HomeMy WebLinkAbout09222019 Historic Preservation Work Session Laydown - City of Junuea Downtown Historic District
Design Standards & Guidelines
Juneau, Alaska
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Adopted as Regulation, October 12 , 2009
(Effective October 21, 2009)
Downtown Historic District Standards
& Design Guidelines
Juneau, Alaska
Prepared by:
Winter&Company
1265 Yellow Pine Ave
Boulder,CO 80304
Phone:(303)440-8445
Fax:(303)443-0725
www.winterandcompany.net
Credits
City and Borough of Juneau Assembly
Bruce Botelho,Mayor
Jonathan Anderson
Jeff Bush
Sara Chambers
Robert Doll
Johan Dybdahl
Merrill Sanford
David Stone
Randy Wanamaker
City and Borough of Juneau Planning Commission
Dan Bruce,Chairperson
Maria Gladziszewski
Dan Miller
Frank Rue
Michael Satre
Victor Scarano
Linda Snow
Nancy Waterman
Dennis Watson
City and Borough of Juneau Community Development Department
Dale Pernula,Director
Greg Chaney,Planning Manager
Daniel Sexton,Historic Preservation Planner
Katie Cote,Historic Preservation Planner
Historic Resources Advisory Committee
Gerald Gotschall,Chairperson
Monika Bethers
Christine Crooks
Marie Darlin
Gary Gillette
Myra Gilliam
S.Puanani Maunu
Graham Rountree
Steven Winker
Downtown Business Association
The research for this publication has been financed in part with Federal funds from the National Park Service,
Department of Interior, and through the assistance of the Office of History and Archaeology, Department of Natural
Resources. However, the contents and opinions do not necessarily reflect the views or policies of the Department of
the Interior or the Department of Natural Resources, nor does the mention of trade names or commercial products
constitute endorsement or recommendation by the Department of the Interior or Department of Natural Resources.
Table of Contents
Introduction i
What are Design Guidelines?
Why have Design Guidelines?
Who uses the Design Guidelines?
When to use the Design Guidelines
Where do Design Guidelines Apply?
Compliance with the Guidelines
Relation to Land Use Code
Do Design Guidelines Dictate Taste?
Downtown Historic District Map
Planning a Preservation Project
Alterations
Criteria For Replacing Historic Features
Review Process
How the Guidelines Apply
Structure of the Design Guidelines
Chapter 1. Basic Principles of Historic Preservation 1
Benefits of Preserving Historic Buildings
Basic Principles for Non-Contributing Buildings and New Construction
Period of Significance
Chapter 2.The History and Character of the Downtown Historic District 7
Key Features of the Downtown Historic District
Building Types and Styles
Chapter 3. Design Guidelines for Rehabilitation of Historic Properties 23
Preserve
Repair
Replace
Protect and Maintain Property
Chapter 4. Design Guidelines for Historic Building Materials 27
Wood Siding
Paint
Concrete and Masonry
Metals
Cleaning Materials and Methods
Chapter 5. Design Guidelines for Historic Building Elements 31
Windows
Doors
Commercial Storefronts
Roofs
Cornices
Canopies and Awnings
Chapter 5. (Continued)
Balconies
Rooftop Uses
Mechanical Equipment and Service Utilities
Chapter 6. Design Guidelines for Historic Alterations and Additions 41
Historic Additions
Adaptive Re-Use
New Additions to Historic Properties
Chapter 7. Design Guidelines for New Construction 43
Placement and Orientation
Mass,Scale and Height
Building Materials
Architectural Character
Facade Elements
Chapter 8. Design Guidelines for Site Design and the Public Streetscape 55
Cut and Fill
Site Retaining Walls
Building and Site Lighting
Mechanical Equipment and Service Utilities
Street Furnishings
Sidewalks
ATMs
Chapter 9. Design Guidelines for Parking Facilities 63
Surface Parking
Security and Pedestrian Circulation in Parking Facilities
Parking Structures
Chapter 10. Design Guidelines for Signs 65
Appropriate Sign Types
Sign Composition
Sign Character
Sign Materials
Sign Lighting
Sign Installation
Sign Color
Chapter 11. Design Guidelines for Off-season Display Windows 71
Appendices
A.The Secretary of Interior's Standards
B. Historic Preservation Briefs
C.Glossary of Terms
D.Historic Resources Map
Introduction
Juneau has a vibrant history that spans several generations and is reflected
in the many historic structures that survive throughout the community.
Many of these are concentrated in the downtown,where they create ad is-
tinct sense of place.Here,in the heart of the community,a diverse range
of older building styles represent several phases in Juneau's evolution,
provide visual interest to residents and visitors,and stand as symbols of
the community's role in the development of Southeast Alaska.
The importance of this area is recognized bythe Secretary of the Interior,
with a listing in the National Register of Historic Places.In addition,the
City and Borough of Juneau Assembly has bestowed a local historic dis-
trict designation on this part of downtown.This area is important to the
community,the state and the nation.It is enjoyed by residents and visitors
throughout the year,including those who workthere as well as those who
come to conduct business at the capitol or who visit for pleasure.
Preserving the integrity of the Downtown Historic District is a high prior-
ity for the community,because it saves a key part of Juneau's heritage,
enhances quality of life and also supports economic development.For
this reason,these design guidelines are provided as a means of protect-
ing historic resources and promoting compatible newconstruction within
their context.
This document presents Design Guidelines for the City and Borough of
Juneau's Downtown Historic District.They offer criteria for determin-
ing the appropriateness of improvements that may be planned within the
district and also to key historic resources outside it.This section provides
I
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South Franklin Street in 1914. 1946. 2007.
A view looking north along Franklin Street,as it appeared over a ninety-three year period illustrates a moderate pace of
change.Many early buildings survive,and others from the mid-Twentieth Century have also taken on historic significance.
These"newer"buildings reflect their own times,in terms of style,but are compatible with their older neighbors,because
they share basic similarities of design at a more fundamental Ievel.Thesefeatures are addressed in the design guidelines
for new construction that appear in this document.
Introduction i
a general overview of the Design Guidelines framework,including a de-
scription of howto utilize the Design Guidelines,understand the format of
the document and howto determine which Design Guidelines are relevant
for certain project types.
What are Design Guidelines?
Design Guidelines address alterations to existing structures,additions,new
construction and site work.They define a range of appropriate responses
to a variety of specific design issues.
Some of the guidelines are written specifically to be used when improving
historic structures,others applyto non-contributing,existing buildings,and
still others apply to completely new,"infiII,"construction.(A chart on page
" xv indicates which projects apply to specific project categories.)
Why have Design Guidelines?
PN4 Design Guidelines help establish a common understanding of preserva-
tion principles and standards.Retaining the historic character that exists
downtown is an importantgoal forJuneau.The historic resources ofJuneau
arefinite and vulnerableto inappropriate alteration and demolition.These
resources are key parts of the community's identity,livability and,through
heritage tourism,its economy as well.
Who uses the Design Guidelines?
While they are focused on the desig- These Design Guidelines have been written primarilyfor use bythe review
nated Downtown Historic District,the authority.The guidelines will be used for projects within the Downtown
Design Guidelines also may be applied Historic District and key historic resources outside of the district.The
to key historic structures outside of the guidelines are also intended for use by property owners in making deci-
district that may be designated by the sions about proposed rehabilitation and new construction projects that
City and Borough of Juneau. will be sensitive to the historic character of the district and individual
landmarks.
ii Introduction
When to use the Design Guidelines
The Design Guidelines should be consulted for projects which may affect
the integrity of historic resources.While ordinary repair and maintenance
is appropriate,seemingly minor alterations to a historic structure,such as
enclosing a storefront or changing windows,can have a dramatic effect
on the character of a historic structure and therefore,are of concern.The
following is a list of common changes that can have a significant impact
on the integrity of a historic structure:
• Construction of a new addition
• Alteration or restoration of exterior features of a historic building
• Removal or demolition,in whole or in part,of a historic building
• Alteration of a storefront
• Application of a new exterior siding material
• Addition of a new window or door opening
• Creation of a driveway or a parking area
• Construction or addition of a parking deck
• Application of architectural features and other miscellaneous
modifications,such as cornices and bulkheads.
This list is not all inclusive, but is indicative of the types of changes to
which these Design Guidelines apply.Forquestions regarding permits and
the applicability of these guidelines,please contactthe City and Borough
of Juneau's Community Development Department.
Where do the Design Guidelines apply?
The Design Guidelines apply to properties within the Downtown Historic
District.The boundaries of the Downtown Historic District are shown on
the officially adopted Juneau Downtown Historic District map(the map
on page vshows the approximate location).These guidelines are also
applicable to individual historic properties outside of the historic district
designated by the City and Borough of Juneau.
Introduction iii
Compliance with the Guidelines
Development within the Downtown Historic District shall comply with
all of the relevant guidelines.In some cases,there maybe an interaction
among the relevant guidelines,in which one of them is better achieved
when another is addressed with more flexibility. This will be taken
into consideration in the review process. However, full compliance is
required, unless it is demonstrated that it is not technically feasible to
do so.In these cases,an alternative design solution may be considered,
but it must be demonstrated that it meets the intent of the guidelines.
In other situations, a particular guideline may not be applicable.The
City and Borough of Juneau Community Development Director will
determine when a particular guideline is not applicable. Recognizing
that there is an interactive quality to the guidelines,the term"should"is
often used."Should"means compliance is required unless the conditions
described above are demonstrated to exist and alternative compliance
is appropriately achieved.
Relation to Land Use Code
These Downtown Historic District Design Standards and Guidelines
comprise regulations adopted pursuant to CBJ 01.60 and CBJ 49.75.220.
They repeal and replace the existing Historic District Standards, 04 CB-
JAC 080.010- .090. In addition to the design objectives,standards and
guidelines presented here,any improvements within the district must
also comply with the zoning standards set forth in the Land Use Code.
If a conflict is identified within these Historic District Regulations,the
more restrictive standard or guideline shall apply.
Do Design Guidelines dictate taste?
The guidelines reflect basic approaches to design that will help preserve
the historic integrity of the district.They do not dictate style, but they
do require compatibility with the historic character of the district.They
also reflect the values of the community,including it's goals to preserve
the historic buildings and character of Downtown Juneau.
iv Introduction
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Downtown Historic District
Juneau,AK
The boundary of the Downtown Historic District includes a concentration of contributing"structures near the intersection
of Front and Franklin Streets,and then extends south along Franklin Street itself for several more blocks.
*Depth of area subject to the designated height limit.
Introduction v
Planning a Preservation Project
When planning a preservation project,it is important to assemble suf-
ficient information about the property to determine its significance and
the degree to which it retains its integrity as a historic resource.Then,
a specific approach to the overall treatment of the property should
be established. This may include keeping the building in its current
character,while making appropriate repairs,or also incorporating new,
compatible changes. It is then important to determine how surviving
historic features will be treated. This may include preserving those
features that remain intact, repairing those that are deteriorated and
replacing others. These steps in planning a preservation project are
presented in this section.
First you must determine your building type:
Historic Building New Construction
See Chapters 7- 10
Step 1: Conduct Historic Research.
Non-Contributing Step 2: Determine Historic Integrity.
See Page ix
Contributing or Non-Contributing
Step 3: Identify Key Features.
Step 4: Choose an Approach.
Step 5: Choose a Treatment.
A Introduction
Step 1: Conduct Historic Research.
Understanding the history of a building is important to any preservation • See National Park Service(NPS)Preser-
vation Brief 17: Architectural Character: •
project.An early question is:does the building date from the period of • Identifying the Visual Aspects of Historic •
significance for the district?The method of construction,the historic uses Buildings as an Aid to Preserving Their,
and other unique features will influence which preservation approach is • Character,for further information. •
• • • • • • • • • • • • • • • • • • ••
most appropriate.Useful materials to investigate a building's history in-
clude Sanborn Maps,historic photos and written histories of the Juneau
mining era.Good starting places to obtain historic building information d µm
are the Community Development Department, Juneau Douglas City °
Museum, State Historical Library and the Historic Resources Advisory
Committee. �^
Step 2: Determine Historic Integrity.
Buildings with integrity have a sufficient percentage of structure exhibiting
characteristics from the period of significance,which is identified in a Sur-
vey of Historic Resources in the Juneau Downtown Historic District.The
majorityofa building's structural system and its materials should datefrom
that time and its key character-defining features also should remain intact.
Key features may include architectural details,materials and the overall dr.+
mass and form of the building.These key elements allow a building to be
recognized as a product of its time.Typicallya building with a high degree
of historic integrity qualifies as a"contributing"property to the district.
Others have lost their integrity and are termed"non-contributing" �
Contributing Property ®i
Contributing properties form the foundation of the historic district,and are
either individually eligible Register contribute
Y 9 9 Y
to the district's historic character.These are buildings that are in compara-
tivelyoriginalcondition;somehaveminoralterationsandothershavebeen
appropriately restored.These buildings might still be improved by some
further restoration efforts.Information on buildings that are identified as
"Contributing"by the Juneau Community Development Department is
available to the public.
A building has historic integrity when
Often,a property mayalso be considered contributing if it has one or more it maintains its original character-de-
of the following attributes: fining features,structural system and
• Has character,interest or value as part of the local,regional,state building materials.A comparison of
or national history,heritage or culture; historic(early 20th century)and con-
Is the site of a significant historic event; temporary(2007)photographs demon-
Is identified with a person or persons who significantly contributed strates that this building retains a high
to the local,regional,state or national culture and history; degree of integrity.
• Exemplifies the cultural, economic, social or historic heritage of
the community;
• Represents a distinctive architectural era;
• Embodies the distinguishing characteristics of an architectural type
or specimen;
Introduction vii
• Includes the work of an architect, engineer or master builder
whose individual work has influenced the development of the
community;
• Embodies elements of architectural or engineering design,detail,
materials orcraftsmanshipwhich representa sign ificantarchitecturaI
innovation or which is unique.
The guidelines for rehabilitation shall apply to all contributing proper-
ties.
Non-Contributing Property
There are other buildings that exist within the boundaries of the historic
district that do not contribute to its significance.Some of these are ones
that have an early construction date,but have been so substantially altered
that they no longer convey the historic character and these later alterations
have no significance in themselves.Other properties are ones that are
more recent,and therefore have not taken on historic significance.Many
of these are still"compatible"with the character of the district, but are
not"contributors"in terms of the history of the area.Therefore,there are
two types of"non-contributing"properties:(1)Older structures that have
lost their integrity,and(2)new buildings that are not within the period of
significance for the district.
When reviewing improvementsto non-contributing properties,preserva-
tion approaches are not required.What is important is that any alterations
be compatible with the character of the district,just as any new, infill
construction should be.Therefore,the guidelines for New Construction
shall apply to all Non-Contributing Properties.
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This building was construct-
ed later than the historic pe-
riod of significance.It is con-
sidered a"non-contributing"
property.
viii Introduction
Differing Degrees of Integrity
Roof Cornice Original Intact:High Degree of Integrity
�^ __ with brackets
_ p Double-hung
windows
Clerestory
Windows
- T Display
Windows
.......... Recessed Entry
This property retains a high degree of integrity: most of the
original features and materials survive.It would be rated"con-
tributing."
f Simplified Moderate Alterations:Retains Sufficient
Integrity
���_ — �e_ Brackets
R
Replaced
_ Windows
tl Enclosed Space
jG
Kickplate
Decoration
In this case,the building has lost some of its original features
and materials and integrity has been compromised.Nonetheless,
these losses are retrievable and therefore the building retains its
historic integrity.
Integrity Lost:Non-Contributing
Altered Roof
mow" y. Form
Altered Window
r _.......Openings
___ .New Siding
. o
�_� � Clerestory
Windows Removed
f 1
_ Flush Entry
This building has lost nearly all of the structure's historic fabric.
It is no longer possible to adequately interpret its historic char-
acter and therefore,has lost its historic integrity.
Introduction ix
Step 3: Identify Key Features.
If the property is determined to be a contributor to the district,then it is
importantto identify which features are significant.This will helpdetermine
to what degree the property should be preserved as it is,or where there
may be opportunities for compatible alterations to occur. Key features
may include the basic shape of the building and its primary construction
materials, as well as architectural details, the pattern of windows and
doors and other building components that are distinctive.Many of these
features are associated with specific building styles,and are summarized
in Chapter 2 of this document.
Step 4: Choose an Approach for Improvement.
Preservation projects may include a range of activities,such as maintenance
of existing historic elements,repairs of deteriorated materials,the replace-
ment of missing features and construction of new additions.The following
is a list of approaches that are appropriate for contributing properties:
• Preservation. "Preservation" is the act or process of applying
measures to sustain the existing form,integrity and material of a
building.Someworkfocuses on keeping a property in good working
condition by repairing features as soon as deterioration becomes
apparent,using procedures that retain the original character and
finish of the features.Property owners are strongly encouraged to
maintain properties in good condition.
• Rehabilitation.'Rehabilitation"is the process of returning a property
toastatethatmakesacontemporaryusepossiblewhilestill 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.
