08-6480 Design Guidelines for Downtown SalinaRESOLUTION NUMBER 08-6480
A RESOLUTION ADOPTING THE "DESIGN GUIDELINES FOR DOWNTOWN
SALINA."
a
W WHEREAS, since 1995 the City of Salina has had design review guidelines for Business
9 Improvement District No. 1 (aka The Lee District); and
' WHEREAS, on January 7, 2008 the City Commission approved Salina Downtown, Inc.'s
Development Incentives Program guidelines which call for the use of the Design Guidelines for
Downtown Salina as one of the decision making criteria for approving funding for fagade improvements
in the Lee District; and
WHEREAS, the design guidelines have been updated to reflect the fact that Salina
Downtown, Inc. is no longer a participant in the National Main Street program; and
WHEREAS, the City Commission has determined that formal adoption of guidelines
would result in more consistent review of projects in the Lee District. SO NOW THEREFORE
BE IT RESOLVED by the Governing Body of the City of Salina, Kansas:
Section 1. The "Design Guidelines for Downtown Salina" document dated January 2,
2008 and attached hereto is hereby adopted.
Section 2. The guidelines as adopted shall be used as a guidance document by the
Downtown Design Review Board in reviewing Certificate of Compatibility applications in the Lee
District.
Section 3. Amendments to these guidelines maybe considered from time to time by the
City Commission as deemed necessary to best meet the public interest. Such actions may be formal
amendments to the guidelines, or deviations from the guidelines as approved by the Commission.
Section 4. That this resolution shall be in full force and effect from and after its adoption.
Adopted by the Board of Commissioners and signed by the Mayor this 14`h day of January,
11:
(SEAL)
ATTEST:
14� 11/y—
Lieu Ann Elsey, CMC, Ci Clerk
C
XAlan
E. Jilka, yor
DESIGN GUIDELINES
FOR
DOWNTOWN SALINA
United Life Building, 119 West Iron Avenue, 1929
LEE DISTRICT
y
DESIGN REVIEW BOARD o
U
O
January 2, 2008
SALINA DOWNTOWN, INC.
SALINA DOWNTOWN
EE DISTRICT
SDI President
Dean Andrew, Director of Planning
> John Burger, Assistant Planner
January 2, 2008
Old Salina City Hall, 1911-1969
i.
ii
Table of Contents
Introduction.......................................................................................... 1
1. Purpose of Design Guidelines.............................................................. 3
A. Design Objectives..................................................................... 3
B. Design Guidelines and Design Review ............................................. 3
C. Uses and Benefits of Guidelines and Design Review .......................... 3
D. Components of the Design Guidelines ............................................. 4
2. Historic Character of the Lee District ................................................... 7
A. Lee District Boundary Map............................................................. 7
B. History of Salina's Downtown District ................................................ 9
C. Downtown Architectural Styles......................................................... 11
3. Building Rehabilitation......................................................................
15
A. Character -defining features............................................................
15
B. Storefronts.................................................................................
17
C. Windows and doors.....................................................................
18
D. Entries and Bulkheads..................................................................
20
E. Cornices....................................................................................
21
F. Facade Materials.........................................................................
22
G. Design of Additions.....................................................................
23
4. Alterations & New Construction........................................................
25
A. Building Mass, Scale, and Form ....................................................
26
B. Architectural Character................................................................
27
C. Color.......................................................................................
31
D. Site Planning.............................................................................
31
E. Additions...................................................................................
32
5. Guidelines for Streetscapes..............................................................
33
A. Signage.......................................................................................
34
B. Awnings......................................................................................
37
C. Lighting......................................................................................
38
D. Utility and Mechanical Equipment.....................................................
39
E. Parking Facilities.........................................................................
40
F. Landscaping...............................................................................
41
6. Guidelines for Demolition..................................................................
42
7. Guidelines for Relocation.................................................................
43
Appendices
I. Design Review Matrix of Project Types
II. Glossary of Definitions and Architectural Terms
III. Secretary of Interior's Standards for Rehabilitation
IV. National Park Service—Preservation Briefs
V. Recommended Maintenance
iii
iv
Introduction
This document presents design guidelines
for the Lee District. They reflect the city's
goals to promote economic development,
enhance the image of the downtown and
adapt and reuse historic resources. The
guidelines neither dictate taste nor assure
good design. Rather, they support the
traditional qualities of the architecture and
streetscape in the Lee District and provide a
framework for sympathetic design.
Salina is fortunate to have a unique historic
and cultural heritage. The historical figures
and events that made Salina one of the
prosperous communities in Central Kansas
are long gone. However, they are recorded
for posterity in our 19th century architecture.
As such, these architectural resources serve
as one of the most powerful and enduring
tools for the education of future generations.
The history of the city—its people, its
industries, and its physical and economic
growth—are tangible in the structures built
during the nineteenth and early twentieth
centuries.
While some significant buildings have been
razed, an appreciable amount of the historic
architectural fabric remains intact,
particularly on Santa Fe Avenue. This
enviable level of architectural integrity is a
resource that should be promoted by the
citizens and civic institutions of Salina as
source of local pride.
The 2006 City of Salina Shared Vision
Statement and Strategic Plan contains the
following goal:
"Salina will be a town that is respectful
of its heritage. Throughout Salina, the
adaptive reuse of historic and
architecturally significant buildings will
be encouraged."
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The values associated with the adaptive
reuse of historic resources include:
• Providing a link with the past
• Establishing a distinct market image
• Quickly making a building available for
occupancy
• Providing an attractive image
• Supporting heritage tourism strategies
• Reinforcing Downtown Salina's
ambiance and civic pride
Part of what makes Salina's Downtown an
interesting and attractive destination is the
variety, detail, and quality of its
architecture. The remarkable downtown
architecture reflects quality craftsmanship,
design and materials that survive in few
other places. These buildings tell the
cultural story of the skilled local builders,
tradesmen and architects who built
downtown with such pride and
craftsmanship. Like any resource, the
unique architectural heritage of Salina
needs to be protected for future
generations. The community recognizes
the value of its architecture and the
importance of devoting time and resources
necessary to ensure the long-term
protection and maintenance of downtown.
Major changes in the materials and forms
may result in a change of appearance, but
they also result in a loss of historical
information.
Downtown must also respond to an ever
evolving market based economy. While the
re -use of existing buildings is important,
downtown must also adapt to current
business use requirements to remain
competitive in our local and regional
economy.
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Chapter 1. Purpose of Design Guidelines
A. Design Objectives
These design guidelines are based on
several objectives for the Lee District:
• To develop an environment that
encourages commerce, increases
pedestrian activity, and contributes to the
city's quality of life. To restore and
preserve historic character when
rehabilitating a building.
• To design new construction that will
respect and be compatible with the
scale, setback, and rhythm of existing
buildings.
• To avoid demolition, if possible, by
properly maintaining existing buildings.
• To ensure that public improvements
complement district character.
• To promote visual harmony among
buildings while allowing for variety and
creative design.
• To develop a visually interesting and
appealing environment for residents and
visitors that recognizes downtown as the
"visual" center of the community and a
unique community asset.
• To preserve the historic character and
architectural resources of downtown for
future generations.
B. Design Guidelines and Design
Review
These design guidelines address exterior
features, particularly the character -defining
features on facades and readily visible sides
of buildings. These are NOT rules dictating a
particular style. The guidelines offer flexibility
for achieving design compatibility within the
district. As the guidelines for the design
review process, the guidelines emphasize
rehabilitation over complete restoration. This
approach is illustrated by descriptors such
as repair, retain, maintain, and protect. The
preference and emphasis is to repair original
material rather than replace and to protect
the original upper fagade features that
contribute to a building's historical integrity.
For new development, the overall
relationship of the structure to the street
and its surrounding area is reviewed. The
building width, height, setback, floor levels,
and pattern of repeated elements such as
windows and doors is important in
assuring that infill development
harmonizes with the rhythm of the existing
streetscape.
C. Uses and Benefits of Guidelines
and Design Review.
These guidelines are based on design
principles and preservation guidelines
used in downtown districts across the
country. These guidelines will be used in
the review process for all renovation and
new construction projects involving publicly
visible work and for all demolition/
relocation projects within the district. They
also contain design guidelines for signs
and other streetscape elements. Building
owners, tenants and professional
designers are encouraged to use these
guidelines very early in the planning
stages of projects to assure
appropriateness and minimize design
changes.
The guidelines will be helpful in:
Beginning a design. Unnecessary
guesswork as to the appropriateness
or acceptability of a design will be
avoided.
Working with an architect. Knowing
which types of design are encouraged
will help owners to formulate clearer
design requests.
Working with the Design Review
Board.
Because the guidelines establish a
common language of communication, both
building designers and the Design Review
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Board will have a common reference point
from which to evaluate a design.
What Design Guidelines Do:
• Restore, maintain, and reinforce district
character;
• Guide and improve district growth and
development;
• Protect property values by avoiding
inappropriate design;
• Enhance and protect the visual integrity
of the district;
• Provide the standard for objective design
review (a level playing field) which
applies equally to all;
• Serve as a common reference for
architects, contractors, merchants, and
property owners;
• Heighten public awareness of the value
of historic structures and architecture;
• Provide the framework for making new
construction and additions to historic
structures as compatible as possible with
the rest of the district; and
• Provide a pedestrian oriented downtown.
What Desian Guidelines Do Not Do:
• Review ordinary maintenance or repair
Ordinary maintenance or repair using
identical materials to the existing
does not require any review by the
Design Review Board.
Do not address the use of a property.
Uses are part of the underlying zoning of
the property which is controlled by the
Zoning Ordinance that is administered by
the City's Development Services
Department.
Do not address interior alterations not
visible from the street.
Require or force owners or tenants to
make changes to a property, if they are
not already making changes (Design
review only occurs when an owner
proposes a change or construction that
requires a Certificate of Compatibility
and/or a Building Permit.);
• Prohibit new construction or additions
to historic buildings; or
• Dictate certain designs or design
decisions.
The property value of every building in the
district is influenced by adjacent buildings.
All property owners' rights are protected
from the adverse economic impact which
could result from inappropriate actions
through failure to adhere to the Lee District
design guidelines.
D. Components of Design
Guidelines
Chapter 3 focuses on the rehabilitation of
existing buildings. Each of the remaining
'design guidelines in Chapters 4 and 5
contain the following four components;
t. Design Element
This category includes items such as
streetscape, site planning, building
materials, and secondary structures.
2. Policy Statement
This explains the Design Review Board's
basic approach to treatment of the design
element. This statement provides the basis
for the more detailed design guidelines
that follow it. In cases where special
conditions in a specific project are such
that the detailed design guidelines do not
appear to address the situation, this
general policy statement shall serve as the
basis for determining the compatibility of
the proposed work. Policy statements are
shown as large typeface statements.
3. Background Information
This addresses issues typically associated
with the specific design element. This may
include technical information, as well as
general rehabilitation theory that might be
relevant to the topic at hand.
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4. Design Guidelines
The design guideline statement is
performance -oriented and describes the
desired design treatment. The specific
design guidelines are presented as bold
face statements numbered under each
policy statement.
4.1 Additional Information
Supplementary information related to the
guidelines may include additional
requirements, or provide further explanation.
These sub -points are listed as bulleted
statements.
4.3 Illustrations
Design guidelines are further explained
through the use of photographs and
illustrations. Examples given should not be
considered the only appropriate options. In
most instances, there are numerous possible
solutions that meet the intention of the
design guidelines, as well as the needs of
the property owner.
The guidelines and illustrations used in this
document do not represent all of the
possible design solutions available. Just
because an approach is not listed or
illustrated does not mean that it is not
acceptable. If there are any questions
regarding the compatibility of a potential
design solution, property owners and their
professional contractors are encouraged to
contact the City of Salina administrative staff
assigned to the Design Review Board.
Example:
Policy: Maintain the line of building fronts in
the block.
A. Site Planning
Structures in the Main Street District should contribute to a
"strong wall" along the street. A new building should align
at the front lot line and be built out to the full width of the
parcel, to the side lot lines.
1. Maintain or enhance the alignment of buildings
at the sidewalk edge.
• Locate the front building wall at the sidewalk line
when feasible.
• Where a building must be set back from the sidewalk,
use landscaping elements to define the sidewalk
edge.
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Portion of 1887 Salina Atlas
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B. History of Salina's Downtown District
The City of Salina was originally laid out in
1858. Salina's town founders: William A.
Phillips, Alexander M. Campbell, James Muir,
David Phillips and Alexander C. Spilman laid
out the town in rectangular blocks on the west
side of the Smoky Hill River. All of the Original
Townsite streets retain their original names.
