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Architectural Design Guidelines ManualMasterpiece on the Mississippi TO: The Honorable Mayor and City Council Members FROM: Michael C. Van Milligen, City Manager SUBJECT: Approval of Updated Design Guidelines Manual DATE: January 29, 2014 Dubuque band AI- America City 1 2007 • 2012 • 2013 Planning Services Manager Laura Carstens is requesting City Council approval of the final update of the City of Dubuque's Design Guidelines Manual. I concur with the recommendation and respectfully request Mayor and City Council approval. Mic ael C. Van Milligen MCVM:sv Attachment cc: Barry Lindahl, City Attorney Cindy Steinhauser, Assistant City Manager Teri Goodmann, Assistant City Manager Laura Carstens, Planning Services Manager THE CITY OF Dui Masterpiece on the Mississippi MEMORANDUM TO: Michael C. Van Milligen, City Manager FROM: Laura Carstens, Planning Services Manager SUBJECT: Approval of Updated Design Guidelines Manual DATE: January 22, 2014 Dubuque I. i 2007 • 2012 •2013 Introduction This memo transmits for the City Council's review and approval, the final update of the City of Dubuque's Design Guidelines Manual. The updated Manual consists of three parts: Architectural Guidelines, local architectural styles, and a glossary of architectural terms. Background The Planning Services Department worked with the City's Historic Preservation Commission (HPC), City staff and community stakeholders to update and combine our existing Design Guidelines for Historic Districts and the Downtown into one user - friendly manual. The City received a grant from the National Trust for Historic Preservation to include expanded sustainability and accessibility guidelines in the Design Guidelines Update. Many people have assisted in developing the Architectural Guidelines. A Steering Committee of community stakeholders, including design professionals, HPC members, community partners, developers, and City staff, was assembled to identify critical issues and opportunities for the design guidelines update. The Steering Committee developed the core content and format for the manual with assistance from the project consultant, Winter & Company. A Technical Committee of local design professionals, community partners, City staff and HPC members assisted the consultant in developing and reviewing the technical components of the document. The Technical Committee was instrumental in refining the vision of the Steering Committee and guiding the details of the guidelines with assistance from the consultant. Discussion The project involves consolidating the City's Downtown Design Guidelines and the Historic District Design Guidelines into one manual. The Architectural Guidelines updates the existing guidelines and integrates a new chapter which addresses sustainability principles. The text reflects substantially the same design guideline language previously approved by the Commission and City Council, consolidated and re- formatted for ease of use. The Architectural Guidelines seek to balance objectivity with flexibility; i.e., to manage change so 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. 1 Approval of Updated Design Guidelines Manual The Architectural Guidelines are designed to be compatible with federal requirements of 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. The Architectural Guidelines offer a combination of preferred approach and acceptable approach. Additional illustrations help guide the user through the planning process for a preservation project. The "stoplight" format is intended to facilitate the planning, review and approval process. Green Light: A green circle with a check mark indicates the appropriate or preferred approach. Yellow Light: A yellow circle with a question mark denotes that this may be an acceptable or alternative approach; however, further research and consultation with Staff is needed. Red Light: A red circle with an "X" highlight an inappropriate approach that can detract from a structure's architectural integrity or may cause damage to a building or architectural feature. A map of the local historic districts and the downtown overlay is enclosed. Comments from the January 9, 2014 public open house, the Technical Committee, and the HPC are enclosed. Recommendation The Architectural Guidelines relate to the architectural styles and urban design patterns found throughout Dubuque's historic residential neighborhoods and downtown. The design principles in the manual are intended to serve as a guide for all historic properties and neighborhoods regardless of location. In some instances, adherence with the guidelines may be a requirement. Staff can help determine when and where the guidelines might apply. Staff also can help identify potential financial incentives and other resources that might be available to assist a project. Planning Services Staff recommends approval of the updated Manual, and implementation in the same way as the current Design Guidelines, as follows: 1. To regulate exterior alteration of local landmarks, landmark sites, individually designated historic properties, and properties and structures within local historic districts that are visible from the public way and require a City permit; and for advisory design review of public improvements in local historic districts and landmark sites. 2. To regulate exterior alterations within the downtown overlay when public funds are used, and for advisory design review of public improvements in the downtown overlay. Staff further recommends that the updated Design Guidelines Manual be used to regulate exterior alteration of historic structures community -wide when public funds are being used. In addition, Staff supports the HPC's recommendation for periodic updates of the manual. Requested Action The requested action is for the City Council to review and approve the updated Design Guidelines Manual and recommendations for implementation and updating. Enclosures F:\USERS \LCARSTEN\WP \HPG\Memo Adoption Updated Design Guidelines.doc 2 Historle District Guidelines Downtown Design Guidelines City of Dubuque Architectural Guidelines February 3, 2014 Acknowledgments The City of Dubuque Architectural Guidelines has been funded in part by a grant from the Dr. Frank Henry Landes Preservation Fund for Iowa of the National Trust for Historic Preservation. k National Trust for gel Historic Preservation sacstheaa+C *tillage Thank you to all the community members who participated in developing the City of Dubuque Architectural Guidelines. We would also like to acknowledge the support and assistance of the Architectural Guidelines Steering Committee and Technical Committee who were instrumental in developing the document. Steering Committee Technical Committee: John Gronen, Gronen Properties / Developer Tony Pfohl, Fischer Companies / Developer Gary Garner, Developer Christie Rang, Dubuque Main Street Christopher Wand, Dubuque Main Street David Klavitter, Historic Preservation Comm. Otto Krueger, Historic Preservation Comm. Joseph Rapp, Historic Preservation Comm. Jerelyn O'Connor, Neighborhood Development Phil Wagner, Assistant Economic Development Dir. Todd Carr, Housing Rehabilitation Programs Inspector Cori Burbach, Sustainable Community Coordinator Dan Bianco, Dubuque Main Street* Benjamin Beard, Straka Johnson Architects* Christy Monk, FEH Associates Inc.* R.R.S. Stewart, Architectural Consultant Julie Schlarman, Historic Preservation Comm.* Laura Carstens, Planning Services Manager David Johnson, Assistant Planner Wally Wernimont, Assistant Planner Eric Van Buskirk, Planning Technician Rich Russell, Building Services Manager * Note: These Technical Committee Members also served on the Steering Committee. Portions of this document include adapted materials from the following manuals: • Architectural Guidelines for Historic Structures in the Historic Districts of the City of Dubuque, Iowa and Streetscape and Landscape Guidelines for the Historic Districts of the City of Dubuque, Iowa, 2002; both adopted by the Dubuque City Council on May 8, 2002 and funded in part by the National Park Service, the State Historical Society of Iowa, and the National Trust for Historic Preservation Charles Evans Hughes Preservation Fund. • Downtown Design Guidelines, adopted by the Dubuque City Council on February 20, 2009 and funded in part by the U.S. Economic Development Administration and the State Historical Society of Iowa. Consultants Winter & Company 1265 Yellow Pine Avenue Boulder, CO 80304 (303) 440 -8445 www.winterandcompany.net Table of Contents INTRODUCTION 1 Overview 1 Why Have Design Guidelines 2 Design Guidelines Format 3 Planning A Preservation Project 5 Determine Historic Significance 5 Assess Integrity 5 Accepted Treatments for Historic Resources 6 Developing an Improvement Strategy 10 Phasing a Preservation Project 12 CHAPTER 1 REHABILITATION GUIDELINES FOR HISTORIC PROPERTIES 13 General Rehabilitation 14 Architectural Details and Features 14 Historic Building Materials 18 Individual Building Components 25 Roofs Chimneys Cornice and Parapets Windows - General Windows - Accessories Doors - General Doors - Accessories Foundations Accessibility 42 Adaptive Re -Use 43 Balcony Additions 44 Handrail Additions 45 Historic Additions 46 Historic Secondary Structures 47 Emergency Egress 48 Rehabilitation of Historic Commercial Properties 49 Preservation of Commercial Storefronts 49 Additions to Commercial Properties 53 Rehabilitation of Historic Residential Properties 55 Porches 55 Additions to Residential Properties 60 Rehabilitation of Historic Warehouse Properties 64 Preservation of Warehouse Facades 64 Additions to Warehouse Properties 67 CHAPTER 2 GUIDELINES FOR SITE AND LANDSCAPE DESIGN 69 Setting 70 Streetscape 71 Alleys 72 Sidewalks, Walkways, Steps and Curbs 73 Site Features 74 Topography 75 Fences, Walls and Gates 76 Driveways, Parking, Paving - Residential 79 Site Lighting 80 Site Amenities 81 Yards and Park Features 82 Plant Materials 83 Surface Parking 84 Buffers 85 CHAPTER 3 GUIDELINES FOR NEW BUILDINGS 87 Designing In Context 88 Building Mass and Scale 88 Building Design 88 General Guidelines for New Buildings 89 Architectural Character 89 Materials 90 General Guidelines for New Commercial Building Types 92 Building Setbacks 92 Building Massing 93 Building and Roof Form 96 Horizontal Alignment 97 Solid -to -void 98 New Storefront Character 99 Guidelines for New Residential Building Types Residential Context and Features Building Setbacks Primary Entrance Mass and Scale Building and Roof Form Solid -to -Void Building Materials Secondary Structures [iv] 101 101 102 103 104 107 108 109 111 New IndustriallWarehouse Building Types 112 Building Setbacks 112 Mass and Scale 113 Building and Roof Form 115 Horizontal Alignment 116 Solid -to -void 117 New Facade Character 118 Civic Facilities 120 CHAPTER 4 DESIGN GUIDELINES FOR ALL PROPERTIES 121 Various Guidelines that Apply to all Projects 122 Awnings and Canopies 122 Building Lighting 124 Parking Facilities 125 Public Art 127 Rooftop Uses 128 Service Areas 129 Utilities 130 Signs 131 Historic Signs 132 Sign Character 132 Sign Materials 133 Sign Color 133 Sign Installation 133 Sign Lighting 134 Sign Content 135 Canopy and Awnings Sign 136 Directory Sign 137 Interpretive Sign 137 Projecting or Hanging Sign 138 Symbol Signs 138 Wall Sign 139 Window Sign 139 Wayfinding Sign 141 [v] CHAPTER 5 DESIGN GUIDELINES FOR SUSTAINABILITY General Sustainability Guidelines for all Projects Landscape Improvements for Sustainability Environmental Impacts to Neighbors Paving Materials for Sustainability Historic Preservation and Sustainability Social /Cultural Component of Sustainability Environmental Component of Sustainability Economic Prosperity Component of Sustainability 143 144 144 145 145 146 146 147 148 Sustainability of a Historic Building 150 Energy Efficiency in Historic Buildings 150 Historic Residential Building Energy Efficiency Strategy 153 Historic Commercial Storefront Building Energy Efficiency Strategy 154 Energy Performance in Historic Buildings 155 Energy Generating Technologies Integrating Energy Generating Technologies on Historic Buildings Solar Collectors Wind Power Green Roofs Locating a New Addition for Environmental Benefits Massing of an Addition Deconstruction and Building Material Re -use 156 156 157 159 160 160 161 161 New Construction and Sustainability 162 Sustainable Building Design 162 Sustainable Building Elements 163 Overall Strategy for Sustainable New Construction 164 New Commercial Construction Building Energy Efficiency Diagram 165 New Residential Construction Building Energy Efficiency Diagram 166 APPENDIX 167 Benefits of Historic Preservation 167 Key Historic Preservation, Urban Design and Sustainability Principles 169 Key Design Principles 169 Basic Principles for Sustainability for Historic Properties 171 The Secretary of the Interior's Standards for the Treatment of Historic Buildings 172 Preservation Briefs 174 Preservation Tech Notes 178 Financial Incentive Toolbox 181 [vi] Introduction In this Chapter: Overview Why Have Design Guidelines Design Guidelines Format Planning A Preservation Project Determine Historic Significance Assess Integrity Accepted Treatments for Historic Resources Developing an Improvement Strategy 2 3 5 5 5 6 10 Phasing a Preservation Project 12 Overview This document provides guidance for improving properties within downtown and the historic districts of the community. 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. They do not dictate solutions; instead, they define a range of appropriate responses to a variety of specific design issues. The guidelines will help residents and property owners in understanding the historic character of community and assist owners when planning repair, maintenance, rehabilitation and new construction. In addition, theyserveaseducational and planning tools for property owners and their design professionals who seek to make improvements. The City of Dubuque created this document through an interactive process between the residents and a steering committee. This dialogue resulted in the classification of values and setting goals for the community. The core of Dubuque serves as the cultural center of the region and conveys a high quality of design and construction in its historic and co ntemporary buildings. Many structures have historic significance and have been rehabilitated to enhance the quality of life as well as the community's economy. Citizens and property owners recognize that the character of development in downtown and the historic districts are of community interest. It is their goal that the community continues to develop in a coordinated manner so the character of the traditional built environment is maintained. Introduction Assistance Please see City of Dubuque Planning Services Staff to assist in identify- ing potential financial incentives and other resources that might be avail- able to assist a project. 1 Where the Design Guidelines Apply The City of Dubuque Architectural Guidelines relate to the architectural styles and urban design patterns found throughout Dubuque's his- toric residential neighborhoods and downtown. The design principles in the manual are intended to serve as a guide for all historic properties and neighborhoods regardless of location. In some instances, adherence with the guidelines maybe a requirement. City of Dubuque Planning Services Staff can assist in determining when and where the guidelines might apply. These before, in- progress and after sets of rehabilitation images reflect the following design goals: promote high quality construction, support economic development, maintain an active pedestrian - oriented environment, promote preservation of the historic, cultural and architectural heritage of Dubuque. 2 WHY HAVE DESIGN GUIDELINES Through these guidelines the city seeks to promote high quality construction, support economic development, and maintain an active pedestrian- oriented environment. It also seeks to promote preservation of the historic, cultural and architectural heritage of Dubuque. An essential idea is to protect historic resources in the community from alteration or demolition that might damage the unique fabric created by buildings and sites that make up core areas of the community. The design guidelines also provide a basis for making consistent decisions about the treatment of historic resources. 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. After In- progress After After Introduction DESIGN GUIDELINES FORMAT The guidelines are presented in a standardized format as illustrated below. Each of the components is used bythe city in determin- ing appropriateness. Additional features that appear on a typical page of the guidelines are summarized at right. Design Topic Heading Policy Statement: This e>p>lainsthe de- sired forthe specific design element and provides a basis for the design guide - lines that follow. If a guideline does not specifically address a particular design issue, then the city will use the intent statement to determine appropriateness. Design Guideline: This describes a desired outcome related to the policy statement. Additional Information: This provides a bullet list of examples of how, or how not to comply with the guideline. Illustration(s): These provide photos and /or diagrams to illustrate related conditions or possible approaches. They may illustrate appropriate or inappropri- ate solutions as described below. Sidebars These provide additional information that will be helpful in understanding the guideline. In some cases a sidebar includes links that direct the userto additional material; this may be techni- cal information about a rehabilitation procedure or other helpful information. Windows 1 Original windows help conveythe significance of historic structures, and should be —IPpreserved. They can be repaired by re- glazing and patching and splicing elements such as muntins, the frame, sill and casing. Repair and weatherization also is more energy efficient, and less expensive than replacement. If an original window cannot be repaired, new replacement windows should be in character with the historic build- ing. • • • • Maintain and rap air historic windows. Preserve historic windowfeatures including theframe, sash, muntins, mullions, glazing, sills, heads, jambs, moldings, operation and groupings of windows. Repair and maintain windows regularly, including trim, glazing putty and glass panes. Repair, rather than replace, frames and sashes, when possible. Restorealtered window openings to theiroriginalconfiguration, when possible. Appropriate and Inappropriate Solutions In many cases, images and diagrams in the guidelines are marked to indicate whetherthey represent appropriate or inappropriate solutions 0 0 Acheck mark in a green circle indicates appropriate solutions. Aquestion mark in a yellow circle indicates an alternative solution may be appropriate. An X mark in a red circle indicates solutions that are not appropriate. Introduction 3 Steps to Consider for a Successful Preservation Project A successful preservation project shall consider the significance of the historic resource, contemplating any replacement. The tables and diagrams below planning a preservation project. Follow the steps below when p Step 2. Identify key features: A historic property has integrity. It age of key character - defining features and characteristics from its which remain intact. its key features, and the project's program requirements. When altering a historic building, it is also important to consider preservation and repair prior to and on the following pages provide overall guidance for lanning a preservation project. Step 1. Review reasons for significance: The reasons for significance will influence the degree of rigor with which the guidelines are applied, because it affects which features will be determined to be key to preserve. Identifying the building's period of significance is an important first step. has a sufficient percer period of significance t- Step 3. Identify program requirements for the desired project: The functional re- quirements for the property drive the work to be considered. If the existing use will be maintained, then preservation will be the tocus. It changes in use are planned, then some degree of compatible alterations may be needed. Step 4. Implement a treatment strategy: An appropriate treatment strategy will emerge once historic significance, integrity and program requirements have been determined. A preservation project may include a range of activities, such as maintenance of existing historic elements, repair of deteriorated materials, the replacement of missing features and construction of a new addition. 4 Introduction Planning A Preservation Project Preservation projects may include a range of activities, such as maintenance of existing historic elements, repair of deteriorated materials, replacement of missing features and construction of new additions. When planning a preservation project, it is important to determine historic significance, assess integrity and determine program requirements prior to outlining an appropriate treatment strategy that will inform the overall project scope. DETERMINE 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 exist when 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, • 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, • A structure that yields or may be likely to yield, information important in history or prehistory, • A structure, property, object, site, or area with sufficient integrity of location, design, materials and workmanship to make it worthy of preservation or restoration, or • An established and familiar natural setting or visual feature of the community. ASSESS 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. Introduction 5 Inappropriate treatment on a historic resource. • l?! 1'1 III jra7; i IIIi'��° � ��1 III'�„„IIIIII ��■ IIIIT111 111.1111M s� Proposed improvements on the building shown above. Appropriate new porch features are installed per drawing above. � ACCEPTED TREATMENTS FOR HISTORIC RESOURCES 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 essence, the least level of intervention is preferred. By following this tenet, the highest degree of integrity will be maintained for the property. The following list describes appropriate treatments for historic resources that may be considered when planning a preservation project. Much of the language addresses buildings; however, sites and structures are also relevant. Preservation "Preservation" is the act of applying measures to sustain the existing form, integrity and material of a building. Work focuses on keeping a property in good working condition with proactive maintenance. While the term "preservation" is used broadly to mean keeping a historic property's significant features, it is also used in this more specific, technical form in this document. Restoration "Restoration" is the act or process of accurately depicting the form, features and character of a property as it appeared in a particular time period. It may require the removal of features from outside the restoration period. This may applyto an entire building front, or to restoring a particular missing feature. Reconstruction Reconstruction is the act or process of depicting, by means of new construction, the form, features and detailing of a non - surviving site, landscape, building, structure or object for the purpose of replicating its appearance at a specific time and in its historic location. This has limited application, in terms of an entire building, but may apply to a missing feature on a building. 6 Introduction Rehabilitation "Rehabilitation" is 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. This term is the broadest of the appropriate treatments and applies to most work on historic properties. Combining Treatments For many projects a "rehabilitation" approach will be the overall strategy, because this term reflects the broadest, most flexible of the approaches. Within that, however, there may be a combination of treatments used as they relate to specific building components. For example, a surviving cornice may be preserved, a storefront base that has been altered may be restored, and a missing kickplate may be reconstructed. Inappropriate Treatments The following approaches are not appropriate for historically significant properties. Remodeling This is 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. Deconstruction Deconstruction is a process of dismantling a building such that the individual material components and architectural details remain intact. This may be proposed when a building is to be relocated or when the materials are to be reused in other building projects. Deconstruction may be a more environmentally responsible alternative to conventional demolition. However, it is still an inappropriate treatment for a building of historic significance. Demolition Any act or process that destroys, in part or whole, a structure, building or site is considered "demolition." This is inappropriate for any historic building. Introduction 7 Preferred Sequence of Actions Selecting an appropriate treatment for a character - defining feature is important. The method that requires the least intervention is always preferred. Byfollowing this tenet, the highest degree of integrity will be maintained. The following treatment options appear in order of preference. When making a selection, followthis sequence: Step 1. preserve: If a feature is intact and in good condition, maintain it as such. i Step 2. Repair. If the feature is deteriorated or damaged, repair it to its original condition. 4 Step 3. Replace: If it is not feasible to repairthe feature, then replace it in kind, (e.g., materials, detail, finish). Replace onlythat portion which is beyond repair. 4 Step 4. Reconstruct: If the feature is missing entirely, reconstruct it from appropriate evidence. If a portion of a feature is missing, it can also be reconstructed. i Step 5. Compatible Alterations: If a new feature (one that did not exist previously) or an addition is necessary, design it in such a way as to minimize the impact on original fea- tures. It is also important to distinguish a newfeature on a historic building from original historic elements, even if in subtle ways. This before and after image shags an appropriate preservation action. The before image shags where the windows were removed and the after image shows the wood windows reinstalled after their repair. 8 Introduction Historic irnag, In- progress In- progress These historic, rehabilitation in- progress and after images show appropriate preservation techniques. The historic image shaus the original details of the building. The in- progress images show protective measures that have been put in place. The after images shau state -of -the -art preservation action, note the installation of the projecting canopies at the entry, rehabilitation of the cornice, installation of plate glass elements and the restoration of masonry features. After Introduction After 9 Ti DEVELOPING AN IMPROVEMENT STRATEGY The guidelines discuss a range of improvement options, including reconstruction and replacement of features in various ways. When applied to a building that is already altered, which would be the best approach ?This diagram outlines the approaches to consider in making that decision. Approach 1: Accurate Reconstruction m LLLLLLLL'LLLLJU L:LLLLL Tl3- When should I use this treatment? • The building is highly significant. • There is good historical information about the design. • The needed materials and craftsmen are available. • The context has many intact historic buildings. Altered Historic Commercial Facade r' Ll IIIII IIIIII. Starting Condition Approach 2: Simplified Historic Interpretation 9 1h When should I use this treatment? • The building is part of the fabric of the district. • There is less historical information available about the original design. • A phased project is planned. Missing Cornice Original Window Altered Storefront Approach 3: Contemporary Interpretation ? When should I use this treatment? • There is substantial alteration, mak- ing other options difficult. • There is less historic information about the original design. • The context has more variety. 10 Introduction Which Areas are the Most Sensitive to Preserve? For most historic resources, the front wall is the most important to preserve intact. Alterations are rarely appropriate. Many side walls are also important to preserve where they are highly visible from the street. By contrast, portions of a side wall not as visible may be less sensitive to change. The rear wall is usually the least important (excepting free- standing, individual landmarks or certain civic and industrial buildings), and alterations can occur more easily without causing negative effects to the historic signifi- cance of the property. 00 BB EH EIE Primary Fac d Secondary Wall O Primary Fapade Primary Fapade Location A. Primary Fapade: Preservation and repair of features in place is the priority. This is especially important at the street level and in locations where the feature is highly visible. 0 0 Secondary Wall Secondary Wall Location B. A Secondary Wall, Which Is Highly Visible: Acompat- ible replacement or alteration is acceptable. Some flexibility in treatment may be considered. Location C. A Secondary Wall, Which Is Not Highly Visible: Preserva- tion is still preferred; however, a compatible replacement or altera- tion maybe acceptable when it is not visible to the public. Moreflex- ibility in treatment may be considered. Rear Wall Rear Wall Location D. A Rear Wall That Is Not Highly Vis- ible: A compatible replacement or alteration maybe acceptable when it is not visible to the public. A higher level of flexibility in treatment may be considered. Location E. A Highly Visible Rear Wall: Preser- vation and repair of features in place is the priority. Some flexibility maybe considered. Introduction 11 Original building remodel with stucco covering. Interim improvements to the building included removing the canopy providing a new sign and painting the stucco covering. The rehabilitation effort included removing the stucco, reconstructing the cornice and installing a new storefront system. PHASING A PRESERVATION PROJECT In some cases, a property owner may wish to make interim improvements, rather than execute a complete rehabilitation of a historic property. This work should be planned such that it establishes a foundation for future improvements that will further assure continued use of the property and retain its historic significance. For example, a simplified cornice element may be installed on a commercial storefront, in lieu of reconstructing the original design, with the intent that an accurate reconstruction would occur later. Plan interim improvements to retain opportunities for future rehabilitation work that will enhance the integrity of a historic property. • Preserve keycharacter- defining featureswhile making interim improvements. • Avoid interim improvementsthat wouldforeclose opportunities for more extensive rehabilitation in the future. 12 Introduction Chapter 1 Rehabilitation Guidelines for Historic Properties In this Chapter: General Rehabilitation Architectural Details and Features Historic Building Materials Individual Building Components Roofs Chimneys Cornice and Parapets Windows - General Windows- Accessories Doors - General Doors- Accessories Foundations Accessibility Adaptive Re -Use Balcony Additions Handrail Additions Historic Additions Historic Secondary Structures Emergency Egress Rehabilitation of Historic Commercial Properties Preservation of Commercial Storefronts Additions to Commercial Properties Rehabilitation of Historic Residential Properties Porches Additions to Residential Properties Rehabilitation of Historic Warehouse Properties Preservation of Warehouse Facades Additions to Warehouse Properties 14 14 18 25 42 43 44 45 46 47 48 49 49 53 55 55 60 64 64 67 This chapter focuses on rehabilitation guidelines for historic buildings. The first section provides guidance that applies to all types of historic buildings. The subsequent sections address historic residential, commercial and warehouse building types, as well as additions. Historic Architectural Styles Many distinctly different architectural features are found in individual his- torical styles. Information about Dubuque's historic architectural styles is available on line from the city's planning department: Sustainability and Preservation As discussed in the previous chapter, sustainable development and the conservation of resources is an inherit central principle of the preservation and rehabilitation of our historic resources. Stewardship of the existing building stock rather than its replace- ment can significantly reduce our environmental impact. In basic terms, re -using the building preserves the energy and resources invested in its construction, and removes the need for producing new construction materi- als. All of the guidelines that follow recognize these benefits. Chapter 1 Rehabilitation Guidelines for Historic Properties 13 General Rehabilitation ARCHITECTURAL DETAILS AND FEATURES Architectural details and features are often closely associated with specific building styles. Reference the Architectural Styles Booklet when determining key features of a historic property. Preserve Policy: Architectural details and features help establish the significance of historic structures, and should be preserved. The method of preservation that requires the least intervention is preferred. Preserve significant architectural details and features. 14 Guidelines: 1.1 Preserve significant architectural details and features. • Retain and treat exterior architectural details and features, and other examples of skilled craftsmanship with sensitivity. • Do not remove or alter architectural details that are in good condition or that can be repaired. 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. Historic Architectural features Historic architectural details and features to consider include: • Cornices and eaves • Moldings and brackets • Storefronts • Porches • Loading docks • Historic awnings • Columns • Balustrades • Modillions and other surface ornamentation • Windows, doors and surrounds • Copper and slate roof materials Maintaining Historic Architectural Details and Features • Protect architectural details and features from moisture accumulation that may cause damage. • Check features that can hold moisture for long periods of time to make sure they are draining appropriately. Employ preventive maintenance measures such as rust removal, caulking and repainting. Chapter 1 Rehabilitation Guidelines for Historic Properties Repair Policy: 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 represent 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: 1.3 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 or fixed using consolidants. Epoxies and resins may be considered for wood repair. • Removing damaged features that can be repaired is not appropriate. • Protect features that are adjacent to the area being worked on. 1.4 When disassembly of a historic element is necessary for its rehabilitation, use methods that minimize damage to the original materials. • When disassembly of a historic feature is required during rehabilitation, document its location so it may be repositioned accurately. Always devise methods of replacing disassembled details in their original configuration. 1.5 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 generally 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 where appropriate. Before: A deteriorated railing should be repaired rather than replaced. After: A successful preservation effort will result in a product shown in the example above. When disassembly of a historic feature is required in a rehabilitation procedure, document its location so that it may be repositioned accurately. Chapter 1 Rehabilitation Guidelines for Historic Properties 15 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. Replace Policy: While the preservation of the original feature is the preferred alternative, in -kind replacement is also an option. In the event replacement is necessary, the new material should match that being replaced in design, color, texture and other visual qualities. Replacement should occur only if the existing historic mater ial is beyond repair. Replacement iece Guidelines: 1.6 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. • Where replacement of a required, remove only th that are deteriorated be n element is ose portions yond repair. Adding Victorian style trim to a Craftsman Bungalow is an example of adding a detail that is not a part of a building's history, and is inappropriate. 16 1.7 When reconstruction of an element is impossible, develop a new 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. Chapter 1 Rehabilitation Guidelines for Historic Properties Carved bargeboard and spandrel panels on the gable end of a Stick style house are key architectural details that should be preserved. When reconstruction of an element is impossible, develop a new design that is a simplified interpretation of it. ICI Use technical procedures forrepairing architectural details that will maintain the original finish. Replacing missing details in -kind. Chapter 1 Rehabilitation Guidelines for Historic Properties For More Information See web link to Preservation Brief 27: The Maintenance and Repair of Architectural Cast Iron http://www.nps.gov/tps/how-to-pre- serveibriefs/27-cast-iron.htm See web link to Preservation Brief 47: Maintaining the Exterior of Small and Medium Size Historic Buildings http:llwww. nps. govltpslhow -to -pre - servelbriefsl47- maintaining- exteriors. htm Replace only the amount required. If a few boards are damaged beyond repair, then only they should be replaced, not the entire wall. 17 Policy: Original building materials are key features of historic buildings and should be preserved in place whenever feasible. If the material is damaged, limited replacement to match the original should be considered. Preserving original building materials and limiting replacement to only pieces which are deteriorated beyond repair reduces the demand for, and environmental impacts for the production of new materials. HISTORIC BUILDING MATERIALS Harsh cleaning methods such as sandblasting can damage the historic materials and change their appearance. Perform a test patch to determine that the cleaning method will cause no damage to the material surface. Many procedures can actually have an unanticipated negative effect upon building materials and result in accelerated deterioration or a loss of character. Guidelines: 1.8 Preserve original building materials. • • Do not remove original materials that are in good condition. Repair deteriorated primary building materials by patching, piecing -in, consolidating or otherwise reinforcing the material. 1.9 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. 