053 of 1997 - Adopting design guidelines for residential historic districts0 97-1
0 97-22
SALT LAKE CITY ORDINANCE
No. 53 of 1997
(Adopting design guidelines
for residential historic districts)
AN ORDINANCE ADOPTING DESIGN GUIDELINES FOR RESIDENTIAL
HISTORIC DISTRICTS IN SALT LAKE CITY.
WHEREAS, Chapter 21A.34.020 G of the Salt Lake City
Code addresses the standards for issuing a certificate of
appropriateness for alteration of a landmark site or
contributing structure within a historic district; and
WHEREAS, Chapter 21A.34.020 G(12) of the Salt Lake City
Code provides that such standards shall include "additional
design standards adopted by the Historic Landmark Commission
and by the City Council"; and
WHEREAS, Winter and Company of Boulder, Colorado has
developed certain Design Guidelines for Residential Historic
Districts in Salt Lake City (hereinafter the "Design
Guidelines") a copy of which is attached hereto; and
WHEREAS, on January 8, 1997 the Historic Landmark
Commission approved the Design Guidelines, with the request
that the minor changes noted in Appendix B attached hereto
be made; and
WHEREAS, the City Council of Salt Lake City, Utah finds
that the adoption of the Design Guidelines would be in the
best interest of the public and would assist the owners of
property located in historic districts.
NOW, THEREFORE, be it ordained by the City Council of
Salt Lake City, Utah:
SECTION 1. That the Design Guidelines attached hereto
shall be and hereby are approved, subject to making the
minor changes identified in Appendix B attached hereto.
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 12th day of
ATTEST AND COUNTERSIGN:
August , 1997.
CHIEF DEPUTY CITY ECORDER
2
Transmitted to the Mayor on August 13, 1997
Mayor's Action:
XXX Approved V toed
ATTEST AND COUNTERSIGN:
CHIEF REPUTY CITY ECORDER
(SEAL)
Bill No. 53 of 1997.
Published:
MAYOR
YM
02iico
By.
August 20, 1997 .
G,\ordinance97\design guidelines for residential historic dist. - February 28, 1997
3
Design Guidelines
for
Residential Historic Districts
in Salt Lake City
February 11, 1999
Prepared for the
Salt Lake City Corporation
by
Winter & Company
with
Clarion Associates
CREDITS
SALT LAKE CITY
Historic Landmark Commission
members
Dina Williams Blaes, Chair
Thomas Buese
Burke Cartwright
Thomas Cerruti
Wallace N. Cooper
William Damery
Susan Deal
Sandra S. Hatch
Rob McFarland
Bruce Miya, Vice -Chair
Lynn F. Morgan
Heidi S. Swinton
Former members
John E. Gates
Don Hartley
Robert N. Pett
David E. Svikhart
Planning Department Staff
William T. Wright, Director
Brent Wilde, Deputy Director
Joel Paterson, Planning Programs Supervisor
Elizabeth Egleston Giraud, Preservation Planner
Lisa M. Miller, Preservation Planner
Cheri Coffey, Principal Planner
Shirley Jensen, Senior Secretary
CONSULTANTS
Winter & Company
Nore V. Winter
Robert Matatall
Julia Husband
Helen Hudson
Betsy Shears
Clarion Associates
Christopher Duerksen, Esq.
OTHER RESOURCES
Elizabeth Egleston Giraud, Salt Lake City Plan-
ning Division, wrote the "Historic Overview of
Salt Lake City," the styles sections and the histories
of the districts.
The Utah State Historic Preservation Office pro-
vided useful information. Other valuable refer-
ences included the Policy Document, Salt Lake City
Historical Landmark Committee, 1984 and the Salt
Lake City Utah Zoning Ordinance, Title 21A of the
Salt Lake City Code, 1995.
The following credit: "Utah State Historical Soci-
ety. All rights reserved. Used by permission."
applies to the photographs on pages 15, 25, 26
(large photo), 29 (large photo), 36, 47, 48, 85 (large
photo), 157, 169, 173, 181 and 196.
The photograph on pages 139 and 143 is used by
permission of the Church of Jesus Christ of Latter -
Day Saints. Archives and History Department.
All other photographs were taken by Lisa Miller,
Salt Lake City Planning Division, and the staff of
Winter & Company.
TABLE OF CONTENTS
PRESERVATION IN SALT LAKE CITY
PAGE
1
THE DESIGN REVIEW SYSTEM 3
WHY PRESERVE? 10
BASIC PRESERVATION THEORY 12
HISTORIC OVERVIEW OF SALT LAKE CITY 15
GLOSSARY 18
ARCHITECTURAL STYLES OF SLC 21
REHABILITATION STANDARDS FOR HISTORIC PROPERTIES 51
1.0 SITE FEATURES 53
2.0 MATERIALS 61
3.0 WINDOWS 69
4.0 DOORS 79
5.0 PORCHES 85
6.0 ARCHITECTURAL DETAILS 93
7.0 ROOFS 97
8.0 ADDITIONS 105
9.0 ACCESSORY STRUCTURES 113
10.0 SEISMIC DESIGN 117
11.0 STANDARDS FOR NEW CONSTRUCTION 119
12.0 GENERAL DESIGN STANDARDS 131
14.0 HISTORIC DISTRICTS 139
The Avenues 143
Capitol Hill 157
Central City 169
South Temple 181
University 193
WHICH CHAPTERS APPLY TO YOUR PROJECT?
Use the chart below to determine which section of this book you should use in planning
your project.
Sections to use:
Preservation in Salt Lake City, Page 1
Architectural Styles of Salt Lake, Page 21
Rehabilitation Standards
for Historic Properties, Page 51
Standards for New
Construction, Page 119
General Design Standards, Page 131
Historic District Standards, Page 139
To renovate or alter a historic
property:
X
X
t� �r
�r 1�
X*
To construct an addition to a historic
building:
�r
X
�r
X
X
X
X*
To alter a noncontributing building
in a historic district:
X
X
X
X
X*
To construct a new building in a
historic district:
�r
A
X
X
X*
To make site improvements to a
historic property:
X
X
X
X
X*
To make site improvements to a
noncontributing property in a
historic district:
X
X
X
X*
* These standards may apply if the property is located within a
locally -designated historic district.
Preservation in Salt Lake City
Before
After
Preservation in Salt Lake City
The John and Emily Platts home at 364 Quince Street appears on the previous page. Platts was an English stone mason who came to
Salt Lake in 1854 and built this house four years later. When the current owners purchased the house in 1975 it was in the state of
disrepair seen in the top photograph. Over the years, they have renovated it so that it is a functional house for their family, while
preserving the historic character of the home.
Page 2
Preservation in Salt Lake City
PRESERVATION IN SALT LAKE CITY
These design standards apply to construction work
associated with locally -designated historic landmarks.
They also apply to work within locally -designated
historic districts in Salt Lake City, including the reha-
bilitation of historic structures, alterations to "noncon-
tributing" buildings and to new construction. Specific
standards are also provided for the Avenues, Capitol
Hill, South Temple, Central City and University his-
toric districts.
General standards for the treatment of historic proper-
ties apply city-wide and are based on nationally -ac-
cepted principles for preservation. While these gen-
eral standards have universal application, unique com-
binations of historic resources exist in the districts that
establish a distinct context for each neighborhood.
Variables that define a distinct context include topog-
raphy, age, landscape features, and lot size. Standards
that are custom-tailored to these individual situations
are therefore provided to supplement the general stan-
dards.
THE DESIGN REVIEW SYSTEM
Why have design standards?
The design standards provide a basis for making con-
sistent decisions about the treatment of historic re-
sources. They also serve as an educational and plan-
ning tool for property owners and their design profes-
sionals who seek to make improvements that may
affect historic resources.
While the design standards are written such that they
can be used by the layman to plan improvements,
property owners are strongly encouraged to enlist the
assistance of qualified design and planning profes-
sionals, including architects and preservation consult-
ants.
The purpose of the standards and the review process
through which they are administered is to promote
preservation of the historic and architectural heritage
of the city. These resources are fragile and are vulner-
able to inappropriate alteration and demolition.
Pressure exists to alter or demolish historic buildings
because the close -in neighborhoods where they are
found are once -more attractive areas to live and work.
These pressures are increasing as the population grows
along the Wasatch Front and, as residents face longer
commutes, inner-city properties become more invit-
ing alternatives.
Passage of the state's Economic Incentives for Historic
Preservation bill in 1993, which provides income tax
credits for rehabilitation work exceeding $10,000 for
properties listed on the National Register of Historic
Places, also has brought new investors into Salt Lake
City's historic neighborhoods.
Determining potential compliance with the
standards
The Historic Landmark Commission and the staff of
the Planning Division administer the standards. In
doing so, they will consider how each proposed project
meets the standards and how the proposed work
would therefore help to accomplish the design goals
set forth in this document and in the Salt Lake City
Zoning Ordinance. A project is deemed to merit a
Certificate of Appropriateness when they determine
that a sufficient number of the standards have been
adequately met.
The Historic Landmark Commission
The Mayor, with the consent of the City Council,
appoints members of the Historic Landmark Commis-
sion (HLC). The HLC is comprised of between nine
and fifteen voting members who are city residents,
have an expressed interest in preservation, and are
knowledgeable about the heritage of the city. The HLC
reviews all applications for demolition and new con-
struction within a historic district. They do not review
interior work or paint color, only exterior alterations.
The majority of projects presented to the HLC are
either approved as submitted or approved with modi-
fications. The HLC does not deny many applications.
Design Standards for Salt Lake City Page 3
Preservation in Salt Lake City
All exterior alteration projects that require a building
permit must be reviewed by the HLC or the staff.
Smaller projects, such as window replacement, ga-
rages, and many additions, can be reviewed by the
staff and administratively approved.
Architectural Subcommittee
The Architectural Subcommittee (ASC) consists of
HLC members who are architects. They are practicing
professionals experienced in architectural restoration
who provide technical assistance for projects in his-
toric districts. The ASC frequently reviews projects
already considered by the full commission that need
further refinement, as well as those projects that the
staff feels are too complex for administrative approval.
Contact the Planning Division to schedule a time on
the next ASC agenda.
The Review/Approval Process
Although the preservation staff is often available to
assist drop -in requests, it is best to schedule an ap-
pointment by calling the Planning Division. Most
requests for smaller projects are administratively ap-
proved by the staff the day they are received.
All requests for demolition of a principal structure and
new construction must be presented to the Historic
Landmarks Commission (HLC) for review, and should
be submitted to the Planning office two weeks prior to
the HLC meeting date. Information required for sub-
mittal is outlined on the application. Contact the Plan-
ning Division to obtain information about the meeting
schedule.
Regardless of whether a project is reviewed adminis-
tratively by the staff, by the Architectural Subcommit-
tee or the full Commission, the amount and type of
information an applicant supplies is crucial to getting
a project reviewed. Always provide photographs, or at
least check with the staff to see if they can produce
some. Provide drawings of the work to be done, as
illustrated on the following page. Also provide manu-
facturers' brochures if possible for items such as win-
dows and doors, and samples of materials if they are
available. The more information that an applicant
provides in the beginning of the process, the more
quickly the project can be reviewed.
The following illustrations (courtesy of the City of
Galena, Illinois Historic District Advisory Board) indi-
cate the types of plans that should be submitted.
Cx(i) Pds-�s !�� 4)0c
KIWI
17-AtiLIPi
ear ST ti n Ca F i DO it
`zP1gvnia Ger los n,$)r060
T-B^...UC 4a crr
Inadequate drawing: Scale and character are not clearly conveyed.
Page 4
Preservation in Salt Lake City
IF4rahi e0.,,y',
Cno Wol c )
e=
V 1111"4- ST 01,1OCT t7RAL yvta>,
GL M=V+ P.T.-Luviva!!!
A� Sur�ev�ers —Pcm
Mtarttit - Seincur
rare
t
Wit (nil n1.E.VATlvh
I Syes,- T. 1
1s" Ftaclrt w1
g" Fttryti,n
CAP ITA+. 4X 111I0
P u_ wt Co It
'ataWoa4 tsce
'itRILs W C. - CI( Z.
STc+C.lt. "" tag
1 Q~C41. O,114. bc�
G----ERIrag, -To May, Spu%C
Affray irRMot
S GCMGRRTE. PitRS
t _ tV' ggtunk[
CtZw PRASSla TR.s.M
(.�...r-a "To rtw s
1•k Z- r2a,mt
Appropriate drawing: While in free -hand, this drawing adequately conveys the scale and character of the proposed work.
wry wts.._-'
NOTE'
1. All structural members to be
wolmanized steel.
2. All surface materials to be redwood.
t.
I
II �
rizoKri-
I I
0
Appropriate drawing: Mechanically drafted to scale, this drawing best conveys the character of the proposed work.
Design Standards for Salt Lake City Page 5
Preservation in Salt Lake City
Importance of acquiring a permit
Obtaining a building permit is a crucial step in any
construction process. State law requires the City to
require building permits for all construction, renova-
tion, alteration and demolition. The application for a
permit gets an owner or contractor into the City's
process, so that the permit can be routed to the neces-
sary departments for review. The Building and Li-
censing Division administers almost all of the permits
required for work in a historic district. Permits can be
applied for in Room 215 of the City and County Build-
ing at 451 South State Street. Here plans will be
checked to see that they conform to zoning regulations
and the building code. If further review is necessary,
for example for transportation, utility or subdivision
considerations, these departments will be notified. A
common perception exists that no building permit is
required if the cost of the work is under a certain
amount; this is not true. There is no minimum thresh-
old instigating the need for a permit.
If a City building or zoning inspector finds that work
is occurring without a permit, the work is stopped, or
" red tagged. " In the simplest situation, construction or
demolition is delayed; in more contentious situations
the work has to be reversed or rebuilt, resulting in long
delays, additional fees, and occasionally court appear-
ances.
Building permits are not only a way for the City to keep
track of applications, but they also serve as protection
for the owner. Many appeals have come about after
work has been stopped by a zoning or building inspec-
tor in situations in which the owner or contractor was
unaware that a permit was necessary or refused to
obtain one. A permit, signed by an employee of the
Building and Licensing Division, is the appellant's
proof that they have tried to comply with the City's
regulations. Most importantly, obtaining a building
permit means that the work will be inspected to deter-
mine that it has been executed correctly, which pro-
vides a long-term safeguard for the property owner.
Page 6
Certified Local Government (CLG) status
Salt Lake City has agreed to support the principles of
the Secretary of the Interior's Standards for Rehabilita-
tion of Historic Buildings in a contract with the State
Historic Preservation Officer. In that contract, the city
received status as a "Certified Local Government,"
under the National Historic Preservation Act. This act
provides that a local government, when it meets cer-
tain standards for operation of a preservation pro-
gram, may become so certified and therefore become
eligible for technical and financial assistance to admin-
ister its preservation activities.
National and Local Register designations
It is important to distinguish the city's designation of
historic districts through its local ordinance process
from designation to the National Register. The Na-
tional Register of Historic Places is a list of sites and
properties of historic significance. Properties so listed
may have national significance, but they may also may
be listed if they are determined to have significance at
a state or local level. The National Register is adminis-
tered by the National Park Service and nominations
are submitted through the State Historic Preservation
Officer, using criteria adopted by the Secretary of the
Interior.
Properties listed on the National Register are eligible
for federal income tax credit incentives and federal
actions that may affect these properties must be re-
viewed for their potential impact. Alterations are not
reviewed if the property owner is not seeking the
federal income tax incentive or if no federal actions are
involved.
By contrast, the local designation process is estab-
lished through the police powers of the city's zoning
ordinance. Criteria for designation are set forth in the
City code and designated properties are subject to
protections outlined in the ordinance, including demo-
lition and design review.
The scope of design review
Design standards provide guidance for achieving the
community's design policies about historic preserva-
tion. They clarify accepted principles of historic pres-
ervation and provide a common basis for making
decisions about design. The standards are "reactive,"
in that they apply to proposed actions initiated by the
property owner. While they guide an approach to
certain design problems by offering alternative solu-
tions, they do not dictate a specific outcome and they
do not require a property owner to instigate improve-
ments that are not contemplated. For example, if a
property owner wishes to repair a deteriorated porch
of a historic house, the standards indicate appropriate
methods for planning such work. If porch repair is the
only work proposed by the property owner, the pro-
cess does not require that other deteriorated features,
such as a roof in poor condition, be repaired.
It is also important to note that in most cases the
standards apply only to exterior work that is in view
from a public way. In a few limited situations, alter-
ations to hidden features and even historic interiors
that have been officially designated by the city may be
subject to review as well. At this time, no interiors have
been designated.
Type of work reviewed
The design standards address the following categories
of work:
• Rehabilitation and alterations to historic
buildings -
These maybe individually designated landmark struc-
tures or they may be properties designated at " contrib-
uting" in a locally defined historic district. Alterations
to the exterior of a historic building, including con-
struction of an addition, are subject to review.
• Alterations to "noncontributing" structures in
historic districts -
These are properties that may be old but have lost their
integrity as historic structures, or they may be newer
buildings that have not achieved historic significance.
In general, the standards for new construction apply
to these properties.
• Site work -
This includes landscaping of grounds as well as new
grading and construction of driveways affecting an
individually designated landmarks and for any prop-
erty within a locally -designated historic district.
Preservation in Salt Lake City
• New building -
Construction of new, freestanding structures, either as
primary or secondary buildings within a locally desig-
nated historic district, are subject to review.
• Sign work -
Installation of a new sign or alteration of an existing
one that is associated with an individually designated
landmark or that is within a locally designated historic
district is also subject to review.
Note that these standards apply in addition to provi-
sions in the zoning ordinance and building codes for
construction of buildings, site work and signs.
Policies underlying the design standards
The standards are founded on the goals for preserva-
tion as stated in the Salt Lake City Zoning Ordinance
Title 21A of the Salt Lake City Code, Chapter 34.020
"Purpose Statement." These preservation goals pro-
vide direction to projects executed within the historic
context of each district.
The standards are intended to be used in a number of
ways: property owners and architects should use the
standards when beginning a project; city staff will use
the standards when advising property owners and in
administrative reviews and the HLC will use the stan-
dards when considering issuance of a Certificate of
Appropriateness. The standards are based on the
criteria and standards set forth in Chapter 34.020 of
Title 21A, of the Salt Lake Code, the city zoning ordi-
nance, which provides for creation of historic preser-
vation overlay districts.
The design standards also incorporate principles set
out in the Secretary of the Interiors Standards for Treat-
ment of Historic Properties, a widely -accepted set of
basic preservation design guidelines. It is the intent of
this document to be compatible with the Secretary of the
Interior's Standards, while expanding on those basic
preservation principles.
Compliance with the standards is enforced through
the city's permitting processes, including the building
permit review system. Property owners should recog-
nize that most projects require a building permit,
which is issued by the city's building official, in addi-
tion to the Certificate of Appropriateness that is issued
by the HLC.
Design Standards for Salt Lake City Page 7
Preservation in Salt Lake City
How to use this document
The chapters containing design standards are orga-
nized in a format that provides background informa-
tion as well as specific regulatory language. Each of
these chapters contains the following components:
• Policy statement
A broad statement explaining the city's basic approach
for the treatment of the design feature being discussed
is presented. This statement provides the basis for the
more detailed background information and design
standards that follow. In cases in which special condi-
tions in a specific project are such that the detailed
design standards that follow do not appear to address
the situation, then this broad policy statement should
serve as the basis for determining the appropriateness
of the proposed work.
• Background information
A discussion of the issues typically associated with the
specific design topic is presented next. This may in-
clude technical information, such as factors associated
with the preservation of a historic building material, as
well as general preservation theory that is relevant to
the topic at hand.
• Pertinent sub -topics
The sections following the background information
are divided into pertinent sub -topics. For example, in
the chapter addressing Site Features, the sub -topic,
"Walkways," is among those discussed. This organi-
zation allows the user to quickly select the specific
design topics within a section that are relevant.
• Design standards
The specific design standards are presented as bold
face statements under each sub -topic. These are also
numbered to indicate their relative position within the
chapter and to aid in specific reference in the review
process. The city must determine that these standards
have been adequately met in order to issue a Certificate
of Appropriateness for the proposed work.
• Maintenance tips
Special information about the appropriate mainte-
nance of selected historic building materials and fea-
tures is provided occasionally at the bottom of a page.
This is separated from the design standards by a bold
line. This information is provided as an aid to property
owners who seek to preserve their buildings in a
Page 8
manner that will maintain the character and finish of
historic building materials.
• Additional information
Finally, a separate section provides a brief list of other
publications that may be particularly useful for read-
ers who desire more information about the treatment
of a specific building element in more detail.
Format for chapters on historic districts
For those chapters providing guidance for individual
historic districts, some other organizational features
merit note:
1. Historic overview of the district
A general description of the district, including a brief
summary of the history of its development, is pre-
sented first.
2. Discussion of development trends
A brief statement noting the general trends in develop-
ment is provided, to indicate the types of construction
issues that the city typically expects to encounter in the
area.
3. A statement of design goals for the district
These design goals establish the long-range view for
the character of the district and provide a foundation
for the design standards that follow. In cases in which
the special conditions in a specific project are such that
the detailed design standards that follow do not ap-
pear to address the situation, then this goals statement
should serve as the basis for determining the appropri-
ateness of the proposed work.
4. Description of design features
A general description of the design character of the
district is presented. This provides a context within
which alterations and new construction should be
considered to assure their appropriateness with the
district.
5. Design standards
The specific design standards are presented as bold
face statements under each sub -topic. These are also
numbered to indicate their relative position within the
chapter and to aid in specific reference in the review
process. The city must determine that these standards
have been adequately met in order to issue a Certificate
of Appropriateness for the proposed work.
Preservation in Salt Lake City
A sample Design Standard
A typical design standard in this document
contains three components:
The design standard itself. This sets forth a
basic principle for treatment of a selected
design topic.
Supplementary requirements, listed under the
standard. These clarify the primary design
standard statement and may suggest spe-
cific methods for complying with it.
An illustration, in the form of a sketch or pho-
tograph that depicts a method of comply-
ing with the standard.
Retaining Walls
1.5 Maintain the historic height of a retaining
/ wall.
Increasing the height ofa wall to create aprivacy screen is inappropriate.
Ifa fence is needed for security, consider using a wrought iron one that
is mounted on top of the wall. This will preserve the wall, allow views
/ into the yard and minimize the overall visual impact of the new fence.
Retaining walls are often
important historic
resources that reflect
unique masonry patterns
and textures.
Design Standards for Salt Lake City Page 9
Preservation in Salt Lake City
WHY PRESERVE HISTORIC
RESOURCES?
Across the nation, thousands of communities promote
historic preservation because doing so contributes to
neighborhood livability and quality of life, minimizes
negative impacts on the environment and yields eco-
nomic rewards. Many property owners are also drawn
to historic resources because the quality of construc-
tion is typically quite high and the buildings are readily
adaptable to contemporary needs. These same reasons
apply in Salt Lake City.
Construction quality
Most of the historic structures in the city are of high
quality construction. Lumber used came from mature
trees and was properly seasoned and it typically was
milled to "full dimensions" as well, which often yielded
stronger framing. Masonry walls were carefully laid,
resulting in buildings with considerable stability. These
structures also were thoughtfully detailed and the
finishes of materials, including fixtures, wood floors
and trim were generally of high quality, all features
that owners today appreciate. By comparison, in today's
new construction, materials of such quality are rarely
available and comparable detailing is very expensive.
The high quality of construction in historic buildings is
therefore a "value" for many people.
Adaptability
Owners also recognize that the floor plans of historic
buildings easily accommodate comfortable life-styles
and support a diversity of populations. Rooms are
frequently large, permitting a variety of uses while
retaining the overall historic character of each struc-
ture and open space often exists on a lot to accommo-
date an addition, if needed.
Livability and quality of life
When groups of older buildings occur as historic dis-
tricts, they create a street scene that is "pedestrian
friendly," which encourages walking and neighborly
interaction. Mature trees, stone walls and decorative
architectural features also contribute to a sense of
identity that is unique for each historic neighborhood,
an attribute that is rare and difficult to achieve in
newer areas of the city. This physical sense of neigh-
borhood can also reinforce desirable community social
Page 10
patterns and contribute to a sense of security. Many
residents of historic districts, for example, note how
easily they get to know their neighbors and praise the
fact that they are recognized by others who live in the
vicinity.
Environmental benefits
Preserving a historic structure is also sound environ-
mental conservation policy because "recycling" it saves
energy and reduces the need for producing new con-
struction materials. Three types of energy savings
occur: First, energy is not consumed to demolish the
existing building and dispose of the resulting debris.
Second, energy is not used to create new building
materials, transport them and assemble them on site.
Finally, the "embodied" energy, that which was used
to create the original building and its components, is
preserved.
By "reusing" older materials as a historic building,
pressure is also reduced to harvest new lumber and
other materials that also may have negative effects on
the environment of other locales where these materials
are produced. Because older buildings are often more
energy -efficient than new construction, when prop-
erly used, heating and cooling needs are reduced as
well.
Living in historic neighborhoods also helps reduce the
city's dependence upon automobiles. Because these
older places are in close proximity to the original
downtown, they provide opportunities for many
people to work close to where they live, and because
commuting distances are reduced, so are vehicle miles
traveled. Public transportation is also a feasible option
for many in these neighborhoods, further reducing
automobile use. A reduction in gasoline consumed
and in air pollution from emissions discharged are
therefore positive results of living in historic neighbor-
hoods.
Economic benefits
Historic resources are finite and cannot be replaced,
making them precious commodities that many buyers
seek. Therefore, preservation adds value to private
property. Many studies across the nation document
that, where local historic districts are established, prop-
erty values typically rise, or at least are stabilized. In
this sense, designation of a historic district appears to
help establish a climate for investment. Property own-
ers within the district know that the time and money
they spend on improving their properties will be
matched with similar efforts on surrounding lots; these
investments will not be undermined by inappropriate
construction next door.
The condition of neighboring properties also affects
the value of one's own property: People invest in a
neighborhood as much as the individual structure
itself and, in historic districts where investment is
attracted, property owners recognize that each ben-
efits from the commitment of their neighbors. An
indication of the success of historic preservation is that
the number of designated districts across the country
has increased, due to local support, such that an esti-
mated 1,000,000 properties, both as individual land-
marks and in historic districts, are under local jurisdic-
tions.
Preservation projects also contribute more to the local
economy than do new building programs because
each dollar spent on a preservation project has a higher
percentage devoted to labor and to purchase of mate-
rials available locally. By contrast, new construction
typically has a higher percentage of each dollar spent
devoted to materials that are produced outside of the
local economy and to special construction skills that
may be imported as well. Therefore, when money is
spent on rehabilitating a building, it has a higher
" multiplier effect, " keeping more money circulating in
the local economy.
Rehabilitating a historic building also can cost less
than constructing a new one. In fact, the standards for
rehabilitation of historic structures presented in this
document promote cost -saving measures: They en-
courage smaller and simpler solutions, which in them-
selves provide savings. Preserving building elements
that are in good repair is preferred, for example, rather
than replacing them. This typically is less expensive. In
some instances, appropriate restoration procedures
maycost more than less sensitive treatments, however.
In such cases, property owners are compensated for
this extra effort, to some extent, in the added value that
historic district designation provides. Special economic
incentives also exist to help offset potential added
costs.
Preservation in Salt Lake City
Incentives for preservation
While these economic benefits are substantial, special
incentives also exist to help offset potential added
costs of appropriate rehabilitation procedures. Income
tax credits are offered at the state and federal levels for
appropriate rehabilitation. In some cases, the city also
can provide special zoning incentives and can help to
expedite development review associated with preser-
vation projects. Low -interest loans are also available
through the Utah Heritage Foundation, a statewide
non-profit organization, as an additional incentive.
Responsibility of ownership
Ownership of a historic property carries both the ben-
efits described above and also a responsibility to re-
spect the historic character of the property and its
setting. While this responsibility does exist, it does not
automatically translate into higher construction or
maintenance costs. In the case of new construction, for
example, these design standards focus on where a
building should be located on a site and what its basic
scale and character should be. The standards do not
dictate the style of the new building or the degree of
detail that it should have, factors which could affect
building costs. (In fact, imitating historic styles is dis-
couraged in these design standards.) Ultimately, resi-
dents and property owners should recognize that his-
toric preservation is a long-range community policy
that promotes economic well-being and overall viabil-
ity of the city at large and that they play a vital role in
helping to implement that policy through careful stew-
ardship of the area's historic resources.
Design Standards for Salt Lake City Page 11
Preservation in Salt Lake City
BASIC PRESERVATION THEORY
The concept of historic significance
What makes a property historically significant? In
general, properties must be at least 50 years old before
they can be evaluated for potential historic signifi-
cance, although exceptions do exist when a more
recent property clearly is significant. Historic proper-
ties must have qualities that give them significance. A
property may be significant for one or more of the
following reasons:
Association with events that contributed to
the broad patterns of history, the lives of
significant people, or the understanding of
Salt Lake City's prehistory or history.
Construction and design associated with dis-
tinctive characteristics of a building type, pe-
riod, or construction method.
An example of an architect or master crafts-
man or an expression of particularly high
artistic values.
Integrity of location, design, setting, materi-
als, workmanship, feeling and association that
form a district as defined by the National
Register of Historic Places Standards admin-
istered by the National Park Service.
Period of Significance
In most cases, a property is significant because it
represents or is associated with a particular period in
its history. Frequently, this begins with the construc-
tion of the building and continues through the peak of
its early occupation. Building fabric and features that
date from the period of significance typically contrib-
ute to the character of the structure.
Concept of Integrity
In addition to being historically significant, a property
also must have integrity, in that a sufficient percentage
of the structure must date from the period of signifi-
cance. The majority of the building's structural system
and materials should date from the period of signifi-
cance and its character defining features also should
remain intact. These may include architectural details,
such as dormers and porches, ornamental brackets
and moldings and materials, as well as the overall
Page 12
mass and form of the building. It is these elements that
allow a building or district to be recognized as a
product of its own time.
Selecting a Preservation Approach
Each preservation project is unique. It may include a
variety of treatment techniques, including the repair
and replacement of features and maintenance of those
already in good condition. Some of the basic preserva-
tion treatments are described in the section that fol-
lows. In each case, it is important to develop an overall
strategy for treatment that is based on an analysis of
the building and its setting.
This research should begin with an investigation of
the history of the property. This may identify design
alterations that have occurred and may help in devel-
oping an understanding of the significance of the
building as a whole as well as its individual compo-
nents.
This historical research should be followed on an on -
site assessment of existing conditions. In this inspec-
tion, identify those elements that are original and
those that have been altered. Also determine the con-
dition of individual building components.
Finally, list the requirements for continued use of the
property. Is additional space needed? Or should the
work focus on preserving and maintaining the exist-
ing configuration?
By combining an understanding of the history of the
house, its present condition, and the need for actions
that will lead into the future, one can then develop a
preservation approach. In doing so, consider the terms
that follow:
Adaptive Use
Converting a building to a new use that is different
from that which its design reflects is considered to be
"adaptive use." For example, converting a residential
structure to offices is adaptive use. A good adaptive
use project retains the historic character of the build-
ing while accommodating its new functions.
Maintenance
Some work focuses on keeping the property in good
working condition by repairing features as soon as
deterioration becomes apparent, using procedures that
retain the original character and finish of the features.
In some cases, preventive maintenance is executed
prior to noticeable deterioration. No alteration or re-
construction is involved. Such work is considered
"maintenance." Property owners are strongly encour-
aged to maintain their properties in good condition so
that more aggressive measures of rehabilitation, resto-
ration or reconstruction are not needed.
Preservation
The act or process of applying measures to sustain the
existing form, integrity and material of a building or
structure, and the existing form and vegetative cover
of a site is defined as "preservation." It may include
initial stabilization work, where necessary, as well as
ongoing maintenance of the historic building materi-
als. Essentially, the property is kept in its current good
condition.
Rehabilitation
Rehabilitation is the process of returning a property to
a state which makes a contemporary use possible
while still preserving those portions or features of the
property which are significant to its historic, architec-
tural and cultural values. Rehabilitation may include
the adaptive reuse of the building and major or minor
additions may also occur. Most good preservation
projects in Salt Lake City may be considered rehabili-
tation projects.
Renovation
To renovate means to improve by repair, to revive. In
renovation, the usefulness and appearance of the build-
ing is enhanced. The basic character and significant
details are respected and preserved, but some sympa-
thetic alterations may also occur. Alterations that are
made are generally reversible, should future owners
wish to restore the building to its original design.