The town's plan is unique. Instead of a central
town square, four blocks were set aside for
public use grounds in each quarter of the town.
The original School Park Block contained
Roosevelt -Lincoln Middle -School, now Pioneer
Presidents' Place. South Park once contained
the former Washington High School.
Salina owes much of its heritage to the
railroad. However, it is not a typical railroad
town with the main commercial district fronting
the tracks. The already -established business
district in the north and south 100 blocks of
Santa Fe Avenue did not relocate to the tracks
nor was the town street system adjusted to
accommodate the tracks. The commercial
center and focus of the town remained at the
intersection of Iron Avenue and Santa Fe
Avenue.
Two disastrous fires in the downtown in 1871
and 1875, destroyed much of Salina's first
business district, which was all wood frame
construction. The town rebuilt in fire -proof
brick, generally two-story structures with flat
roofs that abutted the sidewalk line and shared
party walls. These buildings sat on narrow 25
ft. by 120 ft. lots and featured cast-iron
storefronts (also fire -proof) and decorative
cornices and window surrounds. First floors
were devoted to retail outlets; upper stories
were offices or living space. The brick came
from a number of local brick manufacturers,
the most important of which was Salina
Vitrified Brick Co., later known as Salina Brick
and Tile.
None of these early buildings were architect -
designed. They were typical examples of the
vernacular commercial buildings built in big city
commercial centers during this period using
local brick and stock architectural design
elements ordered from catalogs. Through the
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years, the facades of these buildings were
remodeled, often more than once, in order to
maintain an up-to-date appearance. Thus a
majority of Salina's historic commercial
buildings were built in the 19th Century, but
currently possess a 20th Century
appearance.
The 20th Century commercial building
design reflects evolution of building styles
and available materials. The installation of
larger plate glass window display areas, a
wider facade and recessed entry and floating
display islands, were made possible by new
technologies; the use of new materials such
as aluminum, stainless steel, pigmented
structural glass, tinted or mirrored glass,
glass block, neon, and marble. Many building
renovations included special lighting, stylized
lettering on signs and store design with a
theme taken from a period of art history (i.e.,
Tudor, Spanish or Art Deco).
Salina's most influential architect, Charles W.
Shaver, was particularly adept at Romantic
Revival design in both commercial and
residential structures. He designed the
majority of Salina's exceptional commercial
architecture between 1915 and 1940. His
use of the Spanish Revival style and
polychromatic terra cotta as a building
material gives downtown Salina a unique
character. Two outstanding examples of his
work are the United Life Building, 119 W.
Iron, built in 1929, and the former Fox -
Watson (Now Stiefel) Theatre, 151 S. Santa
Fe Avenue, built in 1931. The ten -story Art
Deco United Life Building, the tallest building
in Salina, features polychromatic terra cotta.
The Stiefel Theatre was one of Kansas'
grandest moviepalaces in its heyday.
Closed in 1987, the facility was restored for
use as a community performing arts facility.
The Stiefel Theatre reopened in 2003 thanks
to a substantial gift from Milton Stiefel, owner
of Salina's Stiefel Department Store.
After World War ll, many of Salina's
commercial buildings were remodeled again.
Facade windows were eliminated. the
B. History of Salina's Downtown District (continued)
cornices removed and the entire facades clad
in sheathing to give buildings a sleek "modern"
appearance. Today, downtown Salina reflects
a wide range of commercial architecture.
In 1958, local business and property owners
acting through the Chamber of Commerce
requested the City Commission take action to
provide additional off-street parking spaces in
the Downtown area. 45 properties (25
commercial and 20 residential) were eventually
cleared. In 1962, six off-street parking lots
were constructed on 7th Street and 5th Street.
Pedestrian walkways were constructed which
linked 5th and 7th Streets to Santa Fe. Public
restrooms were constructed near these tots .
By 1983, the Downtown Merchants
Association and the City of Salina created a 31
block Business Improvement District to
manage the economic development and
revitalization of downtown. Salina Downtown
Inc. is the agency which manages these
programs.
In 1985 the City launched a $7 million
Downtown Revitalization Program primarily
focused on streetscape improvements. Seven
new surface parking lots were constructed.
Infrastructure improvements included the
burying of utilities, decorative brick sidewalks,
sidewalk planters and mid -block crosswalks.
Four distinct plaza areas were created to link
parking lots on 5th and 7th Streets to Santa Fe
businesses and to provide open air public
areas with seating, landscaping, recreational
and performance space.
Downtown Salina was a Kansas Main Street
City from 1989 through 2002. The program,
which is administered by the Kansas
Department of Commerce, combines historic
preservation with downtown development to
create a working growing and aesthetically
pleasing business center. The Program
advocates the preservation of Main Street
Community's historic character.
In order to manage physical changes that take
place in the downtown, building rehabilitation,
new construction and upgrading public
improvements, a set of Design Guidelines
were developed for use in the downtown area
in 1995. The Guidelines have served an
advisory basis since that time, for decisions by
the Salina Downtown Board of Advisors and
the Design Review Board.
In the fall of 2001, the City of Salina contracted
with Denver-based Progressive Urban
Management Associates (PUMA) to create a
market-based plan for Downtown Salina. The
plan established a multi -faceted development
strategy for the downtown area based upon
the central business district's unique niche and
opportunities in the regional marketplace.
Finalized in April 2002, the Market -Based
Downtown Plan required realignment from a
"preservation -based" Main Street approach to
a more "market-based" economic development
approach. The PUMA Report
recommendations included specific
opportunities for incentives for facade,
signage, building restoration and the
development of the Downtown.
In 2006, Salina Downtown Inc. formally
recognized the pivotal role of entrepreneurs in
downtown by requesting that the BID be
renamed the Lee District. Henry D. Lee arrived
in 1888 and became a major force in the
community's commercial activity and economic
growth. He founded H. D. Lee Mercantile Co.,
Lee Hardware Co., H.D. Lee Flour Mill and the
Kansas Ice and Cold Storage Co. Lee
Jeans®, his greatest legacy, started at 254 N
Santa Fe, at the very north end of the district.
His jeans are still one of the most popular
blues jean brands in the world.
South Santa Fe Avenue looking north from Walnut e. 1974
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C. Downtown Architectural Styles
Italianate
Beginning in the mid -nineteenth century,
some architects reacted against the formal,
classical architecture of the time and
advocated more natural, picturesque styles.
One of these styles was the Italianate.
Inspiration for the Italianate style came from
a variety of sources including country Italian
villas and various urban Italian palaces. The
style had a broad influence in the Midwest
with one exception: late nineteenth-century
commercial buildings. While the Italianate
style was passing out of fashion by 1880,
commercial buildings using elements of the
style continued to be constructed into the
20th century. Mass-produced cornices,
window hoods, and cast iron storefronts
allowed merchants to ennoble plain buildings
at an economical price.
Common features:
round or segmental -headed window and
door openings with hood moldings
• windows often in pairs
• bracketed eaves
• deeply projecting cornice
• often a central pediment at roofline
bearing name and date of building
• ornamented with panels, quoins, finials,
and pilasters
• typical exterior materials: brick, stone,
cast iron, pressed metal and wood
108-110 S. Santa Fe Avenue
148-150 S. Santa Fe Avenue
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Neoclassical Revival
Along with the Beaux Arts style,
Neoclassical was largely influenced by
several expositions held around the turn of
the century, especially the World Colombian
Exposition held in Chicago in 1893.
Neoclassical Revival is based primarily on
the Greek and, to a lesser extent, the
Roman architectural orders. This style was
extremely popular for bank buildings, and
remained popular through the 1920s.
Common features:
• symmetrical facade
• cornice with dentils, modillions, and wide
frieze band below
• pedimented porticos
• large classical columns rising two or
more stories at entrances
• pilasters
• typical exterior materials: brick and stone
UMB Bank, 100 S. Santa Fe
Masonic Center, 336 S. Santa Fe Avenue
Vernacular Commercial
Usually between one and two stories tall,
the vernacular commercial building is
divided horizontally into two distinct bands.
The first floor is more commonly
transparent, so goods can be displayed,
while the second story is usually reserved
for storage space. One story examples
have a bulkhead below the display window
and a smaller band or transom above. The
main door is frequently recessed.
These buildings have stone or brick
facades. Ornamental detailing is simple,
often limited to a decorative brick courses
with stone insets or Spanish Revival
parapets. These buildings lack distinctive
detail, contrasting them with the revival
styles that were also popular during this
period.
Common features
• masonry construction
• small display windows
• bulkheads and transom lights
• recessed entry
• simple stepped cornices
149 S. 4th Street
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Mission and Spanish Revival
Mission and Spanish Revival styles have
been referred to as the California
counterpart of the Colonial Revival in the
Northeast. Spanish or Mediterranean
Revival buildings draw inspiration from the
entire history of Spanish architecture.
Inspired by the themes of various World's
Fairs held prior to World War I, especially
the Panama -California Exposition of 1915,
the style more precisely imitated Spanish
prototypes. Also influential was the rise of
Hollywood as the movie capital of the world
during this time. Mission and Spanish
Revival architecture is frequently found on
movie theaters, early gas stations, and other
commercial buildings. The Mission Style was
loosely based on the early California
missions, especially in the use of shaped
parapets and arcades. Some Mission
buildings also borrowed elements from the
contemporary Craftsman and Prairie
movements.
Common features:
• clay tile roofing
• curvilinear parapets
• plain string course outlining arches and
parapets
• glazed tile surface ornamentation
• typical exterior materials: stucco and
multi -color clay tiles
200 S. Santa Fe Avenue
Factory / Warehouse
Both 19th and 20th Century factories and
warehouses are included in this "style" which
is characterized by brick construction, flat
roofs, widely spaced windows and urban
location. Loading docks often appear on the
ground floor. Some warehouses have
wholesale/retail space. Offices are usually
limited to a small section of the building.
Usually characterized by large, storefront -
type windows.
Common features:
• ornamentation minimal
• few windows
• simple cornice or parapet
• decorative window surrounds and
brickwork
Woods Fashion Plaza, 157 N. 7th Street
248-254 N. Santa Fe Avenue, H.D. Lee Complex
Page 13
Art Deco
The Art Deco style was a result of early
twentieth century designers' wish to break
from the past and express the fast -paced
technological excitement of their own times.
The ornamentation and forms used for these
styles are visually linked to the Machine Age.
Buildings in the Art Deco style are
characterized by a linear, hard edge or
angular composition often with a vertical
emphasis and highlighted with stylized
decoration. Art Deco is frequently found on
certain types of commercial buildings such
as gas stations, movie theaters, cafes, and
drugstores — the later two often receiving a
,'modern" update from an earlier style. New
government buildings of this era were often
built in these new styles and were named
Government Art Deco. Art Deco was popular
in Salina from the late 1920s through the
1930s. Many Italianate buildings were given
fagade elements of the Art Deco style to
modernize their appearance during this time.
Common features:
vertical appearance
low relief geometrical designs and
stylized floral motifs
typical exterior materials: structural
pigmented glass, terra cotta, steel,
concrete, stucco
107 & 111 N. Santa Fe Avenue
United Life Building, 119 W. Iron Avenue
City Water Treatment Plant, 401 S. 5th Street
Stiefel (Watson) Theatre, 151 S. Santa Fe Avenue
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Chapter 3. Building Rehabilitation
These design guidelines apply to all properties
in the Lee District. In general, properties are
considered to be historic when they are over
fifty years in age; retain architectural integrity
to their original design; and are expressive of
their period of historic significance.
These design guidelines provide a basis for
making decisions about the appropriate
treatment of historic resources and compatible
new construction. They also serve as an
educational and planning tool for property
owners and their design professionals who
seek to make improvements. The design
guidelines are written such that they can be
used by the layperson to plan improvements.
However, property owners are strongly
encouraged to enlist the assistance of qualified
design and planning professionals, including
architects.
Policy: The character -defining features of a building should be
preserved whenever possible.
A. Character -Defining Features
Character -defining features are those
physical elements that collectively establish a
sense of place, provide human scale and add
rich detail to the street. Typical features
include the historic facade material, a
decorative cornice, vertically oriented upper
story windows, larger first floor openings, and
the trim around an opening.
1. Preserve character -defining features
that are intact.
• The historic facade material, the trim
around an opening and a historic cornice
are among the character -defining features
to preserve.
• Don't remove or damage character -
defining features.
• Preserve intact features with appropriate
maintenance techniques.
• Technical information for the preservation
of historic materials is available at the City
of Salina Development Services
Department. See also Appendix IV.