• Restoration.'Restoration"reproduces the appearance of a building
exactly as it looked at a particular moment in ti me.This process may
include the removal of later work or the replacement of missing
historic features.
• Reconstruction.'Reconstruction"of a building means rebuilding
a structure,or a portion of one,that no longer exists exactly as it
appeared historically.
While these terms are used interchangeably in informal conversation,the
more precise meanings are useful in describing the overall strategy for a
contributing property.
For many improvement projects in downtown Juneau,a rehabilitation ap-
proach will be the overall strategy.Within that,however,there may be a
combination of these approach options as they relate to specific building
components.For example,a surviving cornice may be preserved,a store-
front base that has been altered may be restored,and a missing kickplate
may be reconstructed.This analysis of individual components is described
in the next step.
x Introduction
Step 5: Choosing a Treatment for Building Components.
Selecting an appropriate treatment for specific building components of
contributing properties will provide for proper preservation of significant
features.The treatment options are presented in order of preference.In
making a selection,follow this sequence:
1. Preserve: If a feature is intact and in good condition, maintain it as
such.
2. Repair:If the feature is deteriorated or damaged,repair it to its original
condition.
3. Replace: If it is not feasible to repair the feature,then replace it with
one that is the same or similar in character(e.g.,materials,detail,finish)
to the original one.Replace only that portion which is beyond repair.
4. Reconstruct: If the feature is missing entirely,reconstruct it from ap-
propriate evidence.
5. New feature or addition: If a new feature or addition is necessary,
design it in such a way as to minimize the impact on original features.
It is also important to distinguish new features from original historic
elements.
NONNI IN
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This contemporary addition to a historic building is appropriate.The addition
is set backfor the street facade,minimizing the impact on the existing structure.
The materials on the addition are also distinguishable from the historic fabric
and clearly read as a product of its time.
Introduction xi
Alterations
Many historic structures have experienced alterations as tastes changed or
the need for additional space occurred. Early alterations typically were
subordinate in scale and character to the main building and were often
executed using materials similar to those used historically.
Some early alterations may have historic value of their own.An altera-
tion constructed in a manner compatible with the original building and
associated with the period of significance may merit preservation in its
own right.
In contrast,recent alterations usually have no historic value.Some later
additions detract from the character of the building and may obscure
significant features.Removing such additions or alterations may be con-
sidered.
Alterations are anticipated to continue.It is importantthat newalterations
bedesigned in a manner compatible with the historic character of the build-
ing and implemented without damaging the historic fabric.
xii Introduction
Criteria For Replacing Historic Features If original is missing...
If a historic structure has been altered,what is the
appropriate approach for its treatment?
When an historicaIlysignificantbuilding has an important,character defin-
ing feature that is deteriorated,altered or missing,it is clear that the feature
should be repaired or,if repair is impossible,it should be replaced with
materials that are similarto thatwhich existed historically,to maintain the
integrity of the building.Sometimes,under certain circumstances,replac-
ing the missing feature or alteration with contemporary but compatible Two options may be
new features might be appropriate.This approach would use a modern considered:
interpretation of the building elementfound traditionally on this building
type.Historic details would not be copied literallyyetthe design should not
impede one's ability to interpret the historic character of the structure.
Thus there are two treatments which could be appropriate for repairing or
replacing missing or altered features: r�
• Option A: Reconstruct the historic design.This is the preferred
treatment. The original details may be recon-
• OptionB:Replacethemissingoralteredfeaturewithacontemporary structed,if good evidence is available.
but compatible new feature. This is the preferred treatment.
A simplified version of the original may
be considered.Be sure to use the major
lines of the original detail.
Introduction xiii
The review authority must determine which option(A or B)is appropriate
when evaluating proposals forthe replacement of deteriorated,non-historic
alterations or missing historic features on historic buildings in Juneau.
There are three main criteria that will be considered when handling these
types of situations:
• First, what is the significance of the building? If the building
has a high level of significance,then reconstruction is preferred.If
the building is contributing to the historicsenseof the street but is
not landmark quality,then more flexibility may be allowed.Either
replacing the feature using Option A and B can be considered.
• Second, to what degree has the building retained its historic
integrity and how important is the missing or altered feature to
conveying the historic character of the building? If the building
has retained a high degree of its historic integrity and the missing
feature is important to the building's character,then it should be
reconstructed.If the building has been substantially altered,then
both Options A and B described above can be considered.
• Third, what is the quality of information about the historic
features ofthe building?This criterion addressesthe practical issue
of whether or not the historic features literally can be replaced or
replicated.There may notbesufficient information available about
the historic feature to be confidentthat itcan be replaced accurately.
General ly,therearethreetypesof information that mightbeavailable
aboutthe historicfeature:pictures orarchitectural plans of the actual
features,existing remnants ofthe historic features(including marks
on the building showing the outline of the feature),or examples of
comparablefeatureson existing build ingsthatwere built atthesame
time and of the same general design.If pictures,plans or remnants
exist, then Option A should be followed. If they don't, Option B
may be considered.
Review Process
Contact the City and Bureau of Juneau Community Development Depart-
ment or reference the CBJ Land Use code for the most current review
process.
AV Introduction
How the Guidelines Apply
This chart illustrates how individual chapters of the guidelines apply to specific property types and construction
projects.Seethe appendix for an explanation of the terms used in the"type of work"column.Tod etermine if
a property is designated as"contributing,"contact the City and Borough of Juneau's Community Development
Department.
✓:This chapter applies to the project.
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Type of work: v � L U _ UU V = U2 = w U U Ua U U
Work on a"contributing
property"in the Downtown ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓
Historic District.
Work on a"non-contributing"
property in the Downtown ✓ ✓ ✓ ✓ ✓ ✓ ✓
Historic District.
Work on a"new construction
project"in the Downtown ✓ ✓ ✓ ✓ ✓ ✓ ✓
Historic District.
Work on a"landmark prop-
erty"not within the Historic ✓ ✓ ✓ ✓ ✓ ✓ ✓ ✓
District Boundaries
00
Franklin Street in the early 1900s (left),and in 2008 (right).
Introduction xv
Structure of the Design Guidelines
Each design guideline presented includes several components that consti-
tute the criteria upon which design review decisions will be made.
Design Element Topic
The guidelines are grouped into pertinent design element categories(e.g.,
site planning,building materials,storefronts).
Policy Statement
Each design element category has a policy statement that explains the City
and Borough ofJuneau's basic approach to the treatment ofthat topic.In
cases where the detailed Design Guidelinesdo not appearto address asitu-
ation,the general policy statement shall serve asthe basis for determining
appropriateness.
Design Guidelines
Specific Design Guidelines are numbered in orderto reference them dur-
ing the design review process.The guidelines are not numbered in order
of importance.
Additional Information
Supplementary information is listed as bullet (•) statements, and may
include additional requirements,or an expanded explanation of the guide-
line.
Illustrations
Design Guidelines may be accompanied by a photograph and/or illustra-
tion that supports the guideline language.Illustrations are not included
for all guidelines.
Design Element► Windows and Doors
Topic Original windows and doors are important features that help
convey the character of a building.Original elements shall
Policy Statement" be reserved,when feasible.
p
Design Guidelines 3.11 Maintain historic storefront openings.
• The size and shape of the storefront are important
Bullets Provide 0 characteristics that contribute to the integrity of a
Additional historiccommercialbuilding.Avoid altering theshapes
Information of these features.
• If these elements have already been altered,consider
restoring them if their original condition can be
determined.
Illustration
Sample guideline format.
xvi Introduction
Chapter 1
Basic Principles of Historic Preservation
This chapter addresses the role of preservation in Juneau including a
discussion of general principles and benefits of preservation.This then
forms the base for preservation policies in the community.
The Design Guidelines incorporate principles from The Secretary of the
Interior's Standards for the Treatment of Historic Properties,which are
administered bythe National Park Service.Juneau's guidelines have been
adapted from these standards to specifically meet and reflect Juneau's
unique district and environment.
A comparison of this historic photograph,with the more recent one at the
right,provides information thatwould help in determining a preservation
approach.The early photograph reveals a kickplate belowthe left display
window,and a stepped stem wall at the entry,to the right.A sloped,metal
canopy shelters the doorway. In the contemporary photograph,these
features are missing,or perhaps obscured with othermaterials.Investigation
of the condition of the wall could help in making decisions about restoration
of the original design,or in developing a compatible,new design.(See the
preceding discussion on"Criteria for Replacing Historic Features")
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The design guidelines set forth standards to aid in the preservation of historic properties in Downtown Juneau.
Basic Principles of Historic Preservation 1
Benefits of Preserving Historic Buildings
I II
GG Construction Quality
Many of the buildings in Downtown Juneau were constructed with care.
These buildings were thoughtfully detailed with high quality finishes—
features that owners today appreciate.The high quality of construction in
historic structures is therefore a"value"for both the building owner and
the community.
Livability and Quality of Life
A physical sense of identity can reinforce desirable community social
patternsand contribute to a sense of security.When groups of commercial
buildings complement each other in their historic context,they create a
street scene that is"pedestrian friend ly,"wh ich encourages walking and
neighborly interaction. Decorative architectural features and distinct
architectural styles also contribute to a sense of identity,an attribute that
is rare and difficult to achieve in newer areas of the city.
Economic Incentives
These programs include the National Trust Loans Fund (NTLF),National
Trust Community Investment Corporation,and the National Preservation
Endowment.The NTLF consists of the Inner-City Ventures Fund (ICVF)
and the National Preservation Loan Fund (NPLF).The NPLF provides
funding to a spectrum of projects including the rehabilitation of historic
buildings and sites.The National Community Investment Corporation
makes equity investments in real estate projects that qualify for federal
historic tax credits and when available state historic tax credits and New
Market Tax Credits. The National Preservation Endowment provides
funds to nonprofit organizations and public agencies.The funds offered
can be utilized for preservation planning and educational efforts as well
as intervention funds for emergency preservation projects.Please contact
the NTHP for specific information regarding these and other preservation
funding opportunities.
There is also a Federal Rehabilitation Tax Credit;the program is managed
by the National Parks Service and Internal Revenue Service in partnership
with State Historic Preservation Offices.The federal government makes
available a 20% income tax credit for certified rehabilitation projects
that are National Historic Landmarks listed on the National Register,and
that contribute to the National Register Historic District and certain local
historic districts.These are only available to income-producig properties.
Contact the City and Bureau of Juneau Historic preservation planner to
discuss possible funding options.In some cases,owners also may donate
a facade easement and take a charitable gift donation.
The City and Borough of Juneau offers a reduction in property tax levied
for qualifying repairs and rehabilitation.The exemption is equal to the
value of qualifying work, within certain limits.The work must first be
approved by the Community Development Department.
2 Chapter 1
Economic Benefits to the Community N"
Historic structures are irreplaceable.They bestow an identity and provide
a tangible history of a place.These qualities make them highly desirable rll
to both members of the community and property owners.Maintaining the
historic character of the district encourages heritage tourism which is an
important partofthe local economy.(Rehabilitation projects also contribute
more to the local economythan do new building programs because each
dollar spent on a preservation project has a higher percentage devoted to
local labor).By contrast,newconstruction typicallyhasa higher percentage
of each dollar spent devoted to materials that are produced outside of
the local economy.Therefore,when money is spent on rehabilitating a
building, it has a higher"multiplier effect,"keeping more money in the
local economy. Studies show that each dollar spent on a rehabilitation
project continues to circulate in the local economy five to seven times,
which helps support other businesses.
The first step in planning a preservation
project is to identify and maintain
Responsibility of Ownership significant features and materials.
Ownership of a historic property carries a responsibility to respect the
historic character of the property and its setting.Ultimately,residents and
property owners should recognizethat historic preservation is long-range
community objective that promotes economic well-being and overall
viability of the community at large.
wuuwuioPiius�itmas�rew�odNi��,��+irvmu� 1f '�'4�." k
i
i
Heritage tourism is an important part of the local economy,and therefore
preserving historic structures is important because it enhances the appeal of the
city to visitors.
Basic Principles of Historic Preservation 3
' Basic Principles for Non-Contributing
, Buildings and New Construction
There are structures in the historic district that are non-contributing and
5 other sites where new infill construction will occur.For these situations,
,
the focus of design should be on being compatible with the historic con-
text,and not on the principles for treatment of a historic property that are
outlined earlier in this section.More flexibility is afforded to these sites,
in terms of the details of design,when they respect the overall relation-
ships of building mass,form,materials and scale and setting.Respecting
the tradition of having transparent storefronts at the sidewalkedge is an
example.While a storefront should be provided when renovating an ex-
New construction in the historic district isting,non-contributing building or constructing new,it need not have a
should maintain characteristics of the historic appearance.
district while being distinguishable as
new construction. The historic district remains a vital place that is mostly built,but there are
still opportunities for new development within its boundaries.Designing
a building to fit within the historic district requires careful thought.It is
important to realize that while a historic district conveys a certain sense
of time and place associated with its history,it is also dynamic.While the
Design Guidelines for New Construction provide direction for specific
design issues,some basicsite design and newconstruction principlesform
the foundation for compatible new construction.The following principles
apply:
1. Respect the design character of the nearby historic properties.
An important principle for new . Don't try to make a new building lookolder than it is.The copying
construction is to maintain the uniform or exact replication of architectural styles or specific historic
setback and alignment of buildings in buildings is discouraged.Often,a contemporary interpretation of
a block. those architectural styles seen historically will work best.
2. Maintain the setbacks and alignments of buildings in the
surrounding context.
• A new building shall align with nearby historic buildings. Other
alignments,suchasthoseseenfromsimilarcorn ice heights,storefront
heights and the relative alignment of windows and moldings are
also important.
3. Relate to the scale of nearby historic buildings.
• Anewbuilding shall relate atthe street level tothe general size,shape
and proportions of historic buildings.This does not mean thatthe
absolute heightmustbethesame,butthatthescaleof nearby historic
buildings be reflected in the infill design.It is equally importantfora
new building to use similar primary building materials,or materials
similar in appearance.
4 Chapter 1
When a new building is built, it should be in a manner that reinforces
the basic visual characteristics of the area.This does not mean that new
buildings must look old. In fact, imitating historic styles is generally
discouraged;historians preferto be able to"read"theevolution ofthestreet,
discerning the apparent age of each building by its style and method of
construction.When a new building is designed to imitate a historic style,
this ability to interpret the history of the street is confused.
Rather than imitating older buildings, a new design shall relate to the
traditional design characteristics of the area while also reflecting the
architecture of its time. New construction may do so by drawing upon
some basic building features—such as the way in which a building is
located on its site,the manner in which it relates to the street,and its basic
mass,form and materials—rather than applying detailing which may or
may not have been historically appropriate.Therefore,it is possible to be
compatible with the historic context while also producing a design that is
distinguishable as being newer.
Basic Principles of Historic Preservation 5
Period of Significance
Inmost cases,a property is significant because it represents or is associated
with a particular period in its history. Frequently, this begins with the
construction of the building and continues through the peakof its early
occupation. Building fabric and features that date from the period of
significance typically contribute to the character of the structure.
The Downtown Juneau Historic District has a period of significance which
spans 55 years(1889-1944).Throughout this period of significance,the
district has been witness to a number of buildings and additions which
have become an integral part of the area.Conversely,several structures
have been built or alterations have been made after this period which are
generally considered non-historic and may be considered for removal or
replacement.In general keep this in mind:
Early alterations,additions or new construction(more than 50 years old)
may have become historically significant and thus merit preservation.
• Many additions or alterations to buildings and districts that have
taken place in the course of time are themselves evidence of the
history of the building and its neighborhood and therefore may
merit preservation.
More recent alterations, additions or new construction that are not
historically significant may be removed.
• For example,asphalt,aluminum,vinyl or other synthetic siding may
presently obscure the original siding.In this case,removal of this
alteration and restoration oftheoriginal material is appropriate and
strongly encouraged.
• Most alterations less than fifty years old lack historic significance.
Some recent additions detract from the
character of a historic building and
may obscure significant features.In this
case,the first floor character has been
altered. Because the upper portion
retains a high degree of integrity
with distinctive detailing, restoration
of the original first floor should be
considered.
6 Chapter 1
Chapter 2
History and Character of the Downtown
Historic District
Introduction
(Adapted from the previous City and Borough of Juneau Design Standards
Handbook, 1984)
With the discovery of gold in 1880 in Gold Creek,the Town of Juneau
was born,and continuous gold findings throughout the 1890s assured -r ,
its growth. Permanent commercial establishments replaced quickly
constructed buildings during the initial boom,and created what is now
the Downtown Historic District.
The Downtown Historic District has an elongated"U shape.The spine
of the"U includes buildings on both sides of South Franklin Street and
is bounded by the old ferry terminal on the south and by Second Street on
the north.Building heights in the district vary from 25 to 50 feet with most
buildings less than 35 feet high.Many buildings have sidewalk canopies � �
that visually unite the street.The upper stories typically have double hung
windows arranged singly or in pairs.
Juneau's Downtown Historic District developed over several significant „
historical periods,which is why it has different types of architectural styles
that reflect the times in which major phases of development took place.