1.10 Use the gentlest means possible to clean the surface of a structure before repairs or improvements are made. • Perform atest patch to determine that the cleaning method will cause no damage to the material surface. Many procedures can actually have an unanticipated negative effect upon building materials and result in 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 reviewed and negative effects are not found. 18 Chapter 1 Rehabilitation Guidelines for Historic Properties Maintaining Historic Materials The primary historic building materials used in Dubuque include masonry (brick, mortar, stone, terra cotta, stucco, concrete), wood and metal. Such materials should be preserved and rehabilitated whenever possible. Appropriate treatments to protect specifics materials from deterioration include: Masonry • Maintain the natural uncovered water - protective layer (patina). Do not paint (this can seal in moisture, which may cause extensive damage over time). Repaint deteriorated masonry mortar joints with mortar that matches the strength, composition, color and texture of the original. Also, duplicate the mortar joints in width and profile. Maintain masonry caps to insure proper drainage. Wood • Maintain paint and other protective coatings to retard deterioration and ultraviolet damage. Provide proper drainage and ventilation. Use compatible paints. Some latex paints will not bond well to earlier oil -based paints without a primer coat. Metal • Maintain protective coatings, such as paint, on exposed metals. Provide proper drainage. All Materials • Epoxies and resins may be considered for wood repair and special masonry repair components also may be used. Use a low pressure water wash if cleaning is appropriate. Chemical cleaning may be considered if a test patch is first reviewed and negative effects are not found. Do not use harsh cleaning methods, such as sandblasting, which can damage historic materials, changing their appearance. Tip: Some older siding materials may con- tain hazardous substances, such as asbestos or lead paint. Consult a pro- fessional before initiating work where such materials are thought to exist. Also see City of Dubuque Planning Services Staff for more information. For More Information See web link to Preservation Brief 17: Architectural Character - Identi- fying the Visual Aspects of Historic Buildings as an Aid to Preserving Character. http://www.nps.g ov /tp s /how -to- preserve /briefs /17- architectural- character.htm For More Information See web link to Preservation Brief 16: The Use of Substitute Materials on Historic Building Exteriors. http: / /www.nps.gov /tps /how- to -pre- serve /briefs /16- substitute - materials. htm For More Information See web link to Preservation Brief 1: Assessing Cleaning and Water- Repel- lent Treatments for Historic Masonry Buildings http: / /www.nps.gov /tps /how -to- preserve /briefs /1- cleaning- water- repellent.htm See web link to Preservation Brief 2: Repointing Mortar Joints in Historic Masonry Buildings http://www.nps.g o v/t p s /how -to -p re- serve /briefs /2- repaint - mortar - joints. htm Chapter 1 Rehabilitation Guidelines for Historic Properties 19 Using Alternative Materials on a Historic Structure The design guidelines sometimes refer to the use of alternative materials when describing the appropriate treatment of historic build- ing features and components such as moldings, windows, siding and other architectural details. An alternative material is one which is different from that used originally for a specific application. Such materials may also be called "substitute ", "replacement ", "synthetic" or "imitation" materials, and can include: • Vinyl siding or fencing • PVC decking or fencing • Aluminum siding • HardiePlank siding • Cementatious fiber siding • Spray -on coatings • Synthetic stucco • Panelized brick • Other non - original materials Substitute materials may also include materials used to replace historic architectural features such as a resin -cast cornice used in place of a stamped metal cornice. In other cases, an alterna- tive material may be traditional when used for other applications, but new for the particular detail being considered. Using wood to replace an original stamped -metal cornice is an example. Alternative materials may be considered by the city on a case - by -case basis as replacement materials or for use on a new ad- dition or new building in a historic district. The city will consider factors including: Potential Impact on Historic Significance. Removing original ma- terial diminishes the integrity of a historic property by reducing the percentage of building fabric that remains from the period of historic significance. Retaining the original material is always preferred. If this is not feasible, alternative materials may be considered. When used, an alternative material should convey the character, including detail and finish, of the original to the greatest extent feasible. Appearance. An alternative material should have a simi- lar profile, texture and finish as the original material. Some synthetic siding has an exaggerated, rusticated finish that is an inaccurate representation of original clapboard, and many vinyl products have a sheen that is out of character with that of painted wood and metal. Durability. An alternative material should have proven durability in similar applications. While some new materials are very sturdy, others may degrade quickly and can be difficult to repair. Location. Up close, it is easier to identify some alternative materials due to differences in texture, finish and feel. Tapping on a hollow plastic column or fence does not convey the same experience as the original. For this reason, locations that are more remote are better. Similarly, use of alternative materials is more appropriate on non - primary fagades. See "Locating Fagade Improvements" on page 19 for more information. Cost. Some alternative materials are promoted because their initial costs appear to be less than repairing or replacing the original. When the other qualities of appearance and durability are proven, then the less expensive option may be appropriate. However, long -term, "life cycle" costs should also be weighed. Sometimes, the up -front saving is deceptive. Environmental Impacts. The potential environmental impacts of alternative materials should also be considered including im- pacts associated with manufacture, transport, installation and ability to recycle. Interaction with Historic Building Materials. Some alterna- tive materials may interact negatively with historic materials. For example, some metals may corrode and stain original materials and some window and siding materials may expand and contract with temperature changes in ways that degrade weather - protection properties. Ilk i Alternative materials may be considered for replacements on secondary elevations where key features are not affected. This cementations composite siding, which is located on a rear wall, is an example. 20 Chapter 1 Rehabilitation Guidelines for Historic Properties 1.11 Plan repainting carefully. • Always prepare a good substrate. Remove damaged or deteriorated 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. 1.12 Brick or stone that was not painted historically should not be painted. • Masonry naturally has a water - 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. 1.13 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 consolidants. Epoxies and resins may be considered for wood repair and special masonry repair components also may be used. 1.14 Repoint mortar joints where there is evidence of deterioration. • 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. Before tuckpoint After tuckpoint Commence with building cleaning again after any repointing has completely cured. Do not remove damaged materials that can be repaired. In this case, loose shingles may be re- secured while missing ones may be replaced. Masonry Many of Dubuque's commercial and residential buildings are constructed with brick or stone bearing walls. They were typically sourced from local brick yards and quarries. Preserving these materials is a key component of the city's sustainability policies. Chapter 1 Rehabilitation Guidelines for Historic Properties 21 Before rehabilitation. Inappropriate materials should After rehabilitation, see image to !eft. Property be removed. appropriately restored. Match the original material in composition, scale and finish when replacing materials on primary surfaces. 1.15 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. 1.16 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 original wood siding and masonry, should not be replaced with synthetic materials on key, character - defining walls. • In some instances, substitute materials may be used for replacing 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 the historic model. • The Commission may consider alternative materials located on a residential accessory building, or on an addition or rear wall of a primary structure. 22 Chapter 1 Rehabilitation Guidelines for Historic Properties Building Materials Details Wood Siding Shis*,o Shingles Rabbeted Beveled Clapboard Tongue and Groove Chisel wirrigui Staggered Masonry Joints Coursed Sawtooth Beaded Concave Stripped V -shaped Diamond IIMUSOMMINI bey * ** *414 beediebAlifil r��rwe��r 1 t1St ina�r +�r +�r +rte s Fishscale Weathered Struck Chapter 1 Rehabilitation Guidelines for Historic Properties 23 Consider removing later covering materials that have not achieved historic significance. 1.17 Covering original building materials with new materials is inappropriate. • Vinylsiding, aluminum siding and newstucco are inappropriate on historic buildings. Other imitation materials that are designed to look like wood or masonry siding, fabricated from other materials, are also inappropriate. • If a property already has a non - historic building material covering the original, it is not appropriate to add another layer of new material, which would further obscure the original. t18 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 building has a stucco finish, removing the covering may be difficult, and may not be desirable. Test it first to assure that the original material underneath will not be damaged. 4 Fan b 1 A III _ 1 Before: More recent material covers After: Original features revealed and original details. (Compare with the restored. (Compare with the image image to the right.) to the left.) 24 Chapter 1 Rehabilitation Guidelines for Historic Properties INDIVIDUAL BUILDING COMPONENTS Proper treatment of individual historic building components supports goals for sustainability and preservation. Original components should be retained whenever possible. Roofs Policy: Roof form, material and detail are important features that contribute to the significance of a historic structure. The character of a historic roof should be preserved, including its form and materials, whenever feasible. Guidelines: 1.19 Preserve the original roof form of a historic structure. • 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. 1.20 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. • Avoid damaging eaves and soffits when installing a new downspout. Flat roofed buildings are commonly found in the downtown district. Typical Residential Roof Types Typical Commercial Roof Types Shed roof Gambrel roof Clipped Gable roof Hipped roof 'OA Cross - Gabled roof Mansard roof Commercial Flat roof Roof Types found on both Residential and Commercial Buildings ga Mansard roof Gabled roof Chapter 1 Rehabilitation Guidelines for Historic Properties 25 1.21 Preserve distinctive roof features. • Ornamental cresting, acupola orwidowswalkare examples of distinctive features that should be preserved. 1.22 Preserve original roof materials • Avoid removing historic roofing material that is in good condition. When replacement is necessary, use materials similarto the original in both style as well as physical qualities and use a color that is similar to that seen historically. Specialty materials such as tile and/or slate should be replaced with a matching material. Preserve distinctive rcofing materials and designs; replace only those • shingles that are deteriorated beyond repair. This monitor, at the top of the roof, is a d'stinctive feature that should be preserved. It also offers opportunities for natural ventilation. Typical roof features to preserve include: • Basic form • Eaves overhang • Exposed rafter tails • Moldings • Cresting • Finials • Monitors • Cupolas • Widow's walks 1.23 Preserve historically significant downspouts and gutte rs. • Repair historic gutters and downspouts when needed. This is especially important on key, character- defining building faces. • Patch and splice in portions that are beyond repair, rather than replacing them entirely, when feasible. 1.24 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. Fiberglass may also be considered. • Roof materials should generally be earth tones and have a matte, non - reflective finish. • The new material should be consistent with the history style of the property. • When using a new asphalt, fiberglass or similar composition roof material, match the original in color and finish to the extent feasible. (Some alternative colors may be considered, however, when doing so is part of a coordinated energy conservation scheme.) 26 Chapter 1 Rehabilitation Guidelines for Historic Properties 1.25 If metal roof materials are to be used, they should be applied and detailed in a manner compatible with the historic character and 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 historically. • Some modern metal roofing materials do not have proportions that are appropriate to the historic character of many older buildings and should be avoided. 1.26 When installing new gutters and downspouts, select a design that is compatible with the architectural style. • When an ornamental design was used historically, but it is not feasible to replicate it, then use a simple design that does not detract from the property or convey a false history. 1.27 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 one existed creates a false impression of the home's original appearance, and is inappropriate. 1.28 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. Tip: When replacing a slate or tile roof, the support system should be evalu- ated to determine that it will meet current code requirements for bearing such loads. Some reinforcing may be needed. Chapter 1 Rehabilitation Guidelines for Historic Properties 27 Chimneys Policy: Original chimneys are often distinctive features on historic buildings in Dubuque. Many are constructed of brick and have decorative details. These features should be preserved. In some cases, they may no longer be functional, but preserving them is still preferred. Preserve a historic chimney. 28 Guidelines: 1.29 Preserve a historic chimney. • These surfaces are more exposed than others and may require more frequent maintenance. • See also the preceding guidelines for treatment of masonry as a primary building material. • Also preserve distinctive flue caps and other decorative features of a chimney. 1.30 Repair a historic chimney when it is deteriorated. • Avoid replacing a chimney when repair is feasible. 1.31 If a historic chimney is beyond repair, reconstruct it to match the original. • If areconstruction is not feasible, use a simplified interpretation that is compatible with the character of the roof and the building style. Chapter 1 Rehabilitation Guidelines for Historic Properties Cornice and Parapets Policy: Original cornices are typically distinctive features on historic buildings in Dubuque. Many are constructed of brick, stone or pressed metals and have decorative details. These should be preserved. Parapet caps are also important in maintaining the integrity of building materials since they are designed to shed moisture away from the building wall. Guidelines: 1.32 Preserve a historic cornice. • Most historic commercial buildings have cornices to cap their facades. Their repetition along the street contributes to the visual continuity on the block. These cornices, and the parapets to which they are attached, should be maintained. • 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. 1.33 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 ornamentation well painted. • The substitution of another old cornice for the original may be considered, provided the substitute is similar to the original. 1.34 A simplified interpretation is also appropriate for a replacement cornice if evidence of the original is missing. • Appropriate materials include stone, brick and stamped metal. Chapter 1 Rehabilitation Guidelines for Historic Properties Preserve a historic cornice. Reconstruct a missing cornice when historic evidence is available. A simplified interpretation is also appropriate for a replacement cornice if evidence of the original is missing. 29 Before: Cornice missing After: Cornice reconstructed using material similar to the onginal. Preserve a parapet wall. 30 1.35 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 deterioration such as missing mortar or excessive moisture retention. • Avoid waterproofing treatments, which can interfere with the parapet's natural ability to dry out quickly when it gets wet. Chapter 1 Rehabilitation Guidelines for Historic Properties Windows - General Policy: A variety of window sizes, shapes and details exist among the historic resources of Dubuque. 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. Also, repairing, weather - stripping and/or insulating (perimeter window cavity) a window is more energy efficient, and less expensive than replacement. Guidelines: 1.36 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, hoods, operation and groupings of windows. Repair frames and sashes rather than replacing them, whenever conditions permit. 11 w ss■L' Keystone Hood, lintel Top rail Upper sash Parting rail Lower sash Bottom rail Sill Window and decorative features. An example of decorative glass. Historic Window Components include: Sash Frame Number of lights (panes) Shutters Security Devices (bars and screens) Insect screens Storm windows Hood /Lintel Sill • Muntin • Sash Chapter 1 Rehabilitation Guidelines for Historic Properties 31 Upper Sash Muntin Glazing Double Hung Window. (Residential, Commercial, Warehouses) 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. Pivot Window. (Warehouses) Frame Transom Window Frame Display Window Storefront Window. (Commercial) 32 Chapter 1 Rehabilitation Guidelines for Historic Properties 1.31 Preserve the position, number and arrangement of historic windows in a building wall. • Enclosing a historic window opening is inappropriate, as is adding a new window opening. This is especially important because the historic ratio of solid -to -void is a character - defining feature. • Greaterflexibility in installing newwindows may be considered on rear walls. 1.38 Preserve the size and proportion of a historic window opening. • Reducing an original opening to accommodate a smaller window or increasing it to receive a larger window is inappropriate. • Preserve a distinctive window opening shape, such as an arched top. 1.39 Preserve the historic ratio of window openings to solid wall on a primary facade. • Significantly increasing the amount of glass on a primary, character- defining wall will negatively affect the integrity of the structure. 1.40 Match a replacement window to the original in its design. • If the original is double -hung, then the replacement window should also be double -hung or appear to be so. Match the replacement also in the number and position of glass panes. • Matching the original design is particularly important on key character - defining facades. This includes decorative glass, such as leaded or stained glass Alternative Window Designs If it is not possible to match the original design and materials of a window, then an alternative design maybe considered in the following locations: • On a non - primary facade, accessory building or addition • On a primary facade if no other option is available Alternative window designs should: • Match the general profile and details of the original window, whenever possible. • Use materials that match the original appearance in dimension, profile and finish. Chapter 1 Rehabilitation Guidelines for Historic Properties Preserve the position, number and arrangement of historic windows in a building wall. Inappropriate: altering the shape of historic window openings. Match the appearance of the original window design (ie., if the original is double -hung, use a double -hung replacement window, or a window that appears to be double- hung). 33 Cei) Original Sash Profile 1.41 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 materials. Inappropriate replacement • For More Information See web link to Preservation Brief 9: The Repair of Historic Wooden Windows http:ttwww.nps.g ovApsMM ow -to -pre - se rive A,riefsr9 -wood en -win dows.htm See web link to window retrofit article from the National Trust for Historic Preservation web site: http://www.preservationnation.org/ who-we-are/press-center/press- releases/2012/hew-windows-study. html#.Ud sh FX Fsik I Web link to window treatments Na- tional Park Service Tech Notes. Scroll down page to windowto find the links: http:ttwww.nps.g ovApsM ow -to -pre - servehech-notes.htm 1.42 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. • Where true divided lights were used historically, using them in a replacement window is preferred; alternatives, such as snap -on muntins applied to the exterior may be considered on secondary elevations. Using strips of material inserted between double - glazing panes is discouraged. After: Using the same material as the original is preferred, especially on character- defining facades. 34 Chapter 1 Rehabilitation Guidelines for Historic Properties Windows - Accessories 1.43 Preserve historic shutters. • Historic shutters contribute to the character of a property and also offer opportunities for energy conservation. They provide shading and cooling during summer months and protection to windows during storms. • Window awnings and shutters are appropriate in limited circumstances. They are only appropriate on specific architectural styles. 1.44 Install new shutters to be in character with those used historically. • Operable shutters are preferred. These help support sustainability objectives of the city. • New shutters should match the opening that they frame in size and shape. • If shutters are missing, use historical documentation, or examples from properties of similar period and style to assure authenticity. 1.45 Enhance the energy efficiency of an existing historic window, rather than replace it. Use these measures: • Add weather stripping and caulking around the window and frame. • Install a storm window. • Install an insulated window shade. 1.46 Use a storm window to enhance energy conservation rather than replace a historicwindow. • 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. 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. Chapter 1 Rehabilitation Guidelines for Historic Properties Historic shutters contribute to the characterofa property and also offer opportunities for energy conservation. Appropriate: Exterior storm window Unfinished metal storm windows such as these alter the character of window openings, and should not be used on primary elevations. A metal storm window may be appropriate if the frame matches the proportions and profiles of the original window and has a painted finish. 35 1.47 Use an insect screen to enhance energy conservation and ventilation. • Fit the screen to match the historic window shape and character. • Half screen units that cover only the lower sash opening are acceptable. 1.48 Minimize the visual impacts of security devices on windows. • Avoid installing bars on the exterior of windows on a building front when feasible. 36 Chapter 1 Rehabilitation Guidelines for Historic Properties Doors - General Policy: The character - defining features of a historic door and its distinct materials and placement should be preserved. In addition, a new door should be in character with the historic building. This is especially important on primary facades. Also, repairing, weather - stripping and /or insulating (perimeter wall cavity) a door is more energy efficient, and less expensive than replacement. Guidelines: 1.49 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, door frame, screen door, threshold, glass panes, paneling, hardware, detailing, transoms and flanking sidelights. • Avoid changing the position and function of original front doors and primary entrances. 1.50 Maintain the original proportions of a significant door. • Altering the original size and shape of a significant door is inappropriate. 1.51 When a historic door is damaged, repair it and maintain its general historic appearance. • If original features are missing or beyond repair, splice and patch in those components to replicate the original in size, shape, profile and finish. - u [[ 011 Door with Paneled transom and Door sidelights 11 all Period Revival Door MINI NIMM Paneled Colonial Re- Door with vival Door glass panes Half Glass Door The character - defining features of a historic door and its distinct materials and placement should be preserved. In addition, a new door should be in character with the historic building. Chapter 1 Rehabilitation Guidelines for Historic Properties Historic Door and Entry Components Original door and entry features include: • Door Detailing • Sills • Surround • Transoms • Heads • Threshold • Moldings • Jambs • Landing (mosaic tiles) • Flanking sidelights Preserve the decorative and functional features of a primary door. 37 le • When replacing a doe, use materials that appear similar to that of the original. IIEz•,i 1' A new door such as this that differs from the origbnalorthat is inconsistent with the historic style, is inappropriate on a primary wall. 33 1.52 When replacing a door, use materials that appear similar to that of the original. • A metal door, if seen from the street, is inappropriate where the original was wood. • Alternative materials for a door may be considered on secondary walls. 1.53 When replacing a door, use a design that has an appearance similar 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. 1.54 Avoid installing a new door opening on a key, character - defining wall. • A new opening may be considered on a secondary wall. 1.55 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. • Ametalstorm door may be appropriate if it issimple in design and if the frame is painted so that raw metal is not visible. 1.56 Enhance the energy efficiency of an existing historic door, rather than replace it. Use these measures: • Add weather stripping and caulking around the window and frame. • Install a storm door. • Install an insulated window shade over glazed portions of the door on the interior. Chapter 1 Rehabilitation Guidelines for Historic Properties Doors - Accessories 1.57 Preserve a historic screen door or storm door. • Historic screen doors and storm doors contribute to the character of a property and also offer opportunities for energy conservation. 1.58 Use a new storm door to enhance energy conservation rather than replace a historic door. • Match the design to the original if feasible. • A metal storm door may be appropriate if the frame matches the proportions and profiles of the original door. • Use afinish (painted or natural wood) that is similar to those seen historically; do not use an anodized or a milled (a silvery metallic) finish. 1.59 Use a screen door to enhance energy conservation and ventilation. • Fit the screen door to match the historic opening in shape and character. • Use aglass design that permits visibility to the historic door beyond. 1.60 Minimize the visual impacts of security devices on a primary door. • Avoid installing bars on the exterior when feasible. Chapter 1 Rehabilitation Guidelines for Historic Properties This screen door is of wool, and has a painted finish that is similar to the primary door, which is appropriate. A frame that more closely matches the proportion of wood to window on the historic door would be preferred. This new metal storm door has a painted finish and the glass permits the historic door behind to be visible which is appropriate. A colorthat more closely matches the surrounafng trim would be preferred. 39 Inappropriate reduction in window size Inappropriate profile for window replacements; the proportions are inaccurate 40 Inappropriate reduction in upper story windows and storefront modification Inappropriate treatment on upper story windows Inappropriate door and transom replacement Inappropriate storefront modification Chapter 1 Rehabilitation G uidelines for Historic Properties Policy: Many building foundations contribute to the character of historic structures in Dubuque. These may include rusticated stone walls, brick, or metal skirting. 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. Foundations Guidelines: 1.61 Maintain foundation vents in operating order. • 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. 1.62 Provide positive drainage away from foundations. • The soil or pavement next to the foundation wall should slope away from the wall. • 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. 1.63 Maintain gutters and downspouts in working order to carry water away from the foundation wall. • Connect a downspout to an underground drain, or onto splash blocks which carry the water away from the foundation wall. 1.64 Avoid cutting a new window or door opening in a foundation wall, or enlarging an existing one. • This can weaken the foundation significantly. If an alteration is needed, get qualified advice on how the foundation will be affected. 1.65 Avoid covering historic foundation materials. • Materials such as composite "brick" veneer or cementatious coverings diminish the character of the structure. These also may hold moisture in the foundation wall and cause damage to the structure. Foundation Maintenance Tips: Plants tend to retain moisture and keep damp walls from drying. There- fore, the fallowing precautions should be taken: Vines and other plants should not be allowed to grow on foundation walls. 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. Chapter 1 Rehabilitation Guidelines for Historic Properties 41 ACCESSIBILITY Policy: Owners of historic properties should comply to the fullest extent possible with the Americans with Disabilities Act and other accessibility laws, while also preserving the integrity of the character - defining features of their buildings and sites. Special provisions for historic buildings exist in the law that allow some alternatives in meeting the ADA standards. Generally, creating an accessibility solution that is independent from the historic building and does not alter its historic characteristics is encouraged. 42 Guideline: 1.66 Generally, creating an accessibility solution that is independent from the historic building and does not alter its historic characteristics is encouraged. • Identify the historic building's character- defining spaces, features and finishes so that accessibility code - required work will not result in their damage or loss. • Alterationsto historic properties that are designed to improve access 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. • Minimize impacts to a historic building; a design that is reversible is preferred. Chapter 1 Rehabilitation Guidelines for Historic Properties ADAPTIVE RE -USE Policy: Converting a building to a new use that is different from that which its design reflects is considered to be "adaptive re- use." Forexample,converting a residential building to an office is adaptive re -use. Agood adaptive re -use project retains the historic character of the building while accommodating its new function. Guideline: 1.67 Seek uses that are compatible with the historic character of the building. • Building uses that are closely related to the original use are preferred. An example would be the conversion of a residential -type building to an office. Thiscan be accomplished without radical alterations to either the interior or exterior of the structure. • Avoid altering porches and original windows and doors. Alternative designs that are contemporary interpretations of traditional industrial buildings may be considered where historic bullc9'ng features are missing. Chapter 1 Rehabilitation Guidelines for Historic Properties 43 BALCONY ADDITIONS 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/or at a minimum two bays 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. A balcony raping should be mostly transparent. One should be able to see through to the building fabric behind the rap. Guidelines: t68 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 appro priate. 1.69 A balcony 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. 44 Chapter 1 Rehabilitation Guidelines for Historic Properties Policy: In some circumstances it may be necessary to add handrails to a historic commercial or warehouse building in orderto addressa new building use, or accessibility life safety issues. In orderto preserve the historic integrity at the building, these elements should not detract from the historic character. HANDRAIL ADDITIONS Guideline: 1.70 Railings should be simple in design. • Simple metal work is most appropriate. • Heavy ornate metal, plastic or wood is inappropriate. • The railing should be mostly transparent. One should be able to see through to the building fabric. Chapter 1 Rehabilitation Guidelines for Historic Properties Handrails must be transparent, one must be able to see through to the building fabric. 45 Policy: Some early additions may have taken on historic significance of their own right and merit preservation. In contrast, more recent additions that detract from the character of the building should be considered for removal. HISTORIC ADDITIONS Guideline: 1.71 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. 46 Chapter 1 Rehabilitation Guidelines for Historic Properties HISTORIC SECONDARY STRUCTURES Policy: Preserving the historic fabric along an alley in a historic district is important. 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 structures and their features should be retained when feasible. If alterations to these structures need to be addressed, refer to other rehabilitation guidelines in this chapter. Guideline: 1.72 Preserve an existing secondary structure when feasible. • Retain original materials and features when feasible. • Maintain the subordinate character of the structure also. 1.73 A new garage door should be compatible with the structure. • If a garage door replacement is necessary, it should be compatible in style and materials with the existing building. For example, hinged wood -panel carriage doors and wood paneled overhead doors with glazed lights are appropriate. Solid metal or metal panel doors, or industrial -like rolled doors are inappropriate. This builaP'ng reflects compatible new construction with the primary bullcP'ng on site. Preserve an existing secondary structure when feasible. It a garage door replacement is necessary, if should be compatible in style and materials with the existing building. Chapter 1 Rehabilitation Guidelines for Historic Properties 47 EMERGENCY EGRESS Policy: In some cases, exterior exit stairs or fire escapes maybe needed in order to comply with life safety regulations. These alterations can help extend the usefulness of a building and can be designed to minimize impacts on the historic character of the property. Guideline: 1.74 Design exterior life safety exits to minimize impacts on key features of a historic property. • Locating an exit system to the side or rear is preferred. • When it must be located on the front, design it to maintain visibility of key character - defining features. Locating an exrt system to the side or rear is preferred. A contemporary interpretation of a fire escape is an appropriate addition to the rear or .secondary facade of a historic building. The new fire escape is appropriately located on the secondary facade and is also a good representation of a compatible design. 48 Chapter 1 Rehabilitation Guidelines for Historic Properties REHABILITATION OF HISTORIC COMMERCIAL PROPERTIES These design guidelines for rehabilitation of commercial properties supplement the preceding general guidelines for historic buildings. Both sections apply. PRESERVATION OF COMMERCIAL STOREFRONTS Policy: Many storefronts in Dubuque have components seen traditionally. The repetition of these standard elements creates a visual unity along the street that should be preserved. These features should not be altered, obscured or removed. The preservation 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: 1.75 Preserve these character - defining features of a commercial storefront building type: Cornice molding: A decorative band at the top of the building. Displaywindows: The main portion of glass on the storefront, where goods and services are displayed. Transom: The upper portion of the displaywindow, separated by a frame. Kickplate: Found beneath the display window. Sometimes called a bulk -head panel. Entry: Usually set back from the sidewalk in a protected recess. Upper -story windows: Windows located above the street level often have a vertical orientation. • Note that a corner building may have storefront elements on two walls, all of which should be preserved. Chapter 1 Rehabilitation Guidelines for Historic Properties Traditional commercial building facade. Preserve the historic character of a storefront when it is intact. 49 For More Information See web link to Preservation Brief 11: Rehabilitating Historic Storefronts http: / /www. nps.gov /tps /how- to -pre- serve /briefs /11- storefronts.htm If a storefront is altered, restoring it to the original design is preferred. 1.76 If a storefront is altered, restoring it to the original design is preferred. • Remove more recent coverings that obscure original features. • If evidence of the original design is missing, use a simplified interpretation of similar storefronts. • Historic photographs of commercial buildings in Dubuque are widely available and should be used when determining the original character of a storefront design. • An alternative design that is a contemporary interpretation of a traditional storefront may be considered where the original is missing and no evidence of its character exists. • The new design should convey the character of a typical storefront, including the transparency of display windows. • Greater flexibility in treatment of rear walls is available. • While using materials that match the original is preferred, alternative materials may also be considered. NI N■ 1 • 1 i l W. Parapet Cornice Pediment Upper story windows Midbelt cornice Transom Display window Piers/ Pilasters Kickplate Recessed entry Maintain storefront components in Typical commercial facade components good condition. 