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12 1 08 Work Session Materials_Downtown Design GuidelinesTHE CITY OF Dubuque ~T T~ ~ All-AmericaCitY ~J ~ ~ ; ' ~ Masterpiece on the Mississippi , 3 ~ :. 2007 TO: The Honorable Mayor and City Council Members FROM: Michael C. Van Milligen, City Manager SUBJECT: City Council Work Session on Downtown Design Guidelines DATE: November 25, 2008 December 1, 2008 at 5:00 p.m. is the City Council work session on the Downtown Design Guidelines. The computer disk with the material from Planning Services Manager Laura Carstens is attached. l i / --- _ _ i ~,, , Michael C. Van Milligen MCVM/jh Attachment cc: Barry Lindahl, City Attorney Cindy Steinhauser, Assistant City Manager Laura Carstens, Planning Services Manager THE CITY OF Dubuque ~j T~ ~ All-AmericaCily Masterpiece on the Mississippi ~.~ 2007 TO: Michael C. Van Milligen, City Manager FROM: Laura Carstens, Planning Services Manager ~~~ SUBJECT: Work Session on Downtown Design Guidelines DATE: November 24, 2008 INTRODUCTION This memorandum transmits the Downtown Design Guidelines for the City Council work session scheduled for 5:00 - 6:00 p.m. on December 1. The consultant, Nore Winter of Winter & Company, will review the enclosed guidelines and the process used to create them. I will review the suggested options for implementation outlined below. BACKGROUND The creation of a Downtown Design Guidelines Manual is an action step of the Downtown Dubuque Master Plan adopted by the City Council in March 2004. The City Council approved a grant agreement with the State Historic Preservation Office in December 2007 to develop a design guidelines manual for the streetscapes and built environment of the historic downtown. Like the City's Historic District Design Guidelines, the Downtown Design Guidelines Manual addresses architectural design as well as streetscape/landscape design. In April 2008 the City Council selected Winter & Company as the consultant for this project. A Downtown Design Guidelines Task Force has been working with Winter & Company to develop the Downtown Design Guidelines Manual. The Task Force includes downtown stakeholders and City staff (see enclosed list). A map of the downtown area is enclosed. DISCUSSION The Downtown Design Guidelines Task Force met with Winter & Company and the State Historic Preservation Office to review the draft preliminary guidelines on October 14. The draft guidelines were presented to the Dubuque Main Street Board of Directors on October 1 and to the Historic Preservation Commission on October 17. The draft guidelines were made available for public review and comment in October. A City Journal program on the Downtown Design Guidelines first aired in October. This program can be viewed on the City's website (click on Video on the website home page). The draft preliminary guidelines were transmitted to the City Council on November 3. Work Session on Downtown Design Guidelines November 24, 2008 Page 2 Review and discussion of the draft guidelines was coordinated with the Warehouse District planning consultants in October and November. The draft guidelines then were revised based on the input we received from the State Historic Preservation Office, the public, the task force, and other downtown stakeholders. Intent and Purpose Enclosed is the revised draft of the Downtown Design Guidelines, which is organized as follows: The Introduction provides an overview of policies and principles, describes the design review system, and discusses historic preservation benefits and resources. ® Chapter 1 outlines Rehabilitation Guidelines for Historic Properties, including commercial, residential, and warehouse buildings. ® Chapter 2 provides Design Guidelines for all Properties, including streetscape elements. o Chapter 3 describes Guidelines for New Commercial Building Types. ® Chapter 4 offers Guidelines for New Residential Building Types. ® Chapter 5 describes Guidelines for New Warehouse Building Types. ® Chapter 6 offers Guidelines for New Transitional Building Types. Chapter 7 sets forth Character Area Design Guidelines. ® The Appendix lists federal and other historic preservation resources. This Manual is intended to provide guidance for improving properties within Downtown Dubuque. The guidelines are for property owners planning exterior alterations and additions to or the rehabilitation of existing buildings. They also apply to the design of new structures. The guidelines will help property owners understand the historic character of downtown and assist owners when planning repair, maintenance, rehabilitation and new construction. The intent and purpose of the guidelines is to stimulate the restoration and rehabilitation of structures and all other elements contributing to the character and fabric of the downtown. Although new construction is invited and encouraged, primary emphasis is given to the preservation of existing buildings, provided the design of such new places enhances and contributes to the aesthetic character and function of the property and the surrounding area. The Downtown Design Guidelines are meant to assure that preservation efforts and property investments are protected by providing direction for future downtown improvements. These guidelines seek to manage change such that the traditional character of the area is respected while accommodating compatible improvements. They reflect the City's goals to promote economic development, enhance the image of the area, and reuse historic resources. The guidelines draw upon urban design principles of context- related design and pedestrian-oriented design that address how streets are crafted to be active and pedestrian-friendly and to establish a sense of relatedness among properties. Implementation The implementation of the guidelines could be regulatory, advisory, or incentive-based. The Planning Services Department currently administers regulatory, advisory, and incentive-based programs using design guidelines. Regulatory Examples of regulatory design guidelines are the Historic District Design Guidelines and the Port of Dubuque Design Standards. Work Session on Downtown Design Guidelines November 24, 2008 Page 3 The Historic District Design Guidelines are applied to exterior alterations in the City's 5 historic districts that require a building permit and are visible from public right-of--way. These projects are subject to design review by the Historic Preservation Commission unless signed off by Planning Services staff for compliance with these guidelines. The Historic District Design Guidelines also are used for the Historic District Public Improvement Program (HDPIP). Applications for HDPIP grants are made by neighborhood associations for streetscape improvements in historic districts. The Historic Preservation Commission conducts a design review of each application, and then provides a recommendation to the City Council. The Port of Dubuque Design Standards are triggered by site plans or building permits in the Port. Projects are considered by a design review committee that makes recommendations to the City Manager. This committee includes staff from the Planning, Engineering, Economic Development, and City Manager's Offices, and representatives from the Convention & Visitors Bureau, Greater Dubuque Development Corporation, Dubuque County Historical Society and Platinum Hospitality. As written. the draft Downtown Design Guidelines are reaulatorv. They would apply to exterior alterations that require a building permit, sign permits, and streetscape improvements that require a site plan approval (such as a parking lot) in the downtown area. All such work would have to comply with these design guidelines. Design review would be coordinated by the Planning Services Department. Appeals could be made to the Historic Preservation Commission or the City Council. The Building Services Department has handled 209 building and sign permits in the Downtown Design Guidelines project area over the last five years, averaging 42 permits annually. The regulatory approach would ensure that the City's urban design vision for Downtown Dubuque as set forth in the guidelines is accomplished to the fullest extent. Advisory An example of advisory design review is the review of public works projects in historic districts. By City Code, the Historic Preservation Commission serves as an advisory design review body to the City Council for these projects. As an advisory program, the Downtown Design Guidelines would apply to exterior alterations that require a building permit, sign permits, and streetscape improvements that require a site plan approval in the downtown area. Design review would be coordinated by the Planning Services Department. Again, this process would apply to an average of 42 permits annually. With this approach, there would be no requirement for the applicant to adhere to the design guidelines. Appeals would not be necessary with an advisory review. The advisory design review would promote the City's urban design vision for Downtown Dubuque as set forth in the guidelines. There likely would be less compliance than if the guidelines were regulatory. Incentive-abased Examples of incentive-based design guidelines are the Washington Neighborhood and Five Points Neighborhood Design Standards. These Neighborhood Design Standards are triggered by applications for Housing Rehabilitation programs in these areas. Review is handled in-house by the Planning Services staff as administrators of the City's Section 106 Memorandum of Work Session on Downtown Design Guidelines November 24, 2008 Page 4 Agreement for HUD-funded projects. If the property owner does not use City funds, then the design standards do not have to be followed. For the Downtown Design Guidelines, an incentive-based program would be tied to the City's funding programs available in Downtown Dubuque. Any project receiving public funds in the downtown area would have to comply with the Downtown Design Guidelines for any exterior alterations and streetscape/landscape improvements. The Economic Development Department has done 22 projects in the Downtown Design Guidelines project area over the last five years, averaging 4 to 5 projects annually, using the programs listed below: • City-funded programs for Downtown Dubuque are as follows: o Downtown Rehab Loan o Downtown Fagade Grant o Downtown Design Grant o UDAG Loans/Grants o CDBG Loans/Grants o Development agreements using TIF • State and Federal pass-through programs used in Downtown Dubuque are: o EZ (Enterprise Zone) o CEBA Community Economic Betterment Account o HQJP High Quality Jobs Program o EVA Entrepreneurial Venture Assistance o RLF Revolving Loan Fund o EDA Economic Development Administration o EPA Environmental Protection Agency For projects in the downtown area receiving public funds from one or more of the programs above, a design review process similar to the one used for the Port of Dubuque could be utilized. A Downtown Design Review Committee could be established, with staff from the Planning, Engineering, Economic Development, and City Manager's Offices along with representatives from the Convention & Visitors Bureau, Greater Dubuque Development Corporation, Dubuque Initiatives and Dubuque Main Street. The downtown incentive-based design review process would mirror the process used in the Port of Dubuque. Projects would be submitted to the Planning Services Department for analysis of compliance with design guidelines. This information would be considered by the Downtown Design Review Committee. Committee recommendations would be transmitted to the City Manager for final design decisions. Waivers from the guidelines could be granted by the City Manager. Appeals of the City Manager's decisions would be made to the City Council. The Dubuque Main Street Board of Directors could make design review a requirement for their Downtown Loan Pool, using the committee proposed above, their design committee, or some other process of the Board's choosing. RECOMMENDATION The Downtown Design Guidelines Task Force prefers a regulatory approach or an advisory design review for implementation of the Downtown Design Guidelines. Task Force members Work Session on Downtown Design Guidelines November 24, 2008 Page 5 acknowledge that an incentive-based format will be more readily accepted by downtown stakeholders than a regulatory approach. Task Force members are concerned that the majority of downtown development and redevelopment projects will be undertaken without consideration of the guidelines if an incentive-based process is used. Task Force members cited several projects that used inappropriate materials and styles for new buildings or additions that would not meet the proposed design guidelines. Task Force members suggested that a strong marketing effort be used by the City in partnership with Dubuque Main Street to increase awareness and educate property owners about the Downtown Design Guidelines if an incentive-based format is selected. They felt marketing the guidelines as a positive tool would help increase voluntary adherence to the guidelines. The Task Force also discussed a "phasing in" of the design guidelines with an incentive-based or advisory approach, and moving to a regulatory format if the results were not satisfactory. Whatever approach is used for implementation, we recommend that projects subject to review by the State Historic Preservation Office, such as projects applying for historic preservation tax credits, would not be subject to the Downtown Design Review. The State review would be more restrictive than the Downtown Design Guidelines, making the City review unnecessary. EUDGET INIPPrCT Implementation of the Downtown Design Guidelines will add to the administrative workload of the Planning Services Department whether the guidelines are regulatory, advisory, or incentive- based. An incentive-based format will be considerably less of an administrative impact on the Planning Services Department than a regulatory format or an advisory design review. The Planning Services Department should be able to absorb the administration of downtown design reviews within the current budget based on the historical caseload of four to five downtown financing projects annually. If this caseload increases substantially, we likely will require additional administrative support. The Planning Services Department could have difficulty absorbing the administrative impact of a regulatory or advisory process for the Downtown Design Guidelines within the current budget. A regulatory process would apply to exterior alterations that require a building permit, sign permits, and streetscape improvements that require a site plan approval in the downtown area. We likely would need additional administrative support for this effort. The impact on the Planning Services Department for an advisory design review process will be similar to the regulatory approach, although not as intense. The advisory design reviews will add to the administrative workload of Planning Services staff, because this process also would apply to all exterior alterations in the downtown. We likely would need some administrative support. REQUESTED ACTION The requested action is for the City Council to provide direction on the content, format, and implementation of the Downtown Design Guidelines at the December 1 work session. Final guidelines will be presented to the City Council for adoption at a subsequent meeting. Enclosures Citv Deaartments/Divisions: Planning Services -Laura Carstens, David Johnson and Wally Wernimont Engineering -Jon Dienst Leisure Services -Bob Fritsch Economic Development -Aaron Dejong Transit -Jon Rodocker Parking -Tim Horsfield Neighborhood Development - Jerelyn O'Connor Building Services -Jerry Stoffel Public Works -Don Vogt Housing & Community Development - Joleen Patterson Downtown Partners: Design Professionals -Jeff Morton, Architect and Gus Hammer, Durrant Group Contractors -Chad Walsh, Epic Construction Developers -Tony Pfohl, Fischer Companies; John Gronen, Gronen Developers Dubuque Main Street -Katie Bahl (staff) Chamber of Commerce -TBD Greater Dubuque Development Corporation -TBD Neiahborhoods: Washington Neighborhood Association -Theresa Caldwell Downtown Neighborhood Council -TBD Warehouse District -Paul Butler, Gronen Restoration; Rhonda Dunbar, Avery Railing Historic Preservation Commission: Joseph Rapp $' ~ o ° °. . 7 4 E '_ ~ m y Q i e o . ~~ ~ ~- ~Fe~. b ~ ~~~t'`' ' oaf t •Q aO©O 'yia ~ ~ 1! . ~ s Q .. t~ y a c ,~ e, 4 } G d~'i°9w o -f7 7 ~a ,~ a,~ ~ `•~ ,~ , ~. 9 M1 ~:q e•, b ~ q~aao . ~~9,e ®~ & ~ •l b 9 ~ t ,fj .~Cy~B F-~-' ;~6 u ~A ,`c~~,a ,•°:~ SJ ~ 44 a0 ,°~ ty vCd6 • ..~ ~'d~ ~ ~ ,~ ~ 1 ~ =~, 4 i. ~ ~~,~~' ~- ~5 ,~~a'^ Oo•~\~.C <~na° ~ °~° 1t ~ , FLj 6 ~~3 ~' ~ ~ - [ ~ 3 o L ~ ~ d0``~ ~ ~ ~aL ,~'o - 6~~A ),, ~ 6~ " a.p . ,f8 b ~ nb ~ ~Fy ~ ~~` ~~J_ .I~ ey, ®e.A~ ~q~' 0 .~~_ - QG `a ~`~ !.~ h_ f" i7E d ~,n • < .J ,.a '1 ~~ ~ ~'. aid t3~ .,~. G8• C7 fi& n {{ ~ d p y, ~ ~ X39 7~ l79 ~ ~ ` - c c! d s ~~ ~ C ... ,`~` ~ i ~ O~~,ry ~1a1[fan1 €3 L`~C~°a@.Fj 6~r 5~,~a, >. o ~ ~ G : .; `' _ o~`~ v e~• o`~°`~ a ~~.y `. Fo ^ ae P '~lo v~ ~*a - n o t_ si ,~"~ S1A e° . i a . a o '°Q ~~~~~ fOB o h I ~a °nBIS ~ o ~ .~~1 ~> a, a~~=<,~~;~o.,d~ n• .: ~ ~ F Legend ff a I ~`' ~' e gr ~ ~~~~ ~?iF'"~~ ~~~~_~ ~3 ~ ~ ~ e~~ ~ ~~ ~ - ` - Proposed Downtown Design Guidelines ~ F~,a~ 8a~z~ ,II ~~ Fes: - ~ ~ ~~ Historic District Design Guidelines ` ~/•/ °~ `-"°""~L~~~ 'F a~Z~~) -_~ •0119 ~'~ ~ °~ ~ - _~ _ Port of Dubuque Design Standards ~~, ~ °~~ ^{~i ~ ~ _ ~ , a~ National Register Properties / ~~ a~11 a'I"I) liz'~oa:l •?. yti r`y°~!I Z~. Q~ ~~ '~ - ~ :~sy `~4; 3 ~ ,~ :'i~..-: ~ ~ 6 .ate ~rTu --- - ~ kd [.~a~Il ed 8~gr7~ 6a°~ (~ ~ ~6~F~ - l3 rs ey °_ ~. ri ~- r--~~ ®~ ~`I~~ t~~~~ 3 ' ~ JUI Sg si ~ ~. .1~, u~cC i1 :.':~36a3~. ~ ra la ~~r ~ ~ - ,~,~ r-1 m ~~~ ~ e C7, '~ ~e S~L, ~ F ~: 9.;v1'~ IAA £:a ~~ ` i - ~ r C.: F t i.l Y31 `v° f`4 Lj~-r~laY'~ v t f~ _ t f _ ,f l - :~ ]~ L ~~ r, I ' ® LI z-6^c 1QTI~u Fry -'~~Ijy n ® ~ - I - - ,?\ ,~ `-~ ~- y car `,_ - _ - _ \ t ~/ . . ~ ~ r ~ a ql.~ 0i)e~ r1 ~~ 4 ~ - I ~ ~ e , ~® ~ I E ~ n F~c~~ty ~~~ a~~''e e ~ a F' ~ ~~ "- , _„ _ i 3a__._I-,1~ .. s .T 2/ ~ i Y"t ~ ~ ` c ~ ~. ! ~~~ ~! ~ _ CA ° = ~ ~ , ~- 151 r~., ~ - r. ~ ~ >.: c n ~ ,~ , - ~ ~ s EAD - ] O ~E C , c 9 _ r-„ } : -, sil - - (+ p ~ S L ^ L7 l _ -"~ta~ - ~ ~' ~ i' CI n ~ _ klR~iBO ~'~ n o ~, a ,~ :>9~ t , -~ ~ y ~ ~ p r ~s o r ~f~ I,y 67 G] `y _ -- ~/ \ \~j "~ ~ tit ~~/`~' 20 . ~ e: 'tea ~: ' ~ I ~ ~:~ . c f j ` Acknowledgments City ofi Dubuque City Council: Planning Commission: Downtown Design Guidelines Task Force: City Sta#f: Main Street Program Special Thanks A special thank you to all the community members who participated in the workshops during the design guidelines process. The activity that is the subject of the Downtown Design Guidelines has been financed in part with Federal funds from the National Park Service, U.S. Department of the Interior and awarded and administered by the State Historical Society of Iowa. The contents and opinions do not necessarily reflect the view or policies of the Department of the Interior, nor does the mention of trade names or commercial products constitute endorsement or recommendation by the Department of the Interior. This program received Federal financial assistance for identification and protection of historic properties. Under Title VI of the Civil Rights Act of 1964, Section 504 of the Rehabilitation Act of 1973, and the Age Discrimination Act of 1975, as amended, the U:S. Department of the Interior prohibits discrimination on the basis of race, color, national origin, disability or age in its federally assisted programs. If you believe you have been discriminated against in any program, activity, or facility as described above or if you desire further information, please write to: Office of Equal Opportunity, National Park Service, 1849 C Street, N.W., Washington D.C. 20204. Consultants lNinter ~ Company 1265 Yellow Pine Avenue Boulder, CO 80304 (303) 440-8445 www.winterandcompany.net City of Dubuque's Historic Downtown Area [ iv ] Introduction Part 1: Overview Policies Underlying the' Guidelines Principles of Urban Design Part II: Design Review System What are Design Guidelines? Why have Design Guidelines? Determining Compliance with the Guidelines Which Guidelines Apply? Components of Design Guidelines Part III: Historic Preservation Benefits of Historic Preservation Basic Preservation Theory Preservation Briefs The Secretary of the Interior's Standards for Rehabilitation Choosing an Approach Glossary Planning a Preservation Project Architectural Styles 4 9 Chapter 1. Rehabilitation Guidelines for Historic Properties 27 Character-Defining Features Historic Building Materials Individual Building Components Rehabilitation of Historic Commercial Properties Rehabilitation of Historic Residential Properties Rehabilitation of Historic Warehouse Properties General Rehabilitation Chapter 2. ®esign Guidelines for all Properties Topography Street Patterns Alleys Streetscape Architectural Character Materials Rooftop Uses Parking Buffers Site Lighting Service Areas Mechanical Equipment Awnings and Canopies Signs 67 [v] Appropriate Sign Types Public Art Fences, Site Walls and Retaining Walls Chapter 3. Guidelines ~®r New C®rnrnercial building Types S9 Building Setbacks Mass and Scale Building and Roof Form Horizontal Alignment Solid-to-void New Storefront Character Chapter 4. Guidelines f®r New Residential building Types 99 Building Setbacks Mass and Scale Building and Roof Form Solid-to-void Secondary Structures Chapter 5. Guidelines t®r New 1/!lareh®use building Types 905 Building Setbacks Mass and Scale Building and Roof Form Horizontal Alignment Solid-to-void New Facade Character Chapter 6. Guidelines ~®r New Transiti®nal building Types 113 Building Setback Mass and Scale Roof Form Chapter 7. Character Area ®esign Guidelines ~~~ Downtown Core Downtown Transitional Warehouse Neighborhood Corridor Appendix 126 The Secretary of the Interior's Standards for the Rehabilitation of Historic Buildings Preservation Briefs Glossary of Terms [vi] Introduction Part I: Overview The historic core of Dubuque has served as the cultural center of the region for many years and retains numerous buildings that convey its early character. Many downtown structures have historic significance and have been renovated to enhance the quality of life as well as the community's economy. Citizens and property owners have recognized that the character of development downtown is of community interest. It is their goal that downtown continues to develop in a coordinated manner so that the character is maintained. This document provides guidance for improving properties within Downtown Dubuque. The guidelines are for property owners planning exterior alterations and additions to or the rehabilitation of existing buildings. They also apply to the design of new structures. The guidelines will help property owners in understanding the historic character of downtown and assist owners when planning repair, main- tenance, rehabilitation and new construction. The City of Dubuque created the document through an interactive process between the residents and a steering committee. This dia- logue resulted in the classification of values and setting of goals for the downtown. In the community workshop participants discussed positive attributes of the city's downtown and identified design issues associated with future development. ........................... The design guidelines : assure that preservation efforts and property investments are protected by providing direction for future : downtown improvements. • ........................... Introduction ~~~~{~o~~ ~c1~~9~rr~~jo~~ ~~~ ~~ac~~~u~c~ These guidelines seek to manage change such that the traditional character of the area is respected while accommodating compatible improvements. They reflect the City's goals to promote economic development, enhance the image of the area and reuse historic re- sources. The following goals from the Dubuque Downtown Master Plan, adopted December 2003, apply: • Appoint a team of designers to establish commercial design guidelines for commercial properties Downtown, which are sensi- tive to the historic and physical environment, yet promote quality and sustainability. • Adjust landscaping requirements to include green space and public art. • Establish a task force of/ocal experts to prepare design guidelines for Downtown character districts • Encourage the reuse of historically significant buildings for resi- dential use. Enhance downtown surface lots. Continue to encourage and support outdoor dining. Encourage the reuse of historically significant buildings. the promotion and encouragement of the use of historical struc- tures of commercial, entertainment, cultural, educational, and residential purposes for people of all ages and backgrounds. Streets that enhance the beauty, charm, and vibrancy of the Downtown area through the use of color and texture in such things as landscaping and amenities. Enhance Downtown surface parking lots with internal and perim- etershade trees, lowhedges, seasonal flowers, securitylighting and decorative metal fencing. • A renewed emphasis on preserving and promoting Downtown's residential historic architecture. 