Preservation Briefs.
• When disassembly of an historic element
is necessary, store building components in
a safe place until they are re -installed.
2. Repair those features that are
damaged.
• Use methods that will not harm the
historic materials.
Page 15
Repair work is preferred over
replacement.
3. Replace features that are missing or
beyond repair.
• Reconstruct only those" portions that are
damaged beyond repair.
• Reconstruct the original element, based on
adequate evidence, if possible. This is the
strongly preferred option.
• If evidence for reconstructing an element is
missing, a simplified interpretation of
similar elements may be considered.
• Buildings may undergo alterations over
time. New alterations often occur when
original material is missing and new
interpretations of traditional elements
become necessary. New alterations should
be planned so as to preserve the building's
integrity.
4. Design an alteration to be compatible
with the historic character of the
property.
• Avoid alterations that would hinder the
ability to interpret the historic significance
of the original building.
• Alterations that seek to imply an earlier
period than that of the building are
inappropriate.
5. Avoid alterations that damage
historic features.
For example, mounting a sign panel in a
manner that causes decorative moldings to be
damaged would be inappropriate.
Regularly spaced windows
entrance for upper stories
(may not always be present)
Typical Storefront Components
Page 16
Policy: Maintain an original storefront and all of its character -
defining features.
B. Storefronts
Many downtown storefronts have components
seen traditionally on commercial buildings. The
repetition of these standard elements create a
visual unity on the street that should be
preserved.
From the 1950s through the 1970s,
commercial buildings in the historic downtown
underwent a series of renovations in an
attempt to update and "modernize" their
appearance. The result was the installation of
new materials over the original, or
occasionally, entirely new storefront facades
with new storefront materials. Fortunately,
several examples have survived or have been
repaired to reflect their original arrangement of
large display windows over a bulkhead,
recessed entrances, and large transom
windows.
Original storefronts and their
components shall be repaired or
restored rather than replaced
whenever possible.
2. Preserve the historic character of a
storefront when it is intact.
These storefront elements shall include
but not be limited to:
Display windows: The main portion of
glass on the storefront, where goods and
services are displayed. This helps
maintain pedestrians' interest by providing
views to goods and activities inside first
floor windows
• Transom: The upper portion of the
display glass, separated from the main
display window by a frame.
• Bulkhead: Storefront base located
beneath the display window.
• Original Entry: Usually set back from the
sidewalk in a protected recess.
• Upper story windows: These usually
have a vertical orientation, and appear
to be less transparent than the larger
expanse of display glass windows below.
Building Cornice : A decorative band at
the top of the building. A smaller storefront
cornice may sometimes be found
separating some floors (e.g., over the
storefront and below the upper story
windows).
Elements that are missing, or deteriorated
beyond repair, should be replaced with
new materials that reflect the size, style
and detail of the original.
3. If a storefront is altered, restoring it
to the original design is encouraged.
• Historic photographs should be consulted
when determining the original character of
a storefront design.
• If evidence of the original design is
missing, use a simplified interpretation of
similar storefronts.
• Where an original storefront may have
been altered early in the history of the
building, it may have gained historic
significance and should be preserved.
4. Alternative designs that are
contemporary interpretations of
traditional storefronts may be
considered.
• Where the original is missing and no
evidence of its character exists, an
alternate design may be appropriate.
• An alternate storefront design should
continue to convey the characteristics of
typical storefronts, including the
transparent character of the display
window, recessed entry and cornice.
• Altering the size of an historic window,
opening it or blocking it in with opaque
materials is inappropriate.
• Greater flexibility in the treatment of a rear
facade may be appropriate.
• Care should be taken to preserve a
storefront on those buildings, which have
traditional commercial storefronts on more
than one facade.
Page 17
Policy: Original windows and doors significantly affect the
character of a structure and should be preserved.
C. Windows and Doors
Windows and doors are some of the most
important character -defining features of a
historic structure. They give scale to a
building and provide visual interest to the
composition of individual facades. Distinct
window and door designs help define many
historic building styles. Because window and
door designs so significantly affect the
character of a structure their treatment is
very important consideration.
The size, shape and proportions of window
and door openings are important features.
The manner in which windows and doors are
combined and arranged on a building face
may be distinctly associated with a specific
building style. All of these features are
examples of elements in historic windows
and door designs that should be preserved.
Maintain a historically significant
storefront opening.
• The size and .shape of an original
window or door is an important
characteristic that contributes to the
integrity of an historic commercial
building.
• Avoid altering the shape of window and
door features.
• If these elements have already been
altered, consider restoring them if their
original condition can be determined.
2. Retain the original shape of the
transom glass in an historic
storefront.
• The upper glass band of a traditional
storefront introduced light into the depths
of a building. These bands are found on
many historic storefronts, and they often
align at the same height.
• The shape of the transom is important to
the proportion of the storefront, and it
should be preserved in its historic
configuration, whenever possible.
• If the original glass is missing, installing
new glass is preferred. However, if the
transom must be blocked out, use it as a
sign panel or a decorative band, but be
certain to retain the original proportions.
• Retain the original shape of the transom
glass in an historic storefront. Removing
or covering up the transom opening is
inappropriate.
3. Preserve historic upper story
windows.
• Historically, upper story windows had a
vertical emphasis.
• The proportions of these windows
contribute to the character of each
commercial storefront.
• Don't. block or infill them or alter their
size.
• Consider restoring an original window
opening which has been previously
blocked in.
• Maintain the historic sash as well. Repair
the sash, rather than replace it,
whenever feasible.
• Preserve the character of divided light
patterns on historic windows.
Page 18
Policy: A new or replacement window or door should match the
appearance of the original.
While replacing an entire window or door is
discouraged, it may be necessary in some
cases. Although wood was the most
prevalent material, but also was utilized in
early structures and is the most common. It
is possible to consider alternative materials,
if the resulting appearance matches the
original as closely as possible. The
substitute should also have a demonstrated
durability in this climate.
4. When a window or door replacement
is necessary, match the replacement
to the original design as closely as
possible.
• Preserve the original casing when
feasible.
• Use the same material as that used
historically.
• The use of vinyl and aluminum windows
on upper stories is discouraged unless
the window units match traditional
windows in sash profile and appearance
or are placed at the rear or sides of the
structure.
• The use of tinted and reflective window
glass is inappropriate on the main
fagades of historic buildings.
• If the original is double -hung, then the
replacement windows should also be
double -hung, or at a minimum, appear to
be so. Match the original also in the
number and position of glass panes.
• Very ornate windows or doors, that are
not appropriate to the building's
architectural style, are inappropriate.
5. Maintain the original ratio of window
and storefront openings to solid wall.
• Significantly increasing (or decreasing
the ratio of glass may negatively affect
the historic integrity of a structure.
• On traditional storefronts, first floors
should be more transparent than upper
floors.
• Upper floors should appear more solid
than first floors.
• Avoid a blank wall appearance that does
not provide interest to pedestrians.
• Large surfaces of glass are inappropriate
on the upper floors and sides of
commercial buildings.
• If necessary, divide large glass surfaces
into smaller windows that are in scale
with those seen traditionally.
6. New windows and doors may be
considered on a secondary facade.
• New openings should be similar in
location, size and type to those seen
traditionally.
• Windows should be simple in shape,
arrangement and detail.
7. Windows and doors should be
finished with trim elements similar
to those used traditionally.
• Divided lights should be formed from
smaller mullions integral to the window.
Pop -in muntins and mullions are
inappropriate.
Page 19
Policy: The original configuration of entries and bulkheads should
be preserved if possible.
D. Entries and Bulkheads However, one also may need to comply
with other code and ADA requirements,
The repetition of recessed entries provides a including door width, swing and
rhythm of shadows along the street, which construction.
helps establish a sense of scale and
identifies business entrances. This pattern 3. Retain the bulkhead as a decorative
should be maintained. panel.
A bulkhead or kickplate, was a popular • The kickplate, located below the display
feature of most commercial buildings. This window, adds interesting detail to the
feature should be preserved. streetscape and should be preserved.
If the original bulkhead is covered with
1. Maintain recessed entries where another material, consider exposing the
they are found. original design.
• Restore the historic recessed entry if it 4. If the original bulkhead is missing,
has been altered. develop a sympathetic replacement
• Avoid entries that are flush with the design.
sidewalk.
• Wood and masonry are appropriate
2. Where entries are not recessed, materials for replacements. Coordinate
maintain them in their original the color of the bulkhead with other trim
position when feasible. elements on the building.
Contemporary
Glass interpretation
Retain the bulkhead as a decorative panel. If the original is missing, develop a sympathetic replacement design.
109 South Santa Fe
An acceptable solution was the use of ceramic
mosaic tile which has been used to recreate the
missing bulkhead in this location.
Page 20
Policy: Preserve and maintain building cornices in their original
configuration.
E. Cornices
Most historic commercial buildings have
cornices to cap their facades. Their
repetition and general alignment along a
street contributes to the visual continuity on
a block, and should be preserved.
1. Preserve the character of the
cornice line.
• Most historic commercial buildings have
cornices to cap their facades. Their
repetition and general alignment along a
street contributes to the visual continuity
on a block.
• This may be a straight or stepped
parapet.
2. Reconstruct a missing cornice
when historic evidence is
available.
• Use historic photographs to determine
design details of an original cornice.
• The substitution of another old cornice
for the original may be considered,
provided that the substitute is similar to
the original and the fact that it is not
original is documented.
3. A simplified interpretation also is
appropriate if evidence of the
original is missing.
Appropriate materials include stone,
brick and stamped metal.
If the cornice is missing from a
building, consider reconstructing it
Reconstruct a missing cornice when
Historic evidence is available.
A simplified interpretation also is
appropriate if evidence of the original
is missing.
Page 21
Policy: Preserve and maintain original fagade materials.
F. Fatrade Materials
Original exterior building materials provide a
sense of scale and texture and convey the
work of skilled craftsmen. These original
building materials should not be covered,
damaged or removed unless other work
being done is sensitive to the original
character.
1. Historic building materials and
craftsmanship add textural
qualities, as well as . visual
continuity and character to the
streetscape, and s h o u l d be
preserved.
• Brick, stone and wood have been the
dominant building materials and masonry
should be the first choice of materials to
use.
2. Don't cover or obscure original
facade materials.
• Covering of original facades not only
conceals interesting detail, but also
interrupts the visual continuity along the
street.
I Later covering
obscures the
original storefront
Don't cover or obscure original
fapade materials. If the original
material has been covered,
uncover if feasible.
• If the original material has been covered,
expose it if feasible.
• Do not paint natural colored masonry.
• However, if masonry was painted
historically, then it may be appropriate to
repaint.
3. If material replacement is
necessary, use materials similar to
those employed historically.
• Masonry, either brick or stone, and wood
were the primary wall material for most
buildings. Wood and metal were used for
window, door and storefront surrounds.
• Substitute materials may be used if they
match the original in appearance, finish
and profile as closely as is possible.
4. Protect historic material surfaces.
Don't use harsh cleaning methods that
can damage the finish of historic
materials.
Technical information for the treatment of
historic material is available at the City
Development Services Department. See
also Appendix IV. Preservation Briefs for
detailed methods of maintenance and
repair.
5. Protect masonry from water
deterioration.
• Provide proper drainage so water does
not stand on flat surfaces or accumulate
in decorative features.
• Provide a means to drain water away
from foundations.
• Use a sealant, or clear coat, to protect
masonry only when necessary. A sealant
will prevent proper breathing and cause
moisture to be trapped inside the
masonry.
Page 22
Policy: An addition should be compatible in scale, materials and
character with the main building.
G. Design of Additions
Many buildings have experienced additions
over time, as need for additional space
occurred, particularly with a change in use.
When planning a new addition to a historic
structure, one should minimize the negative
effects that may occur. While some destruction
of original materials is almost always a part of
constructing an addition, such loss should be
minimized.
Two distinct types of additions should be
considered: First, ground level additions, which
involve expanding the footprint of a structure,
may be considered. Such additions should be
to the rear or side of a building, where it will
have the least impact on the historic character
of a building. There may only be limited
opportunities for addition placement.
Second, an addition to the roof may be
designed that is simple in character and set
back substantially from the front plane of a
building if appropriate. In addition, the
materials, window size and alignment of
elements on the addition should be similar to
that of the existing structure.
1. An addition should not damage or
obscure historically or architecturally
important features.
• For example, loss or alteration of a cornice
line should be avoided.
2. Design an . addition such that the
historic character of the original
building can still be interpreted.
• A new addition that creates an appearance
inconsistent with the historic character of
the building is inappropriate. For example,
an addition that is more ornate than the
original building would be out of character.