50 Chapter 1 Rehabilitation Guidelines for Historic Properties Before rehabilitation Storefront rehabilitation in progress After rehabilitation Before rehabilitation Before rehabilitation After rehabilitation Chapter 1 Rehabilitation Guidelines for Historic Properties After rehabilitation, see above for before. 51 Storefront Maintenance Storefronts communicate to the customerthe nature of the merchant's business. The storefront materials, signs, window displays, and lighting establish an image for the merchant and the outside world. It is important to: • Keep storefronts neat and clean • Establish attractive window displays Provide adequate lighting A WckpIate, located below the display window adds interesting detail to the streetscape and should be preserved Transoms, the doper glass band on door openings, introduced fight into the depths of the building, saving an fight costs. These bands should not be removed or enclosed. 52 1.77 Retain an original kickplate. • The kickplate, located below the display window, adds interesting detail to thestreetscapeand should be preserved. • If the original kickplate is covered with another material, consider exposing the original design. 1.18 If the original kickplate is missing, develop a sympathetic replacement design. • Wood is an appropriate material for replacements on most styles. However, ceramic tile and masonry may also be considered when appropriately used with the building style. 1.79 Retain the original shape of the transom glass in a historic storefront. • Transoms, the upper glass band of traditional storefronts, introduced light into the depths of the building, saving on light costs. These bands should not be removed o renclosed. • The shape of the transom is important to the proportion of the storefront, and it should be preserved in its historic configuration. • If the original g lass 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. Contemporary Storefront Designs When an original storefront is largely missing, it may be appropriate to design a replacement that is a contemporary interpretation of a traditional storefront. Acon- temporary replacement design should: • Promote pedestrian interest and an active street -level facade • Use high - quality, durable materialsthat are similar in type and scale to traditional materials • Be located within the original structural frame of sidewalls and lintel or cornice of the storefront opening • Conveythe characteristics of typical historic storefronts, including: - Traditional storefront elements such as a bulkhead and transom - The transparent character of the display windows - Recessed entry Use a simple and relatively undecorated design • Relate to traditional elements of the facade above • Preserve early storefront alterations that have become historically significant Chapter 1 Rehabilitation Guidelines for Historic Properties ADDITIONS TO COMMERCIAL PROPERTIES Policy: Two distinct types of additions to historic commercial buildings may be considered. First, a ground- 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 characterand set backsubstantially from the front of a building. In addition, the materials, window sizes and alignment of trim elements on the addition should be compatible to those of the existing structure. Guidelines: 1.80 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 fora building with a flat roof. • An addition to the front of a building is inappropriate. 1.81 An addition should not damage or obscure architecturally important features. • For example, loss or alteration of a cornice line should be avoided. 1.82 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 - defining facade, to maintain one's perception of the historic scale and character of the building. • Its designshould 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. orri The historic structure illustrated above has a rooftop addition that is set back from the primary facade to be minimally visible from the public street and sidewalk. Chapter 1 Rehabilitation Guidelines for Historic Properties 53 @ ,,,,, I It New the 9400. _..„,..„, addition side ,,„„, 4 to 41I1 , ki wl j1k 141 ii Ei 411 New addition the rear to An original three -story building, Appropriate alternative approaches to additions before an addition. Compare with sketches to the right. For More Information: See web link to Preservation Brief 14: New Exterior Additions to Historic Buildings: Preservation Concerns http://www.nps.gov/tps/how-to-pre- serve/briefs/1 4-exterior-additions.htm Addition to the side, set back from the front 54 Chapter 1 Rehabilitation Guidelines for Historic Properties Rehabilitation of Historic Residential Properties These design guidelines fo r rehabilitation of residential properties supplement the preceding general guidelines for historic buildings. Both sections apply. PORCHES Policy: Preserve a porch in its original condition and form. A porch is one of the most important character - defining elements ofafacade. Porches help to provide visual interest to abuilding, and can influence its perceived scale, protect entrances and pedestrians from rain and provide shade in summer. Guidelines: 113 Maintain an original porch when feasible. • This is especially important in a key, character - defining location, such as the front of the building. • 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 balusterswhen 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. Historic Porch Components The most typical components of a historic residential porch are illustrated below. Pilaster Balustrade Decking Skirting Stringer -•o� Brackets Post/ Column Top Rail Bottom Rail Newel Post Riser Tread Maintain an original porch. Alternative Porch and Stoop De- signs If it is not possible to match original components or replace a missing porch or stoop with one that appears similar in character, alternatives may be considered in the following loca- tions: • Onanon- primaryfacade,accessory building or addition On a primary facade if no other option is available Alternative designs should: • Match the general form and appearance of original components ora complete porch or stoop. • Not use synthetic materials for columns, flooring or railings. Chapter 1 Rehabilitation Guidelines for Historic Properties 55 Consider providing a smaller railing above the historic railing to achieve a greater overall railing height. 1.84 Enclosing a porch with opaque materials that destroy the openness and transparency of the porch is inappropriate. • Where a porch must be enclosed, use transparent materials (such as insect screens or glass) and place them behind the balusters and balustrade to preserve the visual character of the porch. 1.85 Where building codes stipulate that new porch railings 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. Existing Condition: Italianate style house with an altered porch. Preferred Approach, when historic documentation is available: Italianate style house with a replacement porch designed similar to that seen historically. Acceptable Approach, when historic documentation is not available: Italianate style house with a simplified interpretation of a traditional porch design. liiiISM -1 WiiiiM ZNN Iii 111 iii 11 1111111.61 1 Existing Condition: Italianate style house with an altered porch. Preferred Approach, when historic documentation is available: Italianate style house with a replacement porch designed similar to that seen historically. Acceptable Approach, when historic documentation is not available: Italianate style house with a simplified interpretation of a traditional porch design. Existing Condition: A folk or vernacular style house with the original porch removed. 56 Preferred Approach, when historic documentation is available: A folk or vernacular style house with a replacement porch designed similar to that seen historically. Acceptable Approach, when historic documentation is not available: A folk or vernacular style house with a simplified interpretation of a traditional porch design. Chapter 1 Rehabilitation Guidelines for Historic Properties -1 ZNN iii 11 1111111.61 1 Existing Condition: A folk or vernacular style house with the original porch removed. 56 Preferred Approach, when historic documentation is available: A folk or vernacular style house with a replacement porch designed similar to that seen historically. Acceptable Approach, when historic documentation is not available: A folk or vernacular style house with a simplified interpretation of a traditional porch design. Chapter 1 Rehabilitation Guidelines for Historic Properties Repair a Porch Policy: Repair a deteriorated porch instead of removing or replacing it. The preferred treatment for a deteriorated 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: 1.86 Repair those elements of a porch that are deteriorated. • Removing damaged materials that can be repaired is not appropriate. 1.81 Consider restoring an altered porch to its original design and configuration. • If the historic design of the porch is unknown, then base the design 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 Rehabilitation Guidelines for Historic Properties Before: Porch missing After: Porch reconstructed Before: Porch missing and windows enclosed After: Reconstructed porch and new windows installed inonginal openings 57 Appropriate Porch Railing Rehabilitations and Replacements rti/1 _t •u� ✓ I 111 1 ! H Appropriate contemporary interpretations of a porch and its features. nrrCll(ff� New porches and their features should be similar in character, design, scale and materials to those seen traci'tionally. 53 Chapter 1 Rehabilitation Guidelines for Historic Properties Replace a Porch 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 ora porch design copied from asimilar 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: 1.88 When porch replacement is necessary, it should be similar in character, design, scale and materials to those seen tra ditionally. • The size of a porch should relate to the overall scale of the primary structure to which it is attached. • Base the design of a replacement porch on historic documentation if available. • Where no evidence of the historic porch exists, a new porch may be considered that is similar in characterto those found on comparable buildings. 1.89 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 styles document for further information. 1.90 A porch should use materials similar to those seen historically. • Use materials similarto 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, fiberg lass columns may be considered. • Do not replaceawood porch decking andstepswith concrete. Before: Historic image After: Replace a missing porch with one that appears similar to that seen historically. Chapter 1 Rehabilitation Guidelines for Historic Properties 59 ADDITIONS TO RESIDENTIAL PROPERTIES Policy: When planning an addition to an existing building, consider the 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. Also, consider maximizing the potential for environmental benefits. The design should take advantage of existing site features, the orientation of the property and its prevailing wind and solar patterns. Guidelines: 1.91 The loss of historically significant features, where they exist, should be minimized. • When preserving original details and materials, follow the guidelines at the beginning of this chapter. 1.92 Place an addition at the rear of a building or set it back from the front to minimize the visual impacts. • 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 primary facade. 60 Chapter 1 Rehabilitation Guidelines for Historic Properties Locating a nd Designing an Addition to a Historic Residential Structure An addition to a historic residential structure should be subordinate to, and clearly differentiated from, the original historic structure as illustrated below. Original Structure The one - and -a -half story bungalow illustrated at right is historic. One -Story Addition The addition illustrated at right is ap- propriate because it is clearly differenti- ated from the original structure with a change in roof plane and is nearly invisible from the street. One- and -a -Half Story Addition The addition illustrated at right is ap- propriate because it is set back and clearly differentiated from the original structure with a connector. Inappropriate Two -Story Addition The addition illustrated at right is inappropriate because it substantially alters the primaryfacade of the historic structure Chapter 1 Rehabilitation Guidelines for Historic Properties 61 This addition is set back behind the original structure and the new addition is accessed by a connector. Additions set to the rear, and with a connector This roof top addition is not subordinate to the existing structure. 62 1.93 An addition should be compatible in scale, materials and character with the main building. • While a smaller addition is visually preferable, if the addition is to 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. • A new 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 competing with the primary facade. • The addition should be distinguishable as new, albeit in a subtle way. 1.94 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 appropriate for residential -type building additions. Flat roofs may be appropriate for commercial buildings or International style structures. 1.95 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. Chapter 1 Rehabilitation Guidelines for Historic Properties Dormer Location Do not visually overwhelm the original roof with dormers (middle). Locate new dormers on side or rear - facing roof slopes, if possible (right). Original New Dormers 1.96 A rooftop dormer may be appropriate. • 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. • 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 and to the rear of the roof. • A dormer should be similar in character to the primary roof form. • The number and size of dormers should not visually overwhelm the scale of the primary structure. New Dormers Chapter 1 Rehabilitation Guidelines for Historic Properties 63 Policy: Many of Downtown Dubuque's buildings possess components traditionally seen on industrial/ warehouse buildings. The repetition of these standard elements creates a visual unity at the street that should be preserved. Rehabilitation of Historic Industrial /Warehouse Properties PRESERVATION OF INDUSTRIALIWAREHOUSE FACADES Historic photographs of Dubuque's industrial use buildings are widely available and should be used when determining the original character of a builcing facade. A rehabilitation project of an industrial/ warehouse building should preserve character - defining elements such as a loading dock, canopy and man door 64 Guidelines: 1.97 For an industriallwa rehouse building, a rehabilitation project should preserve these character - defining elements: • • • Man -door: A small door for use by people entering the building. These can be similar in character to a storefront on a retail building. 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 windows. 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 building. Loading dock: A raised landing for handling goods; some project from the facade while others are inset behind the building plane. Loading bay doorway: A large opening at the landing dock. Typically these are rectangular, although sometimes arched. Rolling overhead or horizontal sliding doors were used in these openings. Sing ularand multiple openingswere 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 rnounted. 1.98 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. Chapter 1 Rehabilitation Guidelines for Historic Properties 1.99 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/ warehouse buildings are widely available and should be used when determining the original character of the facade. • Alternative designs that are contemporary interpretations 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 convey the character of typical facades in the area, including the repetitive window patterns and openings seen along the building fronts. 1.100 Preserve the character of the cornice line. • Most historic industrial buildings have simple masonry cornices to cap their facades. Their repetition along the street contributes to the visual continuity on the block. 1.101 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 ornamentation well painted. • The substitution of another old cornice for the original may be considered, provided that the substitute is similar to the original. 1.102 A simplified interpretation is also appropriate for a replacement cornice if evidence of the original is missing. • Masonry is the most appropriate material fora cornice in the warehouse district. Chapter 1 Rehabilitation Guidelines for Historic Properties Preserve character - defining elements such as windows and loading bay openings. Preserve industrial/warehouse building features, when feasible. 65 Contemporary interpretation of historic warehouse storefror. 1.103 Retain the original shape of the transom glass in existing openings. • Transoms, the up per g lass 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 configuration. • If the original g lass 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. 1.104 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 deterioration such as missing mortar or excessive moisture retention. • 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. Before 66 After. A parapet wall, loading docks, and canopies should not be altered, especially those on primary facades, or when they are highly visible. Also, note the successful incorporation a+ the railroad tracks into the road improvements. Chapter 1 Rehabilitation Guidelines for Historic Properties ADDITIONS TO INDUSTRIALIWAREHOUSE PROPERTIES Policy: Three distinct types of additions to historic industrial /warehouse buildings may be considered. First, a ground -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 characterand set backsubstantially from the front of a building. In addition, 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 beconsidered on acase -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 addition. This may be accomplished through the use of a belt course element or a subtle change in building materials. Guidelines: 1.105 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 fora building with a flat roof. • An addition to the front of a building is inappropriate. 1.106 An addition should not damage or obscure architecturally important features. • For example, loss or alteration of a cornice line or loading clock should be avoided. Rooftop addition is appropriately set back. Chapter 1 Rehabilitation Guidelines for Historic Properties 67 Side addition is connected to the historic warehouse with a tau 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. Addition to the side: original building to the left, addition to the right; linked by a connector 1.107 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 - defining facade, to preserve the perception of the historic scale of the building. • Its design should be modest in character so it will not attract attention from the historic facade. • The addition should be distinguishable as new, albeit in a subtle way. 68 Chapter 1 Rehabilitation Guidelines for Historic Properties Chapter 2 Guidelines for Site and Landscape Design In this Chapter: Setting 70 Streetscape 71 Alleys 72 Sidewalks, Walkways, Steps and Curbs 73 Site Features 74 Topography 75 Fences, Walls and Gates 76 Driveways, Parking, Paving - Residential 79 Site Lighting 80 Site Amenities 81 Yards and Park Features 82 Plant Materials 83 Surface Parking 84 Buffers 85 This chapter provides guidelines for the treatment of exterior landscape and for site improvements in public spaces and private spaces that are visually accessible to the public. The guidelines also focus on the retention and replication of features and objects that are unique to the area for the purpose of protecting and maintaining historic character. Chapter 2 Guidelines for Site and Landscape Design 69 SETTING Policy The building setting is the area or environment in which a historic structure is found. The elements of setting, such as the relationship of buildings to one another, property setbacks, fence patterns, views, driveways and walkways, together with street trees and other landscaping features create the specific character of the neighborhood. Historic settlement patterns seen in street and alley plans often contribute to the distinct character of the historic (P'stria( and should be preserved. Guidelines: 2.1 Preserve key features that are important in defining the traditional character of the setting. • These include roads and streets, furnishings and fixtures, natural or topographic features, key views and vistas. • Retain the historic relationship between buildings, streets and landscape features. • Preserve significant view corridors. • When removal and replacement of an existing historic feature is necessary (and replacement in kind is not economically feasible) substitute materials that simulate the original in appearance may be considered. • When it is not econo mically viable to save and repair original materials or to use substitutes that simulate the original in appearance, then new or common materials may be co nsidered. 2.2 Avoid the removal, relocation, or substantial alteration of any streetscape or landscape element that contributes to the traditional character of the setting. • Avoid changing the historic relationship of a building to its setting. • Removal and replacement of existing historic features with new materials, when it is economically feasible to save and repair originals, also is inappropriate. 70 Chapter 2 Guidelines for Site and Landsca pe Design STREETSCAPE Policy. Maintain the traditional character of the streetscape. The character changes between commercial, warehouse and residential areas. Guideline: 2.3 Maintain the traditional character of the streetscape. Commercial areas: Maintain wide sidewalks, street trees, light fixtures and furnishings. Consider adding similar features to accent 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. S.m. ront yard etached sidewalk Planting strip 4- 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. In commercial areas street trees, light fixtures and furnishings accent the public sidewalk. , In warehouse areas streetscapes include attached sidewalks and scattered areas of small vegetated setbacks. In residential areas planting strips are typically found between the curb and sidewalk. Chapter 2 Guidelines for Site and Landscape Design 71 ALLEYS Policy: Alleys accommodate service functions and provide pedestrian connections and secondary vehicle access. All alleys, both paved and unpaved, contribute to the character of an area. Primary and secondary buildings, and parking areas, often line the edge in a commercial setting. Small accessory or secondary buildings, fencing, parking pads and plantings define the edge in several areas. These edges also define the scale and character of the alleyandshould be maintained. Alleys accommodate service functions and provide pedestrian connections and secondary vehicle access. Maintain the traditional character and scale of an alley by locating builci'ngs and fences along the alley edge to define 72 Guidelines: 2.4 The traditional scale and width of alleys should be continued. Maintain the traditional character and scale of an alley by locating buildings and fences along the alley edge to define it. In residential settings, plantings located along the alleyedge also define it, and are appropriate. 2.5 Alley pavement should use sustainable materials, when feasible. • When feasible, retain the historic brick pavers. If this proves to be a hardship, salvage material upon removal and reuse in other streetscape or interpretive park /plaza improvements. • 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. Chapter 2 Guidelines for Site and Landsca pe Design SIDEWALKS, WALKWAYS, STEPS AND CURBS Policy: Preservation and replication of any of the historic materials is preferred. Substitute materials may be considered when other alternatives are not feasible. Guidelines: 2.6 Preserve original historic paving, limestone and steps. • Maintain historic curbs, steps and gutters. • When replacement is necessary, use materials that are consistent with the historic ones. • Replace deteriorated limestone with new limestone when feasible. • Install a new sidewalk to match the historic width of the walkway, where contemporary usages and city codes allow. 2.7 Consider using a substitute material that simulates the original,when replacement with the original is not feasible. • Using colored concrete pavers and stamped and, or stained concrete are examples of appropriate alternative materials. • Substitute materials that simulate the original limestone curbing in color, texture, and shape, such as straight curbs of tinted concrete poured with a textured form liner, also may be considered. • A common material, such as standard concrete, may be considered when it is not economically viable to retain the original or to use a substitute material which simulates the original in appearance. • Using apebble- surface concrete orasphalt is inappropriate. Background: Sidewalks in the Cathedral District originally were wood plank, which was later replaced with brick pavers in different patterns, orthey were poured concrete with a crushed limestone aggregate. Ahistoric hexagonal concrete paver was used in limited quantities in the Langworthy, Old Main and Cathedral Districts. It is currently citypolicyto remove and replace these materials with broom finish poured concrete or more recently, stained concrete pavers or stained and stamped concrete. Limestone was the traditional curb material throughout the city. As with the side- walks, it has been city policy to remove and replace these with concrete. Chapter 2 Guidelines for Site a nd Landscape Design Preserve original historic paving and cfxbing. Preserve original limestone and steps. 73 SITE FEATURES Policy: The area surrounding a historic building and contained within an individual parcel of land is considered the building site. The site, including all of its associated historic features, contributes to the overall integrity of the property, and should be preserved. As a result, the relationship between the building and contributing features within the site's boundaries should be considered when designing improvements. Preserve site features that are important in defining the historic character of the site. This includes sidewalks and paths, furnishings, D'ght fixtures, sculpture, water features, natural or topographic features and potential archaeological resources. Guidelines: 2.8 Preserve site features that are important in defining the historic character of the site. • This includes sidewalks and paths, furnishings, light fixtures, sculpture, water features, natural or topographic features and potential archaeological resources. • Retain the historic relationship between buildings and secondary structures, and between buildings and landscape features. 1.9 When the removal and replacement of an existing historic site feature is necessary (and replacement in -kind is not economically feasible) replace it with substitute materials that simulate the original in appearance. When it is not economically viable to save and repair an original feature or to use substitute materials that simulate the original in appearance, then new or common materials may be used. Vinyl is inappropriate. 2.10 Avoid removing or altering any site feature that contributes to the historic character of the site. • Altering the historic relationship of a building to a key site feature is inappropriate. 2.11 Devise plans for the repair, maintenance and long -term protection of these features. • Permitting damage or deterioration ofexisting features through inadequate protection or maintenance is inappropriate. 74 Chapter 2 Guidelines for Site and Landsca pe Design TOPOGRAPHY Policy: Site work should be planned to protect the assets of the existing topography. Guidelines: 2.12 Preserve historic grading features of a site. • Any addition or removal of ground material on a historic property is considered to be a change in grade. As a general rule this should be avoided. Such changes generally result in the alteration of the visual character of the property, and also may damage the site and its structures through erosion or improper drainage. • Minor changes in grade that will improve drainage of a site, or that will serve to direct moisture away from a structure are appropriate. • Minor changes in grade for the purpose of site or landscape improvements or restoration are appropriate. 2.13 Minimize cut and fill on a site. • For example, when necessary, divide large grade changes into a series of benches or terraces. 2.14 Design a new building foundation to conform to the existing topography, 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 the cut. 2.15 Avoid a change in grade that would obscure or conceal portions of the primary structure. • A change in grade that may have an adverse effect on the site's structures or neighboring structures through the redirection of moisture or storm water is inappropriate. • A change in grade that would alter the visual relationship of historic buildings to the site is inappropriate. Where a large grade change is necessary, divide the grade changes into a series of benches and terraces. Chapter 2 Guidelines for Site and Landscape Design 75 FENCES, WALLS AND GATES Policy: Retaining walls, fences and site walls are found throughout Dubuque. They are typically associated with residential contexts; however, these features are also used to screening parking and service areas in commercial settings. Retaining walls are typical features in neighborhoods where the primary structures are elevated from the street, due to a change in topography. These walls are character - defining features and help to establish a sense of visual continuity, and should be preserved. They typically align along the edges of sidewalks, and they also occur as terraces within a site. Where new retaining walls are installed they should complement the traditional retaining walls in the neighborhood. Front yard fences also occur in some areas. Traditionally, these fences were relatively low in height and had a "transparent" character that 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. Traditional fences should be maintained on a site. A new or replacement fence 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 and to the context. Site walls should complement the traditional architectural materials and context where they are installed. Background: Every residential district exhibits use of low historic fences and gates, primarily on large, flat plots, and usuallythose with larger homes. Elaborate wrought and cast iron examples were common on the larger properties constructed in the latter half of the nineteenth century in the Jackson Park, West 11th Street and Cathedral districts. These were often erected atop limestone retaining walls and several examples survive in good condition. More utilitarian mesh - type fences — precursors to modern chain link —also are visible in these areas, although less frequently. In the Langworthy and southern Cathedral districts simple wooden picketfencing and gates, and wooden balustrade style fences were popular for larger homes and groups of properties. titer 1945 chain link became a popular fencing option, but this material is incompatible with the historic character of the districts. Guidelines: 2.16 Preserve historic fences, gates and retaining walls. • Avoid damaging or removing historic materials. • Replace only those portions that are deteriorated beyond repair. • Any replacement material should match the original in color, texture, size and finish. • Maintain any distinctive details and protective finishes. Preserve historic fences, gates and retaining walls. 76 Chapter 2 Guidelines for Site and Landsca pe Design 2.11 Maintain historic retaining walls. • For retaining walls, if repointing is necessary, use a mortar mix that is similar to that used historically and apply it in a joint design that matches the original. • Painting a historic masonry wall, or covering it with stucco or other cementatious coating is inappropriate. • Increasing the wall height to create a privacy screen is inappropriate. 2.18 Design a new retaining wall to be compatible with the historic character of the property. • A new retaining wall should be similar in scale and materials to that seen historically, such as cut rockandstone. It should be based upon historic prototypes whenever possible. • When using a material that appears similarto the historic one is not feasible, then a common material, such as standard concrete, may be considered in some cases. • Using railroad ties, rough -cut concrete block or standard concrete block, and similar is inappropriate. • A retaining wall that defines the sidewalk edge or is used in the front yard, generally should not exceed 36 inches. Maintain historic retaining walls. Chapter 2 Guidelines for Site and Landsca pe Design 77 Contemporary interpretations of a trac9'tionalfence should be compatible with the historic context. It should be based upon historic prototypes whenever possible. Historic wrought iron terse pra`otype 2.19 Design a new fence to be compatible with the historic character of the property. • • • • • • • A fence that defines the front yard is usually low to the ground (less than 40 inches) and "transparent" in nature. Contemporary interpretations of a traditional fence should be compatible with the historic context. It should be based upon historic prototypes whenever possible. Simple wire and wrought iron fencesare appropriate materials in most settings. Wood picket fences are appropriate in residential contexts. Install decorative features to face the public way. Chain link, horizontal board, split rails, plastic, concrete block or other solid masonry are inappropriate. Note that a fence also must comply with city codes. Note that using no fencing at all in the front yard in a residential setting is often the most appropriate approach. 2.20 Minimize the visual impacts of a privacy fence. • Locate a privacy fence at the rear of the property only. • Consider removing inappropriate chain link or privacy fences when visible from the street. • Planting of windbreaks or hedgerows to function as a privacy "fence" in front may be considered, where adequate historic documentation exists. 78 Chapter 2 Guidelines for Site and Landsca pe Design DRIVEWAYS, PARKING, PAVING - RESIDENTIAL Policy: In many of the residential contexts housing patterns were dense, and rear alleys provided access to sheds, carriage houses, or garages at the back or side of the property. With the coming of the automobile, these structures were increasingly converted to or replaced by garages. Within the districts the traditional paving materials associated with features should be preserved. The insertion of new curb cuts and parking —both garages and driveways — should be kept to a minimum. Guidelines: 2.21 Preserve a historic driveway and its original design, materials, and location. • Removing historic paving materials is inappropriate. • When it is damaged beyond repair, use a replacement material that is consistent with the historic one. These include crushed - limestone aggregate concrete and brick pavers. 2.22 When using a historic paving material is not feasible, use a substitute that is similar in appearance to the original. • Porous paving materials are encouraged that are compatible with the context. • Tinted asphalt and stained and /or stamped concrete are acceptable. • Standard concrete or plain asphalt also may be considered, when it is not economically viable to save and repair originals or to use substitute materials which simulate the original in appearance. 2.23 Minimize the visual impacts of a new parking area. • Locate a new parking area near the rear of the property. • Screen it with landscaping when it would be visible from the street. 2.24 Avoid introducing paving features that are out of character with the site and the district. • Inserting a new semi - circular or drive -thru lane in a front yard is inappropriate if it was not a part of the history of the property. • Note that gravel or dirt drives are not permitted in city codes. Chapter 2 Guidelines for Site and Landscape Design 79 Policy: Standards for outdoor lighting are provided in the city's design standards. This section addresses some of the qualitative aspects of site lighting 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 consideration. 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. SITE LIGHTING Guideline: 2.25 Use shielded and focused light sources to prevent glare. • Light fixtures should incorporate cut -off shields to direct light downward. • Luminaires (lamps) shall not be visible from adjacent streets or properties. • Avoid excessive light spill from buildings. tee Wall mounted projecting 1 ■ Wall mounted projecting Groundmountedlight ftdure Hook arm fixture with opaque metal shield Use shielded and focused light sources to prevent glare. 80 Chapter 2 Guidelines tor Site and Landscape Design SITE AMENITIES Policy: A variety of site amenities are used in public areas for the convenience of the community. These include benches, clocks, trash receptacles, hitching posts and street signs, some of which are historic. Few of these historic items survive, but can be viewed in historic photographs. Where historic features do survive, they should be preserved and maintained. Where evidence for historic site amenities is available, an effort should be made to replicate them. The city has installed new benches in public spaces in the downtown area and at Cable Car Square, and they plan to continue the use of this style throughout the historic districts. This style is also suitable for public areas in residential and commercial districts. To minimize the costs of maintenance and replacement for the city, it is advisable to utilize one or two styles forall features throughout the historic districts and their neighboring areas. Guidelines: 2.26 Preserve historic site amenities. • These includeclocics, hitching posts, tramways, and benches. • Repair historic site amenities when feasible. • Removing historic site amenities is inappropriate. 