private and public projects preserve and enhance / _
the form, scale, and visual character that make Salt ', f^
. � G•„����i//� ,tip ���"•�� �
Lake City unique. These design guidelines have �� ',�i�'=
been created to achieve the following objectives: 4'\\‘74?, ; ,�'�_.-
aut .,
1. To ensure that all signs within the various
local historic districts or on landmark sites are •'1 s.1. -a-
compatible with the special character of Salt �-.. eAu . ; --1---
Lake City's historic past. . r 111111111PM 3 ' `` ,
2. To help convey the sense of excitement and Nineteenth century buildings in downtown Salt Lake City
vitality envisioned for the historic districts. were often covered with signs.The building at 109 S Main
Street shown ca. 1876 has painted wall signs,a painted sign
3. To encourage signs which,by their board over the storefront and signs on the display windows
(Photo courtesy of the Utah Historical Society).
appropriate design,are integrated with and
harmonious to the buildings and sites which
they occupy.
4. To preserve and improve the appearance of
the City as an historic community in which to , ljn I■
live and work. fat.
5. To allow each individual business to clearly AIM —
identify itself and the goods and services 1 - r HE E.. P. 4 HA it LTO N s2,11...0" ' '
P M o's 5 "10 15c STORES.
which it offers in a clear and distinctive ,,!;;°i3"`wii oME eus�EssSAT.AU&I4`10A:
manner. ik
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6. To promote signs as pedestrian orientedp,..., :` .. f;'." ••
rather than automotive,which is consistent �� `• I 1I� d _ _
with the historic character. .1 ii%
7. To ensure that the installation of a sign does
not damage the historic fabric,nor detract The E.P. Charlton Company installed a large wall sign over the
from the historic character of a historic district storefront to afvertise its business at 249 South Main Street in
or landmark site. 1909. An upstairs tenant,Dr.West used signs on the awning
valence and painted window signs. (photo courtesy of the Utah
Historical Socienty
Design Guidelines for Residential Historic Districts 5
Guidelines for Signs
�`1- • . Salt Lake City Context
A. H. C R A H H E CO. j Commercial buildings traditionally have had a
J
, . rye t - f= variety of sign designs and placement, allowing for
= wide flexibility of use in Salt Lake City's commercial
i„p ,,.y 2 t,, J7* 'STEIN' CH, •:_; areas. During the 19th century, a great number
ij., .• , a'4 � of signs commonly dominated the landscape of
i ' ;i� *:1,4:.1,1
commercial areas. Signs were displayed in every
. possible area and manner—in windows,over doors,
IY + .a L painted on exterior walls,and hanging over or even
across the street.One of the more common places to
mount signs was on the lintel above the first story,
The A.H. Crabbe Company at 220 S Main Street advertised and around 1900 it became popular to paint signs
its wares in 1905 through a wall sign above the storefront and
signs painted on the display windows. (Photo courtesy of the directly on the inside of display windows in gold
Utah Historical Society). leaf.
Following the invention of electricity, it became
increasingly common to illuminate signs with
light fixtures. This was typically accomplished by
a simple fixture anchored above a sign and shining
• light directly on the advertisement. Light fixtures
' � ,I. I ?WW1 •t c.
:r l 1�: were commonly simple in design so that the primary
-- : , , :(,; r'l _ focus of the viewer would be on the sign rather than
•• •••••• ••• •»• •• the light fixture. Neon signs first became available
in the United States in the 1920s and became very
•'ii � .,III�I VF ' popular during the mid-20th century, particularly
• " = d:�E '�"" for restaurants and movie theaters.
The neon and illuminated marquee for the McKay Jewelry Today, Salt Lake City has a number of Historic
Company at 157 South Main Street dates from 1949 and Districts on both the National and City Register,
contributes to the historic character of the building.
with additional districts on the National Register
only. These districts,along with numerous buildings
listed on the National Register of Historic Places
and those listed individually on the local Salt Lake
City Register of Cultural Resources, are a major
contributor to Salt Lake City's attractive and inviting
atmosphere.
6 Salt Lake City
Guidelines for Signs
•
Appropriate and Inappropriate Types of Generally Appropriate Types of Signs
Signs •mil
The character of Salt Lake City's historic districts
and landmark sites necessitates the attention of the
City to the form,quality and character of signs. Sign
quality has a direct impact on how each individual district is perceived,whether sophisticated,exciting, Historic Sign Ghost Sign
intriguing, and unique, or over-presented, garish
and potentially place-less. Each district has a
r
specific individual architectural character which '.
in turn requires careful design of signs to ensure selas
CLEANERS
compatibility with the building and the streetscape. o- y
I
To ensure that signs enhance each district, it is •
important to note that there will be sign types which Projecting Sign Awning Sign
are less appropriate to a specific historic district,
irrespective of whether they are allowed in the Zoning
District. Sign types that are considered generally to '-~-
be appropriate or inappropriate in the districts are ~�'t{A ! `.
listed here. They should be read in conjunction with
1r:;
the following design guidelines when considering
options for new signs or additional signs. Wall Sign Window Sign
SIGN
Menu Board Directory or Tenant Sign
Wall Plaque Monument Sign
Design Guidelines for Residential Historic Districts 7
Guidelines for Signs
Generally Inappropriate Types of Signs Compatibility
I•RetecOan One
Nor A sign typically serves two functions:
1. To attract attention
mililiiim- • 2. To convey information
If a sign is well designed, the architecture of a
Pole Sign Animated Sign building can serve as the attention-getting feature,
allowing the sign to be focused on conveying
F information in a well conceived mariner. All new
s ten. 1.. ..:. ..: : .