• An addition that seeks to imply an earlier
period than that of the building is also
inappropriate as it creates a false sense of
history.
3. An addition should be
subtly
distinguishable from the
historic
building.
• An addition should be
made
distinguishable from the historic
building,
even in subtle ways, such
that the
character of the original can be interpreted.
4. An addition may be made to the rear
or side of a building if it does the
following:
• An addition should not create a false sense
of history and should maintain the
alignment of storefront elements, moldings,
cornices and upper story windows—as
seen on the existing building and its
surrounding context.
5. An addition may be made to the roof
of a building if it does the following:
An addition should be set back from a
primary, character -defining facade, to
preserve the perception of the historic
scale of the building.
A new addition has been
placed to the left side of an
original three-story building.
Page 23
An addition has been placed
to the rear of an original
three-story building.
Here a roof addition has
been set back from the
front.
Page 24
Chapter 4. Alterations and New Construction
While the Lee District has historic
character, it is also a dynamic
neighborhood in which existing buildings
are altered and new buildings are
constructed. Infill construction is
encouraged on open lots in the District.
The design of a new building should not
necessarily imitate historic buildings, but
should be compatible with them. Creativity
in design is especially encouraged when it
also is compatible with the design
objectives of the downtown.
New buildings should reinforce the basic
character -defining features of the district.
Such features include the way in which a
building is located on its site, the manner
in which it faces the street, its materials
and the general alignment of architectural
elements and details along a block.
Arranging these design variables to be
similar to those in the area creates visual
compatibility.
The principal fagade (front) and street
related elevations of proposed new
buildings will be more carefully reviewed
than other facades. New construction
facades should be consistent with the
existing District buildings in terms of
height, scale, rhythm, and other design
characteristics.
New construction should not appear old.
The intent of Lee district is not to "freeze"
an area in time, but rather to encourage
new buildings which fit contextually within
the district. New construction should not
attempt to replicate the old or to introduce
a false "historic" appearance. For most
new construction projects, the best
approach is to HARMONIZE with and
reinforce the context of existing buildings.
The purpose of the design guidelines is to
encourage new buildings that complement
the best of the existing environment.
The dominant character should be
pedestrian -friendly with an active street
edge. New buildings should include the
following key design aspects to help
maintain that established District character:
• Buildings aligned at the sidewalk edge;
• Two-story traditional commercial
buildings (some buildings reach greater
heights);
• Masonry construction dominates;
• Transparent ground floor with smaller
windows into predominantly solid upper
floors;
• Flat -roof (low slope) buildings;
• Additions are compatible in size, form,
materials, and design;
• Maintain traditional mass, size, form, and
building materials;
• To design commercial buildings with
storefront elements similar to those seen
traditionally (e.g., recessed entry, display
windows, bulkhead, transom windows,
storefront cornices, upper cornices, and
vertically oriented upper -story windows)
• To promote friendly, walkable streets.
Building materials should be compatible with
materials of exiting buildings.
Page 25
Policy: A building should appear similar in scale to traditional
commercial buildings
A. Building Mass, Scale and
Form
Building heights generally vary in the Lee
District from one to four stories, yet there is a
strong sense of similarity in scale. A variety in
building heights is appropriate; however, the
dominant scale of two stories should be
maintained. New construction should blend in
the streetscape and not stand out. Buildings
used as infill should be similar in height to
adjacent buildings, and of a height of no more
than 15 feet higher than the tallest adjacent
building, and should not overpower the
character of the District. The infill buildings
should line up with existing setbacks, reinforce
the established horizontal lines of the
elevations, and maintain the rhythm in the
single lot widths of new buildings.
1. Maintain the established building
scale in height.
• Develop a primary facade that is in scale
and aligns with surrounding traditional
buildings.
• Consider stepping the mass of a tall
building down to a lower height as it
approaches surrounding buildings.
2. Buildings should appear similar in
width to those historically in the
block.
• Facades of large buildings should reflect
the 25 ft. storefront bays to be in scale to
traditional buildings.
• When a larger building is divided into bays,
these should be expressed three -
dimensionally throughout the entire
building facade.
3. Floor -to -floor heights should appear
to be similar to those seen in adjacent
buildings.
4. A building should maintain the
alignment of horizontal elements
along the block.
• This alignment occurs because many of
the buildings are similar in height.
• Window sills, moldings, and cornices are
among those elements that may be seen
to align.
5. Where appropriate, consider dividing
larger buildings into bays that are
similar in scale to buildings seen
historically.
• If a larger building is divided into bays
these should be expressed three
dimensionally, throughout the entire
building.
• When considering a tall structure, the
alignment of building elements is
particularly important. Although a new
building may tower above the surrounding
buildings, the first stories should visually
relate to the surrounding historic context.
One of the most prominent unifying elements
of a downtown district is the similarity in
building form. Commercial buildings are simple
rectangular solids, deeper than they are wide.
This characteristic is important and should be
continued.
6. Rectangular forms should be dominant
on commercial facades.
• Rectangular forms should be vertically
oriented.
• The fagade should appear as
predominantly flat, with any decorative
elements and projecting or setback
"articulations" appearing to be subordinate
to the dominant form.
7. Use flat roof lines as the dominant roof
form.
In particular, those windows in a building
should appear similar in 'height to those Parapets of side facades should step down
seen in adjacent buildings. towards the rear of the building.
Page 26
Policy: Building materials should be visually compatible with the
predominate materials of the downtown area
B. Architectural Character
New materials should be appropriate to the
scale, durability, color, and texture of the
predominate materials in the area.
1. Material should appear similar to
those used traditionally.
• Brick was the traditional material and is
preferred.
• Wood and metal were used for windows,
door and storefront surrounds and
should be continued.
• New materials will be considered on a
case-by-case basis. If used, they should
appear similar to those used traditionally
and should be detailed to provide human
scale.
• New materials should have a
demonstrated durability. Some new
materials are susceptible to weather and
do not last as long as brick.
• Existing metal should be maintained. If it
needs to be stripped, use a chemical
paint designed for that purpose, not dry
.grit blasting.
• Preserve cast iron by maintaining and
restoring original cast iron columns and
pilasters. Do not conceal or obscure
original cast iron columns or pilasters.
• When it is necessary to replace brick, it
should match in color and size to the
original, if at all possible.
• Unless necessary to protect the surface,
masonry should be left unpainted.
• Previously painted surfaces should be
repainted rather than chemically cleaned.
Repoint mortar, if necessary, before
painting brick.
• Sometimes missing details and
appropriate materials can be recreated
with a one-dimensional paint scheme.
• Brick and other masonry should not be
coated with silicone -based water
sealants. Water sealants or water
repellents generally have the effect of
Page 27
keeping interior moisture from
evaporating through the walls and
thereby damaging the brick and mortar.
Masonry should not be covered with
stucco, wood siding, aluminum or other
artificial materials.
It is important that buildings be compatible
with the surrounding traditional commercial
context, however new buildings should not
imitate older building styles.
2. Maintain the distinction between the
street level and upper floors.
• The first floor of the primary facade
should be predominantly transparent
glass, not tinted.
• A minimum of sixty-five percent of a
street level facade of all buildings (except
civic and institutional) should be
windows, doors, display areas, or similar
architectural features.
• Consider using storefronts, decorative
surfaces or other features that provide
visual interest to pedestrians. Avoid large
expanses of featureless wall surface at
the street level. These will discourage
pedestrian activity in the District.
• Upper floors should be perceived as
more opaque than the lower floors.
• Express the traditional distinction in floor
heights between street levels through
detailing, material, and fenestrations.
The presence of a belt course is an
important feature.
3. Upper -story windows with vertical
emphasis are encouraged.
A typical, upper -story window is twice as
tall as it is wide. Upper story windows
should relate to historic window
proportions.
Windows, lintels, and their trim elements
should align with those on adjacent
historic buildings.
Policy: Building materials should be visually compatible with the
predominate materials of the downtown area (continued)
4. Orient the primary entrance of a • Use a traditional storefront arrangement
Page 28
building toward the street.
with features, materials, and proportions
typical of similar structures of the same
•
A building should have a clearly defined
(not earlier or later) architectural style or
primary entrance. For most commercial
period when the original design and
buildings, this should be a recessed
features can not be determined.
entryway.
Storefront material should be simple.
•
Original entrances should be maintained,
Do not allow storefront design to stray
restored, or replaced (do not enclose,
out of its natural place within the facade.
cover, or alter) including the design,
Generally, there should be more glass
material, depth, and placement.
and fewer walls at the storefront level,
•
Aluminum replacement doors and
balanced by more walls and less glass
storefronts should be made compatible
on the upper facade.
by painting a dark color.
Display windows which are new, should
•
Do not use doors decorated with
match the original in location, design,
molding, cross bucks, or window grills.
size, configuration, and materials.
Do not use solid wood doors in
Display windows which are missing and
storefronts, unless original.
the original design is unknown, should be
•
If original design of a door is unknown,
replaced with traditionally scaled
replace with a plain wood door with plain
windows. Traditionally scaled windows
glazing (glass area), as opposed to solid
have large glass lights and few structural
wood doors, decorative doors, or any
divisions to maintain a traditional
kind of period reproduction door.
transparent storefront appearance. If
•
New entrance openings should not be
aluminum frame windows are used,
added to storefronts. If an additional
utilize dark anodized or baked enamel
entrance is required by codes, place it on
finishes.
the rear or side facade and not on the
When replacing missing or damaged
main facade.
features and based on historic evidence
•
Doors added to storefronts should be
such as photographs or "ghosts" marking
replaced with doors to match the original
or cornice locations or through
in design and materials.
newspaper or photographic research,
base new building features from a similar
5.
Maintain all aspects of the storefront
building of the same design, use simple
(including doors, windows, and
(but to scale) decoration.
details) when possible.
• Windows which are not original should
not be added.
•
Preserve existing original storefronts
• Windows should be repaired rather than
elements (windows, transoms, lintels,
replaced, but if replacement is necessary
sills, hoods, bulkheads, cornices, and
the replacement windows should fill the
parapets) by maintaining or restoring, do
entire original opening and duplicate the
not remove or alter. It is better to repair
original pattern, including dimensions,
than replace deteriorated storefront
number and arrangements of lights in
features. Covering or removing
each sash, materials, and detailing. If
significant elements such as transoms,
aluminum framed windows are used, use
panels below store windows, or original
dark anodized or baked enamel finishes.
doors results in a substantial loss of
historic character.
Page 28
Policy: Building materials should be visually compatible with the
predominate materials of the downtown area (continued)
• Storm windows should be painted to
match the color of the window sash and
window shape should be duplicated. It
may be desirable, on the front of
building, to install storm windows inside
where they will not be seen. Storm
windows use full view or sash
proportionate, blind stop type of wood or
aluminum with anodized or baked -on
enamel finish.
• New display windows should match the
original in location, design, size,
configuration and materials.
• New windows should not have snapon or
flush muntins. True divided muntins are
preferred over these types of muntins.
Properly sized muntins 'permanently
attached to windows are acceptable.
• Decorative glass windows which are
original should be preserved in their
original location, size, and design and
with their original materials and glass
pattern.
• On the interior, should the building's
ceiling interfere with the transom space,
recess ceiling space slightly away from
the transom, or paint rear (interior) of the
transom black.
• Windows can not be blocked or filled in.
6. Roofs, Cornices, & Gutters
Roofs should be retained in their original
shape and pitch, with original features, and,
if possible, with original roof materials.
New roofs covered with modern rolled
composition, asphalt materials, or rubber
membrane are appropriate. The
installation of a higher pitched roof to
improve water runoff is acceptable as
long as the new roof is not visible on the
primary elevation and is constructed
below the roof parapet wall.
Do not use mansard roof with wooden
shingles.
Metal flashing should be used with new
roof materials extending along the brick
walls to protect against leaks.
Buildings with flat roofs should have
cornices or decorative bands to "cap" the
fagade.
Replacement gutters and downspouts
should not result in the removal of
significant architectural features on the
building.
Gutters and downspouts either of boxed
or built-in type should be repaired rather
than replaced if possible.
7. Foundations
Page 29
Preserve (maintain or restore, not
enclose or alter) original foundation
materials and design -- whether solid or
pier, brick, stucco or stone, etc.
Foundations should not be concealed
with concrete block, plywood panels,
corrugated metal, or other non -original
materials.
Policy: The street level of a building should be pedestrian friendly.