The town's first buildings were erected along Main and Seward Streets
in 1880.By 1885 the demand for waterfront space encouraged expansion DowntownJuneaucontainsanexcellent
south.The oldest building still standing in the historic district today is representation ofea rlytwentieth century
Madsen's Rooming House, built in 1889. Pilings, driven into tidal flats, commercial architecture.
created lower Front Street(later South Franklin Street).Further expansion
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Location of historic resources in the
Downtown Historic District.Please see
cm�wtluC`5��� the appendix for an enlarged version
of this map.
History and Character of the Downtown Historic District 7
on Franklin occurred after the Alaska-Juneau Gold Mining Company
built a mill south of the townsite in 1913.With the waterfront filled,new
buildings had to be built north on Franklin Street.
Today the Juneau Downtown Historic District includes many historical
contributing buildings.Nineteen were constructed prior to 1911,fourteen
between 1912 and 1920,and nine between 1921 and 1944.Within the
district boundaries are non-contributing buildings,which include recently
built buildings or ones that were altered so that their historic integrity was
destroyed.The non-contributing buildings are dispersed throughout the
district.For many of these,their scale,lines,massing,color,and detailing
are compatible with the contributing buildings.
1914
par
/Cr- J
4
Gnk ineaU Channel
In 1914, most buildings in Juneau were clustered around Front and Franklin
Streets.
s 1927
�.
Gastineau Gt-annel
By 1927,a noticeable amount of additional development had taken place on the
southern end of Franklin Street.These early development patterns should be
considered when determining the context for new development in the historic
district and around its edges.
8 Chapter 2
Key Features of the Downtown Historic
District
rR
Juneau's Downtown Historic District can be considered as having twos ,
s w
sub-areas with distinct features,the core of the district and South Frank- 1 ph 4
lin Street.The Core area is located on the north edge of the district,from
Second Street at the north to around Marine Way in the south.The Core � .11
contains the greatest concentration of historic buildings and has the
strongest sense of place. The South Franklin area of the historic district 013
``.
is the remaining southern portion along South Franklin Street.This area
has similar character as the Core area,but has a slightly lower scale with Development patternscreate uniquely
building heights lower along the street.The South Franklin area also shaped lots along Front Street.
has more non-contributing structures and underdeveloped lots than
the Core,which is an opportunities for more infill new development.
Development Pattern
The streets that make up the Downtown Historic District do not fit into
a traditional grid pattern,and the majority of the lots are non-rectilinear.
Historically,buildings were oriented to the curving street causing some
parcels and buildings to have unique forms that add to the distinctive
character of Downtown Juneau.The lots on the south end of Franklin
have a short depth caused by the extreme slope of topography that the
lots abut.
Building Heights
Building heights in the district vary from 25 to 50 feet,with the majority
being less than 35 feet.The taller buildings are generally located to the
northern section of downtown,farthest from the waterfront.The effect of
the height of taller buildings is offset by the pedestrian scale at the street
level,and by the number and variety of adjacent building heights.
Building Setbacks
Buildings within the Downtown Historic District are built to the sidewalk.
Most buildings are also constructed to the side lot lines,leaving minimal
space between structures, if at all. This creates a solid wall along the
sidewalk edge.
History and Character of the Downtown Historic District 9
Storefront Windows and Canopies
Most buildings, particularly the predominant commercial structures,
have storefront windows at street level. The majority of buildings in the
downtown have canopies spanning the entire street front of the building,
protecting pedestrians from the weather.
Sense of Street Enclosure
The downtown has a strong sense of definition and enclosure along many
of its streets.The location of buildings at the sidewalk edge, minimal
spacing between buildings,and the overhead canopies covering most
sidewalks create a strong sense of definition along the street edge.
k.
Pedestrian Orientation and Scale
First floor heights combined with canopies and storefront windows create
a pedestrian-scaled streetfront.Key building elements,including windows,
p Y g g
doors and facade details,have a human scale that supports pedestrian
activity.Storefront windows provide views to activities inside,creating
interest for passersby and those within the buildings
e
U-
The addition of a canopy is visible
in these photographs from 1913 and
2006.The canopy was added during
the historic period.
Many buildings in Downtown Juneau share similar characteristics.
10 Chapter 2
•• • • • • • • • • • • • • • • • • • •
Building Types and Styles
Many of Juneau's downtown buildings are excellent representations of • The key features of the styles •
early twentieth century commercial architecture as it evolved in small • found in Juneau should be
Pacific coast communities.Late Victorian,Early 20th Century Commercial, preserved.
Art Deco and Art Moderne architectural styles are found here.Some other • • • • • • • • • • • • • • • • • • ••
historic buildings do not fall into any specific architectural style,but they
tend to have similar characteristics which help to define the downtown's
unique historic character. These characteristics include wooden storefront
windows on the first floor,double hung windows on the upper stories,flat
roofs and canopies over the streetfronts.
�f Cornice
Vertically oriented windows
Belt course
Transom
Canopy
Storefront display windows
I
M Recessed entry
Kickplate
Traditional commercial storefronts in Downtown Juneau include many of these
features.These are consistent features among many styles in downtown.
History and Character of the Downtown Historic District 11
'Immim r
1 in.min.
0
c
2"min.
Appropriate minimum dimensions for
typical storefront window framing.
� c
E
00
5 in. E 0 L,
v
0 0
1 in.
Ina p pro priately sized storefront window
framing.
v �
Y N
V (V
Y
The diagram above shows minimal dimensions fora typical storefront.Traditional
framing on a storefront provides significant depth on a facade to create shadow
lines and details which convey pedestrian scale and interest.
12 Chapter
Late Victorian
• 1883-1911
, '�I✓ii rNinA�l N"ww,,w,ol� nrry�»
Many buildings constructed in Juneau between 1883 and 1911 were
built in a Late Victorian Style.They generally have large display windows _ r '
and small recessed entrances with continuous sidewalk canopies and
clerestory windows. The buildings erected before 1900 have utilitarian,
commercial facades with simplified details,including plain cornices and
parapets, and the repeated use of standard size, double hung wood
windows.The buildings erected between 1900 and 1911 are larger in
scale, often two to three stories.These have more elaborate detailing,
including towers,ornate cornices,scrolled beams and fluted pilasters.
Characteristics The Seward Building (1913, 145 S.
• Two to three stories-Victorianconstructioncommonlyusedabase, Franklin Street) has a decorative
middle and cap building technique. cornice, recessed entry and facade
• Wood frame construction-Thetypicalpostandbeamconstruction detailing characteristic of a Late
was used along with wooden cladding. Victorian Style.
• Elaborate detailing-Theuseof intricate metalworkand woodwork
was fairly common.
• Decorative cornices-Generally including overhanging eaveswith
supporting bracket work and a decorative facade cap.
• Towers or turrets-Typically found at corners of buildings,towers
and turrets would either be rounded or multi-faceted shapes.
• Large display windows-Generally found in the base section,the
display windows would often span between supporting structures.
• Recessed entrances-Found at street level,entrances are usuallyset
back from the building edge with flanking transom windows.
• Clerestory windows-Clerestorywindowsareusuallyfoundabove
the first floor canopy and belowthe decorative floor cornice ofthe
second story.
History and Character of the Downtown Historic District 13
p The Koosher Building (1893,130 Second Street)and the Germania Dance
Hall and Saloon (1895, 162 S. Franklin Street) are some of Juneau's first
examples of the Late Victorian Style.The Alaska Steam Laundry (1901,
174 S.Franklin Street)and Valentine Building (1904) (both listed on the
National Register of Historic Places)are examples of later buildings done
in the Late Victorian Style. Characteristic elements such as decorative
cornices,fluted pilasters,and turrets with conical roofs,dentils and swags
define this style.
i
Projecting pa ra pet ca ps with elaborate
su ppo rti ng bracket workca n be seen i n
this cornice detail.Below the brackets, t ��
a strand of decorative metalwork laces
the building.
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The Valentine Building (1905, 119 Seward Street) (above) is a Late Victorian
style building.The same corner(left)is seen from a different angle in 2007.
14 Chapter 2
25% 25% 25% 25% In this example of a Late Victorian
commercial facade the integrity of
the original storefront remains intact.
The proportions across the entire
facade present good examples of
typical proportions for this style.The
upperfloorand lower floor are both
40% subdivided into different numbers of
bays.Across the upper floors there
are four bays which are consistent
0
in size and repetitive in composition.
15% Across the storefrontthe composition
remains symmetrical,with storefront
bays framing one center recessed
45% entrywhich is insetand slightly less
wide as the outer bays.The vertical
proportions of this building are
also typical of this style, with the
storefront and transom windows,
representing the ba se,the u pperfloor
35% 30% 35% as the middle and the decorative
cornice as the cap.
.; Each of the storefront bays in
this example of a Late Victorian
commercial facade present
proportions which are typical to the
style.In this example the horizontal
1, 30%
proportions of each storefront bay
reflect the proportions of the overall
storefront facade with two outer
bays framing a recessed entry.The
kickplate in this building makes
up the lower 10% of the facade's
60% vertical proportions,typical kickplate
proportions for this style range from
10-15%. The storefront windows
represent 60%of this facade,where
between 50-70%is typical.Transom
10% windows characteristic of this style
make up roughly 30%of thefacade
height of this storefront,where 20-
30%is typical for the style.
35% 30% 35%
History and Character of the Downtown Historic District 15
Early Twentieth Century Commercial
. 1912-1920
The Early Twentieth Century Commercial Style reflects advances in
technology and increased economic development. A healthy local
economy encouraged construction of larger,more impressive buildings.
Although most Juneau buildings were wood,those erected in this style
were reinforced concrete.
r� Characteristics
Flat facades
• Recta ngular fenestration patterns-Windowsareusuallygroupedin
Characteristics of the Early 20th Century sets of two or three with a pilaster strip between groups.
Commercial Style, such as a corner • Flat sidewalk canopies - Canopies occur near the top of the first
recessed entry,concrete construction floor.
and recta ngularfenestration patterns, • Reinforced concrete construction
can befound in the Goldstein Building . Flat roof-Generally the roof section of the building has a parapet
(1914, 130 Seward Street). and cornice detailing.
• Recessed entryway-Found atstreet level,entrances are usuallyset
back from the building edge with flanking transom windows.
• Storefront windows - Generally large storefront windows would
span between structural members.
This example of an Early Twentieth
Century style commercial storefront
is located on a sloped site and
.:m
the storefront steps up with the
topography.Although the storefront �
t ,
has been slightly remodeled the
g Y
original proportions typical of this
style are still apparent across a large
portion of the street level facade. �
Typical proportions of transom
windows for this style range from
15-30%,however in this example the
height of the transom is gradually
reduced as the canopy steps up with
thetopography.Themoldingatthetop
of the transom eventually meets with
and becomesthecanopy.Atthis point
the storefront no longer hasatransom
element,however the proportions of
9P�rol/r�/ro
the remaining storefront elements
maintain proportions typical to this
style which are established by other
complete storefront bays on the
building.
16 Chapter 2
The J & E Building/Hotel Cain (1913) and the five-story Goldstein
Building(1914),both reinforced concrete structures,date from this period
and are examples of the Early 20th Century Commercial Style. Many �� rid °lull
elements of this style are also reflected by contributing buildings in the
district which are not specifically identified as a particular style. �
u iiiilllllllll
The J. J. Stocker Building (241 Front
i Street) retains some of its character-
defining features,especially from the
transom up.This building qualifies as
' a contributing structure.
If the building is structurally sound and
sealed from theelements,the next step
in a preservation master plan for this
building would be to reconstruct the
" original storefront.
The Hotel Cain (1913, 127 S. Franklin Street)was constructed with reinforced
concrete and is an example of the Early 20th Century Commercial Style.
. x
i d
1
Windows are often grouped in sets of
two or three with a pilaster separating
them.Note the substantial depth ofthe
detail opening in this building.
The Hellenthall Building (1916, 220
( Front Street) (Above and Left) and
the Stocker Building (Upper Right)
display characteristics of the Early 20th
Century Commercial Style.
History and Character of the Downtown Historic District 17
Art Moderne
• 1930-1940
Art Moderne style incorporated machine aesthetic into architecture in
the sense that buildings could emulate motion and efficiency. It is also
referred to as Streamlined Moderne,and always carried the aura of the
futuristic.Whatever the term,in this case architecture followed industrial
i design,and"the slick look"was used for everything from irons to baby
�i
carriages. It relies upon repetition of surface decorations on a relatively
sleek form.
Characteristics
A combination of rounded corners and angular shapes
/ Glass block
Metal sash windows -Sometimes constructed with sets of small
The Baranof Hotel(1932, 105 Franklin panes,windows are often placed at corners.
Street) has "porthole" windows, • Horizontal bands-Often referred to as"speed bands"horizontal
rounded corners,and horizontal bands, banding is repeated to mark floor sections of a building
all characteristic of the Art Moderne • Referencestooceanliners-Referencestomachinesareseeninthe
style.
use of"porthole"windows and metal railings.
This example of an Art Moderne .,
commercialstorefrontdoesnotexpressl//,/,,���� %/
a I I the typical elements of storefronts
l r
since it has been remodeled many
times, most recently in the 1980s. '
Other examples of this style may
havethetypical storefront elements
this example is lacking.This building
has no transom windows above the
canopy, however 'speed bands, 10%.-
horizontal banding details,occupy
the area where these windows would 65%
typically be seen in other storefront
styles. The relatively flat facade,
typical for this style,is broken up to 25%••
portray a human scale.The majority
of the storefront is made upof roughly
65% window space, with a small
header space above these windows
making up approximately 10% of
the facade height.This storefront
also has an implied kickplate with
very little detailing, which is taller
than typically seen in other styles,
making up approximately 25%ofthe
facade height.
18 Chapter 2
The nine buildings built between 1921 and 1939 include Art Moderne
and Art Deco architectural styles. Constructed of reinforced concrete,
the Baranof Hotel (1939)with its smooth wall surfaces,flat roof,curved
corners and horizontal lines on the exterior walls is a local example of the
Art Moderne Style.
The use of metal grates is a reference to the concept of the building as a machine
seen in the Art Moderne Style.
History and Character of the Downtown Historic District 19
Art Deco
• 1930-1950
This style is related to Art Moderne in its decoration of surfaces, but in
the case of Art Deco,lines are angular rather than curvilinear.Art Deco
is most easily identified by its architectural ornament, which includes
stylized floral motifs and repetitive geometric forms incorporating sharp
angles and segments of circles.Zigzags,chevrons and diamond patterns
are typical and often are applied as decorative moldings or are integral
to masonry patterns themselves. Rounded or angular corner windows
were often used.Building entrances were embellished with decoration
extending to hardware and light fixtures that reflected the style.Glass brick
panels were often lit from behind with colored lights.
1,
a
W � U� a O Y �'➢ p P"
j
Buildings built in the Downtown
between 1921 and 1939 include Art
Deco details.
20 Chapter 2
Characteristics w "'
• Variety in color and texture -Texture and color is used to give
the building a human scale and accentuate vertical and horizontal
lines.
• Stucco and tile combined - Colored brick or tile was used as a
decorative element to accent the stucco siding. �z
• Projectingsunshades-Canopiesand awn ingswerecommonadditions
to street level fronts.
• Rounded corner windows
F
• Zigzag orchevron moldings-Zigzag,chevron and diamond patterns
were often used to decorate the cornice.
• Molded metal panels or grills
• Stylized floral patterns
• Repetitive geometric forms
• Carrara glass
A decorative panel serves as a cap to a
Several of the buildings built between 1921 and 1939 were executed in vertical attached column,or pilaster,a
the Art Deco style. With its smooth surfaces,stylized motifs decorating typical Art Deco detail.
the facade and vertical projections about the roof line, the Alaska
Electric Light and Power Building (1936 134 Franklin Street) is a good
example.
l
� r
Geometric shapes enrich cornices and
' other facade components in the Art
Deco style.
The Alaska Electric Light and Power Building.
History and Character of the Downtown Historic District 21
ThiseXampleofan Art Deco storefront
has proportions which aretypical to
the style.The kickplates make up i � r
y °,, ,
roughly15%ofthestorefront'sheight,
where 10-15%is typical for this style.
m Jtie _�.w
55%of the overall storefront height
is the storefront windows,typically 30%
a range of 50-70% is seen. The
transom windows make up the top 11.17
30% of this buildings storefront,
typical transom rangefrom 15-30%.
With two larger bays surrounding 55%
a recessed entry the horizontal
proportions of this building are
also representative of this style.The
width of horizontal bays vary more 11.17
than vertical proportions as they 15%
are more dependent on the overall
building width.Typical proportions
for recessed entries range from 20-
30%a nd for each storefront bay va ry 1.0
between 30 and 40%of the overall
bay width. 35% 30% 35%
22 Chapter 2
Chapter 3
Design Guidelines for Rehabilitation of
Historic Properties
This chapter presents design guidelines for the treatment of historic prop-
erties in Juneau's Downtown Historic District.The guidelines are based *�{
on a"three level"approach:the first level is to preserve existing historic
features,the next level is to repair deteriorating features,then,if features
are beyond repair,the final level is to replace those features in kind.