'- signs should be developed with the overall context
:t/ of the building and of the historic district in mind.
... , -, , Architectural Context
Flashing,Light Sign Illuminated,Cabinet Sign Individual historic districts have historic
characteristics that should be preserved, enhanced
and incorporated into the design of new building
-' ' projects. When designing a sign for a new or exisitng
--. ..' building, flee context of the neighborhood, defined
SUBWAY' ►� r,.
by natural forms and patterns,should be taken into
4 account. Often features or details of the building
will suggest a motif for new signs.
Off-Premise Sign Inflated Sign,Display Guideline 1
A sign should preserve,complement or enhance
T the architectural composition and features of the
building.
51 ■ • Covering or obscuring significant architectural
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"N°" "�' details should be avoided.
k' • Damage to architectural detail when attaching
the sign should be avoided.
Image Projection Sign Wind Sign
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�,� I ANTIQUES
Video Sign Temporary Sign
8 Salt Lake City
Guidelines for Signs
Guideline 2
Consider the overall sign design as an integral
part of the building façade.
• The new sign should be coordinated with
the overall facade composition,including jos A BANK.
ornamental details and other signs.
• • Signs should be in proportion to the building, •`msummeumm Ramomili
so they do not dominate the building
appearance.
J°S A.BANK CLOTHIERS
Guideline 3
A master sign plan should be developed for the This sign on Main Street is proportional to the building and
entire property to guide individual sign design does not obscure ornamental details.
and location decisions.
• This is especially important when a building
includes multiple businesses.
• A master sign plan should specify the location,
number and size of all signs on the property.
•
• The materials,methods of illumination and
graphic standards should also be defined. r
• A master sign plan should make all signs on -�
the building cohesive,linking one to another, NI.1 + : `
ultimately creating a central theme for the site. � t-;
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'ATRONSof0.P.51tAGGSS:4 �k
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host sign
•
Design Guidelines for Residential Historic Districts 9
Guidelines for Signs
Proportion, Scale and Dimensions
IHistoric preservation should not focus only on one
building or site. When considering the preservation
of a sign or the addition of a new sign,consideration
t 911 Li j should be given to its location and setting as it
-- relates to the entire district. The elements that make
a sign pleasing include orientation,pedestrian scale
' and unique architectural features which, when
__ compounded create a unique historic fabric worthy
[��_ I • -AR of preservation. Sign lighting,placement,elevation
I-„-== . and choice of materials,should be in harmony with
This sign is well proportioned with the facade. the unique characteristics of the individual district.
Guideline 4
A sign should be designed to be in proportion
and scale with the building.
• A sign should be in scale with the facade of the
building.
- • Signs that would cover more than 20 percent of
_ ��°"" the façade should be avoided.
7.--
IGN LETTERS JzGN
Guideline 5
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. ! A sign should be designed to be a part of the
overall building composition.
• A sign should be located on a building so it
-- -r•it=ii:v
^ ^ .. . __ w5= emphasizes the architectural elements of the
_ \\L_
façade.
� _ I -- • A sign should be mounted to fit within existing
szat 1
81`� pOW architectural features. The shape of the sign
�'�1 e�, pp; (= should be used to reinforce the relationship of
moldings and transoms seen along the street.
This drawing shows traditional locations for commercial signs.
10 Salt Lake City
Guidelines for Signs
Guideline 6 \
\ , 1
Signs should have a human scale,and be
Aboa.t.,-.
pedestrian oriented.
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• Signs that are illegible when viewed from 11===1k
the sidewalk,or are located too high upon a ,I I ;'4
building are not encouraged. l
Pr. a
• A sign should be located on a building so
that it draws an individual's attention toward Even though it is on a large building,the sign is designed to be
the building or the use that it is intended to viewed front the sidewalk.
support.
Positioning
One of the parameters that determines the
p
effectiveness of a sign is its location on a building.
Incorrect positioning can render a sign useless :k. . , .
and obscure,overwhelm the building or harm the
architectural features of the site. Most commercial _ ,t
buildings were designed with an obvious location t" 4 -
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for tenant signs. Effective signs do not obscure -
or compete with significant features of a historic
building (Signs above a storefront could fit within �!-' .`T Xt
the historic signboard, for example). Further,new
i
signs should also respect neighboring buildings in a
way that they do not shadow or overpower adjacent Properly placed signs generally do not obscure architectural
structures. details.
Design Guidelines for Residential Historic Districts 11
Guidelines for Signs
Guideline 7
Position a sign so that it does not obscure or
[ 1 I I._.-...1- l I maim" X
conflict with architectural features of the building.
f j,,� It I • A wall sign should be placed so that it is
framed by the architectural details of the
.. ',I: WILY STYLI P - building.