2.27 Design a new site amenity to be compatible with the historic context. • New features may be based upon historical precedents. • Use durable materials that appear similar in character and finish to those seen historically. • Utilize one or two styles for all features throughout a historic district and their neighboring areas. Preserve historic site amenities such as the Town Clock which is fisted on the National Register Historic Places. Chapter 2 Guidelines for Site and Landsca pe Design Preserve historic site amenities such as the Fenelon Place elevator lit 81 YARDS AND PARK FEATURES Policy: The historic districts contain green space in the form of private yards and public parks. Most notable of the public spaces are Jackson and Washington Parks. Historic pathways and a pergola have been reconstructed in Washington Park, based on archival documents. Similar documentation is available for Jackson Park. It is desirable that this park be restored to its appearance in the early twentieth century. This does not preclude introducing contemporary outdoor sculpture or outdoor installations in these spaces, however. Yard space that is on private property is not generally regulated by the city. It is recommended that private property owners remain aware of the views of their property from the public way, and maintain these views in a manner that is consistent with the historic character of their district. Guidelines: 2.28 Preserve historic features of public parks to the extent feasible. • Consider reconstructing original park features that are missing, including the restoration or recreation of pergolas or grandstands. • Avoid removing historic site features. • Install new amenities and wayfinding materials in public green spaces that are in keeping with the historic district. This may include artwork, fountains and pergolas. 2.29 Maintain green space on private property that is visible from the public way in a manner that is in keeping with the historic character of the district. • Avoid removing historically significant features that are visible from the public way. • Preserve historic site features in good condition. • Install new features that are compatible with the historic context. 82 Chapter 2 Guidelines for Site and Landscape Design PLANT MATERIALS Policy: Some photographic evidence exists for the various forms of landscaping in the historic districts. Many of these plant materials merit continued use, but these schemes sometimes may not be appropriate for restoration, because they may be an invasive species or could cause damage to historic structures. In many cases, there will be alternative plant materials that can convey the general character seen historically while meeting new standards for sustainability. Plant materials selection in the historic districts therefore will be guided largely by existing landscaping ordinances, which designate tree and shrub species, sizes, and appropriate locations on public and private property. Where evidence of historic plantings exists, and can contribute to the historic character of the district, efforts should be made to preserve or restore these features. Such work should be carried out with the consultation of the City Forester to ensure that it meets the city ordinance, and does not pose a threat to the health of the surrounding landscape, or the safety of the public. Guideli nes: 2.30 Preserve traditional plant materials, when feasible. • Preserve and maintain mature trees, replacing them when they become diseased or die. • Avoid removal of mature, character- defining plantings and beds unless damaged, aged or diseased beyond preservation. • Consider reconstructing planting schemes that have historical sig nificance. • Install new landscaping that meets the requirements of the city's landscaping ordinance and that conveys the general character of the historic planting scheme when feasible. 2.31 Avoid planting schemes that are out of character with the district. • Avoid new planting schemes that may pose a hazard to the health of surrounding landscape features, or to public safety. • Also avoid planting schemes that may contribute to the deterioration of nearby structures or streetscape features. Chapter 2 Guidelines for Site and Landscape Design 83 SURFACE PARKING 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. Alley In commercial areas, locate surface parking to the side of a building when it is not feasible to locate parking to the rear. 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 of material is appropriate as well. 84 Guidelines: 2.32 In commercial settings, 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. • Locate surface parking to the side of a building when it is not feasible to locate parking to the rear. 2.33 Site a surface lot so it will minimize gaps in the continuous building wall of a commercial block. • Where a parking lot shares a site with a building, place the parking at the rear of the site or beside the building. 2.34 Minimize the visual impact of surface parking in residential 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. Chapter 2 Guidelines for Site and Landscape Design Policy: When site development, such as parking, storage and equipment areas, creates 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. BUFFERS Guideline: 2.35 Landscape buffers should be provided along edges of parking and service areas. • Provide a landscape buffer at the edge of a parking lot and between parking lots. • Consider providing an evergreen landscape buffer at ground mounted mechanical equipment, service and /or storage areas. 104 wit it Nom larieumirummummo AMR 1: 4101"1 When site development, such as parking, storage and equpment areas, creates 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. Chapter 2 Guidelines for Site and Landscape Design Provide a visual buffer where a parking lot abuts a public sidewalk. A combination of fences and shrubs can be used to create a landscape buffer. 85 86 Chapter 2 Guidelines for Site and Landscape Design Chapter 3 Guidelines for New Buildings In this Chapter: Designing In Context 88 Building Mass and Scale 88 Building Design 88 General Guidelines for New Buildings 89 Architectural Character 89 Materials 90 General Guidelines for New Commercial Building Types 92 Building Setbacks 92 Building Massing 93 Building and Roof Form 96 Horizontal Alignment 97 Solid -to -void 98 New Storefront Character 99 Guidelines for New Residential Building Types 101 Residential Context and Features 101 Building Setbacks 102 Primary Entrance 103 Mass and Scale 104 Building and Roof Form 107 Solid -to -Void 108 Building Materials 109 Secondary Structures 111 New Industrial /Warehouse Building Types 112 Building Setbacks 112 Mass and Scale 113 Building and Roof Form 115 Horizontal Alignment 116 Solid -to -void 117 New Facade Character 118 Civic Facilities 120 New buildings are anticipated in Dubuque as investment in the area continues. This is anticipated to occur mostly in the downtown area. Opportunities exist for many new infill projects that will increase density, in line with the City's goals. Design principles that result in a some compatible scale and enhanced pedestrian - oriented environment are key, while also drawing upon the traditions of Dubuque at large as an inspiration for new, creative designs. Chapter 3 Guidelines for New Buildings 87 Policy: Projects in Dubuque's historic districts should be compatible with the surrounding historic context. This is especially important when considering new construction in a historic district. Designing In Context This building project appropriately transitions a commercial context to a residential context. The corner commercial form of the building is located on the commercial street and the residential building form is located acfacent to a residential setting. BUILDING MASS AND SCALE The mass and scale characteristics of typical buildings contribute to the general feeling or perception of a context. When buildings tend to have similar mass an d scale characteristics, a neighborhood context will often feel very consistent. Where mass and scale characteristics vary, a neighborhood may be defined by feeling of design diversity. Specific features in this category that may be used in defining physical character: • Building height • Building form • Roof form • Variations in wall planes • Relationship of building floor area to lot size BUILDING DESIGN The design characteristics of typical existing buildings helps define rhythms that may contribute significantly to the character of a neighborhood. Specific features in this category that may be used in defining physical context: • Building age • Building style • Design character • Building materials • The relationship of windows to solid wall areas • Building use • Roof lines • Eaves • Location of entries • Placement of accessory structures 88 Chapter 3 Guidelines for New Buildings General Guidelines for New Buildings ARCHITECTURAL CHARACTER Policy: In order to assure that the history of a historic district can be understood, it is important that any new building be distinguishable from the historic structures. That is, a new building should appear as a product of its own time in terms of its style, while also being compatible with the context of the area. Guideline: 3.1 Design a new building to reflect its time period, while respecting key features of its context. • Use contemporary interpretations of historic architectural building types when designing a new building. 3.2 Contemporary interpretations of traditional designs and details may be considered. • Contemporary interpretations of building forms, massing, materials and details are encouraged. 3.3 Use similar window and door proportions to those seen traditionally . • Windows with a vertical emphasis are a nco u rage d. A ge ne ral rule is that the height of the window should be twice the dimension of the width in most districts. • If a larger window is needed, combine sets of vertically proportioned windows. • Odd window shapes such as octagons, triangles and diamonds are generally inappropriate in the historic districts. This building project appropriately reflects a commercial context. It maintains a commercial storefront at the street edge. Chapter 3 Guidelines for New Buildings 89 MATERIALS 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. Select materials which are high quality, convey a sense of human scale and provide visual interest. Usegreen materials and those which improve environmental performance that have been proven effective in the local climate. Materials should also minimize negative environmental impacts. New materials that are similar in character to traditional materials may be acceptable when they appear similar in scale, proportion, texture and finish to those used traditionally. Appropriate materials are: • Locally manufactured. • Easy to maintain. • Proven to be durable in the Dubuque climate. • Have long life spans. • Recyclable. • Made from recycled or topurposed materials. • Not manufactured using harsh chemicals. • Do not off -gas harsh chemicals. • Willnotinteractnegativeywith historic building materials. Guidelines: 3.4 Use building materials that appear similar to those used traditionally in the area. • Brick is found in all character areas and, therefore, is an appropriate material to use. • Horizontal lap siding is appropriate in transitional areas and on residential style buildings. • All wood siding should have a weather - protective finish. • The use of highly reflective materials is discouraged. 3.5 Use masonry that appears similar in character to that seen historically. • Brick should have a rnodular dimension similar to that used traditionally. Brick larger than the nominal 2 -3/8" x 8" is discouraged. Brick should also appear structural in its application; it is load- bearing and should be detailed acco rdingly. • Stone, similar to that used traditionally, is also appropriate. 3.6 New materials that are similar in character to traditional materials may be acceptable with appropriate detailing. • Alternative materials should appear similar in scale, proportion, texture and finish to those used traditionally for that particular building type. 3.7 Use building materials that contribute to the traditional sense of scale of the block. • Tins will reinforce the sense of visual continuity in the area. 90 Chapter 3 Guidelines for New Buildings 3.8 Use high quality, durable materials. • Materials should be proven to be durable in the local climate. • Facade materialsshould maintain an intended finish overtime, or acquire a patina which is understood to be an outcome of normal interaction with the elements. • Attach materials in a manner that will remain secure. 3.9 Use green building materials that are compatible with the historic context. • They should employ the guidelines noted above. Contemporary interpretations of traditional designs and details are encouraged. New contemporary designs for storefront elements provide vestal in`erest and reinforce the established storefront pattern in the commercial context. Chapter 3 Guidelines for New Buildings 91 General Guidelines for New Commercial Building Types This section 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 also apply to new additions to non - historic commercial buildings. BUILDING SETBACKS Policy: Buildings create a strong edge to the street because they are traditionally aligned on the front lot line and 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. New construction should apgn with nearby historic structures. 92 Guidelines: 3.10 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 Guidelines for New Buildings BUILDING MASSING Policy: Building massing should fit with existing patterns, but need not directly copy them. Existing patterns and traditions in building massing include varied heights, articulated masses, visually interesting skylines and pedestrian - scaled street fronts. 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 scale in the area. A sense of human scale is achieved when one can reasonably interpret 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 using windows of similar dimensions. To ensure human scale is achieved in new development, it is important to focus design attention on aspects most directly experienced 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 of commercial building types and should be respected in all new construction. Guidelines: 3.11 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. 3.12 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 details are 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. Chapter 3 Guidelines for New Buildings Facade heights of new buildings should fall within the established range of the block, and respect the traditional proportions of height to width. Place the facade of the building at the property line. 93 C'Ejj-j Changes in facade material, window design, facade height or decorative details are examples of techniques that may be considered to reflect traditional building widths. Floor -to -floor heights should appear similar to those of traditional buildings in the area. New facade widths should reflect the established range of building widths seen on the block. 94 Chapter 3 Guidelines for New Buildings 3.13 A new building should incorporate a base, middle and a cap. f , 1 • Traditionally, buildings were composed of these three basic 1 1 IR elements. Interpreting this tradition in new buildings will help 'A reinforce the visual continuity of the area. 1111111111 • 3.14 Position taller portions of a structure away from neighboring 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. 3.15 Establish a sense of human scale in building designs. • Use vertical and horizontal articulation to break up large facades. • 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 proportions, detailing and form. • Size and locate signs to engage pedestrians and help define building entries. 7 10 A new building should incorporate a base (1), middle (2) and cap (3). II 111 UM i� •Illifilt. :a Buildings should step down towards lower - scaled neighbors. These two building models incorporate basic building elements: (1) base, (2) middle and (3) cap. Chapter 3 Guidelines for New Buildings Use vertical and horizontal articulation to break up large facades. 95 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. Rectangular forms should be dominant on commercial facades. Guidelines: 3.16 Rectangular forms should be dominant on commercial facades. • Rectangular forms should be vertically oriented. • The facade should appear as predominantly flat, with any decorative elements, and projecting orsetback "articulations ", appearing to be subordinate to the dominant form. 3.17 Roof forms should be similar to those used traditionally. • Flat roofs are appropriate. • "Exotic" roof forms, such as A- frames and steep shed roofs, are inappropriate. Root forms should be similar to those used traditionapy. 96 Chapter 3 Guidelines for New Buildings HORIZONTAL ALIGNMENT Policy: A strong alignment of horizontal elements exists along the street. Alignment is seen at the first floor level with moldings 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 deviations from these relationships, however, disrupt the visual continuity of the street and are to be avoided. Guidelines: 3.18 Maintain the general alignment of horizontal features on a building front. • 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. 3.19 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. The general apgnment of horizontal features on building fronts must be maintained. Chapter 3 Guidelines for New Buildings 97 SOLID -TO -VOID Policy: Atypical building appeared to be a rectangular solid, with holes "punched" in the walls for windows and doors. Most commercial buildings have similar amounts of glass, resulting in a relatively uniform solid -to -void ratio. This ratio on a new building, the amount of facade devoted to wall surface as compared to that developed as openings, should be similar to that of traditional buildings within the neighborhood. Use a ratio of solid -to -void (wall -to- window) that is similar to that found on traditional commercial structures. Guideline: 3.20 Use a ratio of solid -to -void (wall -to- window) that is similar to that found on traditional commercial structures. • Large surfaces of glass may be inappropriate. Divide large glass surfaces into smaller panes similar to those seen traditionally. Use a ratio of solid- to-void (wall-to-window) that is similar to that found on traditional commercial structures. 98 Chapter 3 Guidelines for New Buildings NEW STOREFRONT CHARACTER Policy: The street level floors of historic Dubuque commercial buildings are clearly distinguishable from the upper floors. First floors are predominantly fixed plate glass with asmall percentage of opaque materials with recessed entries. Upper floors are the reverse— opaque materials dominate, and windows appearas smaller openings puncturing the solid walls. These windows are usually do uble- hung. The street level is generally taller than the upper floors. Storefronts 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: 3.21 Maintain the distinction between the street level and the upper floor. • The first floorofthe 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 relationship. 3.22 Maintain the traditional spacing pattern created by upper story 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. 3.23 Maintain the pattern created by recessed entryways. • Set the doo r backan adequate amount from the front facade to establish a distinct threshold for pedestrians. A recessed dimension 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 and undersized interpretations are inappropriate. Chapter 3 Guidelines for New Buildings The first floor of the primary facade should be predomiraanUytransparent glass. The typical storefront pattern is maintained on this new building. 99 ■ This building maintains the traditional spacing pattern created by upper story windows. Express the distinction in floor heights between street levels and upper levels through detailing, materials and fenestration. 100 Chapter 3 Guidelines for New Buildings Guidelines for New Residential Building Types This section provides design guidelines for new residential buildings in the downtown overlay and in the city's historic districts. It addresses low -rise residential buildings in single - family, duplex and townhome forms. It also provides guidance for mid -rise apartment buildings. The guidelines also apply to new additions to non - historic residential buildings. RESIDENTIAL CONTEXT AND FEATURES Policy: A new low -rise residential infill building should be compatible with its context and reflect design features found in traditional residential building types. This includes building setbacks, scale and overall height, the number of stories, massing, foundation height, roof form, window and door size and placement, and porches. A new mid -rise apartment building should be compatible with its context and reflect traditional building features along the block. Apartment buildings are most appropriate along transitional edges near the downtown core. Guidelines: 3.24 Maintain the design context of the neighborhood. • Each new structure should he designed to be compatible with its specific context. • Note that a design may be appropriate in one district and may not be appropriate in another. The images above reflect traditional residential design contexts and features. Note the variation in setback in the images. Chapter 3 Guidelines for New Buildings 101 BUILDING SETBACKS Policy: Building setbacks within atypical 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; this should be maintained. cepArN nit Align new buildings within the established range of setbacks that occur on the block Note that a variety of setbacks occurs in the historic districts. 102 Guidelines: 3.25 Maintain the traditional setback pattern of the neighborhood. • Alig n a new building within the established range of setbacks that occur along the block. • Ina traditional residential neighborhood , the front yard should be maintained with planting material and not covered with paving or large outdoor decks. (See also Chapter 2 for site and landscape guidelines.) 3.26 Provide a walkway from the street to the building when a front yard is present. • In traditional single - family residential neighborhoods a walkway running from the street to the front porch provides unity to the streetscape. Where a walkway is an element of the neighborhood hierarchy, this should continue in new construction. Chapter 3 Guidelines for New Buildings PRIMARY ENTRANCE Policy: A new residential building should appear to be clearly connected to the street. Guidelines: 3.27 Clearly define a primary entrance. • Provide a front porch or similar feature for single - family and two - family residential buildings. • A porch should be "functional," in that it is used as a means of access to the entry. • Projecting porticoes, porches, canopies, awnings and recessed entries with decorative surrounds define a primary entry for multifamily building types and should serve as models for similar new buildings. 3.28 Orient the primary entrance to the street. • While a porch or a similar entry-defining feature serves as a transition from the street to the building, it is also an essential element of the streetscape. It provides human scale to the building, offers interest to pedestrians, and is a catalyst for perso nal interactio n. Provide a front porch or similar entry feature for single -family and two - family residential buildings. Chapter 3 Guidelines for New Buildings 103 MASS AND SCALE Policy: The massing of a new building should fit within existing patterns, but need not directly copy them. Variables in building massing include varied heights, articulated masses and pedestrian - scaled entryways. Building massing should continue to provide a variety of pedestrian - friendly scales and visually appealing forms. Buildings should not be monolithic in scale or greatly contrast with the existing scale of the area. A sense of human scale is achieved when one can reasonably interpret 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 experienced by pedestrians, such as the scale of buildings and architectural 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. Construct a new building to be similar in mass and scale to traditional buildings in the neighborhood. 104 Guidelines: 3.29 Construct a new building to be similar in mass and scale to traditional buildings in the neighborhood. • Use traditional features that convey a human scale, such as windows and doors of similar sizes. • Use building materials of traditional dimensions. Brick is encouraged. • Include horizontal elements in the design of residential buildings. For example, porches, balconies and eaves should be used to reflectthe articulation of buildings in predominantly residential areas. • Use architectural details to create visual interest and convey a three dimensional quality. For single - family buildings this can include a one -story porch. 3.30 The front wall of a new structure should appear similar in width to traditional buildings in the neighborhood. The primary plane of the front should not appear wider than those in the neighborhood. Chapter 3 Guidelines for New Buildings 3.31 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. 3.32 On a larger structure, subdivide the mass into smaller "modules" that are similar in size to traditional buildings in the neighborhood. • Subordinate modules may be attached to the primary building form. 3.33 Position taller portions of a structure away from neighboring buildings of lower- scale. • Where permitted by the base zoning, a taller structure should be located to minimize looming effects and shading of lower- scaled neighbors. • Abuilding should step down towards lower- scaled neighbors, especially historic properties. Chapter 3 Guidelines for New Buildings This new townhouse MN/ building appropriately reflects traditional residential building features and is compatible with its context. Subdivide a larger mass into smaller modules. This also applies to the design of single-family homes. The original block in this image was a mix of tau-scale retail and residential building types. The fabric of the established context is negatively impactedbythe new large-scale retail building. 105 Roof height Upper floor height Ground floor height 1 V Foundation height y Construct a new building to have similar floor, roof and inundation heights as traditional buildings along the block. The floor to floor heights are generally appropriate; however, the foundation wall is set high and does not reflect the actual foundation height. On larger structures, subdivide the larger mass into smaller "modules" that are similar in size to traditional bullcirgs in the neighborhood. 106 Chapter 3 Guidelines for New Buildings 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 characteristic, a new building should have basic building and roof forms similar to those seen traditionally. Guideline: 3.34 Use building and roof forms similar to those seen traditionally on the block. • Exotic and shed roof forms are inappropriate on primary structures. • Flat roofs are appropriate in the downtown and commercial areas and sloped roofs are appropriate in areas adjacent to residential contexts. Chapter 3 Guidelines for New Buildings Use building and roar forms simi/arto those seen traditional& on the block. 107 SOLID -TO -VOID Policy: Atypical building appeared to be a rectangular solid, with holes "punched" in the walls for windows and doors. Most residential buildings have similar amounts of glass, resulting in a relatively uniform solid -to -void ratio. This ratio on a new building, the amount of facade devoted to wall surface as compared to that developed as openings, should be similar to that of traditional buildings within the neighborhood. The facade should reflect traditional solid-to-void ratios. Large openings are inappropriate. 108 Guideline: 3.35 Use a ratio of solid -to -void (wall -to- window) similar to that found on traditional residential structures. • Large surfaces of glass are inappropriate. Chapter 3 Guidelines for New Buildings BUILDING MATERIALS Policy: Building materials for new structures and additions to existing buildings should contribute to the visual continuity of the context. They should appear similar to those seen traditionally. Guideline: 3.36 Incorporate materials similar to the way they were used traditionally on single- family homes. • Foundations were typically stone and upper floors were brick or wood lap siding. • In some cases, an accent was used in a gable end: for example, wood shingles were sometimes used. This helped to break up the mass and scale of a facade. A similar approach should be considered on a new infill building. • Generally, do not mix a variety of materials on a single - family facade. Incorporate materials similar to the way they were used traditionally on single- family homes. Incorporate materials similarly to the way the were used traditionally on single - family homes. The foundations were typically stone and upper floors were wood or brick. In .some cases, a simple combination of materials were used. Chapter 3 Guidelines for New Buildings 109 Examples of Mid -rise Apartment Buildings that Incorporate Traditional Building Features The preceding guidelines focus on Tower- scaled residential buildings, but the same principles apply where larger residential builaP'ngs are permitted. These are some examples. Several of the buildings shown would be appropriate near the downtown cove, while those an the bottom row would be more appropriate in the MN District. 110 Chapter 3 Guidelines for New Buildings Policy: Secondary structures are traditionally subordinate in scale and character to a primary 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 subordinate character should be maintained. SECONDARY STRUCTURES Guidelines: 3.37 A new secondary structure should be subordinate in height to primary structures seen along the street front. • A secondary structure of no more than one - and - one -half stories in height is preferred. 3.38 Locate a secondary building to the rear of the lot. • Locating a secondary structure to the side of the primary structure, 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. 3.39 Locate a garage such that its visual impacts will be minimized. • A garage should be located off an alley where possible. • On a lot where a garage must be accessed from the street, set it back from the front wall plane of the primary structure. 3.40 A secondary structure should be compatible with the primary building. • It should be made of similar materials. • It should be compatible with the primary building. Chapter 3 Guidelines for New Buildings A secondary structure should be compatible with the primary building. This building has a similar paint color and siding as the primary building on the site. M f.0 i i a Locate a secondary building to the rear of the lot. On a lot where a garage must be accessed from the street, set it back from the front wall plane of the primary structure. 111 New Industrial /Warehouse Building Types This chapter provides design guidelines to develop new industrial/warehouse building types. Many of these infill sites occur in the Millwork District. (See also Chapter 6 fora description of some of the key features of that context.) These new buildings should reflect the design features found within traditional industrial/warehouse buildings. The guidelines also apply to additions to non - historic industrial/warehouse building types. Note that while this chapter addresses a warehouse or industrial form, a mix of uses may be housed in this building type. BUILDING SETBACKS Policy: When a new building is to be constructed, it should reflect historic siting patterns in the area. The general spirit of the relationship of buildings to streets and open spaces should be conveyed. Industrial /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. Reflecting this siting pattern is encouraged. Guidelines: 3.41 Maintain the uniform alignment of facades in the block. • Align a new building front at the street edge. • Some small variation in setback may be appropriate to provide an outdoor use area. • Locating an entire building front back substantially from the established building line is inappropriate. Continue to apgn building fronts at the street edge. This is an important characteristic of the warehouse area. 112 Chapter 3 Guidelines for New Buildings Policy: A new building should reflect the massing of traditional industrial /warehouse buildings. Because of the diversity of building sizes exhibited throughout the warehouse area, a wide variety of building sizes will be appropriate, as long as a human scale is conveyed. A sense of human scale is achieved when one can reasonably interpret 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 experienced by pedestrians, such as architectural details at the street level. For example, providing a series of vertical pilasters and a band of windows creates a human scale. Traditional warehouses included interesting fenestration 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 warehouse area and should be respected in all new construction. MASS AND SCALE Guidelines: 3.42 Maintain the average perceived size of buildings at the sidewalk edge. • The facade height of a new building 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. 3.43 A new building should incorporate a base, a 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. 3.44 Establish a sense of human scale in building design. • Use vertical and horizontal articulation to break up large wall surfaces. • Incorporate changes in color, texture and materials to help define human scale. • Use architectural details that c reate visual interest and convey a three - dimensional gravity. • Use materials which help to convey scale through their proportions, detailing and form. Chapter 3 Guidelines for New Buildings Use materials which help to convey scale through their proportions, detailing and form. 113 Use materials which help to convey Floor-to-floor heights should appear Use architectural details that create scale through their proportions, simllartothaseoftraditionalbuildings visual interest and convey a three detailing and form. in the area. cP'mensional facade. Maintain the traditional height of buildings seen along the street by setting hack taller portions of buildings tram tie front facade. 114 Chapter 3 Guidelines for New Buildings BUILDING AND ROOF FORM Policy: One of the most prominent unifying elements of the industrial/warehouse area is the similarity in building forms that exist. Industrial /warehouse buildings were simple rectangular solids. This characteristic is important and should be continued in new projects. Guidelines: 3.45 The primary form of a industrialiwarehouse building type 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 decorative a le me nts an d projecting or setback "articulations" appearing to be subordinate to the dominant for • Avoid the use of highly complex building and roof forms. 3.46 Roof forms should be similar to those used traditionally. • Flat roofs and gable forms are appropriate. • "Exotic" roof forms, including mansards, are generally inappropriate in the warehouse context. Simple rectangular building Corms are appropriate. Chapter 3 Guidelines for New Buildings 115 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. \T `. N Guidelines: 3.47 The general alignment of horizontal features on building fronts should be maintained. • Typical elements that align include window moldings, cornices, copings and parapets at the tops of buildings. Align building elements such as This alignment of horizontal features on building facades is one of the window moldings, cornices, copings strongest characteristics of the street and should be maintained with new and parapets at the tops of buildings. infill buildings. 116 Chapter 3 Guidelines for New Buildings SOLID -TO -VOID Policy: ktypical building appeared to be a rectangular solid, with holes "punched" in the walls for windows and doors. Most warehouse buildings have similar amounts of glass, resulting in a relatively uniform solid -to -void ratio. This ratio on a new building, the amount of facade devoted to wall surface as :ompared to that developed as openings, should be similar to that of traditional buildings within :he neighborhood. Guidelines: 3.48 Use a ratio of solid -to -void (wall -to- window) similar to that found on traditional industriallwarehouse structures. • Large surfaces of glass may be inappropriate. Divide large glass surfaces into smaller panes similar to those seen traditionally. Use a ratio of solid-to- void (wall-to- window) similar to that tcundon traditions A typical building appeared to be a rectangular solid, with holes "punched" in the walls for windows and deors. Most industrial/warehouse buildings have similar amounts of glass, resulting in a relatively uniform solid -to -void ratio. industriavwarehouse structures. Chapter 3 Guidelines for New Buildings 117 NEW FACADE CHARACTER Policy: The street level floors of historic Dubuque industrial/warehouse buildings are clearly distinguishable from the upper floors. The first floor is punctuated with 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 loading 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. Tr The large first floor windows allowed additional light into the ground floor space andthe operable doors allaued for loacs'ng and unloading of goods. Reinterpreting these builcP'ngpatterns in new construction is appropriate. Guidelines: 3.49 Maintain the traditional spacing pattern created by upper story 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. 3.50 Maintain the distinction between the street level and the upper floor. The first floor of the primary facade should be predominantly transparent glass with space between openings. Consider a variation in size for some openings, for example, larger operable doorswereseen on industrial/warehouse buildings. • 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 upperlevelsthrough detailing, materialsand fenestration. The presence of a belt course is an important feature in this relationship. FARLEY1Z L4u:rtivltEn Niro.(o. 1.1.../.“.110.)10... l ll.l •ll w. }IIIIr1.111N....};.r1.. Pln� Inv +.m I'alrl a It m..wwl.n S. VOUn'. • The street level floors of historic Dubuque industriavwarehouse bSukgngs are clearly distinguishable from the groper floors. 118 Chapter 3 Guidelines for New Buildings 3.51 Maintain the pattern created by entryways. • Setthedoorbackfromthefrontfacadeanadequateamount to establish a distinct threshold for pedestrians. • The use of transoms over doorways and service entries to maintain the pattern created by entryways is appropriate. • Undersized interpretations are discouraged. Provic9'ng openings with industrial glass similar in size to trac9'tional loading doors is appropriate. Express the c9'stlnction in floor heights between street levels and upper levels through detall'ng, materials and fenestration. The presence of a belt course is an important feature in this relationship. Chapter 3 Guidelines for New Buildings 119 Civic Facilities The design guidelines in this section focus on principles for new civic building projects that reinforce the historic building fabric and enhance the pedestrian environment in the city. To do so, they draw upon principles established in traditional commercial and residential buildings. While these are the majority of property types that will occur in the area, civic facilities should be a part of the mix as well. Civic facilities include museums, churches, schools, libraries, fraternal buildings, transit improvements, courts and governmental offices. This tradition of designing civic institutions as landmarks in the urban fabric should be continued. At the same time, the basic principles of urban design outlined in this document should still apply. Policy: Civic facilities should reflect basic urban design principles in their designs. These civic facilities (historic and contemporary) incorporate basic urban design principles in their design. 