The Lee District should continue to develop as • Include traditional elements such as
a pedestrian -oriented environment. Streets, display windows, bulkheads and transoms
sidewalks, and alleys should encourage on commercial storefront.
walking, sitting and other outdoor activities. • Avoid a blank wall or vacant lot
Buildings also should be visually interesting to appearance.
invite exploration by pedestrians.
Existing pedestrian routes should be
enhanced. A building should express human
scale through material and forms that were
used traditionally. This is important because
buildings are experienced at close proximity by
the pedestrian.
8. Develop the ground floor level to
encourage pedestrian activity.
A storefront should be used on the primary
facade of a building.
On a secondary facades, alternative
methods of creating pedestrian interest
should be utilized. Consider the following:
OA storefront
ODisplay case
OPublic art
OLandscaping
ODecorative wall surfaces.
Storefront has been redeveloped and is pedestrian
friendly.
Policy: Minimize the visual impact of balconies and roof decks as
seen from the street.
Roof gardens, decks, and accessory structures 11. A roof garden, deck, or accessory
can visually impact the design integrity of the structure should be compatible with
building on which they are located, their visual the building on which it is located.
impacts should be minimized.
• This includes design, materials, scale,
9. Set activities back such that they are proportion, and color.
not visible from the sidewalk across • A roof garden, deck, or accessory structure
the street. should not damage, destroy, or
overshadow the character -defining
• This includes potted plants, umbrellas, and features of the building on which it is
tables. located.
• Roof terrace railings and furniture should
be placed well behind the parapet.
10. Avoid clutter on roofs that will be
visible from the public's view.
• Mechanical equipment shall not be visible
from the public's view.
Page 30
Policy:
C. Color
Use colors to create a coordinated color scheme for a
building.
Downtown buildings contain a variety of colors
in elements such as upper facades,
storefronts, sign, and awnings. The
introduction and use of colors should not
restricted but it is encouraged that colors
complement each building and its neighbors.
There is not a specific color pallet for the Lee
District.
A. The fagade should "read" as a single
composition.
Paint colors on storefronts, trim, and
upper -story openings should be related to
the overall color of the building as should
added elements such as signs and
awnings.
In many cases these will be colors that
complement or harmonize with the overall
brick colors found on upper facades.
B. Use color schemes that are simple.
Using one base color for the building is
preferred.
Using only one or two accent colors is also
encouraged, although precedent does
exist for using more than two colors in
some situations.
The use of contrasting colors to highlight
architectural details or storefronts and
upper facades is encouraged.
Policy: Maintain the line of building fronts in the block.
D. Site Planning 3. Rear entrances and side elevations.
Structures in the Lee District should contribute
to a "strong wall' along the street. A new
building should align at the front lot line and be
built out to the full width of the parcel, to the
side lot lines.
1. Maintain or enhance the alignment of
buildings at the sidewalk edge.
• Locate the front building wall at the
sidewalk line when feasible.
• Where a building does set back from the
sidewalk, use landscape elements to
define the sidewalk edge.
2. Orient the primary entrance of a
building toward the street.
A building should have a clearly defined
primary entrance. For most commercial
buildings, this should be recessed
entryway.
A secondary public entrance to commercial
spaces is also encouraged on a large
building.
• Preserve original windows, doors, and
architectural detailing on rear and side
elevations.
• Rear and side entrances can be enhanced
by adding simple signage, awnings, and
lighting that is related to those of the front
elevation.
• New windows and doors may be added
when needed if in keeping with the size,
design, materials, proportions, and location
of the originals. Follow guidelines for
windows and doors for new openings on
the rear and side elevations.
• Locate any necessary exterior staircases,
balconies, elevator shafts, and additions
on rear elevations, whenever possible.
Page 31
Maintain the
alignment of
buildings at the
sidewalk edge.
Policy: Minimize the visual aspects of an addition.
E. Additions
There are three different types of additions that
may be constructed. The ground -level addition
is the first way to do an addition that involves
expanding the footprint of the structure. This
addition should be to the rear or side of a
building where it will have the least impact on
the character of a building.
The next option of constructing an addition is
to the roof that can be simple and set back
from the front of the building. Materials,
window sizes, and alignment of trim elements
on the addition should be compatible to those
of the existing. structure.
The third option is to design an addition within
the wall plane of the existing building, which
should be considered on a case-by-case basis.
This is difficult and requires care to respect the
relationship of the building to the street. Such
an addition should provide a visual distinction
between the existing building and its addition
which can be done with the use of a storefront
cornice element or a subtle change in building
materials.
1. An addition should be compatible in
scale, material, and character with t h e
main building.
• An addition should relate to the building in
mass, scale, and form. It should be
designed to remain subordinate to the
main structure.
• An addition to the front of a building is
inappropriate.
2. An addition may be made to the roof
of a building if it does the following:
An addition should be set back from the
primary fagade, to preserve the perception
of the historic scale of the building.
Its design should be modest in character,
so it will not attract attention from the
historic fagade.
The addition should be distinguished as
new, albeit in a subtle way.
3. In limited circumstances, an addition
may be made to the roof of a building
and not be set back from character -
defining facades, if it does the
following:
• An addition should be distinguished from
the existing building. A change in material
or a decorative band can be considered tc
accomplish this.
• An addition should maintain the alignment
of storefront elements, molding, cornices,
and upper -story windows that exist on the
main part of the building.
• The addition should also be compatible in
scale, texture, and materials with the
original.
4. An addition should not damage or
obscure architecturally important
features.
Page 32
Loss or alteration of a cornice line should
be avoided, for example.
Additions should respond architecturally to
adjacent buildings in general and to the
building they are a part of in particular.
They should blend in by using similar
materials, shape, and rhythm and
proportion of openings.
If the original building is architecturally
significant, the addition should take a
respectful "back seat'. The addition should
not overpower the original. An addition
may be taller than the original building if
site consideration and design still allow the
old building to remain dominant.
In general, additions should follow the
basic guidelines for new construction. They
should appear contemporary but in context
with the original. They addition should be
sympathetic but not imitative in design.
Chapter 5. Guidelines for Streetscapes
This section concerns the relationship of
buildings or groups of buildings to the
setting in which they are found. Site
features need to be considered as an
important part of any project. Site elements
can include driveways, walkways, water
fountains, lighting, fences, walls, signs, and
trees.
In an historic setting, it is particularly
important to preserve and restore features
of the built environment, such as street or
sidewalk paving, landscaping, and street
lighting or signage. These features are
indicative of the character of the area, and
make an important statement about design .
Whether considering the entire Lee District
or an individual structure, these features
which show age and historic character
should be preserved. These guidelines will
apply only to areas visible, either private or
public, from public rights -of way.
Historic architecture is not the only element
that helps convey the character of a
district. The relationship between a building
and its site, landscape features, and other
elements produce a distinctive image for
the district. The distinguishing original
qualities or character of a street, site, and
its environment should not be destroyed.
For example the removal or alteration of
any historic material or distinctive
architectural or environmental features
should be avoided if at all possible. If
removal or alteration of historical materials
can not be avoided, i.e. landscape features
such as stone walls, steps, etc., then these
features shall be reused in a like manner
elsewhere on the property.
Under the 1985 Downtown Revitalization
Program, the City of Salina constructed
numerous streetscape elements that
enhanced and made the core Downtown
area more attractive and accessible. These
improvements included, among others, the
burying of utilities, decorative brick
sidewalks, planters, street lights, plazas and
various other amenities that in total made
the area more attractive to pedestrians and
various outdoor events.
In considering improvements to the existing
streetscape, the Design Review Board
should be guided by the following principles:
1) The historic character of the District
shall be maintained and enhanced;
2) The safety and security of pedestrians
and vehicles shall be provided;
3) A pedestrian oriented downtown shall
be promoted;
4) Streetscape elements shall be
compatible and continue to be in scale
with the existing streetscape; and
5) The District shall be a place that
encourages people to gather and meet.
Improvements to the public areas of the
district (except for routine maintenance) are
managed by the Salina Downtown
organization. It is the Design Review Board's
responsibility to examine improvements on
private properties and how they relate to the
Downtown Revitalization Element and the
principles laid out by the 2002 PUMA plan.
Page 33
Policy: Design a sign to be in balance with the overall character of
the downtown area.
A. Signage
A sign typically serves two functions: first, to
attract attention, and second to convey
information, essentially identifying the
business or services offered within. If it is
designed well, the building front alone can
serve the attention -getting function, allowing
the sign to focus on conveying information
in a well -conceived manner. All new signs
should be developed with the overall
context of the building and of the area in
mind.
Signs that are historically important and
retain or recreate integrity should be
maintained. Sandwich boards are
encouraged, but should not obstruct
pedestrian traffic. All signs must also follow
the regulations regarding signs in the Salina
Zoning Ordinance.
1. Consider the building front as part
of an overall sign program,
• Coordinate a sign within the overall
fagade composition.
• A sign should be proportional to the
building, so it does not dominate the
appearance of a building.
• Develop a master sign plan for the
entire building to be used to guide
individual sign design decisions.
• Signs should be integral with the
building's architecture.
2. Preserve historic signs where
they exist, when feasible.
3. A sign should be subordinate to the
overall building composition.
• A sign should appear to be in scale with
the fagade and be to pedestrian scale.
• Locate a sign on a building such that it
will emphasize elements of the facade
and does not cover them.
Mount a sign to fit within existing
architectural features. Use the shape of
the sign to help reinforce the horizontal
lines of moldings and transoms seen
along the street.
Historic sign, 157 N. 7th Street Wood Fashion Plaza
A sign that visually overpowers
the building or obscures
significant architectural features is
in appropriate.
Page 34
Policy: Design a sign to be in balance with the overall character of
the downtown area (continued)
4. Freestanding or pole mounted signs
may be considered.
• Freestanding or pole mounted signs may
be considered in areas where the primary
structure or business is set back from the
street.
5. A flush -mounted wall sign will be
considered depending on the building
facade.
• When feasible, place a wall sign such that
it aligns with others on the block.
• When planning a wall sign, determine if
decorative moldings exist that could
define a "sign panel." If so, locate a flush -
mounted sign such that it fits within a
panel formed by moldings or transom
panels. When mounted on a building with
historic elements, a sign should not
obscure significant facade features.
6. A window and/or awning sign may
be considered.
• A window sign may not cover more than
approximately thirty-three (33%) percent
of the total window area.
• Signs may be painted on the glass or
hung just inside a window.
• Signs should not significantly reduce
storefront transparency or overpower the
architecture of the building.
• An awning sign or logo should be located
on the valance of the awning and not on
the sloped portion.
7. A projecting sign is encouraged.
• A small projecting signs should be locate
near the business entrance, just above
the door or to the side of it.
• A large projecting sign should be mounted
higher, and centered on the fagade or
positioned at the corner.
• A projecting sign is easier for a pedestrian
to read than other sign type and is
encouraged.
8. A directory sign may be considered.
• Group small, individual signs on a single
panel as a directory to make them easier
to locate.
9. Use colors for the sign that are
compatible with those of the building
front.
Limit the number of colors used on a sign.
10. Sign materials should be compatible
with that of the building fagade.
• The use of historic sign materials is
encouraged; finished, carved, painted or
sandblasted wood,. metal, glass, gold leaf,
brass and copper letters, not unfinished
plywood or plastic.
• Unfinished materials, including unpainted
wood, are discouraged because they are
out of character with the context.
• Highly reflective materials that will be
difficult to read are inappropriate.
• Painted signs on blank walls were common
historically and may be considered.
11. A simple sign design is preferred.
• Typefaces that are in keeping with those
seen in the area traditionally are
encouraged. Select letter styles and sizes
that will be compatible with the building
front.
• Avoid hard -to -read or overly intricate
typeface styles.
• Signs are most successful when they
work with, not against the architecture
and are proportioned to fit the building.
• Signs should capitalize on the special
character of the building and the District.
Page 35
Compatible projecting sign.
Policy: Design a sign to be in balance with the overall character of
the downtown area (continued).
12. Lighting that is directed at a sign
from an external, shielded lamp, is
preferred.
• A warm light, similar to daylight, is
preferred.
13. If internal illumination is used, it
should be designed to be subordinate
to the overall building
composition.
• Internal illumination of an entire sign panel
is discouraged. If internal illumination is
used, a system that backlights sign text
only is preferred.
• Neon and other tubular illumination may
be considered. However, use neon in
limited amounts so it does not become
visually obtrusive.
14. Signs that are out of character with
those seen historically, and that
would alter the historic character of
the street, are inappropriate.
15. Sign materials should be compatible
with that of the building facade.
• Painted wood and metal are appropriate
materials for signs. Their use is
encouraged. Unfinished materials,
including unpainted wood, are
discouraged because they are out of
character with the historic context.