• • A wall sign should be placed to reflect the
fenestration pattern of the building.
—� iiir
�� -� 'd:, • Placing or dimensioning a wall sign so that it
.. '= • -! spans the pilasters or detailing of a building
:' should be avoided.
MI
�`, °y `,
..r. ICI ' , _. • A projecting sign should be positioned where
it will not damage or visually intrude upon
Signs that cover significant architectural features are architectural details.
discouraged. • A projecting sign should be placed where it will
not obscure a wall sign.
Guideline 8
' Position a sign primarily to serve the pedestrian at
` y ••';;y the street level.
�� • The majorityof signs should be concentrated
- I
;l . ,`•.1+ at the street level close to the entrance of the
;1U t-� building.
• Signs at a higher level should be considered
only where the premises may be limited in sign
location at street level where otherwise,the
Signs at the pedestrian level are encouraged. sign would be obscured or if it is the name of
the building.
12 Salt Lake City
Guidelines for Signs
Guideline 9 - - --
The use of signs placed on upper levels of a
building should be limited since they will be Iu, •
visible over an extended distance and are not I ` I
related to the street or entrance level of the 1 OP
premises.
• Generally,signs should be placed in an 4
architecturally appropriate location no more
than 20 feet above the sidewalk. 0+
• Illumination of signs on upper levels should be
limited to the brightness of lower level signs. This sign placed at the top of the building is not readily visible
from the street or sidewalk.
• In certain cases,signs on commercial buildings
along arterial streets may be placed higher on a
façade when it is determined that the sign will
not have a negative impact on the design,or
design elements of the façade.
• Signs which do not relate to the business within
vimm
the building generally would not be considered
appropriate,unless they relate to the historic 1
use or owner of the building.
Projection from the Building !1) 1
Projecting signs are generally two sided signs, A typical projecting sign
suspended from an iron bracket or building element,
mounted perpendicular to the face of the building.
Both lettered and symbolic projecting signs, have
been used since the first settlers arrived, and are an
important component to Salt Lake City's historic j
past. Projecting signs are sometimes paired with �c -
another at a 45-degree angle for increased visibility. / IG UAN
l THEHE KILLER MEXICAN FO• _
- 1
This projecting sign is paired with another for increased
visibility
Design Guidelines for Residential Historic Districts 13
Guidelines for Signs
Guideline 10
The projection of a wall sign should be
minimized to the depth of the sign panel or letter.
• A wall sign should be relativelyflush with the
A building facade.
Jl ® TT • A wall sign should be designed to sit within
BUILDING rather than forward of the fascia or other
• ' architectural details of the building.
Guideline 11
A projecting sign should be designed to equate
lti.
Wall signs should be relatively flush with the facade of the with the sign projection seen traditionally.
building. • Projecting a sign from the building wall should
be attuned to the mass and scale of the building
to which it is attached. A large projecting sign
on a small building would compete with the
architectural feel of the structure and therefore
would not be encouraged.
• Projecting a sign that exceeds that of the
immediate surrounding area is discouraged,
but should be reviewed on a case by case basis.
• The sign bracket of a projecting sign should
be designed as a decorative or complementary
These design guidelines apply in addition to element of the sign.
those in relevant preceding chapters,which may
include Rehabilitation Guidelines, Guidelines
for New Construction and General Design
Guidelines.
14 Salt Lake City
Guidelines for Signs
Sign Attachment Parts
When a new sign is proposed on a historic building, Historical documentation on a builidng or sign
owners should first look for evidence of a previous can be found at the State Historic Preservation
sign installation. Evidence can be either physical or Office(SHPO) or in the Salt Lake City Planning
documentary. The existence of surviving hardware- Department.
rollers, arms, clamps and other fasteners or signs http://history.utah.gov/state_historic_
that hardware was once in place, such as bolt preservation_office/index.html
holes or recessed roller boxes (for awnings) are the
http://www.slcgov.com/CED/planning/
most likely forms of physical evidence. Storefront
remodeling projects often uncover concealed and
disused sign hardware that can either be repaired
or at least suggest what type of sign was formerly • ' .
in place. Clamps, fasteners, and bolt holes in an , 111111111R
exterior wall can reveal the position, type and , •
dimensions of a missing sign installation. _
Guideline 12
No NAME
Sign attachment parts should be reused in their
original location (holes in the façade or fixing
positions)to protect the original building materials.
• Sign attachment parts should avoid damaging , , '
any architectural details or features of the
building. This projecting sign reused the attachment hardware.
• Consider reusing the sign and fixing positions
or cover previous fixing positions wherever
possible. _- -- I
-
• Wherever possible,avoid drilling new holes
or creating new fixing positions on historic
facades,by using existing holes and fixing
positions.
• When creating new fixture areas on brick
buildings,drill holes in the mortar rather than + •
the brick. �;.
d
Careless placement of a sign can have lasting effects on the
building.
Design Guidelines for Residential Historic Districts 15
Guidelines for Signs
Illumination
Well designed sign illumination can add energy
and visual excitement to the area,in keeping with a
�\ commercial or entertainment district, but it should
��� not overwhelm. The best signs are those that are
a .........
illuminated to fit with the design of the building.
tf
--I' An indirectly lit sign,with light that also highlights
a building features may be appropriate.