Preservation in Salt Lake City
Restoration
To restore, one reproduces the appearance of a build-
ing exactly as it looked at a particular moment in time;
to reproduce a pure style —either interior or exterior.
This process may include the removal of later work or
the replacement of missing historic features. A resto-
ration approach is used on missing details or features
of an historic building when the features are deter-
mined to be particularly significant to the character of
the structure and when the original configuration is
accurately documented.
Remodeling
To remake or to make over the design image of a
building is to remodel it. The appearance is changed
by removing original detail and by adding new fea-
tures that are out of character with the original. Re-
modeling is inappropriate for historic buildings in Salt
Lake City.
Combining Preservation Strategies
Many successful rehabilitation projects that involve
historic structures in Salt Lake City may include a
combination of preservation, restoration, and other
appropriate treatments. For example, a house may be
adapted to use as a restaurant, and in the process,
missing porch brackets may be replicated in order to
restore the original appearance, while existing origi-
nal dormers may be preserved.
Design Standards for Salt Lake City Page 13
Preservation in Salt Lake City
PRESERVATION PRINCIPLES
The following preservation principles should be
applied to all historic properties in Salt Lake City:
Respect the historic design character of the
building.
Don't try to change its style or make it look older than
it really is. Confusing the character by mixing elements
of different styles is also an example of disrespect.
Seek uses that are compatible with the
historic character of the building.
Building uses that are closely related to the original use
are preferred. Every reasonable effort should be made
to provide a compatible use for the building that will
require minimal alteration to the building and its site.
An example of an appropriate adaptive use is
converting a residence into a bed and breakfast
establishment. This can be accomplished without
radical alteration of the original architecture.
Note that the Historic Landmark Commission does
not review uses; however, property owners should
consider the impacts that some changes in use would
have upon their historic properties, since this may
affect design considerations that are reviewed by the
Commission. In addition, the zoning code provides
some incentives associated with certain uses and these
may require Commission comment.
These uses may aid in interpreting how the building
was used historically. Check the zoning code to
determine which uses are allowed.
When a more radical change in use is necessary to keep
the building in active service, then those uses that
require the least alteration to significant elements are
preferred. It maybe, that in order to adapt your building
to the proposed new use, such radical alteration to its
significant elements would be required that the entire
concept is inappropriate. Experience has shown,
however, that in most cases designs can be developed
that respect the historic integrity of the building while
also accommodating new functions. Note that more
radical changes in use can make projects more
expensive or result in the loss of significant features.
Carefully evaluate the cost of alteration as adaptation
for a radical change may prove too costly or destroy
too many significant features.
Protect and maintain significant features
and stylistic elements.
Distinctive stylistic features or examples of skilled
craftsmanship should be treated with sensitivity. The
best preservation procedure is to maintain historic
features from the outset so that intervention is not
required. Protection includes the maintenance of his-
toric material through treatments such as rust re-
moval, caulking, limited paint removal and re -appli-
cation of paint.
Preserve any existing original site features
or original building materials and features.
Preserve original site features such as grading, rock
walls, etc. Avoid removing or altering original materi-
als and features. Preserve original doors, windows,
porches and other architectural features.
Repair deteriorated historic features, and
replace only those elements that cannot be
repaired.
Upgrade existing material, using recognized preser-
vation methods whenever possible. If disassembly is
necessary for repair or restoration, use methods that
minimize damage to original materials and replacing
original configuration.
For additional information:
Murtagh, William J. Keeping Time: The History and Theory of Preservation in America. Pittstown, New Jersey: The Main Street
Press, 1988.
Page 14
Preservation in Salt Lake City
HISTORIC OVERVIEW OF SALT LAKE CITY
The uniform grid of the City of Zion Plan is readily apparent in this early birds -eye view.
The story of Salt Lake City's architectural past begins
with its physical layout, which loosely conformed to
Mormon founder Joseph Smith's Plat of the City of
Zion. Salt Lake City was divided into blocks of 10
acres, with a block in the center reserved for the temple
and wide streets of 132 feet. The blocks were divided
into 8 lots of 1.25 acres each, enough to accommodate
a family and the agricultural needs of everyday living,
such as a vegetable garden, fruit trees and a few
livestock and chickens. Residents travelled beyond the
city wall at 900 South to farm the land that L.D.S.
church leaders had assigned to them; resources such as
timber and water were communally owned. This sys-
tem was designed to establish an efficient use of land
and prevent social isolation. Although the blocks were
later subdivided into smaller parcels and any sem-
blance to its early appearance as an agrarian village has
long disappeared, Salt Lake's orderly pattern and wide
streets indicate that it was a planned community from
its inception.
As in any new settlement isolated from an industrial
society, the Mormons were driven by expediency and
thrift when it came to providing permanent shelter.
Dwellings were simple: ornamentation was sparse,
and floor plans consisted of a "double pen," "hall
parlor," or a "central hall" arrangement. Their sym-
metry, balance, and simplicity displayed at a very
basic level the classicism associated with the Greek
Revival style.
Adobe, rather than wood, was the predominant mate-
rial in the Salt Lake valley from 1847 until fired bricks
became available in the 1860s. We tend to forget this
because so few adobe structures from this period have
survived and because log cabins are so lovingly pre-
sented in public places. None other than Brigham
Young, however, admonished against the use of logs,
stating that "log buildings do not make a sightly city. "
While adobe had the disadvantage that it could not
withstand poor weather and did not lend itself to
Design Standards for Salt Lake City Page 15
Preservation in Salt Lake City
complicated construction, it was cheap, if not free, and
didn't require skilled labor. It was used not only for
homes, but also for outbuildings, such as barns and
sheds, and also for public buildings, such as Social
Hall.
While the initial village layout prevailed, both physi-
cally and socially, throughout the 1860s, the city began
to push beyond its original boundaries. The establish-
ment of Fort Douglas in 1862, the activity of the Red
Butte quarry, and the moving of the slaughter yards in
1860 to the mouth of Dry Canyon drew residents
eastward. Residents also began to consider moving to
the lower slopes of the Avenues and Capitol Hill to
escape the noise and confusion of Main Street as well
as South Temple, which had become a busy thorough-
fare, as merchants travelled between the fort and down-
town. Gradually people began to use fired brick
instead of adobe. The biggest factor that affected
architecture, however, was the completion of the trans-
continental railroad in 1869, so that the built domain
began to reflect Salt Lake City's new link to the outside
world. Now residents had access to the building
guides, pattern books and home magazines used na-
tionally as well as the necessary materials to construct
the homes promoted in the literature.
The railroad was the first, important step that enabled
Salt Lake residents to keep pace with the architectural
mainstream. Access to national markets made for a
more complex economy, one based on cash, rather
than trade, and based on capitalism, instead of subsis-
tence. Most notably for the territory, it opened up the
mining industry. In response to this economic devel-
opment, Salt Lake City became more urban within a
decade. A variety of styles, such as the Second Empire,
Italianate, and Gothic Revival and the Queen Anne
were used and builders quickly produced the compli-
cated floor plans, asymmetrical facades and mass-
produced ornamentation that were used in the late
Victorian era.
The growth of the city led to municipal improvements
such as better water distribution, the installation of gas
lamps and electric street lights and a mass transporta-
tion system using electric railway cars. This last devel-
opment enabled people to live increasingly farther
from where they worked and resulted in the develop-
ment of "streetcar suburbs," especially in the area
Page 16
southeast of Liberty Park. Class differences emerged
and characterized many neighborhoods. In general,
working class residents lived in Central City and west
of the railroad tracks. Professional, middle class people
chose the Avenues and outlying suburbs in which to
build or purchase homes — more expensive real estate
because it was quieter and located on the benches, out
of the smog. By the end of the 1880s, Salt Lake City had
made the transition from a theocratic utopia to a re-
gional center, one that looked like many other commu-
nities west of the Mississippi.
Also by this time, Salt Lake City was home to several
millionaires who had made great fortunes in mining
and other industrial pursuits. They built imposing
residences, usually in classical styles such as Renais-
sance, Classical and Georgian revival. Although sev-
eral still stand in Central City, Capitol Hill, and the
Avenues, the most lavish were located on South Temple.
Salt Lake's prosperity attracted architects such as Rich-
ard Kletting, Frederick Ware, and Frederick Albert
Hale. Their professional training and experience
coupled with their clients' means led to a new, more
sophisticated approach to architecture. During the
period from about 1895 to 1915 these architects and
others designed structures to house the new state's
institutions, such as the State Capitol, the public Li-
brary (now the planetarium) and the University of
Utah in its current location, as well as clubs such as the
Alta and University clubs (the latter demolished in the
1960s) in which people could separate themselves
socially from the rest of society. The Salt Lake Temple
was completed in 1893; the construction of the Cathe-
dral of the Madeleine and the First Presbyterian Church
announced that non -Mormons had a permanent stake
in the city.
Concurrently a steady influx of new residents pro-
vided a healthy market for residential development at
the lower end. This occurred both at corporate and
individual levels. James Anderson founded the Ander-
son Realty Investment Corporation in 1892 and con-
structed many Victorian Eclectic houses, several of
which can be seen along 300 South between 600 and
700 East. These were substantial, two story structures
with a boxy shape that Anderson could build for about
$3, 200 and sell quickly at almost twice the price. Occa-
sionally widows would subdivide their property and
build two or three houses next door in order to get a
monthly income and make a capital investment. Such
homes — either of professional developers or indi-
viduals — adhered to no particular style and were
designed according to the whim of the owner. They
might be a bungalow, a Foursquare or "box" type or
display a Victorian influence.
About 1900, developers began to invest in large apart-
ment buildings. This was a new building type for Salt
Lake City — one that created a more urban landscape
and indicated a substantial shift in demographics.
They attracted a variety of residents: the wealthy who
didn't want the trouble of owning a house; the wid-
owed who didn't need the space of a house, and people
just starting out who couldn't afford a house. W.C.A.
Vissing constructed several buildings for the Covey
Investment Company and was the city's most prolific
apartment builder. Elegant apartment buildings, such
as the Maryland, were constructed on South Temple,
while others, less prestigious but still comfortable,
were located east and north of downtown and in the
Avenues.
Bungalows and Period Revival cottages dominated
the residential building scene from the end of World
War I through the 1920s but with the onset of the Great
Depression, the construction industry ground to a
halt. The few people who could afford to build a new
home generally picked traditional designs, such as the
Cape Cod cottage or a revival style, such as Dutch
Colonial. In rare instances the International or Art
Moderne styles were used.
Preservation in Salt Lake City
After World War II birth rates soared. Construction
boomed and new subdivisions were developed. Un-
precedented numbers of people could afford cars and
the many new consumer goods that flooded the mar-
ket. With the rise of the automobile, the popularity of
the new suburb, and the encroachment of commercial
development east of downtown, many of Salt Lake's
older neighborhoods began to decline. But as usual,
this trend reversed. People grew weary of commuting
and were disturbed by the demolition of irreplaceable
landmarks. A preservation ethic emerged and slowly
people began to take a second look at the city's old
buildings. They painstakingly restored historic homes
and in the process, revitalized neighborhoods. Today,
these neighborhoods are Salt Lake City's most desir-
able real estate. Much has been lost but even more has
been saved.
For additional information:
Brolin, Brent C. Architecture in Context: Fitting New Buildings with Old. New York: Van Nostrand Reinhold Company, 1980.
Design Standards for Salt Lake City Page 17
Preservation in Salt Lake City
GLOSSARY
Alignment The arrangement of objects along a straight
line.
Arch A structure built to support the weight above an
opening. A true arch is curved. It consists of wedge-
shaped stones or bricks called voussoirs (vu-swar'),
put together to make a curved bridge which spans the
opening.
Ashlar A square, hewn stone used in building. It also
refers to a thick dressed, square stone used for facing
brick walls, etc.
Balcony A platform projecting from the wall of an
upper story, enclosed by a railing or balustrade, with
an entrance from the building and supported by brack-
ets, columns, or cantilevered out.
Baluster A short, upright column or urn -shaped sup-
port of a railing.
Balustrade A row of balusters and the railing connect-
ing them. Used as a stair rail and also above the cornice
on the outside of a building.
Bargeboard A projecting board, often decorated, that
acts as trim to cover the ends of the structure where a
pitched roof overhangs a gable.
Bay Window A window or set of windows which
project out from a wall, forming an alcove or small
space in a room; ordinarily begins at ground level, but
may be carried out on brackets or corbels.
Board and Batten Vertical plank siding with joints
covered by narrow wood strips.
Bracket A supporting member for a projecting ele-
ment or shelf, sometimes in the shape of an inverted L
and sometimes as a solid piece or a triangular truss.
Came Metal struts supporting leaded glass.
Canopy A roofed structure constructed of fabric or
other material placed so as to extend outward from a
building providing a protective shield for doors, win-
dows and other openings, supported by the building
and supports extended to the ground directly under
the canopy or cantilevered from the building.
Page 18
Clapboards Narrow, horizontal, overlapping wooden
boards, usually thicker along the bottom edge, that
form the outer skin of the walls of many wood frame
houses. The horizontal lines of the overlaps generally
are from four to six inches apart in older houses.
Column A slender upright structure, generally con-
sisting of a cylindrical shaft, a base, and a capital;
pillar: It is usually a supporting or ornamental mem-
ber in a building.
Dormer A window set upright in a sloping roof. The
term is also used to refer to the roofed projection in
which this window is set.
Dentil molding A molding with a series of small
blocks that look like teeth, usually seen under a cor-
nice.
Eave The underside of a sloping roof projecting be-
yond the wall of a building.
E.LF.S. Stands for "Exterior Insulating and Finish
System." This is a process by which a styrene board is
adhered to wall sheathing and an elastomeric, syn-
thetic stucco is applied. At this writing E.I.F.S. is
generally referred to as "dryvit," but this is a brand
name.
Elevation Amechanicallyaccurate, "head-on" draw-
ing of a face of a building or object, without any
allowance for the effect of the laws of perspective. Any
measurement on an elevation will be in a fixed propor-
tion, or scale, to the corresponding measurement on
the real building.
Facade Front or principal face of a building, any side
of a building that faces a street or other open space.
False Front A front wall which extends beyond the
sidewalls of a building to create a more imposing
facade.
Fascia A flat board with a vertical face that forms the
trim along the edge of a flat roof, or along the horizon-
tal, or "eaves," sides of a pitched roof. The rain gutter
is often mounted on it.
Fenestration The arrangement and design of win-
dows in a building.
Floor Area Ratio The relationship of the total floor
area of a building to the land area of its site, as defined
in a ratio in which the numerator is the floor area, and
the denominator is the site area.
Finial The decorative, pointed terminus of a roof or
roof form.
Frame A window component: see window parts.
Gable The portion, above eave level, of an end wall of
a building with a pitched or gambrel roof. In the case
of a pitched roof this takes the form of a triangle. The
term is also used sometimes to refer to the whole end
wall.
Joist One of the horizontal wood beams that support
the floors or ceilings of a house. They are set parallel to
one another —usually from 1'0" to 2'0" apart —and
span between supporting walls or larger wood beams.
Lancet Window A narrow, vertical window that ends
in a point.
Lap Siding See clapboards.
Lintel A heavy horizontal beam of wood or stone over
an opening of a door or window to support the weight
above it.
Molding A decorative band or strip of material with
a constant profile or section designed to cast interest-
ing shadows. It is generally used in cornices and as
trim around window and door openings.
Oriel Window A projecting bay with windows, which
emerges from the building at a point above ground
level. It is often confused with a bay window which
ordinarily begins at ground level.
Pier The part of a wall between windows or other
openings. The term is also used sometimes to refer to
a reinforcing part built out from the surface of a wall;
a buttress.
Pilaster A support or pier treated architecturally as a
column, with a base, shaft, and capital that is attached
to a wall surface.
Preservation in Salt Lake City
Pony Walls Low walls, between 24" to 36" high, that
are used to enclose porches or balconies. Also known
as "wing" walls.
Post A piece of wood, metal, etc., usually long and
square or cylindrical, set upright to support a building,
sign, gate, etc.; pillar; pole.
Preservation The act or process of applying measures
to sustain the existing form, integrity, and materials of
a building or structure, and the existing form and
vegetative cover of a site. It may include initial stabili-
zation work, where necessary, as well as ongoing
maintenance of the historic building materials.
Protection The act or process of applying measures
designed to affect the physical condition of a property
be defending or guarding it from deterioration, loss or
attack, or to cover or shield the property from danger
of injury. In the case of buildings and structures, such
treatment is generally of a temporary nature and an-
ticipates future historic preservation treatment; in the
case of archaeological sites, the protective measure
may be temporary or permanent.
Quoin (koin) Dressed stones or bricks at the corners
of the buildings, laid so that their faces are alternately
large and small. Originally used to add strength to the
masonry wall, later used decoratively.
Rafter Any of the beams that slope from the ridge of
a roof to the eaves and serve to support the roof.
Reconstruction The act or process of reproducing by
new construction the exact form and detail of a van-
ished building, structure, or object, or part thereof, as
it appeared at a specific period of time.
Rehabilitation The act or process of returning a prop-
erty to a state of utility through repair or alteration
which makes possible an efficient contemporary use
while preserving those portions or features of the
property which are significant to its historical, archi-
tectural, and cultural value.
Renovation The act or process of returning a property
to a state of utility through repair or alteration which
makes possible a contemporary use.
Design Standards for Salt Lake City Page 19
Preservation in Salt Lake City
Restoration The act or process of accurately recover-
ing the form and details of a property and its setting as
it appeared at a particular period of time by means of
the removal of later work or by the replacement of
missing earlier work.
Roof The top covering of a building. Following are
some types:
•
•
•
•
•
•
Gable roof has a pitched roof with ridge and
vertical ends.
Hip roof has sloped ends instead of vertical
ends.
Shed roof (lean-to) has one slope only and is
built against a higher wall.
Jerkin -head (clipped gable or hipped gable) is
similar to gable but with the end clipped back.
Gambrel roof is a variation of a gable roof,
each side of which has a shallower slope above
a steeper one.
Mansard roofis a roof with a double slope; the
lower slope is longer than the upper.
Sash See window parts.
Shape The general outline of a building or its facade.
Siding The narrow horizontal or vertical wood boards
that form the outer face of the walls in a traditional
wood frame house. Horizontal wood siding is also
referred to as clapboards. The term "siding" is also
more loosely used to describe any material that can be
applied to the outside of a building as a finish.
Sill The lowest horizontal member in a frame or
opening for a window or door. Also, the lowest hori-
zontal member in a framed wall or partition.
Size The dimensions in height and width of a building's
face.
Soffit The underside of a structural part, as of a beam,
arch, etc.
Stile A vertical piece in a panel or frame, as of a door
or window.
Page 20
Stabilization The fact or process of applying mea-
sures designed to reestablish a weather resistant enclo-
sure and the structural stability of an unsafe or deterio-
rated property while maintaining the essential form as
it exists at present.
Store Front The street level facade of a commercial
building, usually having display windows.
Stucco An exterior wall covering that consists of
Portland cement mixed with lime, applied over a
wood or metal lath. It is usually applied in three coats.
See "E.I.F.S." in the glossary.
Transom A window located above a door or larger
window.
Visual Continuity A sense of unity or belonging
together that elements of the built environment exhibit
because of similarities among them.
Window Parts The moving units of a window are
known as sashes and move within the fixed frame. The
sash may consist of one large pane of glass or may be
subdivided into smaller panes by thin members called
muntins or glazing bars. Sometimes in nineteenth-cen-
tury houses windows are arranged side by side and
divided by heavy vertical wood members called mul-
lions. For a diagram of window parts, see pages 72 and
73.
Architectural Styles
Architectural Styles
Architectural Styles Table of Contents
Introduction
Classical
23
24
Picturesque 25
Gothic Revival 26
Italianate 27
Second Empire 28
Victorian Era 29
Victorian Eclectic 32
Queen Anne 33
Shingle Style 34
Period Revival 35
Spanish Colonial Revival 35
Tudor Revival 36
Colonial Revival 37
Dutch Colonial Revival 37
Georgian Revival 37
Neo-Classical Revival 38
Foursquare 38
The Bungalow 40
Arts and Crafts 42
Prairie 42
Modern styles 44
International style 44
Art Moderne 45
Post -War Styles 46
Post -War Cottage 46
Ranch style 46
Multi -family structures 47
Commercial structures 50
The house pictured on the previous page, located at 1172 E. 100 S., was constructed in 1894 for William A. Neldon, a prominent
businessman and civic leader. It was designed by Frederic Albert Hale, who was also the architect of the Alta Club and the Keith -
Brown mansion on South Temple.
Page 22
Architectural Styles
CHAPTER 3: ARCHITECTURAL STYLES
Introduction to Architectural Styles
Salt Lake City contains a multitude of architectural styles. This rich
architectural heritage enhances the city and provides a strong "sense of
place." It also provides clues about the evolution of Salt Lake City, in terms
of the sequence of development in different neighborhoods.
This chapter provides a brief overview of various historic styles found in
Salt Lake City. While this section makes reference to a wide range of styles
found here, it is not exhaustive. Certain architectural styles may exist that
are not included in this section.
Property owners should review these descriptions carefully. In many
cases the design standards that follow make reference to the characteristics
of styles that are presented in this chapter. In some cases, specific design
guidance is included in the style description, depending on the prevalence
of the style being described. For example, the section on Bungalows
provides special guidance because the bungalow is a prevalent building
type in many historic districts in Salt Lake City. The homeowner is
encouraged to use the styles section in analyzing the overall historic
character of his/her building, as well as distinguishing its character -
defining features. Ultimately, this should aid the homeowner in choosing
an appropriate design solution for any proposed work.
Design Standards for Salt Lake City Page 23
Architectural Styles
CLASSICAL STYLES
c. 1851-1885
Although long out of fashion in the eastern half of the United States,
variants of the classical styles, Georgian, Federal and particularly Greek
Revival, continued to be popular in Utah into the 1880s. They were
familiar styles to pioneers arriving from New England, upstate New York
and the Midwest. These styles are characterized by their symmetry and
the use of classical features: a wide frieze or fascia at the cornice,
pediments over the windows or doors and round columns on porches.
The homes from this period are generally side -gabled, so that when
viewed from the side they resemble small temples. Alternatively they
often have one-story, shed -roof additions at the rear for a "salt -box"
profile.
Characteristics
• usually side -gabled massing, one or two rooms deep
• one or two stories
• symmetrical facade, with the entrance in the middle
• stone foundations
• smooth plaster walls or clapboard siding
• two -over -two or one -over -one, double -hung windows
• wood cornices and fascia
• stone, projecting window sills
• low -pitch roof with cornice returns
• divided transoms over the doorways
• one-story, shed -roof addition at rear
Classical porch, at central entry
Page 24
This is an unusual example of a front -
facing Greek Revival style building in
the Capitol Hill Historic District.
Despite the rarity of its orientation, its
massing, stucco finish, pronounced wood
cornices and fascia are clearly in keeping
with this style and period.
Architectural Styles
PICTURESQUE STYLES
c. 1865-1885
Nationally, Picturesque styles — especially the Gothic Revival and the
Italianate — represented in part a rejection of the Greek Revival, which
was seen as being too discordant with the landscape and not easy to
remodel, especially for additions. During the 1830s, a group of influential
reformers called for a house style that would reinforce righteous living,
that would help shore up Americans in the face of social upheaval caused
by westward expansion and industrialization. Reformers wrote about
residential architecture in terms of morality, and different styles were
described as dishonest or honest. Locally, residents might have been
aware of the theory behind the promotion of these styles, but it is more
likely they represented something fashionable that was newly available.
The use of the Picturesque styles pushed Salt Lake citizens a little closer
to the American mainstream after enduring two decades of isolation.
Gothic Revival
Design Standards for Salt Lake City Page 25
Architectural Styles
PICTURESQUE STYLES, continued...
Gothic Revival
c. 1865-1880
According to Utah's Historic Architecture, 1847-1940, the Gothic Revival
style was most popular in Utah during the 1870s, and in a broader context,
was part of the Romantic movement that valued emotion over rational
thought. As a rejection of classicism the most vocal proponent of this style,
Andrew Jackson Downing, emphasized vertical lines, deep colors and the
use of applied ornament. Few such homes exist in Salt Lake's historic
districts, but because this style is so unique in this area they greatly
contribute to the architectural texture and richness of the city. Three can
be found along Quince Street in the Capitol Hill Historic District; another,
built in 1860, is located on B Street in the Avenues Historic District.
Characteristics
• steeply pitched roof
• cross gable roof plan, or
• side gable roof plan with central cross gable over the door
• clapboard or plaster siding
• quoins
• decorative barge board along eaves of main gables and dormers
• two -over -two, double -hung sash windows
• pediments over windows
• bay windows
• lancet windows
• elaborate porch railings: turned posts, cut-out boards
Page 26
Gothic revival
Architectural Styles
PICTURESQUE STYLES, continued...
Italianate
c. 1870-95
The Italianate style was introduced by Andrew Jackson Downing in his
1850 publication, The Architecture of Country Houses. He extolled the
virtues of the Gothic Revival, but offered the "villa," a version based on
Italian country houses that veered more toward classicism and did not
have the religious overtones of the Gothic Revival. The style was used in
Salt Lake after 1870, but it was not widely used and few examples remain.
Characteristics
• brick, wood clapboard, plaster
• double -hung, narrow windows, often with round arch heads
• window panes are either one -over -one or two -over -two
• protruding sills
• ornate treatment of the eaves, including the use of brackets,
modillions and dentil courses
• low-pitched, hipped roof
• blocky, cube shape, with a side -passage plan, or cross -gable
• bay windows, often rectangular shape
• quoins
• bay windows
• cresting
• transom, often curved, above the front door
• ornate porch treatment, with round columns or square posts, and
bargeboard ornament
Italianate
Design Standards for Salt Lake City Page 27
Architectural Styles
PICTURESQUE STYLES, continued...
Second Empire
c. 1870-1890
The Second Empire refers to the French reign of Louis Napoleon, the
grand -nephew of Napoleon Bonaparte, who ruled from 1852 to 1870. In
both France and America, the Second Empire style coincided with a period
of prosperity and materialism, and was associated with urbanity and
cosmopolitan society. In many cities in the United States it was used for
government structures, but it was popular for residences as well. Classical
details, such as quoins, round columns and heavy friezes were often used;
however, there was usually so much going on that Second Empire build-
ings, at least high -style examples, took on a life of their own. Extant Second
Empire houses in Salt Lake were constructed of brick and wood, and thus
do not have the rich, sculptural wall texture found in examples in other
parts of the country. Instead, builders and architects achieved the exuber-
ance of this style by using asymmetrical and complicated massing and by
applying plenty of ornament: cresting, railings, and moldings.
Second Empire
Characteristics
• steeply pitched, mansard roof
• roof can be either straight or concave, and is interrupted by dormers
• complex massing forms
• brick, stucco or wood clapboard
• wrought -iron ornament, such as cresting on roof or heavy, ornate
fencing
• wide eaves, often with modillions
• corbelled chimney
• dormers with heavy moldings
• double -hung windows, either one -over -one or two -over -two lights
• hood moldings over the windows
• sandstone foundation, porch steps
Page 28
Architectural Styles
VICTORIAN ERA STYLES
c. 1870-1910
Technically the word "Victorian" refers to the long reign of Queen
Victoria, which lasted from 1833 to 1901 and encompassed the rich
variety of architectural styles that were popular during the nine-
teenth century. Architecturally the word "Victorian" evokes the
complexity and irregularity seen in the massing and materials of
modest homes to large mansions. The use of Victorian era styles in
Salt Lake City became available with the advent of rail transportation;
access to national markets and culture was reflected in its architec-
ture.
Victorian Eclectic
Decorative shingles, window trim and porch details of Victorian era
Design Standards for Salt Lake City
Page 29
Architectural Styles
VICTORIAN ERA STYLES, continued...
Three specific styles popular during this period are discussed below; other
examples, such as the Richardsonian Romanesque, Eastlake and Stick
style can be found in Salt Lake's historic districts but not in great quantity.
(For more information about these styles, refer to Utah 's Historic Architec-
ture or A Field Guide to American Houses.) The majority of Salt Lake's
"Victorian" houses do not represent pure examples of anything; simply
describing a house built in Salt Lake after 1880 as "Victorian" can be
misleading because residents and builders tended to take elements from
one style and mix it with another. Still, among most Salt Lake residents the
term conjures up the image of a house built about 1890, either one or two
story, with an asymmetrical form, a steeply -pitched roof and "lots of
gingerbread." No matter if the house is Queen Anne, Shingle, "eclectic"
or "transitional," if it can truly be termed "Victorian" it will have several
of the following characteristics:
Complex Massing
• The massing of Victorian era homes is often a profusion of towers,
turrets, dormers, gables, bay windows and porches. Even small homes
look complicated through the use of a cross -wing floor plan and roofs with
a variety of planes and slopes.
Surface Ornamentation and Materials
Because fired brick was the most commonly used building material from
1865 on, Victorian era homes in Salt Lake do not display the abundance of
wall decoration as those in cities where wood construction predominated.
Still, Salt Lake Victorian era structures display a variety of materials.
• Shingles are the most commonly used embellishment on Victorian era
Page 30
Architectural Styles
VICTORIAN ERA STYLES, continued...
homes in Salt Lake, especially in gable ends and dormer walls.
• Horizontal wood siding, although also used during other periods, can
be seen on Victorian era homes. The siding has a crispness that gives the
building a repetition of light and shadow that is texturally rich.
• Fancy scroll cut wood work, especially around gables and porches.
• Ornamental brick work, such as corbelling and rows of soldiers bricks
as lintels.
• Use of wrought or cast iron as cresting along ridge lines or as railings
and fencing. The metal was heavy in a complicated pattern and is
generally found in more pretentious structures and sites, as opposed to
the "licorice stick" porch railing that became popular in the 1950s.
• Use of stone for foundations (sandstone, in a variety of colors and
quality, is the most common).
• Combinations of materials. For example, horizontal siding can be seen
on the first story and shingles are used on the second. A very common
combination is the use of sandstone for the foundation, the use of fired
brick on the walls, and wooden shingles in the gable ends.
Classical details combined with
Victorian eclectic massing
Design Standards for Salt Lake City Page 31
Architectural Styles
VICTORIAN ERA STYLES, continued...
Windows
• The standard window in a Victorian era house is the double -hung sash,
made of wood.
• A large, plate -glass window with a fixed transom, often with leaded or
stained glass, is commonly used in the front of the house. These are
sometimes flanked by narrower windows that are usually in a one -
over -one configuration.
• Palladian windows are frequently in the gable ends.
• Windows are often grouped in thirds (tripartite) in varying combina-
tions.
Victorian Eclectic
c. 1885-1910
As Thomas Carter and Peter Goss point out in Utah's Historic Architec-
ture, 1847-1940, "Victorian Eclectic is less a distinct style than an amalgam-
ation of elements from many popular nineteenth century styles." It often
has a massing defined by the Utah State Historic Preservation Office as a
"central block with projecting wings" --a central cube with a hipped roof
from which a shallow gabled wing projects. Thousands of examples of the
one-story form can be seen throughout Utah, but many two-story ex-
amples can be found as well.
Characteristics
• hipped roof over the main block; projecting wing with front -facing
gable
• porch with shed roof on one-story; often a gable on two-story examples
• usually round columns
• tripartite, often Palladian window in upper story of gable
• tripartite division of windows on projecting wing
Victorian Eclectic
Page 32
Plate glass window with leaded glass
transom
Palladian window
Architectural Styles
VICTORIAN ERA STYLES, continued...
Queen Anne
c. 1885-1905
Proponents of the Queen Anne style found their inspiration from the
medieval art and architecture that proceeded its namesake's reign (1702-
1714), growing out of recognition of vernacular, modest, pre -industrial
structures and a desire to bring about a close relationship of architecture
and ornament.
In the United States, it developed from a desire to identify a national style.
Both the Centennial Exposition, held in Philadelphia in 1876, and the
popularity of New England coastal towns exposed Americans to their
colonial, vernacular architectural past. The wood clapboard and shingle
houses that were constructed in eastern Massachusetts during the seven-
teenth and early eighteenth centuries brought about the usual longing of
security and simplicity that earlier ages always evoke, and were all the
more appealing because they were seen as pure "American." The new
Queen Anne style used the broad gables, long sloping roofs and small
pane windows of these early houses for the exterior, while giant hearths
inglenooks and spacious, inviting halls influenced interior design. The
style introduced a new kind of open planning and a new way of massing
volumes of space; it was inherently eclectic and became available to
homeowners of all income levels.