• Highly reflective materials that will be
difficult to read are inappropriate.
The overall thgade composition including ornamental
details and signs should be coordinated
16. Symbol and logo signs are
encouraged.
• Symbol signs add interest to the street, are
quickly read and are remembered better
than written words.
Where several
businesses share a
building, coordinate the
signs in a directory or
use a master sign plan
17. Use colors for the sign that are
compatible with those of the building
front.
Page 36
Policy: An awning should be similar in form to those seen
traditionally in the downtown area
B. Awnings
Awnings and canopies have a long-standing
tradition in the community and have been used
to shelter sidewalks and shade display
windows. Upper story awnings also have
precedence and may be used. While awnings
are relatively temporary placements, they can
significantly affect one's ability to interpret the
character of historic buildings. They can
provide interest to pedestrians. Therefore, the
thoughtful design of awnings and canopies is
important.
1. An awning should be subordinate
to the overall building composition.
• Awnings should be attached above the
display windows and below the cornice or
sign panel or transom and should not
cover 2nd floor windowsills.
• Awning installation should not require the
removal of or cover significant architectural
features.
• Awnings should be mounted so that the
valance is a minimum of eight feet above
the sidewalk and projects no more than 6-
1/2 (6'-6") feet from the building.
2. A simple awning is preferred.
• Aluminum, modern, or back lit awnings
detract from the character and should not
be erected.
• Avoid bright or intrusive colors that are
dissimilar to the building's materials.
3. Awnings should not be installed
where they will interfere with or
cover decorative architectural details.
4. Installation should not damage
surrounding materials.
5. Awnings should be sized to fit the s 1 z e
and shape of the opening.
6. Awnings should be constructed of
canvas or similar woven material.
7. Operable awnings are encouraged.
• Use colors that are compatible with the
overall color scheme of the facade. Solid
colors or simple muted striped patterns
may be appropriate.
• Awnings that obscure character -defining
elements are inappropriate.
S. Mount an awning or canopy to
accentuate character -defining
features.
Awnings should be mounted to highlight
moldings that may be found above the
storefront and should not hide character -
defining features.
Awning mountings should not damage
significant features and historic details.
Awnings that will be long in length should
be divided into bays to reflect the storefront
configuration.
This awning utilizes material compatible
with its exterior, Spanish Tile.
Page 37
Policy: Awning materials should be similar to those used
traditionally in the downtown area.
9. An awning that is compatible with the
material and style of a building is
encouraged.
• Operable awnings are encouraged on
historic buildings.
• Use colors that are compatible with the
overall color scheme of the fagade. Solid
colors or simple, muted—stripe patterns
are appropriate.
10. Internal illumination of an awning is
inappropriate.
Lights may be concealed below the
awning to provide for pedestrian
illumination to address safety, if these are
oriented downward toward the sidewalk.
Awning accentuates the main entrance to a building.
Policy: Minimize the visual impacts of exterior lighting.
C. Lighting
The character and level of lighting that is
used on a building is a special concern.
Traditionally, these 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.
Preserve original light fixtures on buildings.
If replacement is necessary, use fixtures
appropriate to the period of the building.
1. Use lighting for the following:
• To accent architectural details,
• To accent building entrances,
• To accent signs, and
• To illuminate sidewalks.
2. Minimize the visual impacts of site
and architectural lighting.
• All exterior light sources should have a
low level of luminescence. White lights
that cast a color similar to day -light are
preferred.
• Lighting fixtures should be appropriate to
the building and its surroundings in terms
of style, scale, and intensity of
illumination.
3. Prevent glare by using shielded and
focused light sources.
• Provide shield and focused light sources
that direct light downward.
• Unshielded, high intensity light sources
and those that direct light upward should
not be permitted.
• Shield lighting fixtures associated with
service areas, parking lots, and parking
structures
Page 38
Policy: Minimize the visual impacts of mechanical equipment and
Service.
D. Utility and Mechanical
Equipment
Utility service boxes, telecommunication
devices, cables, and conduits are among
the variety of equipment that may be
attached to a building which can affect the
character of the area. Trash and recycling
storage areas also are concerns. To the
greatest extent feasible, these devices
should be screened from public view.
When screening one of the following
methods can be used:
• The use of low -profile mechanical
equipment;
• The use of screening (fence or wall
made of compatible material);
• The location of the equipment (roof or
less visible location); and
• The ability to paint the equipment to
assist in camouflaging the equipment.
1. Minimize the visual impact of
mechanical equipment on the public
view when possible.
• Do not locate window air conditioning
units on the building's primary facade.
• Use low -profile mechanical units on
rooftops that are not visible from the
public's view.
• Locate a satellite dish out of public view,
to the extent feasible, and in compliance
with other regulations.
2. Minimize the visual impacts of utility
connections and service boxes.
• Locate these fixtures on secondary walls,
whenever feasible.
• Do not locate gas or electric meters on
the roof.
3. Minimize the visual impacts of trash
storage and service areas.
• Locate service areas away from major
pedestrian routes.
Page 39
Good use of screening.
Policy: Minimize the visual impacts of parking lots.
E. Parking Facilities
New parking facilities should be designed to
be attractive, compatible additions, to the
Lee District. Using high quality materials,
providing a sense of scale in architectural
details and providing active uses at the
sidewalk and street edge and landscaping
are some methods that contribute to
compatibility. Assistance for the
development of parking facilities can be
obtained at the City Development Services
Department. In general, parking facilities
should be designed to enhance the activity
of the streetscape. The visual impact of the
cars themselves should be minimized.
Locate a parking facility, particularly
surface parking lots at the interior of
a block whenever possible.
• This acknowledges the special function
of corner properties as they are generally
more visible than interior facilities,'serve
as landmarks and provide a sense of
enclosure to an intersection
2. Where a parking facility shares a site
with a building, place the parking at
the rear of the site or beside the
building.
• In this way, the architectural continuity of
the street can be preserved.
Site a parking lot so it will minimize gaps
in the continuous building wall of a block.
A parking facility located behind a
building and accessed from an alley is
the preferred configuration.
3. Minimize disruption to the visual
continuity of a street.
Widths of entries to parking facilities
should be minimized.
Where parking facilities interrupt the
pattern of building facades on the street,
the entry creating the break in the fagade
shall be minimized.
4. Provide well -lit and convenient
pedestrian access to all parking
facilities.
Where new or renovated parking
facilities interrupt existing patterns of
pedestrian circulation, provide safe
pedestrian routes through the site.
Maintain strong emphasis on the
pedestrian environment at the sidewalk
crossing of parking access points.
5. Reduce the visual impact of a large
parking facility by dividing it into
smaller facilities through the use of
landscaping.
6. Where a parking facility abuts a
public sidewalk, provide a buffer.
• This may be a landscaped strip or
planter.
• Consider the planting of shrubs, vines
and small trees of at least four feet in
height, which can aid in the circulation of
pedestrians and vehicles by demarcating
boundaries and aisles and drawing,
attention to desired openings and paths
for pedestrians.
• Also consider the use of fences and
walls as screens for the edges of
facilities. Materials selected for barriers
should be complementary to the
character and materials of nearby
historic buildings.
7. Integrate a parking facility with
adjacent land uses.
Page 40
Accomplish this by using materials
similar to those that are predominant in
the area.
Use parking signs that are compatible
with the City of Salina signage program.
Policy: Minimize the visual impacts of parking lots (continued)
8. Design a parking facility so that there
is quick access and, clear, separate
pedestrian routes to the outside.
• Direct connections between a parking
structure and its supporting businesses are
desirable.
• Interior and exterior lighting should be
planned to assure user safety.
• Encourage pedestrian use of the street
front access and observation points by
providing pedestrian facilities.
• Develop mixed-use nodes of activity (such
as espresso stands or other small vending
kiosks or cafes) near pedestrian entries to
parking areas.
• Maximize visibility of pedestrians within the
facility and avoid creation of dimly lit or
isolated areas.
• Service and storage functions should be
located away from the street edge and
generally should not be visible from the
street.
9. Encourage installation of bike racks
in covered well -lit, publicly visible
areas.
10. Encourage landscaping areas and
trees be integrated into built
projects.
This could be done
• As part of the building structure
• On the roof
• Adjacent to public right-of-way areas
where allowed
Policy: Landscaping should be used to enhance the area.
F. Landscaping
Landscaping in the downtown should be
used to enhance the area and to assist in
obscuring mechanical equipment and
parking areas. Architectural features should
not be covered.
A. Do not conceal or obscure the
ground level of a building with
landscaping.
B. Use landscaping trees and
shrubbery listed on an approvedlist
developed by the City Forester.
C. Preserve original retaining walls
and fences where they exist.
Page 41
Chapter 6. G
Essential Principles
Demolition is defined as the complete or
partial tearing down or removal of a building,
object, or structure from the Lee District:'
Generally, the demolition of a building,
which contributes historically„ or
architecturally to the character and
significance of the district is unsuitable
and should be avoided.
Should the Design Review Board deem a
proposed demolition appropriate, isuch
demolition should proceed only when an
immediate reuse is planned for the property,
unless it has been considered a safety
hazard. The proposed design of new
construction should be submitted to, and
reviewed by, the DRB in conjunction with the
submission and review of the proposed
demolition.
Guidelines for Proposed Demolition
Demolition should only be considered under
any of the following conditions:
If the City Building Official has ordered
demolition for the public safety because
of an unsafe or dangerous condition
which constitutes an emergency;
2. If a building, object, or structure: a) does
not contribute to the historical or
architectural character and b) detracts
for Demolition
from and does not have the potential to
contribute to the importance of the
District and c) its removal and the
proposed new construction will result in
a more positive, appropriate visual effect
on the District.
Demolition should not be considered under
any of the following conditions:
If a building, object, or structure is of
such architectural or historical
significance that its removal would be
detrimental to the public interest and
the objectives of the District;
2. If a building, object, or structure is of
such architectural or historic character
that it could not be reproduced without
great difficulty and expense
3. If its proposed reuse, or new
construction would make a less positive
visual contribution to the District, would
disrupt the character of the District, or
would be visually incompatible; or
4. If the demolition of a building, object, or
structure would negatively impact the
character, streetscape, or other
buildings, objects, or structures in the
District.
Page 42
Cha
Essential Principles
7. Guidelines for Relocation
The definition of the relocation of a building
is the concept of moving a building into the
Lee District or from one site to another within
the District. Removal of a building, object, or
structure from the District shall': be
considered and reviewed as a demolition of
the building, object, or structure. Moving an
existing building which still retains
architectural and historical integrity and
which contributes to the architectural and
historical character of the District should be
avoided.
Moving a building which does not contribute
to the historical and architectural integrity of
the District or which has lost architectural
integrity due to deterioration and neglect is
appropriate if its removal or the proposal for
its replacement will result in a more positive
appropriate visual effect on the District.
Guidelines for Relocation
Relocated buildings must be carefully rebuilt
to retain and maintain original architectural
details and materials.
A building may be moved into the District if it
maintains a sense of architectural unity in
terms of style, height, scale, massing,
materials, quality of construction, and texture
with the existing District.
A building may be moved from one site to
another in the District if:
The integrity of location and setting of
the building in its original location has
been lost or is seriously threatened;
2. The new location will be similar in
setting and siting;
3. The building will be compatible with the
buildings, adjacent to the new location in
style, height, scale, materials, and
setback;
4. The relocation of the building will not
result, in the Board's reasonable
discretion, in a negative visual impact on
the site and surrounding buildings from
which it will be removed.
Page 43
Page 44
Appendix I. Design Matrix of Project Types
The Lee District is recognized as a special place to be protected as a community resource, because it represents an
important part of the city's heritage, and because it's unique character creates an identity for Salina today. Using
compatible design for exterior improvements helps to enhance the quality of life for the city's residents while
strengthening the economic vitality of its Downtown. The Lee District Design Review Board reviews exterior
building and sign projects to encourage visual harmony, to enhance historic integrity and to encourage creative
design solutions.
The Design Review Board (DRB) uses the adopted Design Guidelines for Downtown Salina for project review.
The guidelines do not dictate specific architectural styles, but suggest a variety of choices for achieving design
compatibility within the Downtown area. The guidelines also help to protect property values by encouraging
improvements that conserve and maintain existing buildings as viable community assets for the future. To
facilitate this, the Design Review Board issues Certificates of Compatibility for planned construction, alteration
or demolition projects that would result in a permanent physical change to buildings, structures or sites within the
Lee District.
Routine maintenance or repair, where there is no change made to the design, material, color
or general appearance of a feature, does not require a review by the DRB.