�` /� Guideline 13
-� ,., w,F- Q-%.,,,, ,_„,- Illumination of a sign should be done with the
/ f ��� objective of achieving a balance between the
�� architecture,the historic district and the sign.
' • The color and the intensity of illumination are
central to achieving a complementary balance
of building and signs.
Lighting for a sign should be indirect and as unobtrusive
as possible. This example shows lights mounted above a • Unless historically documented,intermittent or
storefront cornice. flashing light sources should be avoided.
• The sign illumination source should be
shielded and directed only toward the sign to
minimize glare.
• Light intensity should not overpower the
building or street edge.
SLEEpy i s • Small and discreet modern light fittings
may provide an unobtrusive alternative to
r traditionally styled lamp units.
Pit ti r
igi `
The color intensity of this sign does not compliment the
architecture of the building.
16 Salt Lake City
Guidelines for Signs
Guideline 14
Wiring conduit for sign lighting should be
carefully routed to avoid damage to architectural
details and to be concealed from view as much as
possible.
• In some cases,copper sheathing should be used . ti°► ,',r_
for wiring to minimize visibility. -
• The wiring should be placed between the brick ; re i- ' I •
coursing and recesses to reduce the visibility. ir, ''
Kir 1 P
94
• The power supply may be routed directly
through a wall or window,hidden behind the
sign.
Guideline 15 The lighting of this sign is shielded and directed toward the
sign.
The illumination source for a sign should be
compatible with both the sign and building.
• Light can be directed at the sign from an
external,shielded lamp.
• All sign lighting should be shielded and
directed only toward the sign.
• Internal illumination of the lettering only is
most appropriate if internal illumination is �, )
used. r 1
J
Guideline 16 01;11 o 1i t
Consider halo illumination as an alternative to
other types of internally illuminated signs.
• Reversed pan-channel letters with an internal fir
light source reflecting off of the building may
be used for"halo"illumination. Halo lighting
• The light source should not be visible.
Design Guidelines for Residential Historic Districts 17
Guidelines for Signs
- Guideline 17
L The selective use of neon maybe considered.
/ _ ',X
Neon should be used in limited volume to ensure
that it does not become visually obtrusive and
dominate the street frontage.
. • In certain cases neon may be more appropriate
M A R I� E T when framed and shielded.
Guideline 18
The increased scale and vehicular orientation
of a larger building along arterial streets may
provide an appropriate setting for a greater level
This neon sign is located on an arterial street,and is therefore of illumination.
larger than a sign along a smaller street. • Sign dimensions and proportions should relate
to the facade and location of the building.
Guideline 19
The use of internally illuminated sign faces
should be limited to individual cut out letters.
The use of large panel internally illuminated
signs is not recommended.
• The plastic or vinyl faces used for internally
/401Wips
illuminated signs are discouraged in the
historic district.
AUTO SERVICE • Individual pan-channel letters with a plastic
CENTERface or individual cutout letters and letters
8-7197 routed out of the face of an opaque cabinet sign
may be used.
• The light source for internally illuminated signs
This illuminated cabinet sign is discouraged. should be white.
18 Salt Lake City
Guidelines for Signs
Material ==i
Historically, signs were either painted directly on i ` i
A. H. CRAHHE Cal I
the building facade or made of wood either attached i - r
directly to the building or suspended from wrought r, ,`
iron brackets.As technology advanced and building I I e` I I I I Io)
styles changed, a wider range of materials were --„�y �`off:, _. j IiN~ cot
, isiii
used. These included bronze plates attached to 'i
buildings,cast iron,stainless steel,etched or painted -_- . , ' -,•
glass,leaded glass,gold leaf,and tile. Each material } •i • :4. ..4,I [
was popular during particular time periods, and r '', _ - -
might not be appropriate at all building locations.
Signs are made of wood or painted on the building.
Guideline 19
Sign materials should be compatible with those
of the historic building.Materials characteristic
of the building's period and style,used in
contemporary designs,can form effective new
signs.
• Painted wood and metal are appropriate ��.
materials for signs.Their use is encouraged. /" '
• Unfinished materials should be designed and " - :IA
''�
used carefully. -\ r1 Al- f; '/� �
• Highly reflective materials that will be difficult - _ —
•to read may not be appropriate. I _ _ _^ ;l -
Z �`4l:.
• The use of plastic on the exterior of a sign is t fl1 --,.. •- , _
ina
usually not appropriate. II, um Weft
1, *Amin .. ;;
The color and material of this sign were designed to match the
window cladding.
Design Guidelines for Residential Historic Districts 19
Guidelines for Signs
Color
The use of color is art important factor in effectively
For more information, see Preservation Brief 25 communicating a message. Colors have different
from the National Park Service. meanings and work in various ways in contrast
Http://www.npsgov/history/hps/tps/briefs/ with each other and together. Contrast between
brief25.htm the foreground and background is an important
component in creating legibility. If colored text
is used on a bright background the contrast will
be weak. For optimal contrast results, white text
against dark colored backgrounds works best.