This three-step sequence of treatments reflects the principles outlined in
Chapter 1,in which the least intervention for a historic component is pre-
ferred.These basic guidelines for rehabilitation apply to the property as
a whole,as well as to individual building components.Further guidance
about building elements is provided in subsequent chapters.
Note that compliance with all of the guidelines is expected, but there
may be circumstances in which a balancing of the specific guidelines and
their intentstatements will occur in orderto achieve the most a ppropriate Preservation shall be the first step in
preservation solution. maintenance of historic buildings.
Preservez
Historic materials,architectural details and window and door openings
contribute to the character of a structure and are referred toascharacter-de- 4
r
fining featu res.Th ey a re often closelyassociated with specific a rch itectu ra I
styles.These features shall be preserved when feasible;their continued
maintenance is the best preservation method.
3.1 Preserve significant stylistic and architectural features.
• Canopies,storefront windows,cornices and decorative concrete
castings are examples of architectural features that should not be
removed or altered. `
✓� ✓i pia
• The best preservation procedure isto maintain historicfeatures from
the outset so that intervention is not required.Employ preventive
measures such as rust removal, caulking, limited paint removal Protect wood siding and other wood
and reapplication of paint. These should not harm the historic surfaces with a painted finish.
materials.
• Maintain key character-defining features.
• Do not remove oralter architectural detailsthatarein good condition
or that can be repaired.
Design Guidelines for Rehabilitation of Historic Properties 23
3.2 Avoid adding elements or details that were not part of the original
building.
For example,details such as decorative millworkfrom a LateVictorian
style should not be added to an Art Deco building.
3.3 Protect architectural details from moisture accumulation that
may cause damage.
• Regularly checkdetailsthat have surfaces which can hold moisture
for long periods oftime.This is especially important along cornices
��- and parapets.
3.4 Maintain original siding materials.
When disassembly of a historicfeature Using any material,eithersynthetic orconventional,to cover historic
is required in a restoration procedure, material is inappropriate. Doing so would obscure the original
document its location so that it may be character and change the dimensions ofwalls,which are particularly
repositioned accurately. noticeable around doorand window open ings.Theextra layeralso
could hide or cause further decay.
• If a property already has a non-historic building material covering
the original,it is inappropriate to add anotherlayerofnewmaterial,
which would further obscure the original.Removing the covering
is recommended.
3.5 Preserve original materials that show signs of wear rather than
replace them when feasible.
• AlImaterialsweatherovertimeanda scarred finish does not represent
an inferior material,but simply reflects the history and age of the
building, and should be accepted as a part of the character of a
historic resource.
Repair
In some cases,original architectural details maybe deteriorated.Horizontal
surfaces and windowsills are likely to showthe most deterioration because
they are more exposed to weather.When deterioration occurs,repair the
material and any other related problems.Replacing a feature is inappropri-
ate,when it can be repaired instead.
3.6 Repair deteriorated primary building materials by patching,
piecing-in,consolidating or otherwise reinforcing the material.
• Repaironlythosefeaturesthataredeteriorated,and avoid the removal
of damaged materials that can be repaired.
• Isolated areasofdamagemaybestabilizedorfixed,usingconsolidants.
Epoxies and resins may be considered for wood repair and special
masonry repair components also may be used.
• Patch,piece-in,splice,consolidate or otherwise upgrade existing
materials using recognized preservation methods.
• Protect features adjacent to the area being worked on.
• Employ treatments such as rust removal, caulking, limited paint
removal and reapplication of paint or stain.
24 Chapter 3
3.7 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.
3.8 When disassembly of a historic element is necessary for its
restoration, use methods that minimize damage to the original
r i
materials. u
• When disassemblyofa historicfeature is required during restoration
document its location so it maybe repositioned accurately.Always
devise methods of replacing disassembled details in their original
configuration.
3.9 Use technical procedures for cleaning, refinishing and repairing
architectural details that will maintain the original finish.
• When choosing preservation treatments,use the gentlest means Early 20th century.
possible that will achieve the desired results.
6"1'ti \m Nis`l1i pV1111��ll 1`,1�`ti��ll i`i l
itl� , � i6il11f11ti111 �illi0 Ili«
• Perform a test patch todeterminethatthe cleaning method willcause
no damage to the material surface.Many procedures can actually
havean unanticipated negative effect upon building materialsand
result in accelerated deterioration or loss of character.
• Harsh cleaning methods,such as sandblasting, can damage the l
historic materials,changing their appearance.Suchproceduresare ��'�
inappropriate and should be avoided.
• If cleaning is appropriate,a low pressure water wash is preferred.
Chemical cleaning maybeconsidered ifa testpatch isfirstreviewed
and negative effects are not found.
m
Replace
While restoration of an original feature is the preferred alternative,in-kind 2006.
replacement is an option when repair is not feasible.When the original
material must be replaced,using the same material as the original is pre-
ferred, but an alternative material may be considered when it conveys
characteristics similar to the original.
3.10 Replacement of an original feature should occur only if the
material is beyond repair.
• Repairing the original is preferred, because it will maintain the
integrity of the property.
3.11 Replace only the amount needed.
• For example,if a few boards of lap siding are beyond repair,then
only they should be replaced, not the entire wall.
In-kind replacement,as seen on the roof
shingles above in 2007,is an option.
Design Guidelines for Rehabilitation of Historic Properties 25
Replacement 3.12 Replacement of missing or deteriorated architectural elements
apiece should be accurate.
• The design should be substantiated by physical or pictorial evidence
to avoid creating a misrepresentation of the building's history.
Use the same kind of material as the original when feasible. A
w substitute material may beappropriateifthesize,scale,shape,texture,
color and finish(composition)conveys the visual appearance of the
original. For example, if the original material is wood clapboard,
then the replacement material should be wood aswell,matching the
original in size,the amount of exposed lap and in finish.
Where replacement of an element is Primarybuilding materials,such aswoodsiding and concrete,shall
required,remove only those portions not be replaced with synthetic materials.
that are deteriorated beyond repair.
3.13 When reconstruction of an element is impossible,develop a new
r design that is a simplified interpretation of it.
� S-aJI��li This is appropriate when inadequate information exists toallowfor
� _.:•r
an accurate reconstruction.
The new element shall be similar to comparable features in general
size,shape,texture,material and finish.
f--,
� L
�I 3.14 Remove later covering materials that have not achieved historic
significance.
_ If original materials are presently covered,consider exposing them.
For example,asphalt siding that covers original wood siding should
Consider removing later covering be removed.
materials that have not achieved historic significance. Oncethenon-historicsidingisremoved,repairtheoriginal,underlying
material.
• In some cases removing a second finish may cause damage to the
original and may not be desirable.Testthe finish to assure thatthe
original material underneath will not be permanently damaged.
Protect and Maintain Property
All historic properties in the Downtown Historic District should be main-
tained to prevent the need for more extensive repairs or replacement of
building features in the future.Prolonged deferred maintenance results
in"demolition by neglect"
3.15 Minimize the deterioration of a property.
• Provide regular maintenancetoa historic building and itssitefeatures
in order to minimize the need to replace historic materials.
• Maintain material through appropriate treatments such ascaulking,
limited paint removal and re-application of paint.
• Maintain photographic documentation of the property for use in
future preservation efforts.
26 Chapter 3
Chapter 4
Design Guidelines for Historic Building
Materials
Building materials strongly reflect the character and age of a building.The • • • • • • • • • • • • • • • • • • •
preservation and maintenance of original building materials on a historic • See NPS Preservation Brief 16: The Use
• of Suitable Materials on Historic Building •
property is important.The following preservation guidelines apply to • Exteriors,for further information. •
specific materials on historic properties. : . . . . . . . . . . . . . . . . . .:
Wood Siding
Wood is a material used historicallyfor exterior siding,trim and ornamental `'��
details.When properly maintained,wood will survive for centuries.To pre-
servewood, �
servewood,maintainitspaintedfinish.MostwoodenstructuresinJuneau's
Downtown are painted.Lap siding is most prevalent on wooden buildings, k
butotherwood sidings have been used.These construction methodsshould
be preserved in a manner that conveys their historic character.The follow- r
ing guidelines apply to wooden features on historic buildings. '
4.1 Preserve original wood siding.
• Avoid removing siding that is in good condition or that can be
repaired in place.
• Remove only siding which is deteriorated and beyond repair.
• If portions of wood siding must be replaced,be sure to match the
style and lap dimensions of the original.
i
V
a
The Madsen's Rooming House (1899, 369 S. Franklin Street) is a contributing
structure.The storefront material is a later alteration that detracts. A more
appropriate material should match the historic profile and be painted. Appropriate types of wood lap siding.
Design Guidelines for Historic Building Materials 27
4.2 Protect wood features from deterioration.
Provide proper drainage and ventilation to minimize decay.
• Maintain protective coatings to decrease damage from moisture.
If the building was painted historically, it shall remain painted,
including all trim.
4.3 Repair wood features by patching, piecing-in, consolidating or
otherwise reinforcing the wood.
• Avoid the removal of damaged wood that can be repaired.
� 4.4 Use approved technical procedures to preserve, clean, or repair
historic materials and finishes.
• Abrasive methods,such as sandblasting,are inappropriate.
Repair wood features by patching or • A firm experienced in the cleaning of historic buildings should be
piecing-in new wood elements that hired to advise on the best,lowest impact method of cleaning.
match the original.
4.5 Original wood building materials shall not be covered.
• If a property already has a non-historic building material covering
the original,it is inappropriateto add anotherlayerofnewmaterial,
P
which would further obscure the original.These materials shall be
removed where feasible and when it will not cause damage to the
historic material underneath.
Paint
Buildings that were clad with lap siding were usually painted to protect
the wood.Several concrete structures have been painted as well.When
preforming regular painting maintenance, applying traditional color
schemes is appropriate.The following guidelines applyto painton historic
buildings.
4.6 Always prepare a good substrate for painting.
• Priorto painting,remove damaged ordeteriorated paintonlytothe
One or two paint colors are generally next intact layer,using the gentlest method possible.
used as accents over one background
colorwhich unifies the typical painting 4.7 Use compatible paints and only remove underlying paint layers
scheme of historic buildings in where necessary.
Downtown Juneau. Some latex paints will not bond well to earlier oil-based paints
without a primer coat.
• • • • • • • • • • • • • • • • • ; Note that an early paint layer may be lead-based, in which case,
• See NPS Preservation Brief 10: Exterior •Paint Problems on Historic Woodwork, special procedures are required for its treatment.
• • p
• for further information. •
• • • • • • • • • • • • • • • • • •; 4.8 Using the historic color scheme is appropriate. If the historic
scheme is not known,then an interpretation of schemes on similar
historic buildings is appropriate.
• Asinglecolorscheme shall be used forthe entire exteriorsoupper
and lower floors and subordinate masses of a building are seen as
components of a single structure.
• Generally,one muted color is used as a background,which unifies
the composition.
• One or two other colors are usually used for accent,to highlight
details and trim.
28 Chapter 4
Concrete and Masonry
Masonry refers to construction using stone,brick,concrete,tile and similar h
materials.Several buildings in Downtown Juneau are constructed of con-
crete,and a few individual historic properties outside of the district have
masonry features.The following preservation guidelines applyto concrete
surfaces and other masonry features on historic properties.
4.9 Preserve concrete and masonry features that define the overall
historic character of a building.
• Examples are walls, cornices, pediments, steps, chimneys and
foundations.
• Avoid rebuilding a major portion of an exterior concrete wall that
could be repaired.
4.10 Preserve the original mortarjointand masonry unit size,the tooling j
and bonding patterns, and the coatings and color of historic
masonry.
• Original mortar, in good condition,shall be preserved in place.
4.11 Masonry that was not painted historically shall not be painted.
• Brick 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,not allowing it to breathe and
causing extensive damage over time. Concrete and masonry features shall
be preserved.
4.12 Protect concrete structures from water deterioration.
•• • • • • • • • • • • • • • • • • • •
• Provide properdrainagesothatwaterdoesnotstandonflat,horizontal • •
See NPS Preservation Brief]5:Preservation
surfaces or accumulate in decorative features. . of Historic Concrete:Problems and General •
• Provide positived ra in ageawayfrom con cretefou n d ationsto m in i m ize • Approaches,for further information. •
rising moisture. ; • • • • • • • • • • • • • • • • • •;
4.13 Clean concrete and masonry with the gentlest methods
possible.
• Test cleaning procedures in sample patches first.
• Low pressure water and detergent cleaning,using bristle brushes,
is appropriate.
4.14 Abrasive cleaning methods, such as sand blasting, will not be
allowed.
• They may remove the water-protective outer layer of the material
and thereby accelerate deterioration.
Design Guidelines for Historic Building Materials 29
Metals
Metals were used for a variety of applications including columns,roofing,
canopies and decorative features. Historically developments closer to the
waterfront used more metal.Metal applications shall be maintained where
i
they exist.The following guidelines apply to metal features on historic
properties.
1VI
f
4.15 Preserve architectural metal features that contribute to the
overall historic character of the building.
0 ! Provide proper drainage on metal surfaces to minimize water
f retention.
Metal accent features in Downtown Maintain protective coatings,such as paint,on exposed metals.
Juneau.
4.16 Repair metal features by patching, splicing or otherwise
reinforcing the original metal whenever possible.
• New metal shall be compatible with the original.
4.17 Use the gentlest cleaning method possible when removing
i deteriorated paint or rust from metal surfaces.
1 Harsh,abrasive cleaning methods shall be avoided.
Use approved technical procedures Cleaning Materials and Methods
for cleaning,refinishing and repairing Some cleaning materials can do more harm than good. Many cleaners can
historic materials. Harsh cleaning be harsh and abrasive,often damaging historic buildings materials.When
methods, such as sandblasting, can maintaining historic buildings,cleaning materials and methods which do
damage the historic materials and not harm the original building materials shall be used.The following guide-
change their appearance. lines apply to cleaning materials and methods used on historic buildings.
.. . . . . . . . . . . . . . . . . . .
• See NPS Preservation Brief 6:Dangers of • 4.18 Use the gentlest cleaning method possible to achieve the desired
Abrasive Cleaning to Historic Buildingsfor result.
further information. • Abrasive methods such as sandblasting are inappropriate.
MosttraditionaI cleaning methods can beharmful.Afirmexperienced
inthecleaning of historic buildingsshould be hired to adviseon the
best, lowest impact method of cleaning.
4.19 Use caution when repairing or removing original building
materials.
• Many historic finish materials may contain harmful substances
such asasbestosand lead.Use appropriate methods tohandlethese
materials.
4.20 Consult The Secretary of the Interior's Standards for the
Rehabilitation of Historic Building and Standards for the
Treatment of Historic Properties for illustrated guidelines and
further information on appropriate cleaning methods.
30 Chapter
Chapter 5
Design Guidelines for Historic Building
Elements
Individual building elements,including windows,doors,and cornices,can
strongly affect the character of a building and the preservation and main-
tenance of the original elements is important.The following preservation
guidelines apply to specific elements on historic properties.
Windows
The character-defining features of a historic window and its distinct ma-
terials and placement shall be preserved.In addition,a newwindow shall
be in character with the historic building.This is especially important on
primaryfacades and at street level. More flexibility is appropriate on non-
streetfront walls and rear walls.
5.1 Preserve the functional and decorative features of a historic "
window.
• Features importanttothe character of a window include itsframe,
sash, muntins, mullions, glazing, sills, heads, jambs, moldings,
operation and groupingsofwindows.Repairframesand sashes rather
than replacing them,whenever conditions permit.
p,.
5.2 Preserve the position, number and arrangement of historic r
windows in a building wall.
• Enclosing a historic window opening in a key character-defining
facade is inappropriate,as is adding a new window opening.This
is especially important on primary facades where the historic ratio
of solid-to-void is a character-defining feature.
• Greater flexibility in installing newwindowsmaybeconsideredon r
rear walls.
5.3 Preserve the size and proportion of a historic window opening.
• Reducingan original opening to accommodate asmallerwindowor
increasing it to receive a larger window is inappropriate.
5.4 Preserve the historic ratio of window openings to solid wall on Protect and maintain the stylistic
a primary facade. features and proportions of a historic
• Significantly increasing the amount of glass on a character-defining windowopening.
facade will negatively affect the integrity of the structure.
•• • • • • • • • • • • • • • • • • • •
• Some flexibility in window ratio is appropriate for upper levels. • •
• See NPS Preservation Brief 9:The •
• Repair of Historic Wooden Win- •
• dows,for further information. •
•
• • • • • • • • • • • • • • • • • • ••
Design Guidelines for Historic Building Elements 31
� 5.5 Match a replacement window to the original in its design.
If the original is double-hung,then the replacement window shall
also be double-hung,or at a minimum,appearto 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.
5.6 In a replacement window, use materials that appear similar to
the original.
• Using the same material as the original is preferred,especially on
Thea ppea ra nceofwindow components key character-defining facades.However,a substitute material may
should match those of the original in be considered on second aryfacadesifthe appearance ofthewindow
dimension,profile and finish. components will match those of the original in dimension,profile
and finish.