120 Guidelines: 3.52 An outdoor civic space should enhance the downtown fabric of streets, public spaces and sidewalks. • Outdoor civic space should be scaled to the context. • Outdo o r civic space should be designed for active public use. • The visual impacts of automobiles should be minimized. • The edges of an outdoor civic space should be inviting to pedestrians. • Convenient pedestrian connections should be provided. • Significant view corridors should be maintained. • A balance of landscape and hardscape elements should be provided. • Outdoor civic space should include streetscape furnishings, such as lighting, benches and public art. 3.53 Construct a civic facility that is appropriately scaled to its environment and engages the pedestrian along the street. • Civic facilities should provide a pedestrian- friendlystreet level. • Civic facilities should reflect the design guidelines for mass, scale and materials for commercial building types. • Asense of human scale should be conveyed. • Entrances should face the street or outdoor civic space, not to parking lots. • The building may consider an exceptional state -of- the -art design that sets it apart from other traditional buildings within the context. Chapter 3 Guidelines for New Buildings Chapter 4 Design Guidelines For all Properties In this Chapter: Various Guidelines that Apply to all Projects 122 Awnings and Canopies 122 Building Lighting 124 Parking Facilities 125 Public Art 127 Rooftop Uses 128 Service Areas 129 Utilities 130 Signs 131 Historic Signs 132 Sign Character 132 Sign Materials 133 Sign Color 133 Sign Installation 133 Sign Lighting 134 Sign Content 135 Canopy and Awnings Sign 136 Directory Sign 137 Interpretive Sign 137 Projecting or Hanging Sign 138 Symbol Signs 138 Wall Sign 139 Window Sign 139 Wayfinding Sign 141 This chapter covers design guidelines for all properties in the downtown and the city's historic districts. It includes a variety of topics that may arise in rehabilitation projects, new building designs and site improvements. Chapter4 Design Guidelines for All Properties 121 Policy: n this context, a canopy is a fixed structure attached to a building with a rigid roof material, usually metal. It may be flat (horizontal), or sloped. Awnings are typically fabric attached to light, sloped metal frames. They may be operable or fixed. When installing these features, do not damage Historic materials Traditionally, awnings and canopies were noteworthy features on commercial buildings; they were also installed on some residential buildings. Their continued use is encouraged. These elements are simple in detail, and they reflect the character of the buildings to which they are attached. Various Guidelines Topics That Apply To All Project Types AWNINGS AND CANOPIES Minimize damage to historic materials when mounting canopies and awnings. Guidelines: 4.1 Minimize damage to historic materials when mounting canopies and awnings. • Avoid anchoring directly into architectural features, when feasible. 4.2 A fabric awning is encouraged. 4.3 H istorically, fabric awnings are what were most commonly found in Dubuque. • Operable awnings are appropriate. 4.4 A fixed metal canopy may be considered. Appropriate supporting mechanisms are wall mounted brackets and chains. 4.5 The awning and canopy should be in character with the building and streetscape. Fixed metal canopies may be appropriate torcertain building styles. • 122 Mount an awning or canopy to accentuate character- defining features. The awning or canopy should fit in the opening of the building. 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 inappropriate. • Internal illumination of an awning is inappropriate. Chapter 4 Design Guidelines for All Properties 300 block of Main, looking northwest. Note the use of awnings. (Center for Dubuque History, Photo KRK 2420) The installation of this canopy is generally acceptable; however, a better approach is to locate the canopy to fit within the wall opening. Wall mounted brackets are An awning or canopy should fit in the appropriate supporting mechanisms opening of the building. for fixed metal canopies. Arched canopies placed within rectangular openings are inappropriate. A Appropriate installation of an awning more subdued color scheme would also be more appropriate. Chapter 4 Design Guidelines for All Properties 123 Policy: The character and level of lighting that is used on a building is of special concern. Traditionally, exterior lights were simple in character and were used to highlight signs and building entrances on commercial buildings. For residential buildings, lighting highlighted the entrance with a fixture located on the porch ceiling or near the front door. Most fixtures had incandescent lamps that cast a color similar to daylight, were relatively low intensity and were shielded with simple shade devices. Although new lamp types may be considered, the overall effect of modest, focused, building light should be continued. When installing lighting on a historic building, use existing documentation as a basis for the new design. If no documentation exists, use a contemporary light fixture that is simple in design. Building lighting should be installed in a manner so as not to damage the historic fabric of the building and should be reversible. BUILDING LIGHTING i II if51 II 1 1. 11=111 i,P11 7,11.' i :II' illll, i..I Iu I11i.113I_4. 411 111111111111111111111 11 '1 11111111111111111111111 1 1110111 ±� i 11111i�� Rd 11111 1111 11111 1111 1111 1111 1111 11111 11111 11111 IIIIIIIIIIIIR II p1111n1 uninm plinul nminn n11wI� nwli 9111111111111141111 1 I C ' a f l i I I I I 1 " J! n1111111B11i111i111:4:A Z 4 1 1 1111111 11E111111111 11 VIII I.1 11111111 II'LI41 IMMO 11111 1iiiiiI � YIIIIIII - :I LI 11. - Light fixtures should incorporate cut- off shields to direct light downward. 124 Guidelines: 4.6 Use lighting to accent: • Building entrances • Architectural features on civic buildings of community interest 4.7 Minimize the visual impacts of building lighting. • Use exterior light sources with a low level of luminescence. • Use lights that cast a similar color to daylight. • Do not wash an entire building facade in light. • Use lighting fixtures that are appropriate to the building and its surroundings in terms of style, scale and intensity of illumination. • New lighting fixtures should have simple designs that do not draw attention away from the facade. • Mount exterior fixtures in an inconspicuous manner. • Do not damage or obscure historic building components and fabric when mounting exterior fixtures. • Do not use high intensity light sources or cast light directly upward. Chapter 4 Design Guidelines for All Properties 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: 4.8 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 4.9 A parking structure should be compatible with traditional buildings in the surrounding area. • Respect the regular window pattern and other architectural elements 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 complicateturning movements and disrupt the sidewalk. Chapter 4 Design Guidelines for All Properties 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. 125 A parking structure should be compatible with traditional buildings in the surrounding area. It should respect the regular window pattern and other architectural elements of adjacent buildings. tiz-111 A parking structure should be compatible with traditional buildings in the surrounding area. It should continue the use of similar building materials. The parking structure reflects a visually attractive edge with recessed areas that contain landscaping and creative screens. These features conceptually reflect storefront elements. Design a parking structure so it creates a visually attractive and active street edge. Consider a wrap of retail, commercial or other use to screen parking areas. 126 Chapter4 Design Guidelines for All Properties PUBLIC ART Policy: Streetscape art should be designed as an integral component of the streetscape plan. The artist should 'customize" or reinterpret conventional features of a streetscape beautification design. 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: 4.10 The use of public art is encouraged. • Consider locations such as gateways, bridge crossings, small plazas 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 accents. 411 Public art should be compatible with the historic context. • Art installation should not impede one's ability to interpret the historic character of the context. 4.12 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 4 Design Guidelines for All Properties Strategically place public art at civic facilities to serve as accents. Incorporate art Into streetscape or building elements that complement and enhance the setting. 127 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. ROOFTOP USES Set rooftop activities back such that they are not prominently visible from the front facade. Guideline: 4.13 Set rooftop activities back such that they are not prominently visible from the front facade. • Rooftop activities should be set back five to ten feet from the front facade. 128 Chapter4 Design Guidelines for All Properties SERVICE AREAS Policy: Service areas should be visually unobtrusive and should be integrated with the design of the site and the building. Guidelines: 4.14 Orient service entrances, waste disposal areas and other similar 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. 4.15 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. Screen service entrances with walls, fences or planting. Chapter 4 Design Guidelines for All Properties 129 Policy: Utility connection boxes, external fire connections, telecommunication devices, cables, conduits, satellite dishes, HVAC equipment and fans can have a negative visual affect on the character of an area and the building. These devices shall be screened from public view to avoid negative effects on historic resources. UTILITIES Service areas should be visually unobtrusive and shculdbe integrated with the design of the site and the building. The service area in the top image shows a service enclosure that is compatible with the traditional commercial context and the one shown below complements an industrial context. Guidelines: 4.16 Minimize the visual impacts of utility equipment on the public way and surrounding neighborhood. • Locate new utilities where theywill not be prominently visible from the street. • Screen equipment from view. Consider the use of plantings or architectural screens. • 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. 4.11 Minimize the visual impacts of utility connections. Locate utility connections on secondary walls when feasible. Use new utility boxes that are less obtrusive in their appearance and their location. 130 Chapter 4 Design Guidelines for All Properties Signs A sign 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. The commercial areas of the historic districts, including all of the Old Main district and the central and southern portion of the Cathedral district near Cable Car Square, have exhibited a wide array of signs from the late nineteenth century through the present day. Few examples from the nineteenth century survive, but there is photographic evidence for signs on Main Street throughout the twentieth century. It is desirable that new signs attempt to reference the historic signs of the early twentieth century in is size, scale, style and coloration, but substitute materials are acceptable for the purposes of increased durability. Several examples of appropriate signs can be seen in Cable Car Square. Given its age and cultural significance, neon signs from the mid - century are now considered to be historic in their own right. The retention and/or replication of these materials for contemporary use should be evaluated by the Preservation Commission on a case -by -case basis. Recommended • All signsshould follow regulations outlined in City ordinances. • Identify, repair, and preserve existing signs from the first half of the twentieth century or earlier. • Identify and preserve signs from the 1950s and 1960s, where appropriate. • Construct signs of traditional and historic materials such as carved and painted wood, cast bronze, or painted metal. • Use signs that replicate or reference historic signs in their style, scale, and materials. • Use signs that replicate symbols or logos associated with the business, product or trade. • Coordinate sign colorwith overall scheme of building exterior. • Place signs at traditional locations, such as storefront belt courses, upper facade walls, hanging or mounted inside the windows, or projecting from the face of the building. Not recommended • Removal or destruction of historic signage either through deliberate action or neglect • Signs that are out of scale with the building, and with neighboring buildings and signs • Signs of inappropriate materials, such as plastic or vinyl • Insertion or attachment of signs in such a way as to inflict damage to the building • Internally lit signs Chapter 4 Design Guidelines for All Properties zt 11 1f'I Examples of inappropriate sign materials, scale and color scheme. 131 HISTORIC SIGNS Policy: Historically, signs 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. Preserve a historic sign where it exists, when feasible. SIGN CHARACTER Guideline: 4.18 Preserve a historic sign where it exists, when feasible. Historic signs should be retained whenever possible, it is especially important when they are a significant part of a building's history or design. Historic painted wall signs, or "ghost signs" shoud be left exposed whenever possible, and should not be restored to the point that all evidence of their age is lost. Policy: Asign 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. Scale signs to fit with the facade of the building. 132 Guideline: 4.19 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 Itself. • Mount sig ns to fit within existing architectural features using the shape of the sign to help reinforce the horizontal lines of the building. • Rooftop, animated and message board signs are inappropriate. Chapter 4 Design Guidelines for All Properties SIGN MATERIALS Policy: A sign should exhibit qualities of style, permanence and compatibility with the natural and built environment. Guideline: 4.20 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. SIGN COLOR Use sign materials that are compatible with the building facade. 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: 4.21 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. SIGN INSTALLATION Use colors for the sign that are generally compatible with those of the building front. 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: 4.22 Avoid damaging or obscuring architectural details or features when installing signs. • Minimize the number of anchor points when feasible. Chapter 4 Design Guidelines for All Properties 133 SIGN LIGHTING Policy: 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. Direct lighting at signage from an external, shielded lamp. 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. 134 Guidelines: 4.23 Use shielded lighting source on a sign. • Direct lighting at signage from an external, shielded lamp is appropriate. • A warm light, similar to daylight, is appropriate. • Strobe lighting is not appropriate. • Internal illumination is not appropriate. 4.24 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. Chapter 4 Design Guidelines for All Properties SIGN CONTENT Policy: Sign content shall be designed to be visually interesting and clearly legible. Guideline: 4.25 A simple sign design is preferred. • Typefaces that are in keeping with those seen in the area traditionally are encouraged. • Avoid hard -to -read or overly intricate typeface styles. Use sign colors, materials and details that are compatible with the overall character of the bullc rg's facade. Sign content shall be designed to be visually interesting and clearly legible. Chapter 4 Design Guidelines for All Properties A simple sign design is preferred. 135 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. CANOPY AND AWNINGS SIGN This is a sign located on the face of a canopy or awning. Guideline: 4.26 A sign located on or under a canopy or awning may be considered. Canopy and awning signs are most appropriate in areas with high pedestrian use. • 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. Consider sign lettering centered on a bullci'ng canopy where a flush- mounted sign would obscure architectural details. 136 Chapter 4 Design Guidelines for All Properties DIRECTORY SIGN This is a small scale sign located on the primary first -floor wall of any building containing multiple tenants to display the tenant name and location. Guideline: 4.27 Consider a directory sign for larger buildings with numerous occupants. • Consolidate small, individual signs and place them on a single panel as a directory to make them easier to locate INTERPRETIVE SIGN 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: 4.28 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 disrupt or block views. rchonts Consider a directory sign for lamer bullc rgs with numerous occupants. Chapter 4 Design Guidelines for All Properties 137 Sign content shall be designed to be visually interesting andclearlylegible. Projecting signs, those which are attached to a building and do not employ ground support in any matter, are common in downtown Dubuque. Locate small projecting signs near the business entrance, just above the door or to the side of it. 138 PROJECTING OR HANGING SIGN 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: 4.29 Design a projecting sign to be similar in character to those seen traditionally. • 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. 4.30 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 commercial building types or from the inside of a porch on residential building types. SYMBOL SIGNS This refers to a symbol displayed on asign that portrays acertain 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: 4.31 Using a symbol for a sign is encouraged. • A symbol sign adds interest to the street, can be read quickly and is often remembered better than written words. Chapter 4 Design Guidelines for All Properties RSM McGladrey 1 F1 WALL 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: 4.32 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 a flush- 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. 4.33 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. WINDOW SIGN This is a sign painted on the surface of, or located on the interior of, a display window. Guideline: 4.34 Design a window sign to: • Minimize the amount of window covered • Be painted on the glass or hung inside a window 1 a4•1 o - 1001i efr' 0 0-0 I. ria 0.1:111S r lal,_ 11.e_st:q nTH Locate a flush - mounted wall sign to fit within a panel formed by moldings or transom panels. Design a window sign to minimize the amount of window covered and be painted on the glass or hung inside a window. Chapter 4 Design Guidelines for All Properties 139 Appropriate sign placement on building types :7 • I . I] Appropriate wall sign placement on a commercial building type. Appropriate hanging sign placement on a residential building type. Appropriate wall sign placement on a warehouse building type. 140 Chapter 4 Design Guidelines for All Properties ISIMif — - _ -∎ Ill �I m- ■ g o iiroi-trirld .1 _ inlr:::: ; . ._,..._ !NAL EA ,.._ t I LIL Appropriate hanging sign placement on a residential building type. Appropriate wall sign placement on a warehouse building type. 140 Chapter 4 Design Guidelines for All Properties WAYFINDING SIGN The nature and appearance of street signs and wayfinding materials are determined to a certain extent by code. The size, shape, and graphics of street signs may not be altered in certain instances. However, the city has recently installed decorative signposts in the area around the City Hall. It is recommended that this type of post, or a variant of it, be used for new signs. Kiosksand information boardsare not historic features of Dubuque, but they are important assets in serving both the local population and visitors to the city. New wayfinding materials should be in keeping with the style, materials and colors established for other public amenities such as benches and waste receptacles. It may be desirable to alter the wayfinding materials slightly in color, material, or style for each district as a means of clearly separating and defining them acco rding to their historic character. Banners or other gateway markers may be desirable as a means of defining each district. Historic examples are recorded in photographs, and these should be replicated or referenced. Recommended • Maintain a consistency of style, color, and scale in all wayfinding features to contribute to the overall historic character of each district in general, and the amenities in particular. • Maintain a consistency in style of text and graphics within each district, or within the districts as a whole. • Use decorative signposts that reference historic street features. • Use gateways or banners that are consistent with the styles, colors and materials selected for each district's wayfinding materials, or for the districts in general. Not Recommended New signs, kiosks or boards that are incompatible with the other streetscape amenities. • New wayfinding materials that are out of scale with the surrounding buildings and streetscape, or with the other streetscape amenities • Installation of wayfinding materials in such a manner as to disrupt or block critical vistas or views • Installation of wayfinding features in such a way as to damage existing historic streetscape materials, or the surrounding structures Chapter 4 Design Guidelines for All Properties Maintain a consistency of style, color, and scale in all wayfinding features to contribute to the overall historic character of each district in general, and the amenities in particular. 141 142 Chapter4 Design Guidelines for All Properties Chapter 5 Design Guidelines For Sustainability In this Chapter: General Sustainability Guidelines for all Projects Landscape Improvements for Sustainability Environmental Impacts to Neighbors Paving Materials for Sustainability Historic Preservation and Sustainability Social /Cultural Component of Sustainability Environmental Component of Sustainability Economic Prosperity Component of Sustainability Sustainability of a Historic Building Energy Efficiency in Historic Buildings Historic Residential Building Energy Efficiency Strategy Historic Commercial Storefront Building Energy Efficiency Strategy Energy Performance in Historic Buildings Energy Generating Technologies Integrating Energy Generating Technologies on Historic Buildings Solar Collectors Wind Power Green Roofs Locating a New Addition for Environmental Benefits Massing of an Addition Deconstruction and Building Material Re -use New Construction and Sustainability Sustainable Building Design Sustainable Building Elements Overall Strategy for Sustainable New Construction New Commercial Construction Building Energy Efficiency Diagram New Residential Construction Building Energy Efficiency Diagram 144 144 145 145 146 146 147 148 150 150 153 154 155 156 156 157 159 160 160 161 161 162 162 163 164 165 166 Promoting a more sustainable community is a fundamental goal for the City of Dubuque. The guidelines in this section address sustainability from a design perspective and apply to both historic preservation and new construction throughout downtown and in the city's historic districts. At a neighborhood level, this may include ways in which buildings are designed to provide solar access to abutting properties. For individual historic buildings, it includes making best use of inherent energy - saving features, and for all sites, considerations for use of sustainable materials, managing storm water, and a variety of technological systems. For More Information: See web link to National Park Service Sustainability information: http:l/ www.nps.gov /tps /sustainability. htm Note: This chapter provides guidance re- lated to sustainability (in one location in the design guidelines), but readers should note that comments related to sustainability appear throughout the other chapters. Chapter 5 Design Guidelines for Sustainability 143 General Sustainability Guidelines for all Projects The guidelines in this section apply to all types of projects that might incorporate improvements that could enhance the sustainability of the building or site. LANDSCAPE IMPROVEMENTS FOR SUSTAINABILITY Policy: Landscape improvements can have a very significant impact on sustainability. For example, a landscape design can moderate the temperature of a home by providing shade in summer and solar warming in winter. Landscape improvements can contribute to water efficiency, clean air and minimize urban heat island effects. In all cases, designing improvements to enhance the sustainability of a building, its site and neighborhood is a goal. Landscape designs, including plantings and site structures, can take advantage of microclimatic conditions for energy conservation. Consider managing solar and wind exposure in all seasons in making landscape decisions. Researching the local Dubuque climate to understand how to best take advantage of these factors will be important. Consider the use of alternative rainwater collection devices. Research the City's most recent water regulations before implementing stormwater storage systems. 144 Guidelines: 5.t Select plant species that support sustainability. • Use native and drought - tolerant species in a landscape design where feasible. 5.2 Locate plants to maximize sustainability benefits while retaining the character of the traditional context. Locate deciduous trees and other vegetation to provide for summer shading and allow winter solar access. • Locate vegetation to provide wind protection in the wintertime while maintaining predominant summer breezes. 5.3 Design landscape improvements to maximize the efficiency of water use on site. • Plan to minimize or eliminate watering. For example, place drought - tolerant plants along the contours of a sloped site to help slow runoff and increase percolation into the soil, thereby reducing oreliminating the need to waterthose plants. • Where use of watering system is necessary, use one which minimizes water loss, such as a drip irrigation system. • Place more water intensive species in areas which receive shade, as this reduces evaporative water loss. • Provide natural stormwater drainage, storage and usage systems on site. For example, a rain garden or similar small swale can be utilized to both minimize water demand and to reduce runoff and sewer system demand. Chapter 5 Design Guidelines for Sustainability ENVIRONMENTAL IMPACTS TO NEIGHBORS Policy: A design should take into account the potential effect on an adjoining propertyand the neighborhood setting, in terms of its sustainability and solar access. Guidelines: 5.4 Maintain solar access opportunities for neighboring properties. • For example, limit shading of south - facing facades, outdoor dining areas, plazas and garden areas. 5.5 Incorporate sustainable practices and green infrastructure which increases energy efficiency and beautifies buildings and spaces. PAVING Iv1ATERIALS FOR SUSTAINABILITY Policy: Permeable paving maintains moisture in the soil, reduces demand on storm sewer systems and allows for ground water recharge. Permeable paving materials should be incorporated into site designs including courtyards, plazas, and walkways. They also should be considered in the design of service and parking areas. Guidelines: 5.6 Design a permeable paving system to convey a character similar to traditional paving materials in residential neighborhoods. • The application of permeable paving materials should be similar to traditional paving methods in a historic context. • Using paving strips and paving stones or bricks for walks and drives in traditional residential settings is encouraged. 5.7 Provide a permeable parking surface when feasible. • Permeable surface parking systems are encouraged in residential and commercial areas. They reduce stormwater runoff, and enhance water filtration and storage . These types of systems can also help to reduce heat island effects. Chapter 5 Design Guidelines for Sustainability Permeable parking surface Permeable pavers in the Millwork District 145 Historic Preservation and Sustainability By preserving existing buildings and guiding compatible redevelopment, the Design Guidelines promote the three key elements of community sustainability: Economic Prosperity. The economic benefits of protecting historic resourc- es include higher property values, job creation in rehabilitation industries and increased heritage tourism. Environmental Sustainability. Rehabilitation of historic resources conserves energy that is embodied in the construction of existing structures. It also reduces impacts on land fill from demolition and reduces the need to fabricate new materials. SocialiCultural Sustainability. Preserving historic places and pat- terns promotes social and cultural sustainability by supporting everyday connections between residents and the cultural heritage of the commu- nity. It also enhances livability in the community. Historic Preservation and Sustainability The guidelines in this section demonstrate how historic resources can meet sustainability objectives while also adhering to the city's policies for historic preservation. They address many design features and building components that are also discussed in other sections of the preservation guidelines, so it is important to use them in conjunction with others found throughout this document. Preserving and enhancing historic places promotes the three basic components of sustainability. These are: (1) Cultural /Social Sustainability, (2) Environmental Sustainability and (3) Economic Sustainability. Each of the components is described in greater detail in the following pages. Environmental/ Ecological Integrity Viable Livable Economic Social /Cultural Prosperity Equitable Vibrancy Preserving historic places promotes the three basic categories of systairiability. SOCIALICULTURAL COMPONENT OF SUSTAINABILITY This component relates to the maintenance of the community's cultural traditions and social fabric. Preserving historic places and patterns promotes cultural and social sustainability by supporting everyday connections between residents and the cultural heritage of the community. These connections are reinforced by the physical characteristics of historic places, which often directly support environmental sustainability. Historic properties in the downtown and historic districts provide direct links to the past. These links convey information about earlier ways of life that help build an ongoing sense of identity within the community. Residents anchored in this sense of identity may be more involved in civic activities and overall community sustainability efforts. 146 Chapter 5 Design Guidelines for Sustainability The development patterns of Dubuque's historic districts promote social interaction that supports a high quality of life and helps build a sense of community. These neighborhoods are compact and walkable, providing for impromptu mixing of different cultural and economic groups. Direct connections to the public realm also provide opportunities for community interaction. These physical development patterns, combined with their inherent cultural connections, provide significant support for the community's overall sustainability efforts. ENVIRONMENTAL COMPONENT OF SUSTAINABILITY This is the most often cited component of sustainability. It relates to maintenance of the natural environment and the systems that support human development. Rehabilitation of historic resources is an important part of environmental sustainability and green building initiatives. It directly supports environmental sustainability through conservation of embodied energy, adaptability, and other factors that keep historic buildings in use over long periods of time. Historic districts are also compact and are accessible by alternative modes of transportation that minimize carbon emissions. There are also these more specific environmental sustainability features of preserving historic buildings: Embodied Energy in Building Embodied energy is defined as the amount of energy used to create and maintain the original building and its components. Preserving a historic structure retains this energy. Re -using a building also preserves the energy and resources invested in its construction, and reduces the need for producing new construction materials, which require more energy to produce. Studies confirm that the loss of embodied energy by demolition takes three decades or more to recoup, even with the reduced operating energy costs that may occur in a replacement building. Also, restoring an original building is sustainable, since it will extend the lifetime of the structure. Building Materials Many of the building materials used in Dubuque's historic districts contribute to environmental sustainability through local sourcing and long life cycles. Buildings constructed with wood and masonry were locally sourced and were built for longevity and ongoing repair. Today, new structures utilize a significant percentage of manufactured materials. These are often less sustainable and require extraction of raw, non- renewable materials. High levels of energy are involved in production, and the new materials may For More Information: See the following web link to Pres- ervation Brief 3: Improving Energy Efficiency in Historic Buildings: http: / /www.nps.gov /tps /how -to- preserve /briefs /3- improve - energy- efficiency.htm Chapter 5 Design Guidelines for sustainability 147 also have inherently short life spans. They also typically require shipping, increasing financial cost and greenhouse gas emissions. The sustainable nature of historic building materials is best illustrated by a window: older windows were built with well seasoned wood from durable, weather resistant old growth forests. A historic window can be repaired by re- glazing as well as patching and splicing the wood elements there by conserving the original materials. Many contemporary windows cannot be repaired and must be replaced entirely. Repairing, weather - stripping and insulating an original window is generally as energy efficient and much less expensive than replacement. Landfill Impacts According to the Environmental Protection Agency, building debris constitutes around a third of all waste generated in the country. The amount of waste is reduced significantly when historic structures are retained rather than demolished and sent to a landfill. ECONOMIC PROSPERITY COMPONENT OF SUSTAINABILITY This component of sustainability relates to the economic balance and health of the community. The economic benefits of protecting historic resources are well documented across the nation. These include higher property values, job creation in rehabilitation industries, and increased heritage tourism. Dubuque's historic districts also enhance that quality of life for the community at large, which can help in attracting new businesses to the city and thereby strengthen the local employment base. Historic Rehabilitation Projects Historic rehabilitation projects also generate economic benefits. Direct benefits result from the actual purchases of labor and materials, while material manufacture and transport results in indirect benefits. Preservation projects are generally more labor intensive, with up to 70% of the total project budget being spent on labor, as opposed to 50% when compared to new construction which means that more of a rehabilitation project cost stays in the community. In this way, expenditure on local labor and materials benefits the community's economy. 148 Chapter 5 Design Guidelines for Sustainability Developing an Efficiency Strategy for a Historic Property When planning a project, follow these steps: Step 1: Establish Project Goals Develop an overall strategy and set of project goals to maximize the effectiveness of a project. This will establish a broad view that places individual actions into context. Project goals should focus on minimizing use of resources and energy, avoiding negative environmental impacts and retaining the historic integrity of a property. Strategies should maximize the inherent value of the historic resource prior to considering alterations or retrofitting with energy generation technology. To inform a project strategy, also consider conducting an energy audit. An energy audit can give a comprehensive view of how energy is currently used in the daily and seasonal cycles of use, and can also provide perspective on the pay- back of investment for potential work on the building. For example, an energy audit, when examined based on an overall strategy, may demonstrate that priorities should be on increasing insulation in walls, ceilings and foundations, rather than replacing windows. Step 2: Maintain Building Components in Sound Condition Maintaining the existing building fabric reduces negative environmental impacts. Re -using a building and maintaining its key features preserves the energy and resources invested in its construction and removes the need to produce new construction materials. Step 3: Maximize Inherent Sustainable Qualities. Typically historic buildings were built with energy efficiency in mind. Construction methods focused on durability and maintenance, resulting in individual building features that can be repaired if damaged, thus minimizing the need for replacement materials. Buildings were also built to respond to local climate conditions, integrating passive and active strategies for year -round interior climate control which increase energy efficiency. Passive strategies typically include building orientation for sun, breezes, and features such as roof overhangs and windows to provide both natural daylighting as well as management of solar heat gain. Active strategies typically include operable awnings, double -hung and transom windows. Step 4: Enhance building performance. A historic building's inherent energy efficiency can be augmented using techniques which improve efficiency without negatively impacting historic building elements. Non - invasive strategies such as increased insulation, weatherization improvements and landscaping should be considered. Step 5: Add Energy- Generating Technologies Sensitively. Many historic structures can accommodate the respectful integration of energy efficiency technologies. Energy- gener- ating technologies are the most commonly known strategies. However, the efficiency of a historic structure will often be great enough that generation technologies aren't the most practical solutions. Utilize strategies to reduce energy consumption prior to undertaking an energy generation project. When integrating modern energy technology into a historic structure, maintain the resource's historic integrity and the ability to interpret its historic significance. As new technologies are tried and tested it is important that they be installed in a reversible manner such that they leave no permanent negative impacts to a historic structure. Chapter 5 Design Guidelines for Sustainability 149 Sustainability of a Historic Building ENERGY EFFICIENCY IN HISTORIC BUILDINGS Policy: Original building features and systems that contribute to sustainability should be maintained in good operating condition. Guidelines: 5.8 Preserve the inherent energy efficiency of a historic building. • Identify inherent sustainable features and operating systems and maintain them in good condition. • Repair or restore covered, damaged or missing features where appropriate. 