In sign design color can be a combining factor in
harmonizing the sign with the environment. Color
will distinguish signs from each other and can offer
an indication of the message without having to be
able to understand the language of the sign.
Guideline 20
— — - Sign colors should complement the colors of the
building.
•y • The number of colors used on a sign should
' general,
be limited.In no more than tree3h
(111( I11 11`ll 111111t111i11�1�1_1, , V,
olc� ( )
spag��Et�- �- - _ ry► colors should be used,although accent colors
th®
- may also be appropriate.
• Sign colors should be coordinated with overall
11. building colors.
• Color should be used both to accentuate the
!be -
sign design and message,and also to integrate
the sign or lettering with the building and its
The Color of this sign fits the color of the structure. context.
20 Salt Lake City
Guidelines for Signs
Guideline 21 -11111111rr
Strong primary colors should be used primarily as it
an accent. - - , .+ -
• Sign panels should avoid the extensive use of •
ellatiA 'S;'. ,
primary color or significant areas of white or a/�
cream,which would have the effect of visually CLEAN ER I
detaching the sign from the building. - —�. 'Wido .
+/;..ter----.
• Primary colors should be used sparingly. l�
Form and Lettering
Signs should be viewed as part of an overall graphics Primary colors are used only as lettering and trim on this
sign. The background is white. This has the beneficial effect of
system for the building. They do not have to do all visually detaching the building from the sign.
the "work"by themselves. The most effective signs
work with the building,not against it.
The Salt Lake City historic districts contain buildings
constructed over a long period of time,by different
owners for different purposes; the buildings reflect
different architectural styles and personal tastes.
These factors are what give the districts a diverse
and distinct quality that is unique to Salt Lake __
City. Likewise, it is encouraged that designers and
owners create signs that complement these different
architectural styles and celebrate the diversity of the — I/
district. I _
jr RAN E C;U, ;01'
Guideline 22 IL IOW • mil i 'A 1 f 1
fr-
ail
Letter styles and sizes should be selected that will Ili `- n
be compatible with the building front. - � - = -
• Except on large buildings along arterial streets,
s �� ,. II
rag G 7g1\M000//p r��Y
sign lettering should be determined based on ' f
the legibility from the pedestrian way,and not Letters are compatible with building front.
the street.
• A sign letter of lesser height will be appropriate
depending upon the scale of the street frontage.
Design Guidelines for Residential Historic Districts 21
Guidelines for Signs
Guideline 23
Letters that create signs that that are out of
character with the historic district or building,
' / ' ••• 0. or that would alter the character of the historic
district would be considered inappropriate.
t
Recession , .t1 • Use letters and fonts that enhance rather than
if -
•, Special! . detract from the historic design of the building.
I/ p►vE,�6 Lettering and shouldlegiblity fonts emphasize lbli
5 } ty
jj rather than any sort of stylistic agenda.
;5�;RE NE1'IY i Guideline 24
A corporate logo or color scheme incorporated
Signs that cover significant architectural details are into a building design may be recognized as a
discouraged. sign.
• This may take the form of canopies,roof
material and,in some cases,building style or
design.
_I aJJJ.'2 J-'...rJJ •K{ARNS
4T'
a„„,,
. "
A well designed wall sign.
22 Salt Lake City
Guidelines for Signs
Sign Types - Specific Design
Sign types vary widely and a range maybe considered wA q
appropriate either individually or in combination. L p
The important principle is that signs should not K �(
overwhelm the architecture of the building. The R h
placement or location of a sign is perhaps the most
critical factor in maintaining the order and integrity
of the historic building. Consistent placement of
signs according to building type, size, location and _ ,___
even building materials creates a visual pattern that -
Ii II
the pedestrian or driver can easily interpret and
utilize to the mutual benefit of merchants, tourists "
and customers.
Historic Signs ° la , , , II II II II II
Historic signs can contribute mightily to the The Walker Bank roof sign was rehabilitated.
architectural and historic character of Salt Lake
City's buildings and districts.They can complement
or even difine an individual building. The impact
may be at street level or higher,with roof mounted
signs contributing to the city skyline. •
Many signs are valued independently, apart from 1/43tkiik
the buildings or sites to which they are attached. -
Nonetheless, the preservation of historic signs may ��
present challenges of repair. Sign preservation may
appear to conflict with general community goals
such as encouraging artistic expression in new
signs, and reconciling business requirements with
preservation. Frequently, however, these goals
may be complementary rather than conflicting.
When issues arise,it is important to remember that
the intrinsic merit of many signs, as well as their
contribution to the overall character of a place,make
the effort of preservation worthwhile.The guidelines Even though the use has changed,This sign remains an
important component of the building.
below can help preserve both business and history.
Design Guidelines for Residential Historic Districts 23
Guidelines for Signs
The overall goal in the repair and rehabilitation
1��1,1 of historic signs is to restore a sign that is largely
!+ r
j intact or otherwise whole. Recognize, however,
��
j that the apparent age of historic signs is one of
F - � their major features, expressing the maturity of the
building or district; do not "over restore" signs so
that all evidence of their age is lost, even though
the appearance and form may be recaptured. In
t, .. 3092 `-i a particular, signs painted on building side walls
/4" t- I gradually fade with age, conveying information
about previous business and impressions of historic
This mid-20th Century metal sign has been commerce.
refurbished and reused for the new use in the
building. Guideline 25
Historic signs,as a distinctive feature of Salt Lake
City,should be retained and,where appropriate,
restored.