• Vinyl or aluminum clad windows maybe considered onupperfloors
only if the original type of material is unavailable.The replacement
must match the original's dimensions,detail and composition.
5.7 Match, as closely as possible, the profile of the sash and its
components to that of the original window.
• A historic wood window may have a complex profile.Within the
/f window's casing,the sash steps back to the plane of the glazing
// (glass)in several increments.These increments,which individually
i only measure in eighths or quarters ofinches,are important details.
They distinguish the actual windowfrom the surrounding plane of
the wall.
5.8 Use a storm window to enhance energy conservation rather than
replace a historic window.
• Install a storm window on the interior, when feasible. This will
allow the character of the original window to be seen from the
public way.
• If a storm window is to be installed on the exterior,match the sash
design of the original windows. A metal storm window may be
appropriate iftheframe matchesthe proportionsand profiles ofthe
original window.ItshalIfittightlywithinthewindowopeningwithout
the need forsub-framesor panning around the perimeter.Match the
Match,as closely as possible,the profile color of the storm window sash with the color of the window frame;
of the sash and its components to that do not use an anodized or milled(a silvery metallic)finish.Finally,
of the original window. set the sash of the storm window back from the plane of the wall
surface as far as possible.
• Energy conservation canalso beaddressed by regular maintenance
of historic windows to be sure heat loss is minimized.
32 Chapter 5
Doors
The character-defining features of a historic door and its distinct materi-
als and placement shall be preserved.In addition,a new door should be
in character with the historic building.This is especially important on G
primary facades.
5.9 Preserve the decorative and functional features of a primary
entrance.
• Maintain features importantto the characterofa historic doorway.
Thesemayincludethedoor,frame,screendoor,threshold,glasspanes,
paneling,hardware,detailing,transoms and flanking sidelights. }
• Avoid changing the position and function of original front doors
and primary entrances.
5.10 Maintain the original proportions of a significant door.
• Altering its size and shape is inappropriate.
5.11 When a historic door is damaged, repair it and maintain its
9 p
general historic appearance.
• If it is beyond repair, replacement may be considered.
5.12 When replacing a door, use materials that appear similar to that
of the original.
• If the original was wood,then that is preferred for a replacement. i
• A metal door,may be used asareplacementifitissimilarincharacter
and finish.5.13 When replacing a door, use a design that has an appearancet "
similar to the original door, or a door associated with the style
of the building. Examples of appropriate doors
• Installing a very ornate door is discouraged,unless photographic
evidence can support its use.
5.14 If energy conservation and heat loss are a concern, consider
using a storm door instead of replacing a historic entry door.
• Generally,wood storm doors are most appropriate.
• A metal storm door may be appropriate if it is simple in design and
if the frame is painted so that raw metal is not visible.
• Energy conservation can alsobeaddressed by regular maintenance
of historic doors to be sure heat loss is not occurring.
Design Guidelines for Historic Building Elements 33
Commercial Storefronts
See NPS Preservation Brief II-
• Rehabilitating Historic Storefronts, • Many storefronts in Juneau have components seen traditionally on com-
• for further information. • mercia I build ings.The repetition of these standard elements creates a visual
. . . . . . . . . . . . . . . . . . .. unity at the street that shall be preserved.
5.15 A commercial storefront shall not be altered, obscured, or
removed during a rehabilitation project, as storefronts help
f l i l i i mantan street level or pedestrians b providing� a p Y p g
views
� � �� to goods d activities inside commerc alstorefront cha acl windows. following
character-defining nrst floor gelementshalbe
preserved:
• Display windows:The main portion of glass on the storefront,where
goods and services are displayed.
• Transom:The upper portion of the display window,separated by
a frame.
• Kickplate:Found beneath the display window.Sometimes called
bulk-head panel.
• Entry:Usually set back from the sidewalk in a protected recess.
• Upper-story windows:Windows I ocated above the street level.These
usually have a vertical orientation.
• Cornice molding:A decorative band at the top of the building.
Character-defining elements of store-
fronts,including transoms,should be 5.16 If a storefront has been altered,restoring it to the original design
preserved and restored. is preferred.
• If evidence of the original design is missing, use a simplified
interpretation of similar storefronts.
• Historic photographs of Juneau and its downtown buildings are
available and shall be used when determining the original character
of a storefront design.
• If the alteration has acquired historic significance in its own right
it shall be maintained rather than altered further or restored to an
earlier period of significance.
5.17 Alternative designs that are interpretations of traditional
storefronts maybe considered where the historic facade is missing
and no evidence of it exists.
• Where the original is missing and noevidenceof its character exists,
a newdesign that uses the traditional elements maybe considered.
• However,thenewdesign shall continue to convey the character of
typical storefronts,including the transpa rent character of the display
window.
• Greaterflexibilityintreatmentofrearfacadesis appropriate.However,
careshall betakento preserve storefronts on those buildings which
have traditional commercial storefronts on more than one facade,
such as a corner building.
• The kickplate,located belowthe display window,adds interesting
detail to the streetscape and shall be preserved.
• If the original kickplate is covered with another material,consider
exposing the original design.
34 Chapter 5
5.18 If the original kickplate is missing, develop a sympathetic
replacement design.
• Wood is an appropriate material for replacements on most styles. I "
However,ceramic tile and masonrymay also be considered when
Y
appropriately used with the building style. o � 1
5.19 Retain the original shape of the transom glass in historic �i���'�%''����
storefronts. �� �
• Transoms,the upper glass band of traditional storefronts,introduc
light into the depths of the building.These bands shall not be
removed or enclosed.
• The shape of the transom is important to the proportion of they ,p
storefront,and it should be preserved in its historic configuration. 'r
• If the original glass is missing, installing new glass is preferred. Preserve the historic character of a
However,if the transom must be blocked out,be certain to retain storefront when it is intact.
the original proportions.
Thetransoms on the building above have been covered.Although they reflectthe
openings that were once located there,a more appropriate treatment would beto
reopen transoms.Compare with photos on page 15 and 17.
Design Guidelines for Historic Building Elements 35
.. . . . . . . . . . . . . . . . . . .• See NPS Preservation Brief 4: • Roofs
• Roofing for Historic Buildings, for While many roofs downtown are flat and hidden,some are sloped,gable
• further information. • forms.Where the roof itself is a significant feature,these guidelines ap-
ply.
5.20 Preserve the character of a historic roof, including its form and
materials,whenever feasible.
• Avoid altering the angle of a historic roof;maintain the perceived
line and orientation of the roof as seen from the street.
• Retain and repair roof detailing.
• Avoid removing historic roofing material that is in good condition.
• Do not cover historic roof materials.
5.21 New or replacement roof materials should convey a scale and
texture similar to those used traditionally.
• When replacement is necessary,use materials that are similar to the
original in both style as well as physical qualities and use a color
that is similar to that seen historically.
• When choosing a roof replacement material the architectural style
of the structure should be considered.
I ICI
IUIY 1
V'
i
f
oWmwoauum i J' yr Jf
III
Flat roofs are the most common roof form in Downtown Juneau.
36 Chapter
5.22 Preserve the original eave depth of a historic structure.
• The shadows created bytraditional overhangs contribute to one's
perception of the building's historic scale and provide weather
protection;therefore,these overhangs should be preserved.Cutting
back roof rafters and soffits or in other ways altering the traditional
roof overhang is inappropriate.
5.23 Avoid using conjectural materials or features on a roof.
• Adding features such as a widow's walk(an ornaterailing aroundthe
roofridge)on buildings where there is no evidence that one existed
createsafalse impression of the building's original appearance,and
is inappropriate.
Cornices
The cornice line contributes to the
Most historic commercial buildings have cornices to cap their facades.
visual continuity of the street.
Their repetition and general alignment along a street contribute to the
visual continuity on a block and shall be preserved.
5.24 A parapet wall,especially on a primary elevation or highly visible
u
facade,should be preserved.
• When a parapet wall becomes deteriorated, there is sometimes
a temptation to lower or remove it.Avoid doing this because the
flashing forthe roof is often tied into the parapet,and disturbing it
can cause moisture problems.
• Inspect parapetsona regular basis.They are exposed totheweather
M„
more than other parts of the build ing,so watch for deterioration such
as missing mortar or excessive moisture retention.
• Avoid waterproofi n gtreatments,wh ich can i nterferewiththe pa ra pet's
natural ability to dry out quickly when it gets wet.
5.25 Reconstruct a missing cornice when historic evidence is Cornicedetails inJuneau's Downtown
available. Historic District.
• 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.
5.26 A simplified interpretation is also appropriate for a replacement
cornice if evidence of the original is missing.
• Appropriate materials includewood,concreteand stamped metal.
Design Guidelines for Historic Building Elements 37
Canopies and Awnings
Canopies are simple in detail,reflecting the character of the buildings to
which they are attached.They are primarily flat;many of the early canopies
were as wide as the sidewalk area.
Fabric awnings are simple,and fit into the building opening which they
are covering.Historically these awnings were often operable(i.e.,could
r
be rolled,raised and lowered)to accommodate changing weather pat-
�li ; terns. Rigid fabric awnings may be considered on an historic building
on a case-by-case basis by the City and Borough of Juneau Community
Canopies provide shelter over side- Development Department.
walks and prove very valuable in in-
clement weather. 5.27 Preserve existing canopies.
•• • • • • • • • • • • • • • • • • • • Do not permanently remove canopies on historic structures.
See NPS Preservation Brief 44:
• The Use of Awnings on Historic • 5.28 If a canopy has been altered,consider restoring it to the original
Buildings Repair, Replacement design.
• and New Design, for further infor- • . Restore the historic canopy if it has been altered.
mation. If an awning or canopy existed and is now missing, it should be
• • • • • • • • • • • • • • • • • • ••
reconstructed.
•• • • • • • • • • • • • • • • • • • •
See also: • 5.29 An alternative design that is an interpretation of a traditional
• City and Bureau of Juneau Land •
Cano-Use Code Article VIII.
pies and Awnings 49.15.800 • • Wherethe original canopy is missing and no evidence of its character
• 49.15.850 for further informa- • exists, a new design that uses the traditional elements may be
tion. ; considered.
Canopies should convey the character of typical canopies of the
building type.
Canopiesshouldnotobscurecharacter-defining features ordamage
2 e � the historic fabric of the building.
5.30 Awnings are only appropriate on certain building types and
y r st les.
Historical evidence of the previous awning on the building must be
provided in order to gain approval for locating an awning.
- Awnings should be of rigid frame construction.Operable awnings
are inappropriate.
The scale of awnings should be in proportion to the building,and
not dominate the facade
Canopies step with the street level.
• The materials should be canvas or a synthetic canvas.
• Material must be durable and able to withstand the extreme
climate.
• Awnings should have a matte finish. Glossy finishes are
inappropriate.
• Awnings cannot be lit internally.
38 Chapter 5
Balconies
Balconies are not common building elements,however there are a few
cases where the use of such elements has occurred.
5.31 A balcony may be considered on an existing structure where:
• There issufficientevidenceshowin g thatsuchaneIementonceexisted
as an important character defining feature of the structure;or
• It will not directly be directly visible from the public right-of-way,
such as on the rear of a building.
• Balconies are inappropriate wheretheywill negatively impactthe 6
historic integrity of an existing structure.
5.32 A balcony should be compatible with a building's period of The rooftop use on the left side of the
significance. building includes an appropriately set
• Materials used for balconies should be appropriate to the period of back patio space.The rooftop use on
significance and style of the building. the right includes a railing which is
inappropriate and should be set back
Rooftop Uses from the building facade.
Rooftop uses such as patios,decks and outdoor dining may be provided as
amenity spaces,however their use should not detract from the integrity of
the structure or impact the quality or appearance of the streetscape.
5.33 Minimizethe impact of rooftop uses on the integrity of an existing
structure.
• Rooftop activity areas are inappropriate where they will negatively
impact the historic character of an existing structure.
5.34 Minimize the visual impact of rooftop uses as seen from the
street.
• Setbacka rooftop activity such that it is not visible from the sidewalk
below.
• Railing, umbrellas, tables, and other patio furniture should be
setback.
Setback
......
Sidewalk Street Building
Rooftop use areas should not be visible from the sidewalk below.
Design Guidelines for Historic Building Elements 39
Mechanical Equipment and Service
Utilities
Equipment located on the exterior of a historic building can detract from
the integrity of the resource.Equipment should be located where it is not
visible, or only minimally so, to avoid negative impacts.The following
% = guidelines apply to mechanical equipment and service utilities on historic
% buildings.
It is inappropriate for features such 5.35 Minimize the visual impacts of satellite dishes and other rooftop
as air conditioning units and other devices.
exterior equipment to be visible from • Features such as satellite dishes or other roof top devices should be
the street. installed in a manner such that they will not interrupt the original
cornice or ridge line.
• Flat skylights that are flush with the roof plane may be considered
on the rearand sides ofthe roof.Locating a skylight orotherdevice
on a front roof plane should be avoided.
5.36 Locate and install standpipes and other service equipment such
that they will not damage historic facade materials.
• Do notcutchannels into historicfacade materials as it maydamage
historic building fabric.
5.37 Minimize noise impacts of mechanical equipment and service
utilities.
• When feasible locate equipment away from adjacent residential
properties and/or buffer it.Additional noise attenuation measures
should betaken iftheequipment noiseexceeds national standards.
40 Chapter 5
Chapter 6
Design Guidelines for Historic Alterations and
Additions
.. . . . . . . . . . . . . . . . . . .
Historic Additions See NPS Preservation Brief 14: New
Some early additions may have taken on historic significance of their own. • Exterior Additions to Historic Buildings: •
One constructed in a man nerthat was compatible with the original building • Preservation Concerns, for further •
and that is associated with the period of significance may merit preserva- ; information.
tion in its own right.In contrast,more recent additions that detract from • • • • • • • • • • • • • • • • • • ••
the character of the building may be considered for removal.
6.1 Preserve an addition that has achieved historic significance in
its own right.
• Such an addition isusuallysimilarin charactertotheoriginal building
in terms of materials,finishes and design.
Adaptive Re-Use
Converting a building to a new use that is different from that which its
design reflects is considered to be"adaptive re-use"For example,convert-
ing a residential building to an office is adaptive re-use.A good adaptive
re-use project retains the historic character of the building while accom-
modating its new function.
6.2 Seek uses that are compatible with the historic character of the
building.
• Building usesthat are closely related tothe original use are preferred.
An examplewould bethe conversion of residential-type building
to an office.This can be accomplished without radical alterationsto
either the interior or exterior of the structure.
Design Guidelines for Historic Alterations and Additions 41
Alternative approaches to additions. New Additions to Historic Properties
A primary concern for an addition is to keep it in characterwith the existing
. building and to not significantly impact historic integrity.
6.3 An addition shall be compatible in scale,materials and character
r� with the main building.
fry I An addition shall relate to the building in mass,scale and form.It
:;. shall be designed to remain subordinate to the main structure.
4 An addition to the front of a building is inappropriate.
6.4 An additionshaII not damageorobscurearchitecturaIlyimportant
features.
•An original two-story building,before For example, the loss or alteration of a cornice line shall be
avoided.
an addition. Compare with sketches
below.
6.5 An addition may be made to the roof of a building if it does the
following:
• An addition shall be set backfrom the primary,character-defining
facade, to preserve the perception of the historic scale of the
building.
Its design shall be modest in character,so it will not attract attention
from the historic facade.
The addition shall be subtly distinguishable as new.
6.6 In limited circumstances,an addition may be made to the roof of
a building and not be set back from character-defining facades,
if the following criteria are met(For example,an addition shall be
Y Yxx distinguished from the existing building.A change in material or
New addition above a decorative band may accomplish this):
• An addition shall maintain the alignment of storefront elements,
moldings, cornices and upper-story windows that exist on the
main part of the building.
• The addition shall be compatible in scale, texture and materials
with the original.
ww phi„ f�iy� �� An appropriate rear-facing alley
addition.
New addition to the rear
42 Chapter 6
Chapter 7
Design Guidelines for New Construction
The historic integrity of Juneau's Downtown is nationally recognized and
important to maintain.New buildings in the district must both respect the
existing historic character of the district,while not creating a false sense of
history in new structures that would damage the integrity of the district as a
whole. Downtown Juneau is not known for one specific historic period of
significance,but rather developed over several periods of significance.As
such,Juneau has several different types of architectural styles,reflecting
the times in which major phases of development took place.While no one
style dominates,the majority of the buildings maintain similar qualities
that serve to unify the visual quality of the district.New buildings shall
followthe historic patterns of development in Juneau by both reflecting
the unifying visual qualities and character-defining features ofthe district,
and by reflecting thetime in which they are built.The following guidelines
applyto new buildings and to alterations of non-contributing buildings in
the historic district.
New construction shall respect the
character-defining features of the
historic district and reflect the time in
which they are built.This new building
usestraditional components,including
storefronts, canopies and transoms.