2 Design Guidelines ~~i~~i~i~~ ~f ~lrb~n ~~~i~n The guidelines in this document draw upon urban design principles that address how streets are designed to be active and pedestrian-friendly and to establish a sense of relatedness among properties. Many of these concepts are commonly used in the design community, and are described here to assure a broader understanding of how they are applied in the design guidelines. Context-Related Design Traditional buildings combine to establish a sense of visual continuity in several areas of the downtown. Many of the design guidelines encourage designs that draw upon basic framework features of these established contexts. This is especially important in historic contexts, but also in areas where a stronger sense of visual continuity is a primary objective. Forthis reason, many guidelines lookto established patterns of facade articulation, use of materials and building massing. Nonetheless, new, creative designs that reinterpret these traditional patterns are also encouraged. Pedestrian-Oriented Design Providing features which are visually interesting and that are inhuman scale are essential tocreating apedestrian-friendly environment. This may include storefront windows, display cases, art and landscaping. Introduction 3 Part II: ®esign Review System The Downtown Dubuque Study Area was created by the City of Dubuque to emphasize the historic core of the community. It en- compasses Dubuque's Old Main Historic District as well as the many individual National Register listings. All proposed alterations (including demolition) to structures and sites within the area are subject to design review by the city and to standards set forth in the unified development code. The intent and purpose is to stimulate the restoration and rehabilitation of structures and all other elements contributing to the character and fabric of the downtown. Although primary emphasis is given to the preservation of existing buildings, new construction is invited and encouraged, provided the design of such new places enhances and contributes to the aesthetic character and function of the property and the surrounding area. What are Design Guidelines? The guidelines convey general policies about the design of alterations to existing structures, additions, new construction and site work. They do not dictate solutions; instead, they define a range of appropriate responses to a variety of specific design issues. Why have Design Guidelines? One purpose of the guidelines and the review process through which they are administered is to promote preservation of the historic, cultural and architectural heritage of Dubuque. An essential idea is to protect historic resources in downtown Dubuque from alteration or demolition that might damage the unique fabric created by buildings and sites that make up the core of the city. The guidelines also promote key principles of urban design which apply throughout downtown, even in parts that may have less of a historic context. These include guidelines to maintain an attractive pedestrian-oriented environment. The design guidelines also provide a basis for making consistent deci- sionsabout the treatment of historic resources. In addition, they serve as educational and planning tools for property owners and their design professionals who seek to make improvements. While the design guidelines are written for use by the layperson to plan improvements, property owners are strongly encouraged to enlist the assistance of qualified design and planning professionals, including architects and preservation consultants. 4 Design Guidelines Determining Compliance with the Guidelines The city will administer the guidelines. In doing so, they will consider how each project meets the guidelines and how the work would help to accomplish the design goals set forth here and in the Unified De- velopment Code. Which Guidelines Apply? The guidelines apply to all work subject to design review in the study area. Different chapters will apply depending upon the type of project. Those that have historic significance will have guidelines for preser- vation along with other general standards. More general guidelines for compatibility apply to a new building. In addition, some guidelines vary by building type. For example, those for commercial buildings, are different from those for residences. The following is a general overview of different project types and their related guidelines: > ~. i~" ~89r .'~~~ i ! a"~i'~1;i~ ~ Ja -:~,~g I'i~ I,I ~ c .~.!it ~~,'.._'d;?`-1 In general; these are properties that are at least 50 years old, although exceptions do exist when a more recent property clearly has historical value. A property may be significant for several reasons (See Page 10). Focus is on maintaining the general form, character and materials. Ia~;sj~.l ,,~j'e rrrg~1y del''"(~ a~ `~ `'[~ 1~~ a.3 These are more recent properties, or older ones that are substantially altered, which lie within the study area. 37 These are new redevelopment projects and/or additions to non-historic properties. Please see the diagram on the following page to determine which guidelines apply to a project. Introduction rn 0 ti 3 C_ Q ~_ (D ~ O ~ -z ~ ~ ~ ~ N ~~ D ~ ~ ~' g - a o ~ _m m ~ ~ ,..s. s mom, ~ ~ `°v c ~ -~- ' -.~` ¢~ ~ o a ~; o ~ D o ~ ~ ~ ~ ~ ~ -~ m o ~ v ~ ~ ~ ~. ~ ~ o ~GO~~~e(P ~o ~s~: ~. ~ ~ ~~ ~~ ~ ~ ~ - ~ < < < Introduction ~ ~ Chapter 1: Rehabilitation Guidelines for Historic Properties < < < Chapter 2. Design Guidelines for All Properties ~ °~ ~ ~ ~ Chapter 3. Guidelines for Commercial " ~^ N ~ ~ Properties ,~ ~ ~ °, ~ ~ ~ Chapter 4. Guidelines for Residential ~ M w ~~., v~ ~ M ' w Properties ~ ~ ~ Chapter 5. Guidelines for Warehouse G ~ °~ (D G ~' S N Properties ~ ~ ~ Chapter 6. Guidelines for New '° ~ '" Transitional Properties ~ ~ ~ ~ ~ w w w Chapter 7. Character Areas ~~~p®n~nt~ :~~' ~~~s~~ ~~i~~lin~~ Each chapter of the design guidelines contains the following compo- nents: Design Element -The first is the design element category (e.g., streetscape elements, site planning, building materials and secondary structures) underwhich the design guideline falls. Policy Statement Second is a policy statement explaining the city's basic approach to treatment of the design element. This is the basis for the more detailed design guidelines that follow. In cases where special conditions in a specific project are such that the detailed design guidelines do not appear to address the situation, this general policy statement shall serve as the basis for determining the appropriateness ofthe proposed work. Policy statements are in large typeface. Design Guidelines Third is the design guideline statement itself, which is typically per- formance-oriented, describing a desired design treatment. The specific design guidelines are numbered and presented in bold face. Additional Information , The design guideline statement is followed by supplementary informa- tion that is treated as sub-points of the guideline. These sub-points may include additional requirements, or may provide an expanded explanation. These sub-points are listed as bulleted statements. (•) Illustrations Design guidelines are further explained through the use of photographs and illustrations. The images used should not be considered the only appropriate options, but rather used as a guiding reference. In most in- stances,there are numerous possible solutions that meet the intention of the design guidelines as well as the needs of the property owner. In order to help the reader determine design approaches that are appropriate, many of the illustrations are marked with either a / or an K. Those illustrations marked with a / are considered appropriate solutions, whereas those illustrations marked with an X are not ap- propriate. Introduction Detail of Design Guideline Components ~haeac~er~®efinin~ I''ee~ure~ Policy: Historic features, including original materials, architectural details, window and door openings, contribute to the character of a structure and should be preserved when feasible. Continued maintenance is the best preserva- tion method. Guideline 1. Protect and maintain significant stylistic features. • The best preservation procedure is to maintain historic features from the outset so that intervention is not required. • Preserve character-defining features. Then, repair only those features that are deteriorated. Finally, replace only those fea- tures that are beyond repair. S Design Guidelines Protect and maintain significant sfylistic features, such as this window detail. Part III: Historic Preservation Historic preservation is well-established in many parts of the city. The community has initiated preservation initiatives to protect the many historic districts and historic resources. While community goals and economic conditions change over time, preserving its heritage re- mains aprimary goal of Dubuque. ~~nefits ~f Hist®ri~ Pr~s~~v~ti®n Livability and Quality of Life When historic buildings occur on a block, they create a street scene that is "pedestriari friendly," encouraging walking and neighborly in- teraction. Decorative architectural features also contribute to a sense of identity that is difficult to achieve in newer areas of the city. This sense of place can also reinforce desirable community social patterns and contribute to a sense of security. Economic Benefits Historic properties are finite and cannot be replaced, making them precious commodities. Therefore, preservation adds value to property. Rehabilitation 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 the purchase of materials available locally. By contrast, new construction typically has a higher percentage of each dollar 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. Adaptability Owners also recognize that the floor plans of many historic properties easily accommodate changing needs. Rooms in both historic homes and commercial buildings are frequently large, permitting a variety of uses while retaining the overall historic character. Responsibility of Ownership Ownership of a historic property carries both the benefits described above and also a responsibility to respect 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. Ultimately, residents and property owners should recognize that historic preservation is a long-range community policy that promotes economic well-being and overall viability of the city at large. Introduction Environmental Sustainable development and the conservation of resources is an inherent central principle of the preservation of our historic resources. Sensitive stewardship of the existing building stock rather than its re- placementcan significantly reduce our environmental impact. Preserv- ing and adapting a historic structure is sound environmental policy in all respects. In basic terms, reusing the building preserves the energy and resources invested in its construction and removes the need for producing new construction materials. Construction Quality As a rule the quality of early construction and materials was higher than today. Lumber used in early Dubuque came from mature trees, was properly seasoned and typically milled to "full dimensions," providing stronger framing. Buildings also were thoughtfully detailed and the finishes were generally of high quality. The quality of construction in earlier buildings is therefore an asset which is impossible to replace. Building Construction The City has adopted the 1997 Uniform Code for Building Conserva- tion (UCBC), which promotes the conservation of historic structures and Dubuque Historic Building Code- Chapter 11 of the Dubuque City Code which also promotes the same. ~~~s~ ~~~~~~~~i®n `~h~®Ir~ 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 significance, although exceptions do existwhen a more recent property clearly has historical value. A property may be significant for one or more of the following reasons: • Association with events that have made a significant contribution to the broad patterns of our history; or • Association with the lives of significant persons in our past ; or • It has distinctive characteristics of a type, period, or method of construction, or that represent the work of a master, or that possess high artistic values, or that represent a significant and distinguishable entity whose components may lack individual distinction; or • It has yielded or may be likely to yield, information important in history or prehistory. • It is a structure, property, object, site, or area that has sufficient integrity of location, design, materials and workmanship to make it worthy of preservation or restoration. • An established and familiar natural setting or visual feature of the community. 10 Design Guidelines Period of Significance Inmost cases, a property is significant because it represents or is asso- ciated with a particular period in its history. Frequently, this begins with the construction and continues through the peak of its early occupation. Building fabric and features that date from the period of significance typically contribute to the defining character of the structure. Historic districts also have a period of significance, which is the case with the Old Main Historic District. Other areas of Downtown may also be eligible. The "period of significance" is noted in the National Register nominations. Throughout each of these periods the historic districts have been witness to a countless number of buildings and additions which have become an integral part of the neighborhood. Conversely, several structures have been built or alterations have been made after this period which are generally considered non-contributing and may be considered for removal or replacement. 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 significance. The majority of the building's structural system and materials should date from the period of significance and its character-defining features also should remain intact. These may include architectural details such as storefronts, cornices, moldings and upper-story windows on commercial buildings and dormers, porches, ornamental brackets, and moldings on residential buildings. The overall building form and materials should also be intact. These elements allow a building to be recognized as a product of its own time. Alterations Many historic structures have experienced alterations over time as design tastes changed or need for additional space occurred. In some cases, an owner would add a wing for a new bedroom, or to expand the kitchen in residential buildings. Building additions on the back of commercial structures were also common. These alterations typically were subordinate in scale and character to the main building and were often executed using materials that were similar to those in use historically. Some early alterations may have taken on historic significance of their own. One constructed in a manner that is compatible with the original building and that is associated with the period of significance may merit preservation in its own right. In contrast, more recent alterations usually have no historic signifi- cance. Some later additions detract from the character of the building and may obscure significant features, particularly enclosed porches on residential buildings and enclosed storefronts on commercial build- ings. Removing such additions or alterations may be considered a rehabilitation project. Introduction ~~ This tradition of alterations is anticipated to continue. It is important, however, that new alterations be designed in such a manner that they preserve the historic character of the primary structure. ~~~~~~va~i®n ~~in~ipl~~ The following preservation principles apply to all historic properties: Respect the historic design character of the building. • Don't try to change its style or make it look older than its actual age. Confusing the character by mixing elements of different styles can weaken the appearance and historic quality of the structure. 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 forthe building thatwill require minimal alteration to the building and its site. Changes in use requiring the least alteration to significant ele= ments are preferred. In some instances, however, a radical change in use may be necessary to keep the building in active service. In order to adapt a building to the proposed new use, the alterations may be too extreme and the proposed loss of historic building fabric would require a reassessment of a more appropriate use. Experience has shown 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 to prevent inter- vention. Protection includes the maintenance of historic material through treatments such as rust removal, caulking, limited paint removal and reapplication of paint. 72 Design Guidelines Preserve any existing original site features or original building materials and features. • Preserve original site features such as rock retaining walls. • Avoid removing or altering original materials and features. Pre- serve 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 preservation meth- ods whenever possible. If disassembly is necessary for repair or restoration, use methods that minimize damage to original materials and the replacement of original configuration. `I'i~~ ~~~r~t~ry ~f the Int~ri®r'~ ~t~l~~~r~1~ fir t~r~ ~r~~tr~~r~t ®f I~i~t®ri~ I~r~~~rti~~ It is the intent of this document to be compatible with The Secretary of the Interior's Standards for the Treatment of Historic Properties., while expanding on the basic rehabilitation principles as they apply in Dubuque. (See Appendix A) I~r~~~i~~ti~l~ ~ri~f~ The Cultural Resources Department of the National Park Service, in the U.S. Department of the Interior, started a program in 1975 that publishes a series of technical reports regarding proper preservation techniques. This series, Preservation Briefs, is a mainstay for many preservationists in the field. When considering a preservation project on any historic property, these resources should be sought out (See Appendix B). Introduction 13 C~~~~~a~~ ~~ ~~~~~~~~~ ~~~~~~~~ Preservation projects may include a range of activities, such as main- tenance of existing historic elements, repair of deteriorated materials, replacement of missing features and construction of new additions. When planning a preservation approach, consider the definitions of the following terms: • Preservation. The act or process of applying measures to sus- tain the existing form, integrity and material of a building. Some work focuses on keeping a 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. Property owners are strongly encouraged to main- tain properties in good condition. • Rehabilitation. The process of returning a property to a state that makes a contemporary use possible while still preserving those portions or features of the property which are significant to its historical, architectural and cultural values. Rehabilitation may include a change in use of the building or additions. • Renovation. The process of improving by repair, to revive. In renovation, the usefulness and appearance ofthe building is en- hanced. The basic character and significant details of a building are respected and preserved, but some sympathetic alterations may also occur. • Restoration. The process of reproducing the appearance of a building exactly as it looked at a particular moment in time. This may include the removal of later work or the replacement of missing historic features. • Remodeling. The process of changing the historic design of a building. The appearance is altered by removing original details and by adding new features that are out of character with the original. Remodeling of a historic structure is inappropriate due to the loss of original fabric. • Reconstruction. The process of rebuilding a structure that no longer exists exactly as it appeared historically. 74 Design Guidelines I~lan~ln a ~e ati®n ~®je~t The first step in planning a preservation project is to identify any character-defining features and .materials of the structure. Retaining such details will greatly enhance the overall quality of the project. If they are in good condition, then selecting an appropriate treatment will provide for proper preservation. In making the selection, follow this sequence: • Preserve: Jf a feature is intact and in good condition, maintain it as such. • :Repair: if the feature is deteriorated or damaged, repair it to its original condition. • Replace: If it is not feasible to repair the feature, then replace it with. one that is fhe same or similar in character (e.g., materials, detail, f Wish) to the original one. Replace only that portion which is beyond .repair. • Reconstruct: If the feature is missing entirely, reconstruct it from appropriate (photographic) evidence.'(This treatment is only appropriate for small portions of a project, not the majority of the work.) • if a .new #eature or addition is necessary, design it in such a way as to minimize the impact on original features. In essence, the least level of intervention is preferred. By following this tenet, the highest degree of integrity will be maintained for the property. ~~oe~u~~l 1~~ Each of the following styles descriptions includes several photographs illustrating Downtown's most common historic styles and their basic features. However, styles are rarely "pyre" in form, and there are a wide range of variants that may exist within individual styles. It may also be the case that alterations or additions have been made to these structures, resulting in features which are not characteristic of the style of the building. ' Introduction 15 Commercial Elaborate cornices Round arched window Simple detailing Banding Finished masonry Symmetrical primaryfa4ade. A variant of the general revival of interest in Classical styles at the end of the nineteenth century, the Italianate focuses more specifically on the replication and adaptation of Renaissance precedents, as op- posed to the ancient models that inspired the Classical Revival. It was a common style for buildings such as libraries, banks, courthouses, and other buildings that sought to convey a message of strength and security. Building massing and plans are a key feature of the style. Buildings are often composed of large, rectangular masses, usually three stories in height, with a strictly symmetrical primary facade. The facades are divided into horizontal registersthrough the use ofstring courses, band- ing, material changes, and different windows shapes and surround. Italianate is the use of the semi segmental elaborate window arches and the centered recessed pediment. Detailing was usually simple and minimal, with decorative features limited to door surrounds and window hoods, modillions, keystones and elaborate cornices. Notable features include large round arched windows, arcades and high quality masonry materials with fine finishing. 16 Design Guidelines .ate lfict®rian® Italiart~te c. 1880-1920s l~~a~~ 1Is~?~~~i~n ~ t~a~~~~~ ~n~t~ c. 1880-1920s The Queen Anne style departs from the otherwise flat front wall plane to add pavilions, pilasters, orioles and corner turrets. The Queen Anne style emerges in the mid-1880s and is translated into commer- cial block design in the form of asymmetry; a busier external wall surface in terms of mixed materials and finishes (terra cotta, stone, pilasters, belt courses); and a richer parapet level ornamentation. The Queen Anne influence is represented by the conservative, yet measurable use of facade ornamentation and the mixing of building materials. ~.~~,~ r , . ~ . ,.. ~ ~ -~ - t ~ - 14 . ~- ,_, ~ d ~ - ~ ~ { ~ r` ~- , .. - Richer parapet Round arched window Mixed materials and finishes Pilasters Introduction 77 Symmetrical window pat- tern with decorative frames Corinthian pilasters Hierarchically divided fa- cadewith clear base, middle and cap Prominent central entry This immensely influential style in the United States at the end of the nineteenth century was inspired by the Classically-referenced work of the Ecole des Beaux Arts in Paris, which was considered the premier architectural school of the time. The style came to America through architects who trained abroad, and was popularized by the "White City" at the 1893 World's Columbian Exposition in Chicago. The style consists of a distinctly eclectic combination of a variety of Classical ele- mentsdrawn from both ancient, Renaissance, and Revival examples, and was most commonly used on public buildings and commercial structures. Although examples of the style can include an almost limit- lessnumber ofClassical elements in various combinations, the typical features include a rigidly symmetrical front facade with a hierarchical arrangement of elements divided by Ionic or Corinthian pilasters or columns, and entablatures decorated with brackets or swags. 78 ~~~i~.ls( ~1 c. 1885 -1930 Design Guidelines Popularized in the late nineteenth and early twentieth centuries, the Neo-Classical style is part of the larger revival of interest in Classical styles inspired by the "White City" of the 1893 World's Columbian Ex- position in Chicago. Similar to the BeauxArt and the Classical Revival in its dependence upon Classical prototypes, the Neoclassical is more restrained and less literal in its use of the elements of the Classical vocabulary, compressing three-dimensional columns and entablatures into crisp, two-dimensional forms that rely heavily upon the impact of their outline and the play of light and shadow across the surfaces. The style can be identified by its rigidly symmetrical facade, flat attached decoration in the form of panels and pilasters, and heavily incised geometric and floral decoration. Stepped parapets at the gable ends Double hung windows Geometric and floral decorative features Compressed two-dimensional columns Brick construction Introduction 19 ~~~b~j-~,1-,;~~et ~l Nv~Il~~~l c. 1895-1920 f~~r~~ib~f~ ?l~~~j~tt~~tl~~l~r~ ~~~~c~~~~sal~l~i [~~re~ c. 1920-1940 ..., Simplified cornice - 1 - . _~ y~_. Boxy masses ~ " =`° ~ - _ _ _ ~ ~ _ Symmetrical facade ~ ~ `~ ~~ ~~ ~'~ Vertical windows and ',`~. '. recesses Light brick exterior This style is a variation on the International Style that was developed among the European avant-garde in the early twentieth century, and spread to the United States in the period between World War I and World War II. Art Deco was not widely accepted as a residential style due to its stark, streamlined appearance, but it was commonly used as a commercial style. The plain surfaces of the boxy masses trimmed with multiple vertical recesses, ziggurat-like setbacks, stripped-down classical elements, and shiny, corrugated white metals were considered to be evocative of the speed and mechanization of the industrial boom in the 1910s and 1920s, also referred to as the "Machine Age". While most California examples were executed in stucco as a reference to the style's Mediterranean origins, the Dubuque examples adopt a more sensible and climate-tolerant light masonry exterior. 