Characteristics
• irregular, asymmetrical massing
• use of bay windows, towers, turrets, dormers, gables — anything that
protrudes from the wall and the roof
• use of varying wall textures
• use of ornament: wooden scroll work on porches and gables, compli-
cated brick patterns, ornate metal railings
• windows with leaded or stained glass
• windows with large panes of glass surrounded by small panes
• tall brick chimneys
Queen Anne with turret
Design Standards for Salt Lake City Page 33
Architectural Styles
VICTORIAN ERA STYLES, continued...
Shingle Style
c. 1885-1900
The Shingle style is closely related to the Queen Anne and the Colonial
Revival styles, in the use of asymmetrical massing, broad front porches
and window treatments. Its defining characteristic is the extensive use of
shingles. The Shingle style can be seen on high -style, architect -designed
homes; it was not used for housing those of lower incomes.
Characteristics
• structure is almost entirely clad with shingles
• secondary materials include sandstone foundations and wood for
windows and trim
• large, dominant front gable
• asymmetrical massing, including the use of towers, dormers and eye-
brow windows
• the porch is a prominent feature that is tucked under the main roof line
• use of classical features, such as round columns on porches, one -over -
one double -hung sash windows and Palladian windows
Shingle style
Page 34
Architectural Styles
PERIOD REVIVAL STYLES
c. 1890-1940
Period Revival styles encompass the reworked versions of the Spanish
Colonial, the English Tudor, French Norman, and classically -inspired
architecture along with many other variants used throughout the country's
colonial history. With the exception of the Neoclassical, which was
generally reserved for mansions, period revival styles lent themselves
well to designs for modest homes and offered an alternative to the
bungalow. Developers and builders found that evoking a cozy image of
the past sold well, and that revival styles satisfied the need of home buyers
to conform to tradition while making use of contemporary convenience
and floor plans, such as the "L-shaped" living room. Several neighbor-
hoods in Salt Lake were constructed with rows of period revival "cot-
tages" — such as the area near the 1500 South and 1500 East intersection,
in the same way that scores of bungalows were used in subdivisions
surrounding Liberty Park. However, many Period Revival styles, espe-
cially the Spanish Colonial and the English Tudor, are scarce in the city's
local historic districts because their development occurred prior to the
popularity of these styles. Still, Period Revival homes add interest to the
streetscape and contribute to the eclectic character of the districts.
Spanish Colonial Revival
c. 1915-1935
This style was popularized by the Panama -California Exposition, held in
San Diego in 1915. The exposition was widely publicized, and the use of
architectural examples from the Spanish Colonies encouraged Americans
to realize that their country had a rich Spanish heritage, as well as an
Anglo-Saxon past. Several modest and high -style examples of this style
exist in the historic districts.
Characteristics
• use of stucco, often with a textured pattern
• use of tile roofs, usually red
• use of wrought -iron for balcony and porch railings
• decorative wall surfaces, using tile or low -relief terra cotta sculpture
• round -arched opening
Design Standards for Salt Lake City
Page 35
Architectural Styles
PERIOD REVIVAL STYLES, continued...
Tudor Revival
c. 1915-1935
As with many styles, the Tudor Revival does not adhere to the source of
its inspiration--sixteenth-century English architecture, but instead is a
mixture of elements from an American image of medieval forms that
resulted in something "quaint." The development of the Tudor Revival
style was associated with the Arts and Crafts movement, in which medi-
eval architecture and crafts were valued as a rejection of the industrialized
age. Ironically, the popularity of the style was in large part owing to its
exposure through mail-order catalogues such as Sears Roebuck and the
Aladdin Company, in which all of the parts of the house were pre -
assembled and shipped by rail anywhere in the United States. The style
was used extensively during the 1920s. and 1930s; it was used both in
large, formal examples (particularly in the University Historic District)
and for smaller, modest homes.
Characteristics
• steeply pitched roof
• cross -gabled roof lines
• decorative half-timbering
• decorative masonry
• arched doorways
• casement windows, often with leaded, diamond panes
• projecting entryway that follows slope of front gable
• rolled edges on roofing (an attempt to imitate thatch)
• use of stucco or brick
Tudor Revival
Page 36
Architectural Styles
PERIOD REVIVAL STYLES, continued...
Colonial Revival
c. 1890-1940
"Colonial Revival" encompasses many variants of residential architecture
used from about the turn of the century through the 1930s, and was
especially popular during the teens. It can apply to a Georgian Revival
mansion, a Neo-classical home, a Dutch Colonial house or a structure in
which elements of several of these styles were used. Massing forms vary
but they often have classical details, such as dentil moldings, pediments
over the doorways, round columns and lunette windows.
Dutch Colonial Revival (c. 1890-1915)
The example shown at right portrays a style known as 'Dutch Colonial
Revival," because of the use of a gambrel roof. This style is closely allied
with the Shingle and the Queen Anne styles. The details, such as the
window pattern, porches and materials are very similar.
• gambrel roof. Both side -and front -facing variations can be found.
• shingle gable end
• two story
• prominent front porch, with classically -detailed porch supports and
plain balustrades
• double -hung sash windows, with either single panes or multiple panes
in the upper light.
• lunette windows in the upper gable.
• large, single pane windows with a fixed transom on the first story
Georgian Revival (c. 1895-1930)
• usually large, elaborate
• brick (often red) or wood clapboard
• ornate moldings, such as dentils and modillions
• round columns with complex capitals
• hipped roofs with shallow pitches
• dormers
• double -hung windows, either one -over -one, six -over -one or six -over -
six
• low porch railings with turned balusters
• prominent center window on second story, often arched or curved
• quoins
• shutters
Design Standards for Salt Lake City
Colonial Revival
Dutch Colonial Revival
Georgian Revival
Page 37
Architectural Styles
PERIOD REVIVAL (continued) AND FOURSQUARE STYLES
Neo-Classical Revival (c. 1895-1925)
• full -height porch with a pediment, round columns with complex capi-
tals. In some instances the porches are curved porticoes
• hipped roofs
• eaves with dentils, modillions, prominent frieze
• shutters
• panelled doors surrounded by pilasters and a pediment
• double -hung windows; usually one -over -one, but sometimes six -over -
six or six -over one
• low porch rails with turned balusters
The "Foursquare," also known as "the Box"
c. 1895-1915
The Foursquare, also known as "the box, " is really more of a type or a form
than a style and architectural historians differ as to its origins. Some say
that it is a descendent of the classical styles that were popular in the United
States during the late 17th and 18th centuries because of their blocky shape
and hipped roofs. These early houses, however, were wide and two rooms
deep and not suitable for urban lots one hundred years later. The
Foursquare was thus devised to adapt to narrow parcels of land. Other
historians claim that it is merely a transition between the Victorian era and
the bungalow — lacking the fussiness of the former but not achieving the
cozy, earth -hugging quality of the latter. Mail order catalogs disseminated
the style from 1900 to the 1930s. throughout the country. Salt Lake City has
numerous examples, and this style is especially prevalent in the Avenues
and in the blocks east of 1000 East on South Temple.
Characteristics
• looks like a box
• low-pitched hipped roof
• one -over -one, double -hung windows, or
• one -light, fixed window; with fixed transom
• prominent lintels and sills
• full, open porch
• wide eaves
Page 38
Neo-classical
The Foursquare
Architectural Styles
FOURSQUARE STYLES, continued...
• brackets in some instances
• dormers: shed roof, hipped (with a low pitch) , gabled (sometimes with
a pediment)
• outside siding: wood clapboard, stucco, brick. Dormer walls shingled
in Craftsman examples.
• rare examples have quoins
• concrete or brick foundation
• rear, frame, shed roof addition (or secondary space) at rear
• if classical or Colonial Revival: vertical rail balustrade on porch, round
porch columns with Doric capitals that are sometimes doubled and a
broad fascia that is an entablature
• if Craftsman, porch has square posts, tapered arched openings, brick
pony walls
Because of its simplicity, the Foursquare
lends itself to many styles. With thick,
square posts and exposed rafters it takes
on a Craftsman tone. With round porch
columns and a pediment on the porch
roof it becomes classical.
Design Standards for Salt Lake City Page 39
Architectural Styles
BUNGALOW STYLES
c. 1905-1925
Like the term "Foursquare," the word "bungalow" denotes a type rather
than a style. It is believed that the word comes from a type of East Indian
dwelling with broad verandas. Its immense popularity in the United
States springs from a rejection of the constraints of the Victorian era, from
the Arts and Crafts movement, and from the fact that it lent itself well to
both modest and impressive house designs.
Although bungalows display a variety of materials and details, they are
easily recognized by their wide, low-pitched roofs and broad front porches
that create a deep, recessed space. Many bungalows fall readily into the
Arts and Crafts categories, with exposed brackets and rafters, the use of
"art" glass in windows and the combination of different textures, such as
cobblestone and shingles. Others represent scaled -down Prairie -style
versions, with low-pitched roofs, broad eaves and simple geometric
shapes that provide an overall horizontal appearance.
Thousands of the second type were built in new subdivisions in Salt Lake
City about 1910. These are especially prevalent east and west of Liberty
Park, and although many examples can be found in the city's historic
district, the districts are old enough that by the time the bungalow
appeared there was not enough undeveloped land to build rows and rows
of them. Still, in all the historic districts they represent an important era
in the city's architectural development, continuing to evoke their original
intent: comfortable, informal living.
Page 40
Bungalow with projecting porch
Bungalow with inset porch
Architectural Styles
BUNGALOW STYLES, continued...
Characteristics
• a rectangular plan with one or two stories
• different roof types: a steeply pitched roof with the ridge line parallel
to the street that covers a porch extending the full width of the house
and hip -roofs with a shallow pitch
• exposed rafters, brackets — anything to evoke the structural composi-
tion of the building
• brick, wood shingle or clapboard siding
• broad eaves
• thick, tapered porch posts
• rectangular bay windows
• casement windows
• large, plate glass windows
• wing walls from the porch
• dormers that follow the line of the roof
• use of cobblestone
• concrete cap around porch wall
• both sandstone and concrete foundations were historically used on
bungalows. Concrete foundations generally extend one to two inches
beyond the wall.
Wall Materials
Many wall materials were historically used on bungalows.
• Arts and Crafts bungalows often had wooden shingles or shakes,
cobblestone and brick.
• Prairie -style bungalows are usually brick, and sometimes have a brick
wainscoting with stucco above.
• Although a variety of materials were often used on the same house, too
many materials can ruin the simplicity that is an inherent characteristic
of the bungalow. Shingles, for example, would be inappropriate on
Prairie -style bungalow.
Windows
Many different window types are appropriate for bungalows. Solutions
will depend on what style the bungalow is and where the window is
located on the house.
Design Standards for Salt Lake City
Arts and Crafts -style bungalow with
rock porch piers
Page 41
Architectural Styles
BUNGALOW STYLES, continued...
Arts and Crafts
These windows are generally more complex than those of the Prairie style.
• Tripartite (divided into thirds) arrangements: two long windows
flanking a wider central window which has a transom; windows of an
even size, either aligned vertically or horizontally.
• Small paned windows. These are frequently seen in attic windows, in
transoms and in the upper sashes of single hung windows.
• Casement. Probably not as prevalent in Arts and Crafts, but still
appropriate.
Prairie
• Large, plate glass windows are appropriate for this style.
• Casement windows are a hallmark of this style, and are appropriate.
Single or double -hung windows can also be used.
• Long, wide concrete lintels and sills are frequently seen on this style;
these features should be retained.
Prairie -style bungalow
Doors
The doors of bungalows often imitate the geometric qualities found with
this house type.
• Historically the doors are wooden with panels and windows in the
upper third.
• Sidelights were occasionally used, but is not a common feature. If they
exist, they should be retained.
• Doors with Victorian era elements, such as ovals or frosted glass, are not
in keeping with the bungalow style.
• Heavy, elaborate storm doors should not be used.
Page 42
Architectural Styles
BUNGALOW STYLES, continued...
Porches
Along with the wide eaves and the broad roof form, the wide, prominent
porch is the most important feature of the bungalow and should be
maintained.
• A variety of posts is appropriate. Shapes can be tapered, square or
round columns. Materials can be brick; brick to the rail level with wood
above; stucco; wood; and for Arts and Crafts bungalows, cobblestone
and shingles. Again, it is a good idea not to mix too many materials.
• Railings also took on different designs. Balusters can be wooden 2 by
2's, spaced about 2 inches apart. They can be flat with a "cut-out" shape.
The wall around the porch could also be brick, particularly appropriate
for Prairie -style bungalows; or if the house is shingled, the porch wall
might also be shingled. In a few instances, a heavy, curved wrought -
iron was used.
Porch columns with Arts and Crafts
details
Bungalow with Arts and Crafts details
Design Standards for Salt Lake City Page 43
Architectural Styles
MODERN STYLES
The modern styles discussed below derive their origin from a variety of
sources, but overall the impetus to the "modern" styles was generated by
a rejection of all historical references. Proponents of modernity did not
differ from reformers of other eras in their desire to use design to address
social issues, but they distinguished themselves by shunning the past as
well as cultural or national contexts. Additionally, modern architects
stressed the emphasis on volume and the inherent value and elegance of
materials. Architects had new structural options, primarily the steel frame
and reinforced concrete, so that flat roofs, greater window space and
cantilevered elements could be used. They embraced new technology and
"the machine age," and their imprint has had a profound effect on Ameri-
can architecture and urbanism.
International Style
c. 1930-1940
The use of the words "international style" refers to the title of the exhibit
promoted by the Museum of Modern Art in New York City in 1931
presenting the work of forty architects from fifteen countries. It has
become synonymous with modern styles and post -World War II architec-
ture.
Characteristics
• flat roofs
• an emphasis on volume, rather than mass, most often expressed through
an extensive use of glass and angular, horizontal shapes
• asymmetrical facades
• corner windows
• metal casement windows, often with small panes.
• metal pipes used for balusters
• no surface ornamentation
• an attempt to create smooth wall surfaces, although brick, as the
predominant Utah material, was often used
Page 44
International style
Architectural Styles
MODERN STYLES, continued...
Art Moderne
c. 1930-1940
Often closely related to the International Style in appearance, the Art
Moderne was devised as a way of incorporating the machine aesthetic
into architecture, in the sense that buildings could emulate motion and
efficiency. It is also referred to as the Streamlined Moderne, and always
carried the aura of the futuristic. Whatever the term, in this case architec-
ture followed industrial design, as "the slick look" was used for every-
thing from irons to baby carriages.
Characteristics
• an asymmetrical facade, with a combination of rounded corners and
angular shapes
• use of glass block
• use of metal sash windows with small panes, often placed at corners
• horizontal bands at the cornice, referred to as "speed bands"
• references to ocean lines, as in the use of "porthole" windows and metal
railings
Art Moderne
Design Standards for Salt Lake City Page 45
Architectural Styles
POST-WAR STYLES
Post-war Cottage
The Post -War Cottage (sometimes referred to as a "Cape Cod cottage" or
a "World War II -Era cottage) is often considered as a sub -category of the
Colonial Revival. They mark a transition between the Colonial Revival
examples constructed before the war and the ubiquitous ranch type
homes built afterwards. Because of their relatively recent construction
many people have a difficult time thinking of them as "historic," but in
most instances they have met the fifty-year mark establishing significance,
and their distinctive characteristics (listed below) make these buildings
worthy of a sensitive and appropriate preservation approach.
c. 1930-1950
• brick, shingles or wood clapboard
• panelled door, surrounded by pilasters and an entablature
• small entrance porch with round columns with a simple capital
• double -hung windows, often with six -over -six lights
• multi -pane metal sash windows
• shutters
• dormers on front roof slope
Ranch Style
c. 1946-1970
The ranch style, with its roomy interior and "easy living" connotation,
appealed to the post -World War II generation. Because of the Depression
and the war, Americans had been deprived of consumer goods for fifteen
years. During this period the home-building industry was at a standstill,
but after 1945, the pent-up demand, coupled with the provisions of the G.I.
Bill, led to an explosion of single-family home construction. Sometimes
referred to as a "rambler," ranch style homes were built in great quantities.
Not many can be seen in the city's historic districts because the style
achieved popularity after their development; instead, they were built as
infill housing.
Characteristics
• flat or slightly pitched roof
• prominent, built-in garages
• one story
• decorative iron or wooden porch supports
• asymmetrical massing and forms
• metal or wood window frames
• use of flagstone for decorative purposes, such as planter boxes
Page 46
Cape -Cod Cottage
Detail on a Post -War Cottage
Ranch Style house
Architectural Styles
MULTI -FAMILY STRUCTURES STYLES
Multi -Family Structures
Apartment Buildings
The construction of apartment buildings at the turn of the century repre-
sented one indication of the urbanization of Salt Lake City. An article in the
Salt Lake Tribune in 1902 stated:
It is generally recognized by farseeing investors that the
period of cottages in Salt Lake has reached its highest
point and the period of flat buildings, marking another
stage in the evolution from town to city, has just begun.
(July 27, 1902, p. 32).
During the period from 1902 to 1931, at least 180 apartment buildings were
constructed in the central -city (including the Avenues) sections of Salt
Lake. They did not house the inner city poor; rather their occupants
included members of the middle-class who were at a transient period of
their lives: unmarried young adults, widows, childless couples, retired
workers and people starting new careers.
All of the apartment buildings had fired brick exteriors and were usually
at least three stories tall. Prior to World War I, "walk-up" apartments were
the norm. They contained six to eight units (three or four stories) with two
units off of a central hallway. They almost always have projecting porches
on the front and frame utility porches with back stairways at the rear.
After World War I the "double -loaded corridor" type replaced the walk-
up. These have a narrow end facing the street and are long, rectangular
blocks. They are usually between three and five stories tall. There are
several units on each floor that flank a long corridor. These apartments
were well -suited to the large, deep blocks in Salt Lake.
Design Standards for Salt Lake City
The Kensington Apartments were
constructed about 1905, and represent a
type of apartment known as a "walk-
up."
Page 47
Architectural Styles
MULTI -FAMILY STRUCTURES STYLES, continued...
Other variants exists, but are not as numerous. These include the "U," the
"H," and the hotel block (similar to the "U" but with a commercial use on
the first story) . "
Walk-up
• brick exterior walls
• flat roof
• front porch bay that extends the full height of the building
• frame, often enclosed, porch at the rear
• high, raised basements, often stone but also concrete
• defined front and back facades
Double -loaded corridor
• brick exterior walls
• flat roof
• if balconies exist, they are purely ornamental, very shallow, often with
wrought iron railings
• bay windows or French doors on the street facade
• the "front" of the apartment, from the perspective of the tenant, is the
corridor, and the exterior side walls form the "back."
A Double -loaded corridor apartment building
Page 48
Architectural Styles
MULTI -FAMILY STRUCTURES STYLES, continued...
Both types exhibit a variety of styles, most commonly Classical or Colo-
nial Revival. Walk-ups are generally classical.
Classical Revival
• Appearance of a parapet because of an applied, projecting cornice,
usually about one foot from the top of the wall.
• Round columns on porches
• Large capitals, especially Corinthian, at the top of the porches of walk-
ups.
• Quoins
• Pastiche keystones and imposts over doorway arches
• The use of mutules, dentil courses
• Pediments over the porches.
Tudor Revival
• Steeply pitched roofs over the entrances
• Multi -pane windows, sometimes diagonal panes
• Crenulation as a cornice detail
• Half-timbering
• Crenulation around the entrance way
Prairie style
• Casement windows
• Wide, overhanging eaves
• Heavy lintels to emphasize horizontal orientation
Prairie style
Design Standards for Salt Lake City
Classical Revival
Tudor Revival
Page 49
Architectural Styles
COMMERCIAL STRUCTURES STYLES
c. 1900
Few historic commercial structures exist in the Avenues, South Temple,
Central City, Capitol Hill and University districts. Those that do remain
were usually used as stores, and were either one- or two-story buildings.
Despite the fact that many have been converted into residences, their
original purpose is easily discerned.
Characteristics
• one- or two-story
• flat roof
• The street elevation of the first story is almost all plate glass above a knee
wall. There is often a transom above the plate glass.
• There is often a parapet wall on the street elevation, with decorative
corbelling.
• Signage was either painted on the building above the transom; most
often the business was identified by the use of an awning. The awning
was angled (not rounded) with a valance of about 4".
A corner store
Historic commercial structure with
traditional storefront. This building was
converted into a single-family dwelling.
For additional information:
Carter, Thomas and Peter Goss. Utah's Historic Architecture, 1847-1940. Salt Lake City, Utah: University of Utah and Utah
State Historical Society, 1988.
McAlester, Virginia and Lee McAlester. A Field Guide to American Houses. New York: Alfred A. Knopf, 1984.
Page 50
Rehabilitation Standards
for
Historic Properties
Standards for Site Features
Rehabilitation Standards Table of Contents
1.0 Site Design and Landscaping 53
2.0 Materials 61
3.0 Windows 69
4.0 Doors 79
5.0 Porches 85
6.0 Architectural Details 93
7.0 Roofs 97
8.0 Additions 105
9.0 Accessory Structures 113
10.0 Seismic Design 117
Page 52
1.0 HISTORIC SITE FEATURES
Policy:
Historic landscape features that survive should be pre-
served when feasible. In addition, new landscape features
should be compatible with the historic context.
Background
A variety of site features appeared in early Salt Lake City neighborhoods.
Fences were popular and often defined property boundaries; masonry
walls were used to retain steep hillsides and various paving materials,
particularly concrete and sandstone, were used for walkways. A variety
of plantings, including trees, lawns and shrubbery also was seen. In a few
cases, distinctive lawn ornaments or sculpture were introduced, or an ir-
rigation ditch ran across a site. Each of these elements contributed to the
historic character of a neighborhood. They also added variety in scale,
texture and materials to the street scene, providing interest to pedestri-
ans.
Historic Fences
Originally, painted wood picket fences were used to enclose many front
yards. The vertical slats were set apart, with spaces between, and the
overall height of the fence was generally less than three feet. Wrought
iron and wire fences also were used in early domestic landscapes.
Where such fences survive, they should be preserved. More frequently,
however, original fences are missing. Replacement with a fence similar in
character to that used historically is encouraged in such conditions.
Historic photographs portray fence heights at a much lower level than we
are used to seeing today, probably because of the current prevalence of
chain link, which has been installed at a standard height of four feet for
residential uses. While fence heights that are the maximum height allowed
by the zoning code (generally 6' in the rear yard and 4' in the side and
front yards) are allowed, depending on the material, consider using a lower
height for a fence in the front yard, so as to better enhance both the indi-
vidual house and the streetscape.
Standards for Site Features
Historic wrought iron fences provide
visual richness to the streetscape.
The raked mortar joints of this stone
retaining wall contribute to its character.
Such features should be preserved.
Design Standards for Salt Lake City Page 53
Standards for Site Features
Typical retaining walls for historic sites in Salt Lake City
Early concrete wall
Sandstone retaining wall Cobblestone retaining wall
Typical fences for historic sites in Salt Lake City
Wood picket fence
Page 54
r-,s7Fu.r%, ! r * .r r, 'F
Wrought iron fence
Wire fence
Standards for Site Features
HISTORIC SITE FEATURES, continued...
Masonry Retaining Walls
Sandstone retaining walls were often used in neighborhoods where steep
slopes occurred. Many of these walls survive and often are important char-
acter -defining features for individual properties and for the districts in
which they are found. Some early concrete retaining walls also exist. These
should be preserved.
As retaining walls frequently align along the edges of sidewalks, they help
establish a sense of visual continuity in neighborhoods. These walls also
may have distinct mortar characteristics. Some joints are deeply raked,
with the mortar recessed, creating strong shadow lines. Others have mor-
tar that is flush with the stone surface, while some have a bead that projects
beyond the stone face. The color and finish of the stone, as well as its
mortar style, are distinctive features that contribute to the historic charac-
ter of the neighborhoods.
In some cases, the mortar has eroded from retaining walls. Such walls
should be repointed, using a mortar mix that appears similar in color,
texture and design to that of the original (see section on materials). On
occasion, some stones are badly deteriorated or may even be missing. New
replacement stones should match the original when this occurs.
Plant Materials
While most historic plant materials have been replaced over time, some
specimens do survive, and in other situations, the traditional planting
pattern has been retained even if new plants have been installed. In the
South Temple district, for example, mature street trees are an important
historic element of this street. The trees create a border between the street
and the buildings and are a character -defining feature of the district. If
possible, these historic trees should be retained; if their removal is neces-
sary then replacement trees should conform to the planting pattern of the
existing trees.
Utah has a Heritage Tree List, administered by the Sovereign Lands and
Forestry Division of the Utah State Natural Resources Department. Own-
ers interested in finding out if a historic tree is located on their property or
who are interested in listing a tree, should contact this agency.
Maintenance tip:
Many historic masonry retaining walls are damaged by water pressure that builds up behind the wall. This
may result from watering a lawn or from natural site drainage. This pressure can erode mortar and it can
cause movement of stones. Water pressure can be reduced by improving the drainage uphill of the wall. Small
weep holes or drains also may be created in the wall to allow moisture to pass through.
Design Standards for Salt Lake City Page 55
Standards for Site Features
HISTORIC SITE FEATURES, continued...
Historic Grading Characteristics
In some areas, steep topography dictated that building sites be sloped.
Portions of the Capitol Hill Historic District are examples. Yards typically
incline steeply in these locations, reflecting the original topography. This
historic grading pattern is an important characteristic that should be pre-
served.
Modifying this historic slope as it is seen from the street can negatively
affect the historic character of an individual site and its context. For ex-
ample, excavating a hillside to create a flat building site, or cutting it into
a series of stepped terraces would detract from the historic character. How-
ever, in some parts of the city, this has occurred in the back yard. Because
altering the historic slope in the back yard has less impact on the historic
character of the site than modification of space seen from the right-of-
way, more flexibility may allowed for modifying backyards.
Walkways
Walkways often contribute a sense of visual continuity on a block and
convey a "progression" of walking experiences along the street. This pro-
gression, comprised of spaces between the street and the house, begins
with a walkway that leads from the sidewalk; this is often in turn punctu-
ated by a series of steps. Because many of the neighborhoods in Salt Lake
City were plotted on a grid, this progression of spaces, coupled with land-
scape features such as fences and walls, greatly enhances the street scene.
New site work that alters the historic character of the block can negatively
affect its visual continuity and cohesiveness. The use of appropriate mate-
rials is a key factor in preserving the historic character and the relation-
ship between the historic building and its context.
A progression of spaces between the street
and the house, including a walkway, steps
and porch, is typical of most historic
houses.
For additional information:
Coney, William B., Preservation Briefs 15: Preservation of Historic Concrete: Problems and General Approaches.
Washington, DC: Division of Cultural Resources, National Park Service, U.S. Department of the
Interior.
"Fences that Stand": Old House Journal, p. 40-43. July -August 1994.
Page 56
Standards for Site Features
HISTORIC SITE FEATURES, continued...
Site Lighting
Lighting in the historic districts, although sometimes ignored, affects the
manner in which historic resources are interpreted at night. Lighting is a
design feature therefore that is very important in site planning; the ap-
proach to a lighting scheme should consider lighting intensity, spillover
into adjacent properties and fixture design.
Parkways
A parkway is a large grassed or treed median that lines the center of a
street such as along 600 East. Where they are found, parkways add unique
character to the streetscape. Thus, where parkways have been established,
they should remain.
Park Strips
In many historic areas of Salt Lake City the streetscape contains park strips,
the band of grass between the curb and the sidewalk. These may contain
rows of street trees if the park strip is wide enough to support the root
system. This coupling of planting strips and street trees provides a rhythm
along the block, as well as shade for pedestrians and should be preserved.
Only if the park strip is less than 24" wide are impervious materials such
as brick pavers, concrete pavers and concrete allowed. Refer to Chapter
21A.48.060 (E) of the Salt Lake City Zoning Ordinance for information on
the landscaping of park strips.
Street Lighting
When new street lights are to be installed, they should be designed to be
compatible with the neighborhood and with other elements of the
streetscape. It is also important that the design for street lighting be subtle
and unobtrusive. A design for new street lighting that has not been docu-
mented or that invokes a false sense of history is not recommended.
Design Standards for Salt Lake City Page 57
Standards for Site Features
DESIGN STANDARDS FOR SITE FEATURES
1.1 Preserve historically significant site features.
These may include historic retaining walls, irrigation ditches, gardens,
driveways and walkways. Fences and street trees are also examples of
original site features that should be preserved. Sidewalks, parkways, plant-
ing strips, street trees and street lighting are examples of historic streetscape
elements that should be considered in all civic projects.
Fences
1.2 Preserve original fences.
Replace only those portions that are deteriorated beyond repair.
Although this picket fence is not original, it is compatible with the style of the house
and the streetscape in the Capitol Hill Historic District.
1.3 For a replacement fence, use materials that appear
similar to that of the original. .
A painted wood picket fence is an appropriate replacement in most loca-
tions. A simple metal fence, similar to traditional "wrought iron" or wire,
also may be considered. In all cases, the fence components should be similar
in scale to those seen historically in the neighborhood.
1.4 A replacement fence should have a "transparent"
quality, allowing views into the yard from the street.
Using a solid fence, with no spacing between the boards, is inappropriate
in a front yard. Chain link is not allowed as a fence material where it would
be visible from the street. Vinyl fencing is reviewed on a case by case ba-
sis. In some instances, it is allowed if it is not seen from the street, if the
style of the fence is compatible with the house and if the vinyl fence is not
replacing a historic fence or landscape feature.
Page 58
Chain link fences are not allowed when
visible from the street.
DESIGN STANDARDS FOR SITE FEATURES, continued...
Retaining Walls
1.5 Maintain the historic height of a retaining wall.
Increasing the height of a wall to create a privacy screen is inappropriate.
If a fence is needed for security, consider using a wrought iron one that is
mounted on top of the wall. This will preserve the wall, allow views into
the yard and minimize the overall visual impact of the new fence.
1.6 Maintain the historic finish of a masonry retaining
wall.
If repointing is necessary, use a mortar mix that is similar to that used
historically and apply it in a joint design that matches the original. Paint-
ing a historic masonry retaining wall, or covering it with stucco or other
cementious coating, is not allowed.
1.7 Preserve the materials of a historic masonry retaining
wall.
If portions of the wall are deteriorated, replace only those portions that
are beyond repair. Any replacement material shall match the original in
color, texture and finish. Masonry units of a size similar to that used his-
torically shall be employed.
Site grading
1.8 Preserve the historic grading design of the site.
Altering the overall appearance of the historic grading is inappropriate.
While some changes may be considered, these should remain subordi-
nate and the overall historic grading character shall be preserved.
Design Standards for Salt Lake City
Standards for Site Features
Preserve historic retaining walls.
Retaining walls are often important
historic resources that reflect unique
masonry patterns and textures.
Page 59
Standards for Site Features
DESIGN STANDARDS FOR SITE FEATURES, continued...
Planting designs
1.9 Preserve historically significant planting designs.
For example, if a row of street trees is an established historic feature, this
should be preserved. Existing trees in such a setting that are in good con-
dition should be maintained. If removal of a tree is necessary, replanting
with a species that is similar in character to that used historically should
be considered. Retaining historic planting beds, landscape features and
walkways also is encouraged.
Site lighting
1.10 Minimize the visual impacts of site lighting.
Site lighting should be shielded to avoid glare onto adjacent properties.
Focus lighting on walks and entries, rather than up trees and facade planes.
The fixture style should be in character with the neighborhood.
If a row of street trees is an established
historic feature, this should be preserved.
Existing trees in such a setting that are in
good condition should be maintained.
Page 60
2.0 PRIMARY HISTORIC BUILDING
MATERIALS
Policy:
Primary historic building materials should be preserved in
place whenever feasible. When the material is damaged, then
limited replacement, matching the original, may be consid-
ered. Primary historic building materials should never be
covered or subjected to harsh cleaning treatments.
This section addresses the treatment of primary historic building materi-
als that compose the dominant exterior surfaces of historic buildings. The
standards address preservation and repair as well as replacement of these
primary historic building materials. The treatment of materials used for
architectural trim and details is addressed in a separate section, which
begins on page 93.
Background
In Salt Lake City, wood siding and brick were typical primary building
materials. Stone and adobe also were used, although adobe frequently
was clad with clapboard siding. Wood siding occurred in a variety of forms
but painted, horizontal clapboard and novelty siding was the most popu-
lar. A variety of lap profiles were used.