While they appear similar to historic
ones,these are in fact contemporary
l interpretations,which is appropriate.
lN/n�
n.,
iwi r
0 � r
Design Guidelines for New Construction 43
Placement and Orientation
With the exception of small gaps in the building wall that occur for pe-
destrian or vehicular alleyways,most structures in the historic district are
built to the full width of the parcel and to the front lot Iine.The resulting
"street wall"pattern shall be maintained in new development.
7.1 Maintain the alignment of buildings at the sidewalk edge.
• Locate the front street wall at the sidewalk line when feasible.
• If the building has a modern interpretation of a storefront,it shall
maintain the feel of the street wall through use of architectural
elements and features at the street edge.
7.2 Street facades shall span lot widths.
• Spaces between buildings shall be kept to a minimum to maintain
the street wall and sense of enclosure at the sidewalk.
• Exceptions are for access ways to side or rear entrances.
7.3 Lots that have multiple street fronts shall be built to address
each street facade.
• Buildings on corner lots shall be built to the sidewalk on both streets
to the extent possible without interfering with public safety.
• Buildings on lots which face multiple streets shall be double fronted
and built to the sidewalk at both street fronts.
• Storefronts are appropriate along all street level facades of the
buildings.
7.4 Buildings on angular lots shall be built to lot lines.
• The angular street pattern and the resulting non-rectilinear building
forms are characteristics of Downtown Juneau and new buildings
may continue this pattern.
—T
A
-cam
I '
I
— , B.
Align the building front at the sidewalk edge. Building A is an inappropriate
exampleof building placementalong the sidewalkedge,since itdoes notalign
with the other buildings on the block.Building B is an appropriate example.
44 Chapter
Mass, Scale and Height w
Patterns of building occur along the street by the repetition of similarly- (�
sized building elements. For example, uniform facade widths, evenly
spaced along Front Street,create a rhythm that contributes to the visual
continuity of the district.At a smaller size,the repetition of upper-story
windows across most building fronts also creates a unifying effect.These
features and similarpatternsaresomeofthe most important characteristics
of the district and shall be respected in all new construction.
7.5 Traditional spacing patterns created by the repetition of uniform
buildings widths along streets shall be maintained. Example of new construction which
• In most cases,a facade shall not exceed established widths without would relate to existing historic
a clear expression of the historic pattern. structures by maintaining thealignment
• Where a building must exceed this width,use a change in design of horizontal features, producing a
features to suggest the traditional building widths. Changes in similar floor to floor height, dividing
facade material,window design,facade height or decorative details a larger facade into smaller modules
are examples of techniques that may be considered.These variations and maintaining the visual scale of
shall be expressed through the structure such that the composition buildings.(Aspen,CO)
appears to be a collection of smaller masses.
7.6 A new building shall incorporate a base,middle and a cap.
• Traditionally, buildings were composed of these three basic
elements. Interpreting this tradition in new buildings will help
reinforce the visual continuity of the area.
• This also applies to existing,non-contributing structures. Jj
7.7 A new building shall maintain the alignment of horizontal -..
elements along the block.
• Align the height of window sills, moldings and midbelt cornices
with adjacent and nearby buildings.
• Where sloped streets occur,a building facade shall step along the
street(see image at bottom of page 45).
u
Design lower building levels to
express the a lig n ment of elements seen
traditionally in the district.
�� IA A new building shall maintain the
*� generalalignmentofhorizontalelements
along the block.Windowsills,moldings
era and midbelt cornices are among those
—• elements that may be seen to align.
Notethealignmentofbuilding elements
varies by one to two feet on the sloping
portions of Franklin Street.Storefronts
and canopies generally align in more
level portions of the district.
Design Guidelines for New Construction 45
7.8 Floor-to-floor heights shall appear to be similar to those seen
' See page v in the Introduction ; historically.
for the Historic District Boundary . • First floor heights shall be equal to those of the surrounding
• and Building Height Designations • buildings.Note that first floor heights are taller than upper floors.
g g pp
• Map. • . Design windows in new construction to appear similar in height,
location and scale to those seen historically.
. . . . . . . . . . . . . . . . . . ..
7.9 Maintain the visual building scale of two to four stories in
height.
• Develop a primary facade that is in scale and alignment with
surrounding historic buildings.
• Design the lower levels to express the alignment of elements seen
traditionally in the block;where additional height is allowed, it
shall be set back to maintain the visual appearance of scale from
the street level.
The storefronts shown are appropriate
infill examples that could occur within
the district.They a re described below.
Wood Frame Case Study:
The facade is wood frame construction
with a metal storefront structural
system.The second story of the facade
is wood lap siding with a profile that
matches a historic wood lap siding.
The kickplate is a series of smooth
colored concrete panelstocomplement
the buildings color scheme.The upper
story windows are double hung(wood)
with wood trim.The doors are solid core
wood with glass panels.A horizontal
canopy is supported bycables.Shadow
lines denote the depth of detail within
the facade design.
Concrete Case Study:
The first floor is cast concrete with
a metal storefront structural system.
The upper story is wood frame with an
applied stucco finish.The base of the
building is a darker colored concrete
to complement the building's color
scheme.The building trim components, —
including the window headers,cornice
and belt course,are wood.The upper
story windowsa redouble hung(wood).
The doors are solid core wood with i... ....................................
glass panels. A horizontal canopy is i
supported by cables. Shadow lines
denote the depth of detail within the
facade design.
46 Chapter 7
Building Materials
Wood frame and concrete were the primary construction methods used in
the historic district.These methods should continue in new construction.
More modern materials may also be considered when they are compatible
with those used historically.
i
7.10 New materials shall convey a sense of scale similar to that seen
in historic materials.
• Appropriately scaled materials contribute to a visually interesting
building facade.
• Large uninterrupted expanses of featureless materials are
inappropriate.
• Metal framing can often be similar to that of wood frame methods
and portray a similar scale while also reflecting modern construction Although this new infill building meets
methods. basic regulations regarding height
• Lap siding shall be similar in depth and profile to historic and orientation it does not reflect thecharacterandbuildingmaterialsfound
materials. in thedistrict.Displaywindows should
becontinuousand have kickplates.The
7.11 Building materials shall have similar characteristics as materials second story projection is out of scale
used historically. and there is no belt course.See sketches
• Unfinished or reflective materials shall not be used. on previous page for appropriate
• Polished stone and mirrored glass shall be avoided as primary storefront examples.
materials.
• Synthetic materials are discouraged,but are most appropriate in
upper floors where they are less accessible.
• Material color schemes should reflect historic patterns of one muted
background color,with one or two other colors used as accents.
7.12 All materials used shall be durable and appropriate for the
climate.
• Any new,alternative material should have a demonstrated durability
in the Juneau context and shall be approved by the Community
Development Department.
Design Guidelines for New Construction 47
Architectural Character
While it is important that new buildings and alterations be compatible with
the historic context,they shall not imitate older building styles because
this confuses the authenticity of the district.Visual compatibility results
} when the design variables in anew building are arranged to be similar to
historic patterns in the area yet in ways that convey their own time.New
construction shall be stylistically distinguishable from historic buildings
while maintaining a similar scale and character-defining featuresto historic
buildings.
7.13 New interpretations of traditional building styles are
appropriate. Infill construction shall:
• Be a balance of new and old design.
• Draw upon the fundamental similarities among older buildings in
This is a good example of an infill the area without copying them.This will allow it to reflect its own
building, although the storefront time and yet be compatible with its historic neighbors.
could be refined to further reflect the Avoid literal imitation of older historic styles.
architectural character of the district.
Thedisplaywindowscouldbeincreased 7.14 A new building shall be compatible with architectural and scale-
and the kickplate could be reduced. giving elements traditionally found in the district.
Greater profile could be attained in the
finish materials. Similar architectural massing as well as window and door patterns
are examples of scale-giving elements.
7.15 Modern interpretations of architectural features historically
used are appropriate in new construction.
• New construction shall include architectural features used
historically in the district such as storefronts and canopies at
the street level,but these shall not be direct copies of those seen
historically.
t
New construction shall include
architectural features used historically suu
in the district such as storefronts and , �ui�rm
canopies at the street level,but these
shall not be direct copies of those seen
historically. Although this building
complements the historicfabric,several
steps could have been made to make
it a better fit.This includes adding a /
kickplate and providing additional /
depth to the profile of the storefront,
upper story windows,belt course and
cornice.
48 Chapter 7
Facade Elements
Storefronts
Storefronts are important character-defining features of the historic district,
and shall be included on new buildings in the historic district.
7.16 The scale and proportions of a new storefront shall be similar
to those seen historically.
• First floors shall be taller than upper floors.
7.17 Window patterns in storefronts shall be similar to those seen
I ,
historically. �rU 1
• The area of transparent material shall be roughly equal to what is
seen historically.
7.18 Alternative designs that are contemporary interpretations of A contemporary interpretation of a
traditional storefronts may be considered. storefront including kickplate and
• Modern designs that use traditional elements are appropriate. canopy,which is appropriate.
• The new design shall continue to convey the character of typical
storefronts, including the transparent character of the display
window.
1
G�
`f
The scale and proportion of storefront elements shall be similar to those seen
historically.
Design Guidelines for New Construction 49
Canopies
Canopies are noteworthy features of the historic district and have a strong
history of use.Their inclusion in the design of new construction is required
by the land use code.
a
7.19 Building canopies are required.
• Canopies help unify the streetscape as well as provide refuge from
inclement weather.
7.20 Mount canopies to accentuate character-defining features and
window openings.
Canopies shall be mounted to highlight moldings that may be found
above the storefront or within the storefront.
A clearly defined entry is commonly . The scale of canopies and their support systems shall be in
covered by a canopy. proportion to the building,and not dominate the facade.
7.21 Use colors and materials that are compatible with the overall
design of the building.
• Canopy materials shall reflect the style and character of the
building.
• Use colors that are compatible with the overall color scheme
of the facade. Solid colors or simple, muted stripe patterns are
appropriate.
7.22 Canopies shall step down to maintain a consistent height over
the sidewalk.
• Canopies shall not be angled across the building facade.
• Some slope is appropriate to allow for run-off of precipitation.
• Articulation in awnings and canopies is appropriate to designate the
main building entry.
7.23 Projecting horizontal canopies are most appropriate.
• The canopy shall fit the opening of the building.
• Odd shapes,bullnose awnings and bubble awnings are inappropriate
on most structures.
• Internal illumination is inappropriate.
• Simple shed shapes may be considered in some cases.
50 Chapter 7
Balconies
Balconies may be provided as amenities where their use will not impact
the integrity of the district.
7.24 Balconies may be considered on new structures where:
• They will not directly be directly visible from the public right-of-
way,such as on the rear of a building.
• The will be supported by the building.
• Balconies are inappropriate where they will negatively impact the
historic integrity of the district.
Rooftop Uses
Rooftop uses such as patios,decks and outdoor dining may be provided
as amenity spaces,however their location should not impact the quality
or appearance of the streetscape.
7.25 Minimize the visual impact of rooftop uses as seen form the
street.
• Setback rooftop activity areas such that they are not visible from
the sidewalk below.
• Railings,umbrellas,tables and other patio furniture should not be
visible from the street.
Setback
r o
Sidewalk Street Building
Rooftop use areas should not be visible from the sidewalk below.
Design Guidelines for New Construction 51
Windows
A pattern exists along the streets with the repetition of evenly-spaced,
similarly-sized, upper-story windows.These windows are often double
hung,and help to give buildings a sense of human scale.Using window
sizes and proportions that are familiar to the pedestrian helps them to
relate to the overall size of a building.The alignment and similar scale of
windows reflect a common historic pattern thatshall be continued in new
development.
7.26 Upper-story windows with a vertical emphasis are required.
• A typical upper-story window is approximately twice as tall as it is
wide.Upper-story windows in new construction shall relate to the
window proportions seen historically.
A ganged double-hung window configuration is appropriate.
Typically, upper-story windows are
twice as tall as they are wide. This 7.27 Windows shall align with others in a block.
tradition shall be continued.This may • Windows,lintels and their trim elements shall align with traditional
be expressed in a variety of ways.See buildings on the block.
the examples below.
7.28 Materials used in and around windows shall be similar in scale
and proportion to those used historically.
• Tinted or reflective glass is inappropriate.
;u
The use of wood windows is appropriate.The depth of the profile
should be very similar to those seen historically.
f r
� � lumpy IIIII
u .IIIIIIIIIIIIIIII IIII IIIIIIIIIIIIIIIIIIIIVm a .giiiiiuuuuuuum uuuuuuuugiiiiiuuuuuuum uuuuuuuugiiiiiiii,
u j
1
Upper-story windows with vertical r
puuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuY������������uu
emphasis are required.
1
O
TraditionaIlywindows have sense of Although this new infill building is appropriately scaled with buildings in the
depth as seen here. district,the window orientation,proportion,and alignmentare inappropriate.The
upper storywindows arealigned higher then traditionally seen and the projecting
central baywindowandcorniceareoutof character.The display windows should
be larger and be accompanied by kickplates.
52 Chapter
Entries
The repetition of recessed building entries occurring along the street in
the historic district provides a rhythm of shadows along the street,which
helps establish a sense of scale and invites pedestrians to enter buildings.
This trend shall be continued in new construction.
7.29 A building entrance shall appear similar to those used
historically.
• Clearly define the primary entrance.
• Recess the building entrance.
• Choose a design similar in scale and overall character to those
seen historically for a contemporary interpretation of a traditional
building entry.
• Place the primary building entrance at or near street level.A sunken
terrace entrance is inappropriate as the primary access from the
street.
• Design entries to have a high degree of transparency.
Pedestrian Interest
The Downtown Historic District shall continue to develop as a pedestrian-
oriented environment of ground floor storefronts.Buildings shall relate to
pedestrians by using materials and a human scale compatible with local
historic patterns.The ground floor shall also provide year-round interest,
not solely in the peak season.
7.30 Develop the ground floor level of a project to encourage
pedestrian activity.
• Provide a storefront along a primary pedestrian way when
feasible.
• Provide a protective canopy over the sidewalk similar to surrounding
buildings.
• Provide architectural detailing that is pedestrian scaled on first floor
facades.
7.31 Avoid blank walls or the appearance of a vacant lot.
• Design all building facades that can be seen by pedestrians to be
visually interesting.
• Provide repetitive elements,such as windows and belt courses,to
create a rhythm of shadows along a facade.This helps establish a
sense of scale and interest for pedestrians.
• Use architectural detailing and material articulation to create a
visually pleasing facade.
Design Guidelines for New Construction 53
54 Chapter
Chapter 8
Design Guidelines for Site Design and the
Public Streetscape
Juneau has an active downtown where pedestrians share streets with lily li
buses,automobiles and bicycles.This mix of traffic can provide a sense
of excitement and enhance the pedestrian experience if all the elements
are kept in balance.A unified streetscape design for the historic district
will help maintain a sense of visual continuitywhile expressing the unique r
qualities of the Downtown Historic District.The following guidelines are
applicableto new development and changesto existing non-contributing
buildings in Downtown Juneau. ��;� "�� /a
Juneau's active downtown streets.
pa
N 7
i yyy
f
i V iil' q
�Vu
w /
U / IVF Q
Juneau's active downtown street scene.
Design Guidelines for Site Design and the Public Streetscape 55
Cut and Fill
`�� � �• Site development may require cutting into relatively steep slopes along
r with substantial excavations for foundations.While basic engineering
concerns are major issues in these cases,the visual impacts of these cuts
can be significant.To the greatest extent possible,cutting-and-filling of
sloping areas shall be avoided but,where it must occur,the visual impacts
shall be minimized.
Use earth berms,rock forms or stone 8.1 Minimize cut-and-fill excavation that would alter the perceived
retaining walls to minimize visual
impacts of hillside cuts.Use a series of natural topography.
terraces with short walls to maintain Useearth berms or retaining wallstominimizevisualimpactsofcuts.
the traditional sense ofa hillside where Hedges and fences may also be appropriate in some locations.
feasible. Simple rock walls may be considered. Exposed gabions, large,
continuous surfaces of smooth rawconcrete and similar structures
shall be avoided.
Site Retaining Walls
Simple retaining walls are used in some areas where steep slopes occur.
8.2 New retaining walls shall use natural materials.
• Architectural block,with special texturing orcolor may beconsidered
where it can be demonstrated that the result will appear to be in
character with the area.
8.3 Minimize the perceived scale and mass of a new retaining
wall.
• A wall that is less than four feet is appropriate and encouraged.
• Where the overall retaining height must be greater than four feet,
use a series of terraces with short walls to maintain the traditional
sense of a hillside where feasible.
• Consider varying the setback of individual walls to minimize the
perceived overall width of a long wall.
• Considervarying masonry patternsto provide variety in largewalls
where applicable.
56 Chapter 8
Building and Site Lighting
The primary function of lighting is for safety and security.Lighting is also
used to accent building character and for advertising and sales promotion.
The primary goal for I ighting in Juneau is that it sha I I not bed etrimental to
the adjacent surroundings ortheoveral I environment,butshal I stil I maintain
t
a safe environment.Lighting the sidewalk sufficiently is a goal within the
r ��te
district.This does not imply high levels of illumination;minimum illumi-
nation levels are more appropriate for various nighttime functions.