20, Design Guidelines Residential c. 1840 -1860 Few examples of this style remain intact in Dubuque. They are charac- terized by their narrow, compact massing, brick construction, stepped parapets at the gable ends, multi-light double hung windows, and an entry with multiple light sidelights and transom. Stepped parapets at the gable ends Multi-light double hung windows Narrow, compact massing Brick construction Introduction 2 ~ The Federal style appeared in Dubuque through the spread of sty- listic information among the river towns throughout the Midwest. It represents long-standing tradition of Federal-style architecture that flourished in the prosperous towns along the Mississippi River. Gabled roof Symmetrical facade Large 1/1 double hung windows Limestone detail highlight- ingwindow sills and heads Simple rectangular brick mass There are many structures within the existing historic districts that do not fall neatly into a single stylistic category. These are loosely termed as "Brick Vernacular" or "Victorian Vernacular", and represent an interesting local variant that mixes simple architectural forms with high quality materials and simple detailing that is freely borrowed from a variety of high style sources. This local style is characterized by simple rectangular brick masses, gabled roofs, symmetrical facades, large 1/1 or 2/2 double hung windows often with arched heads, and a sparse use of limestone detailing to highlight select features such as window sills and heads. 22 Design Guidelines [~uh~l~~a~l~ricic !/~r~~rilal~r c. 1850-1890 Two and three-story brick workers' flats are common in the historic districts near the downtown, and they were constructed to house the families of those who came to work in many manufacturing firms in Dubuque. In form they are essentially a rectangular brick block with the long side oriented toward the street. The facades are very regular and symmetrical, consisting of two, full-height bays flanking a central entry, which is often covered by a small open porch. The detailing draws from the Italianate style that was popular in residential architec- tureduring the latter half of the nineteenth century, including a large, projecting cornice with brackets, tall, narrow double hung windows, carved stone window hoods, and carved wood posts and brackets at the porches/entries. Some examples incorporated decorative brick or stone detailing in the form of bands, water tables, or string courses, as well as a decorative glazing in the doors or bay windows. Large, projecting cornice Decorative stone detailing Tall, narrow double hung win- dows Two, full-height bays Carved stone window hoods Symmetrical facade with center entry Introduction 23 c. 1860 - 1900 Cupola with ogee mansard roof Boxy, mansard roof Wide decorative eaves Tall, narrow windows Prominent carved window hoods Double entry doors A very common style, the Second Empire was a direct derivation of the style popular in France during the reign of Napoleon 111 from 1850-1872, also known as that country's Second Empire. The most distinctive feature is the boxy Mansard roof, which encompasses the upper story and provides an additional level of living space. In most other respects the style is quite similar to the Italianate, with its tall, narrow windows and double entry doors, prominent carved window hoods, wide eaves with large decorative brackets and cupolas, which also use a Mansard. roof, but with a curved or "ogee" profile that is distinct from the roof on the main body of the house. 24 Design Guidelines late Vi~t~r~i~i~~ ~ec~nd ~r~pi~e~ h~l~n~a~°~ c. 1855 -1885 Warehouse ;~ :~ f i+ 1 ~ ~K -' ___ .. Renaissance revival warehouse buildings are often composed of large, rectangular masses. The primary material is brick with accents of stone masonry, wood or metal. Detailing was usually simple with decorative features including door surrounds, window hoods, modil- lions, keystones and elaborate cornices. Flat roofs are most common; however, gable roofs screened by parapet walls are also seen in this style: Round arched double-hung windows with 1/1, 2/2 and 4/4 pat- ternsare characteristic of the style. Raised loading docks for handling goods are common to this style; some project from the facade while others are inset behind the building plane. Loading bay doors and openings were typically rectangular, although were sometimes arched. Metal or wood canopies sheltering the loading dock are also typical of the style. ~~ »;~- ,~ '~'! ;.~,~lo ''~~ . - • ~. i ~"ai~i . , Flat roof with decorative cornice Roundarched double-hung windows Rectangular box form Brick facade Sheltered loading dock with rectangular bay doors Introduction 25 Renaissance Revival Flat roof 8/8 and 12/12 double-hung windows Brick facade Rectangular box form Brick Vernacularwarehouse buildings typically have simple rectangu- lar box forms, with decorative features limited to windows and doors. The predominant building material is brick; however, stone masonry in foundations and window sills are common. Windows are 8/8 grid 12/12 double-hung, both round arched and rectangular. Typical features in- clude loading docks, loading bay doors and openings and flat roofs. 26 Design Guidelines stick Vernacular Chapter 1 Rehabilitation Guidelines for Historic Properties This chapter focuses on rehabilitation guidelines for historic build- ings. The guidelines are divided into sections discussing the overall character-defining features, the materiality of those features and the individual building features. Guidelines also address specific issues in regard to historic residential, commercial and warehouse building types, including additions. Character-Defining Features Policy: Historic features, including original materials, architectural details and window and door openings, contribute to the character of a structure and are referred to as character-defining features. They are often closely associated with specific architectural styles. They should be preserved when feasible. Continued maintenance is the best preser- vation method. Guidelines: 1.1 Preserve and maintain significant stylistic and archi- tectural features. • Maintain character-defining features. • Storefronts,. historic fire escapes, cornices, porches, turned columns, brackets, exposed rafter tails and jigsaw ornaments, if historic, are examples of architectural features that should not be removed or altered. • The best preservation procedure is to maintain historic features from the outset so that intervention is not required. Employ pre- ventive measures such as rust removal, caulking, limited paint removal and reapplication of paint. These should not harm the historic materials. • Do not remove or alter architectural details that are in good condition or that can be repaired. Historic features, including original materials, architectural details and window and door openings, contribute to the character of a structure and are referred to as character-defining features. Chapter 1 2~ Details such as these collonettes should be preserved in order to avoid the need for replacement in fhe future. 1.2 Avoid adding elements or details that were not part of the original building. • For example, decorative millwork should not be added to a building if it was not an original feature. Doing so would convey . a false history. When disassembly ofa historic feature is required in a restoration procedure, document its location so that it may be repositioned accurately. 1.3 Protect architectural details from moisture accumula- tion that may cause damage. • Regularly check details that have surfaces which can hold mois- ture for long periods of time. Policy: ~~~~~9' ~r~a,y. In some cases, original architectural details may have deteriorated. Horizontal surfaces such as cornices, chimney caps and window sills are likely to show the most deterioration because they are more exposed to weather. When deterioration occurs, repair the material and any other related problems. It is also important to recognize that all details weather over time and that a scarred finish does not rep- resent an inferior material, but simply reflects the age of the building. Therefore, preserving original materials and features that show signs of wear is preferred to replacing them. Guidelines: 1.4 Repair only those features that are deteriorated. • Patch, piece-in, splice, consolidate or otherwise upgrade existing materials, using recognized preservation methods. • Isolated areas of damage may be stabilized orfixed using consoli- dants. Epoxies and resins may be considered for wood repair. • Removing damaged features that can be repaired is not appro- priate. • Protect features that are adjacent to the area being worked on. 1.5 When disassembly of a historic element is necessary for its restoration, use methods that minimize damage to the original materials. • When disassembly of a historic feature is required during restora- tion, document its location so it may be repositioned accurately. Always devise methods of replacing disassembled details in their original configuration. 28 Design Guidelines be repaired rather than replaced. After.• A successful preservation effort will result in a product shown in the example above. 1.6 Use technical procedures for cleaning, refinishing and repairing architectural details that. will maintain the original finish.' • Consult with the City of Dubuque for techniques that are gener- ally considered appropriate. • When choosing preservation treatments, use the gentlest means possible that will achieve the desired results. • Employ treatments such as rust removal, caulking, limited paint removal and reapplication of paint or stain. POIICy: I~~~~l~~ While restoration of the original feature is the preferred alternative, in-kind replacement is also an option. In the event replacement is nec- essary, the new material should match that being replaced in design, color, texture and, other visual qualities. Replacement should occur only if the existing historic material is beyond repair. Guidelines: 1.7 Replacement of missing or deteriorated architectural elements should be accurate. • The design should be substantiated by physical or pictorial evidence to avoid creating a misrepresentation of the building's history. • Use the same kind of material as the original when feasible. However, a substitute material may be acceptable if the size, shape, texture and finish conveys the visual appearance of the original. 1.8 When reconstruction of an element is impossible, de- velop anew design that is a simplified interpretation of it. • This is appropriate when inadequate information exists to allow for an accurate reconstruction. • The new element should be similar to comparable features in general size, shape, texture, material and finish. kind. ` ~1 ~~ i - 2= y Replacement Where replacement of an element is required, remove only those portions that are deteriorated beyond repair. Chapter 1 29 Historic Building Materials Policy: Primary historic building materials should be preserved in place when- everfeasible. When the material is damaged, then limited replacement which matches the original, should be considered. Primary historic building materials should never be covered or subjected to harsh cleaning treatments. Protect wood siding and other wood Contact the city for appropriate material resources for the rehabilitation surfaces with a painted finish. of historic properties. Guidelines: 1.9 Preserve original building materials. • Avoid removing original materials that are in good condition or that can be repaired in place. • Remove only those materials which are deteriorated, and must be replaced. • Masonry features that define the overall historic character, such as walls, cornices, pediments, steps and foundations, should be preserved. • Avoid rebuilding a major portion of exterior masonry walls that could be repaired. Reconstruction may result in a building which is no longer historic. 1.10 Protect wood features from deterioration. • Provide proper drainage and ventilation to minimize rot. • Maintain protective coatings to retard drying and ultraviolet damage. If the building was painted originally, it should remain painted. 1.11 Masonry features that define the overall historic character, such as walls, cornices, pediments and other details, should be preserved. Use the gentlest means possible to clean the surface of a structure before repairs or improvements are made. 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 build- ing materials and result in accelerated deterioration or a loss of character. Harsh cleaning methods, such as sandblasting, can damage the historic materials, changing their appearance. Such procedures are inappropriate. If cleaning is appropriate, a low pressure water wash is preferred. Chemical cleaning may be considered if a test patch is first re- viewed and negative effects are not found. 30 Design Guidelines Do not remove damaged materials that can be repaired. In this case, loose shingles may be re-secured while missing ones maybe replaced. 1.12 Plan repainting carefully. • Always prepare a good substrate. Remove damaged or deterio- rated paint only to the next intact layer, using the gentlest means possible,. prior to painting. • Use compatible paints. Some latex paints will not bond well to earlier oil-based paints without a primer coat. 1.13 Brick or stone that was not painted historically should not be painted. • Masonry naturally has awater-protective layer, or patina, to protect it from the elements. Painting masonry walls can seal in moisture already in the masonry, thereby not allowing it to breathe and causing extensive damage over the years. 1.14 Repair deteriorated primary building materials by patching, piecing-in, consolidating or otherwise reinforcing the material. • Avoid the removal of damaged materials that can be repaired. • Isolated areas of damage may be stabilized or fixed, using con- solidants. Epoxies and resins may be considered for wood repair and special masonry repair components also may be used. 1.15 Repoint mortar joints where there is evidence of dete- rioration. • Duplicate the old mortar in strength, composition, color and texture. • Avoid using mortar with a high portland cement content, which will be substantially harder than the original. • Duplicate the mortar joints in width and profile. • See Preservation Briefs 2: Repointing Mortar Joints in Historic Brick. (See Appendix B) for appropriate repointing methods. 16 Match the original material in composition, scale and finish when replacing materials on primary surfaces. If the original material is wood clapboard, for example, then the replacement material should be wood as well. It should match the original in size, the amount of exposed lap and in finish. Replace only the amount required. If a few boards are damaged beyond repair, then only they should be replaced, not the entire wall. Use approved technical procedures forcleaning, refinishing and repairing historic materials. Harsh cleaning methods, such as sandblasting or grinding, can damage the historic materials and change their appearance. Chapter 1 31 Commence with building cleaning again after any repointing has completely cured. 1.17 Do not use synthetic materials, such as aluminum or vinyl siding or panelized brick, as replacements for primary building materials. • Primary building materials, such as wood siding and masonry, should not be replaced with synthetic materials. • Modular materials should not be used as replacement materials. Synthetic stucco and panelized brick, for example, are inappro- priate. • In some instances, substitute materials may be used for replac- ing architectural details, but doing so is not encouraged. If it is necessary to use a new material, such as a fiberglass molding, the style and detail should match that of the historic model. 1.18 Covering original building materials with new materials is inappropriate. • Vinyl siding, aluminum siding and new stucco are inappropriate on historic buildings. Other imitation materials that are designed to look like wood or masonry siding, but that are fabricated from other materials, are also inappropriate. • If a property already has anon-historic building material cover- ing the original, it is not appropriate to add another layer of new material, which would further obscure the original. 1.19 Consider removing later covering materials that have not achieved historic significance. • Once the non-historic siding is removed, repair the original, underlying material. • If a house has a stucco finish, removing the covering may be difficult, and may not be desirable. Test the stucco to assure that the original material underneath will not be damaged. 32 Design Guidelines Consider removing later covering materials that have not achieved historic significance. Repair wood features by patching or piecing-in new wood elements that match the original. Individual Building Components Windows Policy: The character-defining features of a historic window and its distinct materials and placement should be preserved. In addition,, a new window should be in character with the historic building. Guidelines 1.20 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. • Window awnings and shutters are appropriate in limited cir- cumstances. They are only appropriate on specific architectural styles. E ~ ; M rI ^' f 1 ~ r- _ ~ ~ ~~ ,~ ti Z 7 `~ ,' ; 7 Typical primary window types seen on historic structures. Chapter 1 33 Preserve the functional and decorative features of a historic window. Preserve the position, number and arrangement of historic windows in a building wall. _._ l ~- -; 2 I 1.21 Preserve the position, number and arrangement of historic windows in a building wall. • Enclosing a historic window opening is inappropriate, as is add- ing anew window opening. This is especially important because the historic ratio of solid-to-void is acharacter-defining feature. • Greater flexibility in installing new windows may be considered on rear walls. 1.22 Preserve the size and proportion of a historic window opening. • Reducing an original opening to accommodate a smallerwindow or increasing it to receive a larger window is inappropriate. 1.23 Preserve the historic ratio of window openings to solid wall on a primary facade. • Significantly increasing the amount ofglass on acharacter-defin- ing facade will negatively affect the integrity of the structure. Preserve the size and proportion ofa 1.24 Match a replacement window to the original in its de- historic window opening: slgn. • If the original is double-hung, then the replacement window should also be double-hung or appear to be so. Match the re- placement also in the number and position of glass panes. • Matching the original design is particularly important on key character-defining facades. 1.25 In a replacement window, use materials that appear similar to the original. • Using the same material as the original is preferred, especially on character-defining facades. However, a substitute material may be considered if the appearance of the window components will match those of the original in dimension, profile and finish. • New glazing should convey the visual appearance of historic glazing. It should be clear. Metallic and reflective finishes are inappropriate. In some instances colored or tinted glass may be appropriate in commercial storefront transoms or residential windows. • Vinyl and unfinished metals are inappropriate window materi- als. 34 Design Guidelines Sash Mullion ~ ' Glazing :, Sash Sash Sill Trim Douhle Hung Window. (Residential, Commercial, Warehouses) ~~ ~~ .. Frame / ~ Sash Mullion Sash Frame Glazing Mullion Sash Frame Molding Sill Trim Pivot Window. (Warehouses) Chapter 1 ~. j ~ _ ~: The appearance of the window components should match those of the original in dimension, profile and finish. '-`/~I Frame - '' Glazing ) Frame Glazing ) Frame Sill Trim Storefront Window. (Commercial) 35 Inappropriate wind®ws, st®refr~nt and d®~r treatments Inappropriate reduction in window size. Inappropriate profile for window replacements and the proportions are inaccurate. Inappropriate reduction in upper story windows and storefront modification. Inappropriate treatment on upper story windows. Inappropriate door and transom replacement. Inappropriate storefront modification. 36 Design Guidelines 1.26 Match, as closely as possible, the profile of the sash and its components to that of the original window. • A historic wood window has a complex profile. Within the window's casing, the sash steps back to the plane of the glazing (glass) in several increments. These increments, which individually only measure in eighths or quarters of inches, are important details. They distinguish the actual window from the surrounding plane of the wall. 1.27 Use a storm window to enhance energy conservation rather than replace a historic window. • Install a storm window on the interior, when 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 pro- files of the original window. It should fit tightly within the window opening without the need for sub-frames 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. • If storm windows are present historically, then their installation will be allowed. They should reflect the historic profile and mate- rial. Chapter 1 37 --- ~ L ~ d ~~ Ll . Doorwith Paneled _ Paneled transom and Door Doorwith sidelights glass panes ~ ~pa I ~ ~ '' a Period Revival Colonial Half Glass Door Revival Door Door Typical primary door types seen on historic residential structures. ®®®~~ Policy: The character-defining features of a historic door and its distinct ma- terials and placement should be preserved. In addition, a new door should be in character with the historic building. This is especially important on primary facades. Guidelines: 1.28 Preserve the decorative and functional features of a primary entrance. • Maintain features important to the character of a historic doorway. These may include the door, doorframe, 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. door. • Altering the original size and shape of a insignificant door is inappropriate. 1.29 Maintain the original proportions of a significant 1.30 When a historic door is damaged, repair it and maintain its general historic appearance. 1.31 When replacing a door, use materials that appear simi- lar to that of the original. • A metal door, if seen from the street, is inappropriate where the original was wood. 1.32 When replacing a door, use a design that has anappear- ancesimilar to the original door, or a door associated with the building style or type. • Very ornate doors are discouraged, unless photographic evidence can support their use. 1.33 If energy conservation and heat loss are a concern, consider using a storm door instead of replacing a historic entry door on a residential building. • Generally, wood storm doors are most appropriate. • A metal storm door may be appropriate if it is simple in design and if the frame is painted so that raw metal is not visible. 38 Design Guidelines Preserve the decorative and functional features of a primary door. If a door requires replacement keep the original door proportions. ~®®fi~ Policy: The character of a historic roof should be preserved, including its form and materials, whenever feasible. Guidelines: 1.34 Preserve the original roof form of a historic struc- ture. • Avoid altering the angle of a historic roof. Instead, maintain the perceived line and orientation of the roof as seen from the street. • Retain and repair roof detailing. 1.35 Preserve the original eave depth on sloped roofs of a historic structure. • 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 inappropriate. 1.36 Minimize the visual impacts 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. • Flat skylights that are flush with the roof plane may be considered on the rear and sides of the roof. Locating a skylight or a solar panel on a front roof plane should be avoided. Typical Residential Roof Types ~ ~.~ .~~ Shed roof Gambrel roof Clipped Gable Hipped roof roof Cross-Gabled roof Typical Commercial Roof Types Mansard roof ,`,. Commercial Flat roof 1.37 When planning a rooftop addition, preserve the overall Roof Types found on both appearance of the original roof. Residential and Commercial • An addition should not interrupt the original cornice or ridge- Buildings line. 1..38 Preserve original roof materials. • Avoid removing historic roofing material that is in good condition. When replacement is necessary, use materials that are similar to the original in both style as well as physical qualities and use a color that is similar to that seen historically. Mansard roof • Specialty materials such as the and/or slate should be replaced with a matching material. ~~ Gabled roof Chapter 1 39 1.39 Avoid using conjectural materials or features on a roof. • Adding a widow's walk (an ornate railing around the roof ridge) on a house where there is no evidence that one existed creates a false impression of the home's original appearance, and is inappropriate. 1.40 New or replacement roof materials should convey a scale and texture similar to those used traditionally. • Composite shingles work best for many types of buildings that have sloped roofs. • Roof materials should generally be earth tones and have a matte, non-reflective finish. • When choosing a roof replacement material, the architectural style of the structure should be considered. 