In each case, the distinct characteristics of the primary building material,
including the scale of the material unit, its texture and finish, contribute
to the historic character of a building. In a brick wall, for example, the
particular size of brick used and the manner in which it was laid was
distinct: in early masonry buildings, a soft mortar was used, which em-
ployed a high ratio of lime. Little, if any, Portland cement was employed.
This soft mortar was laid in thin "butter" joints, and the inherent color of
the material also was an important characteristic. The size of the bricks
contributed to the sense of scale of the wall, as did the texture of the mor-
tar joints. When repointing such walls, it is important to use a mortar mix
that approximates the original. Many contemporary mortars are harder
in composition than those used historically. These should not be used in
mortar repairs because this stronger material is often more durable than
the brick itself. As a result, the newer mortar is too strong for the older
brick, causing it to break off during movement or swelling. When the wall
shifts during the normal change in temperatures, the brick units them-
selves can be damaged and spalling can occur.
Design Standards for Salt Lake City
Standards for Materials
The distinct characteristics of the primary
building material, including the scale of
the material unit, its texture and finish,
contribute to the historic character of a
building.
Page 61
Standards for Materials
Typical historic building materials in Salt Lake City
Wood Siding
Clapboard siding
Masonry Walls
English brick pattern
Page 62
Drop or Novelty siding
Shingle siding
Flemish brick pattern American stretcher pattern
PRIMARY HISTORIC BUILDING MATERIALS, continued...
The best way to preserve historic building materials is through well -
planned maintenance. Wood surfaces should be protected with a good
application of paint. Masonry should be kept dry by preventing leaks from
roofs washing over the surface and by maintaining positive drainage away
from foundations, such that ground moisture does not rise through the
wall.
In some cases, historic building materials may be deteriorated. Horizon-
tal surfaces such as chimneys, sills, and parapet copings are most likely to
show the most deterioration because they are more exposed to weather
and are more likely to hold water for longer periods.
When deterioration occurs, repair the material and any other related prob-
lems. Frequently, damaged materials can be patched or consolidated.
In other situations, however, some portions of the material may be be-
yond repair. In such a case, consider replacement. In the case of primary
historic building materials, the new material should match the original. If
wood siding had been used historically, for example, the replacement also
should be wood. In the case of primary materials, replacement in kind is
relatively easy because these materials are readily available and are of
high quality.
It is important, however, that the extent of replacement materials be mini-
mized, because the original materials contribute to the authenticity of the
property as a historic resource. Even when the replacement material ex-
actly matches that of the original, the integrity of a historic building is to
some extent compromised when extensive amounts are removed. This is
because the original material exhibits a record of the labor and craftsman-
ship of an earlier time and this is lost when it is replaced.
It is also important to recognize that all materials weather over time and
that a scarred finish does not represent an inferior material, but simply
reflects the age of the building. Preserving original materials that show
signs of wear is therefore preferred to their replacement.
Standards for Materials
Wood surfaces should be protected
with a good application of paint.
Inappropriate: These shingles
cover original wood siding. Using
any material, either synthetic or
conventional to cover historic
materials, is not allowed. Doing so
would obscure the original
character and change the
dimensions of walls, which is
particularly noticeable around
door and wood openings.
Maintenance tip:
When repointing eroded mortar in a masonry wall, use a recipe for new mortar that is similar to the original in
color, texture and hardness. This will assure that damage will not occur from the use of inappropriate materials.
Design Standards for Salt Lake City
Page 63
Standards for Materials
PRIMARY HISTORIC BUILDING MATERIALS, continued...
Rather than replace siding, some property owners consider covering the
original building material. Aluminum and vinyl siding are examples of
materials that are often discussed. Using any material, either synthetic or
conventional to cover historic materials, is not allowed. Doing so would
obscure the original character and change the dimensions of walls, which
is particularly noticeable around door and wood openings. This covering
may conceal continuing deterioration. The extra layer may in fact cause
additional decay, both by its method of attachment and because it may
trap moisture inside the historic wall. For similar reasons, if original wall
materials are presently covered with a more recent siding, remove the
outer layer and restore the original. When damaged, these materials also
can be more difficult to repaint, repair or replace.
Decorative wood siding should be
preserved.
This metal siding covers original
wood clapboards. Using
synthetic material to cover
historic materials is not allowed.
For additional information:
Grimmer, Anne E. , Preservation Briefs 6: Dangers of Abrasive Cleaning to Historic Buildings. Washington, DC:
Technical Preservation Services Division, National Park Service, U.S. Department of the Interior.
London, Mark, Respectful Rehabilitation - Masonry - How to Care for Old and Historic Brick and Stone. Washington,
DC: The National Trust for Historic Preservation, 1988.
Myers, John H. , revised by Gary L. Hume, Preservation Briefs 8: Aluminum and Vinyl Siding on Historic
Buildings - The Appropriateness of Substitute Materials for Resurfacing Historic Wood Frame Buildings.
Washington, DC: Technical Preservation Services Division, National Park Service, U.S. Department of
the Interior, 1984.
Park, Sharon C., Preservation Briefs 16: The Use of Substitute Materials on Historic Building Exteriors.
Washington, DC: Technical Preservation Services Division, National Park Service, U.S. Department of
the Interior.
Weeks, Kay D. and David W. Look, Preservation Briefs 10: Exterior Paint Problems on Historic Woodwork. Wash-
ington, DC: Technical Preservation Services Division, National Park Service, U.S. Department of the
Interior, 1982.
Page 64
Standards for Materials
DESIGN STANDARDS FOR PRIMARY MATERIALS
Treatment of Original Materials
2.1 Preserve the historic appearance of original materials.
Preservation includes proper maintenance of the material to prevent
deterioration.
Covering materials
2.2 Covering original building materials with new
materials is not allowed.
Covering original building materials with new materials is not allowed.
Vinyl or aluminum siding is prohibited on historic buildings, as well as
any other imitation siding material that may be designed to look like wood
siding but that is fabricated from other materials.
2.3 Consider removing later covering materials that have
not achieved historic significance.
Once the siding is removed, repair the original material. Removal of other
materials, such as stucco, must be tested to assure that the original mate-
rial will not be damaged. If masonry has a stucco finish, removing the
covering may be difficult, since original brick finishes were sometimes
chipped to provide a connection for the stucco application. If removing
stucco is to be considered, first remove the material from a test patch to
determine the condition of the underlying masonry.
The house on the right is clad with siding that obscures the original material, which is
similar to that of the house on the right. Such coverings are not allowed in historic
districts.
Covering original building materials with
new materials is not allowed. This rock
veneer, for example, obscures the original
wood siding.
Design Standards for Salt Lake City Page 65
Standards for Materials
DESIGN STANDARDS FOR PRIMARY MATERIALS, continued...
Painting masonry
2.4 Avoid painting masonry, unless this is needed to
provide a weather protective coating to soft brick.
Painting brick changes the character of the building and may affect a sense
of visual continuity among other masonry structures in the area. If brick
is presently painted but was not painted historically, it may be removed if
the procedure will not damage the original finish. Also consider repaint-
ing it rather than stripping the paint.
Repair of materials
2.5 Repair deteriorated primary building materials.
Isolated areas of damage may be stabilized or fixed, using consolidants.
Epoxies and resins may be considered for wood repair and special ma-
sonry repair components also may be used.
2.6 When repointing masonry, preserve original mortar
characteristics, including its composition, profile, and color.
In some cases, matching the composition of the historic mortar mix may
be essential to the preservation of the brick itself.
2.7 Use the gentlest means possible to clean the surface of
a structure.
Perform a test patch to determine that the cleaning method will cause no
damage to the material surface. Many procedures can actually have an
unanticipated negative effect upon building materials and result in accel-
erated deterioration or a loss of character. Harsh cleaning methods, such
as sandblasting, damage the weather -protective glaze on brick and change
its historic appearance. Such procedures are prohibited. If cleaning is ap-
propriate, a low pressure water wash is preferred. Chemical cleaning may
be considered if a test patch is first reviewed.
Replacement materials
2.8 Match the original material in composition, scale and
finish when replacing materials on primary surfaces.
If the original material was wood clapboard, for example, then the re-
placement material should be wood. It should match the original in size,
the amount of materials exposed, and in finish, traditionally a smooth
finish, which was then painted. The amount of exposed lap should match.
Replace only the amount required. If a few boards are damaged beyond
repair, then only they should be replaced, not the entire wall.
Page 66
V-shaped
Concave
Struck with a dri
Ma*
Beaded
Typical masonry joint types: When
repointing masonry, the original joint
design should be preserved.
Standards for Materials
DESIGN STANDARDS FOR PRIMARY MATERIALS, continued...
2.9 Do not use synthetic materials, such as aluminum or
vinyl siding or panelized brick, as a replacement for primary
building materials.
In some instances, substitute materials may be used for replacing archi-
tectural details but doing so is not encouraged. If it is necessary to use a
new material, such as fiberglass for a replacement column, the style and
detail should match that of the historic model. Primary building materi-
als such as masonry, wood siding and asphalt shingles shall not be re-
placed with synthetic materials. Modular materials may not be used as
replacement materials. Synthetic stucco, and panelized brick, for example,
are inappropriate.
Masonry replacement
2.10 Match the size, proportions, finish, and color of the
original masonry unit, if a portion of a historic masonry wall
must be replaced.
Design Standards for Salt Lake City Page 67
Standards for Materials
Page 68
3.0 WINDOWS
Policy:
The character -defining features of historic windows and
their distinct arrangement should be preserved. In addi-
tion, new windows should be in character with the his-
toric building. This is especially important on primary fa-
cades.
Background
Windows are some of the most important character -defining features of
most historic structures. They give scale to buildings and provide visual
interest to the composition of individual facades. Distinct window de-
signs in fact help define many historic building styles. Windows often are
inset into relatively deep openings or they have surrounding casings and
sash components which have a substantial dimension that cast shadows
that contribute to the character of the historic style. Because windows so
significantly affect the character of a historic structure, the treatment of a
historic window and the design of a new one are therefore very important
considerations.
Window Features
The size, shape and proportions of a historic window are among its essen-
tial features. Many early residential windows in Salt Lake City were verti-
cally -proportioned, for example. Another important feature is the num-
ber of "lights," or panes, into which a window is divided. Typical win-
dows for many late nineteenth century cottages were of a "one -over -one"
type, in which one large pane of glass was hung above another single
pane. The design of surrounding window casings, the depth and profile
of window sash elements and the materials of which they were constructed
are also important features. Most early windows were made of wood al-
though some historic metal casement windows are found. In either case,
the elements themselves had distinct dimensions, profiles and finishes.
The manner in which windows are combined or arranged on a building
face also may be distinctly associated with a building style. For example,
on some bungalows a large central pane of fixed glass was flanked by a
pair of vertically -proportioned casement windows. This compound win-
dow frequently occurred on building fronts under broad porches. (See
the discussion of individual building styles for additional information
about specific window types.) All of these features are elements of his-
toric window designs that should be preserved.
Standards for Windows
Windows are some of the most important
character -defining features of most
historic structures.
Ornamental trim around historic windows
should be preserved.
Design Standards for Salt Lake City Page 69
Standards for Windows
Typical window types for historic buildings in Salt Lake City
Double -hung window
Appropriate for:
• All styles except Art Moderne or
International Style
Composite window
Appropriate for:
• Classical Revival (simpler than
above)
• Bungalow
• All Victorian styles
• Dutch Colonial Revival
• Four Square
Page 70
Craftsman window
Appropriate for:
• Bungalow
• Prairie Style
• Foursquare
Diamond pattern window
Appropriate for:
• Tudor Revival
• Dutch Colonial Revival
Casement window
Appropriate for:
• Tudor Revival
• Prairie Style
• International Style (with steel
muntins)
• Arts & Crafts
• Ranch
Geometric window
Appropriate for:
• Queen Anne
• Italianate
• Second Empire
• Art Moderne
Standards for Windows
WINDOWS, continued...
Window Types
Windows types typically found in historic structures in Salt Lake City
include:
Casement - Hinged windows that swing open, typically to the outside
Double hung - Two sash elements, one above the other. Both upper and
lower sash slide within tracks on the window jambs.
Fixed - The sash does not move.
Single hung - Two sash elements, one above the other, Only the lower
sash moves.
Ornamental or specialty windows - Unusual shapes, such as a circular
window; or distinct glazing patterns, such as a diamond -shaped, multi -
pane window, which may be associated with distinct building styles. These
may be fixed or operable.
Deterioration of Historic Windows
Properly maintained, original windows will provide excellent service for
centuries. Most problems that occur result from a lack of maintenance.
The accumulation of layers of paint on wood sash may make operation
difficult. Using proper painting techniques, such as removing upper paint
layers and preparing a proper substrate, can solve this problem.
Water damage and the ultra violet degradation caused by sunlight also
are major concerns. If surfaces fail to drain properly, water may be intro-
duced. Condensation during winter months also can cause problems.
Damage occurs when the painted layer is cracked or peeling. Decay re-
sults that may make operation of the window difficult and if left untreated
can result in significant deterioration of window components. In most
cases, windows are not susceptible to damage if a good coat of paint is
maintained.
Repair of Historic Windows
Whenever possible, repair a historic window, rather than replace it. In
most cases it is in fact easier, and more economical, to repair an existing
window rather than to replace it, because the original materials contrib-
ute to the historic character of the building. Even when replaced with an
exact duplicate window, a portion of the historic building fabric is lost
and therefore such treatment should be avoided, When considering
whether to repair or replace a historic window, consider the following:
First, determine the window's architectural significance. Is it a key char-
acter -defining element of the building? Typically, windows on the front of
the building and on sides designed to be visible from the street, are key
character -defining elements. A window in an obscure location, or on the
rear of a structure may not be, Greater flexibility in the treatment or re-
placement of such secondary windows may be considered.
Ornamental windows such as this oval
window and the stained glass window
above are character -defining features that
often indicate the architectural style of a
house.
Enclosing a historic window opening on a
key character -defining facade, such as the
upper center window in this photograph,
destroys much of the home's historic
character.
Design Standards for Salt Lake City Page 71
Standards for Windows
Wall
Glazing
Sash
Sill
Head
Muntin
Stile
Stops
Jamb
Casing
Rail
Double -hung window components
Second, inspect the window to determine its condition. Distinguish su-
perficial signs of deterioration from actual failure of window components.
Peeling paint and dried wood, for example, are serious problems, but of-
ten do not indicate that a window is beyond repair. What constitutes a
deteriorated window? A rotted sill may dictate its replacement, but it does
not indicate the need for an entire new window. Determining window
condition must occur on a case -by -case basis, however as a general rule, a
window merits preservation, with perhaps selective replacement of com-
ponents, when more than 50 percent of the window components can be
repaired.
Third, determine the appropriate treatment for the window. Surfaces may
require cleaning and patching. Some components may be deteriorated
beyond repair. Patching and splicing in new material for only those por-
tions that are decayed should be considered in such a case, rather than
replacing the entire window. If the entire window must be replaced, the
new one should match the original in appearance. (See 'Replacement Win-
dows" in following section.)
Energy Conservation
In some cases, owners may be concerned that an older window is less
efficient in terms of energy conservation. In winter, for example, heat loss
associated with an older window may make a room uncomfortable and
increase heating costs. In fact, most heat loss is associated with air leakage
Page 72
As a general rule, a window merits
preservation, with perhaps selective
replacement of elements, when more than
50 percent of the window components can
be repaired.
Standards for Windows
WINDOWS, continued...
Glazing
Jamb
Casement window components
though gaps in an older window that are the result of a lack of mainte-
nance, rather than loss of energy through the single pane of glass found in
historic windows. Glazing compound may be cracked or missing, allow-
ing air to move around the glass. Sash members also may have shifted,
leaving a gap for heat loss.
The most cost-effective energy conservation measures for most historic
windows are to replace glazing compound, repair wood members and
install weather stripping. These steps will dramatically reduce heat loss
while preserving historic features.
If additional energy savings are a concern, consider installing a storm
window. This may be applied to the interior or the exterior of the window.
It should be designed to match the historic window divisions such that
the exterior appearance of the original window is not obscured.
Maintenance tips for windows:
• Maintain a good coat of paint on all exposed surfaces.
• Replace old glazing compound.
• Install new weather-stripping to reduce air leaks.
Design Standards for Salt Lake City Page 73
Standards for Windows
WINDOWS, continued...
Replacement Windows
While replacing an entire window assembly is discouraged, it may be
necessary in some cases. When a window is to be replaced, the new one
should match the appearance of the original to the greatest extent pos-
sible. To do so, the size and proportion of window elements, including
glass and sash components, should match the original. In most cases, the
original profile, or outline of the sash components, should be the same as
the original. At a minimum, the replacement components should match
the original in dimension and profile and the original depth of the win-
dow opening should be maintained.
A frequent concern is the material of the replacement window. While wood
was most often used historically, metal and vinyl clad windows are com-
mon on the market today and sometimes are suggested as replacement
options by window suppliers. In general, using the same material as the
original is preferred. If the historic window was wood, then using a wood
replacement is the best approach.
However, it is possible to consider alternative materials in some special
cases, if the resulting appearance will match that of the original, in terms
of the finish of the material, its proportions and profile of sash members.
For example, if a metal window is to be used as a substitute for a wood
one, the sash components should be similar in size and design to those of
the original. The substitute material also should have a demonstrated du-
rability in similar applications in this climate.
Finally, when replacing a historic window, it is important to preserve the
original casing when feasible. This trim element often conveys distinctive
stylistic features associated with the historic building style and may be
costly to reproduce. Many good window manufacturers today provide
replacement windows that will fit exactly within historic window cas-
ings.
When a window is to be replaced, the
new one should match the appearance
of the original to the greatest extent
possible.
Replacement windows that do not match
historic dimensions are inappropriate
For additional information:
Park, Sharon C. Preservation Briefs 13: The Repair and Thermal Upgrading of Historic Steel Windows. Washington,
DC: Technical Preservation Services, National Park Service, U.S. Department of the Interior.
New York Landmarks Conservancy. Repairing Old and Historic Windows: A Manual for Architects and
Homeowners. Washington, DC: National Trust for Historic Preservation, 1992.
National Trust for Historic Preservation. New Energy for Old Buildings. Washington, DC: The Preservation
Press, National Trust for Historic Preservation, 1981.
The Old House Journal. "Anatomy of a Double -hung Window."
Page 74
DESIGN STANDARDS FOR WINDOWS
Treatment of existing windows
3.1 Preserve the functional and decorative features of a
historic window.
Features important to the character of a window include its frame, sash,
muntins, mullions, glazing, sills, heads, jambs, moldings, operation, and
groupings of windows. Repair frames and sashes rather than replacing
them whenever conditions permit.
3.2 Preserve the position, number, and arrangement of
historic windows in a building wall.
Enclosing a historic window opening in a key character -defining facade is
inappropriate, as is adding a new window opening. This is especially im-
portant on primary facades where the historic ratio of solid -to -void is a
character -defining feature. Greater flexibility in installing new windows
may be considered on rear walls.
Replacement windows
3.3 Preserve the historic ratio of window openings to solid
wall on a primary facade.
Significantly increasing the amount of glass on a character -defining fa-
cade will negatively affect the integrity of the structure.
3.4 Preserve the size and proportion of a historic window
opening.
Reducing an original opening to accommodate a smaller window or in-
creasing it to receive a larger window are inappropriate measures.
Preserve the historic ratio of window openings to solid wall on a primary facade.
Standards for Windows
The curved sash in these windows are
distinctive features that should be
preserved.
A replacement window shall match the
original in its design. This new window
(on the left) is smaller than the historic
opening and is inappropriate.
Design Standards for Salt Lake City Page 75
Standards for Windows
DESIGN STANDARDS FOR WINDOWS, continued...
3.5 Match a replacement window to the original in its
design.
If the original is double -hung, then the replacement window should also
be double -hung, or at a minimum appear to be so. Match the replacement
also in the number and position of glass panes. Matching the original de-
sign is particularly important on key character -defining facades.
3.6 Match the profile of the sash and its components, as
closely as possible to that of the original window.
A historic wood window has a complex profile --within its casing, the sash
steps back to the plane of the glazing (glass) in several increments (see
illustrations of a head and jamb section on p. 72 and 73). These incre-
ments, which individually only measure in eighths or quarters of inches,
are important details. They distinguish the actual window from the sur-
rounding plane of the wall. The profiles of wood windows allow a double -
hung window, for example, to bring a rich texture to the simplest struc-
ture. In general, it is best to replace wood windows with wood on contrib-
uting structures, especially on the primary facade. Non -wood materials,
such as vinyl or aluminum, will be reviewed on a case -by -case basis, and
the following will be considered: will the original casing be preserved?
Will the glazing be substantially diminished? What finish is proposed?
Most importantly, what is the profile of the proposed replacement win-
dow?
3.7 In a replacement window, use materials that appear
similar to the original.
Using the same material as the original is preferred, especially on key
character -defining facades. However, a substitute material may be con-
sidered in secondary locations if the appearance of the window compo-
nents will match those of the original in dimension, profile and finish.
Aluminum or vinyl materials can be used
for replacement windows in some
circumstances. The photo above illustrates
the use of a vinyl clad window which was
acceptable because the profile of the
window and its original size were
maintained and the original casing, lintel
and sill were preserved. Furthermore, the
replacement window coordinates with the
color scheme of the house and is located on
the side of the house.
Sill Plate Sections
Yes
Historic profile
No
aq
m rrf 113._
Unacceptable replacement profile
Yes
Acceptable replacement profile
When replacing a historic window, match the profile of the sash and its components, as closely as possible to that of the original
window.
Page 76
DESIGN STANDARDS FOR WINDOWS, continued...
Energy Conservation
3.8 Use a storm window to enhance energy conservation
rather than replace a historic window.
Install a storm window on the interior where feasible. This will allow the
character of the original window to be seen from the public way. If a storm
window is to be installed on the exterior, match the sash design of the
original windows. A metal storm window may be appropriate if the frame
matches the proportions and profiles of the original window. It should fit
tightly within the window opening without the need for subframes or
panning around the perimeter. Match the color of the storm window sash
with the color of the window frame; do not use an anodized or a milled (a
silvery metallic) finish. Finally, set the sash of the storm window back
from the plane of the wall surface as far as possible.
Design Standards for Salt Lake City
Standards for Windows
1f a storm window is to be installed on the
exterior, match the sash design of the
original window (as the ones above do).
Page 77
Standards for Windows
Page 78
4.0 DOORS
Policy:
The character -defining features of a historic door and its
distinct materials and placement should be preserved. In
addition, a new door should be in character with the his-
toric building. This is especially important on primary fa-
cades.
Background
Doors, which are often important character -defining features of historic
structures, give scale to buildings and provide visual interest to the com-
position of individual building facades. Some doors are associated with
specific architectural styles. For example, glass paneled doors with stained
glass are used in a variety of period designs. Many historic doors are noted
for their materials, placement and finishes. Because an inappropriate door
can severely affect the character of a historic house, one should be careful
to avoid radical alteration to an old door and to choose a new door that is
appropriate to the design of the house.
Door Features
Important features include the door and its frame, the sill, head, jamb
and any flanking windows or transoms.
Door Types
Door types found on historic structures in Salt Lake City include:
Doorway with transom and sidelights --Typically a wooden door flanked
by sidelights and topped with a rectangular transom.
Double doors --Comprised of two slender doors that swing out; these doors
usually have sashes.
Craftsman door --This type of door is distinctive for its thick wood plank
design, often with upper glass sashes divided by heavy muntins.
Some craftsman doors have a wood shelf bracket under the sashes.
Glass paneled door --This type of door has a wide sash of glass in the
upper portion of the door. Many Victorian era houses have glass paneled
doors that are embellished with turned wood details and etched or stained
glass.
Paneled door --Wooden door with raised panels
Design Standards for Salt Lake City
Standards for Doors
Ornamental trim on historic doors
should be preserved.
Page 79
Standards for Doors
Typical door types for historic buildings in Salt Lake City
Door with transom/
sidelight
APPROPRIATE FRONT DOORS
Craftsman door
Paneled door
Glass paneled door
INAPPROPRIATE FRONT DOORS
J
Sliding aluminum
patio door
Page 80
t
Flush face door with
small lights
o
71
Imitation "Dutch" door
DOORS, continued...
Maintenance Issues of Historic Doors
Because a historic door is typically constructed of a thick plank of wood
and is often sheltered by a porch, it tends to be long-lasting. However,
most problems that occur result from a lack of maintenance and from
swelling and warping due to climatic changes. A door also may be worn
and sagging as a result of weathering and constant use. As a result, some
historic doors do not properly fit their openings and allow moisture and
air into the house.
Water damage and the assault of sunlight are major concerns. Condensa-
tion during winter months also can cause problems with glass panels and
sashes on doors. Damage occurs when the painted or finished layer is
cracked or peeling. Decay may make operation of the door difficult and, if
left untreated, can result in significant deterioration of door components.
In most cases, doors are not susceptible to damage if a good coat of paint
or varnish is maintained.
Repair of Historic Doors
In many cases a historic door merely needs to be rehung. This treatment is
preferred rather than replacing the door altogether. Often repairing a his-
toric door is necessary, in which case, repairing it rather than replacing it
is suggested. In most cases it is in fact easier, and more economical, to
repair an existing door rather than to replace it. This is preferred by the
HLC because the original materials contribute to the historic character of
the building. Even when replaced with an exact duplicate door, a portion
of the historic building fabric is lost. Such treatment should be avoided.
When deciding whether to repair or replace a historic door, consider the
following:
First, determine the door's architectural significance. Is it a key character -
defining element of the building? Is the front door in a position on the
primary facade such that it is visible? Is the design of the historic door
indicative of the architectural style or type of the house? If the answer to
one or more of these questions is "yes," then preservation is the best ap-
proach. A door in an obscure location, or on the rear of a structure may not
be considered a prominent feature of the house. Thus, greater flexibility
in the treatment or replacement of such doors may be considered.
Second, inspect the door to determine its condition. Is the door hanging
wrong or does it lack proper hardware and framing components that make
it functional? If so, replacing these elements is appropriate. Check the door
to see that it opens and closes smoothly and that it fits in its jamb. Some
problems may be superficial ones, such as peeling paint, deteriorated de-
tailing or broken sashes. These are issues that can be remedied without
altering the historic character.
Standards for Doors
The original materials and
details of a door contribute to
the overall historic character
of a building and should be
preserved.
Design Standards for Salt Lake City Page 81
Standards for Doors
DOORS, continued...
Third, determine the appropriate treatment for the door. In many cases
the door may not fit the door jamb or threshold as it should. In this case
the hinges and the threshold of the door should be tightened or refit to
allow smooth opening and closing of the door. Shaving or undercutting
the door to fit the door frame is not recommended as a solution.
Surfaces may require cleaning and patching. Some components may be
deteriorated beyond repair. Patching and splicing in new material for only
those portions that are decayed should be considered in such a case, rather
than replacing the entire door. If the entire door must be replaced, the
new one should match the original in its general appearance and should
be in character with the building style. When rehabilitating a historic door
it is important to maintain original doors, jambs, transoms, window panes
and hardware where feasible.
Energy Conservation
In some cases, owners may be concerned that an older door is less effi-
cient in terms of energy conservation. In winter, for example, heat loss
associated with an older door may make a room uncomfortable and in-
crease heating costs. In fact, most heat loss is associated with air leakage
though the space below the door and through glass panes in the door, if it
has any.
The most cost-effective energy conservation measures for a typical his-
toric door is to install weather stripping along the door frame, to fit the
door to the jamb and threshold and to caulk any window panes. These
measures will dramatically reduce heat loss while preserving historic fea-
tures.
If additional energy savings are a concern, consider installing a storm door.
This may be applied to the exterior of the door. It should be designed
such that the exterior appearance of the original door is not obscured.
Replacement Doors
While replacing an entire door assembly is discouraged, it may be neces-
sary in some cases. When a door is to be replaced, the new one should
match the appearance of the original. In replacing a door, one should be
careful to retain the original door opening location, door size and door
shape. In addition, one should consider the design of the door, choosing a
replacement that is compatible with the style and type of the house.
A frequent concern is the material of the replacement door. In general,
using the same material as the original is preferred. If the historic door
was wood, then using a wood replacement is the best approach. A metal
door, if seen from the street, will detract from the character of the historic
house and generally is not allowed.
Page 82
When a door is to be replaced, the new one
should match the appearance of the
original.
DESIGN STANDARDS FOR DOORS
Finally, when replacing a historic door, it is important to preserve the origi-
nal door frame when feasible. This is important in keeping the size and
configuration of the original door.
4.1 Preserve the functional, proportional and decorative
features of a primary entrance.
Maintain features important to the character of a historic doorway. These
may include: the door, door frame, screen door, threshold, glass panes,
paneling, hardware, detailing, transoms and flanking sidelights. Avoid
changing the position and function of original front doors and primary
entrances. If necessary, use replacement doors with designs and finishes
similar to historic doors.
4.2 When a historic door is damaged, repair it and maintain
its general historic appearance.
4.3 When replacing a door, use materials that appear
similar to that of the original.
A metal door, if seen from the street, is inappropriate where the original
was wood.
4.4 When replacing a door, use a design that has an
appearance similar to the original door or a door associated
with the style of the house.
Standards for Doors
When a historic door or its
components are damaged,
repair them and maintain their
general historic appearance.
Design Standards for Salt Lake City Page 83
Standards for Doors
Page 84
5.0 PORCHES
Policy:
Where a porch has been a primary character -defining fea-
ture of a front facade, this should continue. In addition, a
new (replacement) porch should be in character with the
historic building, in terms of scale, materials and detail-
ing.
Background
Historically porches were popular features in residential design. From the
period of the Classical Revival of the nineteenth century to the Craftsman
and Period Revivals of the early and middle twentieth century, architects
have integrated porches into their buildings. A porch protects an entrance
from snow and provides shade in the summer. It also provides a sense of
scale and aesthetic quality to the facade of a building. A porch catches
breezes in the warmer months, while providing a space for residents to sit
and congregate. Finally, a porch often connects a house to its context by
orienting the entrance to the street.
Standards for Porches
A porch often connects a house to its
context by orienting the entrance to the
street.
Historically porches were popular features in residential design. From the period of the Classical Revival of
the nineteenth century to the Craftsman and Period Revivals of the early and middle twentieth century,
architects have integrated porches into their buildings.
Design Standards for Salt Lake City Page 85
Standards for Porches
Porches on historic buildings in Salt Lake City
I1IiiIIIIl I I In I I HIl IIlit'
Typical porch components.
Page 86
Porches have various functions: they
orient buildings to the street, tie houses to
their larger contexts and are often
catalysts for personal interaction.
Roof Covering
Column
Railing
Baluster
Joints, decking, and Flooring
Pier
Steps
PORCHES, continued...
Many architectural styles and building types, such as the Victorian era
style and the Craftsman style, developed with the porch as a prime fea-
ture of the front facade. Some porches even convey the design expression
of the house, such as the Prairie style porch, which often echoes the hori-
zontal orientation of the house. Because of their historical importance and
prominence as character -defining features, porches should receive sensi-
tive treatment during exterior rehabilitation and restoration work.
Porch Features
Porches vary as much as architectural styles. They differ in height, scale,
location, materials and articulation. Porches may be simple one or two
story structures. A porch may project or wrap and have elaborate details
and finishes. Although they vary in character, most porches have a few
elements in common:
• balustrades
• posts/columns
• architectural details
• hipped/shed roofs
These elements often correspond to the architectural style of the house
and therefore the building's design character should be considered before
any major rehabilitation or restoration work is done.
This classical detail porch includes paired
Doric columns.
Design Standards for Salt Lake City
Supports for bungalow porches often
have a sloped or "battered" design,
which is a key feature.
Standards for Porches
Paired fluted columns support an
architrave with dentil molding on this
porch. These are distinct features that
should be preserved.
Square posts are distinct features of
this inset, full -width porch.
Page 87
Standards for Porches
PORCHES, continued...
Porch Deterioration
Because of constant exposure to sun and rain and the fact that a porch is
open to the elements, it decays faster than other portions of a house. Much
deterioration is caused by rain spilling onto the porch from the main roof
of the house. If this water does not drain away, then deterioration occurs.
Furthermore, if the water is not then channeled away from the foundation
of the porch its footings may be damaged. One type of damage is "rising
damp," a condition in which masonry absorbs water and begins to decay.
Other problems include weathering of features such as posts, columns,
steps and decorative detailing. Peeling paint is a common symptom. In
some cases the porch itself may experience sagging or detachment from
the house due to settling of the house and/or the porch.