• Keeping a historic sign is encouraged,even
if the business or product promoted is no
1 longer on site. Retaining the sign can exploit
the recognition value of the old name and
play upon the public's fondness for the old
•
�... .; , E i• `; I sign,especially when the sign is a community
`'1
i
�,> > landmark.
41
• Signs should remain as they were originally
designed.
i
• Historic signs which are faded with age and
weathering contribute to the sense of age and
time in the district.
• Additional signs that would detract from
The First Security bank roof sign atop the building on 100 the appreciation of a historic sign may be
South Main Street is an icon of downtown even though the inappropriate.
name of the bank has changed.
24 Salt Lake City
Guidelines for Signs
Guideline 26 — •`i#f
Historic signs should be preserved,maintained,
and repaired. :.ct:u:•
• Historic signs add to the overall appearance '�; • �� r1
and character of historic commercial buildings;
treat them as significant features of the • , it '*
property.
I
Guideline 27 I
Historic painted wall signs and"ghost"signs
should be retained where feasible.
• Painted wall signs on a building facade should
This historic sign was repaired and preserved as part of a larger
be left intact;avoid painting over or removing development,even though ZCMI is no longer in business.
them.
Awnings and Canopy Signs
A well designed and well placed awning can make
a good impression, attract potential customers and
unify a streetscape. By contrast, a confused, poorly
designed or poorly placed sign or awning can
overwhelm buildings, detract from the area, and
g ,,_:� ley; .,,` . •..' ,,,., : ,�
potentially damage historic materials or finishes.
Historically, awnings were attached to and placed -
g
near buildings. New awnings can use similar
features to both enhance the character of the building „m;d,r la,,4rAecots oN MAIN
and convey the necessary information to the public.
Awning Signs are typically located on the awning �r—• •
valance. In addition to identifying a business,
awnings can provide sun damage protection for r Tr.
merchandise and reduce solar heat gain, and are a
good option for businesses that are orientated to the Mir
south or west. In general,they help protect buildings A well done awning sign.
and products from the weather — heat, rain, snow
etc. Signs should not be the primary purpose of
an awning;rather they should be subordinate to the
primary reason for placement on a building.
Design Guidelines for Residential Historic Districts 25
Guidelines for Signs
Guideline 28
_ Signs on Awnings should be designed with the
___.
_,....... __ ___ . ._ +_ historic character of the building and district in
F F E ___ _
f- - -,--- - mind. Awning signs should create visual interest,
—- -`L and promote commercial identity.
���' , s�" l' • Signs should occupy a maximum of twenty
—
4----\--- + iV )` percent(20%)of the valance(vertical surface)
area on each face of an awning.
Signs should be pedestrian in scale. • Awnings and canopy signs should project no
more than thirty-six inches(36")from the face
of the building except when used as entrance
canopies.
' sv` ' c L • The design should be compatible with the
ti 1 ,• 't.. -'K -,.I. . ;-..Jr; �"4: ' architecture of the building and should not
`‘ �" obscure architectural details of the building.
f9Further,awnings should serve as an accent
�' Q,,,«,., i to the building's design but should not be the
dominant architectural feature.
471 -.
1 '
. Sal • Awning styles at typical sign locations such as
s - $` j
�' �_ rounded balloon awnings or flat mounted wall
�1 E I I ' 1
.._ awnings are discouraged.
r t . ,, • Awnings and canopy signs should be located in
The materials and shape of this awning are discouraged.
a traditional manner above doors,windows or
walkways.
• Nylon,canvas or other similar materials are
suitable.Material should be high quality,
colorfast and sun fade resistant.
• Vinyl or plastic materials are not appropriate.
26 Salt Lake City
Guidelines for Signs
Guideline 29
For more information, see Preservation Brief 44
Illumination of awnings may be considered in from the National Park Service.
certain situations.
littp://www.nps.gov/history/hps/tps/briefs/
• Illuminated/back-lit translucent awnings or brief44.htm
translucent letters on opaque backgrounds are
discouraged.
• Canvas awnings illuminated with approved
light sources that are down directed and
shielded are encouraged.
Wall Signs
Wall signs were one of the most common types of Po o
sign used historically in Salt Lake City. Wall signs,
� L �
placed on the fascia or horizontal band between the SIGN
storefront and the second floor,were among the most r r
common. This area is often called the "signboard," J I I N a I
and as the word implies,provides a perfect place for Position a wall sign on the building in a manner that does not
a sign. Similar to fascia signs were signs between obscure architectural details.
the levels of windows across the upper facade.Such
signs were mounted on horizontal boards or painted
on the building. Whether wall signs featured text
or images,they sometimes became major features of
the building. Signs in the form of plaques, shields, • \�
and ovals were used on many nineteenth-century
t �
buildings. Such signs had the advantage of being , Jr. ' y"
ifflEt
easily replaced as tenants came and went.They also ' ' MIIIMOMMII•mr—.4 rw
easily incorporated images as well as lettering. ==`
Position a wall sign on the building in a manner that does not
obscure architectural details.