1.41 If metal roof materials are to be used, they should be applied and detailed in a manner that is compatible with the historic character and does not distract from the historic appearance of the building. • Metal roof materials should be earth tones and have a matte, non-reflective finish. • Seams should be of a low profile. • The edges of the roofing material should be finished similar to those seen historically. The edges of standing seam metal roof were historically bent downward at the edges of the roof with a very slight overhang. In most cases the gutters hide this detail. • Stamped metal panels should appear similar to those seen his- torically. • Many modern metal roofing materials do not have proportions that are appropriate to the historic character of many older build- ings. 40 Design Guidelines Flat roofed buildings are commonly found in the downtown district. F~undati®n~ Policy: There is one policy for the preservation of building foundations that serves as the basis for all related design guidelines and supporting information. Keeping moisture away from a foundation is the primary objective. In cases where special conditions of a specific project are such that the detailed design guidelines do not appear to address the situation, this general policy statement will serve as the basis for determining the appropriateness of the proposed work. Guidelines: 1.42 Vines and other plants should not be allowed to grow on foundation walls. • Plants tend to retain moisture and keep damp walls from drying. Weeds and shrubs should not be allowed to come in contact with foundation walls. • Avoid piling items such as firewood, trash, or mulch against a foundation wall. 1.43 If the foundation walls have ventilation openings, be sure these are kept clear. • Ventilation openings help the walls dry out after getting wet (they also help keep moisture from building up in basements and crawl spaces). • Ventilation openings or basement windows should not be filled in with permanent materials such as brick or concrete block; use wood or metal panels in place of window glass if windows must be blocked up, but retain the wood or metal framing and sash. 1.44 The soil or pavement next to the foundation wall should slope away from the wall. • Provide positive drainage away from foundations to minimize rising moisture. This will keep water from soaking down into the wall and surrounding soil. Wet soil can lose its weight-supporting capacity and result in foundation and wall cracks. • Watch for open joints between pavement and foundation wall where flowing water can get into the soil. 1.45 Gutters and downspouts should not be clogged or leak- ing and should carry water away from the foundation wall. • Downspouts should be connected to underground drains if pos- sible, or at least should empty onto splash blocks which carry the water away from the foundation wall. (Check to ensure drains remain clear) • During heavy rains, watch to see if water is flowing or dripping down the building wall and into the foundation. Placeholder for an image. This will appear in the next document submitttal. Chapter 1 41 1.46 Avoid cutting new window and door openings in foun- dation walls, or enlarging existing ones. • This can weaken the foundation significantly. If alterations are needed, get qualified advice on how the foundation will be af- fected. 1.47 Avoid covering foundations with inappropriate materials. • Materials such as composite "brick" wallpaper or cementatious coverings diminish the character of the structure. • These coverings can also hold moisture in the foundation wall and cause damage to the structure. 42 Design Guidelines Rehabilitation of Historic Commercial Properties ~reser°~rati®n ~f C~r~r~er~i~l ~t®refr~nts Policy: Many storefronts in Dubuque have components seen traditionally on commercial buildings. The repetition of these standard elements creates a visual unity at the street that should be preserved. These features should not be altered, obscured or removed. The preserva- tion of a historic storefront will help maintain the interest of the street to pedestrians by providing views to goods and activities inside first floor windows. Guidelines: 1.48 For a commercial storefront building, a rehabilitation project should preserve these character-defining ele- ments: • Display windows: The main portion of glass on the storefront, where goods and services are displayed. • Transom: The upper portion of the display window, separated by a frame. • Kickplate: Found beneath the displaywindow. Sometimes called a bulk-head panel. • Entry: Usually set back from the sidewalk in a protected re- cess. • Upper-story windows: Windows located above the street level often have a vertical orientation. • Cornice molding: A decorative band at the top of the building. i ( Parapet ~a~ c.. ~, ~„ ~ mn{~ Cornice ~ ~~. Pediment i ~ ~ I Upper story windows f ' f + ~ ' F { Midbeltcornice - - 1 ~ _.~ 1 ~ Transom I 1 l: ' ~ Display window ~ F , Q Piers/ Pilasters '~ lam' -, ~ ~ ,, _ +1~, Kickplate \ Recessed entry Typical commercial facade components Chapter 1 43 Traditional commercial building facade. Preserve the historic character of a storefront when it is intact. If a storefront is altered, restoring it to the original design is preferred. 1.49 If a storefront is altered, restoring it to the original design is preferred. • If evidence of the original design is missing, use a simplified interpretation of similar storefronts. • Historic photographs of Dubuque and its commercial buildings are widely available and should be used when determining the original character of a storefront design. 1.50 Alternative designsthatarecontemporaryinterpretations of traditional storefronts may be considered where the historic facade is missing and no evidence of it exists. • Where the original is missing and no evidence of its character exists, a new design that uses the traditional elements may be considered. • The new design should continue to convey the character of typi- calstorefronts, including the transparent character of the display window. • Greater flexibility in treatment of rear facades is appropriate. However, care should betaken to preserve storefronts on those buildings which have traditional commercial storefronts on more than one facade, such as a corner building. 1.51 Retain the kickplate as a decorative panel. • The kickplate, located below the displaywindow, adds interesting detail to the streetscape and should be preserved. • If the original kickplate is covered with another material, consider exposing the original design. 1.52 If the original kickplate is missing, develop a sympathetic replacement design. • Wood is an appropriate material for replacements on most styles. However, ceramic the and masonry may also be considered when appropriately used with the building style. 1.53 Preserve the character of the cornice line. • Most historic commercial buildings have cornices to cap their facades. Their repetition along the street contributes to the visual continuity on the block. • Many cornices are made of sheet metal, which is fairly lightweight and easy to repair. Areas that have rusted through can be patched with pieces of new metal. 44 Design Guidelines A kickplate, located below the display window, adds interesting detail to the streetscape and should be preserved. 1.54 Reconstruct a missing cornice when historic evidence is available. • Use historic photographs to determine design details of the original cornice. • Replacement elements should match the original in every detail, especially in overall size and profile. Keep sheet metal ornamen- tationwell painted. • The substitution of another old cornice for the original may be considered, provided that the substitute is similar to the origi- nal. 1.55 A simplified interpretation is also appropriate for a replacement cornice if evidence of the original is miss- ing. • Appropriate materials include stone, brick and stamped metal. 1.56 Retain the original shape of the transom glass in historic storefronts. • Transoms, the upper glass band of traditional storefronts, intro- duced light into the depths of the building, saving on light costs. These bands should not be removed or enclosed. • The shape of the transom is important to the proportion of the storefront, and it should be preserved in its historic configura- tion. • If the original glass is missing, installing new glass is preferred. However, if the transom must be blocked out, be certain to retain the original proportions. One option might be to use it as a sign panel or decorative band. 1.57 A parapet wall should not be altered, especially those on primary elevations or highly visible facades. • ~ When a parapet wall becomes deteriorated, there is sometimes a temptation to lower or remove it. Avoid doing this because the flashing for the roof is often tied into the parapet, and disturbing it can cause moisture problems. • Inspect parapets on a regular basis. They are exposed to the weather more than other parts of the building, so watch for de- terioration such as missing mortar or excessive moisture reten- tion. • Avoid waterproofing treatments, which can interfere with the parapet's natural ability to dry out quickly when it gets wet. ~. When the reconstruction of an elemenf is impossible, a simplified interpretation is also appropriate. Chapter 1 45 Preserve the characterofan existing cornice line. ~e ~/ An original three-story building, before an addition. Compare with sketches below. ~~ i New addition to the side J ~- ~> ~dditi®~~ t® ~®r~rner~i~l ~r®pertie~ Policy: Two distinct types of additions to historic commercial buildings may be considered. First, aground-level addition that involves expanding the footprint of a structure may be considered. Such an addition should be to the rear or side of a building. This will have the least impact on the character of a building, but there may only be limited opportunities to do this. Second, an addition to the roof may be designed that is simple in character and set back substantially from the front of a building. In ad- dition, the materials, window sizes and alignment of trim elements on the addition should be compatible to those of the existing structure. Guidelines: 1.58 An addition should be compatible in scale, materials and character with the main building. • An addition should relate to the building in mass, scale and form. It should be designed to remain subordinate to the main structure. • An addition with a pitched roof is inappropriate for a building with a flat roof. An addition to the front of a building is inappropriate. .. -~~ New addition to the rear 1.59 An addition should not damage or obscure architectur- ally important features. • For example, loss or alteration of a cornice line should be avoided. 1.60 An addition may be made to the roof of a building if it does the following: • An addition should be set back from the primary, character-de- fining facade, to preserve the perception of the historic scale of the building and it should not be visible from the street. • Its design should be modest in character, so it will not detract attention from the historic facade. • The addition should be distinguishable as new,, albeit in a subtle way. ~~~ -~ ~i, _~ New Rooftop ~Acldition E _Histor2~fwid` ~ ing ~~ Appropriate alternative approaches New rooftop additions to historic buildings should not be visible form the to additions. street. 46 Design Guidelines Signs Policy: Historically, signs that were mounted and/or painted on the exterior of a building advertised the primary business conducted there. Many of these signs still stand today and should be preserved when feasible. Guideline: 1.61 Preserve historic sign where it exists, when feasible. ~~I~®I`tle~ PoIICy: Iri most cases one should avoid adding elements or details that were not part of the original building. Balconies on the side or rear of a property may be considered. This can enhance the adaptive reuse options for this building type. They should have as little impact on the structure as possible and be a simple design. Guidelines: 1.62 A balcony should be in character with the building. • Mount a balcony to accentuate character-defining features. • The balcony should fit within the opening when feasible. • A balcony located across two smaller window openings may be considered in limited circumstances. The window opening and balcony proportion should be balanced. • Use colors that are compatible with the overall color scheme of the building. In most cases painted wood with light, matte finishes are appropriate. 1.63 Balconies should be simple in design. • Light wood and simple metal work are most appropriate. • Heavy or ornate metal work and plastics are inappropriate. • The balcony should be mostly transparent. One should be able to see through to the building fabric behind the guard rail. Chapter 1 47 Preserve a historic sign where it exists. Rehabilitation- of Historic Residential Properties New rail ~,~ ,, ,~ f,~ Consider providing a smaller railing above the historic railing to achieve a greater overall railing height. ~®~ch~s Policy: Preserve a porch in its original condition and form. A porch is one of the most important character-defining elements of a facade. Porches help to provide visual interest to a building, and can influence its per- ceivedscale, protect entrances and pedestrians from rain and provide shade in summer. Guidelines: 1.64 Maintain an original porch when feasible. • Maintain the existing location, shape, details and posts of the porch. • Missing or deteriorated decorative elements should be replaced to match existing elements; e.g., match the original proportions and spacing of balusters when replacing missing ones. • Avoid using a porch support that would be substantially smaller than other supports on the porch or than that seen historically. Do not remove an original porch from a building. 1.65 Enclosing a porch with opaque materials that destroy the openness and transparency of the porch is inap- propriate. • Where a porch must be enclosed, use transparent materials (such as.glass) and place them behind the balusters and balustrade to preserve the visual character of the porch: 1.66 Where building codes stipulate that new porch rail- ings lower than 36 inches in height be augmented or corrected to raise their effective height to 36 inches, consider the following: • Provide a smaller railing above the historic railing to achieve a greater overall railing height. 48 Design Guidelines Maintain an original porch. Policy: Repair a deteriorated porch instead of removing or replacing it. The preferred treatment for an altered porch is to repair it, rather than replace it altogether. This approach is preferred because the original materials contribute to its historic character. Even when replaced with an exact duplicate, a portion of the historic building fabric is lost; therefore, such treatment should be avoided when feasible. Guidelines: '1.67 Repair those elements of a porch that are deteriorat- ed. • Removing damaged materials that can be repaired is not ap- propriate. 1.68 Consider restoring an altered porch back to its original design and configuration. • If the historic design of the porch is unknown, then base the de- sign of the restoration on other traditional porches on buildings of a similar architectural style. • If the original porch steps have been replaced with concrete, consider restoring them to their original, wood condition. If termite control is of concern, then consider only making the bottom step concrete and not the entire stair assembly. Chapter 1 49 While a simple design solution, the use of metal pipes as replacement porch rails is inappropriate. Policy: Replace a missing porch with one that appears similar to that seen historically. When a porch is to be replaced, the first step is to research the history of the house to determine the appearance and materials of the original porch. The most important aspects of a replacement design are its location, scale and materials. Unless reconstructing a porch from historic documentation, it is not necessary to replicate the details of the original porch,or a porch design copied from a similar style house. However, it is important that new details be compatible (similar form, scale and materials) for the design of the porch and the style of the house. Guidelines: 1.69 When porch replacement is necessary, it should be similar in character, design, scale and materials to those seen traditionally. • The size of a porch should relate to the overall scale of the pri- mary structure to which it is attached. • Base the design of a replacement porch on historic documenta- tion if available. • Where no evidence of the historic porch exists, a new porch may be considered that is similar in character to those found on comparable buildings. 1.70 Porch supports should be of an appropriate size to complement the entry and existing structure. • Wood columns are best for most structures in Dubuque. • Brick or stone may be appropriate for some architectural styles. • See the style section of the guidelines for further recommenda- tions. 50 Design Guidelines Porch in proportion with the primary building. 1.71 A porch should use similar materials to that seen his- torically. • Use materials similar to those seen historically. Wood decking, steps, balustrades and porch supports were most common. • While matching original materials is preferred, when detailed correctly and painted appropriately, fiberglass columns may be considered. • Do not replace a wood porch decking and steps with concrete. .J ., .,.__`, 1 i J~1 1 {i ~- _ 7~ _ _ j fi ~~ _ ` ~- --1 ~ 1.IL~ - ~/I _ f ~ .:~ -t ~ ~ 4-_ ~~I A Y -~ ~~..- l T' ~ ~-~.~_ _~. , ~, 5... _ ,~ ~~ -- i t ~' ~' }.~ .11 1 J 4~ J ~,J .. ~~ _ :. Existing Condition: Italianafe style Preferred Approach, when historic house with an altered porch. documenfafionisavailable:ltalianate style house with a replacement porch designed similar to that seen historically. Cx) ti / `~. :~ _' `_ 1C~~~ , -~__ 3~:-- Existing Condition: A folk or vemacularstyle house with the original porch removed. ~,~ - - ', r- s _ - J s i~.- _ .. ,~.,~ -=~ ::~_ _ _~ Preferred Approach, when historic documentation is available: A folk or vernacular style house with a replacement porch designed similar to that seen historically. AcceptableApproach, when hisforic documenfation is not available: A folk or vernacular style house with a simplified interpretation of a traditional porch design. Chapter 1 ~ 51 AcceptableApproach, when historic documentation is not available: Italianafe style house with a simplified interpretation of a traditional porch design. /~ a~i a% This addition is set back behind the original structure and the new addition is accessed by a connector. ~dditi®n~ t~ ~~~id~nti~l I r~perties Policy: When planning an addition to an existing building, considerthe effect it will have on the structure. The following guidelines avoid any negative impacts of an addition. While the choice of a style is not a concern of these principles, there is an awareness that each property has some style that helps define its character. Additions that reflect elements of the existing predominant style reinforce the positive character. Those elements that seem unintentionally foreign to the individual property and detract from the overall design should be minimized and not considered positive elements upon which to base the design of an addition. Guidelines: ~~ /~ ~ -' ^`~`\ 1.72 The loss of historically significant features, where they __ ,~ ~ exist, should be minimized. ~~' ` When preserving original details and materials, follow the guide- r -' i lines at the beginning of this chapter. .• t ~ 0 8 -'0~ 0 1.73 Place an addition at the rear of a building or set it back `~ ~''~-'0 from the front to minimize the visual impacts. `~ ~0 0 This will allow the original proportions and character to remain / ~ prominent. • A roof top addition should be set back at least ten feet from a This rooftopadditionisnotsubordinate primary facade. to the existing structure. 1.74 A new addition should respect the mass and scale of the original structure. • While a smaller addition is visually preferable if the addition would be significantly larger than the original building, one option is to separate it from the primary building, when feasible, and then link it with a smaller connector. • In some cases, adding vertically, through construction of dormers, will help to minimize the impacts of additions and preserve rear yards. • Anew addition should fit within the range of stories that help define the character of the neighborhood. • For a larger addition, break up the mass of the addition into smaller modules that relate to the historic house. • An addition should be simple in design to prevent it from compet- ing with the primary facade. 52 Design Guidelines 75 The roof form of a new addition should be in character with and subordinate to that of the primary building. It is important to repeat the roof lines and slopes found on the primary structure. Typically, gable, hip and shed roofs are ap- propriate for residential-type building additions. Flat roofs may be appropriate for commercial buildings or International style structures. 1.76 When constructing a rooftop addition, keep the mass and scale subordinate to the primary building.' • The addition should not overhang the lower floors of the primary building. 1.77 When adding a dormer, it should be in character with the primary structure's design. • A dormer should be subordinate to the overall roof mass and should be in scale with those on similar historic structures. • The dormer should be located below the ridge line of the primary structure. • The number and size of dormers should not visually overwhelm the scale of the primary structure. • Dormers are typically added to a structure to increase the amount of headroom in upper floors. Traditionally, dormers are designed as smaller elements. If significant increases in space are desired, do not consider oversized dormers. Rather, develop an addition to the rear of a structure. 1.78 Raising a building may be considered only if significant features are preserved. • The historic porch design must remain intact. • Minor alterations to porch stairs may be considered, but the overall design must be preserved. • Window and door locations and alignments should remain in- tact. Chapter 1 53 A dormer should be subordinate to the overall roof mass and should be in scale with ones on similar historic structures. Rehabilitation of Historic Warehouse Properties Preservati®n ®f UVareh®use facades Policy: Many of Downtown Dubuque's buildings possess components that were traditionally seen on industrial buildings. The repetition of these standard elements creates a visual unity at the street that should be preserved. Guidelines: 1.79 For a warehouse building, a rehabilitation project should preserve these character-defining elements: • Man-door: A small door for use by people entering the build- ing. These can be similar in character to a storefront on a retail buildings. They often include a transom. • Windows: Windows located at the street level. These often are larger and display a similar pattern to the upper story win- dows. • Upper-story windows: Windows located above the street level. These usually have a vertical orientation. • Cornice molding: A decorative band at the top of the build- ing. • Loading dock: A raised landing for handling goods; some proj- ect from the facade while others are inset behind the building plane. • Loading bay doorway: Alarge opening atthe landing dock. Typi- callythese are rectangular, although sometimes arched. Rolling overhead or horizontal sliding doors were used in these openings. Singular and multiple openings were found on facades. • Canopy: A metal structure usually sheltering the loading dock. Some were horizontal and others were sloped. They were supported on metal and heavy timber supports that were wall mounted. 1.80 Preserve the historic character of the building facade. • Preserve loading docks, loading bay openings, windows and door frames. • If the glass is intact, it should be preserved. 54 Design Guidelines A rehabilitation project of a warehouse building should preserve character- defining elements such as a loading dock, canopy and man door. Preserve character-defining elements such as windows and loading bay openings. 1.81 If the facade is altered, restoring it to the original design is preferred. • If evidence of an original design component is missing, use a simplified interpretation of similar components in the area. • Historic photographs of Dubuque and its industrial buildings are widely available and should be used when determining the original character of the facade. 82 Alternative designsthatarecontemporaryinterpretations of traditional industrial buildings may be considered where the historic facade is missing and no evidence of it exists. Where the original is missing and no evidence of its character exists, a new design that uses the traditional elements may be considered. However, the new design should continue to con- vey the character of typical facades in the area, including the repetitive window patterns and openings seen along the building fronts. 1.83 Preserve the character of the cornice line. • Most historic commercial buildings have cornices to cap their facades: Their repetition along the street contributes to the visual continuity on the block. • Many cornices are made of sheet metal, which is fairly lightweight and easy to repair. Areas that have rusted through can be patched with pieces of new metal. 1.84 Reconstruct a missing cornice when historic evidence Preserve the characterofthe cornice is available. line. Use historic photographs to determine design details of the original cornice. Replacement elements should match the original in every detail, especially in overall size and profile. Keep sheet metal ornamen- tationwell painted. The substitution of another old cornice for the original may be considered, provided that the substitute is similar to the origi- nal. 1.85 A simplified interpretation is also appropriate for a replacement cornice if evidence of the original is miss- ing. • Appropriate materials include stone, brick and stamped metal. Chapter 1 55 Historic photographs of Dubuque`s industrial buildings are widely available and should be used when determining the original character of a building facade. Alternative designs that are contemporary interpretations of traditional industrial buildings may be considered where historic building features are missing. 