The City Development Services Department provides administrative assistance to the Design Review Board. The
Development Services Department receives completed applications for Certificates of Compatibility, provides
legal notice for public hearings and coordinates approved Certificates of Compatibility with the City Building
Services Division for the issuance of building or sign permits. The nature and scope of projects submitted for
design review often vary in complexity and scale. When an application is submitted, Development Services staff
makes a determination of the scope of a project. Projects that involve Minor Work can generally be reviewed and
approved by administrative staff. Projects that involve Major Work will be scheduled for a public hearing before
the Design Review Board. The Board meets on the second, fourth and fifth Thursdays of each month at 4:00 in
Room 107 of the City -County Building, 300 West Ash Street.
The Downtown design review procedures are as follows:
• Minor Work projects are reviewed by Development Services staff. The processing time for applications
is generally 2-3 days, if an application is complete.
Minor Work review is required for those projects in which the visual character of the structure or site is not
substantially changed. Minor work applications may be submitted at any time. Applicants are encouraged to
consult with Development Services staff early in the design stage for a project to determine the level of
review and the information that will be required with submittal of a Certificate of Compatibility application.
• Maior Work projects are reviewed by the Design Review Board at a public hearing. The processing
time for applications is generally 14 days, if an application is complete.
The Design Review Board reviews major projects at a scheduled public hearing. The deadline for submitting
applications is 5:00 PM 14 days before a regularly scheduled meeting. Legal notification is sent to adjacent
property owners stating the time and place for the meeting. Applicants are encouraged to consult with
Development Services staff early in the design stage of a project to determine the level of review and the
information that will be required with submittal of a Certificate of Compatibility application.
The following pages contain a listing of common project types and the degree of review that is required for an
application. This listing is not meant to be all inclusive and there may be project types that are not listed on the
form. An applicant is responsible for consulting with Development Services staff in order to determine what type
of project review may be required and the time frame for submission of applications.
DESIGN REVIEW PROJECT TYPE OF REVIEW REQUIRED
2
TYPE OF WORK
MINOR WORK
(Minor Review)
MAJOR WORK
(Full Review)
1
Re lacement of door and window hardware
X
2
Replacement of an existing awning or canopy with a
new awning or canopy (without signage)
X
3
New awnings without signage
X
4
Window or wall signs less than 2 sq. ft.
X
5
Window or wall signs greater than 2 sq. ft.
X
6
Sidewalk signs, temporary signs
X
7
Alteration/ addition or removal of doors or windows
X
8
New awnings or canopies with signage
X
9
New projecting signs; pole signs or ground signs
X
10
New exterior decks/stairs; Exterior stair replacement
X
11
New fencing, walls or screening
X
11
Demolition/relocation of principal structures
X
12
Demolition/relocation of accessory structure
X
13
New principal structure on a property
X
14
New accessory structure on a property
X
15
Repair or replacement of architectural features using
the same design, materials and same general
appearance to the original condition.
X
16
Site modification on private property (parking,
driveways, curbing, walkways etc.)
X
17
Exterior repainting
X
18
Building additions
X
19
Minor storefront alterations:
Projects that are less than $1,000 in cost, or that do
not substantially alter existing features
X
2
20
Major storefront alterations:
Projects greater than $1,000 in cost, or that do
X
substantially alter existing features
21
Removal of mechanical equipment, electrical and
X
plumbing equipment from site exterior.
22
Emergency repair when applied on a temporary
X
basis to prevent further loss or harm to existing
features
23
Routine Maintenance, when there is no change in
the design, material, color or general appearance of
No review needed
No review needed
a feature (i.e., painting buildings or windows with
the same color)
Appendix II. Glossary of Architectural Terms
Adaptive Use: Rehabilitation of an historic
structure for use other than its original use
such as a residence converted into offices.
Alignment: The arrangement to objects along a
straight line.
Alteration: Work which impacts any exterior
architectural feature including construction,
reconstruction, repair, or removal of any
building element.
Appurtenances: An additional object added to a
building; typically included vents, exhaust
hoods, air conditioning units, etc.
Arch: A curved construction of wedge shaped
stones or bricks which spans an opening and
supports the weight above it. (see flat arch,
jack arch, segmental arch and semi -circular
arch)
Baluster: One of a series of short, vertical, often
vase -shaped members used to support a stair
or porch handrail, forming a balustrade.
Balustrade: An entire rail system with top rail
and balusters.
Bay: The portion of a facade between columns or
piers providing regular divisions and usually
marked by windows.
Belt course: A horizontal band usually marking
the floor levels on the exterior facade of a
building.
Bond: A term used to describe the various
patterns in which brick (or stone) is laid, such
as "common bond" or "Flemish bond".
Bracket: A projecting element of wood, stone, or
metal which spans between horizontal and
vertical surfaces (eaves, shelves, overhangs)
as decorative support.
Bulkhead: The structural panels just below
display windows on storefronts. Bulkheads
can be both supportive and decorative in
design. Nineteenth century bulkheads are
often of wood construction with rectangular
raised panels. Twenty Century bulkheads
may be of wood, brick, tile, or marble
construction. A bulkheads is sometimes
referred to as a kickplate.
Capital: The head of a column or pilaster.
Casement window: A window with one or two
sashes which are hinged at the sides and
usually open outward.
Certificate of Compatibility: A
document issued by the Design Review
Board allowing an applicant to proceed
with a proposed alteration, demolition, or
new construction in a designated area or site
following a determination of the proposal's
suitability according to applicable criteria.
Character -defining feature: A prominent or
distinctive aspect, quality, or characteristic of
a historic property that contributes
significantly to its physical character.
Column: A circular or square vertical
structural member.
Common bond: A brickwork pattern where
most courses are laid flat, with the long
"stretcher" edge exposed, but every fifth to
eighth course is laid perpendicularly with the
small "header" end exposes, to structurally tie
the wall together.
Configuration: The arrangement of elements
and details on a building or structure which
help to define its character.
Contemporary: Reflecting characteristics
of the current period. Contemporary
denotes characteristics, which illustrate that a
building, structure, or detail was constructed
in the present or recent past rather than being
imitative or reflective, or an historic design.
Contributing Structure: A structure that
contributes to the historic character of a
district.
Corbel: In masonry, a projection, or one of a
series of projections, each stepped
progressively farther forward with height and
articulating a cornice or supporting an
overhanging member.
Cornice: The uppermost, projecting part of an
entablature, or feature resembling it. Any
projecting ornamental molding along the top
of a wall, building, etc.
Dentils: A row of small tooth-like blocks in a
classical cornice.
Design Guidelines: Criteria developed by
the community and the Design Review
Board to identify design concerns in an area
and to help property owners ensure that
rehabilitation and new construction respect
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the character of historic buildings and the
Lee District.
Designated Historic Structure: Any
structure that is: 1) Listed individually in
the National/State Register of Historic
Places or preliminarily determined by the
Secretary of the hiterior as meeting the
requirements for individual listing on the
National Register; 2) Certified or
preliminarily determined by the Secretary of
the Interior as contributing to the historical
significance of a registered district or a
district preliminarily determined by the
Secretary to qualify as a registered historic
district; 3) Individually listed on a state
inventory of historic places; or 4)
Individually listed on a local inventory
of historic places.
DRB: Lee District Design Review Board.
Double -hung window: A window with
two sashes, one sliding vertically over the
other.
Downtown Salina: That area previously
encompassed by the Business Improvement
District No. 1, now renamed the "Lee
District".
Due process: The established procedure by
which legal action is carried out.
Eave: The edge of a roof that projects beyond
the face of a wall.
Element: A material part or detail of a site,
structure, street, or district.
Elevation: Any one of the external faces or
facades of a building.
Engaged column: A round column attached to
a wall.
Entablature: A part of a building of
classical order resting on the column
capital; consists of an architrave, frieze,
and cornice.
Fabric: The physical material of a building,
structure, or community, connoting an
interweaving of component parts.
Fagade: The elevation of a building that is
visible from a public or private right-of-
way.
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.
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Fenestration: An opening in a structure, such
as a door or window.
Flat arch: An arch whose wedge-shaped
stones or bricks are set in a straight line;
also called a jack arch.
Flemish bond: A brickwork pattern where
the long "stretcher" edge of the brick is
alternated with the small "header" end for
decorative as well as structural
effectiveness.
Fluting: Shallow, concave grooves running
vertically on the shaft of a column, pilaster,
or other surface.
Form: The overall shape of a structure.
Foundation: The lowest exposed portion of
the building wall, which supports the
structure above.
Frieze: The middle portion of a classical
cornice; also applied decorative elements
on an entablature or parapet wall.
Gable: The triangular section of a wall to
carry a pitched roof.
Gable roof: A pitched roof with one
downward slope on either side of a
central, horizontal ridge.
Ghosts: Outlines or profiles of missing
buildings or building details. These
outlines may be visible through stains,
paint, weathering, or other residue on a
building's facade.
Glazing: Fitting glass into windows and
doors.
Head: The top horizontal member over a
door or window opening.
Hipped roof: A roof with uniform slopes on
all sides.
Historic Structure: Any property that is 50
years in age, that retains integrity to its
original design and that is representative of
its period of historic significance.
Historic District: A geographically
definable area with a significant
concentration of buildings, structures, sites,
spaces, or objects unified by past events,
physical development, design, materials,
workmanship, sense of cohesiveness, or
related historical and aesthetic associations.
The significance of a district may be
recognized through listing in a local, state,
or national landmarks register.
Historic Imitation: New construction or
rehabilitation where elements or
components mimic an architectural style
but are not of the same historic period as
the existing buildings (i.e. historic replica).
Hood molding: A projecting molding above an
arch, doorway, or window, originally
designed to direct water away from the
opening; also called a drip mold.
Infill: New construction on vacant lots or to
replace existing buildings.
Jack arch: (see Flat arch)
Keystone: The wedge-shaped top or center
member of an arch.
Landmark: A building, structure, object
or site which is identified as a historic
resource of particular significance.
Lintel: The horizontal top member of a
window, door, or other opening.
Masonry: Exterior wall construction of brick
or stone laid up in small units.
Massing: The three-dimensional form of a
building.
Material: Refers to the physical elements
that were combined or deposited in a
particular pattern or configuration to form a
historic property.
Material Change: A change that will affect
either the exterior architectural or
environmental features of an historic
property or any structure or site.
Module: The appearance of a single fapade
plane, despite being part of a larger
building. One large building can
incorporate several building modules.
Modillion: A horizontal bracket, often in
the form of a plain block, ornamenting,
or sometimes supporting, the underside
of a cornice.
Molding: A decorative band or strip of
material with a constant profile or section
designed to cast interesting shadows. It is
generally used in cornices and as trim
around window and door openings.
Mortar: A mixture of sand, lime, cement,
and water used as a binding agent in
masonry construction.
Mullion: A heavy vertical divider between
windows or doors.
Multi -light window: A window sash
Page 3
composed of more than one pane of
glass.
Muntin: A secondary framing member to
divide and hold the panes of glass in
multi -light window or glazed door.
Normally Required: Mandatory actions,
summarized in the guidelines, whose
compliance is enforced by the
preservation commission.
Obscured: Covered, concealed, or hidden
from view.
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.
Paneled door: A door composed of solid
panels (either raised or recessed) held
within a framework of rails and stiles.
Parapet: A low horizontal wall at the
edge of a roof.
Pediment: A triangular crowning element
forming the gable of a roof; any similar
triangular element used over windows,
doors, etc.
Pier: A vertical structural element, square
or rectangular in cross-section.
Pilaster: A square pillar attached, but
projectingfrom a wall, resembling a
classical column.
Pitch: The degree of the slope of a roof.
Portland cement: A strong, inflexible
hydraulic cement used to bind mortar.
Portland cement is harder than the
masonry, thereby causing serious damage
over annual freeze -thaw cycles and should
not be used on old buildings.
Post: A piece of wood, metal, etc., usually long
and square or cylindrical, set upright to
support a building, sign, gate, et.; pillar;
pole.
Preservation: The act of maintaining the
form and character of a building as it
presently exists. Preservation stops
deterioration and stabilizes the structure.
Generally, saving from destruction or
deterioration old and historic buildings,
sites, structures, and objects and
providing for their continued use by
means of restoration, rehabilitation, or
adaptive use.
Pressed tin: Decorative and functional
metalwork made of molded tin used to
sheath roofs, bays, cornices or ceilings.
Proportion: Harmonious relation of parts to
one another or to the whole.
Quoins: A series of stone, bricks, or wood
panels ornamenting the corners of a
building.