Design Guidelines for Residential Historic Districts 27
Guidelines for Signs
Guideline 30
Well designed flush-mounted wall signs are
encouraged.
• When feasible,place a wall sign such that it is
,�.0 f ` . compatible with others on the block..
ape • When planning a wall sign,determine if a
•
horizontal sign board exists on the building. If
• so,locate flush-mounted signs such that they fit
within panels formed by moldings or transom
panels on the facade.
- • Obscuring significant architectural facade
This wall sign is flush with the wall,and compatible with the features should be avoided.
building.
• In general,wall signs should be oriented
toward the pedestrian,and therefore,fixed on a
lower section of the building.
Projecting Signs
Projecting signs, both lettered and symbolic, were
Pillitemomor"
also common historically. Projecting signs are
generally two sided signs, suspended from an iron
n g 1 bracket or building element,mounted perpendicular
1 to the face of the building. Projecting signs are
usually an appropriate type of sign for an historic
CASUAL ITALIAN
structure because their installation is such that it
-AIM
requires minimum anchoring to the building and
therefore does less damage.
Projecting sign
28 Salt Lake City
Guidelines for Signs
Guideline 31
A projecting sign,which projects from the
building front,is encouraged,particularly on a
more pedestrian oriented corridor.
•
• A projecting sign should be mounted
perpendicular to the building façade and
provide eight feet of clearance between the !i
sidewalk and bottom of the sign.
• A projecting sign should be located near the
business entrance.
• Exposed surfaces of projecting signs should be Projecting signs should be located at a human scale and near
the doorway.
constructed of metal,high-density foam board,
or solid wood.
• The sign materials should be compatible with
the face of the building and should be colorfast
and resistant to corrosion.
Menu Boards
A menu board is a weather tight box with a glass or
Plexiglas front that is used to display menus, sign
bulletins,photographs etc. These signs are attached
to an exterior building wall near the main entrance.
A well designed menu board is an essential and
appropriate use of sign area for a restaurant.
Guideline 32
In the case of a restaurant,a menu board
Menu Board
is essential and will usually be considered
appropriate.
• The board should be positioned to avoid
obscuring or damaging architectural detail.
• The board should be positioned near the main
restaurant entrance.
Design Guidelines for Residential Historic Districts 29
Guidelines for Signs
Monument Sign
i I� z ; t - " Monument Signs are not attached to the building.
222 7 . --I 1 ; ,. ,,
. ,.,,,. They can include information on one or two sides,
,, pIli!'
f'.; t ri spanning between two posts, or suspended from
it IL '' v it '
one post that is set in paving or landscape areas.The
1' -" monument sign is usually located on the edge of the
'i property near a pedestrian corridor or vehicle access
+�ip..
point.
idtiGuideline 33
r I
Monument signs are a less obtrusive alternative
to a pole sign and animated signs.
• Signs must be compatible with the architecture
Monument Sign
of the building to which they are associated.
• Lighting of monument signs is permitted,
provided that the lighting is shielded and
directed only toward the sign.
• Internally illuminated monument signs should
be avoided.
Directory or Tenant Signs
.a•••• Directory signs or tenant signs are attached to a
building and are often used for professional offices.
They include information about several businesses
IL.-_ on a single larger sign,with an identifying building
address and/or building name. Although they are
- -- usually located within the building,sometimes they
Directory or Tenant Sign
are placed on the exterior.
30 Salt Lake City
Guidelines for Signs
Guideline 34
Use directory signs on multi-tenant sites to reduce
the visual clutter of many signs. EXECUTIVE OFFICES
• Where several businesses share a building,
signs should be coordinated.Align several
smaller signs,or group them into a single panel . ��„;��°�
to make them easier to locate.
• Similar forms or backgrounds should be used
for the signs to tie them together visually,
identify them as serving the same premises and
make them easier to read. Directory Sign
• The individual nameplates on the sign should
match each other in size,colors,letter size,case
and styles.
Internally Illuminated Signs
Internally Illuminated signs are built with a sign
face which is lit or outlined by a light source located % 19- _ ,within the sign. The face is generally made of coloredAlk...L
+�
plastic, vinyl or other transparent material. They • -
generally are used as wall signs or as monument e. _1
signs. - -
-a
•
ill 4
Internally Illuminated Sign
Design Guidelines for Residential Historic Districts 31
Guidelines for Signs
Guideline 35
Internally illuminated signs are generally not
associated with Salt Lake City's historic districts.
Nonetheless,in commercial areas,specifically
within larger developments along arterial streets
with many noncontributing structures,they may
be appropriate.
• Internally illuminated signs are not appropriate
in neighborhood commercial areas in areas
with many contributing commercial structures.
• If internal illumination is considered it should
be limited to individual cut out letters with
only the letter face illuminated.
• Letter height should be determined based on
the size and design requirements in the Zoning
Ordinance.
32 Salt Lake City
Guidelines for Signs
Definitions
The following images and accompanying definitions
are useful for understanding the design guidelines.