Porch Alterations
Many porches have been altered or removed. Some have had minor
changes, such as roof repairs or repainting, while others have been al-
tered to the degree that they have lost much of their character. In many
cases a porch may have lost character -defining features, such as balus-
trades, posts, columns and decorative brackets --features that usually de-
fine architectural styles and that may have been replaced by incompatible
substitutes. For instance, wood columns and balustrades were commonly
replaced with thin "wrought iron" railings and posts in the 1950s. This
compromised the proportions and architectural integrity of the house. In
the mid -twentieth century it was also fashionable to totally remove the
front porch. Since the 1950s, it has also been popular to enclose a front
porch with opaque materials, which destroys its historic character and
function.
Repair of Porches
After discovering structural or cosmetic problems with a porch, one should
begin to formulate a strategy for its treatment. The most sensitive strategy
is to repair the porch. This treatment is preferred, rather than replacing
the porch altogether. In most cases it is in fact easier, and more economi-
cal, to repair an existing porch or porch elements, rather than to replace
them. This approach is preferred because the original materials of a porch
contribute to the historic character of the building. Even when replaced
with an exact duplicate porch, a portion of the historic building fabric is
lost; therefore, such treatment should be avoided when feasible.
Page 88
Wood columns and balustrades were com-
monly replaced with thin "wrought iron"
railings and posts in the 1950s. This com-
promised the proportions and architectural
integrity of the house.
This porch has been altered. As a result,
the historic character is compromised.
Repairing rather than replacing porch
elements is the preferred approach.
PORCHES, continued...
Replacing a Porch
While replacing an entire porch is discouraged, it may be necessary in
some cases. When a porch is to be replaced, the first step is to investigate
the status of the current porch to determine its history, as well as to as-
certain which features, if any, are original. The second step is to research
the history of the house to determine the appearance and materials of
the original porch. In doing so, one should search for: 1) written docu-
mentation of the original porch in the form of historic photographs,
sketches and/or house plans; 2) physical evidence of the original porch,
including "ghost lines" on walls that indicate the outline of the porch
and/or holes on the exterior wall that indicate where the porch may
have been attached to the front facade; 3) examples of other houses of
the same period and style that may provide clues about the design and
location of the original porch.
The most important aspects of the project involve the location, scale, and
materials of the replacement porch. It is not necessary to strictly repli-
cate the details of the porch on most "contributing" buildings; however,
it is important that new details be compatible with the design of the porch
and the style of the house.
Standards for Porches
Wood detailing on porches, such as this
jigsaw ornamentation should be
preserved.
It is not necessary to strictly replicate the details of the porch on most "contributing" buildings: however, it is important that new
details be compatible with the design of the porch and the style of the house. The replacement railing on the left is in scale with that
seen historically, whereas the balusters are spaced too widely in the one on the right.
Design Standards for Salt Lake City
Page 89
Standards for Porches
PORCHES, continued...
The Back Porch
A rear porch may be a significant feature. Historically, these served a vari-
ety of utilitarian functions and helped define the scale of a back yard.
Preservation of a rear porch should be considered as an option, when
feasible; at the same time it is recognized that such a location is often the
preferred position for an addition.
Maintenance tips for porches:
• Maintain drainage off of the main roof of the house, as well as off of the roof of the porch
• Channel water away from the foundation of the porch
• Maintain a good coat of paint on all exposed surfaces.
Page 90
DESIGN STANDARDS FOR PORCHES
5.1 Preserve an original porch when feasible.
Replace missing posts and railings when necessary. Match the original
proportions and spacing of balusters when replacing missing ones, Un-
less used historically, wrought iron, especially the "licorice stick" style that
emerged in the 1950s and 1960s, is not allowed,
5.2 Avoid removing or covering historic materials and
details on a porch.
Removing an original balustrade, for example, is inappropriate,
5.3 If porch replacement is necessary, reconstruct it to
match the original in form and detail when feasible.
Use materials similar to the original whenever feasible. On contributing
buildings, where no evidence of the historic porch exists, a new porch
may be considered that is similar in character to those found on compa-
rable buildings. Speculative construction of a porch on a contributing build-
ing is discouraged. Avoid applying decorative elements that are not known
to have been used on your house or others like it. While matching original
materials is preferred, when detailed correctly and painted appropriately,
fiberglass columns may be acceptable. The height of the railing and the
spacing of balusters should appear similar to those used historically.
Standards for Porches
The replacement post on the right is out of
character with this house style.
The porch to the left has experienced inappropriate alteration; metal posts have replaced original wood piers. In the case that adequate
documentation is not available for reconstruction, consulting houses of similar character and age, such as the one to the right, is
acceptable.
Design Standards for Salt Lake City
Page 91
Standards for Porches
DESIGN STANDARDS FOR PORCHES, continued...
5.4 Do not permanently enclose a historic front porch.
Enclosing a porch with opaque materials that destroys the openness and
transparency of the porch is not allowed.
Enclosing a porch with opaque materials that destroys the openness and transparency of the
porch is not allowed. (Note that the porch on the left has been enclosed, altering its historic
character, which was similar to that of the house to the right.)
For additional information:
Massey, James C. and Shirley Maxwell. "Reading the Old House" and "Sleeping Porches." Old House
Journal, July/August 1995,
Page 92
Standards for Architectural Details
6.0 ARCHITECTURAL DETAILS
Policy:
Architectural details help establish a historic building's distinct vi-
sual character; thus, they should be preserved whenever feasible. If
architectural details are damaged beyond repair, their replacement,
matching the original detailing, is recommended.
Background
Architectural details play several roles in defining the character of a his-
toric structure; they add visual interest, define certain building styles and
types, and often showcase superior craftsmanship and architectural design.
Features such as window hoods, brackets and columns exhibit materials
and finishes often associated with particular styles and therefore their pres-
ervation is important.
Treatment of Architectural Features
Preserving original architectural details is critical to the integrity of the build-
ing, and its context. Where replacement is required, one should remove
only those portions that are deteriorated beyond repair. Even if an architec-
tural detail is replaced with an exact replica of the original detail, the integ-
rity of the building as a historic resource is diminished and therefore pres-
ervation of the original material is preferred.
Preserving original architectural details
is critical to the integrity of a building
and its context.
Features such as window hoods, brackets and columns are often associated with particular
styles and therefore their preservation is important.
Design Standards for Salt Lake City Page 93
Standards for Architectural Details
ARCHITECTURAL DETAILS, continued...
Replacement materials
Using a material to match that employed historically is always the best
approach. However, a substitute material may be considered when it ap-
pears similar in composition, design, color, texture to the original.
In the past, substitute materials were employed as cheaper, quicker meth-
ods of producing architectural features. For example, in the late nineteenth
century cast metal window hoods replaced those previously constructed
of wood or stone. Many of these historic "substitutes" are now referred to
as traditional materials. Just as these historic substitutes offered advan-
tages over their predecessors, many new materials today hold promise.
However, these substitute materials should not be used wholesale, but
only when it is absolutely necessary to replace original materials with
stronger, more durable substitutes. In Preservation Brief 16 titled The Use of
Substitute Material, the National Park Service comments that "some pres-
ervationists advocate that substitute materials should be avoided in all
but limited cases. The fact is, however, that substitute materials are being
used more frequently than ever. They can be cost-effective, can permit the
accurate visual duplication of historic materials, and last a reasonable time."
Substitute materials may be considered when the original is not easily
available, where the original is known to be susceptible to decay, or where
maintenance may be difficult (such as on a church spire).
Another factor which may determine the appropriateness of using substi-
tute materials for architectural details depends on their location and de-
gree of exposure. For example, lighter weight materials may be inappro-
priate for an architectural detail that would be exposed to intense wear. In
this case, it may be wise to avoid using a fiberglass column on a front
porch where it may be accidentally damaged. Conversely, the use of fiber-
glass to reproduce a cornice on a second story may be successful.
Page 94
/ Replacement
piece
Original molding
YES!
Where replacement of a detail is required,
one .should remove only those portions
that are deteriorated beyond repair.
Moldings and eaves around fascias are
important details; this is why they should
not be obscured by coverings of synthetic
materials.
STANDARDS FOR ARCHITECTURAL DETAILS
6.1 Protect and maintain significant stylistic elements.
Distinctive stylistic features and examples of skilled craftsmanship should
be treated with sensitivity. The best preservation procedure is to maintain
historic features from the outset so that intervention is not required. Pro-
tection includes maintenance through rust removal, caulking, limited paint
removal and reapplication of paint.
6.2 If replacement is necessary, design the new element
using accurate information about original features.
The design should be substantiated by physical or pictorial evidence. One
of the best sources for historic photographs is Salt Lake County Records
Management, which maintains early tax photographs for thousands of
buildings. In historic districts, intact structures of similar age may offer
clues about the appearance of specific architectural details or features.
Speculative reconstruction is not appropriate for individual landmarks,
as these structures have achieved significance because of their historical
and architectural integrity. This integrity may be jeopardized by specula-
tive reconstruction. Replacement details should match the original in scale,
proportion, finish and appearance
6.3 Develop a new design for the replacement feature that
is a simplified interpretation when the original element is
missing and cannot be documented.
The new element should relate to comparable features in general size,
shape, scale and finish. Such a replacement should be identifiable as be-
ing new. Use materials similar to those that were used historically, if fea-
sible.
Develop a new design for a replacement feature that is a simplified interpretation of a
similar feature when the original element is missing and cannot be documented.
Design Standards for Salt Lake City
Standards for Architectural Details
Distinctive stylistic features or examples
of skilled craftsmanship should be treated
with sensitivity.
Protect and maintain significant stylistic
elements.
Page 95
Standards for Architectural Details
Page 96
7.0 ROOFS
Policy:
The character of a historical roof should be preserved,
including its form and materials whenever feasible.
Background
The character of the roof is a major feature for most historic structures.
When repeated along the street, the repetition of similar roof forms also
contributes to a sense of visual continuity for the neighborhood. In each
case, the roof pitch, its materials, size and orientation are all distinct fea-
tures that contribute to the character of a roof. Gabled and hip forms
occur most frequently, although shed and flat roofs appear on some build-
ing types.
Although the function of a roof is to protect a house from the elements, it
also contributes to the overall character of the building. Historically the
roof shape was dictated by climatic considerations, which determined
roof forms and pitch. Salt Lake City has seen the construction of various
roof forms:
TYPICAL ROOF TYPES
Gabled roof
N I
Shed roof
Design Standards for Salt Lake City
Hipped roof
Flat roof
Standards for Roofs
Clipped Gable
Page 97
Standards for Roofs
Appropriate Eaves Depths on Various Architectural Styles
Vernacular building
Appropriate roofing materials
Queen Anne Style
Bungalow
Wood shingles
Appropriate for:
• All styles except Ranch Style
Page 98
Bar -Tiles
Appropriate for:
• Spanish Colonial Revival
buildings
Asphalt shingles
Appropriate for:
• All styles
ROOFS, continued...
Roof Deterioration
The roof is the structure's main defense against the elements. However,
all components of the roofing system are vulnerable to leaking and dam-
age. When the roof begins to experience failure, many other parts of the
house may also be affected. For example, a leak in the roof may lead to
damage of attic rafters or even wall surfaces. Common sources of roof
leaks include:
• Cracks in chimney masonry
• Loose flashing around chimneys and ridges
• Loose or missing roof shingles
• Cracks in roof membranes caused by settling rafters
• Water backup from plugged gutters or moss accumulation on shingles
Repairing a Historic Roof
Roof form
In repairing or altering a historic roof it is important to preserve its his-
toric character. For instance, one should not alter the pitch of the historic
roof, the perceived line of the roof from the street, or the orientation of the
roof to the street. The historic depth of overhang of the eaves, which is
often based on the style of the house (see following photographs), should
also be preserved.
Roof materials
When repairing or altering a historic roof, one should avoid removing
historic roofing materials that are in good condition. Where replacement
is necessary, such as when the historic roofing material fails to properly
drain or is deteriorated beyond use, one should use a material that is simi-
lar to the original in style and texture. The overall pattern of the roofing
material also determines whether or not certain materials are appropri-
ate. For instance, cedar and asphalt shingles have a uniform texture, while
standing seam metal roofs cause a vertical pattern.
The color of the repaired roof section should also be similar to the historic
roof material. Wood and asphalt shingles are appropriate replacement ma-
terials for most roofs. A specialty roofing material, such as tile or slate,
should be replaced with a matching material whenever feasible.
Unless the existence of a former metal roof can be demonstrated, either by
existing material or through historic documentation such as photographs,
the use of metal shingle roofs on contributing structures is not allowed
because of their texture, application and reflectivity.
Standards for Roofs
Eave: The lowest part of the
roof. It is the section of a roof
that projects beyond the
juncture of the roof and the
wall.
Metal roofing, such as standing seam
metal, is not appropriate.
Design Standards for Salt Lake City Page 99
Standards for Roofs
ROOFS, continued...
Gutters and Downspouts
Gutters and downspouts are mechanisms for diverting water away from
a structure. Without this drainage system, water would splash off the roof
onto exterior walls and run along the foundation of the building. If gut-
ters and downspouts are to perform sufficiently, certain requirements must
be met:
• They must be large enough to handle the discharge.
• They must have sufficient pitch to carry the water off quickly.
• They must not leak.
• They must not be clogged with debris.
Finial
Ridge / crest
Pendant
Vergeboard
Gable
Cornice return
Soffit
Cornice
Roof Parts
Page 100
ROOFS, continued...
Roofs on Additions
Roof top, side or rear additions
The roof form of an addition should be compatible with the roof form of
the primary structure, in terms of its pitch and orientation. In planning a
roof top addition, one should avoid altering the angle of the roof and
instead should maintain the perceived historic roof line, as seen from the
street.
Dormers
Historically a dormer was sometimes added to create more head room in
attic spaces: it typically had a vertical emphasis and was usually placed
as a single or in a pair on a roof. A dormer did not dominate a roof form,
as it was subordinate in scale to the primary roof. Thus, a new dormer
should always read as a subordinate element to the primary roof plane. A
new dormer should never be so large that the original roof line is obscured.
It should also be set back from the roof edge and located below the roof
ridge in most cases. In addition, the style of the new dormer should be in
keeping with the style of the house.
Gabled dormer
Appropriate for:
Most architectural styles
Hip dormer
Appropriate for:
Most architectural styles
Shed dormer
Appropriate for:
Bungalows
Standards for Roofs
Gable roof.
Hip roof
Place a new dormer such that the roof line
is preserved, as in the sketches above.
Design Standards for Salt Lake City Page 101
Standards for Roofs
STANDARDS FOR ROOFS
7.1 Preserve the original roof form.
Avoid altering the angle of a historic roof. Instead, maintain the perceived
line and orientation of the roof as seen from the street. Also retain and
repair roof detailing.
7.2 Preserve original roof materials where feasible.
Avoid removing historic roofing material that is in good condition. Where
replacement is necessary, use materials that are similar to the original in
both style as well as physical qualities. Use a color that is similar to that
seen historically. Specialty materials such as tile or slate should be replaced
with matching material whenever feasible.
7.3 Preserve the original historic eave depth.
The shadows created by traditional overhangs contribute to one's
perception of the building's historic scale and therefore, these overhangs
should be preserved. Cutting back roof rafters and soffits or in other ways
altering the traditional roof overhang is therefore inappropriate.
7.4 Minimize the visual impact of skylights and other
rooftop devices.
The addition of features such as skylights or solar panels should not be
installed in a manner such that they will interrupt the plane of the historic
roof. They should be lower than the ridgeline, when possible. Flat sky-
lights that are flush with the roof plane may be considered on the rear and
sides of the roof. Locating a skylight on a front roof plane is inappropri-
ate.
7.5 When planning a roof -top addition, preserve the overall
appearance of the original roof.
An addition should not interrupt the original ridgeline when possible.
See also the Standards for Additions beginning on page 105.
Maintenance tips for roofs:
• Maintain gutters and downspouts in good condition.
• Keep gutters and downspouts free from debris to ensure proper drainage.
• Patch holes in gutters and downspouts to keep water from seeping onto walls and foundations.
• Install gutters in a manner that is not detrimental to historic building materials.
Page 102
Standards for Roofs
STANDARDS FOR ROOFS, continued...
7.6 Avoid using conjectural materials or features on a roof.
Applying a modern material that is supposed to look like slate but is not
slate, to a contributing structure, for example, will overpower and detract
from the architectural integrity of the home. Adding a widow's walk (an
ornate railing around the roof ridge) on a house where there is no evi-
dence that one existed creates a false impression of the home's original
appearance, and is inappropriate.
This bar -tile replacement roof would be more appropriate for a
Spanish Colonial Revival style building. In the case of a Tudor
Revival structure as shown above, the bar -tile roof is overpowering
and is inconsistent with roof materials historically used for this
style.
For additional information:
Park, Sharon C. Preservation Briefs 19: The Repair and Replacement of Historic Wooden Shingle Roofs. Washington,
D.C.: Technical Preservation Services, National Park Service, U.S. Department of the Interior.
Levine, Jeffrey S. Preservation Briefs 29: The Repair, Replacement and Maintenance of Historic Slate Roofs. Washing-
ton, D.C.: Technical Preservation Services, National Park Service, U.S. Department of the Interior.
Grimmer, Anne E. and Paul K. Williams. Preservation Briefs 30: The Preservation and Repair of Historic Clay Tile
Roofs. Washington, D.C.: Technical Preservation Services, National Park Service, U.S. Department of the
Interior.
Pieper, Richard. Preservation Tech Notes: Metals #2: Restoring Metal Roof Cornices. Washington, D.C.: Technical
Preservation Services, National Park Service, U.S. Department of the Interior.
Design Standards for Salt Lake City Page 103
Standards for Roofs
Page 104
Standards for Additions
8.0 ADDITIONS
Policy:
If a new addition to a historic building is to be constructed,
it should be designed such that the early character is
maintained. Older additions that have taken on significance
also should be considered for preservation.
Background
Many historic buildings have experienced additions over time, as need for
additional space occurs, particularly with a change in use. In some cases,
an owner would add a wing for a new bedroom, or to expand the kitchen.
An early addition typically was subordinate in scale and character to the
main building. The height of the addition was usually positioned below
that of the main structure and was often located to the side or rear, such that
the primary facade remained predominate.
An addition was often constructed of materials that were similar to those
in use historically. Clapboard siding , brick and vertical, narrow bead
boards were the most common. In some cases, owners simply added
dormers to an existing roof, creating more usable space without increasing
the footprint of the structure.
This tradition of adding onto historic buildings should be continued. It is
important, however, that new additions be designed in such a manner that
they preserve the historic character of the primary structure.
Existing Additions
Some early additions may have taken on historic significance. One con-
structed in a manner that was compatible with the original building and
that is associated with the period of historic significance may merit
preservation in its own right. Such an addition should be carefully evalu-
ated before developing plans for its alteration.
In contrast, more recent additions usually have no historic significance.
Some later additions in fact detract from the character of the building, and
may obscure significant features, particularly enclosed porches. Remov-
ing such noncontributing additions should be considered.
Many historic buildings have
experienced additions over time.
Some early additions may have
taken on historic significance. One
constructed in a manner that was
compatible with the original
building and that is associated with
the period of historic significance
may merit preservation in its own
right.
Design Standards for Salt Lake City Page 105
Standards for Additions
ADDITIONS, continued...
Basic Principles for New Additions
When planning an addition to a historic building or structure, one should
minimize negative effects that may occur to the historic building fabric as
well as to its character. While some destruction of historic materials is
almost always a part of constructing an addition, such loss should be
minimized. Locating an addition such that existing side or rear doors may
be used for access, for example, will help to minimize the amount of
historic wall material that must be removed.
The addition also should not affect the perceived character of the building.
In most cases, loss of character can be avoided by locating the addition to
the rear. The overall design of the addition also must be in keeping with
the design character of the historic structure as well. At the same time, it
should be distinguishable from the historic portion, such that the evolu-
tion of the building can be understood.
Keeping the size of the addition small, in relation to the main structure,
also will help minimize its visual impacts. If an addition must be larger, it
should be set apart from the historic building, and connected with a
smaller linking element. This will help maintain the perceived scale and
proportion of the historic portion.
It is also important that the addition not obscure significant features of the
historic building. If the addition is set to the rear, it is less likely to affect
such features.
In historic districts, one also should consider the effect the addition may
have on the character of the district, as seen from the public right of way.
For example, a side addition may change the sense of rhythm established
by side yards in the block. Locating the addition to the rear could be a better
solution in such a case.
Two distinct types of additions should be considered: First, ground level
additions, which involve expanding the footprint of the structure. Sec-
ondly, rooftop additions, which often are accomplished by installing new
dormers to provide more headroom in an attic space. In either case, an
addition should be sited such that it minimizes negative effects on the
building and its setting. In addition, the roof pitch, materials, window
design and general form should be compatible with its context.
Appropriate: If an addition must be
larger, it should be set apart from
the historic building, and connected
with a smaller linking element, as
this one is.
For additional information:
Weeks, Kay D., Preservation Briefs #14: New Exterior Additions to Historic Buildings: Preservation Concerns.
Washington, D.C.: Technical Preservation Services, National Park Service, U.S. Department of the
Interior, 1987.
Bock, Gordon. "Making Sense of Sensitive Additions, Ways to Get a Handle on Enlarging Old Houses." Old
House Journal, May/June, 1995.
Page 106
Standards for Additions
DESIGN STANDARDS FOR ADDITIONS
8.1 Design an addition to a historic structure such that it
will not destroy or obscure historically important
architectural features.
For example, loss or alteration of architectural details, cornices and
eavelines should be avoided.
Historic
structure
1"it
its
Addition
Connector
Appropriate: Set back an addition from historically important primary facades in order to allow the original
proportions and character to remain prominent, or set the addition apart from the historic building and connect it with. a
"link.
8.2 Design an addition to be compatible in size and scale
with the main building.
Set back an addition from historically important primary facades in order
to allow the original proportions and character to remain prominent. Keep
the addition visually subordinate to the historic building. If it is necessary
to design an addition that is taller than the historic building, set it back
substantially from significant facades and use a "connector" to link it.
Design an addition to a historic
structure such that it will not destroy
or obscure historically important
architectural features. This addition
obscures the front porch, for
example, and is inappropriate.
Design Standards for Salt Lake City Page 107
Standards for Additions
DESIGN STANDARDS FOR ADDITIONS, continued...
8.3 Place an addition at the rear of a building or set it back
from the front to minimize the visual impact on the historic
structure and to allow the original proportions and character
to remain prominent.
Locating an addition at the front of a structure is inappropriate.
Appropriate: Locate an addition to the rear, as this one is.
8.4 Design a new addition to be recognized as a product of
its own time.
An addition shall be made distinguishable from the historic building,
while also remaining visually compatible with these earlier features. A
change in setbacks of the addition from the historic building, a subtle
change in material, or a differentiation between historic and more current
styles are all techniques that may be considered to help define a change
from old to new construction.
Creating a jog in the foundation between the original building and the
addition also may establish a more sound structural design to resist
earthquake damage, while helping to define it as a later addition.
Page 108
Appropriate: An addition shall be
made distinguishable from the
historic elements while also
remaining visually compatible
with these earlier features.
Standards for Additions
DESIGN STANDARDS FOR ADDITIONS, continued...
Appropriate: A change in setbacks of the addition from the historic
building or structure, a subtle change in material, or a differentiation
between historic and more current styles are all techniques that may be
considered to help define a change from old to new construction.
8.5 Design a new addition to preserve the established
massing and orientation of the historic building.
For example, if the building historically had a horizontal emphasis, this
orientation shall be continued in the addition.
8.6 Do not construct a new addition or alteration that will
hinder one's ability to interpret the historic character of the
building or structure.
A new addition that creates an appearance inconsistent with the historic
character of the building is inappropriate. An alteration that seeks to imply
an earlier period than that of the building is inappropriate. In addition, an
alteration that seeks to imply an inaccurate variation on the historic style
is inappropriate. An alteration that covers historically significant features
is inappropriate as well.
This addition is easily distinguished
from the original building, but the
massing, windows and materials are
clearly incompatible with the historic
house form.
Design Standards for Salt Lake City Page 109
Standards for Additions
DESIGN STANDARDS FOR ADDITIONS, continued...
8.7 When planning an addition to a building, preserve
historic alignments that may exist on the street.
Some roof lines and porch eaves on historic buildings in the area may align
at approximately the same height. An addition shall not be placed in a
location where these relationships would be altered or obscured.
8.8 Use exterior materials that are similar to the historic
materials of the primary building on a new addition.
Painted wood clapboard and brick are typical of many traditional addi-
tions. See also the discussion of specific building types and styles.
8.9 Minimize negative technical effects to original features
when designing an addition.
Avoid construction methods, for example that would cause vibration that
may damage historic foundations. New alterations also should be de-
signed in such away that they can be removed without destroying original
materials or features.
8.10 Use windows in the addition that are similar in character
to those of the historic building or structure.
If the historic windows are wood, double -hung, for example, new win-
dows should appear to be similar to them. Depending on the detailing,
clad wood or synthetic materials may be considered.
Rooftop Additions
8.11 When constructing a rooftop addition, keep the mass
and scale subordinate to the scale of the historic building.
An addition shall not overhang the lower floors of the historic building in
the front or on the side.
8.12 Set a rooftop addition back from the front of the
building.
This will help preserve the original profile of the historically significant
building as seen from the street. A minimum setback of 10 feet is recom-
mended. Greater flexibility may be considered in the setback of a dormer
addition on a hipped or pyramidal roof.
Page 110
Inappropriate: Keep rooftop
additions back from the front of
the building or structure.
When constructing a rooftop
addition, keep the mass and scale
subordinate to the scale of the
historic building or structure.
Appropriate: Keep dormers
subordinate to the overall roof
mass.
Standards for Additions
DESIGN STANDARDS FOR ADDITIONS, continued...
8.13 The roof form and slope of the addition must be in
character with the historic building.
If the roof of the historic building is symmetrically proportioned, the roof
of the addition shall be similar. Eave lines on the addition shall be similar
to those of the historic building or structure. Dormers shall be subordinate
to the overall roof mass and shall be in scale with historic ones on similar
historic structures.
Ground Level Additions
8.14 Keep a new addition physically and visually
subordinate to the historic building .
The addition shall be set back significantly from primary facades. A
minimum setback of 10 feet is recommended. The addition should be
consistent with the scale and character of the historic building or structure.
Large additions should be separated from the historic building by using
a smaller connecting element to link the two.
8.15 Roof forms shall be similar to those of the historic
building.
Typically, gable, hip and shed roofs are appropriate. Flat roofs are gener-
ally inappropriate.
8.16 On primary facades of an addition, use a solid -to -void
ratio that is similar to that of the historic building.
The solid -to -void ratio is the relative percentage of wall to windows and
doors seen on a facade.
Design Standards for Salt Lake City
Inappropriate: The roof slope of an
addition shall be in character with
that of the historic building.
Inappropriate: The exterior
materials of a new addition shall
be similar to those of the historic
building.
Inappropriate: On the primary
facades of an addition, the solid -
to -void ratio should be similar to
that of the historic building. In this
illustration, placing a window in
the upper gable of the front facade
would improve the solid -to -void
ratio.
Page 111
Standards for Additions
Page 112
9.0 ACCESSORY STRUCTURES
Policy:
Historic accessory structures should be preserved when
feasible. This may include preserving the structure in its
present condition, rehabilitating it or executing an adap-
tive use so that the accessory structure provides new func-
tions.
Background
Accessory structures include garages, carriage houses or sheds. Tradition-
ally these structures were important elements of a residential site. Because
secondary structures help interpret how an entire site was used histori-
cally, their preservation is strongly encouraged.
History of Secondary Structures
Studies of secondary structures indicate that the garage has been a natu-
ral evolution from the barn and carriage house, structures which have
been built to shelter transportation. When the automobile arrived, it was
often stored in the carriage house. Later, however, as the automobile be-
came prevalent, the garage took on a building form of its own. According
to "Garages in Salt Lake City's Avenues District," many characteristics of
the garage were adapted to accommodate the car. For instance, due to
fear of its potential flammability, the garage was detached from the house
and located a distance from it, usually along an alley, if one existed. Also,
various fire resistant materials were used in garage walls, including: vitri-
fied brick, cast concrete, pressed metals or hollow tile. Roof materials in-
cluded slate, metal, terra cotta, wood, asphalt and asbestos. Originally
garage doors were similar to those seen customarily on barns --double
doors that slide horizontally. The use of double doors eventually gave
way to a vertically rolling garage door, which was the prototype for the
electric garage door. The location of the garage itself shifted as automo-
bile owners became less worried about the threat of flammability. During
the 1920s, homeowners began to build garages to the side of their house;
eventually the garage became part of the facade of the house.
Standards for Accessory Structures
Accessory structures include garages, car-
riage houses or sheds. Traditionally these
structures were important elements of a resi-
dential site.
For additional information:
Miller, Lisa. "Garages in Salt Lake City's Avenues Historic District." Published by the Utah Heritage
Foundation.
Preservation Tech Notes 1100: Doors #1: Historic Garage and Carriage Doors: Rehabilitation Solutions. Washington,
D.C.: Technical Preservation Services Division, National Park Service, U.S. Department of the Interior.
Design Standards for Salt Lake City Page 113
Standards for Accessory Structures
ACCESSORY STRUCTURES, continued...
Preserving or Rehabilitating Historic Accessory Structures
Primary Materials
Many of the materials that have been used traditionally in secondary struc-
tures are those employed in the construction of primary buildings. This is
addressed in the preceding chapters. In preserving or rehabilitating sec-
ondary structures, it is important that the character -defining materials be
preserved.
Roof forms and materials
Traditionally secondary structures had gabled or shed roofs. Roofing ma-
terials included slate, metal, terra cotta, wood, asphalt and asbestos. Prop-
erty owners are encouraged to use traditional roof forms and materials if
undertaking more extensive projects, such as converting a secondary struc-
ture to a new use. However, because accessory structures are often subor-
dinate to the main house, greater flexibility in the treatment of accessory
structures may be considered.
STANDARDS FOR ACCESSORY STRUCTURES
9.1 Preserve a historic accessory building when feasible.
When treating a historic accessory building, respect its character -defining
features such as primary materials, roof materials, roof form, historic win-
dows, historic doors and architectural details. Avoid moving a historic
secondary structure from its original location.
Page 114
A variety of roof forms were historically used
for garages, including gable, shed and flat
roofs.
Preserve historic accessory buildings
when feasible.
When treating a historic accessory building,
respect its character -defining features such
as primary materials, roof materials, roof
form, historic windows, historic doors and
architectural details.
ACCESSORY STRUCTURES, continued...
9.2 Construct accessory buildings that are compatible with
the primary structure.
In general, garages should be unobtrusive and not compete visually with
the house. While the roofline does not have to match the house, it is best if
it does not vary significantly. Allowable materials include horizontal sid-
ing, brick, and in some cases stucco. Vinyl and aluminum siding are not
allowed for the walls but are acceptable for the soffits. In the case of a two -
car garage two single doors are preferable and present a less blank look to
the street; however, double doors are allowed,
9.3 Do not attach garages and carports to the primary
structure.
Traditionally, garages were sited as a separate structure at the rear of the
lot; this pattern should be maintained. The allowance of attached acces-
sory structures is reviewed on a case -by -case basis.
Traditionally, garages were sited as a separate structure at the rear of the lot; this
pattern should be maintained.
Standards for Accessory Structures
In the case of a two -car garage two single
doors are preferable and present a less
blank look to the street.
Design Standards for Salt Lake City Page 115
Standards for Accessory Structures
Page 116
10.0 SEISMIC RETROFITTING
Policy:
When retrofitting a historic structure in Salt Lake City to
improve its ability to withstand seismic events, any nega-
tive impacts upon historic features and building materials
should be minimized.
Background
Many historic structures were built during times when there was less
knowledge of seismic design and building codes were less restrictive. This
makes them vulnerable to destruction in earthquakes. However, today
there are methods of reducing the risk of earthquake damage. If carefully
planned and executed, these retrofitting techniques can upgrade the safety
of the home, while at the same time being sensitive to the historic fabric
of the house. By upgrading such features as foundations, floors, ceilings,
walls, columns, and roofs, homeowners can improve the resiliency of their
historic houses. This will ensure increased personal safety and protection
of their investments.
The first step in retrofitting a historic house is to investigate the premises
and identify its weak points and features that can be strengthened and
reinforced. For an inspection checklist and more information, see "Brac-
ing for the. Big One: Seismic Retrofit of Historic Houses," published by
the State of Utah's State Historic Preservation Office.
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Standards for Seismic Retrofitting
Horizontal forces of earthquakes cause
damage to historic structures.