5.9 Maintain a building's sustainability features in operable condition. • Retain original operable shutters, awnings and transoms to increase the range of conditions in which a building is comfortable without mechanical climate controls. (See Awnings and Canopies on page 136 for more information.) • Repair or restore covered, damaged or missing features where necessary. Green Features of Historic Residences The following images illustrate several of the inherent green features typically found on historic residences in Dubuque. fti.r `T 0 Double -hung windows simultaneously allow cool air in and warm air out. 150 © Window arrangements such as these may allow for passive heating in the winter, where proper orientation occurs. Asteep roof pitch and large roof area facilitate the collection of rain water, which can be used for irrigation. The porch helps moderate temperature swings. Chapter 5 Design Guidelines for Sustainability © Double -hung windows allow cool air in and warm air out in summer. O Symmetrical window arrangements typically allow for passive cooling and cross - ventilation through the home. The porch helps moderate temperature swings. Operable shutters can be closed to block solar heat gain in the summer while allowing cooling breezes to pass through. O A stone exterior provides thermal mass to moderate indoor temperate swings. • Asteep roof pitch and large roof area facilitates the collection of rain waterfor reuse on the site. e Fireplaces and their chimneys provide for non - mechanical heating. eThe roof overhang provides for seasonal shading. Chapter 5 Design Guidelines for Sustaina bility 151 j ® Substantial roof overhangs provide for seasonal shading. The lame area of wir dews on this facade mayalsoprovide torpassive heating in the winter where proper orientation occurs. Mature deciduous trees also provide seasonal shacP'ng for this home. 152 A porch helps moderate temperature swings. ® Double -hung windows allow cool air in and warm air out. 3 Double -hung windows allow cool air in and warm air out. • A steep roof pitch and large roof area facilitate the collection of rainwater for reuse on the site. • A porch helps moderate temperature swings. Chapters Design Guidelines for Sustainability HISTORIC RESIDENTIAL BUILDING ENERGY EFFICIENCY STRATEGY aAttic & Walls • Insulate internally Awnings & Porches low • Restore porches and awnings /;k Doors W7 • Maintain original doors • Weatherstrip • Install an storm door oRoof Material • Retain & repair Solar Panels • Set back from primary facade to minimize visibility from street Chimney • Install draft stopper Windows • Repair & retain original or early windows • Retain original glass • Enhance thermal & acoustic efficiency with storm windows (preferably interior) • Weatherstrip : Quick simple fixes that will increase the energy efficiency of a historic building. This diagram summarizes a general strategy for energy conservation on a Traditional residential building. These measures can enhance energy efficiency while retaining the integrity of the historic structure. Chapter 5 Design Guidelines for Sustainability 153 HISTORIC COMMERCIAL STOREFRONT BUILDING ENERGY EFFICIENCY STRATEGY 0 O Attic & Walls • Insulate internally Q Awnings • Use operable awnings to control solar access and heat gain 43 Doors • Maintain original doors • Weatherstrip • Consider interior airlock area aRoof Material • Retain & repair 9 Solar Panels • Set back from primary facade to minimize visibility from street • Storefront Windows • Maintain original windows • Weatherstrip • Transoms • Retain operable transom to circulate air O Windows • Maintain original windows • Weatherstrip and caulk • Add storm windows (preferably interior) gi Wind Turbines Illv • Set back from primary facade to minimize visibility from street This diagram summarizes a general strategy for energy conservation on a traditional commercial building. These measures can enhance energy efficiency while retaining the integrity of the historic structure. A similar approach would apply to warehouse buildings. 154 Chapter 5 Design Guidelines for Sustainability Policy: Improvements to enhance energy efficiency should be planned to complement the original building. The structure, form and materials should be sensitively treated to preserve the building's character. ENERGY PERFORMANCE IN HISTORIC BUILDINGS Guidelines: 5.10 Use noninvasive strategies when applying weatherization improvements. • Weather- stripping, insulation and wood storm windows are energy efficient, cost effective, and historically sensitive approaches. • Weather -strip the original framework on windows and doors. • Install additional insulation in an attic, basement or crawl space as a simple method to make a significant difference in a building's energy efficiency. Provide sufficient ventilation to avoid moisture build -up in the wall cavity. • Where applicable, install draft stoppers in a chimney. Open chimney dampeners can increase energy costs by up to 30 percent. • Install weatherization in away that avoids altering or damaging significant materials and their finishes. • Use materials which are environmentally friendly and that will not interact negatively with historic building materials. 5.11 Enhance the energy efficiency of original windows and doors. • Make best use of original windows; keep them in good repair and seal all leaks. • Safeguard, retain and reuse early glass, taking special care in putty replacement. Maintain the glazing compound regularly. Remove old putty with care. • Use operable systems to enhance performance of original windows. This includes wood storm windows, insulated coverings, curtains, and awnings. • Place wood storm windows internally when feasible to avoid the impact upon external appearance. • Use wood storm window inserts designed to match the original frame if placed externally. • Double pane glazing may be acceptable where original glazing has been lost and the frame can support the weight and profile. Chapter 5 Design Guidelines for Sustainability 155 Policy: When integrating modern energy technology such as solar collectors or wind turbines into a historic structure, maintain the resource's historic integrity and the ability to interpret its historic significance. Use of energy - generating technologies should be the final option considered in an efficiency rehabilitation project. One should first utilize strategies to reduce energy consumption (as illustrated in the preceding diagrams) prior to undertaking an energy generation project. Consider the overall project goals and energy strategies when determining if a specific technology is appropriate for a project. As new technologies are tried and tested, it is important that they leave no permanent negative impacts to historic structures. The reversibility of their application will be a key consideration when determining appropriateness. Energy Generating Technologies INTEGRATING ENERGY GENERATING TECHNOLOGIES ON HISTORIC BUILDINGS Guidelines: 5.12 Locate an energy generating device to minimize impacts to the historic character of the resource. • Locate energy generating equipment where it will not damage, obscure or cause removal of significant features or materials. • Maintain the historic character of the building in doing so. 5.13 Install any new technology in a reversible manner. • Install energy generating devices in such a way that they can be readily removed and the original character easily restored. • Use materials which are environmentally friendly and that will not interact negatively with historic building materials. 156 Chapter 5 Design Guidelines for Sustainability SOLAR COLLECTORS Policy: Solar collectors should be designed, sized and located to minimize their effect of a historic building. Guidelines: 5.14 Minimize potential adverse effects from solar collectors on the character of a historic building. • Place collectors to avoid obscuring significant features or adversely affecting the perception of the overall character of the property. • Size collector arrays to remain subordinate to the historic structure. • Minimize visual impacts by locating collectors back from the front facade when feasible. • Mount collectors flush below the ridge line on asloping roof so the basic roof form is apparent. • Consider installing collectors on a subordinate addition or a secondary structure where applicable. • Exposed hardware, frames and piping should have a matte finish, and be consistent with the color scheme of the primary structure. This home uses two appropriate locations for solar collectors, on the root of a new secondary structure, and on the rear portions of the roof on the primary structure. on the character Locating solar collectors on a secondary structure in a residential neighborhood is a preferred approach. In this case, solar collector panels are located on the root of a new garage in a historic district. Chapter 5 Design Guidelines for Sustaina bility 157 H Not Appropriate H Locating Solar Panels on a Historic Home Existing Building Features • Gable fac ing street, side is south facing Appropriate Features • Panels located on rear portion of roof • Panels set back from eaves • Panels are flush with the roof • Panels do not overwhelmt he roof When should I use this approach? • This location provdes sufficient solar access • The building is highly significant • The context has many intact historic buildings • Roof is highly visible 5.15 Use the least invasive method feasible to attach solar collectors to a historic roof. • Avoid damage to significant features. • Install a collector in such a way that it can be removed and the original character easily restored. • Collector arrays should not threaten the structural integrity of the building. 5.16 Consider using building- integrated photo voltaic technology where the use of new building material is appropriate. • Installing integrated photo voltaic systems should be planned where they will not hinder the ability to interpret the historic significance of the structure. For example, installing solar shingles on arear orsecondary roof facade where the original roof material is missing or significantly damaged would be appropriate. Acceptable O A r-BOLfo 0 Features • Panels set back from save, but c bser to the front • Panels are flush with the roof • Panels do not overwhelm, and are subordinate to, the roof plane When should I use this approach? • The preferred option is not feasible • The building is a contributor to a dtrict • Site constraints restrict solar access • Roof is not highly visible liElEJ BO" UU Features • Panels are not set back from save. Panels overwhelmthec haracter of the historic roof and structure. 158 Chapter 5 Design Guidelines for Sustainability WIND POWER Policy: Small -scale wind generators can provide supplementary energy supply in some areas. Minimizing impacts to the historic character of a building as well as to the district should be the primary consideration. Guidelines: 5.17 Minimize the visual im pacts of a wind turbine from primary public view locations. • The wind turbine design and placement should not impair the ability to perceive the district's historic character and should not be highly visible from the street. • Wind turbinesshould not obscure significant features or impair the ability to interpret the building's historic significance. • Wind turbines should be low scaled and placed to the rear of the property when feasible. Also, for commercial districts a turbine should be placed on the roof to the back of the building when feasible. • Design the scale and location of the turbine to remain subordinate to the historic structure. • The turbine and any exposed hardware should have a matte finish, and be consistent with the color scheme of the primary structure. 5.18 Install turbines in such a way that they can be readily removed. • Attach turbines in a mannerthat avoids damage to significant features. • The original condition of the building should be easily restored. 5.19 Minimize structural impacts when installing turbines. • Install turbines as freestanding structures in unobtrusive locations when feasible. • When attaching to the building, turbines should not overload structural systems, orthreaten the integrity of roof protection systems. Locating detached turbines in the rearyard where they will be minima, visible is a preferred approach. Chapter 5 Design Guidelines for Sustaina bility 159 Policy: A green roof, which uses vegetation as a means of moderating building temperatures and conserving water, may be suitable for some flats roofs, particularly on commercial buildings. When planning a green roof, minimize visual impacts that affect one's ability to interpret the historic character of a building. Compatibility with the historic district should be the primary consideration as well. Note that it is not the intent to hide a green roof completely from view, but to assure that the historic character of the property can still be perceived. GREEN ROOFS Guidelines: 5.20 Minimize adverse effects of a green roof on the character of a historic building and the district. • A green roof on a historic residential building should be located to the rear of the building or on a subordinate side wing set back from the front facade. • A green roof on a flat-roofed historic commercial or warehouse building should set back from the parapet. • A professional engineer should be consulted to insure an existing structure can be modified to accommodate a green roof. LOCATING A NEW ADDITION FOR ENVIRONMENTAL BENEFITS Policy: When placing an addition on a historic building, careful consideration should first be given to assuring compatibility with the historic structure, then to maximizing the potential for environmental benefits. The design should take advantage of existing site features, the orientation of the property, and its prevailing wind and solar patterns. (See also guidelines for designing an addition to a historic building in Chapter 1.) Guidelines: 5.21 Locate an addition to take advantage of opportunities for energy conservation. • Consider impacts and benefits for both the primary structure and the addition as well as those to adjacent properties. • Locate an addition to maximize the potential for natural daylighting and solar energy collection. • Position an addition to utilize predominant wind patterns for cross - ventilation. 160 Chapter 5 Design Guidelines for Sustainability MASSING OF AN ADDITION Policy: The manner in which the basic form of an addition is configured will influence its compatibility with the historic building and its opportunities for making use of energy saving design strategies. Arrange the massing of an addition to make best use of natural daylighting, passive solar heating, cross - ventilation and other passive climate control techniques. The overall mass should remain compatible with the primary structure and with the character of the district. Guidelines: 5.22 Design the mass of a new addition to remain compatible with the primary structure while maximizing energy saving and generating opportunities. • Shape the addition's mass to take advantage of natural daylighting, passive solar heating, cross - ventilation, and other climate control opportunities for both the addition and the primary structure. • Orient roofs to accommodate solar collection, while also reflecting established orientation patterns in the district. DECONSTRUCTION AND BUILDING MATERIAL RE -USE Policy: Deconstruction refers to the careful disassembly of a building, or its components, such that the materials can be reassembled or reused in other construction. While maintaining historic building materials in place is best, occasionally their removal will be necessary. To the maximum extent feasible, historic building materials approved for removal should be reused on site or repurposed for use off -site. Keeping these historic building materials in use will reduce demand on landfill space and maintain a greater supply of appropriate materials for the repair of other historic properties in Dubuque. Guidelines: 5.23 Plan for the repurposing of historic building materials when approved for removal or demolition. • Repurpose the maximum amount of historic building materials feasible. • When alternatives to demolition have been exhausted, and demolition of a histo ric pro perty approved, a deconstruction program should be used to guide the careful salvage of historic materials, details and features. • Consider repurposing other intact and salvageable building materials as well. Chapter 5 Design Guidelines for Sustaina bility INES Repurpose the maximum amour' of historic materials feasible. 161 Policy: The design of a new building should maximize the potential for natural daylighting and solar energy collection while also ensuring that the building's massing is compatible with the traditional context. New Construction and Sustainability The Dubuque Comprehensive Plan, Sustainable Dubuque, setsgoalsforthe long -term sustainability and livability in downtown and historic residential neighborhoods. New construction supports sustainability by leveraging existing infrastructure and bringing housing and employers into closer proximity of downtown. New construction downtown or in historic residential neighborhoods should further support sustainability by incorporating energy efficient designs while maintaining the traditional character of the area. See Preservation and Sustainability on page 12 and 26 for more information. SUSTAINABLE BUILDING DESIGN Articulate building mass to take advantage of solar energy. Theplaza on the top image is shaded during peak winter hours while the plaza on the lower image is enhanced by solar rays during peak winter hours. Guidelines: 5.24 Orient a building to maximize energy efficiency while ensuring compatibility with adjacent, lower -scale structures. Appropriate strategies include: • Positioning the taller portion of a building along a north - south axis to minimize shading on lower scale structures to the north. • Designing a building to minimize shading on south - facing facades of adjacent buildings during winter months. 5.25 Shape a building's mass to maximize solar energy potential. Consider the following strategies: • Building designs that allow natural daylighting to the interior. • Articulated wall planes that provide shade or increase solar access to interiors. • Roofs oriented to accommodate solar collectors. • Thermal storage walls on a portion of the south facing building exposure, where appropriate. 162 Chapters Design Guidelines for Sustainability SUSTAINABLE BUILDING ELEMENTS Policy: The elements that make up a building, including windows, mechanical systems and materials, can significantly impact environmental performance. They should be designed to maximize the building's environmental performance, while promoting compatibility with surrounding sites and structures. New materials that improve environmental performance are appropriate if they have been proven effective in the climate of northeastern Iowa. Guidelines: 5.26 Use green building materials that are compatible with the historic context. • See materials section on page 90. 5.27 Use green building materials whenever possible. Green building materials often have a long life span and are often: • Locally manufactured • Low maintenance • Recycled or repurposed 5.28 Incorporate building elements that allow for natural environmental control. Consider the following: • Operable windows for natural ventilation • Low infiltration fenestration products • Interior or exterior light shelves /solar screens above south facing windows 5.29 Minimize the visual impacts of solar and wind energy devices on the character of the district. • Where feasible, mount equipment where it has the least visual impact. 5.30 Minimize the visual impacts of a green roof on the character of the district. • Design a green roof to be out of view from the street. • Use a green roof where a flat roof form is compatible with the building type found in the district. • Limit the height of the vegetation such that it does not overwhelm the character of the building. Chapter 5 Design Guidelines for Sustainability 163 OVERALL STRATEGY FOR SUSTAINABLE NEW CONSTRUCTION Step 1: Understand neighborhood character Careful consideration should be given to balancing sustainable design principles with those related to maintaining the traditional character of the area. It is important to understand what makes up the character of the neighborhood and to maintain compatibility in the scale, placement and design of a new building. When considering a new construction project, first design the building to be compatible with the historic context, then maximize its sustainable design qualities. Step 2: Research local climate Consider how predominant wind and solar patterns can be used to advantage. Many historic designs in the area may also have made use of these features and should be analyzed as well. Step 3: Identify existing site features which support sustainability Trees create summer shading, purify the air and help minimize urban heat island effects. Mature root systems promote water retention and soil quality. Identify existing landscape features that provide sustainability benefits, particularly those of historic significance, and design a new project to take advantage of these features. Step 4: Maximize passive systems for interior climate control Use passive strategies to minimize energy demand and the need for mechanical and electrical systems, especially those strategies that have been used historically in the neighborhood. Design a building to utilize natural daylighting, passive solar heating, cross - ventilation and other passive climate control techniques. Step 5: Use landscape improvements to enhance sustainability Plan new landscape features to provide benefits such as summer shading and ventilation and winter solar access and wind protection. Step 6: Select green building materials Maintain compatibility with the historic context while maximizing use of products which have minimal environmental footprints. Use green materials and those which improve environmental performance that have been proven effective in the local climate. Step 7:PIan energy generating technology to be compatible with the context Use of energy - generating technologies should be the final step considered, after strategies for making best use of passive systems are defined. Energy generation is the most changeable component of green building design, as technologies continue to evolve. More recent materials and products, for example, are less obtrusive in their appearance in terms of visual impacts in historic districts, and future ones may be even more so. 164 Chapter 5 Design Guidelines for sustainability NEW COMMERCIAL CONSTRUCTION BUILDING ENERGY EFFICIENCY DIAGRAM Design a building or addition to take advantage of energy saving and energy harnessing opportunities as illustrated below. O 0 Wind Devices O Green Roofs © Solar Panels • Setback from primary • Decreases solar gain • Set back from primary facade to minimize • Reduces runoff facade to minimize visibility from street visibility from street • Used as shading 0 Shading devices devices Operable Transoms • Operable canopies, • Allows for natural air located above display circulation windows Chapters Design Guidelines for Sustainability 165 NEW RESIDENTIAL CONSTRUCTION BUILDING ENERGY EFFICIENCY DIAGRAM Q Thermal Mass Wall • Masonry wall 0 Solar Panels • Use matt finish simple arrays 0 and 0 0 0 O Recycled Brick • Reuse of materials 9 Porch • Allows for shade in summer and sun in winter 166 Eave Overlays • Provides shade in summer Cold Roof • Increases heating efficiency Xeriscape • Low water plants Geothermal Heat System • Below grade system that uses less energy to run than conventional heating systems O Double-hung windows • Internal air circulation Chapter 5 Design Guidelines for Sustainability Appendix Benefits of Historic Preservation 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. 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 replacement can significantly reduce our environmental impact. Preserving 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. 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. IN THE APPENDIX: The Secretary of the Interior's Standards for the Treatment of Historic Buildings Preservation Briefs & Tech Notes Financial Incentive Toolbox Appendix 167 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. (Also, see the Appendix, Financial Incentive Toolbox, for a list of financial incentives which can assist property owners with downtown rehabilitation and restoration projects.) 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. Livability and Quality of Life When historic buildings occur on a block, they create a street scene that is "pedestrian friendly," encouraging walking and neighborly interaction. 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. 168 Design Guidelines Key Historic Preservation Urban Design and Sustainability Principles The following principles apply to all related work that is proposed and will be used when evaluating the appropriateness of the work: KEY DESIGN PRINCIPLES 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. Achieve Excellence in Design Each project should express excellence in design, and it should raise the bar for others to follow. This includes using high quality materials and construction methods and paying attention to detail. Promote Creativity Innovation in design is welcomed. Exploring new ways of designing buildings and spaces is appropriate when they contribute to a cohesive urban fabric. This type of creativity should be distinguished from simply being "different." Design with Authenticity The downtown and historic districts should be defined by buildings and places that reflect their own time. The result should be a sense of authenticity in building and materials. All new improvements should convey this quality. Design with Consistency Buildings and places in the downtown and historic districts should have a cohesive quality in the use of materials, organization of functions and overall design. Each new project should also embody a single, consistent design concept. Design for Durability Buildings and spaces should be designed for the long term with durable materials. Design for Sustainability Aspects of cultural, economic and environmental sustainability that relate to urban design should be woven into all new improvements. Appendix 169 Enhance the Public Realm Sidewalks, promenades and other pedestrian ways should be designed to invite their use through thoughtful planning and design. Improvement on private property also should enhance the public realm where they abut. Enhance the Pedestrian Experience Each improvement project should contribute to a pedestrian - friendly environment. This includes defining street edges with buildings and spaces that are visually interesting and that attract pedestrian activity. Provide Signature Open Spaces These include public and private yards, promenades, plazas and courtyards. Enhance natural resources and habitat for wildlife on -site, for the public to experience. Keep the Automobile Subordinate Parking lots and structures should support other functions and not dominate the setting. They should be hidden, or at least visually buffered. Context - Related Design Traditional buildings combine to establish a sense of visual continuity in the historic districts and the downtown core. 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. For this reason, many guidelines look to establish 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 in human scale are essential to creating a pedestrian - friendly environment. This may include storefront windows, display cases, porches art and landscaping. 170 Design Guidelines BASIC PRINCIPLES FOR SUSTAINABILITY FOR HISTORIC PROPERTIES These principles for sustainability also apply: Think big, act small To achieve a historically and environmental sensitive project it is important to understand the over arching goals of that improvement project. When planning any project, first determine what its overall goal is, then consider which method of achieving that goal will use the least resources and have the least impact to the historic structure. Make the best use of inherent sustainability features Make best use of a buildings inherent sustainability features as a first step in any energy conservation project. Managing effectively the existing energy saving features of a historic structure both conserves resources and is sound preservation practice. Minimize negative impacts on the historic resource when installing a new component. When installing new components on a historic structure, such as those for energy collection, it is important that they leave no permanent negative impacts to the structure. Locate a new component where it will not damage, obscure or cause removal of significant features or materials. Maintain the ability to interpret the historic character of the building when retrofitting for energy conservation or generation. Use materials that minimize environmental impacts in their manufacture and maintenance. When new materials are needed, use those which avoid negative environmental impacts. Such materials include those which are produced locally, are manufactured without use of harsh chemicals, have long lifecycles, are durable in the local climate and which are designed to be repairable and recyclable. Use construction methods that minimize impacts on landfill and reduces waste. Preserving the maximum amount of existing building features feasible reduces demolition waste, as well as reduces construction waste generated by replacement building materials. When planning a project, remove only what is necessary and reuse as much material as feasible on -site. Repurpose as much of the remaining building materials and components as possible to minimize waste and demand for landfill space. Appendix 171 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: 1. 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 preserved. The removal of distinctive materials or alteration of features, spaces, and spatial relationships that characterize a property shall be avoided. 3. 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 techniques or examples of craftsmanship that characterize a property shall be preserved. 6. Deteriorated historic features shall be repaired rather than replaced. 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. Replacement of missing features shall be substantiated by documentary and physical evidence. 7. Chemical or physical treatments, if appropriate, shall be undertaken using the gentlest means possible. Treatments that cause damage to historic materials shall not be used. 8. Archeological resources shall be protected and preserved 172 Design Guidelines 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 relationships that characterize the property. The new work shall be differentiated 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 /tps /standguide Appendix 173 Preservation Briefs & Tech Notes The Cultural Resources Department of the National Park Service, in the U.S. Department of the Interior has published a series of technical reports regarding proper preservation techniques. This series, Preservation Briefs and Preservation Tech Notes, is a mainstay for many preservationists in the field. When considering a preservation project on any historic property these resources should be sought out. http: / /www.nps.gov /tps /how -to- preserve /briefs.htm PRESERVATION BRIEFS Preservation Briefs 1: Assessing Cleaning and Water - Repellent Treatments for Historic Masonry Buildings. Mack, Robert C. and Grimmer, Anne E. Revised 2000. Preservation Briefs 2: Repointing Mortar Joints in Historic Masonry Buildings. Mack, Robert C., Speweik, John C., and Grimmer, Anne E. Revised 1998. Preservation Briefs 3: Improving Energy Efficiency in Historic Buildings. Hensley, Jo Ellen and Aguilar, Antonio. Revised 2011. Preservation Briefs 4: Roofing for Historic Buildings. Sweetser, Sarah M. 1978. Preservation Briefs 5: Preservation of Historic Adobe Buildings. 1978. Preservation Briefs 6: Dangers of Abrasive Cleaning to Historic Buildings. Grimmer, Anne E. 1979 Preservation Briefs 7: The Preservation of Historic Glazed Architectural Terra- Cotta. Tiller, de Teel Patterson. 1979. Preservation Briefs 8: Aluminum and Vinyl Siding on Historic Buildings. Myers, John H., revised by Hume, Gary L. 1984. Preservation Briefs 9: The Repair of Historic Wooden Windows. Myers, John H. 1981. Preservation Briefs 10: Exterior Paint Problems on Historic Woodwork. Weeks, Kay D. and Look, David W. 1982. 174 Design Guidelines Preservation Briefs 11: Rehabilitating Historic Storefronts. Jandl, H. Ward. 1982. Preservation Briefs 12: The Preservation of Historic Pigmented Structural Glass (Vitrolite and Carrara Glass.) Grimmer, Anne E. 1984. Preservation Briefs 13: The Repair and Thermal Upgrading of Historic Steel Windows. Park, Sharon C. 1984. Preservation Briefs 14: New Exterior Additions to Historic Buildings: Preservation Concerns. Grimmer, Anne E., and Weeks, Kay D. 2010. Preservation Briefs 15: Preservation of Historic Concrete. Gaudette, Paul., and Slatone, Deborah. Preservation Briefs 16: The Use of Substitute Materials on Historic Building Exteriors. Jandl, H. Ward. 1988. Preservation Briefs 17: Architectural Character - Identifying the Visual Aspects of Historic Buildings as an Aid to Preserving Their Character. Nelson, Lee H. 1988. Preservation Briefs 18: Rehabilitating Interiors in Historic Buildings: Identifying and Preserving Character - Defining Elements Jandl, H. Ward. 1988. Preservation Briefs 19: The Repair and Replacement of Historic Wooden Shingle Roofs. Park, Sharon C. 1989. Preservation Briefs 20: The Preservation of Historic Barns. Auer, Michael J. 1989. Preservation Briefs 21: Repairing Historic Flat Plaster Walls and Ceilings. MacDonald, Mary Lee. 1989. Preservation Briefs 22: The Preservation and Repair of Historic Stucco. Grimmer, Anne. Washington, D.C.: U.S. Government Printing Office, 1990. Preservation Briefs 23: Preserving Historic Ornamental Plaster. Flaharty, David. 1990. Preservation Briefs24: Heating, Ventilating, and Cooling Historic Buildings - Problems and Recommended Approaches. Park, Sharon C. 1991. Appendix 175 Preservation Briefs 25: The Preservation of Historic Signs. Auer, Michael J. 1991. Preservation Briefs 26: The Preservation and Repair of Historic Log Buildings. Bomberger, Bruce D. 1991. Preservation Briefs 27: The Maintenance and Repair of Architectural Cast Iron. Waite, John G. and Historical Overview by Gayle, Margot. 1991. Preservation Briefs 28: Painting Historic Interiors. Chase, Sara B. 1992. Preservation Briefs 29: The Repair, Replacement, and Maintenance of Historic Slate Roofs. Levine, Jeffrey S. 1992. Preservation Briefs 30: The Preservation and Repair of Historic Clay Tile Roofs. Grimmer, Anne E. and Williams, Paul K. 1992. Preservation Briefs 31: Mothballing Historic Buildings. Park, Sharon C. 1993. Preservation Briefs 32: Making Historic Properties Accessible. Jester, Thomas C. and Park, Sharon C. 1993. Preservation Briefs 33: The Preservation and Repair of Historic Stained and Leaded Glass. Vogel, Neal A. and Achilles, Rolf. Revised 2007. Preservation Briefs 34: Applied Decoration for Historic Interiors Preserving Composition Ornament. Thornton, Jonathan and Adair, William. 1994. Preservation Briefs 35: Understanding Old Buildings: The Process of Architectural Investigation. McDonald,Jr., Travis C. 1994. Preservation Briefs 36: Protecting Cultural Landscapes: Planning, Treatment and Management of Historic Landscapes. Birnbaum, Charles A. 1994. Preservation Briefs 37: Appropriate Methods for Reducing Lead- Paint Hazards in Historic Housing. Park, Sharon C. and Hicks, Douglas C. Revised 2006. 176 Design Guidelines Preservation Briefs 38: Removing Graffiti from Historic Masonry. Weaver, Martin E. 1995. Preservation Briefs 39: Holding the Line: Controlling Unwanted Moisture in Historic Buildings. Park, Sharon C. 1996. Preservation Briefs 40: Preserving Historic Ceramic Tile Floors. Grimmer, Anne E. and Konrad, Kimberly A. 1996. Preservation Brief 41: The Seismic Retrofit of Historic Buildings Keeping Preservation in the Forefront. Look, David W., Wong, Terry, and Augustus, Sylvia Rose. 1997. Preservation Brief 42: The Maintenance, Repair and Replacement of Historic Cast Stone. Pieper, Richard. Revised 2001. Preservation Brief 43: The Preparation and Use of Historic Structure Reports. Slaton, Deborah. 2005. Preservation Brief 44: The Use of Awnings on Historic Buildings, Repair, Replacement and New Design. Randl, Chad. 2005. Preservation Briefs 45: Preserving Historic Wood Porches. Sullivan, Aleca and Leeke, John. 2006. Preservation Briefs 46: The Preservation and Reuse of Historic Gas Stations. Randl, Chad. 2008. Preservation Brief 47: Maintaining the Exterior of Small and Medium Size Historic Buildings. Park, Sharon C. 2007. Appendix 177 PRESERVATION TECH NOTES Doors No. 1: Historic Garage and Carriage Doors: Rehabilitation Solutions. Halda, Bonnie. 1989. Exterior Woodwork No. 1: Proper Painting and Surface Preparation. Park, Sharon. 1986. No. 2: Paint Removal from Wood Siding. O'Bright, Alan. 1986. No. 3: Log Crown Repair and Selective Replacement Using Epoxy and Fiberglass Reinforcing Bars. Goodall, Harrison. 1989. No. 4: Protecting Woodwork Against Decay Using Borate Preservatives. Sheetz, Ron and Fisher, Charles. 1993. Finishes No. 1: Process - Painting Decals as a Substitute for Hand - Stencilled Ceiling Medallions. Park, Sharon. 1990. Historic Glass No. 1: Repair and Reproduction of Prismatic Glass Transoms. Randl, Chad. 2002. No. 2: Repair and Rehabilitation of Historic Sidewalk Vault Lights. Stachelberg, Cas and Randl, Chad. 2003. Historic Interior Spaces No. 1: Preserving Historic Corridors in Open Office Plans. Henry, Christina. 1985. No. 2: Preserving Historic Office Building Corridors. Keohan, Thomas. 