1.86 Retain the original shape of the transom glass in existing openings. • Transoms, the upper glass band on door openings, introduced light into the depths of the building, saving on light costs. These bands should not be removed or enclosed. • The shape of the transom is important to the proportion of the opening, and it should be preserved in its historic configura- tion. • If the original glass is missing, installing new glass is preferred. However, if the transom must be blocked out, be certain to retain the original proportions. One option might be to use it as a sign panel or decorative band. T , ~' { rI~ ~ Ir l ~ r i~._ r < ~ i~~I . r. i IT ` I {' _ = '~ ~r ~ s i~ ~~ ~i: ~~ i~~ 1.87 A parapet wall should not be altered, especially those on primary elevations or highly visible facades. • When a parapet wall becomes deteriorated, there is sometimes a temptation to lower or remove it. Avoid doing this because the flashing for the roof is often tied into the parapet, and disturbing it can cause moisture problems. • Inspect parapets on a regular basis. They are exposed to the weather more than other parts of the building, so watch for de- terioration such as missing mortar or excessive moisture reten- tion. • Avoid waterproofing treatments which can interfere with the parapet's natural ability to dry out quickly when it gets wet. • A parapet wall should not be altered, especially those on primary elevations or highly visible facades. .. - ~~ ~ - ~,~~~~ 56 Design Guidelines A parapet wall should not be altered, especially those on primary elevations or highly visible facades. ~ddi~i®ns #® ~Uar~h®u~~ ~r®pe~ti~~ Policy: - Three distinct types of additions to historic industrial buildings may be considered. First, aground-level addition that involves expanding the footprint of a structure may be considered. Such an addition should be to the rear or side of a building. This will have the least impact on the character of a building, but there may only be limited opportunities to do this. Second, an addition to the roof may be designed that is simple in character and set back substantially from the front of a building. In ad- dition, the materials, window sizes and alignment of trim elements on the addition should be compatible to those of the existing structure. Athird option, which only will be considered on a case-by-case basis, is to design an addition within the wall plane of the existing building. This option is the most difficult and requires the most care to respect the relationship of the building to the street. Such an addition should provide a visual distinction between the existing structure and its ad- dition. This may be accomplished through the use of a belt course element or a subtle change in building materials. Guidelines: 41.88 An addition should be compatible in scale, materials and character with the main building. • An addition should relate to the building in mass, scale and form. It should be designed to remain subordinate to the main structure. • An addition with a pitched roof is inappropriate for a building with a flat roof. • An addition to the front of a building is inappropriate. 1.89 An addition should not damage or obscure architectur- ally important features. • For example, loss or alteration of a cornice line or loading dock should be avoided. 1.90 An addition may be made to the roof of a building if it does the following: • An addition should be set back from the primary, character-de- fining facade, to preserve the perception of the historic scale of the building. It should not be visible from the street. • Its design should be modest in character so it will not attract at- tention from the historic facade. The addition should be distinguishable as new, albeit in a subtle way. ~:~-- Chapter 1 57 Side addition is connected to the historic warehouse with a low scale connector. An addition should be set back from the primary, character-defining facade to preserve the perception of the historic scale of the building. It should not be visible from the street. Balconies are appropriate on the rear and one bay back on the sides of the building. They should be simple in design; for example simple metal work is most appropriate. Policy: Although in most cases one should avoid adding elements or details that were not part of the original building, a balcony addition may be considered. This can enhance the adaptive reuse options for this building type. The balconies should be located to the rear and one bay back on the sides of the building. They should have as little impact on the structure as possible and be a simple design. The addition of a balcony should be reversible. Guidelines: 1.91 The balcony should be in character with the building. • Mount a balcony to accentuate character-defining features. • The balcony should fit within the opening when feasible. • A balcony located across two smaller window openings may be considered in limited circumstances. The window opening and balcony proportion should be balanced. • Use colors that are compatible with the overall color scheme of the building. In most cases dark metal matte finishes are ap- propriate. 1.92 Balconies should be simple in design. • ,Simple metal work is most appropriate. • Heavy timber and plastics are inappropriate. • The balcony should be mostly transparent. One should be able to see through to the building fabric behind the guard rail. ~i~f1S Policy: Historically, signs that were mounted and/or painted on the exterior of a building advertised the primary business conducted there. Many of these signs still stand today and should be preserved when feasible. Guideline: 1.93 Preserve sible. a historic sign where it exists, when fea- 58 Design Guidelines Preserve a historic sign where it exists, when feasible. General Rehabilitation Secondary Structures Policy: Preserving the historic fabric along an alley in a historic district is im- portant. This includes sheds, garages and carriage houses. They are traditionally subordinate in scale and character to the primary structure and are typically located to the rear of the lot. These features should be retained. Guideline: 1.94 Preserve an existing secondary structure when fea- sible. • Retain original materials when feasible. • Maintain the subordinate character of the structure also. ~~a~tie~e ~e~~se Policy: Converting a building to a new use that is different from that which its design reflects is considered to be "adaptive re-use." For example, converting a residential building to an office is adaptive re-use. A good adaptive re-use project retains the historic character of the building while accommodating its new function. Guideline: 1.95 Seek uses that are compatible with the historic char- acter of the building. • Building uses that are closely related to the original use are pre- ferred. An example would be the conversion of a residential-type building to an office. This can be accomplished without radical alterations to either the interior or exterior of the structure. • Avoid altering porches and original windows and doors. Chapter 1 59 A contemporary interpretation of a fire escape is an appropriate addition to the rear or secondary facade of a historic building. bi~~®~°i~ ~dditi®n~ Policy: Some early additions may have taken on historic significance of their own. One constructed in a manner that was compatible with the original building and that is associated with the period of significance may merit preservation in its own right. These additions should be evaluated. In contrast, more recent additions that detract from the character of the building should be considered for removal. Guideline: 1.96 Preserve an older addition that has achieved historic significance in its own right. • For example, a porch or a kitchen wing may have been added to the original building early in its history. Such an addition is usually similar in character to the original building in terms of materials, finishes and design. 60 Design Guidelines Preserve an older addition that has achieved historic signitrcance in its own right. Accessibility Policy: Owners of historic properties should comply to the fullest extent possible to ADA provisions, while also preserving the integrity of the character-defining features of their buildings and sites. Special provi- sionsfor historic buildings exist in law that allow some alternatives in meeting the ADA standards. Guideline: 1.97Generally, creating an accessibility solution that is independent from the historic building and does not alter its historic characteristics is encouraged. • In Preservation Brief # 32: Making Historic Properties Accessible, (See Appendix B) The National Park Service has suggested some general solutions: creating convenient parking and providing ramps that are in scale with the building and located to the side of the building. • Identify the historic building's character-defining spaces, features and finishes so that accessibility code-required workwill not result in their damage or loss. • Alterations to historic properties that are designed to improve ac- cess for persons with disabilities should create minimal negative effect on the historic character or materials. • Provide barrier-free access that promotes independence for the disabled to the highest degree practicable, while preserving significant historic features. Chapter 1 61 ~la~dlr~sl~ Policy: In some circumstances it may be necessary to add handrails to a his- toricbuilding inorder toaddress anew building use, or accessibility life safety issues. In order to preserve the historic integrity at the building, these elements should not detract from the historic character. Guideline: 1.98 Railings should be simple in design. • Simple metal work is most appropriate • Heavy ornate metal, plastic or wood_is appropriate. • The railing should be mostly transparent. One should be able to see through to the building fabric. 62 Design Guidelines Inappropriate design on a primary facade. Handrails- simple design. Handrails must be transparent, one must be able to see through to the building fabric. Simple metal work is most appropriate Mist~ric Site Features Policy: - New site work that alters the historic character of the street should be avoided. The use of appropriate site materials is therefore a key factor in preserving the historic character and the relationship between the historic building and its context. Guidelines: 1.99 Preserve original fences. Replace only those portions that are deteriorated beyond re- pair. 1.100 Design a replacement fence to be in character with those seen historically. • Afence that defines a front yard is traditionally low to the ground (less than 40 inches) and transparent in nature. • Contemporary interpretations of traditional fences should be compatible with the historic context. • Note that using no fencing at all is often the most appropriate approach. 1.101 Preserve original retaining walls. • Replace only those portions that are deteriorated beyond repair. Any replacement material should match the original in color, texture, size and finish. 1.102 Maintain the original height of a retaining wall. • Increasing the wall height to create a privacy screen is inappro- priate. 1.103 Preserve historically significant planting designs. • Retain historic planting beds, landscape features and walk- ways. • Avoid removal of mature, character- defining landscaping unless damaged, aged or diseased beyond preservation. 1.104 Avoid new site features which have the potential to damage or intertere with a historic structure. • Select plant and tree species according to their mature size to allow for the long-term impact of mature growth. • Avoid the use of exotic plant species. • Avoid placing climbing plants too close to a building. • Avoid locating plant materials which obscure significant and character- defining architectural features. Chapter 1 63 Preserve original fences. ®ubuque's ref®re and After Images Policy: The preservation and rehabilitation of the remaining historic buildings should be a top priority in any construction project. When planning a preservation project, it is important to assemble sufficient information about the property. This information can help to determine its sig- nificance and the degree to which it retains its integrity as a historic resource and to determine how the building appeared originally if it has been altered. The series of images shown on the next few pages is a start in this process. Guideline: 1.105 Research historic buildings thoroughly before begin- ning aproject. • Contact the city, local historical society, museums and library for resources. 64 Design Guidelines Main Street, viewed from 11th Street, c.1911(GreaterDubuque). Main Street, viewed from 11th Street, 2008. Uubuaue, 7y77J. Central Avenue, viewed south from 18th Street, 2008. Chapter 1 65 Inappropriate location for a fire escape stair. The Bell Block and 1911. ~, ~ :~~t; ~TC3RF~ ~- SAYINGS cE~ Building- Dubuque Bank Building 66 Design Guidelines The new fire escape is appropriately located on the secondary facade and is also a good representation of a compatible design. The Bell Block and Ziepprecht Block Building- Dubuque Bank Building 2008 Chapter 2 Design Guidelines For all Properties This chapter covers design guidelines for all properties. It includes a variety of topics that may arise in rehabilitation projects, new building designs and site improvements. Topography Policy: Site work should be planned to protect the assets of the existing to- pography. Guidelines: 2.1 Minimize cut and fill on a site. • Divide large grade changes into a series of benches and terraces, where feasible. 2.2 Design a building foundation to conform to the exist- ingtopography, rather than creating extensive cut and fill. • Step the foundation of a building to follow site contours, when feasible. • If stepping the foundation is not possible, disguise the cut with building placement and/or building walls, and provide a landscape buffer system at the top of cut. 2.3 Minimize the visual impacts of cut and fill on a site. • Regrade the site as a stable, "natural" slope, when feasible. .:, .,_ .,._. ~:;~>: .; .{ Where a large grade change is necessary, divide the grade changes into a series of benches and terraces. Chapter 2 67 Street Patterns Policy: Historic settlement patterns seen in street and alley plans often con- tribute to the distinct character of the historic district and therefore they should be preserved. 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. Guideline: 2.4 Respect historic settlement patterns. • Site a new building such that it is arranged on its site in a way similar to historic buildings in the area. This includes consider- ation of building setbacks and open space. Alleys PoIICy: Alleys accommodate service functions and provide pedestrian con- nections and secondary vehicle access. All alleys, both paved and unpaved, contribute to the character of the district. Guidelines: 2.5 Unpaved lanes contribute to the distinct character of the neighborhood; therefore, they should continue in their "rustic" state, when feasible. In some instances where it is necessary to keep dust levels down and it is necessary to pave the alley, recycled asphalt is the preferred material. Alleys accommodate service functions • and provide pedestrian connections and secondary vehicle access. 2.6 The traditional scale and width of alleys should be continued. • Maintain the traditional character and scale of an alley by locat- ing buildings and fences along the alley edges to maintain the alley edge. 68 Design Guidelines Historic settlement patterns seen in street and alley plans often contribute to the distinct characterof the historic district and should be preserved. Streetscape Policy: Maintain the traditional character of the Streetscape. The character changes between commercial, warehouse and residential areas. Guideline: 2.7 Maintain the traditional character of the streetscape. • Commercial areas: Maintain wide sidewalks, street trees, light fixtures and furnishings. Consider adding similar features to ac- cent the public sidewalk. • Warehouse areas:. Consider adding features such as consistent lighting fixtures and landscaping which complement the existing industrial character. • ~ Residential areas: Maintain street landscaping and planting strips, which are typically found between the curb and sidewalk. Consider the use of additional street trees in these areas. ~ ~~~. .. ,_ •E~,,S~ front yard Detached sidewalk Planting strip ~ ( Street Streetscapes such as these should be continued throughout residential areas. Notice the lack of fences in the front yards and the use of a planting strip between the street and sidewalk. Chapter 2 69 In residential areas planting strips are typically found between the curb and sidewalk. In commercial areas street trees, light fixtures and furnishings accent the public sidewalk. /n warehouse areas streetscapes include attached sidewalks and scattered areas of small vegetated setbacks. 2.8 Maintain and incorporate landscape and streetscape fea- tures that are important in defining the historic character of the setting when feasible. • Preserve significant view corridors. • Retain significant topographic features. • When feasible retain the historic brick pavers found throughout the area. If this proves to be a hardship then salvage material upon removal and reuse in other streetscape or interpretive park/plaza improvements. 70 Design Guidelines Architectural Character Policy: New construction should distinguish itself from historic structures. Guidelines: 2.9 The imitation of older historic styles is discouraged for newer structures. • 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. 2.10 Contemporary interpretations of traditional designs and details are encouraged. • Interpretations of historic styles may be considered if they are subtly distinguishable as being new. • New designs for window moldings and door surrounds, for ex- ample, 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. -`~ ~}~ ~'` J Chapter 2 71 Contemporary interpretations of traditional designs and details are encouraged. New contemporary designs for storefront elements provide visual interest and reinforce the established storefront paftern in the commercial context. Materials Use masonry That appears similarin character to that seen historically. Policy: Building materials of new structures and additions to existing structures should contribute to the visual continuity of the neighborhood. They should appear similar to those seen traditionally to establish a sense of visual continuity. Guidelines: 2.11 Use building materials that appearsimilar to those used traditionally in the area. • Brick is appropriate in all areas. • Horizontal lap siding is appropriate in transitional areas on resi- dential style buildings. • All wood siding should have aweather-protective finish. • The use of highly reflective materials is discouraged. 2.12 Use masonry that appears similarin character to that seen historically. • Brick should have a modular dimension similar to that used traditionally. Brick larger than the nominal 2-3/8" x 8" is discour- aged. • Stone, similar to that used traditionally, is also appropriate. 2.13 New materials that are similar in character to traditional materials may be acceptable with appropriate detail- ing. • Alternative materials should appear similarin scale, proportion, texture and finish to those used traditionally. 2.14 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. 72 Design Guidelines New materials that are similar in character to traditional materials may be acceptable when they appear similarin scale, proportion, texture and finish to those used traditionally. Rooftop Uses Policy: Rooftop uses along a primary street face are acceptable, however they should not visually impact the architectural character of the structure. For example, the use of lighting effects, planting, guardrails and other furnishings should be set back from the front facade and/or parapet. Guideline: 2.15 Set rooftop activities back such that they are not promi- nentlyvisible from the front facade. • Rooftop activities should be set back five feet (5') from the front facade. Parking. ~~rf~~~ p~~king Policy: The visual impact of surface parking should be minimized. On site parking should be subordinate to other uses and the front of the lot should not appear to be a parking area. ~~~ J I ®®v a') ® ~ 1® Q I ~. In commercial or adaptive re-use areas parking is preferred to be set to the rear of the structure. ,.r---, ~i~ I i i. I~ ~ , I f -Y ~`I. ~ I i 1. i` In residential neighborhoods where alley access is possible, the use of parking off the alley is preferred and appropriate. Marking the parking spaces with a different type ofmaterial is appropriate as well. Chapter 2 73 ~~~ .I Guidelines: ~` ~/ -- -. ~ 2.16 Minimize the visual impact of surface parking in resi- ~~~ ' ` - dential neighborhoods. _ ~ Locate and access a parking area at the rear of a site. ~ ~ ~ ~~~~~~~~~~ !- Do not use a front yard for parking. Instead, use alley access or a long driveway that leads to parking located behind a building. 2.17 Locate a surface lot in the interior of a block whenever possible. • This acknowledges the special function of corner properties. They are generally more visible than interior lots, serve as landmarks and provide a sense of enclosure to an intersection. 2.18 Site a surface lotso itwill minimize gaps in the continu- ous building wall of a commercial block. • Where a parking lot shares a site with a building, place the park- ing at the rear of the site or beside the building. 2.19 Provide a visual buffer where a parking lot abuts a public sidewalk. • This may be a landscaped strip or planter. Acombination of trees and shrubs can be used to create a landscape buffer. • Consider the use of a low or decorative wall as screen for the edge of the lot. Materials should be compatible with those of nearby buildings. 74 Design Guidelines Provide a visual buffer where a parking lot abuts a public sidewalk. A combination of trees and shrubs can be used to create a landscape buffer. Design a parking structure so that it creates a visually attractive and active street E commercial or other use to screen parking areas. Parking Facilities Policy: New parking facilities should be designed to be attractive, compatible additions to the streetscape. Using high quality materials, providing a sense of scale in architectural details and providing active uses at the sidewalk edge are methods that can mitigate the potentially negative impacts of new parking facilities. In general, a new parking facility should remain subordinate to the street scene. Parking structures should be designed to enhance the activity of the streetscape. At a minimum, a parking structure should help to animate the street and be compatible with the surroundings. The visual impact of the cars themselves should be minimized. Guidelines: 2.20 Design a parking structure so that it creates a visually. attractive and active street edge. • When feasible, a parking structure should be wrapped with retail, commercial or.another active use along the street edge to separate the facility from the street and to add activity to the street. • A combination of other methods of accomplishing this may be used, but should not dominate the facade of a structure. These include, but are not limited to: - Murals or public art - Landscaping - Product display cases . Consider a wrap of retail,, `'~~ .....~. ~ .-~ r, Active use at street edge When feasible, a parking structure should be wrapped with retail, commercial or another active use along the street edge to separate the facility from the street and to add activity to the street. Chapter 2 75 2.21 A parking structure should be compatible with tradi- tional buildings in the surrounding area. • Respect the regular window pattern and other architectural ele- ments of adjacent buildings. • Maintain the alignments and rhythms of architectural elements as seen along the street. • Express the traditional widths of buildings in the area. • Continue the use of similar building materials. • Avoid multiple curb cuts. These complicate turning movements and disrupt the sidewalk. .. __ ., _t .~ , j' The parking structure reflects a visually '~ ~~~ attractive edge with recessed areas A parking structure should be compatible with traditional buildings in the that contain landscaping and creative surrounding area. Maintain the alignments and rhythms of architectural screens. Note these conceptually elements as seen along the street and express the traditional widths of reflect storefront elements. buildings in the area. 76 Design Guidelines Respect the regular window pattern and other architectural elements of adjacent buildings. Buffers Policy: When site development such as parking, storage and equipment areas create an unavoidable negative visual impact on abutting properties or to the public way, it should be mitigated with landscaping that may buffer or screen it. The landscape design should complement the existing natural character and context of the site. Note that these guidelines supplement the City's design standards, that define the minimum amounts of land area to be landscaped and of plant units to be used. Guideline: 2.22 Landscape buffers should be provided along edges of parking and service areas. • Provide a landscape buffer at the edge of a parking lot and be= tween parking lots. • Consider providing an evergreen landscape buffer at ground mounted mechanical equipment, service and/or storage areas. Site Lighting Policy: Standards for outdoor lighting are provided in the City's design stan- dards.This section addresses some of the qualitative aspects of light- ing design that should also be addressed. Light spill onto adjacent properties and into the night sky should be minimized. The light level at the property line is a key design consider- ation. This is affected by the number of fixtures, their mounting height, and the lumens emitted per fixture. It is also affected by the screening and design of the fixture. Guideline: 2.23 Shield lighting to prevent off-site glare: • Light fixtures should incorporate cut-off shields to direct light downward. • Luminaires (lamps) shall not be visible from adjacent streets or properties. ~a :~ ~; ~; -f-1111111 ~/ %~ Light fixtures should direct light downward. Chapter 2 77 Landscape buffers should be provided along edges of parking and service areas. /) Service Areas Policy: Service areas should be visually unobtrusive and should be integrated with the design of the site and the building. Guidelines: 2.24 Orient service entrances, waste disposal areas and othersimilar uses toward service lanes and away from major streets. • Screen service entrances with walls, fences or planting. • When it will be visible from a public way, a service area screen should be in character with the building and site it serves. • Locate areas for outdoor storage, truck parking, trash collection or compaction loading, or other such uses so as not to be visible from abutting streets. 2.25 Position service areas to minimize conflicts with other abutting uses. • Minimize noise impacts by locating sources of offensive sounds away from other uses. • Use an alley system to locate service areas, when feasible. Mechanical Equipment Policy: Utility"connection boxes, external fire connections, telecommunication devices, cables, conduits, satellite dishes, HVAC equipment and fans may affect the character of an area. These devices shall be screened from public view to avoid negative effects on historic resources. Guidelines: 2.26 Minimize the visual impacts of mechanical and HVAC . equipment on the public way and surroundirig neigh- . borhood. • Screen equipment from view. • Do not locate window. equipment on a primary facade. • Use low-profile or recessed mechanical units on rooftops. • Locate satellite dishes out of public view. 2.27 Minimize the visual impacts of utility connections. • Locate utility connections on secondary walls when feasible. 