(Courtesy of Utah Division of State
History, Office of Historic Preservation)
Design Standards for Salt Lake City Page 117
Standards for Seismic Retrofitting
STANDARDS FOR SEISMIC DESIGN
10.1 Execute the seismic retrofitting of a historic building
so that it has the least impact on its architectural integrity.
Building materials used in seismic retrofitting should be located on the
interior and/or blended with other existing architectural features.
SeiOrrIC LOWER RISK
Risk 1
Factors
I •
FOOTPRI;.Regular, symmetric
HEIGHT
PROFILE
MODERATE RISK
Multip a he
'..fie: �2
FOUNDATION_ Reinforced concrete,'`"61%,4 Brick -
WALLS
CONDITION ; Wcll mina nod 4r,
it
,;.Post-1900 mason
Average maintenance
HIGHER RISK
Seismic Risk Factors
(Courtesy of Utah Division of State
History, Office of Historic
Preservation)
For additional information:
Utah Division of State History, Office of Preservation. "Bracing for the Big One: Seismic Retrofit of Historic
Houses," 1993.
"Controlling Disaster: Earthquake -Hazard Reduction for Historic Buildings." Information Series,
National Trust for Historic Preservation, 1785 Massachusetts Avenue, N.W., Washington D.C. 20036.
1992.
Page 118
Standards for New Construction
in Historic Districts
Standards for New Construction
This house, constructed in 1994, blends in well with the traditional Avenues streetscape because of the fenestration pattern, the
roofline and the materials. In addition, the porch complements the design of the house and serves as an important transitional element
between the house and the street.
Page 120
Standards for New Construction
11.0 NEW CONSTRUCTION IN HISTORIC DISTRICTS
These standards apply to the design of new buildings in locally -desig-
nated historic districts. They apply in addition to specific district stan-
dards provided in chapters that follow later in the book.
Creative solutions that are compatible with the desired character of a his-
toric neighborhood are strongly encouraged, while designs that seek to
contrast with the existing context simply for the sake of being different
are discouraged. This guidance will help protect the established character
of each neighborhood, while also allowing new, compatible design.
DESIGN CONSIDERATIONS
Basic approach
Designing a building to fit within a historic district requires careful thought.
First, it is important to realize that, while a historic district conveys a cer-
tain sense of time and place associated with its history, it also remains
dynamic, with alterations to existing structures and construction of new
buildings occurring over time.
Designating a district does not freeze it in time, but it does assure that,
when new building does occur, it will be in a manner that reinforces the
basic visual characteristics of the area. This does not mean, however, that
new buildings must look old. In fact, imitating historic styles found in a
historic district is generally discouraged; historians prefer to be able to
"read" the evolution of the street, discerning the apparent age of each
building by its style and method of construction. They do so by interpret-
ing the age of a building, placing its style in relative chronological order.
When a new building is designed to imitate a historic style, this ability to
interpret the history of the street is confused.
Rather than imitating older buildings, a new design should relate to the
fundamental characteristics of the district while also conveying the stylis-
tic trends of today. It may do so by drawing upon basic ways of building
that make up a part of the character of an individual historic district. Such
features upon which to draw include the way in which a building is lo-
cated on its site, the manner in which it relates to the street and its basic
mass, form and materials. When these design variables are arranged in a
new building to be similar to those seen traditionally in the area, visual
compatibility results.
These basic design relationships are more fundamental than the details of
individual architectural styles and, therefore, it is possible to be compat-
ible with the historic context of the district while also producing a design
that is distinguishable as being newer than the historic buildings of the
area.
Page 121
Standards for New Construction
NEW CONSTRUCTION IN HISTORIC DISTRICTS, continued...
Some people may be confused about this concept; for many, the initial
assumption is that any new building in the historic district should appear
to be old. On the contrary, the design standards that follow encourage
new buildings that an be distinguished as being of their own time. At the
same time, they do promote new building designs that would relate to the
more fundamental similarities of the historic district.
Some of the more fundamental design features that would help a build-
ing relate to its context in any historic district in the city are described in
the section that follows. (More specific concerns about the unique charac-
ter of each of the local historic district follow in separate chapters.) These
are features that should be considered when one is planning new con-
struction in a historic district.
District Street Patterns
Historic settlement patterns seen in street and alley plans often contribute
to the distinct character of a historic district and therefore they should be
preserved. The details of street layouts may vary for each district and even
for sub -areas within an individual district but these are nonetheless very
important features that should be respected. These street plans influence
the manner in which primary structures are sited and they also shape the
manner in which secondary structures and landscape features may occur
on the site.
Building Orientation
Traditionally, a typical building had its primary entrances oriented to the
street. This helped establish a "pedestrian -friendly" quality, which encour-
aged walking. In most cases, similar entry ways were evenly spaced along
a block, creating a rhythm that also contributed to the sense of visual con-
tinuity for a neighborhood. This characteristic should be maintained where
it exists. Locating the entrance of a new building in a manner that is simi-
lar to those seen traditional is a means of doing so.
Mass and scale
The mass and scale of a building is also an important design issue in a
historic district. The traditional scale of single-family houses dominates
many of the neighborhoods, and this similarity of scale also enhances the
pedestrian -friendly character of many streets. In frequent cases, earlier
buildings were smaller than current tastes support; nonetheless, a new
building should, to the greatest extent possible, maintain this established
scale. While new buildings and additions are anticipated that may be larger
than many of the earlier structures, this new construction should not be
so dramatically greater in scale than the established context such that the
visual continuity of the historic district would be compromised.
Page 122
This Avenues house was constructed in
1993. The builders rotated the garage so
that the doors would not be a dominating
streetscape feature, thus maintaining the
traditional "pedestrian -friendly" quality
of the street.
Standards for New Construction
NEW CONSTRUCTION IN HISTORIC DISTRICTS, continued...
Building Height
A similarity in building heights is also an important factor that contrib-
utes to the visual continuity to an individual district. In this context a new
building should not overwhelm historic structures in terms of building
height, but rather should be within the range of heights found historically
in the vicinity. Similarities in heights among prominent building features,
such as porches and cornices, are equally important. These features often
appear to align along the block and contribute to the sense of visual con-
tinuity.
Building Width
In many of the districts, people constructed buildings that were similar in
width to nearby structures. This helped to establish a relatively uniform
scale for the neighborhood and, when these buildings were evenly spaced
along a block, a sense of rhythm resulted. In such a case, the perceived
width of a new building should appear similar in size to that of historic
buildings in the neighborhood in order to help maintain this sense of vi-
sual continuity. For example, if a new building would be wider than those
seen historically, should be divided it into modules that appear similar in
width to traditional buildings.
Building form
In most districts, a similarity of building forms also contributes to a sense
of visual continuity. In order to maintain this sense of visual continuity, a
new building should have basic roof and building forms that are similar
to those seen traditionally. Overall facade proportions also should be in
harmony with the context.
Solid to Void Ratio
In most historic residential districts, a typical building appeared to be a
rectangular solid, with small holes "punched" in the walls for windows
and doors. Most buildings had relatively similar amounts of glass, result-
ing in a relatively uniform solid to void ratio. This ratio on a new build-
ing, the amount of facade that is devoted to wall surface, as compared to
that developed as openings, should be similar to that of historic buildings
within the neighborhood.
Page 123
Standards for New Construction
NEW CONSTRUCTION IN HISTORIC DISTRICTS, continued
Rhythm and spacing of windows and doors
The manner in which openings are distributed across a facade also can be
an important feature in a district. When similar distribution patterns oc-
cur among buildings in a block, a sense of visual continuity also results.
When such characteristics occur, this sense of similarity should be pre-
served.
The following section presents specific design standards that relate to the
design features described above.
Page 124
Standards for New Construction
STANDARDS FOR NEW CONSTRUCTION IN HISTORIC DISTRICTS
SITE DESIGN STANDARDS
District Street Patterns
11.1 Respect historic settlement patterns.
Site new buildings such that they are arranged on their sites in ways simi-
lar to historic buildings in the area. This includes consideration of build-
ing setbacks, orientation and open space, all of which are addressed in
more detail in the individual district standards.
11.2 Preserve the historic district's street plan.
Most historic parts of the city developed in traditional grid patterns, with
the exception of Capitol Hill. In this neighborhood the street system ini-
tially followed the steep topography and later a grid system was overlaid
with little regard for the slope. Historic street patterns should be main-
tained. See specific district standards for more detail.
The overall shape of a building can influence one's ability to interpret the
town grid. Oddly shaped structures, as opposed to linear forms, would
diminish one's perception of the grid, for example. In a similar manner,
buildings that are sited at eccentric angles could also weaken the percep-
tion of the grid, even if the building itself is rectilinear in shape. Closing
streets or alleys and aggregating lots into larger properties would also
diminish the perception of the grid.
Building Orientation
11.3 Orient the front of a primary structure to the street.
The building should be oriented parallel to the lot lines, maintaining the
traditional grid pattern of the block. An exception is where early develop-
ments have introduced curvilinear streets, like Capitol Hill.
These standards apply to all new
construction in historic dis-
tricts. In addition, standards in
the General section may apply,
as well as relevant standards in
the specific historic district.
Page 125
Standards for New Construction
STANDARDS FOR NEW CONSTRUCTION IN HISTORIC DISTRICTS, continued...
BUILDING SCALE STANDARDS
Mass and Scale
11.4 Construct a new building to reinforce a sense of
human scale.
A new building may convey a sense of human scale by employing tech-
niques such as these:
Using building materials that are of traditional dimensions.
Providing a one-story porch that is similar to that seen tradi-
tionally.
Using a building mass that is similar in size to those seen tradi-
tionally.
Using a solid -to -void that is similar to that seen traditionally,
and using window openings that are similar in size to those
seen traditionally.
11.5 Construct a new building to appear similar in scale
to the scale that is established in the block.
Subdivide larger masses into smaller "modules" that are similar in size to
buildings seen traditionally.
11.6 Design a front elevation to be similar in scale to those
seen traditionally in the block.
The front shall include a one-story element, such as a porch. The primary
plane of the front should not appear taller than those of typical historic
structures in the block. A single wall plane should not exceed the typical
maximum facade width in the district.
Height
11.7 Build to heights that appear similar to those found
historically in the district.
This is an important standard which should be met in all projects.
11.8 The back side of a building may be taller than the
established norm if the change in scale will not be perceived
from public ways.
Width
11.9 Design a new building to appear similar in width to
that of nearby historic buildings.
If a building would be wider overall than structures seen historically, the
facade should be divided into subordinate planes that are similar in width
to those of the context.
Page 126
Appropriate: Design a front elevation to
be similar in scale to those seen
traditionally in the block.
Standards for New Construction
STANDARDS FOR NEW CONSTRUCTION IN HISTORIC DISTRICTS, continued...
Solid -to -void ratio
11.10 Use a ratio of wall -to -window (solid to void) that is
similar to that found on historic structures in the district.
Large surfaces of glass are inappropriate in residential structures. Divide
large glass surfaces into smaller windows.
BUILDING FORM STANDARDS
11.11 Use building forms that are similar to those seen
traditionally on the block.
Simple rectangular solids are typically appropriate.
11.12 Use roof forms that are simi-lar to those seen
traditionally in the block.
Visually, the roof is the single most important element in an overall build-
ing form. Gable and hip roofs are appropriate for primary roof forms in
most residential areas. Shed roofs are appropriate for some additions. Roof
pitches should be 6:12 or greater. Flat roofs should be used only in areas
where it is appropriate to the context. They are appropriate for multiple
apartment buildings, duplexes, and fourplexes. In commercial areas, a
wider variety of roof forms may occur.
Proportion of building facade elements
11.13 Design overall facade proportions to be similar to
those of historic buildings in the neighborhood.
The "overall proportion" is the ratio of the width to height of the build-
ing, especially the front facade. See the discussions of individual districts
and of typical historic building styles for more details about facade pro-
portions.
Rhythm and spacing
11.14 Keep the proportions of window and door openings
similar to those of historic buildings in the area.
This is an important design standard because these details strongly influ-
ence the compatibility of a building within its context. Large expanses of
glass, either vertical or horizontal, are generally inappropriate on new
buildings in the historic districts.
This building is an example of one
approach to new design in a historic
district —that of purely contemporary
design. This house is reminiscent of the
International Style, of which a few
examples can be found in the Avenues. It
reflects the eclectic architectural
development of this neighborhood.
This attached garage is minimized by
setting it back several feet from the wall
plane of the house.
The proportions of window and door
openings should be similar to those of
historic buildings in the area.
Page 127
Standards for New Construction
STANDARDS FOR NEW CONSTRUCTION IN HISTORIC DISTRICTS, continued...
BUILDING DETAILS
Materials
11.15 Use building materials that contribute to the
traditional sense of scale of the block.
This will reinforce the sense of visual continuity in the district.
11.16 New materials that are similar in character to
traditional materials may be acceptable with appropriate
detailing.
Alternative materials should appear similar in scale, proportion, texture
and finish to those used historically. They also must have a proven dura-
bility in similar locations in this climate. Metal products are allowed for
soffits and eaves only.
Architectural Character
11.17 Use building components that are similar in size and
shape to those found historically along the street.
These include windows, doors, and porches.
11.18 If they are to be used, design ornamental elements,
such as brackets and porches to be in scale with similar
historic features.
Thin, fake brackets and strap work applied to the surface of a building are
inappropriate uses of these traditional details.
11.19 Contemporary interpretations of traditional details
are encouraged.
New designs for window moldings and door surrounds, for example, can
provide visual interest while helping to convey the fact that the building
is new. Contemporary details for porch railings and columns are other
examples. New soffit details and dormer designs also could be used to
create interest while expressing a new, compatible style.
11.20 The imitation of older historic styles is discouraged.
One should not replicate historic styles, because this blurs the distinction
between old and new buildings, as well as making it more difficult to
visually interpret the architectural evolution of the district. Interpretations
of historic styles may be considered if they are subtly distinguishable as
new.
Page 128
In new construction, use building
components that are similar in size and
shape to those found historically along the
street.
Contemporary interpretations of
traditional details are encouraged in new
construction.
Standards for New Construction
STANDARDS FOR NEW CONSTRUCTION IN HISTORIC DISTRICTS, continued...
Windows
11.21 Windows with vertical emphasis are encouraged.
A general rule is that the height of the window should be twice the di-
mension of the width in most residential contexts. See also the discus-
sions of the character of the relevant historic district and architectural
styles.
11.22 Frame windows and doors in materials that appear
similar in scale, proportion and character to those used
traditionally in the neighborhood.
Double -hung windows with traditional depth and trim are preferred in
most districts. ( See also the rehabilitation section on windows as well as
the discussions of specific historic districts and relevant architectural
styles.)
11.23 Windows shall be simple in shape.
Odd window shapes such as octagons, circles, diamonds, etc. are dis-
couraged.
Windows and doors should be framed in
materials that appear similar in scale,
proportion and character to those used
traditionally in the neighborhood.
Page 129
Standards for New Construction
Page 130
General
Design Standards
General Design Standards
Page 132
General Design Standards
12.0 GENERAL DESIGN STANDARDS
This section discusses design topics that may be associated with all
types of projects, including those affecting historic properties as
well as other work in local historic districts.
Color
Color schemes vary throughout the historic districts in Salt Lake
City. Many are associated with individual building types and
styles, while others reflect the tastes of distinct historical periods.
While color in itself does not affect the actual form of a building,
it can dramatically affect the perceived scale of a structure and it
can help to blend a building with its context. Property owners
should refer to more detailed discussions of specific color schemes
associated with individual architectural styles.
With respect to colors on a historic building, a scheme that reflects
the historic style is preferred, although some new color selections
can be compatible. For a newer building in a historic district, a
color scheme that complements the historic character of the dis-
trict should be used. Property owners are particularly encouraged
to employ colors that will help establish a sense of visual continu-
ity for the block.
Mechanical Equipment
New technologies in heating, ventilating and telecommunications
have introduced mechanical equipment into historic areas where
they were not seen traditionally. Satellite dishes and rooftop
heating and ventilating equipment are among those that may now
intrude upon the visual appearance of historic districts. Wherever
feasible, the visual impacts of such systems should be minimized
such that one's ability to perceive the historic character of the
context is not negatively affected. Locating equipment such that it
is screened from public view is the best approach.
For additional information:
Moss, Roger W. and Gail Caskey Winkler. Victorian Exterior Decoration, How to Paint Your Nineteenth -
Century American House Historically. New York: Henry Holt and Co., 1987.
Schwin III, Lawrence. Old House Colors -An Expert's Guide to Painting Your Old (Or Not So Old) House.
New York: Sterling Publishing Co., Inc., 1990.
Alderson, Caroline. "Re-creating A 19th Century Paint Palette", APT Vol. XVI No. 1, pgs. 47-56. 1984.
Bock, Gordon. "Colorful Issues In Choosing Exterior Paint", Old -House Journal, pgs. 50-55. July/
August 1996.
Design Standards for Salt Lake City Page 133
General Design Standards
GENERAL DESIGN STANDARDS, continued
Landscaping
Native and acclimated plant materials significantly contribute to
the sense of a "natural setting" that is part of the heritage in many
of the historic districts. Where buildings are set back from the
sidewalk, they typically have yards, walks, fences and plant mate-
rials that all contribute to the sense of open space in the community.
This character should be maintained as it plays an important role in
establishing a context for the historic buildings. Preserving estab-
lished street trees and replacing them when necessary is an ex-
ample.
The following standards apply to all types of projects, including
those associated with a historic property as well as all work in local
historic districts.
Where buildings are set back from
the sidewalk, they typically have
yards, walks, fences and plant
materials that all contribute to the
sense of open space in the
community. This character should
be maintained as it plays an
important role in establishing a
context for the historic buildings.
Page 134
General Design Standards
GENERAL DESIGN STANDARDS, continued...
Color
12.1 Keep color schemes simple.
Using one base color for the building is preferred. Muted colors are
appropriate for the base color. Using only one or two accent colors
is also encouraged, except where precedent exists for using more
than two colors with some architectural styles. See also the
discussion of specific architectural styles.
12.2 Coordinating the entire building in one color
scheme is usually more successful than working with
a variety of palettes.
Using the color scheme to establish a sense of overall composition
for the building is strongly encouraged.
Accessibility
In 1990 the passage of the Americans with Disabilities Act mandated
that all places of public accommodation are to be accessible to
everyone. This includes historic structures that are used for
commercial and multi -family uses. While all buildings must
comply, alternative measures may be considered when the integrity
of a historic resource may be threatened. In most cases, property
owners can comply without compromising the historic resource.
12.3 These standards should not prevent or inhibit
compliance with accessibility laws.
All new construction should comply completely with the ADA.
Owners of historic properties should comply to the fullest extent
possible, while also preserving the integrity of the character -
defining features of their buildings. Special provisions for historic
buildings exist in the law that allow some alternatives in meeting
the ADA standards.
Mechanical Equipment
12.4 Minimize the visual impacts of mechanical
equipment as seen from the public way.
Screen mechanical equipment from view. Screen ground mounted
units with fences, stone walls, or hedges. Where roof top units are
visible, provide screening with materials that are compatible with
those of the building itself. Do not locate window air conditioning
units in the primary facade.
Design Standards for Salt Lake City Page 135
General Design Standards
GENERAL DESIGN STANDARDS, continued...
Use low -profile mechanical units on rooftops so they will not be
visible from the street or alley. Also minimize the visual impacts of
utility connections and service boxes. Use smaller satellite dishes
and mount them low to the ground away from front yards, significant
building facades or highly visible roof planes when feasible. Use
muted colors on telecommunications and mechanical equipment
that will minimize their appearance by blending with their
background.
12.5 Locate standpipes and other service equipment
such that they will not damage historic facade materials.
Cutting channels into historic facade materials damages the historic
building fabric and is inappropriate. Avoid locating equipment on
the front facade.
Service Areas
12.6 Minimize the visual impacts of service areas as
seen from the street.
When it is feasible, screen service areas, especially those associated
with commercial and multifamily developments, from view. This
includes locations for trash containers and loading docks. Also
locate service areas from view, when feasible.
Landscaping
12.7 Maintain established native or acclimated
plantings on site.
Established trees should be preserved on site when feasible. Protect
established vegetation during construction to avoid damage.
Replace damaged, aged or diseased trees. If street trees must be
removed as part of a development, replace them with species of a
large enough scale to have a visual impact in the early years of the
project.
12.8 Incorporate indigenous plant materials in new
landscape designs.
Drought -tolerant varieties that are in character with plantings used
historically are preferred. The use of gravel and other inorganic
surface materials in front yards is prohibited in the Salt Lake City
zoning ordinance. A list of drought -tolerant plants is available
from the Salt Lake City Planning Division.
12.9 The use of traditional site structures is encouraged.
Constructing retaining walls and fences that are similar in scale,
texture and finish to those used historically is appropriate. See also
Section 1.0.
Page 136
Screen service areas, especially
those associated with commercial
and multifamily developments, from
public view.
General Design Standards
GENERAL DESIGN STANDARDS, continued...
Parking
12.10 Large parking areas, especially those for
commercial and multifamily uses, shall not be visually
obtrusive.
Locate parking areas to the rear of the property, when physical
conditions permit. An alley should serve as the primary access to
parking, when physical conditions permit. Parking should not be
located in the front yard, except in the driveway, if it exists.
12.11 Avoid large expanses of parking.
Divide large parking lots with planting areas. Large parking areas
are those with more than five cars.
12.12 Screen parking areas from view of the street.
Automobile headlight illumination from parking areas shall be
screened from adjacent lots and the street. Fences, walls, and
plantings, or a combination of these, should be used to screen
parking.
Locate parking areas to the rear of
the property, when physical
conditions permit.
Design Standards for Salt Lake City Page 137
General Design Standards
Page 138
Historic Districts
HISTORIC DISTRICTS
Introduction
The standards that follow apply to five locally -designated historic dis-
tricts in Salt Lake City: the Avenues, Capitol Hill, Central City, South
Temple and University. The purpose of this section is to highlight the char-
acter of each district, as well as to offer guidelines that address issues and
trends unique to each historic district. These standards are meant to pre-
serve the historic character of each district, without "freezing" it in time.
Some of the standards presented may repeat topics covered in other sec-
tions of the document, but have been reiterated here in order to reinforce
their applicability and appropriateness to the relevant district. Each his-
toric district section has five components: a developmental history, a de-
scription of development trends, a statement of goals for the district, a
description of design character and the design standards.
Each district has its own distinct character, which is due in part to factors
such a topography and pattern of development. The developmental his-
tory for each district explains its evolution. This information, along with
the summary of development trends, statement of goals and description
of design character, provides an orientation to the context for property
owners. The design standards that then follow provide special design prin-
ciples that apply to the specific context.
Design Standards for Historic Districts in Salt Lake City Page 141
Design Standards for the Avenues Historic District
The Avenues
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Previous page: The photo on the preceding page is noted as being Elmer Romney's birthday party. In the background, Queen Anne
details add interest to a cottage typical of the Avenues.
Page 144
The Avenues
THE AVENUES
The Avenues is Salt Lake City's largest locally -designated historic district,
and the one best-known for the preservation efforts undertaken by its
property owners. The fine views of the valley, the proximity to downtown
and the long-standing diversity of both its architecture and population
make the Avenues a desirable place to live. The appearance of this district
is characterized by the predominantly residential use of the buildings, by
the variety of styles exhibited, and by the unity of the streetscape. Al-
though platted in the 1850s with development occurring in the 1870s, the
neighborhood did not begin to grow until about 1880, when the difficulty
of bringing water up the steep topography was alleviated by diverting
water from City Creek Canyon along Sixth Avenue. The subsequent
growth of the Avenues corresponded both with the emergence of Salt Lake
City as a regional center, and the variety of architectural styles popular in
the United States during the last half of the nineteenth century. By 1889
most of the residents were middle- or upper -middle class professionals
and tradespeople. Some hired architects to design their homes, but the
majority relied on building firms who used pattern books and constructed
small scale developments of three or four houses using repetitious designs.
Although several pre-1880 homes exist, most of the buildings in the district
date from the fifty year period of 1880 to 1930 and include many variants
of the Victorian style as well as bungalows.
From its inception the Avenues differed from the rest of the city. First
surveyed in the 1850s as Plat D, the Avenues was platted in 56 blocks of 2.5
acres, each with a block subdivided into four lots. This deviated from the
rest of Salt Lake, which was laid out in ten- acre blocks with eight lots per
block. The smaller lots and narrower streets and sidewalks, coupled with
the large scale of many of the houses, made the Avenues appear much
denser than other neighborhoods that developed during the same period.
Originally the east -west streets were known as Fruit, Garden, Bluff and
Wall (First through Fourth avenues, respectively) , and north -south streets
were named after various species of trees. By 1885 the east -west streets had
become First through Fourth and the north -south streets had been given
the alphabetical titles of A through V (V later became Virginia). When the
word "street" was changed to "avenue" the area became known as the
Avenues.
Prior to 1880, development in the Avenues was confined to two areas. The
earliest Avenues residents constructed homes in the 1850s in the portion
encompassed by A and N streets and First and Fourth avenues ( Fourth
Avenue following the wall of the city) . In 1860 slaughter yards were moved
to the mouth of Dry Canyon in order to take advantage of the water sources
of Dry and Red Butte canyons. Men who wanted to live close to work built
houses for their families in the eastern portion of the Avenues and present-
day Federal Heights — a neighborhood known as "Butcherville."
Historic residences, such as the one above,
indicate the strong Victorian era influence
in the Avenues historic district.
Design Standards for Historic Districts in Salt Lake City Page 145
The Avenues
The availability of water paralleled other civic improvements, most nota-
bly the municipal rail transportation. One of the earliest routes in the
Avenues was in place by 1875 with mules providing the power. In 1889 an
electric rail system was available and within several years trolley lines ran
along Third, Sixth and Ninth avenues, which explains why these streets
are wider and flatter than others in the neighborhood. Once the necessary
infrastructure was constructed, Salt Lake's expanding economy and grow-
ing population assured the development of the Avenues.
"Victorian Eclectic, " a loose but apt description, was the most popular style
used in the first wave of building after about 1885. In the context of the
Avenues, as in other neighborhoods throughout the city, the term indi-
cates the "casual and general approach to house design" and not a slavish
adherence to a particular style. It also indicates the flexibility this term
provides.
While not as numerous, examples of more high -style architecture also can
be seen throughout the district, and include such styles as Queen Anne;
Shingle; Dutch, Colonial and Classical revival and Italianate. Residential
design immediately after the turn of the century consisted primarily of two
types, rather than styles, of structures: the bungalow and the box.
Toward the end of the nineteenth century the numbers of renters in the
Avenues increased. Rental properties were typically managed by widows
who needed the income after their husbands died, and by builders and
development companies, who constructed both apartment buildings and
subdivision homes. Often individuals would acquire two or three lots and
build houses, then sell them to large real estate corporations. While small-
scale rental properties were constructed throughout the entire district,
large apartment complexes exist primarily in the southwest quadrant of
the Avenues, closest to Temple Square and downtown. Apartment build-
ings of the historic period were built in a number of styles, such as Classical
Revival, Prairie (Caithness), Tudor Revival and Art Moderne.
Churches, schools and small businesses were also located in the Avenues.
Few non -Mormon denominations built churches in the Avenues. Mem-
bers of the Catholic and Presbyterian religions could worship at the
Cathedral of the Madeleine or First Presbyterian Church, respectively, on
South Temple, and Episcopalians had the option of St. Mark's Cathedral
or, after 1928, St. Paul's. The Danish Evangelical Lutheran Church was one
of the few non -Mormon churches built on the Avenues. This structure was
finished in 1911 but was converted into offices in the 1970s. No historic
public schools are extant. Rowland Hall -St. Marks is a private school
located in the block between First and Second avenues and A and B streets.
Historic buildings on this campus include four homes, a chapel and a
classroom wing. Neighborhood stores also sprang up throughout the
Avenues. In general these were one or two story structures with flat roofs
and parapet walls.
Page 146
A two story frame structure of the
Victorian era. The porch has been
altered.
The porch of this Victorian era house
exhibits turned wood details of the Queen
Anne style.
The Avenues
In the mid -twentieth century, the popularity of the Avenues declined as
other subdivisions were constructed. Federal Heights also offered prox-
imity to downtown and the University of Utah but offered more consis-
tently high -end housing. Subdivisions were developed throughout the
city; mass -transit and the automobile made living close to the workplace
less of a consideration. By the 1960s absentee landowners owned much of
the property and the resulting deterioration was obvious. High -density
residential zoning resulted in the demolition of many historic properties
and the construction of apartment buildings that were inconsistent with
the character of the surrounding buildings. Gradually the Avenues were
rediscovered, however, by those interested in historic homes and by those
tired of long commuting distances. Low -interest loans provided by the
City assisted renovation activity, and the neighborhood was declared a
local historic district in 1978. The next year residents successfully peti-
tioned the city to downzone most of the Avenues to a land use designation
that is more compatible with its historic character.
Design Standards for Historic Districts in Salt Lake City Page 147
The Avenues
CANYON ROAD AND MEMORY GROVE
The environs of Canyon Road and Memory Grove are divided between the
Avenues and the Capitol Hill historic districts. Their dramatic siting at the
mouth of City Creek Canyon makes this area unique and geographically
isolated. City Creek, the stream that originally ran down the center of the
canyon was one of the determining factors in the Mormons' decision to
settle in the Great Salt Lake Valley. William Clayton, one of the first
pioneers to arrive in the valley, described the mouth of the City Creek in his
journal:
"At the east part [of their camp] there is a considerable
creek of clean, cold water descending from the mountains,
and just above this place it branches into two forks, one
running northwest, the other southwest, and the two
nicely surround this place and so well arranged that
should a city be built here the water can be turned into
every street at pleasure."
The source of water led to the construction of several mills along the
canyon — the first as early as 1847 or 1848. The earliest homes were built
in the area in the 1880s, many by prominent L.D.S. leaders. Architecturally
the homes are no different than those seen in the Avenues or Capitol Hill,
and vernacular, Eastlake, Italianate and other late Victorian styles, Dutch
Colonial Revival and bungalows are among the styles represented. The
Veteran Volunteer Firemen's Association building, also known as Ottinger
Hall, is an unusual institutional use in the city but is visually compatible
with the density of the buildings along Canyon Road.
This part of the district consists of about eighty acres and approximately 52
buildings. Two-thirds of the area consists of a park, Memory Grove, that
is north of Canyon Road. It was used by the P.J. Moran Asphalt Company
as a source of sand and gravel. Moran sold the land in 1904 to Salt Lake City
for the use of a park. The park was not substantially developed until the
Service Star Legion, a group women whose sons had served during World
War I, asked the city if the area could be set aside as a memorial to those
who died during the war. The area was dedicated as a memorial park in
1924 and since that time monuments have been erected to citizens who
have served in subsequent wars.
Page 148
Ottinger Hall was constructed in 1900 for
the Volunteer Firemen's Association.
Memory Grove's contemplative ambience
is a significant feature of this park.
The Avenues
THE AVENUES HISTORIC DISTRICT
Development trends:
Known for its ongoing preservation efforts, the Avenues District is expe-
riencing continued investment in the area, including renovation, addi-
tions to existing structures and infill construction.
Goals for the district:
The design goal for the Avenues District is to preserve its historic scale and
unique character, while accommodating compatible new construction.
The distinctive design characteristics of individual building types and
styles should be preserved here. New construction should be compatible
with its historic context while also reflecting current design.
DESIGN CHARACTER
The following is a brief discussion of features that contribute to the design
character of the district.
Streetscape features
Park strips /street trees
Park strips, the bands of grass that lie between the curb and the sidewalk,
are found throughout the Avenues District. Often mature trees grow in the
tree lawn. This coupling of planting strips and mature trees lining the
streets provides a shaded environment for pedestrian activity. These
elements also establish a rhythm along each block and contribute to a sense
of its visual continuity. The Avenues District is especially characterized by
its mature vegetation, which adds a sense of visual richness to the area.
This should be preserved.
The Avenues District is especially
characterized by its mature vegetation,
which adds a sense of visual richness to
the area.
Design Standards for Historic Districts in Salt Lake City Page 149
The Avenues
DESIGN CHARACTER, continued...
Walkways
Typically, a "progression" of walking experiences is encountered along
the street. This begins with a walkway that leads from the sidewalk to each
building entry; this in turn is occasionally punctuated by a series of steps.