1989. No. 3: Preserving Historic Corridor Doors and Glazing in High - Rise Buildings. Randl, Chad. 2001. Masonry No. 1: Substitute Materials: Replacing Deteriorated Serpentine Stone with Pre -Cast Concrete. Powers, Robert M. 1988. No. 2: Stabilization and Repair of a Historic Terra Cotta Cornice. Levine, Jeffrey and Harris, Donna. 1991. No. 3: Water Soak Cleaning of Limestone. Powers, Robert M. 1992. No. 4: Non - destructive Evaluation Techniques for Masonry Construction. Kaplan, Marilyn E., Ennis, Marie and Meade, Edmund P. 1997. 178 Design Guidelines Mechanical Systems No. 1: Replicating Historic Elevator Enclosures. Kaplan, Marilyn. 1989. Metals No. 1: Conserving Outdoor Bronze Sculpture. Montagna, Dennis. 1989. No. 2: Restoring Metal Roof Cornices. Pieper, Richard. 1990. No. 3: In -kind Replacement of Historic Stamped -Metal Exterior Siding. Shiffer, Rebecca A. 1991. No. 4: Rehabilitating a Historic Iron Bridge. Saldibar III., Joseph P. 1997. No. 5: Rehabilitating a Historic Truss Bridge Using a Fiber - Reinforced Plastic Deck. Randl, Chad. 2003. No. 6: Repairand Reproduction of Metal Canopies and Marquees with Glass Pendants. Van Damme, Lauren and Fisher, Charles E. 2006. Museum Collections No. 1: Museum Collection Storage in a Historic Building Using a Prefabricated Structure. Cumberland, Jr., Don. 1985. No. 2: Reducing Visible and Ultraviolet Light Damage to Interior Wood Finishes. Sheetz, Ron and Fisher, Charles. 1990. Site No. 1: Restoring Vine Coverage to Historic Buildings. Day, Karen. 1991. Temporary Protection No. 1: Temporary Protection of Historic Stairways. Fisher, Charles. 1985. No. 2: Specifying Temporary Protection of Historic Interiors During Construction and Repair. Frens, Dale H. 1993. No. 3: Protecting A Historic Structure during Adjacent Construction. Randl, Chad. 2001. Appendix 179 Windows No. 10: Temporary Window Vents in Unoccupied Historic Buildings. Charles Fisher and Thomas Vitanza. (1985) No. 11: Installing Insulating Glass in Existing Wooden Sash Incorporating the Historic Glass. Charles Fisher. (1985) No. 13: Aluminum Replacement Windows with Sealed Insulating Glass and Trapezoidal Muntin Grids. Charles Parrott. (1985) No. 17: Repair and Retrofitting Industrial Steel Windows. Robert M. Powers. (1989) No. 19: Repairing Steel Casement Windows. Chad Randl. (2002) No. 20: Aluminum Replacement Windows for Steel Projecting Units with True Divided Lights and Matching Profiles. Chad Randl. (2003) No. 21: Replacement Wood Sash Utilizing True Divided Lights and an Interior Piggyback Energy Panel. Charles E. Fisher. (2008) No. 22: Maintenance and Repair of Historic Aluminum Windows. Kaaren R. Staveteig. (2008 180 Design Guidelines Financial Incentive Toolbox Federal Historic Preservation Tax Incentives: The Federal Historic Preservation Tax Incentives program is one of the Federal Government's most successful and cost - effective community revitalization programs. The Preservation Tax Incentives reward private investment in rehabilitating historic properties such as offices, rental housing, and retail stores. A tax credit differs from an income tax deduction. An income tax deduction lowers the amount of income subject to taxation. A tax credit, however, lowers the amount of tax owed. Tax credits are awarded for the certified rehabilitation of historic structures. For additional information and to learn about eligibility, please contact Elizabeth (Beth) Foster Hill, Tax Incentive Programs Manager /National Register Coordinator, Department of Cultural Affairs, (515) 281- 4137 or Beth.Foster@iowa.gov. Iowa Historic Preservation and Cultural and Entertainment District Rehabilitation Tax Credit: The Iowa Historic Preservation and Cultural and Entertainment District Rehabilitation Tax Credit program provides a state income tax credit for the sensitive rehabilitation of historic buildings. It ensures character- defining features and spaces of buildings are retained and helps revitalize surrounding neighborhoods. The program provides an income tax credit of 25% of qualified rehabilitation costs. Another 20% is available if the property qualifies for the Federal Rehabilitation Investment Tax Credit (for income producing properties only). For additional information and to learn about eligibility, please contact Elizabeth (Beth) Foster Hill, Tax Incentive Programs Manager /National Register Coordinator, Department of Cultural Affairs, (515) 281 -4137 or Beth. Foster @iowa.gov. Low Income Housing Tax Credit: The tax credit encourages project owners to invest in the development of rental housing for individuals and families with fixed or limited incomes. The tax credit, rather than a direct federal subsidy, provides a dollar for dollar reduction (or credit) to offset an owner's federal tax liability on ordinary income. Tax credit interest may be syndicated or sold to generate equity for the developments, thus reducing the necessary mortgage financing and providing more affordable terms. For additional information contact the Iowa Finance Authority at (800) 432 -7230 or www. iowafinanceauthority.gov Appendix 181 Main Street Mortgage Loan Program: Main Street Iowa, the Iowa Finance Authority (I FA) and the Federal Home Loan Bank of Des Moines created the program to make available funds for lending to Main Street communities in Iowa. IFA, as an associate member of the Federal Home Loan Bank of Des Moines, can borrow from the Federal Home Loan Bank at favorable rates and loan that money out for community development projects. Loans are made for the rehabilitation of upper floor housing or commercial properties or for new construction on infill Tots in downtown areas of communities that participate in the Main Street Iowa program. The maximum loan amount is $250,000 per commercial project. The minimum loan amount is $50,000. Loans for this program may have terms between 3 and 15 years with up to a 30 -year amortization. The interest rate is fixed at 1.125 percent above the CIP /CIA interest rate for the proposed loan term. For additional information contact the Iowa Finance Authority at (800) 432 -7230 or www.iowafinanceauthority.gov Economic Development Loan Program: The Iowa Finance Authority (IFA) issues bonds and loans the proceeds to private entities or organizations for eligible purposes. The interest on the bonds may be tax - exempt (if eligible under the Internal Revenue Code), taxable or a combination of both. Projects eligible for financing under the Economic Development Loan Program include land, buildings or improvements for the following: • A voluntary nonprofit hospital, clinic or health care facility; • loans to one or more physicians for an office building to be used exclusively by professional health care provides, including appropriate ancillary facilities; • A private college or university or a state institution whether for the establishment of or maintenance of the college or university or state institution; • An industry for the manufacturing, processing or assembling of agricultural or manufactured products; • A multifamily housing unit or complex; • A facility for a 501(c)(3) nonprofit organization; or • Pollution control facilities that are suitable for use by any industry, commercial enterprise or utility For additional information contact the Iowa Finance Authority at (800) 432 -7230 or www.iowafinanceauthority.gov 182 Design Guidelines Enterprise Zones: The city currently has two Enterprise Zones that encompass the downtown area of the city. Property within Enterprise Zones is eligible for state assistance for redevelopment and construction projects. A property within an Enterprise Zone may be eligible for a: • 10% Investment Tax Credit • Rebate of Sales and Use Taxes paid on materials • Additional funding for training new employees For additional information and to determine eligibility, please contact the Economic Development Department at (563) 589- 4393 or econdev @cityofdubuque.org. Tax Increment Financing (TIF): An incentive program which captures the increased property taxes a business pays from improving their property. This incentive can be used to help pay for needed infrastructure improvements or to provide grants to the business. Businesses must commit to job creation in the community or must have an extraordinary positive impact for the community to offer this incentive. This is available in urban renewal districts only. The downtown core and all industrial parks have been designated as urban renewal districts. Any TIF amount will be based on the increased assessed value the project creates. TIF can be structured as an up -front loan, with debt service paid from the future flow of new taxes generated by the project over a 10 year period, or the property owner can opt to take the TIF as a rebate of the new taxes over 10 years. For additional information and to determine eligibility, please contact the Economic Development Department at (563) 589 -4393 or econdev @cityofdubuque.org. Downtown Rehabilitation Loan Program: The Downtown Rehabilitation Loan Program is designed to further the goals and objectives of the Greater Downtown Urban Renewal Plan by creating the financial incentives needed to eliminate conditions of blight, encourage revitalization efforts, and to retain or create employment opportunities and /or new housing units within the district. A maximum of $300,000 per building shall be loaned during the life of the program. Projects may be phased with a minimum of $10,000 loaned at any one time. For additional information and to determine eligibility, please contact the Economic Development Department at (563) 589 -4393 or econdev @cityofdubuque.org. Appendix 183 Community Economic Betterment Account: Provides financial assistance to companies that create new employment opportunities and /or retain existing jobs, and make new capital investment in Iowa. The amount of funding is based, in part, on the number of jobs to be created /retained. Funds are provided in the form of loans and forgivable loans. Investments are used to leverage other financial support such as bankfinancing and private investment, as well as local community support. The program contains a modernization project component. This part of the program is specifically designed for business investing in machinery and equipment and /or technology upgrades to improve or maintain their competitive edge in their respective markets. The CEBA programs can provide assistance up to $1 million. As an alternative, nontraditional, short -term float loans, or interim loans greater than $1 million may be available. The funding level for start -up companies varies depending upon employee wage rates. The maximum assistance available through the EDSA program is $1,000,000. Projects eligible under the program include: • Building construction or reconstruction • Land or building acquisition • Equipment purchases • Operating and maintenance expenses • Site development • Working capital For additional information and to determine eligibility, please contact the Economic Development Department at (563) 589- 4393 or econdev @cityofdubuque.org. High Quality Job Creation Program: Provides qualifying businesses tax credits to off -set the cost incurred to locate, expand or modernize an Iowa facility. To qualify for this flexible assistance package that includes tax credits, exemptions and/ or refunds, a business must be a non - retail or non - service business and meet at least four of nine eligibility requirements. Awarded amounts will be based on the business's level of need, the quality of the jobs, the percentage of created jobs defined as high - quality, and the economic impact of the project. For additional information and to determine eligibility, please contact the Economic Development Department at (563) 589 -4393 or econdev @cityofdubuque.org. 184 Design Guidelines Entrepreneurial Ventures Assistance Program: The program provides financial assistance and /or technical assistance to start -up and early -stage companies and existing companies that are developing a new product or new technology. The purpose of the Entrepreneurial Ventures Assistance program is to encourage the development of entrepreneurial venture planning and managerial skills in conjunction with the delivery of a financial assistance program for business start -ups and expansions. Up to $250,000 may be awarded to a single applicant in the form of financial assistance. Repayment of the funds may be in the form of a royalty investment or loan, which is determined by the Iowa Department of Economic Development (IDED) upon approval of application. This funding may be used to leverage conventional financing, for business expenses or working capital, and to purchase machinery, equipment, software or other business expenses deemed reasonable and appropriate by IDED. For additional information and to determine eligibility, please contact the Economic Development Department at (563) 589 -4393 or econdev @cityofdubuque.org. Economic Development Set -Aside Program: Provides financial assistance to companies that create new employment opportunities and /or retain existing jobs, and make new capital investment in Iowa. The amount of funding is based, in part, on the number of jobs to be created /retained. Up to $500,000 in assistance is available. Funds are provided in the form of loans and forgivable loans however, EDSA investments should not be considered a sole funding source. The program leverages other financial support such as bank financing and private investment. At least 51 percent of the created /retained employment opportunities must be made available to individuals presently earning wages defined as low- and - moderate income. The EDSA program assistance is targeted toward business projects located in communities with populations of less than 50,000. The purpose of the program is to create /retain quality employment opportunities for low- and moderate - income individuals. Projects eligible under the program include: • Building construction or reconstruction • Land or building acquisition • Equipment purchases • Operating and maintenance expenses • Site development • Other projects on a case -by -case basis For additional information and to determine eligibility, please contact the Economic Development Department at (563) 589- 4393 or econdev @cityofdubuque.org. Appendix 185 Facade Grant: The Facade Grant is a matching grant not to exceed $10,000 and shall be awarded to qualifying projects based on total project costs. The grant is for facade improvements to properties located in the Greater Downtown Urban Renewal District. For additional information and to determine eligibility, please contact the Economic Development Department at (563) 589 -4393 or econdev @cityofdubuque.org. Design Grant: A maximum of $10,000 per building may be awarded by the city to offset pre - development costs incurred by Rehabilitation Loan Program participants. The program reimburses for architectural and engineering fees, feasibility studies, environmental assessments, or other related soft costs. For additional information and to determine eligibility, please contact the Economic Development Department at (563) 589 -4393 or econdev @cityofdubuque.org. Dubuque Main Street Ltd. Loan Pool: A loan of up to $250,000 per commercial entity located in one of Main Street's seven historic districts: Historic Old Main, Cable Car Square, Town Clock, the Ice Harbor, Upper Main, Jackson Park, Couler and the Warehouse District. Projects eligible for this program include facade and /or interior renovation, leasehold improvements, and /or acquisition of commercial property located in the above mentioned districts. The real estate acquisition component of the program requires a significant interior or exterior renovation/ improvement project to accompany the purchase. Projects must complement Dubuque Main Street's vision of a revitalized downtown, as indicated in the organization's mission statement. For additional information, terms and conditions contact Dubuque Main Street at (563) 588 -4400 or www.dubuquemainstreet.com. Historic Preservation Revolving Loan Fund: Provides a low interest loan for exterior work that meets the Secretary of the Interior's Standards and Guidelines for Rehabilitation for properties located in local Historic Preservation Districts and Conservation Districts. For additional information and to determine eligibility, please contact the Planning Services Department at (563) 589 -4210 or planning @cityofdubuque.org. 186 Design Guidelines Historic Preservation Housing Grant: Preservation grants (in the form of a forgivable loan) are available on a competitive basis to income - qualifying owner- occupants and to qualified non - profit organizations in any local historic district or city- designated landmark for specific rehabilitation projects that preserve the original building materials and character - defining features of the home. For additional information and to determine eligibility, please contact the Planning Services Department at (563) 589 -4210 or planning @cityofdubuque.org. Urban Revitalization Program: Offers a property tax exemption for new improvements made to qualified residential properties and limited commercial properties. Owners who upgrade their residential properties located within a designated Urban Revitalization district may receive a 10 -year exemption from the property tax liability that would normally accompany numerous property improvements. Owners of commercial properties within the Washington Neighborhood district are eligible for a three -year exemption. For additional information and to determine eligibility, please contact the Housing and Community Development Department at (563) 589 -4239 or housing @cityofdubuque.org. Lead Hazard Reduction Program: Provides financial assistance in the form of a HUD funded forgivable loan for lead hazard reduction for low- and moderate - income home - owners and rental property owners to reduce or eliminate lead -based paint hazards in their properties. The program is specifically targeted to assist families with children under the age of six. Grant funding (in the form of three year forgivable loans) is provided for lead hazard reduction activities, inspection, and risk assessment of enrolled properties, community awareness, education, and training. For additional information and to determine eligibility, please contact the Housing and Community Development Department at (563) 589 -4239 or housing @cityofdubuque.org. Operation Paintbrush: Provides free exterior paint to any owner- occupied single - family or duplex income qualified homeowner. For additional information and to determine eligibility, please contact the Housing and Community Development Department at (563) 589 -4239 or housing @cityofdubuque.org. Appendix 187 Operation Upkeep: This program provides forgivable loans or deferred payment loans to low- and moderate - income homeowners to improve the exterior appearance and conditions of their homes. For additional information and to determine eligibility, please contact the Housing and Community Development Department at (563) 589 -4239 or housing @cityofdubuque.org. Moderate OwnerlDeveloper Rehabilitation Program: This program provides short -term, 0% interest loans for rental property owners. This program encourages redevelopment of run down single - family or duplex homes. The structures are to be sold to first -time homebuyers within six month of completion. For additional information and to determine eligibility, please contact the Housing and Community Development Department at (563) 589 -4239 or housing @cityofdubuque.org. Moderate Income Rental Rehabilitation Program: This program provides long -term, low- interest loans for rental property owners. The program is designed to encourage rehabilitation of existing rental housing for the benefit of moderate income tenants. For additional information and to determine eligibility, please contact the Housing and Community Development Department at (563) 589 -4239 or housing @cityofdubuque.org. Homeowners Rehabilitation Program: This program provides low- interest, long -term loans to income qualified, owner- occupied, single - family or duplex home homeowners to rehabilitate their properties. For additional information and to determine eligibility, please contact the Housing and Community Development Department at (563) 589 -4239 or housing @cityofdubuque.org. Community Partnership Program: Community Partnership funds are for organizations, programs or facilities operating within the city limits of the City of Dubuque. The Community Partnership Program (CP2) is designed to assist, on a competitive basis, local organizations in the development of projects that benefit Dubuque's low -and moderate - income residents and/ or programs which address problems of slum and blight. Recipients are required to follow CDBG and HUD regulations, as well as state and local rules. A maximum award of $50,000 per project is available. Organizations must provide a cash or in -kind match. A variety of activities are eligible for funding under established program guidelines. Applications are available for a limited time during February /March of each year. 188 Design Guidelines For additional information and to determine eligibility, please contact the Housing and Community Development Department at (563) 589 -4239 or housing @cityofdubuque.org. Tax Incentives for Improving Accessibility The U.S. Department of Justice provides information to small businesses about the Americans with Disabilities Act (ADA) and tax benefits to help them comply with the law. The ADATax Incentives Packet contains information about the disabled access credit that is available for small businesses and the tax deduction that is available for businesses of any size to help offset some of the costs of improving accessibility for customers or employees with disabilities. It also includes the Internal Revenue Service (IRS) form and instructions for claiming the disabled access credit, a list of ADA publications available free from the Department of Justice, and a list of telephone numbers and Internet sites to which you can turn for answers to your ADA questions. If you have questions about the ADA or want to order ADA publications, please call the ADA Information Line at 800 -514- 0301 (voice) or 800 - 514 -0383 (TTY). Specialists are available to answer questions from 10:OOam until 6:OOpm Eastern time and automated service is available 24 hours a day to order publications. The ADA Home Page also provides information and publications at www.usdoj.gov /crt /ada. Two tax incentives are available to businesses to help cover the cost of making access improvements. The first is a tax credit that can be used for architectural adaptations, equipment acquisitions, and services such as sign language interpreters. The second is a tax deduction that can be used for architectural or transportation adaptations. (NOTE: A tax credit is subtracted from your tax liability after you calculate your taxes, while a tax deduction is subtracted from your total income before taxes, to establish your taxable income.) Additional information is available locally from Proudly Accessible Dubuque at http: / /www. pro udlyaccessibledubuque.com. "The above financial incentives are subject to change. Additional financial incentives may be available through federal, state, and local agencies and organizations. Appendix 189 190 Design Guidelines City of Dubuque Architectural Styles for the Architectural Guidelines February 3, 2014 Architectural Styles Each of the following styles /descriptions includes several photographs illustrating Dubuque's most common historic styles and their basic features. However, styles are rarely "pure" in form, and there are awide 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. In this Booklet: Greek Revival 2 Federal 3 Italianate 4 Gothic Revival 6 Octagon Mode 7 Workers Cottage 8 Dubuque /Brick Vernacular 9 Second Empire- Mansard 11 Front Gable 12 Brick Flats /Row House 13 Gothic Revival /Victorian Gothic 14 Stick 15 Stick /Eastlake 16 Queen Anne 17 Shingle 19 Renaissance Revival 20 Romanesque RevivallRichardsonian Revival 22 Classical Revival 23 Colonial Revival /Dutch Colonial 24 Beaux Arts 25 Neo- Classical Revival 26 Colonial Revival /Georgian Revival 27 MissionlSpanish Colonial 28 Tudor Revival 29 Bungalow Craftsman 30 American Four Square 31 Modern Movement -Art ModernelArt Deco 32 Dubuque Architectural Styles 1 GREEK REVIVAL c. 1825-1860 A wide spread and highly influential style of the mid - nineteenth century, the Greek Revival style is often referred to as the only truly national style of the United States. The Greek Revival draws its name from the direct influence of Classical Greek architecture, which was considered to be representative of American democratic ideals. The translation of the original Greek elements into American architecture can range from a literal copy of ancient monuments, to simple and schematic references to the ancient precedents. Common features include symmetrical floor plans and symmetrical facades, frequently decorated with columns or pilaster capped by a triangular pediment. The more popular vernacular form, seen in Dubuque, usually consists ofa tall , narrow, front - gabled structure with symmetrical window arrangement, pedimented window heads, and narrow, flat trim bands at the corners and fascia to reference the columns and pediments of the Greek originals. placeholder for residential example - anno- tation to be cleaned up Pedimented window hernia Fascia and corner trim i Main entry with transom t 480 EMMET Tall, narrow 2/2 double hung wood windows Local variants of style are executed at a small scale Symmetrical facade 2 Dubuque /Architectural Styles FEDERAL c. 1840-1860 The Federal style appeared in Dubuque through the spread of stylistic information among the rivertowns throughout the Midwest. It represents long- standing tradition of Federal -style architecture that flourished in the prosperous towns along the Mississippi River. Few examples of this style remain intact in Dubuque. They are characterized 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. SSI::ppl: :; pur!3p::Is :31 111:: 1:•1u11i Ii;;hl ::ouL :•I hunt: lC il1:;U'R N73110W; ::o" IF•d::1 "Idssln :; 61i;;k ::onslru::lion Dubuque Architectural Styles 3 Elaborate cornices Round arched window Simple detailing Banding Finished masonry Symmetrical primary facade 4 ITALIANATE c. 1840-1890 A variant of the general revival of interest in Classical styles at the second half of the nineteenth century, the Italianate focuses more specifically on the replication and adaptation of Renaissance precedents, as opposed 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 registers through the use of string courses, banding, 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. Dubuque Architectural Styles In residential architectural, the style draws on a Romanticized image of the Italian rural villa as popularized by the pattern books of American architect Andrew Jackson Downing, which circulated during the 1830s and 1840s and beyond. In Dubuque elements of the Italianate frequently mix with features of other styles, notably the Second Empire, creating a hybrid Italianate that conforms to the basic characteristics with a few unusual additions. Typical features include a tall, box -like mass with a hipped or Mansard roof, prominent eaves or cornice with large decorative brackets, windows and doors with extremely tall, narrow proportions and arched or rounded heads, decorative window hoods, elaborate porch detailing with attenuated proportions, and often a cupola or tower. placeholder for residential example - anno- tation to be cleaned up Tall, narrow double Hipped roof cupola hung wood windows X Limestone window hood t Wide overhanging eave with brackets 1192 LOCUST Tall, narrow, paneled double entry doors Attenuated porch columns and detailing Dubuque Architectural Styles 5 GOTHIC REVIVAL c. 1840 -1890 Drawing heavily on the Gothic cathedrals of Europefor inspiration, the Gothic Revival came to the United States by way of a nineteenth - century revival of interest in Gothic architecture in England. Frequently used in rural settings for domestic architecture, the High Victorian Gothic was commonly used in an urban setting for ecclesiastic architecture as a direct reference to the traditional Cathedrals of France and England. Variants of the style reflect different European sources and American inventions, such as the crenellated or castellated type drawn from Medieval English prototypes, and the polychromed type incorporating of the multi- colored masonry materials and patterns of the Romanesque. Typical features include massive masonry walls often with buttresses, pointed arches in window and door openings, stone or wood tracery in the windows, and steeply pitched roofs often incorporating towers or spires. piacehoicler for example - annotation to he cleaned up Rose window Crenellation and fini is Limestone masonry Steeply pitch roof Pointed arch window and door openings 1410 MAIN St John's Episcopal Ommh 1875.78 YithY.ctmian Gothic Revival Wall buttress Turret Dubuque Architectural Styles OCTAGON MODE c. 1850 -1870 An architectural rarity, the Octagon Mode owes its name to its eight -sided plan, although examples with six, ten, twelve, and sixteen sides are documented. The style was promoted heavily in the 1850s by Orson Fowler, awriter from New York, who believed the octagonal plan to be a more efficient use of living space than the standard rectangular plans by eliminating "dark and useless corners ". The style is easily recognizable by its octagonal form, but its detailing draws heavily from the Italianate style, including tall, narrow window double and triple hung windows, wide eaves with large supporting brackets, an elaborate porch with narrow proportions, and the insertion of cupola or tower (octagonal, of course). placeholder for residential example - anno- tation to be cleaned up Wide eave with decorative brackets Octagonal cupola with balustrade Two -story front porch with octagonal columns 1095 WEST 3RD Tall, narrow, multi- light triple hung wood window Octagonal plan Dubuque Architectural Styles Front entry with side lights and transom WORKERS COTTAGE c. 1850-1890 Asmall number of simple one - and -one halfortwo- storyvernacular structures, also know as I- houses, are found in the Cathedral District, particularly along St. Mary's Street and the south end of Bluff, which are termed "Workers' Cottages ". These simple frame and brick buildings were constructed by the large numbers of industrial workers who poured into Dubuque in the latter half of the nineteenth century to work at one of the many manufacturing companies, such as Cooper Wagon Works, and Car, Ryder and Engler Co. The houses are similar to Gable front in that they are fairly plain rectangular boxes, often side gabled, with asymmetrical facade, double hung wood windows with multiple lights, and a shallow pitched roof with narrow eaves. Detailing is usually minimal, and represents a simplified version of detailing found on popular high styles, as well as a variety of ethnic influences. placeholder for residential example - anno- tation to be cleaned up 6/6 double hung wood windows Paired chimneys Low -pitch side gable roof Narrow eaves alMb Symmetrical facade Wood clapboard Double entry with tall, narrow door and transom Dubuque /Architectural Styles DUBUQUE /BRICK VERNACULAR c. 1850 -1890 ;'able :: roof SS %'i'•lelri::al FE3: :E3 : :e Lar ;e -1- ::outae hunt; i I1; :014 Li'•1e51one : :elail hi; :hli;:hlin;: win :1i]V.' 51115 alY.; Ile 8::5 Si'•Iple re :aan:;ular brit :k '•113__ There are many structures within the existing historic districts that do not fall neatly into a single stylistic category. These are loosely termed as " Brio kVernacular" 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 or2 /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. Dubuque Architectural Styles 9 FI!I roof _ 8i8 an:: '21'2 croubI hunt; n.• in: :olas Brit :k R::: :Ian : :ular box for•i _ Brick Vernacular warehouse buildings typically have simple rectangular 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 and 12/12 double -hung, both round arched and rectangular. Typical features include loading docks, loading bay doors and openings and flat roofs. 10 Dubuque Architectural Styles SECOND EMPIRE - MANSARD 0. 1855 -1885 Cupola with ogee mansard roof .�••1 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 III 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. Dubuque Architectural Styles 11 FRONT GABLE c. 1860 -1900 The Front Gable residences of Dubuque are a vernacular style of housing common in the late 19th century that spread across the country with the expansion of the railroad system, and developed slightly different local variations. Also known as the I -town houses, in form it bears a resemblance to the basic Greek Revival cottage, with a tall, narrow footprint, and a pronounced front gabled facade with symmetrically arranged door and window openings. Other features include 1/1 double hung windows, often with arched tops, small one story full width open porches, narrow eaves, and minimal detailing. Although most commonly constructed of wood frame, in Dubuque many examples use local brick masonry. placeholder for residential example - anno- tation to be cleaned up Symmetrical window arrangement Double hung windows with arched heads Narrow, front gabled facade Brick masonry ST. MARY'S STREET Narrow eaves Small, open front porch with turned posts 2 Dubuque Architectural Styles BRICK FLATS /ROW HOUSE c. 1860 -1900 Lar .a, proja::I in .: :o rn it �::torE311va slum: :: a1E3111r1:: 7.111. narro:; ::out ; hunt: TWO; full hai ;hl trays Carve:: 'Iona :4in:P:Pfe• 1100: :s Sy -1.1 ;? I l:: al Ili L:13 :: :: ':4ilh .:B IIIBI °Illry Two and three - story brickworkers' flatsare 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 architecture during 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 a decorative glazing in the doors or bay windows. Dubuque Architectural Styles 13 GOTHIC REVIVAL /VICTORIAN GOTHIC c. 1860-1890 Drawing heavily on the Gothic cathedrals of Europe for inspiration, the Gothic Revival came to the United States by way of a nineteenth - century revival of interest in Gothic architecture in England. One subset of the style frequently executed the traditional stone details of Gothic architecture in wood, which greatly reduced the expense and labor involved in production. While some of the traditional Gothic features are apparent, such as pointed arch window openings, stained or decorative glazing, steeply pitch roofs, and buttressed walls, many new features were created that are specific to the Carpenter version, such as the distinctive scrolled vergeboards or "gingerbread" that drips from the eaves, as well as intricately carved and turned columns, spindles, brackets, and pendentives that were made possible by technical innovations in the mass production of millwork in the late nineteenth century. placeholder for residential example - anno- tation to be cleaned up Window hoods with crosettes ("ears") Saw -cut brackets frame porch opening 1 Vergeboards and pendentives on eaves / Elaborate pointed arch colonnade on porch 1 1207 GROVE TERRACE 14 Dubuque Architectural Styles STICK c. 1860 -1900 Like the Gothic Revival and the Queen Anne, the Stick style is a rather free adaptation of the Medieval English models inspired by the Picturesque Gothic movement and the work of American architect Andrew Jackson Downing. The style draws its name from the visible half- timbering or "Sticks" in the gables, which are intended to reference Medieval timber frame construction methods. In the Stick style these "timbers" are purely decorative, however, and represent one of many applied features that enliven the surface of the building. The basic forms and details are similar to the Queen Anne, with crossgabled, steeply pitched roofs, and an undulating surface with projecting bays and gables. The primary distinguishing features are the decorative elements of the facades, which can include multiple sizes, shapes and patterns of wood shingles and clapboards, curved or diagonal gable braces, carved vergeboards and other panels or boards (stickwork) that are applied to or raised above the wall surface. placeholder for residential example - anno- tation to be cleaned up Stickwork Carved vergeboafd 1492 LOCUST Bay window and balcony Multiple styles of wood shingles Dubuque Rrchitectural Styles Carved wood panels representing "stick" patterns Large angled bay STICKJEASTLAK E c. 1880 -1910 The Eastlake style began as an aesthetic movement in the late nineteenth century, inspired by the writing of English architect Charles Locke Eastlake. His book Household Taste in Furniture, Upholstery and Other Details was first published in the United States in 1872. Similar to the English Arts and Crafts movement, Eastlake promoted hand craftsmanship in the Decorative Arts. The popularity of his book and designs in the United States prompted the mass - production of Eastlake Style furniture and detailing, which was despised by Eastlake himself. The term is rather freely used to refer to avariety o f furnishings and architecture, most of which have only a slight relation to the custom designs and philosophical intent of Charles Eastlake's work. The style is characterized by abstracted geometric, floral and linear forms that are carved or incised into a variety of materials. In architectural forms, these details often are combinedwith those of Stick, Queen Anne, or Dubuque Vernacular styles. Brick Chimeney Pounded Shingle Siding Tapered Round Posts Sep Fit hed Roof Srindlaa Along Porch Rion? 16 Dubuque Architectural Styles QUEEN ANNE 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 commercial 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. Ri: :h!:r p•13rl3p::l Roun:: ar: :h:: :::ain : :.ra.