78 Design Guidelines Service areas should be visually unobtrusive and should be integrated with the design of the site and the building. Awnings and Canopies Policy: Traditionally, awnings and canopies were noteworthy features of build- ings in the downtown core and their continued use is encouraged. These elements are simple in detail and they reflect the character of the buildings to which they are attached like commercial, warehouses or transitional building types. Chapter 2 79 opening of the building. Arched canopies placed within rectangular openings are inappropriate. A more subdued color scheme would also be more appropriate. Mount an awning or canopy to accentuate character-defining features. Fixed metal canopies maybe appropriate for certain building styles. Guidelines: 2.28 A fabric awning is encouraged. • Historically, fabric awnings are what were most commonly found in Dubuque's downtown area. • Operable awnings are appropriate. 2.29 A fixed metal canopy may be considered. • Appropriate supporting mechanisms are wall mounted brackets and chains. 2.30 The awning and canopy should be in character with the building and streetscape. • Mount an awning or canopy to accentuate character-defining features. The awning or canopy should fit in the opening of the buildings. • Use colors that are compatible with the overall color scheme of the facade.-Solid colors are encouraged. • Simple shed shapes are appropriate for rectangular openings. Odd shapes, bullnose awnings and bubble awnings are inap- propriate. ` • Internal illumination of an awning is inappropriate. •-•~ ~ ,, ~. i ' i ~. rt') ~ '.~ ~ A ~ ~ - Appropriate installation ofan operable awning. 80 Design Guidelines Wall mounted brackets are appropriate supporting mechanisms for fixed metal canopies. Appropriate installation ofan operable awning. 300 block of Main, looking northwest, note the use of awnings. (Cenfer for Dubuque History, Photo KRK 2420) Signs Policy: Asign typically serves two functions: to attract attention and to convey information. All new signs should be developed with the overall context of the building and of the area in mind. Sign ~harac#~~ Policy: ' A sign shall be in character with the materials, colors and details of the building. The integration of the sign with the building or building facade is important and should be a key factor in its design and installation. Guideline: 2.31 Signs should be subordinate to the overall building composition. • Design a sign to be simple in character. • Scale signs to fit with the facade of the building. • Locate a sign to emphasize design elements of the facade it- self. • Mount signs to fit within existing architectural features using the shape of the sign to help reinforce the horizontal lines of the building. • Rooftop signs are inappropriate. • Animated signs and message boards are not appropriate. sign ~ia~~~i~l~ Policy: Asign should exhibit qualities of style, permanence and compatibility with the natural and built environment. Guideline: 2.32 Use sign materials that are compatible with the building facade. • Use colors, materials and details that are compatible with the overall character of the facade. • Permanent, durable materials that reflect the Dubuque context are encouraged. • Avoid highly reflective materials. Chapter 2 81 Use sign colors, materials and details that are compatible with the overall character of the buildings facade. sign ~®!®~° Sign content shall be designed to be visually interesting and clearly legible. Policy: Color shall be used both to accentuate the sign design and message and also to integrate the sign or lettering with the building and its context. Guideline: 2.33 Use colors for the sign that are generally compatible with those of the building front. • Limit the number of colors used on a sign. In general, no more than three colors should be used, although accent colors may also be appropriate. ~i~~ ~~~~~~~ Policy: Sign content shall be designed to be visually interesting and clearly legible. Guideline: 2.34 A simple sign design is preferred. • Typefaces that are in keeping with those seen in the area tradi- tionally are encouraged. • Avoid hard-to-read or overly intricate typeface styles. ~i~n ~i~hgs~~ PoIICy: The sign illumination source shall be shielded to minimize glare. Light intensity shall not overpower the building or street edge. Small and discreet modern light fittings may provide an unobtrusive alternative to traditionally styled lamp units. Guidelines: 2.35 Use shielded lighting source on a sign. • Direct lighting at signage from an external, shielded lamp is ap- propriate. • A warm light, similar to daylight, is appropriate. • Strobe lighting is not appropriate. • Internal illumination is not appropriate. 2.36 Halo illumination may provide an effective and subtle form of lighting which can be used to accentuate both sign and building. • This form of lighting can be used with either wall or sign panels or individual letters. • The light source shall not be visible. 82 Design Guidelines Direct lighting at signage from an external, shielded lamp. Sign Install~ti®n Policy: The installation of a sign is an integral aspect in the retention of key architectural features and in minimizing damage to the building. Guideline: 2.37 Avoid damaging or obscuring architectural details or features when installing signs. • Minimize the number of anchor points when feasible. Appropriate Sign Types Policy: Sign types that are considered generally to be appropriate are defined here. While selecting a sign, an important design principle to consider is that signs should not overwhelm the architecture of the building. Consistent placement of signs according to building style, type, size, location and materials creates a sense of visual continuity. ~~n~py end A~nrr~ing~ Sign This is a sign located on the face of a canopy or awning. Guideline: 2.38 A sign located on or under a canopy or awning may be considered. • These are most appropriate in areas with high pedestrian use. • Consider sign lettering centered on a building canopy where a flush-mounted sign would obscure architectural details. ~11`ll~®Vef Sign This is a sign painted on the surface of, or located on the interior of, a display window. Guideline: 2.39 Design a window sign to: • Minimize the amount of window covered • Be painted on the glass or hung inside a window Chapter 2 83 Canopy and awning signs are most appropriate in areas with high pedestrian use. Design a window sign to minimize the amount of window covered and be painted on the glass or hung inside a window. Locate aflush-mounted wall sign to tit within a panel formed by moldings or transom panels. lf~l~ll sign This is an attached sign painted on or attached to the wall or surface of a building or display surface which is parallel to the supporting surface. Guidelines: 2.40 Flush mounted wall signs may be considered. • Place wall signs to align with nearby buildings. • Determine if decorative moldings exist that could define a sign panel. If so, locate aflush-mounted wall sign to fit within a panel formed by moldings or transom panels. • Do not obstruct character-defining features of a building with signage. 2.41 Design a wall sign to minimize the depth of a sign panel or letters. • Awall sign shall be relatively flush with the building facade. • Design a wall sign to sit within, rather than forward of, the fascia or other architectural details of the building. ~~®j~~~i~~ ®~ ~~r~~i~~ ~i~rr~ This is an attached sign which projects and has one end attached to a building, and which does not employ ground support in any matter. Guidelines: 2.42 Design a projecting sign to be similar in character to those seen traditionally. • Design the sign bracket as a decorative or complementary ele- ment of the sign. The bracket should appear as part of the sign composition and design. 2.43 Projecting or blade signs may be considered. • Locate small projecting signs near the business entrance, just above the door or to the side of it. • Mount large projecting signs higher on the building, centered on the facade or positioned at the corner. • Small hanging signs are appropriate under a canopy on com- mercialbuilding types or from the inside of a porch on residential building types. 84 Design Guidelines Projecting signs, those which are attached to a building and do not employ ground support in any matter, are common in downtown Dubuque. Design the sign bracket as a decorative or complementary element of the sign. The bracket should appear as part of the sign composition and design. Locate small projecting signs near the business entrance, just above the door or to the side of it. ~yrnb~l ~i~ln~ This refers to a symbol displayed on a sign that portrays a certain word, name, or idea. This may be located on the interior of a display window and may also be installed on an exterior facade. Guideline: 2.44 Using a symbol for a sign is encouraged. • A syrnbol sign adds interest to the street, can be read quickly and is often remembered better than written words. ~iP~Ct®i~/ ~I~tl This is a small scale sigri located on the primary first-floor wall of any building containing multiple tenants to display the tenant name and location. Guideline: 2.45 Consider a directory sign for larger buildings with nu- merous occupants. • Consolidate small, individual signs and place them on a single panel as a directory to make them easier to locate. I~~~~p~~~i~~ ~i~l~ An interpretive sign may refer to a sign or group of signs that provide information to visitors on natural resources, cultural resources, historic resources, or other pertinent information. Guideline: 2.46 Design interpretive signs to have a consistent design character. • .Interpretive signs should stand alone, and not be attached to streetscape furnishing or buildings. • Interpretive signs should not disruptor block views. Chapter 2 85 Consider a directory sign for larger buildings with numerous occupants. Examples of inappropriate signages. _ ~-- ~ ~ ~ `-' ~~ ~~ ^ ~ L M ~ _. ~__ ~ ~~` Appropriate wall sign placement on a ~ Appropriate hanging sign (, /~ commercial building type. /~ placement on a residential _ ' building type. -. _ _; _ .... .. _ _ , _ ~ __ __ Appropriate wall sign placement on a warehouse building type. ~~~ 86 Design Guidelines Public Art Policy: streetscape art should be designed as an integral component of the streetscape plan. The artist should "customize" or reinterpret conven- tionalfeatures of astreetscape beautification desigri. For example, new waste receptacle design may be commissioned that would be unique to the area. Other forms of public art should be strategically located to serve as accents in the streetscape design, such as at gateways into the downtown or as focal points in the public parks and at civic buildings. Guidelines: 2.47 The use of public art is encouraged. • Consider locations such as gateways, bridge crossings, small pla- zas and points where views terminate at a public open space. • Incorporate art into streetscapes or building elements that complement the context and/ or character of the building. • Strategically place public art at civic facilities to serve as ac- cents. 2.48 Public art should be compatible with the historic con- text of downtown. • Art installation should not impede one's ability to interpret the historic character of downtown. 2.49 Locate public art such that the ability to perceive the character of historic buildings nearby is maintained. • Placing a large sculpture in front of a historic building front, for example, is inappropriate. Chapter 2 $~ Inappropriate location for public art. Strategically place public art at civic facilities to serve as accents. Incorporate art into streetscape or building elements that complement and enhance the sefting. Fences, Site Walls and Retaining Walls Policy: Fences, site walls and retaining walls are found throughout the study area. Fences were typically associated with residential lots. Site walls are typically associated with parking areas. Retaining walls are found on sloped sites and are associated with several building types. Traditionally, front yard fences were relatively low in height and had a "transparent" characterthat allowed views into yards, providing interest to pedestrians. Solid plank wood fences were used occasionally along alley edges, but also were relatively low in height. A new or replace- mentfence should be similar in character with those used traditionally in the neighborhood. In addition, fences should relate in character to the principal structures on the lot. Site. wall materials should complement the traditional architectural materials. In some areas, retaining walls are also found. They typically align along the edges of sidewalks, and help to establish a sense of visual continuity and should be maintained. Guidelines: 2.50 A new fence should be in character with those seen traditionally. • A fence that defines the front yard is usually low to the ground and "transparent" in nature. • Simple wire and wrought iron fences are appropriate materi- als. • Chain link and solid "stockade "fences are inappropriate. 2.51 A new site wall or retaining wall should be in character with those seen traditionally. • A retaining wall that defines the sidewalk edge or is used in the front yard should not exceed 36 inches. • Use materials that are similar to those used traditionally, such as cut rock and stone. 88 Design Guidelines Considerthe use ofa lowordecorative site wall as screen for the edge of the parking area. Materials should be compatible with those of nearby buildings. Chapter 3 Guidelines for New Commercial Building Types This chapter provides design guidelines for new commercial building types. These new infill buildings would reflect many of the design features found within traditional commercial buildings. The guidelines would also apply to new additions tonon-historic commercial buildings. This section would also apply to the commercial building portion of a transitional building type (See chapter 6). Building Setbacks Policy: Buildings create a strong edge to the street because they are tradi- tionally aligned on the front lot line and were usually built- out the full width of the parcel to the side lot lines. Although small gaps do occur between some structures, they are the exception. These characteristics are vitally important to the Main Street Historic District and in areas abutting the district where a street wall is a prominent feature. Guidelines: 3.1 Reflect the traditional setbacks seen within the block. • Place the facade of the building at the property line. This should only vary in very special circumstances. • Locating entire building fronts behind the established storefront line is inappropriate. Chapter 3 89 Place the facade of the building at the properfy line. New construction should align with nearby historic structures. Mass and Scale Policy: Building massing should fit with existing patterns, but need not di- rectlycopy them. Existing patterns and traditions in building massing include varied heights, articulated masses, visually interesting sky- lines and pedestrian-scaled street fronts. Building massing should continue to provide a variety of pedestrian-friendly scales and visu- ally appealing masses. Buildings should not be monolithic in scale or greatly contrast with the existing scale in the area. A sense of human scale is achieved when one can reasonably in- terpret the size of a building by comparing features of its design to comparable elements in one's experience. Using building material of a familiar dimension such as traditional brick is an example, as is us- ing windows of similar dimensions. To ensure that human scale is achieved in new development it is important to focus design attention on aspects most directly experi- enced by pedestrians, such as the scale of buildings and architectural details at the street level. For example, providing a storefront and a band of smaller upper story windows creates a human scale. These features are some of the important characteristics ofcommercial building types and should be respected in all new construction. Guidelines: 3.2 Maintain the average perceived size of buildings at the sidewalk. • Facade heights of new buildings should fall within the established range of the block, and respect the traditional proportions of height to width. • Floor-to-floor heights should appear similar to those of traditional buildings in the area. 1 i '_ ' - .. t -1-1-! ~ . ~ ~ ~i •°-~r _ 7 f _ _ _ ~ ~ ~.. ~. _ l 1 . ~ -~~ r,~ ~: - - - - ~~ Floor-to-floor heights should appear similar to those of traditional buildings in the area. 90 Design Guidelines Facade heights of new buildings should fall within the established range of the block, and respect the traditional proportions of height to width. 3.3 Traditional spacing patterns created by the repetition of uniform building widths along streets should be maintained. • New facade widths should reflect the established range of the building widths seen on the block. • Where a building must exceed this width, use a change in design features to suggest the traditional building widths. Changes in facade material, window design, facade height or decorative de- tailsare examples of techniques that may be considered. These variations should be expressed through the structure such that the composition appears to be a collection of smaller building modules. New facade widths should reflect the established range of the building widths seen on the block. Chapter 3 91 0 O o i ~ t_ ~ Q ,~ ° ~_- = _ F~,r ~F-_iF-_, O ~ Q~G~ ,-. - -- . ~,-~rr~,~atr:,~ ~,- -~ 3 ~ '~ G=J O - ^~. F ~ ~ , Ta ~ G~~ -` -J~_iJ1 _~- O ! -~ ~ f I ~- - ~- -~ ,~_- ,~ These two building models incorporate basic building elements: (1) base, (2) middle and (3) cap. 3.4 Anew building should incorporate a base, middle and a cap. Traditionally, buildings were composed of these three basic elements. Interpreting this tradition in new buildings will help reinforce the visual continuity of the area. Buildings should step down towards lower scaled neighbors. 3.5 Position taller portions of a structure away from neigh- boring buildings of lower scale. • Where permitted by the base zoning, towers and other taller structures should be located to minimize looming effects and shading of lower scaled neighbors. • Buildings should step down towards lower scaled neighbors, including adjacent historic properties and districts. 92 Design Guidelines Anew building should incorporate a base (1), middle (2) and cap (3). 3.6 Establish a sense of human scale in building de- signs. • Use vertical and horizontal articulation to break up large fa- cades. • Incorporate changes in color, texture and materials in building designs to help define human scale. • Use architectural details that create visual interest and convey a three-dimensional facade. • Use materials which help to convey scale through their propor- tions, detailing and form. • Size and locate signs to engage pedestrians and help define building entries. Chapter 3 93 Use vertica/and horizontal articulation to break up large facades. Building and Roof Form Policy: One of the most prominent unifying elements of the commercial area is the similarity in building form. Commercial buildings were simple rectangular solids, deeper than they were wide. This characteristic is important and should be continued in new projects. Guidelines: 3.7 Rectangularformsshnuld be dominant on commercial facades. • Rectangular forms should be vertically oriented. • The facade should appear as predominantly flat, with any decora- tiveelements and projecting or setback "articulations" appearing to be subordinate to the dominant form. 3.8 Roof forms should be similar to those used tradition- ally. , • Flat roofs are appropriate. • "Exotic" roof forms,- including mansards, are inappropriate. I _~~ -t --~- .~~~~~ -~~ ~1 u ~ =+ ~_ - _.. _ a_- - - f ~_-!.~ 94 Design Guidelines Rectangular forms should be dominant on commercial facades. Roof forms should be similar to those used traditionally. Horizontal Alignment Policy: A strong alignment of horizontal elements exists along. the street. Alignment is seen at the first floor level with moldings that are found at the top of display windows; at upper floor levels, alignment is found among cornices, window sills and headers. This alignment of horizontal features on building facades is one of the strongest characteristics of the street and should be preserved. It is important to note, however, that slight variations do occur, which add visual interest. Major devia- tions from these relationships, however, disrupt the visual continuity of the street and are to be avoided. 3.9 The general alignment of horizontal features on build- ing fronts must be maintained. • Typical elements that align include: window moldings, tops of display windows, cornices, copings and parapets at the tops of buildings. • When large buildings are designed to appear as several buildings, there should be some slight variation in alignments between the horizontal facade elements. 3.10 Define the first and second floors of commercial type buildings with clearly distinguishable details. • Changes in horizontal details and architectural panels may be used. to help define the first and second floors. • Changes in material, color, texture, pattern or wall plane may be used to help define the first and second floors. '~,,,'-+~,M~ The alignment of horizontal features on building facades is one of the strongest characteristics of the street and should be maintained. It is important to note, however, thatslight variations which add visual interest do occur. For example, the third floorand main entrance in this building show where a variation has occurred. Chapter 3 95 Solid-to-void t r r ' - -' - ~ I i l- 1 1! 111 Policy: A typical building appeared to be a rectangular solid, with holes "punched" in the walls forwindows and doors. Most commercial build- ings have similar amounts of glass, resulting in a relatively uniform solid-to-void ratio. This ratio on a new building, the amount of facade that is devoted to wall surface, as compared to that developed as openings, should be similar to that of traditional buildings within the neighborhood. Use aratio ofsolid-fo-void (wall-to-window) thatis similarto that found on traditional commercial structures. Guideline: 3.11 Use a ratio of solid-to-void (wall-to-window) that is similarto that found on traditional commercial struc- tu res. • Large surfaces of glass may be inappropriate. Divide large glass surfaces into smaller panes similarto those seen traditionally. :~~ ~~ / rt '`' 96 ~ Design Guidelines Use a ratio of solid-to-void (wall-to- window) that is similarto that found on traditional commercial structures. New Storefront Character Policy: The street level floors of historic Dubuque commercial buildings are clearly distinguishable from the upper floors. First floors are predomi- nantly fixed plate glass with a small percentage of opaque materials with recessed entries. Upperfloors are the reverse-opaque materials dominate, and windows appear as smaller openings puncturing the solid walls. These windows are usually double-hung. The street level is generally taller than the upper floors. Store fronts of 12 to 14 feet high are typical, whereas second floors of 10 to 12 feet are typical. This typical storefront character should be maintained. Guidelines: 3.12 Maintain the traditional spacing pattern created by up- perstory windows. •. Maintain the historic proportions of windows. • Headers and sills of windows on new buildings should maintain the traditional placement relative to cornices and belt-courses. 3.13 Maintain the distinction between the street level and the upper floor. • The first floor of the primary facade should be predominantly transparent glass. • Upper floors should be perceived as being more opaque than the lower floor. • Highly reflective or darkly tinted glass is inappropriate. • Express the distinction in floor heights between street levels and upper levels through detailing, materials and fenestration. The presence of a belt course is an important feature in this relation- ship. Chapter 3 97 Maintain the distinction between the street level and the upper floors. The typical storefront pattern is maintained on this new building. The first floor of the primary facade should be predominantly fransparent glass. 3.14 Maintain the pattern created by recessed entryways. • Set the door back from the front facade an adequate amount to establish a distinct threshold for pedestrians. A recessed dimen- sion of four feet is typical. • Where entries are recessed, the building line at the sidewalk edge should be maintained by the upper floor(s). • Use transoms over doorways to maintain the full vertical height of the storefront. • Oversized (or undersized) interpretations are discouraged. 98 Design Guidelines Maintain the pattern of recessed entries. Chapter 4 Guidelines for New Residential Building Types This chapter provides design guidelines for new residential buildings, including both single-family and urban residential types. Urban resi- dentialbuilding types include multifamily structures such as apartment buildings and townhomes. These new infill buildings would reflect many of the design features found within traditional residential build- ing types. The guidelines also apply to new additions to non-historic residential buildings. New residential style buildings could occur in a few locations where an existing enclave of these building types oc- cur as well as transition areas. This chapter would also apply to the residential portion of a transitional building type. Building Setbacks Policy: Building setback within a typical residential context reflect a hierarchy of public and private space. It is a progression that begins at the street, which is the most public space, then proceeds through the front yard, which appears "semi-private," and ends at the front door, which is the "private" space. This sequence enhances the pedestrian environment and contributes to the character of a residential neighborhood; it should be maintained where it dominates the block. Where the majority of the buildings align at the sidewalk edge, new infill buildings should maintain this alignment. Guidelines: 4.1 Maintain the traditional neighborhood setback. • In a traditional residential neighborhood, the front yard should be maintained with planting material and not covered with paving or large outdoor decks. Align buildings at the sidewalk in traditional urban settings. 