9
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,entrances and first floor details.Most fixtures had
incandescent lamps that cast a color similar to daylight,were relatively
low in intensity and were shielded with simple shade devices.Although
new lamp types may be considered,the overall effect of modest,focused
b Exterior lights should be simple in
building light shall be continued.
character and used to highlight signs,
entrances, sidewalk and first floor
8.4 Exterior lighting shall accent, not dominate,a building facade. details.
• Primary building entrances shall be the main source of
illumination.
• Secondaryaccents may ilIuminatesecondaryentrances,architectural
details and signs.
• The use of strobe lighting is inappropriate.
• Seasonal string lighting is appropriate.
• Secondary accents that may illuminate other areas of public and
functionaIimportance,such as side or rear entrances,steps and walks
located along the side of the building,may be appropriate. Prevent glare onto adjacent properties
• The use of recessed downlighting in canopies is appropriate. by using shielded and focused light
sources that direct light onto the
8.5 Minimize the visual impacts of site and architectural lighting. ground.The use of down lights,with the
• Use exterior light sources with a low level of luminescence. bulb fully enclosed within the shade,
• Use white lights that cast a similar color to daylight. or step lights which direct light only to
• Do not wash an entire building facade in light. walkways,is strongly encouraged.
• Use lighting fixtures that are compatible with and complimentary
to the building and its surroundings in terms of style, scale and
intensity of illumination.
• Blinking,flashing lights and exposed strip lighting used to illuminate
,rp
building facades or to outline buildings are inappropriate.
• Interior lights to illuminate signs or canopies are inappropriate.
8.6 Use shielded and focused light sources to prevent glare.
• Provide shielded and focused light sources that direct light
downward.
• Do not use high intensity light sources or cast light directly
upward.
• Shield lighting associated with service areas,parking lotsand parking
structures.
A sconce above the sign is an
appropriate example of an exterior
lighting fixture.
Design Guidelines for Site Design and the Public Streetscape 57
8.7 Minimize impacts from service and parking area lighting.
• Securityandservicearea lighting shall be discriminatingly utilized
to illuminate the area for surveillance as required,yet it shall be
prevented from creating a hot spot of light calling attention to it
from the surrounding areas.
• Keep parking area lighting at a human scale.
• All parking lightfixtures shall besimilarindesignandshallbespaced
throughout the parking area to avoid regimented placement.
8.8 Street lighting fixtures shall be consistent throughout the
district.
�t y � Unique and consistent street lighting fixtures help to unify the
streetscape of the downtown and to mark the boundaries of the
historic district.
8.9 Extensive canopy,awning and porch lighting is inappropriate.
Lighting on the underside of a canopy is appropriatewhen it does
Extensive canopy,awning,and porch not dominate the streetscape.
lighting is inappropriate. (Lahaina, Attach light fixtures to the building facade rather the underside of
HI) a canopy or awning.
Mechanical Equipment and Service
Utilities
Utility service boxes,external fire connections,telecommunication devices,
cables,conduits,trash and recycling storage,satellite dishes and fans may
affect the character of an area.These devices shall be screened from public
view to avoid negative effects on historic resources.
8.10 Minimize the visual and noise impacts of mechanical equipment
on the public way and surrounding neighborhood.
Screen equipment from view.
�l 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.
• When feasible locate equipment away from adjacent residential
properties and/or buffer it.Additional noise attenuation measures
Mechanical equipment such as satellite should be taken if the equipment noise exceeds national standards.
dishes can detract from the historic
character of the downtown when visible 8.11 Minimize the visual impacts of utility connections and service
from public right-of-ways. boxes.
• Locate utility connections and service boxes on secondary walls
when feasible.
8.12 Minimize the visual impacts of trash storage and service
areas.
• Locate service areas awayfrom major pedestrian routes;locate them
at the rear of a building,off an alley,when possible.
• Screen dumpsters from view.
58 Chapter 8
Street Furnishings '
Several areas of Downtown Juneau already have amenities in place that
enhance the pedestrian experience. New furnishings shall continue to A.
enhance the area while working with existing features.Where feasible,
benches,planters,lighting,mail boxes,newspaper racks and trash recep-
tacles shall be located in a"furnishings zone"which maintains a clearly
defined pedestrian travel lane.
8.13 All street furniture in the public right-of-way shall have similar
materials and finishes.
• Draw upon local character and materials for street furniture
design.
8.14 Street furnishings shall be simple in character.
• Avoid highly ornate designs which could misrepresentthe history
of the area.
/ ��i ✓y iDi��/iy�i���� j(xis r,. //
Street furnishing shall be simple in character,such as this bench.
WWI
P
Street furnishings such as these
decorative light fixtures can add to the
character of the streetscape.
Design Guidelines for Site Design and the Public Streetscape 59
Sidewalks
Early photographs of Downtown Juneau show simple concrete sidewalks
which provide a visual unity to the area.This tradition shall be continued.
A clear and safe pedestrian travel lane shall be kept clear of all merchan-
dise.
8.15 Sidewalk design shall reflect the character of its historic
context.
��� ��/ �� Sidewalk designs shall be modest in character
•M, i�9611 7i7�77i� I
Decorative paving can help to define Sidewalks shall be attached to the curb.
key intersections and aid in way
finding. 8.16 The main sidewalk paving shall be a simple concrete finish.
• Broom-finished, grey concrete is preferred for the predominant
material.
• Decorative paving may be used to define special functional areas
such as key intersections,public plazas and courtyards.
• The finish texture should comply with current accessibility
requirements.
8.17 Decorative and accent paving is appropriate for key
crosswalks.
• Decorative paving at key intersections can help unifythe streetscape
and aid in way finding throughout the district.
• Althoughdecorativepavingisappropriateforaccentsatintersections,
thegoal for the rest of the sidewalktreatmentsin the district should
read as a cohesive system.
8.18 Merchandise displayed on the sidewalk shall be kept clear of the
public right-of-way.
• Merchandise such as hanging racks and display tables that occur
outside of the building arenotincharacterwith the district,and shall
be set back three feet from the storefront entrance.
I✓ IN�V I
t f I
on
19ID A v;5waxAWa( a °�1��i�1 v��"
ko
,� n
Early photographs of Downtown Juneau show simple concrete sidewalks.
60 Chapter
ATMs
An ATM should be located inside a building when feasible.When not
possible an ATM should be synthesized into a building's secondary facade. %�i�i�
The visual impact of freestanding ATMs should be minimized.
8.19 An ATM should be located inside a building or integrated into
a building's facade,when feasible.
• An ATM should complement the exterior building facade.
• Position an ATM on a secondary wall when feasible. %
• A muted color that complements the building should be
considered. I
1
8.20 Minimize the visual impact of ATM machines.
• Use a low-profile unit.
• Large scalefreestanding enclosures with canopies are inappropriate
within the district. Large scale frree estanding enclosures
• Bold contrasting colors on machines are inappropriate. with canopies are inappropriate within
the district.
Design Guidelines for Site Design and the Public Streetscape 61
62 Chapter
Chapter 9
Design Guidelines for Parking Facilities
Utilizing alternative modes of transportation is encouraged in Downtown
Juneau;however,parking is still necessary.When accommodating parking
in the downtown the primary goal is to minimize visual impacts. ��
Surface Parking
9.1 Surface parking should be located in the interior of a block 'w
whenever possible.
• Do not place surface lots on corner properties as they are generally
more visible than interior lots and provide a sense of enclosure for
intersections.
• Site a surface lot to minimize gaps in the street wall.
• Placethe parking totherearofa building topreservethearchitectural
continuity of the street.
9.2 Provide a visual buffer where surface lots abut sidewalks.
• Consider the use of a compatible wall as a screen near the edge of
the lot.
• Use a combination of trees and shrubs to create a landscape bufferwhereitng lot abu s landscaped
buffer. bufferwhere itabutsa public sidewalk.
(Ann Arbor,MI)
Security and Pedestrian Circulation in
Parking Facilities
9.3 Design parking facilities to be accessible to pedestrians.
• Clearly define walkways with graphics,lighting or landscaping.
• Provideadirectconnection between parkingstructuresandsupporting
businesses.
• Plan interior and exterior lighting to assure user safety.
Design Guidelines for Parking Facilities 63
Parking Structures
Parking structures should be designed to enhance pedestrian activity along
the street in the historic district.At a minimum a parking structure should
help to animate the street and be compatible with the surrounding historic
context.The visual impacts of the cars themselves should be minimized.
9.4 Design a parking structure so that it creates an attractive, active
street edge.
• Wrap parking structures with retail space or other active use along
the street edge,or stack them over an active street level use when
feasible in order to shield the facility from the street.
• Provide visually attractive street edgeswith architectural detailing,
Theground level ofa parking structure murals,public art,landscaping and product display cases when a
should be wrapped by retail,office or retail wrap is not feasible.
some other active use along the street
edge, or parking should be stacked 9.5 Design parking structures to be compatible with historic buildings
above an active street level use.
in the surrounding area.
• Respect the character-defining features of adjacent historic
buildings.
" V Maintain the alignment and rhythm of architectural features as seen
� along the street.
• Use similar building materials.
• Avoid multiple curb cuts which complicate turning movementsand
disrupt the sidewalk.
• Reflect the traditional widths of buildings in the area.
This parking structure incorporates a
wrap of retail stores along the street
edge.The storefronts are contemporary
interpretations of historic downtown
storefronts.(Boulder,CO)
64 Chapter 9
Chapter 10
Design Guidelines for Signs
A sign typically serves two functions:to attract attention and to convey • • • • • • • • • • • • • • • • • •
information. All signs shall be consistent with the building's period of
� See also: �
significance.All new signs shall be developed with the overall context City and Bureau of Juneau Land
of the building and of the area in mind.Signs shall be constructed in a • Use Code Chapter 49.45 Signs •
manner that does not damage the historic fabric of the building. ; Article 1, Article 11, Article III and
Article IV.
Appropriate Sign Types • • • • • • • • • • • • • • • • • • ••
Sign types vary widely in the Downtown Historic District.The important
principle is that signs do not overwhelm the architecture of the building.
The placement,location and type of a sign are perhaps the most critical
uT
factors in maintaining the order and integrity of the district.Consistent u�
placement of signs according to building type,size, location and even q,
building materials creates a sense of visual continuity.The use of roof-top
signs of any kind are prohibited.The following sign types are acceptable
in the Downtown Historic District.
10.1 Canopy Signs
A canopy sign is a sign attached or applied to the horizontal face of a •• • • • • • • • • • • • • • • • • • •
canopy.Canopy signs shall not extend below the bottom of the horizon-
� The only sign appearing above �
tal face or more than one foot above the horizontal face of the canopy. . the canopy or first floor level of
A sign located on a canopy face may be appropriate: • a building should relate to the •
• In areas with high pedestrian use. ; name of the building or principal
• When other signs would obscure architectural details of the use within the building.
structure. • •
. . . . . . . . . . . . . . . . . . ..
10.2 Under Canopy Hanging Signs
An under canopy hanging sign is a sign that hangs from the underside
----------------
- X
_ E
i
A canopy sign should not extend below the bottom of the
horizontal face or more than 1'above the horizontal face.
Design Guidelines for Signs 65
of a canopy or building projection, and does not employ ground
support in any matter. One under canopy hanging sign is allowed
per tenant per street facade.A sign of this type shall be designed and
located in a similar fashion to other under canopy hanging signs on the
same building,and shall:
• Incorporate sign brackets as a decorative or complementary
element of the sign and building detail.
• Be located near the business entrance,just above the door or to
the side of it.
Under canopy hanging signs. Note: All pertinent regulations should be reviewed when planning
to use an under canopy hangin on a canopy that overhangs a public
right-of-way
10.3 Facade Mounted Signs
A facade mounted sign is a sign that is attached to the wall or surface of
a building,which is parallel to the supporting surface.When designing
and locating a sign of this type:
• Place the sign relatively flush with the building facade and align
it with others signs on the building.
• Place the sign within, rather than forward of, the fascia or other
architectural details of the building. Decorative moldings and
architectural details of the building should be used to define a
sign, by locating the sign within a panel formed by moldings or
5'max.
transom panels.
• Placethesignina manner that does not obstruct character-defining
o features of the building.
V �
0 0 10.4 Window or Doors Signs
o � o A window or door sign is a sign that is painted on, adhered to and/or
o o displayed through a window or door with the intent to be viewed from
ii �
the outside.When using this type of signage the following criteria shall
apply:
An under canopy hanging sign is Window or door signs may occupy 10%of the storefront glass and
encouraged. These signs shall not are only allowed on the first floor of a building. All window and
extend more than 5'from the facade door signage in excess of the allowable 10%of the storefront glass
front, nor shall they be less than 7'
from above the finished sidewalk. shall be counted against the overall allowed sign area for that side
of the building (See graphic page 67).
10.5 Historic Building Names
A historic building name or sign that is a significant part of the historic
building,may contribute to the historic significance of the building and
as such shall be preserved and not removed.
Sign Composition
The composition of a sign in contrast to a building's architectural detail
and design are important to preserving the significance or integrity of
a historic building.When designing and installing a sign the following
66 Chapter 10
shall apply:
10.6 Signs shall be subordinate to the overall building composition.
• Scale signs to fit with the facade of the building.
• Locate a sign to emphasize design elements of the facade itself.
• Mount signagetofitwithin existing architectural features using the
shape of thesign to help reinforcethe horizontal lines of moldings
and transoms seen on the building.
• Calculate the sign area by using simple geometric shapes thatti,
define the sign.
• Though notwidelydone historically,the use ofsymbolstoportray
a word,name,or idea may be considered.
• Rooftop signs are inappropriate. This includes stand-alone or
painted on signs.
10.7 A corporate logo or color scheme maybe incorporated intosignage '
as long as signs of this nature do not alter or destroy existing
architectural features or details.
• The Community Development Department Director shall
determine the portion of the building that will be recognized as
part of a corporate design,and therefore a sign.
An irregularly shaped sign
area is calculated by a
_..._..__.__._..._. __ simple geometrical shape
juxtaposed on the object.
6 II�II IY yl�dy7
The total window and door sign area should not exceed 10%of
the total storefront glass (grayed area).The maximum window
and door sign area is shown in this example.
Design Guidelines for Signs 67
" "• Sign Character
• See NPS Preservation Brief 25: The
Preservation of Historic Signs,for further When designing a sign that will be erected in the historic district con-
information. • sideration shall be given to the proposed materials, colors and details
of the sign and the building on which the sign is to be installed.
10.8 Signs shall be designed in a manner that doesn't damage the
�11ti1 b�� historic fabric of the building.
Any sign that visually overpowers the building or obscures
• significant views or architectural features is inappropriate.
I
10.9 A simple sign design is preferred.
i Typefaces that are in keeping with those seen in historic photos
or that are traditionally used are encouraged. Modern typefaces
�u musr�v
are inappropriate.
Avoid hard-to-read or overly intricate typeface styles.
• Consider letter and painted signs on blank walls as they were
used historically.
Asign shall be clearly legible. Sign Materials
A sign's material shall reflect the style of the building to which it is at-
tached and its period of significance (see Chapter 2).
10.10 Usesignage materials that are compatible with the building facade.
• Signs shall be wood,sign-grade foam,or metal.
• Other materials may be used as long as the material is durable
and does not have a plastic appearance.
• Signsshall be painted and shall havea matte surface fin ish.The use
of vinyl covers or stickers are inappropriate,except in the instance
of window and door signs.
• Highly reflective materials shall not be used.
Sign Lighting
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.
10.11 Use indirect lighting on signage.
• Direct the lighting at signage from an external,shielded lamp.
• Warm lighting,similar to daylight, is appropriate.
• Strobe lighting is inappropriate.
• Internal illumination is inappropriate.
• Halo illumination is inappropriate.
Sign Installation
The installation of a sign is an integral aspect in the retention of key
68 Chapter 10
architectural features and in minimizing damage to the building. "
Sul,
wmj
10.12 Avoid damaging or obscuring architectural details or features
when installing signs.
• Minimize the number of anchor points when feasible.
• Install sins in a mannerthat does notcreate a publicsafety hazard.
; i
Sign Color
The use of color in sign design shall be assessed in the context of the
building,as well as the area,scale and form of the sign.Strong primary'
colors shall be used sparingly and primarily for accent purposes. Sign
panels shall avoid areas of white or cream, which visually detach the
sign from the building.Color shall be used to accentuate the sign design
and message,and to integrate the sign with the building.
10.13 Use colors for the sign that are generally compatible with those Appropriate under canopy hanging
of the building front. signs.
• In general,no more than three main colors shall be used,although
small amounts of additional accent colors may be appropriate.
• Use colors and materials that are compatible with the overall color
scheme of the facade
• Select colors that offer contrast and legibility.
Design Guidelines for Signs 69
70 Chapter 10
Chapter 11
Design Guidelines for
Off-season Display Windows
Downtown Juneau is a seasonal tourist destination; this creates oc-
cupancy issues because many businesses close during the off-season.