• Mix '.: 13n :: Fini hBS PiIEiS1 r5 Dubuque Architectural Styles 17 In residential architecture, commonly seen elements include wood frame variants that emphasize the modulation of surface through projecting towers and overhanging gables, and the juxtaposition of different finish materials, particularlywood shingles and clapboard, that are laid in patterns. Although sharing many features with the Shingle style, Queen Anne's common features include asymmetrical facades, bay windows, and full or partial width open porches. placeholder for residential example - anno- tation to be cleaned up Overhanging gable Recessed opening With columns Double hung wood window Use of shingles at Shingles in radius upper story Bay window Half -round projecting turret Asymmetrical facade pattern Partial width open porch with freestanding columns 18 Dubuque Rrchitectural Styles SHINGLE c. 1880 -1910 The Shingle style originated as a high style among New England architects of the late nineteenth century, and drew its inspiration from a variety of sources, including the Queen Anne, Colonial Revival, and Richardson Romanesque. It can take numerous forms and adapt the features of other styles in its vernacular guises, making it difficult to distinguish from its close cousin the Queen Anne, but it is always identifiable by its sheathing of wood shingles that wrap around the structural frame like a skin. Characteristic features are similar to the wooden variants of Queen Anne, with an emphasis on undulating surfaces, and curving, irregular or projecting forms, which are starkly contrasted with plain window trim and open projecting porches with simple columns or piers. placeholder for residential example - anno- tation to be cleaned up Overhanging gable with flared ends Low, wide gable Double hung wood windows with simple trim Wood shingle skin 116 ALPINE Open porch with large, simple piers Dubuque Architectural Styles 1 Projecting two- story bay RENAISSANCE REVIVAL c. 1880 -1920s A variant of the general revival of interest in Classical styles at the end of the nineteenth century, the Renaissance Revival focuses more specifically on the replication and adaptation of Renaissance precedents, as opposed to the ancient models that inspired the Classical Revival. It was a common style for building 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 registers through the use of string courses, banding, material changes, and different windows shapes and surround. Detailing was usually simply and minimal, with the decorative features confined to doors surrounds and window hoods, modillions, keystones, and elaborate cornices. Notable features include large roundarched window, arcades, and high quality masonry materials with fine finishing. placeholder for example - annotation to be cleaned up Two-story pilaster colonnade Round arches Denticular cornice Tall rusticated be Prominent carved surround at central Symmetrical facade with entry projecting central block and setback, flanking wings 20 Dubuque Architectural Styles 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 featu res including door surrounds, window hoods, modillions, 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 patterns are 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. Flat roof with decorative cornice Rouridarched double -hung windows Rectangular box form Brick facade Sheltered loading dock with rectangular bay doors Dubuque Architectural Styles 21 ROMANESQUE REVIVALIRICHARDSONIAN REVIVAL c. 1880 -1900 Named for the distinctive work of Boston architect Henry Hobson Richardson, this style was most commonly used for largescale public or commercial architecture due to the great expense involved with solid masonry construction. Dubuque is unusual in that it retains two domestic examples of this style, although their detailing is heavily influenced by the Queen Anne. The style is best known for its massive walls of rusticated masonry, usually mixed with a more smooth -faced stone or fine brickwork, and cast terra cotta for a contrast of surface textures. Like the Queen Anne, modulation of surface and forms is key, and the facades are asymmetrical, incorporating large open porches, rounded projections, multi -story towers, or multistory bays. Nearly every example also makes use of the round arch, springing either from massive piers, or squat columns. placeholder for residential example - anno- tation to be cleaned up Rusticated ashlar masonry construction in red sandstone Round arch springing from column Polygonal turret 1 Partial width porch with carved stone supports, details, and arches \1105 LOCUST Asymmetrical facade Double hung wood windows 22 Dubuque Architectural Styles CLASSICAL REVIVAL c. 1880 -1920 As with the Beaux -Arts style, the Classical Revival is another variant of ancient Classical architecture as interpreted for American uses. The primary difference is both the source of inspiration and the degree of authenticity with which it was interpreted. Classical Revival styles rely much more heavily on Roman precedents, particularly Imperial Baths, temples, and basilicas, which were ideal for highly visible large -scale public and commercial buildings such as libraries, train stations, and banks. These almost literal translations of Roman Classicism used the language, scale, and dignity of the originals to convey the appropriate sense of stability and dignity to these relative new American institutions. Typical features include the general large scale of the structures, which are usually constructed of stone masonry, rigid symmetry in the organization of primary and secondary facades, and massive multistory colonnades on the primary facades or at primary entries. placeholder for example - annotation to be cleaned up Massive corner pilaster Basilican (cross- shaped) Large clerestory plan window Tall entablature Freestanding Doric colonnade raised on podium 359 NINTH (COPY OF ROMAN BASILICA) Building raised on tall base /podium Dubuque Arch!ect:; a ^fi `e: -: 23 COLONIAL REVIVALIDUTCH COLONIAL C.1880-1955 The Colonial Revival is a wide spread and highly influential style of the late eighteenth century that has undergone numerous revivals in the twentieth century and still remains popular today. The Colonial Revival began as a renewed interest in the colonial - era English and Dutch architecture on the Atlantic seaboard during the last decades of the nineteenth century. Early examples rarely were historically correct, but the publication of accurate documentation during the early twentieth century lead to more accurate replications of the colonial originals. The Dutch Colonial was a popular variant that maintained the basic symmetry and rectilinearity of English colonial types, with with the addition of gambrel roof encompassing the second story, often with large shed roof dormers. These roof forms were influenced by the gambrel forms of the Shingle style, and the resulting structures can include elements of both Shingle and Colonial Revival styles, including shingled exteriors, paired double hung windows, and pedimented porticos at the central entry. placeholder for residential example - anno- tation to be cleaned up Side gambrel roof Large shed dormer Paired double hung windows Wood shingles on walls, dormers, and vertical face of gambrel Symmetrical facade 1090 MELROSE Central entry with sidelights Small pedimented entry portico 24 Dubuque Architectural Styles BEAUX ARTS C. 1885 -1930 Sy..l..l alri : :al ':4in:xn•.• pallarn Fra" las D.mnlhlan pllaslars Hlarlir: :ill: :!illy ::IV I ::a :: �E3 : :E3 ::a ':4.111 ::I::!ir L :!isa. "Il :: ::la arr.; Pro iin::nl t :anIral anlry 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 elements drawn 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 limitless number of Classical elements in various combinations, the typical features include a rigidlysymmetrical front facade with a hierarchical arrangement of elements divided by Ionic or Corinthian pilasters or columns, and entablatures decorated with brackets or swags. Dubuque Architectural Styles 25 NEO- CLASSICAL REVIVAL c. 1895 -1920 26 Stepped parapets at the gable ends Double hung windows Geometric and floral decorative features Compressed two - dimensional columns Brick construction 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 Exposition in Chicago. Similar to the Beaux Art and the Classical Revival in its dependence upon Classical prototypes, the Neo - Classical 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. Dubuque Architectural Styles COLONIAL REVIVALIGEORGIAN REVIVAL C. 1900 -1930 The Colonial Revival and its substyle the Georgian Revival are a continuation and adaptation of an earlier style. The Georgian was an very popular style of the English colonies, drawing heavily on the Renaissance - inspired designs of British architects such as Christopher Wren and Inigo Jones. In the United States the style dominated architecture of the eastern seaboard for nearly the entire eighteenth century, and was revived again in the late nineteenth /early twentieth century as part of the general interest in colonial styles, often mixed with detailing of other contemporary popular styles. Defining features of Georgian Revival include its simple, rectangular massing, side gabled or hipped roof, rigidly symmetrical facade, vertically and horizontally aligned doublehung windows with multiple lights, and a central front entry with a shallow decorative surround. placeholder for residential example - anno- tation to be cleaned up Multi-light double hung wood windows Steeply- pitched side gable roof Small dormers Smaller flanking wings set back from main body of building Vertically and horizontally aligned windows 637 -490 WILBUR Central front entry with multi -light transom and shallow surround Brick masonry, typical of Midwestern versions Dubuque Architectural Styles 27 MISSIONISPANISH COLONIAL C. 1890 -1930 Most popular in California and the southwest states, the Mission style is the California equivalent of the Colonial Revival in the northeast. Drawing heavily on its Spanish heritage for inspiration, the style consists of a eclectic mixing of elements drawn from historic Spanish missions with contemporary features of the California based Craftsman and Bungalow styles, as well as the rambling, low masses of the Midwestern Prairie style. Its typical features are a low, wide mass frequently topped with a low- pitched hipped roof of red clay tile, wide eaves with exposed rafter tails, smooth stucco - covered walls of masonry or adobe, asymmetrical facades with rambling floor plans, open porches on the front supported by large square or tapered columns, and the definitive Mission dormer or roof parapet on the front and/or sides. The Spanish Colonial style peaked in popularity in the 1930s, and was most common in California and the Southwest, but soon passed out of favor. It is identified primarily by its unusual, carved entry surrounds and massive wooden doors. placeholder for residential example - anno- tation to be cleaned up Smaller window units on upper story Stucco - covered walls 1 Low -pitch hipped roof with clay tile Wide eave with exposed rafter tails Larger casement windows on first floor 1105 HIGHLAND Recessed entry with arched openings Symmetrical facade 28 Dubuque Architectural Styles TUDOR REVIVAL C. 1890 -1940 Like the Stick style, Tudor is loosely based on Medieval English prototypes, and in fact bears almost no resemblance to the English Tudor architecture of the 16th century. In Dubuque, as in most cases, the Tudor style is a common suburban style that incorporates vaguely Gothic or Medieval detailing into standard architectural forms, usually a variant of the one -story Colonial Revival. Its most characteristic feature is the very steeply pitched cross - gabled roof on a narrow body that gives it a distinctive "cottage -like" appearance. Other notable features include large exposed masonry chimneys, groups of small multi -paned or diamond paned casement windows, and a prominent front entry often with an arch -top door and decorative surround. Brick examples usually incorporate scattered stone detailing, while wood frame examples sometimes exhibit halftimbering. placeholder for residential example - anno- tation to be cleaned up Exposed masonry chimney Prominent front dormer Steeply - pitched side gabled roof Pairs of small. multi -light casement windows 1087 WEST 3RD Entry with pointed arch door and decorative surround Dubuque Architectural Styles 29 BUNGALOW CRAFTSMAN C. 1900 -1930 Like the American Four Square and the Bungalow, the Craftsman is a distinctly American style that was developed and disseminated largely through catalogues, kit houses, pattern books, and popular magazines, and its features were often incorporated into those styles. The Craftsman originated with the work of the Greene brothers in Pasadena, California, who combined elements of the English Arts and Crafts movement, with Japanese influences, and their strong personal interest in the technical arts to create intricately detailed wooden homes. As these forms were adopted and codified for a mass market, they were increasingly simplified, and also altered to incorporate elements and materials of other popular styles. The defining features include a low, wide mass, a large low- pitched gable roof with wide eaves supported by brackets, large open porches (a remnant of the "sleeping porch ") with large square or tapered square columns, 3/1 or 411 double hung windows, and decorative glazing in the window or door units. placeholder for residential example - anno- tation to be cleaned up Large, cross -gabled roof 3/1 double hung window Wide cave with simple bracket 155 ALPINE Low, wide massing Small scale Projecting open porch with tapered square columns 30 Dubuque Architectural Styles AMERICAN FOUR SQUARE C. 1900 -1920 A widely popular style that is considered to be one of the few indigenous styles in the United States. The American Four Square (also known as the "Prairie Box ") originated in the Midwestern states, and was developed and disseminated throughout the country by "kit" houses offered by catalogue companies such as Sears, Roebuck and Co., as well as pattern books and popular magazines. The most common form is a simple, low cube with a symmetrical facade, usually capped by a hipped roof with wide overhanging eaves and a prominent front dormer. This basic box can be adornedwith avariety of materials and details incorporating one or more popular styles, but most frequently they draw from the Craftsman, Mission, or Italianate styles, including 3/1 or 4/1 double hung windows, low wide open porches across the front with large square or tapered square columns, and leaded or decorative glass transoms in door and window assemblies. placeholder for residential example - anno- tation to be cleaned up Hipped or pyramidal roof Front dormer Multi -light windows Symmetrical facade organization Cubical shape 1030s MELROSE Asymmetrical open front porch Dubuque Rrchitectural Styles Narrow clapboard siding :;1 MODERN MOVEMENT -ART MODERNEIART DECO c. 1920 -1940 Si'•I p Iif i : :.1 r ni: :B BOXY '1135585 .S%' I'•I::Ir1: :13I 113: :13 :::: /Br \Q it z;U\C_ 7311:: Li ::hl bri::k LixIBriOr This style is avariation 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, co rrugated 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. Dubuque Architectural Styles City of Dubuque Glossary Booklet for the Architectural Guidelines February 3, 2014 Glossary of Terms Adaptive Use. Rehabilitation of a historic structure for use other than its original use such as a residence converted into offices. Addition. New construction added to an existing building or structure. Alteration. Any act or process that changes one or more of the exterior architectural features of a structure, including, but not limited to, the erection, construction, reconstruction, addition, sand blasting, water blasting, chemical cleaning, chemical stopping, or removal of any structure, but not including changes to the color of exterior paint. American bond. A brickwork pattern where most courses are laid flat, with the long "stretcher" edge exposed, but every fifth to eighth course is laid perpendicularly with the small "header" end exposes, to structurally tie the wall together. Alignment. The arrangement of objects along a straight line. Appropriate. Especially suitable or compatible. Apron. A decorative, horizontal trim piece on the lower portion of an architectural element. Appurtenances. An additional object added to a building; typically includes vents, exhausts hoods, air conditioning units, etc. Arch. A curved construction which spans an opening and supports the weight above it. (See flat arch, jack arch, segmental arch and semi - circular arch) Asphalt shingles. A type of roofing material composed of layers of saturated felt, cloth or paper, and coated with a tar, or asphalt substance, and granules. Attic. The upper level of a building, not of full ceiling height, directly beneath the roof. Baluster, One of a series of short, vertical, often vase - shaped members used to support a stair or porch handrail, forming a balustrade. Alignment Glossary 3 Board and batten Bracket Bulkhead Canopy 4 Balustrade. An entire rail system with top rail and balusters. Bargeboard. A board which hangs from the projecting end of a gable roof, covering the end rafters, and often sawn into a decorative pattern. Bay. The portion of a facade between columns or piers providing regular divisions and usually marked by windows. Bay window. A projecting window that forms an extension to the floor space of the internal rooms; usually extends to the ground level. Belt course. A horizontal band across or around a building usually enhanced with decorative molding and marking the floor levels on the exterior facade of the building. Board and batten. Vertical plank siding with joints covered by narrow wood strips. Bond. A term used to describe the various patterns in which brick (or stone) is laid, such as "common bond' or "Flemish bond." 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. Building. A resource created principally to shelter any form of human activity, such as a house. Bulkhead. The structural panels just below display windows on storefronts. Bulkheads can be both supportive and decorative in design. Bulkheads from the 19th century are often of wood construction with rectangular raised panels while those of the 20th century may be of wood, brick, tile, or marble construction. Bulkheads are also referred to as kickplates. Bungalow. Common house form of the early 20th century distinguished by horizontal emphasis, wide eaves, large porches and multi -light doors and windows. Canopy. A roof like projection or shelter that projects from the facade of a building over the sidewalk. Capital. The head of a column or pilaster. Glossary Casement window. A window with one or two sashes which are hinged at the sides and usually open outward. Certificate of Appropriateness. A certificate issued by the building official or Historic Preservation Commission indicating its approval of plans for alteration, construction, removal or demolition of a landmark or of a structure within a historic district. Certified Local Government. Any city, county, parish, township, municipality, or borough or any other general purpose subdivision enacted by the National Preservation Act Amendments of 1980 to further delegate responsibilities and funding to the local level. Character. The qualities and attributes of any structure, site, street or district. 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 generally are from four to six inches apart in older houses. Classical order. Derived from Greek and Roman architecture, a column with its base, shaft, capital and entablature having standardized details and proportions, according to one of the five canonized modes: Doric, Tuscan, Ionic, Corinthian, or Composite. Clipped gable. A gable roof where the ends of the ridge are terminated in a small, diagonal roof surface. Colonial Revival. House style of the early 20th century based on interpretations of architectural forms of the American colonies prior to the Revolution. Column. A circular or square vertical structural member. Commission. The Historic Preservation Commission. Compatible. In harmony with location and surroundings. Composition shingles. See asphalt shingles. Configuration. The arrangement of elements and details on a building or structure which help to define its character. Glossary Capital Clapboards Clipped Gable 5 Coping Cornice 11''' MI Cross -gable Eave 6 Contemporary. Reflecting characteristics of the current period. Contemporary denotes characteristics which illustrate that a building, structure, or detail was constructed in the present or recent past rather than being imitative or reflective of a historic design. Context. The setting in which a historic element, site, structure, street, or district exists. Coping. The protective uppermost course of a wall or parapet. Corbel. In masonry, a projection, or one of a series of projections, each stepped progressively farther forward with height and articulating a cornice or supporting an overhanging member. Corinthian order. Most ornate classical order characterized by a capital with ornamental acanthus leaves and curled fern shoots. Cornice. The continuous projection at the top of a wall. The top course or molding of a wall when it serves as a crowning member. Cresting. A decorated ornamental finish along the top of a wall or roof, often made of ornamental metal. Cross - gable. A secondary gable roof which meets the primary roof at right angles. Demolition. Any act or process that destroys in part or in whole a landmark or structure within a historic district. Dentils. A row of small, tooth -like blocks in a classical cornice. Design guidelines. The "Standards for Rehabilitation and Guidelines for Rehabilitating Historic Buildings" as adopted by the Secretary of the United States Department of the Interior, and other guidelines which may be adopted from time to time. Doorframe. The part of a door opening to which a door is hinged. A doorframe consists of two vertical members called jambs and a horizontal top member called a lintel or head. Doric order. A classical order with simple, unadorned capitals, and with no base. Dormer window. A window that projects from a roof. 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. Glossary Eave. The underside of a sloping roof projecting beyond the wall of a building. Element. A material part or detail of a site, structure, street, or district. 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. Ell. The rear wing of a house, generally one room perpendicular to the principal building. Engaged column. A round column attached to a wall. Entablature. A part of a building of classical order resting on the column capital; consists of an architrave, frieze, and cornice. Fabric. The physical material of a building, structure, or community, connoting an interweaving of component parts. Fanlight Facade. Front or principal face of a building, any side of a building that faces a street or other open space. Fanlight. A semi - circular window usually over a door with radiating muntins suggesting a fan. wide and running Entablature Fascia. A flat board with a vertical face that forms the trim along the edge of a flat roof, or along the horizontal, or "eaves," sides of a pitched roof. The rain gutter is often mounted on it. 1 • • Fenestration. The arrangement of windows and other exterior Finial openings on a building. Finial. A projecting decorative element, usually of metal, at the top of a roof turret or gable. Fishscale shingles. A decorative pattern of wall shingles composed of staggered horizontal rows of wooden shingles with halfround ends. Flashing. Thin metal sheets used to prevent moisture infiltration at joints of roof planes and between the roof and vertical surfaces. Flat arch. An arch whose wedge- shaped stones or bricks are Fishscale shingles set in a straight line; also called a jack arch. Glossary 7 Fluting N I Clap p irf i'l i ■L1 w MI WI ■'.iwMI■firrti T. 1r Ilili Mr :1I ■ MUM 'IMAM MAI Foundation Head Hipped roof 8 Flemish bond. A brick -work pattern where the long "stretcher" edge of the brick is alternated with the small "header" end for decorative as well as structural effectiveness. Fluting. Shallow, concave grooves running vertically on the shaft of a column, pilaster, or other surface. Form. The overall shape of a structure (i.e., most structures are rectangular in form). Foundation. The lowest exposed portion of the building wall, which supports the structure above. Frame. A window component. See window parts. Frieze. The middle portion of a classical cornice; also applied decorative elements on an entablature or parapet wall. Gable. The portion, above eave level, of an end wall of a building with a pitched or gambrel roof. In the case of a pitched roof this takes the form of a triangle. The term is also used sometimes to refer to the whole end wall. Gable roof. A pitched roof with one downward slope on either side of a central, horizontal ridge. Gambrel roof. A ridged roof with two slopes on either side. Ghosts. Outlines or profiles of missing buildings or building details. These outlines may be visible through stains, paint, weathering, or other residue on a building's facade. Also known as a palimpsest. Glazing. Fitting glass into windows and doors. Greek Revival style. Mid -19th century revival of forms and ornament of architecture of ancient Greece. Harmony. Pleasing or congruent arrangement. Head. The top horizontal member over a door or window opening. Height. The distance from the bottom to the top of a building or structure. Glossary Hipped roof. A roof with uniform slopes on all sides. Historic District. An area designated as a "historic district" by ordinance of the city council and which may contain within definable geog raphic boundaries one or more landmarksand which may have within its boundaries other proportions or structures that, while not of such historic or architectural significance to be designated as landmarks, nevertheless contribute to the overall historic or architectural characteristics of the historic district. Historic imitation. New construction or rehabilitation where elements or components mimic an architectural style but are not of the same historic period as the existing buildings (historic replica). 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. Hood molding. A projecting molding above an arch, doorway, or window, originally designed to direct water away from the opening; also called a drip mold. Homestead style. An architectural form of the late 19th and early 20th centuries featuring dwelling built in Gable Front plans with limited architectural detailing and generally of frame construction. These dwellings were commonly built throughout the Midwest. In -Kind replacement. To replace a feature of a building with materials of the same characteristics, such as material, texture, color, etc. Integrity. 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, porches, ornamental brackets, moldings and materials, as well as the overall mass and form of the building. ionic order. One of the five classical orders used to describe decorative scroll capitals. Infill. New construction where there had been an opening before, such as a new building between two older structures; or block infill between porch piers or in an original window opening. ionic order Glossary 9 Keystone Kickplate Lattice Lintel 10 Jack arch. (see Flat arch) Keystone. The wedge- shaped top or center member of an arch. Kickplate. Found beneath the display window. Sometimes called bulk -head panel. Knee brace. An oversize bracket supporting a roof or porch eave. Landmark. A property, structure or natural object designated as a "landmark" by ordinance of the city council, pursuant to procedures prescribed in this title, that is worthy of rehabilitation, restoration and presentation because of its historic or architectural significance to the city. Landscape. The totality of the built or human - influenced habitat experienced at any one place. Dominant features are topography, plant cover, buildings, or other structures and their patterns. Lap Siding. See clapboards. Lattice. An openwork grill of interlacing wood strips used as screening. Lintel. The horizontal top member of a window, door, or other opening. Maintain. To keep in an existing state of preservation or repair. Mansard roof. A roof with a double slope on all four sides, with the lower slope being almost vertical and the upper almost horizontal. Masonry. Exterior wall construction of brick, stone or adobe laid up in small units. Mass. The physical size and bulk of a structure. Massing. The three - dimensional form of a building. Masonry. Construction materials such as stone, brick, concrete block or tile. Material. As related to the determination of "integrity" of a property, material refers to the physical elements that were combined or deposited in a particular pattern or configuration to form a historic resource. Glossary Material change. A change that will affect either the exterior architectural or environmental features of an historic property or any structure, site, or work of art within an historic district. Metal standing seam roof. A roof composes of overlapping sections of metal such as copper- bearing steel or iron coated with a terne alloy of lead and tin. These roofs were attached or crimped together in various raised seams for which the roof are named. Modillion. A horizontal bracket, often in the form of a plain block, ornamenting, or sometimes supporting, the underside of a cornice. 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. Mortar. A mixture of sand, lime, cement, and water used as a binding agent in masonry construction. Mullion. A heavy vertical divider between windows or doors. Multi -light window. A window sash composed of more than one pane of glass. Metal standing seam roof. Molding 111 Muntin. A bar member supporting and separating panes of glass Muntin in a window or door. New construction. Construction which is characterized by the introduction of new elements, sites, buildings, or structures or additions to existing buildings and structures in historic areas and districts. Normally required. Mandatory actions, summarized in the guidelines, whose compliance is enforced by the Historic Preservation Commission. Obscured. Covered, concealed, or hidden from view. Opaque fence. A fence that one cannot see through. Oriel window. A bay window which emerges above the ground floor level. Glossary Oriel window 11 Parapet Pilaster Pediment Portico 12 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. Paired columns. Two columns supported by one pier, as on a porch. Palladian window. A window with three openings, the central one arched and wider than the flanking ones. Panel. A sunken or raised portion of a door with a frame -like border. Paneled door. A door composed of solid panels (either raised or recessed) held within a framework of rails and stiles. Parapet. An upward extension of a building wall above the roofline, sometimes ornamented and sometimes plain, used to give a building a greater feeling of height or a better sense of proportion. Pediment. A triangular crowning element forming the gable of a roof; any similar triangular element used over windows, doors, etc. Period of Significance. Span of time in which a property attained the significance. Pier, A vertical structural element, square or rectangular in cross - section. Pilaster, A square pillar attached, but projecting from a wall, resembling a classical column. Pitch. The degree of the slope of a roof. Portico. A roofed space, open or partly enclosed, forming the entrance and centerpiece of the facade of a building, often with columns and a pediment. Portland cement. A strong, inflexible hydraulic cement used to bind mortar. Mortar or patching materials with a high Portland cement content should not be used on pre -1920 buildings. The Portland cement is harder than the masonry, thereby causing serious damage over annual freeze -thaw cycles.) Glossary Post. A piece of wood, metal, etc., usually long and square or cylindrical, set upright to support a building, sign, gate, etc.; � pillar; pole. Preservation. The act or process of applying measures to sustain the existing form, integrity and materials of a building or structure, and the existing form and vegetative cover of a site. It may include initial stabilization work, where necessary, as well as ongoing maintenance of the historic building materials. Pressedtin. Decorative and functional metalwork made of molded tin used to sheath roofs, bays, and cornices. Proportion. Harmonious relation of parts to one another or to the whole. 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 generally of atemporary nature and anticipates future historic preservation treatment; in the case of archaeological sites, the protective measure may be temporary or permanent. Pyramidal roof. A roof with four identical sides rising to a central peak. Queen Anne style. Popular late 19th century revival style of early eighteenth- century English architecture, characterized by irregularity of plan and massing and a variety of texture. Quoins. A series of stone, bricks, or wood panels ornamenting the outside of a wall. Recommended. Suggested, but not mandatory actions summarized in the guidelines. Reconstruction. The act or process of reproducing by new construction the 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 act or process of returning a property to a state of utility through repair or alteration which makes possible an efficient contemporary use while preserving those portions or features of the property which are significant to its historical, architectural and cultural value. Quoins Glossary 13 Re -use Rusticated Semi - circular arch Shed roof 14 Replication. Constructing a building so that it is an exact replica or imitation of an historic architectural style or period. Renovation. The act or process of returning a property to a state of utility through repair or alteration which makes possible a contemporary 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 replacement of missing earlier work. Retain. To keep secure and intact. In the guidelines, "retain" and "maintain" describe the act of keeping an element, detail, or structure and continuing the same level of repair to aid in the preservation of elements, sites and structures. Re -use. To use again. An element, detail, or structure might be reused in historic districts. Rhythm . Regular occurrence of elements or features such as spacing between buildings. Ridge. The top horizontal member of a roof where the sloping surfaces meet. Rusticated. Roughening of stonework of concrete blocks to give greater articulation to each block. Sash. The moveable framework containing the glass in a window. Scale. Proportional elements that demonstrate the size, materials, and style of buildings Segmental arch. An arch whose profile or radius is less than a semicircle. Semi - circular arch. An arch whose profile or radius is a half - circle the diameter of which equals the opening width. Setting. The sum of attributes of a locality, neighborhood, or property that defines its character. Shape. The general outline of a building or its facade. Sheathing. An exterior covering of boards of other surface Glossary [ ) r F:' 1 Rusticated Semi - circular arch Shed roof 14 Replication. Constructing a building so that it is an exact replica or imitation of an historic architectural style or period. Renovation. The act or process of returning a property to a state of utility through repair or alteration which makes possible a contemporary 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 replacement of missing earlier work. Retain. To keep secure and intact. In the guidelines, "retain" and "maintain" describe the act of keeping an element, detail, or structure and continuing the same level of repair to aid in the preservation of elements, sites and structures. Re -use. To use again. An element, detail, or structure might be reused in historic districts. Rhythm . Regular occurrence of elements or features such as spacing between buildings. Ridge. The top horizontal member of a roof where the sloping surfaces meet. Rusticated. Roughening of stonework of concrete blocks to give greater articulation to each block. Sash. The moveable framework containing the glass in a window. Scale. Proportional elements that demonstrate the size, materials, and style of buildings Segmental arch. An arch whose profile or radius is less than a semicircle. Semi - circular arch. An arch whose profile or radius is a half - circle the diameter of which equals the opening width. Setting. The sum of attributes of a locality, neighborhood, or property that defines its character. Shape. The general outline of a building or its facade. Sheathing. An exterior covering of boards of other surface Glossary one slope applied to the frame of the structure. (see Siding) Shed roof. A gently - pitched, almost flat roof with only Shingle style. Architectural style of the late 19th century which features frame dwellings largely covered with wood shingles on both floors. Shingles. Wood which is split into flat shingles and different shapes. Wood shingles are common elements to the Queen Anne and Bungalow styles. Side light. A vertical area of fixed glass on either side of a door or window. Siding. The exterior wall covering or sheathin g of a structure. Significant. Having particularly important associations within the contexts of architecture, history, and culture Sill. The lowest horizontal member in a frame or opening for a window 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. Slate. Thin sections of stone which were used as a roof surface material for pre -1945 dwellings. Spindles. Slender, elaborately turned wood dowels or rods often used in screens and porch trim. 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. Stile. A vertical piece in a panel or frame, as of a door or window. Storefront. Exterior facade of a commercial building. Includes the following architectural elements: display window, transom, kickplate, entry, cornice molding, and upper story windows. Streetscape. The distinguishing character of a particular street as created by its width, degree of curvature, paving materials, design of the street furniture, and forms of surrounding buildings. D Side light Slate Spindles Stretcher bond. A brickwork pattern where courses are laid flat with the long "stretcher" edge exposed. Storefront Glossary 15 Transom window Turret Wall dormer 16 Style. Atype of architecture distinguished by special characteristics of structure and ornament and often related in time; also a general quality of a distinctive character. Surround. An encircling border or decorative frame, usually at windows or doors. Swag. Carved ornament on the form of a cloth draped over supports, or in the form of a garland of fruits and flowers. 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. Trim. The decorative framing of openings and other features on a facade. Turret. A small slender tower. Veranda. A covered porch or balcony on a building's exterior. Vergeboard. The vertical face board following and set under the roof edge of a gable, sometimes decorated by carving. Vernacular. This means that a building does not have details associated 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 elements of the built environment exhibit because of similarities among them. Wall dormer. Dormer created by the upward extension of a wall and a breaking of the roofline. Water table. A projecting horizontal ledge, intended to prevent water from running down the face of a wall's lower section. Weatherboard. Wood siding consisting of overlapping boards usually thicker at one edge than the other. Window Parts. The moving units of a window are known as sashes and move within the fixed frame. The sash may consist of one large pane of glass or may be subdivided into smaller panes by thin members called muntins or glazing bars. Sometimes in nineteenth - century houses windows are arranged side by side and divided by heavy vertical wood members called mullions. Glossary