4.2 Provide a walkway from the street to the building in residential settings. • A walkway running from the street to the front porch provides unity to the streetscape. Where a walkway has been an element of the hierarchy, this should continue. . Chapter 4 99 In a traditional residential neighborhood the front yard should be maintained with planting material, and not covered with paving or large outdoor decks. 4.3 Clearly define the primary entrance by-using a defined entry or a front porch in townhomes and single-family residential buildings. • The porch should be "functional," in that it is used as a means of access to the entry. 4.4 Orient a front porch or covered landing to the street. • While the porch serves as a transition area from the street to the building, it is also an essential element of the streetscape. It provides human scale to the building; it offers interest to pedes- trians; and it is a catalyst for personal interaction. • This should not be interpreted to exclude side porches. 100 Design Guidelines < <:: Traditional Building. Building appropriately reflects traditional building elements. Traditional 8 uilding. Building appropriately reflects traditional building elements. Mass and Scale Policy: o Building massing should fit with existing patterns, buf need not di- rectly copy them. Existing patterns and traditions in building massing ~ ~ ~' 8 include varied heights, articulated masses, and pedestrian-scaled _ ; ~ ~~' II ~~~ entryways. Building massing should continue to provide a variety of pedestrian-friendly scales and visually appealing masses. Buildings should not be monolithic in scale or greatly contrast with the existing /n a typical residential setting the scale in the area. drawing on the left shows a structure which does not relate well in mass A sense of human scale is achieved when one can reasonably in- and scale to the adjacent structure. terpret the size of a building by comparing features of its design to comparable elements in one's experience. Using a building material of a familiar dimension such as traditional brick is an example, as is using windows of similar dimensions. To ensure that human scale is achieved in new development, it is important to focus design attention on aspects most directly expe- rienced by pedestrians, such as the scale of buildings and architec- tural details at the street level. For example, providing a front porch creates a human scale, especially in a residential setting. These features should be respected in all new construction. Guidelines: 4.5 Construct a new building to be similar in mass and scale to traditional buildings in the neighborhood. • Traditional features that convey a human scale should be used. • Use building materials that are of traditional dimensions. The use of brick is encouraged. • Include horizontal elements in the design of residential buildings. For example, porches, balconies and eaves should be used to reflect the articulation of buildings in areas that are predominantly residential. • Use architectural details that create visual interest and convey a three dimensional facade. Chapter 4 101 On larger structures, subdivide larger masses into smaller "modules" that are similar in size to traditional buildings in the neighborhood. 4.6 On larger structures, subdivide larger masses into smaller "modules" that are similar in size to traditional buildings in the neighborhood. • Other subordinate modules may be attached to the primary building form. 4.7 The front wall of a new structure should be similar in height to traditional buildings in the neighborhood. • The primary plane of the front should not appear taller than those in the neighborhood. 4.8 A facade should appear similar in dimension to traditional buildings in the neighborhood. • Facade heights of new buildings should fall within the established range of the block, and respect the traditional proportions of height to width. • Floor-to-floor heights should appear similar to those of traditional buildings in the area. 102 Design Guidelines Position taller portions of a structure away from neighboring buildings of lower scale. 4.9 Position taller portions of a structure away from neigh- boring buildings of lower scale. • Where permitted by the base zoning, taller structures should be located to minimize looming effects and shading of lower scaled neighbors. • Buildings should step down towards lower scaled neighbors, including adjacent historic properties and districts. Building and Roof Form Policy: In most neighborhoods, a similarity of building and roof form also contributes to a sense of visual continuity. In order to maintain this sense of visual continuity, a new building should have basic building and roof form that is similar to those seen traditionally. Guideline: 4.10 Use building and roof forms that are similar to those seen traditionally on the block. • Exotic and shed roof forms are inappropriate on primary struc- tures. • Flat roofs are appropriate in the urban commercial areas and sloped roof are appropriate in transition areas. (Also see Chapter 6). Chapter 4 103 Solid-to-void ~. - '~ ~ J A ~~ ~,. ~, ~ _ , ,._ _ r ~ -~ ~. ~ , __ _ ~ ~~ ~. - =~ `~ Large openings are inappropriate. Policy: A typical building appeared to be a rectangular solid, with holes "punched" in the walls for windows and doors. Most residential build- ings have similar amounts of glass, resulting in a relatively uniform solid-to-void ratio. This ratio on a new building, the amount of facade that is devoted to wall surface, as compared to that developed as openings, should be similar to that of traditional buildings within the neighborhood. Guideline: 4.11 Use aratio ofsolid-to-void (wall-to-window) that is simi- lar to that found on traditional residential structures. • Large surfaces of glass are inappropriate. Secondary Structures Policy: Secondary structures are traditionally subordinate in scale and char- acter to aprimary structure and are typically located to the rear of the lot, they are primarily used for parking garages and storage. While structures in the rear generally have little impact on the character of the street, they do have an impact on the character of the alley and the neighbors to the rear. This character should be maintained. Guidelines: 4.12 A new secondary structure should be subordinate in height to those buildings seen traditionally along the street front. • Secondary structures that are no more than one-and-one-half stories in height are preferred. 4.13 Locate secondary buildings to the rear of the lot. • Locating a secondary structure to the side of the primary struc- ture, but set back significantly from the front wall plane is also appropriate • A secondary structure should be oriented similar to those seen traditionally along the alley, where they are available. 4.14 Locate a garage such that its visual impacts will be minimized. • Garages should be located off an alley where possible. • On through lots where a garage must be accessed from the street, set it back from the front wall plane when feasible. 104 Design Guidelines The facade should reflect traditional solid-to-void ratios. Chapter 5 Guidelines for New Warehouse Building Types This chapter provides design guidelines to develop new warehouse . building types. These new infill buildings would reflect. many of the design features found within traditional warehouse- buildings. The guidelines also apply to additions to non-historic warehouse building types. Building. Setbacks When new buildings are to be constructed, they should reflect historic siting patterns in the area. This does not mean that a new structure should literally fit within the footprint of an earlier building, but that the general spirit of the relationship of buildings to streets and open spaces should be conveyed. In many cases, warehouse buildings are aligned along their front sides. Reflecting this siting pattern is encouraged. POIICy: Warehouse buildings create a strong edge to the street because they traditionally aligned on the front lot line and were usually built out to the full width of the parcel. These characteristics are vitally important to the Warehouse Area. Chapter 5 105 Continue to align building fronts at the street edge. Guidelines: 5.1 Maintain the uniform alignment of the facade. • Align the building front at the street edge. • Locating entire building fronts behind the established building line is inappropriate: IVlass and Scale -- -~ ~~a Policy: Anew building should reflect the traditional massing of traditional ware- . house buildings. Because of the diversity of building sizes exhibited throughout the warehouse area, a wide variety of building sizes will be suitable for development. A sense of human scale is achieved when one can reasonably in- terpret the size of a building by comparing features of its design to comparable elements in one's experience. Using a building material of a familiar dimension such as traditional brick is an example, as is using windows of similar dimensions. To ensure that human scale is achieved in new development it is important to focus design attention on aspects most directly experi- enced by pedestrians, such as the scale of buildings and architectural details at the street level. For example, providing a series of vertical pilasters and a band of windows creates a human scale. Some of the largest traditional warehouses included interesting fen- estration which created visual interest, and is partially why the older industrial buildings are so visually appealing. These features are some of the important characteristics of the ware- house area and should be respected in all new construction. 106 Design Guidelines Contemporary interpretations of traditional warehouse buildings are appropriate. In the above examples, the building form, industrial glass and materials combine to achieve appropriate infill buildings. Guidelines: 5.2 Maintain the average perceived size of buildings at the sidewalk. • Facade heights of new buildings should fall within the established range of the block, and respect the traditional proportions of height to width. • Floor-to-floor heights should appear similarto those of traditional buildings in the area. 5.3 Anew building should incorporate a base, middle and a cap. • Traditionally, buildings were composed of these three basic elements. Interpreting this tradition in new buildings will help reinforce the visual continuity of the area. 5.4 Establish a sense of human scale in building de- signs. • Use vertical and horizontal articulation to break up large fa- cades. • Incorporate changes in color, texture and materials in building designs to help define human scale. • Use architectural details that create visual interest and convey a three-dimensional facade. • Use materials which help to convey scale through their propor- tions, detailing and form. Chapter 5 107 Maintain the average perceived size of buildings at the sidewalk. Use architectural details that create visual interest and convey a three dimensional facade. Maintain the traditional height of buildings seen along the street by setting back taller portions of buildings from the front facade. Building and Roof Form Policy: One of the most prominent unifying elements of the warehouse area is the similarity in building form. Warehouse buildings were simple rectangular solids. This characteristic is important and should be continued in new projects. Simple rectangular forms are predominant. New buildings should re- flect the monolithic forms of traditional buildings and the elements that provide a human scale to the buildings. Guidelines: 5.5 The primary warehouse building form should appear similar to those seen traditionally. • Simple rectilinear building forms are appropriate. Avoid the use of highly complex forms. • The facade should appear as predominantly flat, with any decora- tiveelements and projecting or setback "articulations" appearing to be subordinate to the dominant form. • Avoid the use of highly complex forms. 5.6 Roof forms should be similar to those used tradition- ally. • Flat roofs are appropriate. • "Exotic" roof forms, including mansards, are inappropriate. Simple rectangular building forms are appropriate. 108 Design Guidelines Horizontal Alignment Policy: A strong alignment of horizontal elements exists along the street. Alignment is found among cornices, window sills and headers. This alignment of horizontal features on building facades is one of the strongest characteristics of the street and should be preserved. It is important to note, however, that slight variations do occur, which add visual interest. Major deviations from these relationships, however, disrupt the visual continuity of the street and are to be avoided. Guidelines: 5.7 The general alignment of horizontal features on build- ing fronts should be maintained. • Typical elements that align include: window moldings, cornices, copings and parapets at the tops of buildings. Chapter 5 109 Align building elements such as window moldings, cornices, copings and parapets of the tops of buildings. This alignment of horizontal features on building facades is one of the strongest characteristics of the street and should be maintained with new inflll buildings. Solid-to-void Policy: A typical building appeared to be a rectangular solid, with holes "punched" in the walls for windows and doors. Most warehouse build- ings have similar amounts of glass, resulting in a relatively uniform solid-to-void ratio. This ratio on a new building, the amount of facade that is devoted to wall surface, as compared to that developed as openings, should be similar to that of traditional buildings within the neighborhood. Guidelines: 5.8 Use aratio ofsolid-to-void (wall-to-window) that is simi- lar to that found on traditional warehouse structures. • Large surfaces of glass may be inappropriate. Divide large glass surfaces into smaller panes similar to those seen traditionally. '~ /~ -( ~ ~~ I' ~ . --I r: .~ I_ . ~ _~ ~ . -~ - , i-i-r I L.- -,1..- _ - .._ . - Use a ratio ofsolid-to-void (wall-to-window) that is similar to that found on traditional warehouse structures. 110 Design Guidelines New Facade Character Policy: The street level floors of historic Dubuque warehouse buildings are clearly distinguishable from the upper floors. The first floor is punctu- atedwith large operable openings, entrances and in some cases large industrial windows. The large first floor windows allowed additional light into the ground floor space and the operable doors allowed for load- ing and unloading of goods. The use of loading docks with a series of operable doors and canopies were also seen. The upper floors were punctuated with a series of smaller windows. The design patterns these buildings elements provide is encouraged on new construction. Guidelines: 5.9 Maintain the traditional spacing pattern created by up- perstory windows. • Maintain the historic proportions of windows. • Headers and sills of windows on new buildings should maintain the traditional placement relative to cornices and belt courses. 5.10 Maintain the distinction between the street level and the upper floor. • The first floor of the primary facade should be predominantly transparent glass. • Upper floors should be perceived as being more opaque than the lower floor. ' • Highly reflective or darkly tinted glass is inappropriate. • Express the distinction in floor heights between street levels and upper levels through detailing, materials and fenestration. The presence of a belt course is an important feature in this relation- ship. ': ~~.-~t~.1~3 .~: i,t~~"~ 1-;t Ott-;~4 11?t~°~a f ar. . ~ - ~ . ~ . . The street level floors of historic Dubugue warehouse buildings are clearly distinguishable from the upper floors. Chapter 5 111 The large first floor windows allowed additional light into the ground floor space and the operable doors allowed for loading and unloading of goods. Reinterpreting these building patterns in new construction is appropriate. 5.11 Maintain the pattern created by entryways. • Set the door back from the front facade an adequate amount to establish a distinct threshold for pedestrians. • The use of transoms over doorways and service entries to main- tain is appropriate. • Undersized interpretations are discouraged. 112 Design Guidelines Providing openings with industrial glass similar in size to the traditional loading doors is appropriate. Chapter 6 Guidelines for New Transitional Building Types This chapter discusses the guidelines for new transitional building types. Atransitional building type is defined as a building that combines residential and commercial building types. This building type would be an appropriate infill in areas where a neighborhood context transitions from commercial to residential buildings. When providing these types of structures one should also follow the residential and commercial building type design guidelines to address specific elements such as storefronts, window patterns and porches. Building setback Policy; When designing for a residential context, setthe building back to align with others on the street. When designing in a commercial context, align the building at the sidewalk edge. (See also Chapter 3 and Chapter 4) Guideline: 6.1 Reflect the traditional setbacks seen within the block. • Locate a buildings face within the range of setbacks seen within the block. Inmixed-use areas, commercial larger-scaled buildings typically anchored the corners. Chapter 6 113 An appropriate new transitional building type is shown here. The building reflects commercial building components with a residential use. Locate a building within the range of setbacks 'seen within the block. Mass and Scale Policy: The mass and scale of a mixed- use building is an important design issue to consider. Mixed-use buildings can enhance the pedestrian experience by reinforcing the established building's context. New construction should not be so dramatically greater in scale than the established context that the visual continuity of the neighborhood would be compromised. A sense of human scale is achieved when one can reasonably in- terpret the size of a building by comparing features of its design to comparable elements in one's experience. Using a building material of a familiar dimension such as traditional brick is an example, as is using windows of similar dimensions. To ensure that human scale is achieved in new development it is important to focus design attention on aspects most directly expe- rienced by pedestrians, such as the scale of buildings and architec- tural details at the street level. Guidelines: 6.2 Construct a new building to be similar in mass and scale to traditional buildings in the neighborhood. • Traditional features that convey a human scale should also be used. Consider these techniques: - Use building materials that are of traditional dimensions. - Use vertical and horizontal elements - On residential portions provide aone-story porch that is similar to those seen traditionally. 114 Design Guidelines Mass and scale is an important design issue for amixed- use building. On the front wall of a new structure the massing should be similarto traditional buildings in the area. 6.3 On larger structures, subdivide larger masses into smaller "modules" that are similar in size to traditional buildings in the neighborhood. • Other subordinate modules may be attached to the primary building form. 6.4 The front wall of a new structure should be similar in height to traditional buildings in the neighborhood. • The primary plane of the front should not appeartallerthan those of typical historic structures on the block. 6.5 A facade should appear similar in dimension to traditional buildings in the neighborhood. • An established range of commercial and residential building front widths exists. Where additional width is desired it may be achieved with a setback or change in building plane. Chapter 6 115 On larger structures, subdivide larger masses into smaller "modules" that are similar in-size to traditional buildings in the neighborhood. Roof Form Policy: In most neighborhoods, a similarity of roof form also contributes to a sense of visual continuity. In order to maintain this sense of visual continuity, a new building should have a basic roof form that is similar to those seen traditionally. Guideline: 6.6 Use roof forms that are similar to those seen tradition- ally on the block. • The primary ridge line of a residential structure should not exceed the typical maximum for the block. 116 Design Guidelines A new building should have a basic roof form similar to those seen traditionally. A similarity of roof forms in a neighborhood contributes to a sense of visual continuity. Chapter 7 Character Area Design Guidelines ~' ~ ~ Y_, ,, ~ ~;,'~ The boundaries of the Downtown Dubuque character areas. The rectangular void in the downtown transitonal area is the Old Main Historic Preservation District which has separate architectural guidelines already in place, therefore it is excluded from the Downtown Design Guidelines project area. Chapter 7 ~ 17 This chapter includes brief character area descriptions. For each char- acterarea there are specific design guidelines for urban landscaping within that area. i' ~~ ~_~ Downtown Core The Downtown Core area is in the heart of the city. The area is com- posed of virtually uninterrupted streetscape of commercial buildings along Main Street. The area stretches along anorth-south axis. It contains many historic commercial and civic buildings that span a range of architectural styles. A mix of scale, mass and use of buildings occur here. Many commercial and office buildings are located here, as well as the majority of the City's civic buildings. Buildings are primarily three-stories, with several multistory buildings scattered throughout the area. The tallest of these are primarily located near Main Street. Buildings are set at the street edge, with moderate to wide sidewalks. Many of the structures in this area retain their historic integrity with regularly spaced storefronts and upper-story windows and considerable ornamental detail, such as cornices and belt courses, which lend a strong visual cohesion. The downtown core is complemented by a distinct streetscape pal- ette. Benches, paving patterns, planters and light fixtures are among the elements that should be continued throughout the core area. The introduction of "soft spaces" to the core area is encouraged. These will enhance connectivity and reinforce livability[ and community char- acter. Downtown Core Area Policy: The character of the historic commercial and civic buildings, and the mix of scale, mass and use of buildings in the areas should be continued. Guideline: 7.1 Maintain the established variety of building types. • Commercial and mixed-use building types are appropriate in the Downtown Core area. area. 118 Design Guidelines Many commercial and office buildings are located here, as are the majority of the City's civic buildings. A mix of scale, mass and use of buildings occur in the Downtown Core ~~b~ln ~~n~~~~p~ Policy: The character of the streetscape is defined by an established palette of design elements and vegetation. These include simple black metal benches, acorn lights, trash receptacles, street trees (in some loca- tions) and planters. Landscape buffers are also located vvhere parking structures and lots have been setback from the street edge. These elements should be incorporated in development projects in the Down- town Core area. Encourage the use of green space downtown. Guidelines: 7.2 Maintain the character of streetscape elements. • Use streetscape furniture such as street lights, benches, trash receptacles and planters similar to those established in the area. 7.3 Continue the use of street trees and other vegetation. • Mature trees contribute to the quality of the pedestrian experi- ence and should be preserved. • When an existing street tree dies, it should be replaced. • Anew development should include street trees where they do not already exist. • Where street trees are not feasible consider the use of other vegetation such as planting strips and hanging planters. 7.4 Encourage public parks and green space downtown. • Appropriate green space includes: planters, street trees, parks, planting strip and landscape buffers. Chapter 7 119 The character of the streetscape is defined by an established palette of design elements, including simple black metal benches, acorn lights and trash receptacles, as well as scattered street trees and planters. Downtown Transitional The Downtown Transitional Area is the southern entry into downtown. The area consists primarily of two and three-story buildings, which are a mix of traditional buildings and newer, commercial infill devel- opment. The majority of the infill commercial buildings are located along Locust Street. A large portion of buildings in this area are not historic, however, the vast majority of them are adjacent to either a historic structure or district. The streetscape is a mix of setbacks, with traditional buildings at the street front and newer infill setback from the street. Both attached sidewalks and sidewalks separated from the street by a small planting strip occur. Planting strips, located at.build- ings and sidewalks setbacks, along with wayfinding signs, enhance both vehicular and pedestrian experiences throughout the area. This area is identified as the southern gateway into the downtown area and should be celebrated. New contemporary commercial infill buildings are appropriate. The rectangular void in the downtown transitonal area is the Old Main Historic Preservation District which has separate architectural guide- lines already in place, therefore it is excluded from the Downtown Design Guidelines project area. POIICy: The mix of building types and styles in the areas should be contin- ued. Guideline: 7.5 Maintain the established variety of building types. • Commercial, residential and mixed-use building types are ap- propriate in the Downtown Transitional area. r~~~ 120 Design Guidelines Downtown Transitional Area Both attachedsidewalksandsidewalks separated from the street by a small planting strip, occur in the Downtown Transitional Neighborhood. The majority of infill commercial-strip buildings are located along Locust Street. ~J~~~n ~.