Upon closing, tenants and/or business owners screen windows with
butcher paper or similar types of materials to convey closure.This type of
treatment has a negative impact on the streetscape,including a percep-
tion of abandonment.Exterior and interior lights are also extinguished,
reinforcing the sense of closure along the street.A more appropriate ap-
proach is to consider installing a temporary window display that could
block views to the interior of the store, but also convey information.
For example,an interpretive photo display could be one approach that
could solve this issue. Low levels of illumination could light the panels
throughout the evening hours. Exterior lights that help to illuminate
the sidewalk should also be maintained throughout the year.These ef-
forts would enhance the streetscape and create a pedestrian-friendly
environment year-round.
11.1 Display windows shall provide year-round interest.
• Windows covered by newspaper, boards or blank coverings are
inappropriate (For example, a pictorial history of Juneau or the
building's past can be made for display during the off-season.This
can take the form of banners or display boards.).
i...
1�
Design Guidelines for Off-season Display Windows 71
72 Chapter II
Appendix A
The Secretary of the Interior's
Standards for the Rehabilitation of
Historic Buildings
The Secretary of the Interior's Standards for the Rehabilitation of Historic
Buildings are general rehabilitation guidelines established by the National
Park Service.These standards are policies that serve as a basis for the
design principles presented in this document.The Secretary's Standards
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 propertyshall 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 propertyshall 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 propertythat 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 ratherthan replaced.
Where the severity of deterioration requires replacementofadistinctive
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 in place.If
such resources must be disturbed,mitigation measures shall be under-
taken.
Appendix A-1
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 un-
dertaken 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.
A-2 Appendix
Appendix B
Historic Preservation Briefs
The Cultural Resources Department of the National Park Service,in the
U.S. Department of the Interior, started a program in 1975 in which it
has continued to publish a series of technical reports regarding proper
preservation techniques.This series,Preservation Briefs,is a mainstay for
many preservationists in the field.When considering a preservation project
on any historic property these resources should be sought out.
Mack, Robert C. Preservation Briefs 1:The Cleaning and Waterproof
Coating of Masonry Buildings. Washington, D.C.: U.S. Government
Printing Office, 1975.
Mack,Robert C.,deTeel Patterson Tiller and James S.Askins.Preservation
Briefs 2: Repointing Mortar Joints in Historic Brick.Washington, D.C.:
U.S.Government Printing Office, 1980.
Baird, Smith M. Preservation Briefs 3: Conserving Energy in Historic
Buildings.Washington,D.C.: U.S.Government Printing Office, 1978.
Sweetser,Sarah M. Preservation Briefs 4: Roofing for Historic Buildings.
Washington,D.C.:U.S.Government Printing Office, 1978.
U.S. Department of the Interior. Preservation Briefs 5: Preservation of
Historic Adobe Buildings.Washington, D.C.: U.S. Government Printing
Office, 1978.
Grimmer,Anne E.Preservation Briefs 6:Dangers of Abrasive Cleaning to
Historic Buildings.Washington, D.C.: U.S. Government Printing Office,
1979.
Tiller, de Teel Patterson. Preservation Briefs 7:The Preservation of
Historic Glazed Architectural Terra-Cotta. Washington, D.C.: U.S.
Government Printing Office, 1979.
Myers, John H., revised by Gary L. Hume. Preservation Briefs 8:
Aluminum and Vinyl Siding on Historic Buildings.Washington,D.C.:U.S.
Government Printing Office, 1978.
Myers, John H. Preservation Briefs 9:The Repair of Historic Wooden
Windows.Washington,D.C.:U.S.Government Printing Office, 1981.
Weeks, Kay D.and David W. Look. Preservation Briefs 10: Exterior Paint
Problems on Historic Woodwork.Washington, D.C.: U.S. Government
Printing Office, 1982.
Appendix A-3
Jandl,H.Ward.Preservation Briefs 11:Rehabilitating Historic Storefronts.
Washington,D.C.:U.S.Government Printing Office.
U.S.Department of the Interior.Preservation Briefs 12:The Preservation
of Historic Pigmented Structural Glass. Washington, D.C.: U.S.
Government Printing Office, 1984.
Park, Sharon C. Preservation Briefs 13: The Repair and Thermal
Upgrading of Historic Steel Windows.Washington,D.C.:U.S.Government
Printing Office.
Weeks,Kay D.Preservation Briefs 14:New Exterior Additions to Historic
Buildings: Preservation Concerns.Washington, D.C.: U.S. Government
Printing Office, 1986.
Coney,William B.and Wiss,Janney,Elstner Associates,Inc.Preservation
Briefs 15: Preservation of Historic Concrete: Problems and General
Approaches.Washington,D.C.:U.S.Government Printing Office.
Park Sharon C.Preservation Briefs 16:The Use of Substitute Materials on
Historic Building Exteriors.Washington,D.C.:U.S.Government Printing
Office.
Nelson, Lee H. Preservation Briefs 17: Architectural Character:
Identifying the Visual Aspects of Historic Buildings as an Aid to Preserving
Their Character.Washington,D.C.:U.S.Government Printing Office.
Jandl,H.Ward.Preservation Briefs 18:Rehabilitating Interiors in Historic
Buildings.Washington, D.C.:U.S.Government Printing Office, 1988.
Park Sharon C. Preservation Briefs 19:The Repair and Replacement of
Historic Wooden Shingle Roofs. Washington, D.C.: U.S. Government
Printing Office.
Auer, Michael J. Preservation Briefs 20:The Preservation of Historic
Barns.Washington,D.C.: U.S.Government Printing Office, 1989.
MacDonald, Marylee. Preservation Briefs 21: Repairing Historic Flat
Plaster—Walls and Ceilings.Washington,D.C.:U.S.Government Printing
Office, 1989.
Grimmer, Anne. Preservation Briefs 22:The Preservation and Repair
of Historic Stucco.Washington, D.C.: U.S. Government Printing Office,
1990.
Flaharty, David. Preservation Briefs 23: Preserving Historic Ornamental
Plaster.Washington,D.C.:U.S.Government Printing Office, 1990.
A-4 Appendix
Park,Sharon C.Preservation Briefs 24:Heating,Ventilating,and Cooling
Historic Buildings:Problems and Recommended Approaches.Washington,
D.C.:U.S.Government Printing Office, 1991.
Auer, Michael J. Preservation Briefs 25:The Preservation of Historic
Signs.Washington,D.C.:U.S.Government Printing Office, 1991.
Bomberger,Bruce D.Preservation Briefs 26:The Preservation and Repair
of Historic Log Buildings.Washington, D.C.: U.S. Government Printing
Office, 1991.
Waite,John G. Preservation Briefs 27:The Maintenance and Repair of
Architectural Cast Iron.Washington, D.C.: U.S. Government Printing
Office, 1991.
Chase, Sara B. Preservation Briefs 28: Painting Historic Interiors.
Washington,D.C.:U.S.Government Printing Office, 1992.
Levine,Jeffrey S. Preservation Briefs 29:The Repair, Replacement, and
Maintenance of Historic Slate Roofs.Washington,D.C.:U.S.Government
Printing Office, 1992.
Grimmer, Anne E. and Paul K. Williams. Preservation Briefs 30:The
Preservation and Repair of Historic Clay Tile Roofs.Washington, D.C.:
U.S.Government Printing Office, 1992.
Park, Sharon C. Preservation Briefs 31: Mothballing Historic Buildings.
Washington,D.C.:U.S.Government Printing Office, 1993.
Jester,Thomas C. and Sharon C. Park. Preservation Briefs 32: Making
Historic Properties Accessible. Washington, D.C.: U.S. Government
Printing Office, 1993.
Vogel,Neal A.and Rolf Achilles.Preservation Briefs 33:The Preservation
and Repair of Historic Stained and Leaded Glass.Washington,D.C.:U.S.
Government Printing Office, 1993.
Thornton,Jonathan and William Adair. Preservation Briefs 34: Applied
Decoration for Historic Interiors: Preserving Composition Ornament.
Washington,D.C.:U.S.Government Printing Office, 1994.
McDonald, Travis C. Preservation Briefs 35: Understanding Old
Buildings:The Process of Architectural Investigation.Washington,D.C.:
U.S.Government Printing Office, 1994.
Birnbaum, Charles A. Preservation Briefs 36: Protecting Cultural
Landscapes: Planning, Treatment and Management of Historic
Landscapes.Washington,D.C.:U.S.Government Printing Office, 1994.
Appendix A-5
Park, Sharon C.and Douglas Hicks. Preservation Briefs 37:Appropriate
Methods for Reducing Lead Paint Hazards in Historic Housing.
Washington,D.C.:U.S.Government Printing Office, 1995.
Weaver,Martin E.Preservation Briefs 38:Removing Graffiti from Historic
Masonry.Washington, D.C.:U.S.Government Printing Office, 1995.
Park, Sharon C. Preservation Briefs 39: Holding the Line: Controlling
Unwanted Moisture in Historic Buildings. Washington, D.C.: U.S.
Government Printing Office, 1994.
Grimmer, Anne E. and Kimberly A. Konrad. Preservation Briefs 40:
Preserving Historic Ceramic Tile Floors. Washington, D.C.: U.S.
Government Printing Office, 1995.
Look, David W., AIA, Terry Wong, P.E., and Sylvia Rose Augustus.
Preservation Brief 41: The Seismic Retrofit of Historic Buildings.
Washington,D.C.:U.S.Government Printing Office, 1997.
Piper, Richard. Preservation Brief 42:The Maintenance, Repair and
Replacement of Cast Stone. Washington, D.C.: U.S. Government
Printing Office, 1995.
Slaton, Deborah. Preservation Brief 43: The Prepartion and Use of
Historic Structures Report.Washington,D.C.:U.S.Government Printing
Office,2004.
Randl, Chad. Preservation Brief 44:The Use of Awnings on Historic
Buildings Repair, Replacement & New Design.Washington, D.C.: U.S.
Government Printing Office,2004.
Leeke, John and Aleca Sullivan. Preservation Briefs 45: Preserving
Historic Wooden Porches.Washington, D.C.: U.S. Government Printing
Office,2006.
Randl, Chad. Preservation Briefs 46:The Preservation and Reuse of
Historic Gas Stations. Washington, D.C.: U.S. Government Printing
Office,2006.
A-6 Appendix
Appendix C
Glossary of Terms �_r:.
Alignment. The arrangement of objects along a straight line.
Appurtenances. An additional object added to a building; typically '
includes vents,exhausts hoods,air conditioning units,etc.
Asphalt Shingles. A type of roofing material composed of layers of
saturated felt,cloth or paper,and coated with a tar,or asphalt substance,
r'
and granules.
Belt Course. A horizontal board across or around a building usually
enhanced with decorative molding. fig. 1
Board and Batten. Vertical plank siding with joints covered by narrow
wood strips. �•..
Bracket. A supporting member for a projecting element or shelf, �I �I -� �'•r '
sometimes in the shape of an inverted L and sometimes as a solid piece or
a triangular truss.(figure 1)
Building. A resource created principally to shelter any form of human �- ' •;,
activity,such as a house. ` r'�•
L
Canopy.A rooflike projection or shelter that projects from the facade of r --
a building over the sidewalk.
Clapboards. Narrow, horizontal, overlapping wooden boards, usually
thicker along the bottom edge,that form the outer skin of the walls of fig'2
manywood frame buildings.The horizontal lines of the overlaps generally
are from four to six inches apart in older houses.
am
Composition Shingles. See asphalt shingles.
Coping. The protective uppermost course of a wall or parapet.(figure 2) •� I
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.(figure 3)
Doorframe.The part of a door opening to which a door is hinged. A •�—1 I. I�r
doorframe consists of two vertical members called jambs and a horizontal
top member called a lintel or head.
fig.3
Appendix A-7
Double-Hung Window. A window with two sashes (the framework in
which window panes are set),each moveable by a means of cords and
weights. (figure 4)
Eave. The underside of a sloping roof projecting beyond the wall of a
i
building. (figure 5)
r
Elevation. A mechanically accurate,"head-on"drawing of a face of
a building or object, without any allowance for the effect of the laws
of perspective. Any measurement on an elevation will be in a fixed
proportion, or scale, to the corresponding measurement on the real
building.
Facade. Front or principal face of a building,any side of a building that
faces a street or other open space.
fig.4 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.
r Fenestration.The arrangement of windows and other exterior openings
r
r on a building.
r
Form. The overall shape of a structure (i.e., most structures are
r rectangular in form).
Frame. A window component.See window parts.
fig.5 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
wa 11.
Glazing.Fitting glass into windows and doors.
I � .
Head.The top horizontal member over a door or window opening.(figure
6)
I
' Historic District. A geographically definable area of urban or rural
� character, possessing a significant concentration or continuity of site,
s ' building,structures or objects unified by past events or aesthetically by
plan or physical development.
ff 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.
In-Kind Replacement. To replace a feature of a building with materials
fig.6 of the same characteristics,such as material,texture,color,etc.
A-8 Appendix
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 FE
and its character defining features also should remain intact.These may
include architectural details,such as dormers and porches,ornamental
brackets and moldings and materials,as well as the overall mass and form
of the building. p
Kickplate. Found beneath the display window.Sometimes called bulk- *'
head panel.(figure 7)
fig.7
Landmark. Any of the following which have a special historical,
architectural, cultural, aesthetic or engineering interest or value of a
historical nature:
1. An individual structure or portion thereof; L :r¢•�••
2. An integrated group of structures on a single lot; ='rr •:rr -
3. A site,or portion thereof;or •r '
4. Any combination thereof. •�:r.•r r•
tia � •.
Lap Siding. See clapboards.
Mass. The physical size and bulk of a structure. •••• • -' , •'1; : 1
•1 , 1 1
Masonry. Construction materials such as stone,brick,concrete block or ••r=:tir
tile.
fig.8
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.
Module. The appearance of a single facade plane,despite being part of
a larger building. One large building can incorporate several building
modules.
Molding. A decorative band or strip of material with a constant profile
or section designed to cast interesting shadows. It is generally used in
cornices and as trim around window and door openings.(figure 8)
Muntin. A bar member supporting and separating panes of glass in a
window or door.
Opaque Fence. A fence that one cannot see through.
Orientation. Generally, orientation refers to the manner in which a
building relates to the street.The entrance to the building plays a large role
in the orientation of a building;whereas,it should face the street.
Panel.A sunken or raised portion of a door with a frame-like border.
Appendix A-9
Parapet. An upward extension of a building wall above the roofline,
f ' sometimes ornamented and sometimes plain,used to give a building a
r greater feeling of height or a better sense of proportion.(figure 9)
Period of Significance. Span of time in which a property attained the
i I I significance.
.ti I Post. A piece of wood,metal,etc.,usually long and square or cylindrical,
set upright to support a building,sign,gate,etc.;pillar;pole.(figure 10)
.ti
• Preservation. The act or process of applying measures to sustain the
existing form, integrity and materials of a building or structure, and
fig.9 the existing form and vegetative cover of a site. It may include initial
stabilization work,where necessary,as well as ongoing maintenance of
the historic building materials.
Protection. The act or process of applying measures designed to affect
the physical condition of a property by defending or guarding it from
deterioration,or to cover or shield the property from danger of injury.
In the case of buildings and structures,such treatment is generally of a
temporary nature and anticipates future historic preservation treatment;in
' the case of archaeological sites,the protective measure may be temporary
I r
or permanent.
r
Reconstruction. The act or process of reproducing by new construction
r the exact form and detail of a vanished building,structure or object,or
part thereof,as it appeared at a specific period of time.
tiff•• .
Rehabilitation. The act or process of returning a property to a state of
fig. 10 utility through repair or alteration which makes possible an efficient
contemporary use while preserving those portions or features of the
property which are significant to its historical,architectural and cultural
value.
Renovation. The act or process of returning a property to a state of utility
through repair or alteration which makes possible a 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.
Sash. See window parts.
Scale. The size of structure as it appears to the pedestrian.
Shape. The general outline of a building or its facade.
A-10 Appendix
Side Light.A usually long fixed sash located beside a door or window;
often found in pairs.(figure 11)
Siding. The narrow horizontal or vertical wood boards that form the outer
face of the walls in a traditional wood frame house. Horizontal wood
siding is also referred to as clapboards.The term"siding"is also more
loosely used to describe any material that can be applied to the outside of all
a building as a finish.
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.
Stile. A vertical piece in a panel or frame,as of a door or window. fig. 11
Stabilization. The fact or process of applying measures designed to
reestablish a weather resistant enclosure and the structural stability of an
unsafe or deteriorated property while maintaining the essential form as it
exists at present.
Storefont. Exterior facade of a commercial building. Includes the
following architectural elements: display window,transom, kickplate,
entry,cornice molding,and upper story windows.
Streetscape. Generally,the streetscape refers to the character of the street,
or how elements of the street form a cohesive environment.
Traditional.Based on or established by the history of the area.
Transom Window. A small window or series of panes above a door,or
above a casement or double hung window.
Vernacular. This means that a building does not have details 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.
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.
Appendix A-11
Appendix D
Historic Resources Map
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A-12 Appendix