Dictated by the topography, the walk often slopes, sometimes quite
steeply. Because the Avenues was plotted on a grid, and many architec-
tural and landscape features appear consistent, this system of walks
contributes strongly to the character of the district. This progression of
entry elements is important, and of these, the walkway itself is an ex-
tremely significant element. This progression should be preserved.
Site design features
Due to its small, gridiron plan platted on steep slopes, the development
patterns of the neighborhood have distinguished the Avenues as an area
with smaller blocks and concentrated residential growth.
Front setback of primary structures
Historically, uniform setbacks in the Avenues established a sense of visual
continuity, sometimes expressed as an "architectural wall." Although a
variety in setbacks is seen throughout the district, in fact the setback
depths lie within a narrow range, and within an individual block, most
buildings appear to align. This generally uniform setback alignment
should be maintained.
Side yard setback of primary structure
In the Avenues, side yards are generally very narrow and in some cases
almost nonexistent. This pattern of moderate density was first established
during the early development of the neighborhood, when the blocks were
subdivided into long, narrow lots. This pattern creates an urban feel. As a
result, the narrow end of the house often faced the street, and the side yards
were tight.
Accessory Structures
Garages in the Avenues District are simple wood or iron structures
generally detached and located behind the house. Most are accessed from
single -car width driveways from the street, while a few are accessed
through a rear alley. New garages in the district should follow these
development patterns in terms of location, size, and character.
Page 150
The Avenues
DESIGN CHARACTER, continued...
Landscape design features
Fences and Retaining Walls
In many sections of the Avenues, yards are bounded by retaining walls.
Because many yards have natural slopes, retaining walls have always been
features of the district. Walls or terraced yards are often used to create level
building sites. Historically, these walls were often topped with cast iron
fences. The repetition of masonry retaining walls and fences throughout
the district lends a sense of continuity and character to the streetscape that
should be continued.
Architectural features
Building form
Within the Avenues District a range of architectural styles exists, which
results in a variety of building forms. The large number of Victorian -era
structures in the area has established a precedence for construction of
buildings with irregular forms and a profusion of wall planes and details.
Depending on the style, some are simple rectangles, with details applied;
others are more complex, asymmetrical forms composed of several subor-
dinate masses. Other structures, such as the bungalow and box types,
consist of simpler shapes. Free -form, domed or angular forms are not part
of the building tradition in the district.
Building materials
Historically, masonry and wood building materials characterized the
district. Painted clapboard is typical of frame buildings, although stained
shingles appear in wall planes of gables and dormers. Brick is most
frequently unpainted.
Appropriateness of Use
In some cases, a residential structure in the Avenues may be converted to
commercial use. When this occurs, the residential character should be
retained, such that the traditional character of the neighborhood is main-
tained. Site planning and landscaping should also be designed to respect
the residential character of the neighborhood.
A modest yet handsome vernacular
building in the Avenues. Classical
detailing frames the door.
Design Standards for Historic Districts in Salt Lake City Page 151
The Avenues
DESIGN CHARACTER, continued...
The following is a summary of key features of the district.
Characteristics of the Avenues Historic District
Concrete is the common paving material for sidewalks in the
Avenues. A few remnants of sandstone sidewalks remain; these
should be retained.
• Streets are in a regular grid pattern; blocks are 2.5 acres each.
• Lots and setbacks are uniform.
• Overall development is dense.
• Current commercial uses are few, generally consisting of small
grocery stores and laundromats.
• Garages are located behind houses; if they exist they are detached.
Most are accessed from single -car wide driveways from the street,
although a few blocks have alleys with access to rear -yard parking.
• Architectural styles are varied; landscaping is mature.
Complex, asymmetrical forms compose many of the Victorian -era structures in the
Avenues.
Page 152
The Avenues
DESIGN CHARACTER, continued...
Characteristics of Canyon Road and Memory Grove
• The siting of the homes in Canyon Road makes the neighborhood
unique. On the east side of the canyon they follow the slope and a
dense pattern is created. Also, Canyon Road splits into two streets,
forming a promontory.
• The neighborhood has narrow streets; Spencer Court is particularly
narrow.
• Many homes do not have garages. Except on Spencer Court garages
are not a part of the streetscape.
• Memorials of several varieties — buildings, a chapel, tanks, flagpoles
— are placed against the east side of the park. This forms a "presen-
tation" that can be viewed from the road on the west side.
• Memory Grove has a formal landscape pattern; the hillsides do not.
World War 1 monument in Memory Grove
Specific design standards that
respond to the design character
of the neighborhood follow on
the next page.
Design Standards for Historic Districts in Salt Lake City Page 153
The Avenues
DESIGN STANDARDS FOR THE AVENUES
Streetscape Standards
13.1 Where a sidewalk exists, maintain its historic materials
and position, usually detached from the curb, and separated
by a planting buffer.
Keep planting materials in the buffer as low as possible to maintain
visibility. Also, preserve historic paving material, such as sandstone
sidewalks, where it exists.
13.2 Provide a walk to the primary building entry from the
public sidewalk.
The walkway should be distinct from any driveway. Concrete is the
dominant material; however, other materials, including modular pavers,
also are appropriate.
13.3 Minimize the use of curb cuts in the Avenues District.
In an effort to preserve the character of the sidewalk and the adjoining
streetscape, avoid installing new curb cuts, whenever feasible. Historically,
the use of curb cuts was quite limited. New curb cuts will interrupt the
continuity of the sidewalks, and will potentially destroy historic paving
material where it exists.
Setback
13.4 Keep the front setback of a new structure in line with
the range of setbacks seen historically on the block.
In general, larger, taller masses should be set back farther from the front
than smaller structures.
13.5 Maintain similar side yard setbacks of a new structure
or an addition to those seen traditionally in the block.
Follow the traditional building pattern in order to continue the historic
character of the street. Consider the visual impact that new construction
and additions will have on neighbors along side yards. Consider varying
the setback and height of the structure along the side yard to minimize
impacts of abrupt changes in scale in these areas.
13.6 Because side yard spaces are relatively small between
residences in this area, plan additions and alterations so that
they have minimal visual impacts on adjacent properties.
Avoid locating a massive addition where it may directly overlook inhabited
rooms on adjacent properties or obstruct views from them.
Page 154
These design standards apply
in addition to those in relevant
preceding chapters, which may
include Rehabilitation
Standards, Standards for New
Construction and General
Design Standards. See the
matrix on page 4 to determine
which chapters apply.
The Avenues
DESIGN STANDARDS FOR THE AVENUES, continued...
Secondary Structures
13.7 Construct and locate secondary structures in a manner
similar to those seen historically in the district.
Most secondary structures were built along the rear of the lot, accessed by
the alley, if one existed. This should be continued. Garages, as well as
driveways, should not dominate the streetscape; therefore, they should be
detached from the main house and located to the rear of the house, if
possible. Historically, garages and carriage houses in the Avenues were
simple wood structures covered with a gabled or hipped roof. A new
secondary structure should follow historic precedent, in terms of materials
and form.
Architectural Standards
Scale
13.8 Design new buildings to be similar in scale to the
scale that was seen traditionally on the block.
Historically, most houses in the Avenues appeared to have a height of one,
one -and -one-half or two stories. Front facades should appear similar in
height to those seen historically in the block. Taller portions should be set
back farther on the lot. Story heights should appear similar to those seen
historically. Use architectural details to convey a sense of the traditional
scale of the block.
Front facades should appear similar in height to those seen historically in the block.
Design Standards for Historic Districts in Salt Lake City
Page 155
The Avenues
DESIGN STANDARDS FOR THE AVENUES, continued...
Materials
13.9 Use primary materials on a building that are similar
to those used historically.
Appropriate building materials include: brick, stucco, and wood. Building
in brick, in sizes and colors similar to those used historically, is preferred.
Jumbo, or oversized brick is inappropriate. Using stone, similar to that
used historically, also is preferred. Using field stone, or veneers applied
with the bedding plane in a vertical position, is inappropriate. Stucco
should appear similar to that used historically. Using panelized products
in a manner that reveals large panel modules is inappropriate. In general,
panelized and synthetic materials are inappropriate for primary structures.
They may be considered on secondary buildings.
Appropriateness of Use
13.10 When adapting a residence to a new use, preserve the
original design character of the building.
When converted to a new use, a house should retain its residential image.
13.11 If the change from residential to another use requires
more parking, locate spaces to the rear of the property and
provide landscaping as a buffer.
Page 156
Design Standards for the Capitol Hill Historic District
Capitol Hill
600 NORTH
West
High
School
c
Warm
Springs
Park
C
200 NORTH
\v/
Temple
Square
State Capitol
Building
emo
ove
1[
THE CAPITOL HILL
Historic District
Scale: 1" = 1000'
Previous page: Sarah Hancock Beesley in front of the home of Ebenezer Beesley on Second Street North. Italianate posts support a
railing with turned balusters for a second floor porch in the background. Also note the wooden picket fence.
Page 158
Capitol Hill
CAPITOL HILL
The area encompassed by the Capitol Hill Historic District has always been
predominantly residential, but while the land use pattern historically has
been consistent, it is the high degree of physical diversity that makes the
neighborhood distinct. This is the result of a varying topography, which
resulted in construction features such as high foundations and retaining
walls, in oddly -shaped blocks, a chaotic street pattern and a haphazard
orientation of dwellings to the street; and to the architecture itself, which
represents a continuum of styles and building types that span early
settlement to the present. Like the Avenues, over the last twenty years
Capitol Hill residents have saved their neighborhood from derelict hous-
ing, neighborhood apathy and the perception that the area was an undesir-
able place to live. Both areas have benefited from widespread downzoning
that occurred during the 1980s and from the commitment of residents to
undertake the expense and effort of appropriate renovation.
Despite the poor quality of the soil and the difficulty of obtaining water,
Capitol Hill has always been a popular place to live. It was close to Main
Street businesses and nearby manufacturing establishments, and yet was
This Victorian Eclectic structure
exemplifies the visual and
architectural richness of buildings in
the Capitol Hill district.
removed from the noise and commotion of downtown. The earliest resi-
dents were Mormon immigrants of limited means, from Great Britain and
Scandinavia, and even after 1900 the neighborhood continued to attract
recent arrivals in similar social and economic circumstances. Because the
water supply was erratic and sparse until the 1900s, early settlement
occurred only on the lower western and southern reaches of the slope.
Prior to about 1890, therefore, the neighborhood had a rural appearance. In
fact, one of its most notable characteristics was the proliferation of or-
chards.
Design Standards for Historic Districts in Salt Lake City Page 159
Capitol Hill
Most Capitol Hill residents during this time were craftsmen, and their
homes reflected their trade. John Platts, for example, was a stonemason
who arrived in the valley from England in 1854. The original block of his
home at 364 Quince Street is a one-story fieldstone structure with a hall -
parlor plan. Although simple in massing and materials, Platts' use of
sandstone quoins, red rock sills and lintels indicates his pride in his home
and that he viewed it as permanent shelter. Similarly, another L.D.S.
immigrant, William Asper, arrived in Salt Lake in 1861 and built a house
down the street from Platts at 325 Quince Street. Asper was a carpenter
who eventually founded a lumber and planing mill. His house, con-
structed of brick in 1870, has a profusion of wooden moldings and trim.
Decorative shingles in the gable, turned
posts on the porch and the interlocking
brick bay of this house exhibit the high
degree of craftsmanship and attention to
detail that mark many houses in the
neighborhood.
By the 1880s water had become available through a series of cast iron mains
that extended from City Creek to distributing reservoirs at high points
along the foothills. The reservoir that serviced most of Capitol Hill was
situated northeast of where the Capitol is now. The accessibility of water
made more intense development possible and this, combined with chang-
ing architectural styles, altered the appearance of Capitol Hill. The
subdivision of lots shifted from the earlier haphazard arrangement to that
of a standard rectangular lot, so that the orientation of the houses changed
from one of facing the hillside, regardless of the relationship to the streets,
to that of being parallel to the street and later, of being oriented to the points
of the compass even if the street ran at a diagonal.
Page 160
Capitol Hill
Capitol Hill was becoming an increasingly fashionable place to live.
Although it remained a predominantly Mormon enclave longer than other
Salt Lake neighborhoods, it began to change as the city's population
accommodated the influx of non -Mormons during the last two decades of
the nineteenth century. The families of men in mining, Denver and Rio
Grande Western Railroad workers, and the trades associated with the new
industries of the telegraph and the telephone found Capitol Hill as appeal-
ing as their Mormon neighbors. In an effort to create a stylish image, street
names on the west slope were changed from "Bird", "Cross" and "Locust"
to those of names of fruits, and this "sub -neighborhood" became known as
"the Marmalade District."
The designs of residential architecture shifted from the simplicity and
balance of classical styles, exhibited on many of the most modest pioneer
dwellings in the district, to the exuberance of the late Victorian era. These
newer residents used many Victorian styles, but Queen Anne variants and
the ubiquitous Victorian Eclectic prevail in the older sections of Capitol
Hill. Some owners remodeled homes that were built during the earlier
years of settlement, updating them with elaborate porches or bay win-
dows.
Another neighborhood within the district, known as "Arsenal Hill,"
developed later than the Marmalade district and the lower slopes. It
consists of the upper portion of the south slope, and it did not take on its
current layout and appearance until the 1890s. This area takes its name
from the fact that the city arsenal was located here; when forty tons of
blasting powder accidentally exploded there in 1876 the city ceased to
operate the facility and eventually the large amount of land formerly used
for the arsenal became available for building. By this time Salt Lake was
undergoing a period of rapid urbanization and prosperity; this, combined
with the fine views and close location of downtown made Arsenal Hill
appealing to residents who could afford high style, architect -designed
houses.
The completion of the State Capitol building added to the neighborhood's
desirability. Its extensive grounds and the imposing structure at the top
of the hill spurred new residential construction to the south and the west.
Today, Arsenal Hill contains the only large historic apartment buildings in
the district. Apartments such as the Kensington at 180 N. Main (1906) and
the Kestler at 264 and 268 N. State (1913 - 1915) are similar to others built
during the "apartment boom" that occurred between 1900 and 1930.
After World War II and the ensuing exodus to the suburbs, the housing
stock and overall atmosphere of Capitol Hill began to decline, The neigh-
borhood was too eclectic and too old to compete with the postwar attitude
that valued new goods and conformity. By the 1960s the area had a
reputation of housing unstable residents with questionable backgrounds.
Architecturally, Capitol Hill fell to its nadir with the construction of Zion's
Summit, which was built in the early 1970s. These high-rise condomini-
ums dwarfed the surrounding structures and have marred the historic
Design Standards for Historic Districts in Salt Lake City Page 161
Capitol Hill
ambiance of the Marmalade district. Other modern buildings, particu-
larly apartments, have detracted from the architectural integrity of the
area, but not to the extent of the "twin towers." Happily, about this time
preservationists and "urban pioneers" began to invest in Capitol Hill by
renovating historic homes. The small scale of the neighborhood, its close
location to downtown, and its unique architectural resources — the very
qualities that drove residents away earlier — now proved to be its biggest
appeal. Today it is a vibrant neighborhood with many examples of
successful renovation projects that have been sensitively restored.
A row of Dutch Colonial structures
angled with the street provides a distinct
character to the streetscape of this block
in the Capitol Hill district,
Page 162
Capitol Hill
CAPITOL HILL HISTORIC DISTRICT
Development trends:
Known for its ongoing preservation efforts, the Capitol Hill District is
experiencing continued investment in the area, including renovation,
additions to existing structures and infill construction. A wide range of
renovation and new construction projects is therefore anticipated.
Goals for the district:
The design goals for Capitol Hill are to preserve the unique historic
character of the district and ensure that improvements respect the contrast-
ing character of the two subdistricts, which differ in several aspects:
topography, street pattern, orientation of houses to the street and size/
ornamentation of housing stock. Preservation of the key details of high
style buildings should be a priority as well. New building should respect
the historic scale of construction which consists of structures no higher
than four or five stories.
DESIGN CHARACTER
The following is a brief discussion of features that contribute to design
character of the district.
Streetscape features
Walkways
Typically, a "progression" of walking experiences is encountered along
the streets of Capitol Hill. This begins with a walkway that leads from the
sidewalk and is occasionally punctuated by a series of steps. Dictated by
the topography, the walkway is often sloping, sometimes quite steeply. In
most cases, this walk leads to a front entry, which is clearly defined. In
sections of the district without a gridded street pattern, no system of walks
is prevalent. However, this system is found in other parts of Capitol Hill,
especially in the Arsenal Hill subdistrict. Where these walks were seen
historically, they should be maintained.
Street Pattern
The two subdistricts developed distinctly different street patterns, which
provide the district with a high degree of visual diversity. This diversity
characterizes the neighborhood, provides clues about the developmental
history of the district, and therefore, should be preserved
Design Standards for Historic Districts in Salt Lake City Page 163
Capitol Hill
DESIGN CHARACTER, continued...
Site design features
Front setback of primary structure
The southern edge of the district (Arsenal Hill) —This area of the Capitol
Hill district was settled on a gridded pattern similar to that of the Avenues
district, with more uniform setbacks and lot patterns.
Marmalade District —In this area of the district, the orientation of a
building to the street varies, depending on the angle of the street itself. This
irregular organization developed because many buildings were constructed
to the points of the compass rather than at right angles to the street. The
result is a wider variety in setback and orientation of buildings to the street.
Because distinct differences in street pattern exist, the setback and orientation
of the primary structure to the street should continue to be based on the
established character of the subdistrict.
Orientation
Despite the variety of setbacks and the mixture of lot shapes in the district,
buildings in Capitol Hill traditionally had their primary entrance oriented
to the street. This relationship should be continued.
Landscape design features
Fences and Retaining Walls
The steep topography of the entire Capitol Hill district dictates the need for
an extensive system of large retaining walls. These retaining walls, which
have been used frequently to adjust for changes in slope, vary in texture,
length and layout and are often paired with fences and plant materials. As
a result, they provide visual interest to the street, and serve as distinct
character -defining features. This characteristic should be preserved.
Architectural features
Building form
Within the Capitol Hill district a wide range of architectural styles exists,
which yields a variety of building forms. Perhaps what is the most
distinctive feature of the Marmalade subdistrict is the profusion of dwell-
ings of simple design and detailing and of modest scale. Although Arsenal
Hill has examples of vernacular designs, it also has numerous Queen Anne
and two-story box -style buildings.
Page 164
Retaining walls provide visual interest to
the street, and serve as distinct character -
defining features. This characteristic
should be preserved.
Capitol Hill
DESIGN CHARACTER, continued...
Building materials
Historically, masonry and wood building materials characterized the
district. Brick and rusticated stone were seen, as was painted clapboard.
Characteristics of the Capitol Hill Historic District
The following is a summary of key features of the district.
• Capitol Hill has the most uneven street pattern in the city. The streets
are narrow and steep. Lot sizes are odd shapes.
• The orientation of the buildings to the streets is somewhat varied, as
some structures face directly and other diagonally.
• Some smaller streets have been closed by the city; as a result there are
homes in the middle of a block.
• Builders compensated for the steep topography by constructing re-
taining walls and high foundations, rather than having the architec-
ture of a structure itself address the lot.
• Most of the buildings are residential; 300 West contains most of the
commercial structures in the district.
• Capitol Hill contains some of the oldest extant homes in the state.
These can be found on the lower slopes (below Wall Street) and in the
Marmalade neighborhood (in the south part of the district).
• Street landscaping consists of informal plantings; the district's irregu-
lar street pattern and demographics has never lent itself to a formal
layout, such as the trees along South Temple. Early on, fruit trees
predominated; today "volunteer trees" make up the bulk of the trees.
Specific design standards that
respond to the design character
of the neighborhood follow on
the next page.
The "Woodruff-Riter-Stewart Home" at
93 East Second North Street is an
example of the variety of architectural
styles that can be found in the Capitol Hill
Historic District.
Design Standards for Historic Districts in Salt Lake City Page 165
Capitol Hill
DESIGN STANDARDS FOR CAPITOL HILL
Streetscape Standards
Street patterns
13.12 Maintain the traditional rectilinear grid pattern of
streets found on the western edge of the district.
13.13 Maintain the angular, irregular street pattern found
in the Marmalade portion of the district.
13.14 Arrange a new driveway, as well as any street
improvements, so that they continue the respective street
pattern.
Site design Standards
Setback
13.15 Maintain the traditional setback and alignment of
buildings to the street, as established by traditional street
patterns.
In Arsenal Hill, street patterns and lot lines call for more uniform setback
and siting of primary structures. Historically, the Marmalade district
developed irregular setbacks and lot shapes. Many homes were built
toward compass points, with the street running at diagonals. This
positioning, mixed with variations in slope, caused rows of staggered
houses, each with limited views of the streetscape. Staggered setbacks are
appropriate in this part of the district because of the historical development.
Traditionally, smaller structures were located closer to the street, while
larger ones tended to be set back further.
13.16 Keep the side yard setbacks of a new structure or an
addition similar to those seen traditionally in the subdistrict
or block.
Follow the traditional building pattern in order to continue the historic
character of the street. Consider the visual impact of new construction and
additions on neighbors along side yards. In response, consider varying the
setback and height of the structure along the side yard.
Page 166
These design standards apply
in addition to those in relevant
preceding chapters, which may
include Rehabilitation
Standards, Standards for New
Construction and General
Design Standards. See the
matrix on page 4 to determine
which chapters apply.
Staggered setbacks in the Marmalade
district are due to its diagonal street
pattern.
Capitol Hill
DESIGN STANDARDS FOR CAPITOL HILL, continued...
13.17 Orient the front of a primary structure to the street.
Define the entry with a porch or portico.
Architectural Standards
Building form
13.18 Design a new building to be similar in scale to those
seen historically in the neighborhood.
In the Marmalade subdistrict, homes tended to be more modest, with
heights ranging from one to two stories, while throughout Arsenal Hill
larger, grander homes reached two -and -half to three stories. Front facades
should appear similar in height to those seen historically on the block.
13.19 Design a new building with a primary form that is
similar to those seen historically.
In most cases, the primary form for the house was a single rectangular
volume. In some styles, smaller, subordinate masses were then attached to
this primary form. New buildings should continue this tradition.
13.20 Use building materials that are similar to those used
historically.
Appropriate primary building materials include brick, stucco and painted
wood.
This classically -inspired duplex is an example of high style multifamily housing
in Salt Lake City. A centrally located porch defines the entrance. This structure
was extensively renovated in 1995.
Design Standards for Historic Districts in Salt Lake City Page 167
Capitol Hill
Page 168
Design Standards for the Central City Historic District
Central City
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Previous page: A 1909 view looking north from 1st South up 7th East.
Page 170
Scale: 1" = 100'
Central City
CENTRAL CITY
Encompassing one of the oldest neighborhoods of the city, the Central City
Historic District is part of a larger area, known by the same name, that is
associated with the original plan of Salt Lake. Out of all of the requirements
outlined by Joseph Smith's "Plat for the City of Zion" only the size of the
blocks — ten acres — remains intact, and what was once a village and
agricultural landscape now reflects the fact that Central City has the most
complex zoning and land -use patterns in Salt Lake. Although a few adobe
vernacular homes still exist, the commercial development, including fast-
food restaurants, office buildings and retail centers, belies its early history.
But despite recent, incompatible intrusions, Central City has the most
eclectic mix of historic architecture in Salt Lake, including several unique
examples of a variety of building types.
Central City began to lose its early appearance and social structure with the
building of the railroad and later the opening of the Bingham copper mine.
These developments created a demand for unskilled workers who needed
affordable places to live. In addition, Central City's proximity to the
expanding downtown business district and nearby manufacturing and
processing plants attracted clerks, laborers and craftspeople, so that early
on it became known as a neighborhood for the working lower- and middle-
class. With the exception of imposing residences at the north end of the
district, Central City never became a fashionable neighborhood and the
population was unstable. As the Central/Southern area survey states,
"Workers moved on to other jobs, to other towns; more prosperous
families were attracted to the benches, where the air was cleaner, and to
new subdivisions."
Given these demographics, rental housing has proliferated and much of
the housing stock has always been modest. Thomas Newton was typical
of the nineteenth-century Central City resident, as was his house. Newton
worked as a clerk and shoemaker for Z.C.M.I. and constructed a small,
side -gabled house in 1888 at 326 South 700 East. With its side -gabled
massing and simple two -over -two windows, this house exhibited the
simple forms of early Utah architecture, as well as illustrating how long
such forms remained popular. This property was demolished and is now
a parking lot.
Central City also has an extensive stock of "Victorian Eclectic" architec-
ture. Several examples can be seen along 600 E. between 600 and 800 S.
Although not as popular for Central City's small houses, the exuberant
Queen Anne style was also used. Victorian styles continued to be built
until the turn of the century but were quickly replaced by the bungalow,
which by 1915 had become the small house of choice. Because the
bungalow was more of a type rather than a style, this architectural form
also lent itself well to many variations.
Design Standards for Historic Districts in Salt Lake City Page 171
Central City
The transient nature of Central City's population encouraged the construc-
tion of many rental units, including duplexes, fourplexes and multi -unit
apartment buildings. Because of their small size, duplexes took on the style
of whatever was popular at the time; and thus late Victorian, Craftsman,
and Tudor Revival examples can be found. Apartment buildings, on the
other hand, developed as their own form: the walk-up flat type used before
1918, and the "double -loaded corridor" introduced later. Central City also
has several apartment types that are very unusual, such as one-story
courtyard structures, and the only remaining example of Victorian row
housing left in Salt Lake.
But Central City was not only home to working-class citizens and not all of
the buildings are unassuming or were built as rentals. Professionals,
businessmen and politicians lived in Central City, many residing in the
neighborhood for decades. Frederick Albert Hale, a Cornell -educated
architect, lived on 600 East from 1905 to 1934. He was one of the state's
finest architects, designing for wealthy, non -Mormon clients. His work
includes the Alta Club, the First Methodist Church and the Salt Lake Public
Library (now the Hansen Planetarium). Several lawyers and executives
associated with the mining industry lived in the north end of the district.
Politicians included Utah's fourth governor, Simon Bamberger who lived
at 623 E. 100 S. and more recently, Palmer dePaulis, mayor from 1986 to
1992.
Similarly, not all of the buildings are modest. Mansions include Francis
Armstrong's, at 679 E. 100 S., and Orange Salisbury's, designed by Frederick
Hale, at 574 E. 100 S. Within the historic period affluent families built
residences as four -squares, or in the Victorian Eclectic and Queen Anne
styles.
Almost all of the buildings in Central City constructed before 1945 are
residential. Exceptions include the Swedish Baptist Church, constructed in
1913, and the Twelfth Ward Chapel, built in 1939. The Swedish Baptist
Church is Craftsman in style, and blends in well with the surrounding
homes at 823 S. 600 E. The L.D.S. chapel is an unusual example of Art
Moderne for this building type, and is located at 630 E. 100 S. There are
several small grocery stores scattered throughout the district, but the most
impressive nonresidential structure is Trolley Square. Built as trolley barns
for the Utah Electric and Railway Corporation from 1908 to 1910, the barns
were renovated as a shopping and entertainment complex in the early
1970s.
Because of its early layout, large blocks and role as "the inner city," Central
City has always been beset by land -use conflicts. The large blocks led to
haphazard development as early as 1900 and were subject to incompatible
development by insensitive zoning and an encroaching downtown. Cen-
tral City has been subject to the problems associated with absentee owner-
ship for decades. Fourth South developed as a commercial corridor after
World War II and is now a busy street that is inhospitable to pedestrians.
Page 172
Central City
But the City and residents have, if periodically, made attempts to improve
Central City. One effort, still intact, was the creation of "parkings," or grass
medians, down several streets, including 600 East, as part of the removal
of electrical wires and poles moved from the center of the street to
accommodate the new street car system. In response to the deteriorating
conditions of many houses because of foreclosures during the Depression,
the first neighborhood beautification program was organized in the 1930s.
Local resident Sheldon Brewster headed up the campaign to influence
people to buy homes in the area and maintain them. In 1932 an organiza-
tion called "the Central Civic Beautification League" fought an uphill
battle to "turn the tide of decay and stultification back." This group
concentrated its efforts on keeping business out of residential areas,
soliciting money for structural repair and attempting to instill a sense of
community in the neighborhood. Most recently, neighborhood residents
have been renovating structures, and petitioned the City to adopt part of
Central City as a local historic district. This was accomplished in 1991.
Trolley Square under construction for use in the Central City Historic District.
Design Standards for Historic Districts in Salt Lake City Page 173
Central City
CENTRAL CITY HISTORIC DISTRICT
Development trends:
The district has experienced a surge of renovation and improvements to
properties. Continued investment is expected, particularly in rehabilita-
tion. However, some new infill construction also is anticipated.
Goals for the district:
The most significant feature of this district is its overall scale and simple
character of buildings as a group, as a part of the streetscape. As a result,
the primary goal is to preserve the general, modest character of each block
as a whole, as seen from the street. Because the overall street character is the
greatest concern, more flexibility in other areas, particularly renovation
details should be allowed. This goal for preservation also must be consid-
ered in the context of related neighborhood goals to attract investment and
promote affordability.
DESIGN CHARACTER
The following is a brief discussion of features that contribute to the design
character of the district.
Streetscape features
Street pattern
The Central City district developed on a rectilinear plan, with spacious
blocks intersected by wide streets. Sidewalks are detached and street trees
are located in the tree lawn in many cases. Street widths vary widely,
ranging from a boulevard along Sixth East Street to short, narrow alleys
and lanes.
Site features
Front setback of primary structure
Although a variety in setbacks is seen throughout the district, most
buildings within a block appear to align along their front setbacks, within
a narrow range of dimensions. Historically, larger buildings in the district,
such as apartment buildings, were set back farther away from the street
than the single structures. In some cases, small dwellings sit at the edge of
the sidewalk, causing a very urban feel. This is particularly evident along
Park Street, which has the character of a developed lane or alley. These
traditional setbacks should be maintained.
Page 174
Central City
DESIGN CHARACTER, continued...
Porches
A clear definition of the entry to each building is one of the most significant
character -defining elements in the district. In a typical situation, the
primary entrance faces the street and is sheltered with a porch. Where
historic porches exist, they should be preserved. They also are strongly
encouraged as a feature in new construction.
Landscape features
Fences
Many of Central City's yards are bounded by fences. Historically, materi-
als were wood and metal. The use of wood, iron and wire fences is
preferred, as they are more in character with the neighborhood.
Commercial Area Features
While most of the district retains a traditional residential character, some
major commercial streets bisect the neighborhood in an east -west direc-
tion. These have redeveloped recently with commercial uses in auto -
oriented designs and as a result, no historic context exists there.
Franchise facilities appear frequently along the cross streets. Most of these
are set back substantially from the street, with large parking areas located
in front. Large signs are often mounted on tall poles and landscaping is
used sparsely. Curb cuts appear frequently and extensive portions of most
sites are paved with hard surfaces. The result is that these areas offer little
to pedestrians, in contrast to the pedestrian -friendly character of the
historic residential streets in the district. When viewed from within the
more intact residential portions of the district, these commercial zones are
visually disruptive.
The design goal for these commercial areas is to enhance the pedestrian
environment and to minimize negative visual impacts as seen from the
historic residential portions of the district. It is not the intent to create a
"historical" image for buildings in these areas, but simply to apply prin-
ciples of good urban design that will enhance the visual quality while
accepting the "contemporary" character that exists here.
Many of Central City's yards are
bounded by fences.
Design Standards for Historic Districts in Salt Lake City Page 175
Central City
DESIGN CHARACTER, continued...
Characteristics of the Central City Historic District.
The following is a summary of key features of the neighborhood.
• Large, ten -acre blocks are located north of 600 South.
• Residential, interior block development exists south of 600 South.
Streets such as Green, Park and Lowell are several interior streets that
are very narrow, from 15' to 25' wide. The lots are typically about
2,500 square feet, setbacks about 10'.
• Garages are set at the rear of the lot and are accessed by alleys.
• Grass medians run the length of the district from Liberty Park to South
Temple.
Architectural styles range from the 1870s to the contemporary. "High -
style" examples are generally located north of 400 South. Smaller,
more modest homes are located in the southern portion of the district.
Fourth South is totally commercial, and has no remaining historic
structures.
The center of several of the large blocks north of 400 South are vacant.
Page 176
Specific design standards that
respond to the design character
of the neighborhood follow on
the next page.
Central City
DESIGN STANDARDS FOR CENTRAL CITY
Streetscape Standards
13.21 Maintain the character and scale of the side streets in
the district.
Many side streets, particularly the lanes, have a distinct character and scale
that should be preserved.
13.22 Maintain alleys where they exist.
Their modest character should be preserved.