~~d~~~p~ Policy: Streetscape and landscape elements should complement the urban commercial setting and its role as the entrance to downtown. Planting strips and street trees should be used in development projects in the Downtown Transitional area where sidewalks are set back from the street and where buildings are setback from the sidewalk. Guidelines: 7.6 Minimize building setbacks. • Small setbacks are appropriate where landscaping is desired at the street edge. • A building which has its primary facade at the street, but steps back for an outdoor use area is also appropriate. 7.7 Use street trees and other vegetation. • Mature trees contribute to the quality of the pedestrian experi- ence and should be provided where they do not already exist. • Where street trees are not feasible, consider the use of other vegetation such as planting strips and hanging planters. Chapter 7 121 Promote the use of landscape buffers. Mature trees contribute to the quality of the pedestrian experience and should be provided where they do not already exist. t Warehouse The Warehouse area is located between the Downtown Core and the waterfront. Minimal diversity of buildings occurs here, typically brick structures between three and four stories in height denominate. The majority of these span the entirety of a block, with a few buildings of narrower width scattered between them. The majority of the area is built up, with few open sites for infill; however, there is strong potential for adaptive reuse of the many warehouse buildings. Policy: The scale and industrial character of buildings in the area should be continued. ~-`` '~ S ,~~J Guideline: 7.8 Maintain the industrial building character of the area. • The warehouse building type is appropriate in the Warehouse ~, area. ~ ~`~_. 122 Design Guidelines Warehouse Area Warehouse buildings are typically brick structures between three and four stories in height. The majority of buildings span the width of a block. ~~~~n ~.~nd~~~~~ Policy: Typical components of the Warehouse area. urban landscape include narrow attached sidewalks with minimal vegetation or street lighting. The streets here were traditionally brick paved, with. rail lines down the center. While many of these features have been removed, several streets still retain their original brick pavers and rail lines. As infrastruc- ture improvements are made and redevelopment in the Warehouse area occurs, it will be important to increase the pedestrian appeal of the area. New developments should include streetscape improve- ments such as landscaping, lighting and street furniture that reflect the industrial character. Guidelines: 7.9 Minimize building setbacks. • Small setbacks are appropriate where landscaping is desired at the street edge. • A building which has its primary facade at the street, but steps back for an outdoor use area is also appropriate. 7.10 Increase the pedestrian appeal of the area. • Use streetscape features, including street lights, benches, trash receptacles and planters of a consistent design which comple- ment the existing streetscape character. 7.11 Provide street vegetation. • Mature trees contribute. to the quality of the pedestrian experi- ence and should be provided. • Where street trees are riot feasible, consider the use of other vegetation such as planting strips, hanging planters or vines. New contemporary interpretations of warehouse building are encouraged in this area. Chapter 7 123 Considerthe use ofhanging planters or vines as urban landscape elements in a warehouse. /) The White Street corridor is dominantly residential building types with occasional commercial and mixed-use buildings mixed in. Neighb®rho~d Corrid®r The Neighborhood Core area has a strong neighborhood feel and retains a high level of its historic character. It contains a mix of small commercial mixed-use buildings and single and multi-family residential buildings. This mix occurs throughout the area. However, the corridor along Central Avenue is more dominantly mix-use buildings. The corridor along White Street is more dominated by residential building types. Typically buildings are between two and three stories in height. There are many opportunity sites for infill development throughout the area. Policy: The mix of uses and the historic character of the areas should be maintained. Guideline: 7.12 Maintain the established variety of building types. • ~ Residential and mixed-use building types are appropriate in the Neighborhood Corridor area. area. 124 Design Guidelines Neighborhood Corridor Area The Central Avenue corridor is dominantly mixed-use building types with occasional residential buildings mixed in. There are many opportunity sites for infill development throughout the ~~b~r~ ~~r~~~~~ap~ Policy: Commercial storefronts and small residential yards line the street, giv- ingthe area a strong pedestrian scale and character. The streetscape varies between commercial storefronts set at the property line with attached sidewalks, and residential buildings with small setbacks and detached sidewalks with planting strips and street trees. This pattern should be continued. Guidelines: 7.13 Maintain the character of streetscape elements. • Use streetscape features, including street lights, benches, trash receptacles and planters of a consistent design which comple- ment the existing streetscape character. 7.14 Continue the use of street trees and other vegetation. • Mature trees contribute to the quality of the pedestrian experi- ence and should be preserved. • When an existing street tree dies, it should be replaced. • Anew development should include street trees where they do not already exist. • Where street trees are not feasible consider the use of other vegetation such as planting strips and hanging planters. Chapter 7 125 Small residential yards combine with commercial storefronts to give the area a strong pedestrian scale and character. Mature trees contribute to the quality of the pedestrian experience and should be preserved. Appendix A The Secretary of the Interior's Standards for the Treatment of Historic Buildings It is the intent of this document to be compatible with The Secretary of the Interior's Standards for the Treatment of Historic Properties., while expanding on the basic rehabilitation principles as they apply in Dubuque. (See Appendix A) The Secretary's Standards for Rehabilitation state that: A property shall be used as it was historically or be given a new use that requires minimal change to its distinctive materials, features, spaces, and spatial relationships. 2. The historic character of a property shall be retained and pre- served. The removal of distinctive materials or alteration of features, spaces, and spatial relationships that characterize a property shall be avoided. Each property shall be recognized as a physical record of its time, place, and use. Changes that create a false sense of historical development, such as adding conjectural features or elements from other historic properties, shall not be undertaken. 4. Changes to a property that have acquired historic significance in their own right shall be retained and preserved. 5. Distinctive materials, features, finishes, and construction tech- niques orexamples ofcraftsmanship that characterize a property shall be preserved. 6. Deteriorated historic features shall be repaired rather than re- placed. Where the severity of deterioration requires replacement of a distinctive feature, the new feature shall match the old in design, color, texture, and, where possible, materials. Replace- ment ofmissing features shall be substantiated by documentary and physical evidence. Chemical or physical treatments, if appropriate, shall be under- taken using the gentlest means possible. Treatments that cause damage to historic materials shall not be used. 126 Design Guidelines 8. Archeological resources shall be protected and preserved in place. If such resources must be disturbed, mitigation measures shall be undertaken. 9. New additions, exterior alterations, or related new construction shall not destroy historic materials, features, and'spatial relation- ships that characterize the property. The new work shall be dif- ferentiated from the old and shall be compatible with the historic materials, features, size, scale and proportion, and massing to protect the integrity of the property and its environment. 10. New additions and adjacent or related new construction shall be undertaken in such a manner that, if removed in the future, the essential form and integrity of the historic property and its environment would be unimpaired. Design for alterations and additions to existing properties should not be discouraged when such alterations and additions do not destroy _ significant historical, architectural or cultural material. Such design should be compatible with the size, scale, color, material and character of the property, neighborhood and environment. The Secretary of the Interior's Standards for the Treatment of Historic Buildings can be found on the National Park Service website or www. nps. gov/hps/fps/standguide Appendix ~ 27 Appendix B Preservation Briefs The Cultural Resources Department of the National Park Service, in the U.S. Department of the Interior, started a program in 1975 in which it has continued to publish a series of technical reports regarding proper preservation techniques. This series, Preservation Briefs, is a mainstay for many preservationists in the field. When considering a preservation project on any historic property these resources should be sought out. Preservation Briefs 1: The Cleaning and Waterproof Coating of Ma- sonry8uildings. Mack, Robert C. Washington, D.C.: U.S. Government Printing Office, 1975. Preservation Briefs 2: Repointing Mortar Joints in Historic Brick. Mack, Robert C., de Teel Patterson Tiller and James S. Askins. Washington, D.C.: U.S. Government Printing Office, 1980. Preservation Briefs 3: Conserving Energy in Historic Buildings. Baird, Smith M. Washington, D.C.: U.S. Government Printing Office, 1978. Preservation Briefs 4: Roofing for Historic Buildings. Sweetser, Sarah M. Washington, D.C.: U.S. Government Printing Office, 1978. Preservation Briefs 5: Preservation of Historic Adobe Buildings. U.S. Department ofthe Interior. Washington, D.C.: U.S. Government Print- ing Office, 1978. Preservation Briefs 6: Dangers ofAbrasive Cleaning to Historic Build- ings. Grimmer, Anne E. Washington, D.C.: U.S. Government Printing Office, 1979. Preservation Briefs 7: The Preservation of Historic Glazed Architectural Terra-Cotta. Tiller, de Teel Patterson. Washington, D.C.: U.S. Govern- ment Printing Office, 1979. Preservation Briefs 8: Aluminum and Vinyl Siding on Historic Build- ings. Myers, John H., revised by Gary L. Hume. Washington, D.C.: U.S. Government Printing Office, 1978. Preservation Briefs 9: The Repair of Historic Wooden Windows. Myers, John H. Washington, D.C.: U.S. Government Printing Office, 1981. Preservation Briefs 10: Exterior PaintProblems on Historic Woodwork. Weeks, Kay D. and David W. Look. Washington, D.C.: U.S. Govern- ment Printing Office, 1982. 128 Design Guidelines Preservation Briefs 11: Rehabilitating Historic Storefronts. Jandl, H. Ward. Washington, D.C.: U.S. Government Printing Office. Preservation Briefs 12: The Preservation of Historic Pigmented Struc- tural Glass. U.S. Department of the Interior. Washington, D.C.: U.S. Government Printing Office, 1984. Preservation Briefs 13: The Repairand Thermal Upgrading ofHistoric Steel Windows. Park, Sharon C. Washington, D.C.: U.S. Government Printing Office. Preservation Briefs 14: New Exterior Additions to Historic Buildings: Preservation Concerns. Weeks, Kay D. Washington, D.C.: U.S. Gov- ernment Printing Office, 1986. Preservation Briefs 15: Preservation of Historic Concrete: Problems and GeneralApproaches. Coney, William B. and Wiss, Janney, Elstner Associates, Inc. Washington, D.C.: U.S: Government Printing Office. Preservation Briefs 16: The Use of Substitute Materials on Historic Building Exteriors. Park Sharon C. Washington, D.C.: U.S. Govern- ment Printing Office. Preservation Briefs 17: Architectural Character.• Identifying the Visual Aspects of Historic Buildings as an Aid to Preserving Their Character. Nelson, Lee H. Washington, D.C.: U.S. Government Printing Office. Preservation Briefs 18: Rehabilitating Interiors in Historic Buildings. Jandl, H. Ward. Washington, D.C.: U.S. Government Printing Office, 1988. Preservation Briefs 19: The Repair and Replacement of Historic Wooden Shingle Roofs. Park Sharon C. Washington, D.C.: U.S. Gov- ernment Printing Office. Preservation Briefs 20: The Preservation of Historic Barns. Auer, Mi- chael J. Washington, D.C.: U.S. Government Printing Office, 1989. Preservation Briefs 21: Repairing Historic Flat Plaster-Walls and Ceilings. MacDonald, Marylee. Washington, D.C.: U.S. Government Printing Office, 1989. Preservation Briefs 22: The Preservation and Repairof Historic Stucco. Grimmer, Anne. Washington, D.C.: U.S. Government Printing Office, 1990. Preservation Briefs 23: Preserving Historic Ornamental Plaster. Fla- harty, David. Washington, D.C.: U.S. Government Printing Office, 1990. Appendix 129 Preservation Briefs 24: Heating, Ventilating, and Cooling Historic Buildings: Problems and Recommended Approaches. Park, Sharon C. Washington, D.C.: U.S. Government Printing Office, 1991. Preservation Briefs 25: The Preservation of Historic Signs. Auer, Mi- chael J. Washington, D.C.: U.S. Government Printing Office, 1991. Preservation Briefs 26: The Preservation and Repair of Historic Log Buildings. Bomberger, Bruce D. Washington, D.C.: U.S. Government Printing Office, 1991. Preservation Briefs 27: The Maintenance and Repair ofArchitectural Cast Iron. Waite, John G. Washington, D.C.: U.S. Government Print- ing Office, 1991. Preservation Briefs 28: Painting Historic Interiors. Chase, Sara B. Washington, D.C.: U.S. Government Printing Office, 1992. Preservation Briefs 29: The Repair, Replacement, and Maintenance of Historic Slate Roofs. Levine, Jeffrey S. Washington, D.C.: U.S. Government Printing Office, 1992. Preservation Briefs 30: The Preservation and Repair of Historic Clay Tile Roofs. Grimmer, Anne E. and Paul K. Williams. Washington, D.C.: U.S. Government Printing Office, 1992. Preservation Briefs 39: Mothballing Historic Buildings. Park, Sharon C. Washington, D.C.: U.S. Government Printing Office, 1993. Preservation Briefs 32: Making Historic Properties Accessible. Jester, Thomas C. and Sharon C. Park. Washington, D.C.: U.S. Government Printing Office, 1993. Preservation Briefs 33: The Preservation and Repairof Historic Stained and Leaded Glass. Vogel, NealA. and RolfAchilles. Washington, D.C.: U.S. Government Printing Office, 1993. Preservation Briefs 34: Applied Decoration for Historic Interiors: Pre- serving Composition Ornament. Thornton, Jonathan and William Adair. Washington, D.C.: U.S. Government Printing Office, 1994. Preservation Briefs 35: Understanding Old Buildings: The Process of Architectural Investigation. McDonald, Travis C. Washington, D.C.: U.S. Government Printing Office, 1994. Preservation Briefs 36: Protecting Cultural Landscapes: Planning, Treatmentand ManagementofHistoricLandscapes. Birnbaum, Charles A. Washington, D.C.: U.S. Government Printing Office, 1994. 130 Design Guidelines Preservation Briefs 37: Appropriate Methods for Reducing Lead Paint Hazards in Historic Housing. Park, Sharon C. and Douglas Hicks. Washington, D.C.: U.S. Government Printing Office, 1995. Preservation Briefs 38: Removing Graffiti from Historic Masonry. Weaver, Martin E. Washington, D.C.: U.S. Government Printing Of- fiice, 1995. Preservation Briefs 39: Holding the Line: Controlling Unwanted Mois- ture in Historic Buildings. Park, Sharon C. Washington, D.C.: U.S. Government Printing Office, 1994. Preservation Briefs 40: Preserving Historic Ceramic Tile Floors. Grimmer, Anne E. and Kimberly A. Konrad. Washington, D.C.: U.S. Government Printing Office, 1995. Preservation Brief 41: The Seismic Retrofit of Historic Buildings. Look, David W., AIA, Terry Wong, P.E., and Sylvia Rose Augustus. Wash- ington, D.C.: U.S. Government Printing Office, 1997. Preservation Brief 42: The Maintenance, Repair and Replacement of Cast Stone. Piper, Richard. Washington, D.C.: U.S. Government Printing Office, 1995. Preservation Brief 43: The Preparation and Use of Historic Structures Report. Slaton, Deborah. Washington, D.C.: U.S. Government Print- ing Office, 2004. . Preservation Brief 44: The Use ofAwnings on Historic Buildings Repair, Replacement & New Design. Randl, Chad. Washington, D.C.: U.S. Government Printing Office, 2004. Preservation Briefs 45: Preserving Historic Wooden Porches. Leeke, John and Aleca Sullivan. Washington, D.C.: U.S. Government Print- ing Office, 2006. Preservation Briefs 46: The Preservation and reuse of Historic Gas Stations. Randl, Chad. Washington, D.C.: U.S. Government Printing Office, 2006. Appendix 131 Appendix C fig. 7 ~~~ _~ 1T Glossary of Terr~ns Alignment. The arrangement of objects along a straight line. Appurtenances. An additional object added to a building; typically includes vents, exhausts hoods, air conditioning units, etc. Asphalt Shingles. A type of roofing material composed of layers of saturated felt, cloth or paper, and coated with a tar, or asphalt sub- stance, and granules. Belt Course. A horizontal board across or around a building usually enhanced with decorative molding. Board and Batten. Vertical plank siding with joints covered by nar- row wood strips. Bracket. A supporting member for a projecting element or shelf, sometimes in the shape of an inverted L and sometimes as a solid piece or a triangular truss. (figure 7) Building. A resource created principally to shelter any form of human activity, such as a house. Canopy. A rooflike projection or shelter that projects from the facade of a building over the sidewalk. fig 2 Clapboards. Narrow, horizontal, overlapping wooden boards, usually thicker along the bottom edge, that form the outer skin of the walls of many wood frame buildings. The horizontal lines of the overlaps R generally are from four to six inches apart in older houses. ~- - ~ Composition Shingles. See asphalt shingles. ~ Coping. The protective uppermost course of a wall or parapet. (figure ~ ~- ~ I 2) Cornice. The continuous projection at the top of a wall. The top course -I_ ~ `~-~ or molding of a wall when it serves as a crowning member. (figure 3) .; Doorframe. The part of a door opening to which a door is hinged. A ~ ~-= -_ . doorframe consists of two vertical members called jambs and a hori- __J,_ i zontal top member called a lintel or head. fig. 3 132 Design Guidelines Double-Hung Window. A window with two sashes (the framework in which window panes are set), each moveable by a means of cords and weights. (figure 4) Eave. The underside of a sloping roof projecting beyond the wall of a building. (figure 5) Elevation. A mechanically accurate, "head-on" drawing 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 proportion,. 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. Fascia. A flat board with a vertical face that forms the trim along the fig. 4 edge of a flat roof, or along the horizontal, or "eaves," sides of a pitched roof. The rain gutter is often mounted on it. Fenestration. The arrangement of windows and other exterior open- ings on a building. Form. The overall shape of a structure (i.e., most structures are rectangular in form). Frame, A window component. See window parts. k i~ ~~~ ; i~ :~ C' `~ Gable. The portion, above eave level, of an end wall of a building fig, 5 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. ~' ,~ Glazing, Fitting glass into windows and doors. Head. The top horizontal member over a door or window opening. (figure 6) Historic District. A geographically definable area of urban or rural character, possessing a significant concentration or continuity of site, building, structures or objects unified by past events or aesthetically by plan or physical development. Historic Resource: A structure or streetscape that is unique to its period of significance and as such is to be wisely managed for the benefit of present and future generations. /n-Kind Replacement. To replace a feature of a building with materials of the same characteristics, such as material, texture, color, etc. fig. 6 Appendix 133 ~: r Yr~ ~~ 1. ~; i .~~ - fig. 7 ~~~ ,~ fig. 8 lntegrify. A property retains its integrity, if a sufficient percentage of the structure dates from the period of significance. The majority of a building's structural system and materials should date from the period of significance 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 mass and form of the building. Kickplate. Found beneath the display window. Sometimes called bulk-head panel. (figure 7) Landmark. Any of the following which have a special historical, architectural, cultural, aesthetic or engineering interest or value of a historical nature: 1. An individual structure or portion thereof; 2. An integrated group of structures on a single lot; 3. A site, or portion thereof; or 4. Any combination thereof. Lap Siding. See clapboards. Mass. The physical size and bulk of a structure. Masonry. Construction materials such as stone, brick, concrete block or tile. Material. As related to the determination of "integrity" of a property, ma- teria/refers to the physical elements that were combined or deposited in a particular pattern or configuration to form a historic resource. Module. The appearance of a single facade plane, despite being part of a larger building. One large building can incorporate several building modules. Molding. A decorative band or strip of material with a constant profile or section designed to cast interesting shadows. It is generally used in cornices and as trim around window and door openings. (figure 8) Muntin. A bar member supporting and separating panes of glass in a window or door. Opague Fence. A fence that one cannot see through. Orientation. Generally, orientation refers to the manner in which a building relates to the street. The entrance to the building plays a large role in the orientation of a building; whereas, it should face the street. Panel. A sunken or raised portion of a door with aframe-like bor- der. 134 Design Guidelines Parapet. An upward extension of a building wall above the roofline, ~ ornamented and sometimes plain, used to give a building sometimes a greater feeling of height or a better sense of proportion. (figure 9) Period of Significance. Span of time in which a property attained ~ n the significance. {I ~l V Post. Apiece of wood, metal, etc., usually long and square or cylin- ~ drical, set upright to support a building, sign, gate„etc.; pillar; pole. ~ (figure 70) ~ . Preservation. The act or process of applying measures to sustain ~g 9 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 stabilization 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 by defending or guarding it ` from deterioration, or to cover or shield the property from danger of .~ injury. In the case of buildings and structures, such treatment is gener- ally of a temporary nature and anticipates future historic preservation treatment; in the case of archaeological sites, the protective measure ;, / ~ '/ may be temporary or permanent. 1 . Reconstruction. The act or process of reproducing by new construc- tionthe exact form and detail of a vanished building, structure or object, \"' or part thereof, as it appeared at a specific period of time. Rehabilitation.. The actor process of returning a property to a state fig. ~~ 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, architectural 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 contempo- rary use. Restoration. The act or process of accurately recovering 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 replace- ment of missing earlier work. Sash. See window parts. Scale. The size of structure as it appears to the pedestrian. Shape. The general outline of a building or its facade. Appendix 135 Side Light. A usually long fixed sash located beside a door or window; ...... -.. -..-., often found in pairs. (figure 11) ~.,. .:: 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. ,. i Sil/. The lowest horizontal member in a frame or opening for awin- dow or door. Also, the lowest horizontal member in a framed wall or partition. .- : - --.. ~ .....~® Size. The dimensions in height and width of a building's face. fig. 11 Stile. A vertical piece in a panel or frame, as of a door or window. Stabilization. The fact or process of applying measures designed to reestablish a weather. resistant enclosure and the structural stability of an unsafe or deteriorated property while maintaining the essential form as it exists at present. Storefont. Exterior facade of a commercial building. Includes the following architectural elements: display window, transom, kickplate, entry, cornice molding, and upper story windows. Streetscape, Generally, the streetscape refers to the character of the street, or how elements of the street form a cohesive environment. Traditional. Based on or established by the history of the area. Transom Window. A small window or series of panes above a door, or above a casement or double hung window. vernacular. This means that a building does not have details as- sociated with a specific architectural style, but is a simple building with modest detailing and form. Historically, factors often influencing vernacular building were things such as local building materials, local climate and building forms used by successive generations. Visual Continuity. A sense of unity or belonging together that ele- ments 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 mem- bers called muntins or glazing bars. Sometimes in nineteenth-century houses windows are arranged side by side and divided by heavy verti- cal wood members called mullions. 136 Design Guidelines