Where similar definitions are found in the City
Zoning Ordinance, similar language is used. The
images contained in this section are solely for the
purpose of illustration and may or may not be
compliant with Salt Lake City regulations.
Animated Sign
Animated Sign
•
A sign, excluding an electronic changeable copy ,J •
, •' • + ,. »�;• ,
•
sign, which involves motion or rotation of any part _ • ,'*• 11,
by mechanical or artificial means or which displays
flashing or intermittent lights. .
jtiIChc'La-Ii-2'rds (1N MAIN
Awning Sign aJ1
A sign that is painted on or otherwise made part 1
of the awning material. Signage is limited to the Awning Sign
vertical portions of the awning; the sides and the
front valance. No signage shall protrude beyond the
vertical face.
®��erorn
riuwwnf Sr"
Billboard -
A form of an off premises sign.A freestanding ground
sign located on industrial,commercial or residential
property if the sign is designed or intended to direct
attention to a business,product or service that is not Billboard
sold, offered or existing on the property where the
sign is located.
Directory Sign
A sign on which the names and locations of occupants
or the use of a building or property are identified,
but which does not include any advertising message.
Directory Sign
Design Guidelines for Residential Historic Districts 33
Guidelines for Signs
Flashing Sign or Lights
A sign that contains an intermittent or flashing
light source that may also include the illusion of
_ • Mer�}�;ndiSe Slo A: �nu;r • intermittent or flashing light by means of animation
imec.•scw.,,,m�anaOisMarnn
" '-=i= or externally mounted intermittent light sources.
Ghost Sign
Flashing Sign or Lights Ghost Sign A sign painted on an exterior building wall, which
has been weathered and faded to the extent that it
has lost its original brightness of color and visibility.
Historic Replication Sign
suHoancE . A sign, which is an exact replication, including
Lam P ditel„‘�tu,
- - - - - materials and size, of a historic sign which once
existed in the same location.
Historic Replication Sign Historic Sign
Historic Sign
• A sign that by its construction materials, age,
prominent location,unique design,or craftsmanship,
ROfi/i$b '. ` provides historic character, individuality, and a
TT� 1 r sense of place or orientation regarding clues to a
8-7197 building's history.
Inflatable Sign or Display
Internally Illuminated Sign Inflatable Sign or Display
Any inflatable object used for signs or promotional
purposes.
Internally Illuminated Sign
A sign which has characters,letters,figures,designs
or outlines internally illuminated by electric lights,
luminous tubes or other means as a part of the sign
Menu Board itself.
Menu Board
Small scale sign boxes containing menus generally
located near the primary entrance to a restaurant.
34 Salt Lake City
Guidelines for Signs
Monument Sign
A sign that is supported by one(1)or more uprights , l'ff, 1,Q
or braces which are fastened to, or embedded in '► �' ; 2 €'{ �
,116.71k
the ground or a foundation in the ground and not ° '_. »., ,,
•
attached to any building or wall. ! 1I
;.` 1.7mili
Mural
A work of art, such as a painting applied directly Monument Sign Mural
to a wall,fence,pavement, or similar surface that is
purely decorative in nature and content, and does
not include advertising by picture or verbal message.
Pole Sign
A freestanding sign other than a monument sign ►,,; "A-,--1! 11 j'
erected and maintained on a mast(s) or pole(s) and711111
,1
not attached to any building. t ' .
4
Projecting Sign I
f.
A sign attached to a building or other structure I�s�_ , II ..A
whose sign face is displayed perpendicular or at an Pole Sign Projecting Sign
angle to the building wall.
Projection Sign
A sign which projects a visual image or message Ir
onto a surface. ►'
445k •
SALE SALE
X,ANTIQUES
Temporary Sign
41 Or ' ,
Any exterior sign, banner, pennant, valance or t
OPEN
advertising display constructed of paper, cloth, f1`I I a°. .
canvas, light fabric, cardboard, wallboard or other Projection Sign Temporary Sign
light materials, with or without light frames,
intended to be displayed for a short period of time.
Examples of temporary signs indude: an A-frame
sign; balloon; secured banner; unsecured banner;
public event banner;garage/yard sale sign;political
sign;real estate sign;special event sign.
Design Guidelines for Residential Historic Districts 35
Guidelines for Signs
Video Sign
•-- ( _ — Animated visual messages that are projected on a
1 _ -
i _ _- . 7, screen.
p_ A . Wall Sign A
— — — A sign with messages or copy erected parallel to
and attached to or painted on the outside wall of a
Video Sign Wall Sign building.
Plaque
A small scale sign often embedded into the wall
_ covering of a building that displays information
N" 12 pertaining to the building.
!r
• c, .
IN
4,' Wind Sign
Any propeller, whirling, or similar device that is
I ' designed to flutter,rotate,or display other movement
under the influence of the wind. This shall include
Plaque Wind Sign "pennant flags",or banners.
Window Sign
A sign inside of or attached to the interior of a
-- transparent glazed surface (window or door)
oriented to the outside of the building. A display
�,N /cam window that does not include signs shall not be
i. ���� meconsidered a sign.
e
Window Sign
36 Salt Lake City
Guidelines for Signs
Design Guidelines for Residential Historic Districts 37