Site design Standards
Setback
13.23 Maintain the established alignment of building fronts
in the block.
In general, larger, taller masses should be set back farther from the front
than smaller structures. In some cases, therefore, a setback that is greater
than the median setback may be appropriate.
13.24 Maintain the rhythm established by uniform setbacks
in the block.
It is particularly important that the traditional spacing pattern be maintained
as seen from the street. Follow the traditional building pattern in order to
maintain the historic character of the street. Consider the visual impact of
new construction and additions on neighbors along side yards. Consider
varying the height and setback of the structure along the side yard.
The uniform setback of these vernacular structures provides a sense of alignment and the
porches provide a consistent orientation to the street.
The design standards apply
in addition to those in
relevant preceding
chapters, which may
include Rehabilitation
Standards, Standards for
New Construction and
General Design Standards.
See the matrix on page 4 to
determine which chapters
apply.
Design Standards for Historic Districts in Salt Lake City Page 177
Central City
DESIGN STANDARDS FOR CENTRAL CITY, continued...
Primary entrance
13.25 Clearly define the primary entrance to the house.
Use a porch, stoop, portico or similar one-story feature to indicate the
entry. Orienting the entry to the street is preferred. Establishing a
"progression" of entry elements, including walkway, landscape elements
and porch also is encouraged.
Orienting the entry to the street is
preferred. Establishing a "progression" of
entry elements, including walkway,
landscape elements and porch also is
encouraged.
Additions/Alterations
13.26 Plan an addition to be in character with the main
building, in terms of its size, scale and appearance.
This is especially important in portions of the district where buildings are
modest in size and scale and have limited architectural detailing. Greater
flexibility is appropriate, in terms of size of additions, on the northern edge
of the district near South Temple Street, where many of the historic
buildings are quite large.
Architectural Standards
Building mass
13.27 Design new buildings to appear similar in mass to
those that were typical historically in the district.
If a building would be larger than those seen on the block, subdivide
larger masses of the building into smaller "modules" that are similar in
size to buildings seen traditionally.
Page 178
Central City
DESIGN STANDARDS FOR CENTRAL CITY, continued...
Building Scale
13.28 Design new buildings so that they appear similar in
scale to those seen traditionally on the block.
Historically, most houses appeared to have a height of one, one -and -one-
half or two stories. A new front facade should appear similar in height to
those seen historically in the block. Taller portions should be set back
farther on the lot. Story heights should appear similar to those seen
historically. Also, consider using architectural details to give a sense of the
traditional scale of the block.
Building form
13.29 Design a new building to have a form similar to those
seen historically.
In most cases, the primary form of the house was a simple rectangle. In
some styles, smaller, subordinate masses were then attached to this primary
form.
Building materials
13.30 Use primary building materials that will appear
similar to those used historically.
Appropriate building materials include: brick, stucco, and painted wood.
Substitute materials may be considered under some circumstances. See
Sections 2.0 and 6.0 and page 126.
Use building materials that will appear similar to those used historically.
Design Standards for Historic Districts in Salt Lake City Page 179
Central City
DESIGN STANDARDS FOR CENTRAL CITY, continued...
Commercial Area Standards
13.31 Minimize the visual impacts of automobiles as seen
from the sidewalk by pedestrians.
Provide landscaped buffer areas to screen and separate the sidewalk from
parking and drive lanes within individual commercial sites.
13.32 Screen service areas from the residential portions of
the historic district.
Use fences, walls and planting materials to screen service areas. When
- feasible, locate service areas away from residential portions of the historic
district.
13.33 Minimize the visual impacts of signs.
This is particularly important as seen from within the residential portions
of the historic district. Smaller signs are preferred. Monument signs and
low pole -mounted signs are appropriate.
13.34 Shield all site lighting such that it does not spill over
into residential portions of the historic district.
Page 180
Design Standards for South Temple Historic District
South Temple
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Previous page: Looking southeast along South Temple from 5th West in 1918: stone retaining walls and cast iron fences define the
sidewalk edge. Extensive porch detailing provides a strong sense of orientation to the street.
Page 182
South Temple
SOUTH TEMPLE
South Temple is frequently referred to as Utah's premier residential
boulevard, a testament to the transformation of Salt Lake City from an
agricultural village to an urban center, one that could support the elegance
and grandeur seen in the architecture along this street. Although it was not
until the turn of the century that South Temple took on the stately
appearance most closely aligned with the perception of visitors and
residents, South Temple has played an essential role in the development of
Salt Lake since the city was founded. It served as a connection between the
east bench and downtown and provided a delineation between the small
lots of the Avenues neighborhood and the larger blocks of Central City. In
general, South Temple has attracted people of prominence and prosperity,
but within this group residents represented a variety of religious faiths,
occupations and backgrounds. People of lesser means, including skilled
craftsmen and teachers, have also resided on South Temple. And South
Temple was not immune to the surge of city-wide apartment construction
that occurred from 1902 to 1931.
The history of South Temple begins with the founding of Salt Lake City,
which was laid out according to Joseph Smith's plan for the City of Zion.
It was originally platted as the major east -west axis, but because nothing
but open country existed to the east until Fort Douglas was founded in
1862, construction along South Temple during the 1850s was confined to
the blocks between 200 E. and 400 W. The decision of Brigham Young and
other church leaders to build homes on South Temple set an early prece-
dent for the street's residential prominence. Although early Mormon
leaders did not anticipate South Temple's eventual role as the home of
wealthy miners and the most urbane street in the state, there is no doubt
that they intended South Temple to be an important thoroughfare for the
religious kingdom of Zion.
The landscape and architecture of South Temple had the same agrarian
look — small, adobe homes, orchards, and barnyards — as the rest of the
city through the 1860s. Once the railroad brought prosperity and expan-
sion it gradually lost its rural appearance. By the 1890s South Temple was
fulfilling Brigham Young's prediction that it would become the finest
street in Zion. The most imposing mansions, those of David Keith, Thomas
Kearns, Enos Wall, and Louis Terry represented an influential group of
men who had earned great wealth through mining and had no cultural or
religious association with the L.D.S. Church. Their desire to separate
themselves socially could be seen in the establishment of the Alta and the
University clubs (the latter demolished in the 1960s) while the construction
of the Cathedral of the Madeleine and the First Presbyterian Church
announced that non -Mormons had a permanent stake in the city.
Design Standards for Historic Districts in Salt Lake City Page 183
South Temple
Professional people who were not as wealthy but prominent nonetheless
were also building large comfortable homes in the variety of styles popular
throughout America. They built four -square boxes, using simple classical
capitals on porch columns and Palladian windows; Shingle style houses
with complex floor plans and rich surface texture, and Arts and Crafts
bungalows. These styles could be seen throughout the city, but South
Temple residents built more elaborate versions representing some of the
finest work of the state's best-known architects, including Walter Ware,
Frederick Albert Hale, C.M. Neuhausen and Richard A. Kletting.
During the 1920s and 1930s building along South Temple consisted prima-
rily of apartment buildings and clubhouses for fraternal and women's
organizations, although significant examples of both uses also had been
erected in earlier decades. The apartment buildings along South Temple
were part of a construction boom of this building type and represented
some of the most elegant multifamily structures in the city. The earliest
clubhouse still extant on South Temple is the Ladies Literary Club at
number 850, an outstanding Prairie -style example designed by Ware and
Treganza in 1912. Two of the largest buildings constructed during the
1920s included the Masonic Temple and the Elks Buildings, both designed
by the firm of Scott and Welch.
Although many handsome structures were built during the 1920s and
1930s South Temple's grandeur began to wane during these years, ulti-
mately resulting in the awkward blend of residential buildings and com-
mercial structures evident today. Wealthy families aged and dispersed
and federal income tax, imposed in 1913, eroded personal fortunes. Most
devastating to the street, however, were zoning changes that allowed
commercial encroachment and higher residential densities. As land value
increased, significant structures were lost. This problem became acute
after World War II, when shifts in style and technology encouraged
architecture that was incompatible with the traditional scale, massing and
materials seen on South Temple. Probably the most discouraging episode
in the street's history occurred during the 1960s and 1970s so much so that
the erosion of South Temple's historic appearance played a very large role
in spurring the preservation movement in Utah. Since its adoption as a
local district in 1976, efforts have focused on preserving historic buildings
and on maintaining historic street features, such as carriage steps and
sandstone retaining walls, that also contribute to our understanding of
South Temple.
Page 184
South Temple
SOUTH TEMPLE HISTORIC DISTRICT
Development trends:
Known for its ongoing preservation efforts, the South Temple District is
experiencing continued investment in the area, including renovation,
additions to existing structures and infill construction. A wide range of
construction projects is therefore anticipated.
Goals for the district:
The design goal for the South Temple District is to preserve its unique
character. Preservation of the character, style and details of the many high
style buildings is a high priority, as is assuring that new building will be in
scale and compatible in character with the historic context.
DESIGN CHARACTER
The following is a brief discussion of features that contribute to the design
character of the district.
Streetscape Features
Walkways
Many residences are sited on a system of "platforms, " which were created
to provide level building areas. As a result, most of the South Temple
mansions sit above street level, sometimes with as series of stairs that link
the front entry with the public sidewalk. The system of terraced building
sites also establishes a fairly consistent pattern of retaining walls that
visually connects the blocks that should be maintained.
Site Design Features
South Temple Street developed with a variation in block sizes between the
north and south sides of the street. The north side was platted with smaller
lots, while the south side is characterized by more spacious parcels.
However, the district is unified by its consistent streetscape design and
traditional siting, as well as its variety of larger houses. The standards that
follow strive to reinforce these traditional patterns.
Design Standards for Historic Districts in Salt Lake City Page 185
South Temple
DESIGN CHARACTER, continued...
Front setback of primary structure
Historically the larger mansions on the street were sited farther from the
sidewalk than the smaller residences. Although a variety of setbacks is
seen throughout the district, within individual blocks, most buildings
appear to align within a narrow range of dimensions. This generally
uniform setback alignment of an individual block should be maintained.
Side yard setback of primary structure
Many of the larger houses on the block have large side yard setbacks,
which reinforce their stately appearance. Smaller residences are typically
sited with their narrow side to the street. Both situations suggest that,
traditionally, the side yard width was in proportion to the width of the lot.
This characteristic should be maintained.
Siting of Additions
Buildings located along South Temple are generally large two and three
story structures that can accommodate larger additions than houses in
other districts. Although there should be a degree of flexibility in the size
of additions in the South Temple district, these additions still should be
designed to be compatible with the original structure.
Roof materials
Due to the large size of many of the buildings in the district, roof materials
are very important visual features. Slate, asphalt, wood, and tile shingles
are all materials found on historic buildings. These textures contribute to
the character of the district. When roofing must be replaced, using a
material similar to the original is preferred. On a new building, using a
material similar in color and texture to those seen historically in the block
also is appropriate.
Architectural Features
Porches
Porches were important design feature themselves and were also embel-
lished with details that enlivened the character of the street. Porches also
add interest to the street and help establish a human scale in the district.
Page 186
Due to the large size of many of the
buildings in the district, roof materials are
very important visual features.
South Temple
DESIGN CHARACTER, continued...
Ornamentation
Most of the buildings in the South Temple district represent high -style
forms of architecture, and in many cases, have been designed with elabo-
rate architectural detailing, including intricate features and finishes. Orna-
mentation typically embellishes doors and windows, eaves, porches, and
gable ends, while major wall surfaces are relatively simple.
The use of ornamentation on buildings is an established tradition in the
district, and its continued use is encouraged. On new buildings, contem-
porary interpretations of building ornament and detail are especially
appropriate.
Porches and other detailing also are a
part of the architectural detail that add
interest to the street and help establish a
human scale to building in the district.
The use of ornamentation on buildings is
an established tradition in the district,
and its continued use is encouraged. On
new buildings, contemporary
interpretations of building ornament and
detail are especially appropriate.
Design Standards for Historic Districts in Salt Lake City Page 187
South Temple
DESIGN CHARACTER, continued...
Characteristics of the South Temple Historic District
The following is a summary of key features of the district:
• Street features continue to reflect South Temple's historic grandeur.
These features include sandstone curb and gutters, sandstone carriage
steps and hitching posts.
• About 1890 the city erected metal lattice -work posts to accommodate
the trolley lines. Later these were used for traffic signals. Historically
roses were planted to climb them to prevent children from playing on
them. The posts now show substantial deterioration, as the traffic
signals were too heavy and they have not been maintained.
• South Temple has mature landscaping, and the large trees planted in
a formal manner are an important characteristic of the street.
• While South Temple is known for its mansions, there are many other
homes that are not as grand but still continue to contribute to the
streetscape and knowledge of the city's history. Similarly, historically
South Temple dwellings have not been only single-family, owner
occupied, nor has it been only residential. Several apartment buildings
and commercial structures are of the historic period.
Page 188
Specific design standards that
respond to the design character
of the neighborhood follow on
the next page.
South Temple
DESIGN STANDARDS FOR THE SOUTH TEMPLE DISTRICT
Streetscape Standards
Walkways
13.35 Provide a walkway to the building entry from the
public sidewalk.
The walk should be distinct from a driveway. Concrete is the dominant
material; however, other materials, including modular pavers, also are
appropriate for new walkways.
Provide a walkway to the building entry from the public sidewalk.
Site Design Standards
Setback
13.36 Keep the front setback of a new structure in line with
the median setback of historic properties on the block.
In general, larger, taller masses should be set back farther from the front
than smaller structures. In some cases, therefore, a setback that is greater
than the median setbacks may be appropriate.
13.37 Side yard setbacks of a new structure or an addition
should appear similar to those seen traditionally in the
block.
Follow the traditional building pattern in order to continue the historic
character of the street. Consider the visual impact of new construction and
additions on neighbors along side yards.
The design standards apply
in addition to those in
relevant preceding chapters,
which may include
Rehabilitation Standards,
Standards for New
Construction and General
Design Standards. See the
matrix on page 4 to
determine which chapters
apply.
Design Standards for Historic Districts in Salt Lake City Page 189
South Temple
DESIGN STANDARDS FOR THE SOUTH TEMPLE DISTRICT, continued...
Curb cuts
13.38 Minimize the visual impacts of curb cuts.
When planning a driveway, consider the impact of curb cuts on historic
curbing material, such as granite.
Service Areas
13.39 Minimize negative visual impacts of service areas.
Service areas include locations for trash containers, transformers and other
mechanical and electrical equipment that may require exterior facility. In
all cases, these features should remain visually unobtrusive. Locate
dumpsters and other service equipment to the rear of the lot, when physical
conditions permit. Service areas should be screened from public view with
fences, walls, planting, or a combination of these elements.
Architectural Standards
Building Scale
13.40 Design a new building to be similar in scale to those
seen traditionally on the block.
Historically, most of the larger houses on South Temple appeared to have
a height of two to three stories, while the smaller ones generally had heights
of two stories. A front facade should appear similar in height to those seen
historically on the block. A taller portion should be set back further on the
lot. Story heights should appear similar to those seen historically. Also, use
architectural details to give a sense of the traditional scale of the block. In
the case of new apartment buildings, they should appear to be similar in
mass and scale to historic apartment structures in the district.
Roofing materials
13.41 Use roofing materials that are similar in appearance to
those seen historically.
Asphalt and wood shingles are appropriate to many styles seen historically.
Clay tile is appropriate to Spanish, Mission and Colonial styles only.
Concrete tiles may be appropriate because they often convey a scale and
texture similar to materials employed historically. Large panelized products,
such as standing seam metal, should be avoided. Colors should be muted;
the overall texture of a roof should be uniform and consistent throughout
the building.
Page 190
South Temple
DESIGN STANDARDS FOR THE SOUTH TEMPLE DISTRICT, continued...
Building Materials
13.42 Use building materials that are similar to those used
historically.
Appropriate building materials include brick, wood horizontal clapboard
and shingles, stucco, smooth -faced stone and river rock.
Porches
13.43 When constructing a new building, clearly define the
primary entrance to the house.
Use a porch, stoop, portico or similar one-story feature to indicate the
entry. Orienting the entry to the street is preferred. Establishing a
"progression" of entry elements, including walkway, landscape elements
and porch also is encouraged.
13.44 When converting a building to another use, preserve
the historic location and character of the porch and primary
entrance.
13.45 The use of ornament and detail is encouraged.
Such details should have a substantial "depth," and be constructed of
durable materials. While a range of materials is appropriate, details
should have finishes that appear similar to those used traditionally. The
details should appear integral to the overall design.
Appropriateness of Use
13.46 When adapting a residence to another use, preserve
the original design character of the building.
When converted to a new use, a house should retain its residential image.
13.47 If the change from residential to another use requires
more parking space, locate it to the rear of the property and
provide landscaping as a buffer.
Design Standards for Historic Districts in Salt Lake City Page 191
South Temple
Page 192
Design Standards for the University Historic District
University
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THE UNIVERSITY
Historic District Scale: 1" = 1000'
Previous page: Despite modern intrusions and the mix of single-family dwellings and apartment buildings, the University Historic
District exhibits the most homogenous blend of architecture and consistent streetscape of all the local districts. A progression of entry
features seen here includes a walkway with steps leading to a broad front porch.
Page 194
University
UNIVERSITY
Despite modern intrusions and the mix of single-family dwellings and
apartment buildings, the University Historic District exhibits the most
homogenous blend of architecture and consistent streetscape of all the
local districts. Although several homes remain that were built as early as
1885, for the most part its development coincided with the first two
decades of this century — a period marked by prosperity and growth.
Municipal improvements, such as the installation of utilities and the
extension of electric streetcar lines throughout the city created new oppor-
tunities for suburban expansion, especially on the east bench. Obviously
the establishment of the University of Utah at its current location in 1901
ensured the viability of this neighborhood and influenced its develop-
ment. Since that time the area has been home to many university faculty
and staff members, although the area was not popular for student resi-
dency until after World War II. Many professional people not affiliated
with the University have also resided in the neighborhood.
The affluence of its residents, its comparatively orderly development and
the influence of the Progressive era are all reflected in the district's
architecture and streetscapes. Four -square architecture, also known as the
"box," was another popular choice during this time and is well -repre-
sented in the University District. Some have Colonial Revival details, such
as Doric porch columns, but examples in this neighborhood are generally
Prairie School in style. Many are scattered throughout the district, but
several of the most appealing are clustered along 100 South between 1200
E. and Douglas Street. At least two of these were designed by the local firm
of Ware and Treganza and represent the firm's earliest work in the Prairie
style. While not as elaborate as the mansions along South Temple that were
built for similarly wealthy and prominent citizens, many of the homes in
the University district were beautifully fitted and very comfortable.
The majority of the existing construction occurred after 1900, but this
district contains many structures built before this time that exhibit the
asymmetrical, vertical and multi -textured surface treatment associated
with Victorian -era styles. Shingle style houses and Victorian Eclectic
examples exist throughout the district. The Hudson Smith house at 221 S.
1200 E., built in 1896, was apparently an ornate Victorian with plenty of
surface decoration. However, when subsequent owners, Seibert and
Emily Mote purchased it in 1930, they undertook an extensive remodeling
to make the house look "old." Their attempts reflect the popular revival of
federal and Georgian styles in the 1920s and 1930s and resulted in a unique
blend of the Federal and Shingle styles.
During the beginning of the twentieth
century, the bungalow proved to be a very
popular building form in the University
district.
Design Standards for Historic Districts in Salt Lake City Page 195
University
The few pre-1900 structures are most prevalent near the western and
northern boundaries of the neighborhood. Not everyone who resided in
the neighborhood was affluent, professional or associated with the Univer-
sity of Utah. A look at city directories indicates that government clerks,
railroad workers and tradesmen lived on Bueno Avenue, a street lined
with similar frame and brick cottages that were constructed about 1905.
Speculative development undertaken by real estate companies, similar to
that erected by the Anderson Real Estate firm in Central City, also occurred
near the University.
The University district also has a small but lively commercial area on the
six blocks between 200 and 400 S. and University and 1300 E. Streets. No
business building is higher than two stories and few are from the historic
period. Exceptions include several four -square residences that now house
small businesses and the old Crystal Palace Market, built in 1930. Fire
station number eight was converted into a restaurant, but has maintained
much of its original character. It was designed by the City Engineer's office
in the Period Revival style: a conscious attempt by Salt Lake City Corpo-
ration to ensure that this institutional structure was compatible with its
residential surroundings.
"Victorian Eclectic", a loose but apt description, was the most popular style used in the first wave of building after about
1885.
Page 196
University
As in all of the historic districts, more recent, incompatible architecture has
detracted from the visual unity of the streetscape. Because of their low
massing and because of zoning restrictions commercial structures are not
the problem; instead multifamily structures represent the most disruptive
intrusions. Nineteen -sixties era apartment buildings, known as "box-
cars" because of their long narrow shape with an orientation away from
the street, are scattered in the neighborhood and a condominium project,
University Gardens, towers over its surroundings on 1300 East. It should
be pointed out, however, that several earlier apartment buildings contrib-
ute architecturally to the district, such as the Commander Apartments
across the street that were built in 1928.
Within the last decade more interest has been shown in maintaining the
historic streetscape and integrity of the University neighborhood. These
efforts resulted in a successful request to the City to create a local district
requiring design review, and in the rewriting of the zoning ordinance in
1994 that reduced permitted densities in the neighborhood.
Design Standards for Historic Districts in Salt Lake City Page 197
University
THE UNIVERSITY HISTORIC DISTRICT
Development trends:
Known for its ongoing preservation efforts, the University District is
experiencing continued investment in the area, including renovation,
additions to existing buildings and infill construction. A wide range of
construction projects is therefore anticipated, including renovation and
new buildings.
Goals for the district:
The design goal for the University District is to preserve the character of its
streetscapes and the integrity of its individual historic structures. In
particular, preservation of the streetscape, including parkways, tree lawns,
front yards and walkways is a high priority.
DESIGN CHARACTER
The following is a brief discussion of features that contribute to the design
character of the district.
Streetscape Features
Street pattern
The University district developed according to a grid system, which is
characterized by wide streets and large blocks. Sidewalks are detached
with a planting strip between the sidewalk and the curb. Narrow lanes
with small cottages sometimes occur, contrasting with the broader streets.
This traditional rectilinear pattern, along with a uniformity of siting and
somewhat homogeneous housing stock, created the district's distinct
continuity of the streetscape. Preservation of this street pattern is a high
priority.
Alleys
A system of alleys provides a contrast to the wide, formal streets and large
blocks on the University district. Aside from creating visual diversity in the
neighborhood, alleys are functional spaces that relieve traffic on larger
streets and provide access to parking and service areas. Thus, the historic
character of alleys should be maintained.
Page 198
University
DESIGN CHARACTER, continued...
Building form
The University district consists primarily of turn of the century residential
structures, which are generally similar in mass and scale. However, a
commercial area along East and University Street and various apartment
buildings exhibit slightly larger building massing. Nonetheless, these
structures generally conform to a consistent, relatively low neighborhood
scale. This character of the district provides a context with which to relate
new infill.
Roof materials
Due to the relative architectural homogeneity of the district, the range of
historic roof materials is narrow. This similarity of materials should be
maintained.
Porches
Because of the number of early twentieth century residences, including
period revival houses and craftsman bungalows, the streetscape is unified
by the strong presence of porches. In fact, the bungalow was customarily
designed with a spacious front porch, usually accented by features such as
wide, stone piers and brackets. Where historic porches exist, they should
be preserved. They also are strongly encouraged in new construction.
Design Standards for Historic Districts in Salt Lake City Page 199
University
DESIGN CHARACTER, continued...
Characteristics of the University Historic District
The following is a summary of key features of the district that should be
respected.
• Setbacks are uniform.
• Garages are set back on the lot and are detached from the house. They
are almost all accessed by single -car driveways from the streets;
however, alleys bisect the north/south streets.
• There is a substantial variation in topography. Rather than address this
through the architecture, it historically was addressed through site
features such as retaining walls. The materials of the walls vary and
include cobblestone, sandstone, and concrete. Yards often have steep
slopes.
• The street pattern is one of a grid. Lot size is uniform, although Bueno,
Alameda and some blocks of Elizabeth Street have smaller lots, in-
creasing the density.
• The small stores, restaurants and businesses along 1300 East and
University streets provide a neighborhood commercial center unusual
in Salt Lake because of their pedestrian orientation. Parking is gener-
ally only available on the street. Many of the businesses are located in
former homes, and thus are of a scale compatible to the district's
residential character.
• The large retaining wall and corresponding street pattern on 200 South
and 1200 East is a unique feature to the neighborhood. Nearby stairs
provide pedestrian access between these two streets.
Page 200
Specific design standards that
respond to the design
character of the neighborhood
follow on the next page.
University
DESIGN STANDARDS FOR THE UNIVERSITY DISTRICT
Streetscape Standards
13.48 Maintain alleys where they exist.
Preserve their simple character.
13.49 Maintain the established pattern of on -street parking.
Architectural Standards
Building mass
13.50 Design a new building to be similar in mass to those
that were typical historically in the district.
Subdivide a larger mass into smaller "modules" that are similar in size to
buildings seen traditionally. Where a new commercial structure is to be
constructed adjacent to a residential area, step the building down in height
to minimize impact on the residences.
Building Scale
13.51 Design a new building to be similar in scale to those
seen traditionally on the block.
Historically, most houses appeared to have a height of one, one -and -one-
half or two stories. A new front facades should appear similar in height to
those seen historically in the block. Taller portions should be set back
farther on the lot. Story heights should appear similar to those seen
historically. Use architectural details similar in size and proportion to
those seen traditionally to give a sense of scale.
Building form
13.52 Design a new building to have a primary form similar
to those seen historically.
Since there is such a high concentration of bungalows in the University
district, the primary form of the house was a single rectangular volume. In
some styles, smaller, subordinate masses were then attached to this
primary form. New buildings should continue this tradition.
The design standards apply
in addition to those in
relevant preceding chapters,
which may include
Rehabilitation Standards,
Standards for New
Construction and General
Design Standards. See the
matrix on page 4 to
determine which chapters
apply.
Design Standards for Historic Districts in Salt Lake City Page 201
University
DESIGN STANDARDS FOR THE UNIVERSITY DISTRICT, continued...
Roof form and Roof scale
13.53 A new roof should appear similar in form and scale to
those of typical houses seen historically in the block.
Pitched roofs, either hip or gable, are preferred. Slopes should be within
the range of those seen historically in the block. The depth of the overhang
of the eaves should also follow historic precedent. This is especially
important on bungalows, where the overhang is fairly deep.
Building materials
13.54 Use building materials that appear similar to those
seen historically.
Appropriate building materials include: brick, stucco, and wood. Because
of the large number of bungalows in the district, many foundations and
posts are constructed of stone. Using stone, similar to that employed
historically, also is preferred. Using field stone, veneers applied with the
bedding plane in a vertical position, or aluminum or vinyl siding are
inappropriate.
13.55 Use roofing materials that are similar in appearance
to those seen historically.
Asphalt and wood shingles are appropriate. Concrete tiles also are
appropriate because they convey a scale and texture similar to materials
employed historically. Large panelized products, such as standing seam
metal, should be avoided. Colors should be muted; the overall texture of
a roof should be consistent throughout the building.
Porches
13.56 Clearly define the primary entrance to the house.
Use a porch, stoop, portico or similar one-story feature to indicate the
entry. Orienting the entry to the street is preferred. Establishing a
"progression" of entry elements, including walkway, landscape elements
and porch also is encouraged.
Page 202
Roof pitches may vary from block to
block. The roof on this Tudor Revival
house is very steep.
CHANGES TO BE MADE TO THE DESIGN GUIDELINES AS NOTED BY THE HISTORIC
LANDMARK COMMISSION ON JANUARY 8,1997
APPENDIX B
How should the members of the Historic Landmark Commission be
acknowledged, given the fact that some members who worked on the
document are no longer on the Commission?
Members of the Historic Landmark Commission who are on
the commission at the time the vote was taken will be listed.
A separate paragraph will acknowledge former
commissioners who worked on the guidelines. The consultant
will change the credit page accordingly.
Page 24: The photograph on top of p. 24 should be changed so that a better
example of a modest Classical example can be portrayed.
Staff will supply the consultant with an appropriate
photograph.
Page 26: Use a different photograph for the Gothic Revival; focus instead on
a detail of Gothic Revival architecture.
Staff will supply the consultant with an appropriate
photograph.
Page 28: Provide a detail of the Second Empire style.
Staff will supply the consultant with an appropriate
photograph.
Page 30: The layout is awkward.
Staff will discuss this with the consultant.
Page 38: The description for "Cape -Cod Cottage" does not match the
photograph.
The consultant has changed the description to match the
photograph. In addition, the name of the style has been
changed to "Cape Cod (Post -War) Cottage.
Page 46: "Ranch style" should be illustrated.
Staff will supply the consultant with a photograph.
Page 58: The fence is not original. Either change the photograph or the
caption.
The caption will be changed.
Page 61: The reference to "horizontal clapboard" under "Background" should
be changed to "novelty siding," as this was a more common siding material.
The consultant will change this accordingly.
Pages 76-77: The captions are identical.
The consultant will change one of the captions.
Page 89: The detailing discussed on the porch is not original. Either the
photograph or the caption should be changed.
The consultant will change the caption.
Page 103: either change the photograph or the caption. A heavy, bar -tile
roof is not appropriate for a Tudor style house.
The caption has been changed to reflect the Historic
Landmark Commission's discussion.
Page 105: The photograph is too small, and should be an example from Salt
Lake Cam.
The consultant will be instructed to change this.
Incorporate a description of the design approval
process.
This is discussed on p. 4.
What is the significance of a plaque?
My research has proved that metal roofs were very
much in vogue in the nineteenth century in Utah.
There were nine metal roof companies in Salt Lake
City alone. You are wrong in saying they have no
historic value because they do. Besides, metal roofs
are light, durable and look good! Asphalt shingles
are not historic and cedar shingles are a fire hazard.
Check out the roof on top of the Mormon tabernacle.
Plaques can be purchased from the Utah State
Historic Preservation Office. While many buildings
within local districts have them, they do not denote
any regulation attached to the property. This subject
is discussed in the attached briefing paper; please
refer to this for an explanation.
It is true that metal roofs were once a common sight on
a variety of building types in Salt take City. A
typical ad for roofing companies from the turn of the
century states that its products include "tin, iron slate
and metallic roofing." Historic photographs,
however, indicate that seamed metal roofing was
used on institutional and commercial buildings, not
residential buildings. Corrugated metal was also
used on commercial buildings. Generally, cedar
shingles were used on residential structures.
Although asphalt shingles were developed later in
this century they are allowed because they follow
the same module as wood shingles. Aluminum
shingles, on the other hand, are not allowed because
of their texture and reflectivity. Cedar shingles can
still be used; they are now treated with a fireproof
substance.
Please adopt these Design Guidelines. Give the
Historic Landmark Commission the ability and
power to continue their authority to preserve our
historic neighborhood and require that all new
construction adhere to design and scale of the
neighborhood, and respect the infrastructure of what
the historic district can maintain.
Page 109: Change the caption under the small photograph. The addition
may not be compatible, but the original form of the house continues to be
discernible.
The consultant will changed the caption.
Page 111: The first sentence under 8.13 is awkward.
This sentence has been changed.
The concept of 'platforming" is missing throughout the design guidelines.
A paragraph discussing this can be included in Section 12.0.
Page 127: The top photograph is not a good example of contemporary
construction.
The photograph has been removed, and it will be replaced
with a hew example.
Page 129: Either the photograph or the caption should be changed. Currently
it is difficult to determine if the photograph is used as a good or a bad
example.
A new caption will be written.
Page 134: Eliminate paragraph 12.8, as the zoning ordinance addresses
drought -tolerant plants and the use of gravel or inorganic materials is not
allowed in front yards is not allowed by zoning.
This paragraph will be removed.
Page 149: Another photograph should be added to this page, to complement
the text that states that "within the Avenues District a range of
architectural styles exists,..."
Staff will provide the consultant with additional
photography.
Page 152: The comment about the sandstone sidewalks is misleading, as some
sandstone sidewalks exist, but most are concrete.
This comment will not be removed, but will be mentioned as
the last item on page 152, rather than the first. There are
Page 163: The commentary under "goals for the district" imply that the
historic scale of the buildings range from one-story residential to high-rise.
The commentary has been changed to stated that the historic
scale "consists of structures no higher than four or five
stories."
Page 165: The comments under the last bullet implies that little landscaping
exists in the parking strips. A more accurate statement would state that the
parking strips are landscaped but that the landscaping is not of a formal
p attern.
The text will be changed to reflect this.