Reconstruction: The act or process of
reproducing by new construction the exact
form and detail of a vanished building,
structure, or object, or a part thereof, as is
appeared to its historical, architectural, and
cultural values.
Rehabilitation: The act or process of
returning a property or building to usable
condition through repair, alteration, and/or
preservation of its features which are
significant to its historical, architectural,
and cultural values.
Repair: Returning a structural, nonstructural or
decorative building element to a state of
utility by using matching or identical
material to the original.
Restoration: The act or process of accurately
taking a building's appearance back to a
specific period of time by removing later
work and by replacing missing earlier
features to match the original.
Rhythm: Movement or fluctuation marked by
regular occurrence or natural flow of related
elements.
Ridge: The top horizontal member of a roof
where the sloping surfaces meet.
Routine Maintenance: The restoration or
repair of a feature or element where there is
no change made to the design, material,
color, profile or general appearance of a
building feature. The replacement of a
severely deteriorated feature utilizing
material that matches the original to the
greatest extent possible.
Rusticated: Roughening of stonework of
concrete blocks to give greater articulation
to each block.
Sash: The moveable framework
containing the glass in a window.
Segmental arch: An arch whose profile or
radius is less than a semicircle.
Page 4
Semi -circular arch: An arch whose profile or
radius is a half -circle the diameter of which
equals the opening width.
Shed roof: A gently -pitched, almost flat roof
with only one slope.
Sidelight: A vertical area of fixed glass on
either side of a door or window.
Significant: Having particularly important
association within the contexts of
architecture, history, and culture.
Sill: The bottom crosspiece of a window
frame.
Stabilization: The act or process of applying
measures essential to the maintenance of a
deteriorated building as it exists at present,
establishing structural stability and a
weather -resistant enclosure.
Stile: A vertical piece in a panel or frame, as of
a door or window.
Streetscape: The distinguishing character of a
particular street as created by its width,
degree of curvature, paving materials,
design of the street furniture, and forms of
surrounding buildings.
Style: A type of architecture distinguished by
special characteristics of structure and
ornament and often related in time; also a
general quality of distinctive character.
Surround: A encircling border or decorative
frame, usually at windows or doors.
Transom: A horizontal opening (or bar)
over a door or window. (see Overlight)
Trim: The decorative framing of openings
and other features on a facade.
Visual Continuity: A sense of unity or
belonging together that elements of a
built environment exhibit because of
similarities among them.
Page 5
Appendix III
Secretary of Interior's Standards for Rehabilitation
The Secretary of the Interior's Standards for Rehabilitation were developed for use in
review of all federal projects which would affect historic properties listed or eligible for
listing in the National Register. A now frequent application of the Standards is in
determining if a rehabilitation project qualifies as a "certified rehabilitation". For this, the
Secretary is required to verify that the rehabilitation is "consistent with the historic
character of the structure or the district in which it is located". Certified projects can be
eligible for the State or Federal Rehabilitation Tax Credit Program.
The list of ten Rehabilitation Standards is aimed at retaining and preserving those
architectural features and materials which are important in defining the historic character
of a building or site. The Standards have gained wide usage as many cities and counties
around the country have adopted the standards to promote historic rehabilitation and
adaptive use of historic structures.
1) A property shall be used for its historic purpose or be placed in a new use that re
quires minimal change to the defining characteristics of the building and its site and
environment.
2) The historic character of a property shall be retained and preserved. The removal of
historic materials or alteration of features and spaces that characterize a property
shall be avoided.
3) Each property shall be recognized as a physical record of its time, place and use.
Changes that create a false sense of historical development, such as adding
conjectural features or architectural elements from other buildings, shall not be
undertaken.
4) Most properties change over time; those changes that have acquired historic
significance in their own right shall be retained and preserved.
5) Distinctive features, finishes, and construction techniques or examples of craftsman
ship that characterize a historic property shall be preserved.
6) Deteriorated historic features shall be repaired rather than replaced. Where the se
verity of deterioration requires replacement of a distinctive feature, the new feature
shall match the old in design, color, texture, and other visual qualities and, where
possible, materials. Replacement of missing features shall be substantiated by
documentary, physical or pictorial evidence.
7) Chemical or physical treatments, such as sandblasting, that cause damage to historic
materials shall not be used. The surface cleaning of structures, if appropriate, shall be
undertaken using the gentlest means possible.
Page 1
8) Significant archaeological resources affected by a project shall be protected and
preserved. If such resources must be disturbed, mitigation measures shall be
undertaken.
9) New additions, exterior alterations, or related new construction shall not destroy
historic materials that characterize the property. The new work shall be differentiated
from the old and shall be compatible with the massing, size, scale, and architectural
features to protect the historic integrity of the property and its environment.
10) New additions and adjacent or related new construction shall be undertaken in such a
manner that if removed in the future, the essential form and integrity of the historic
property and its environment would be unimpaired.
Page 2
Appendix IV. Preservation Briefs
The National Park Service Technical Preservation Services has published a series of technical
bulletins providing illustrated easy to read guidance on preserving, rehabilitating and restoring
historic buildings. The bulletins are updated periodically To order hard copies of the Briefs
from Technical Preservation Services see the links at the end of this section. Free on-line copies
of the Briefs and other technical bulletins are available.
l: The Cleaning and Waterproof Coating of Masonry Buildings.
2: Repointing Mortar Joints in Historic Brick Buildings.
3: Conserving Energy in Historic Buildings.
4: Roofing for Historic Buildings.
6: Dangers of Abrasive Cleaning to Historic Buildings.
7: The Preservation of Historic Glazed Architectural Terra -Cotta.
8: Aluminum and Vinyl Siding on Historic Buildings: The Appropriateness of
Substitute Materials for Resurfacing Historic Wood Frame Buildings.
9: The Repair of Historic Wooden Windows.
10: Exterior Paint Problems on Historic Woodwork.
11: Rehabilitating Historic Storefronts.
12: The Preservation of Historic Pigmented Structural Glass (Vitrolite and
Carrara Glass).
13: The Repair and Thermal Upgrading of Historic Steel Windows.
14: Exterior Additions to Historic Buildings: Preservation Concerns.
15: Preservation of Historic Concrete: Problems and General Approaches.
16: The Use of Substitute Materials on Historic Building Exteriors.
17: Architectural Character - Identifying the Visual Aspects of Historic Buildings
as an Aid to Preserving Their Character.
22: The Preservation and Repair of Historic Stucco.
24: Heating, Ventilating, and Cooling Historic Buildings: Problems and
Recommended Approaches.
25: The Preservation of Historic Signs.
29: The Repair, Replacement, and Maintenance of Slate Roofs.
30: The Preservation and Repair of Historic Clay Tile Roofs.
31: Mothballing Historic Buildings.
32: Making Historic Properties Accessible.
33: The Preservation and Repair of Stained and Leaded Glass.
35: Understanding Old Buildings: The Process of Architectural Investigation.
38: Removing Graffiti from Historic Masonry.
Page 1
39: Holding the Line: Controlling Unwanted Moisture in Historic Buildings.
40: Preserving Historic Ceramic Tile Floors.
41: The Seismic Retrofit of Historic Buildings.
42: The Maintenance, Repair and Replacement of Historic Cast Stone.
43: The Preparation and Use of Historic Structure Reports.
44: The Use of Awnings on Historic Buildings.
Conies of the Briefs are available at:
City of Salina, Development Services Department, 300 W. Ash Street, Room 201, Salina,
Kansas 67402 785-309-5720
U.S. Government Printing Office, 732 N. Capitol Street, NW Washington, DC 20401
Toll -Free: 866-512-1800 http://bookstore.gpo.Qov/
To download free on-line copies of the Briefs visit: National Park Service, Technical
Preservation Services Department: http://www.nps.gov/histonLtps/tps/tpscat.htm
Page 2
Appendix V. Recommended Maintenance
1. Materials
Prevent water from making contact with
exterior wood siding. Of particular
importance is keeping all gutters and
downspouts in good repair to keep
water from infiltrating the wood surface.
All exposed wood should be kept
painted or treated with preservatives.
Repairs for wood siding such as cracks
can be made through the use of
waterproof glue or plastic wood. Large
cracks may be filled with caulk followed
by putty or plastic wood. The surface
should then be sanded, allowed to dry,
and painted.
Where exterior siding has to be replaced
the use of pressure treated wood is
recommended to prevent
deterioration.
Oil based paints are recommended for
exterior siding.
Never sandblast. Cleaning dirt or old
paint from a building should be done by
the gentlest means possible. No method
to clean the brick or masonry surface
should be used that destroys the outer
patina or "crust" of the brick and
exposes the soft inner core which can
lead to deterioration. Low pressure
water, detergent, and natural bristle
brushes are often adequate.
Sandblasting permanently damages the
surface of brick.
Deeply recessed and crumbling mortar
joints should be repointed. Never use
mortar with a high content of Portland
cement. Repointing masonry walls
(especially those built before the turn
of the century) should be done with a
soft lime -based mortar mix rather than a
harder Portland cement based mortar
which would be stronger than the old
brick and could crack the brick itself.
The mortar color, texture, type, and size
of joint should match the original or the
wall will look like a patchwork.
Keep exterior brick clean of mildew,
efflorescence and dirt. Also keep
exterior brick clean of vines, ivy, and
other plant materials. Washing with
detergents and water are best for
exterior masonry and mortar.
Sandblasting, waterblasting, and other
abrasive cleaning methods are
detrimental to historic buildings and
should not be used.
Repointing of historic mortar should be
with a mortar which matches the
original in appearance and
composition. Most mortar prior to 1900
was composed of lime and sand, a
mortar with similar content should be
applied. The use of Portland cement is
generally not appropriate due to the
hardness of the mortar versus the
softness of the brick.
Most silicone based or waterproof
coatings have limited effectiveness
and may actually add to moisture
problems by not allowing the brick to
breathe. The use of these products is
discouraged.
2. Storefronts and Display
Windows (Street Level)
• Windows should be kept clean and
free of dirt and grime. Wood sash
surfaces should be painted regularly.
• Windows should be kept caulked and
sealed to aid in energy conservation.
• Shutters and blinds should be kept
painted and in good repair.
• Old or deteriorated curtains or shades
behind windows should be removed or
replaced.
Page 1
3. Windows (Upper Floor)
Windows should be kept clean and
free of dirt and grime. Wood sash
surfaces should be painted regularly.
Windows should be kept caulked and
sealed to aid in energy conservation.
Shutters and blinds should be kept
painted and in good repair.
• Old or deteriorated curtains or shades
behind windows should be removed or
replaced.
• Wood parts of windows should be
checked carefully and old paint scraped
off, if deteriorated, should be replaced
with new pieces. All cracks should be
filled with caulk or wood putty and
surfaces sanded.
• Loose glazing should be repaired or
replaced.
• Replace all broken windows.
4. Doors (Entrances)
• Doors, transoms, and sidelights should
be kept clean.
• Original locks and hardware should be
kept oiled and in good repair. If original
hardware is missing or is deteriorated,
the use of reproduction locks and 6.
hardware suitable for the building is
recommended.
• Doors with stained wood finish should
be kept varnished. Paint over the wood
finish is not recommended.
5. Roofs, Cornices and Chimneys
Check the roof regularly for leaks,
deterioration of flashing, and worn roof
surfaces such as rolled or asphalt
shingles. An inspection of the upper
floor or attic space during or following a
rainstorm can assist in detection of
water related problems.
Know what metal is used in the cornice
or roofs flashing and use only similar
metals during replacement or repair.
Different metals should not touch each
other or a galvanic reaction may occur
leading to corrosion.
Metal roofs and cornices should be kept
painted to prevent rust and
deterioration. Appropriate paints
include those with an iron oxide oil
base. Asphalt based paints and
aluminum paints should not be used
on historic metals as they could
Page 2
accelerate the rusting process.
Chimneys should be regularly
checked for cracking, leaning,
spalling, and infestation by birds and
insects. The use of chimney caps over
chimneys or flue openings is
recommended to keep out moisture.
Keep gutters and downspouts in good
repair. Make sure they are properly
connected, are clean of leaves and
other debris, and channel water
effectively away from the building.
Seal all cracks in downspouts with
silicone caulk or sealants.
The use of splash blocks to keep
water away from the foundation is
recommended.
Gutters and downspouts which are
deteriorated should be replaced with
new gutters and downspouts.
Foundations and Bases
All water should drain away from a
building and should not enter the
foundation.
Trees, shrubs, and other plants should
be kept away from the foundation to
prevent damage from moisture and
root movement.
Foundations should be cleaned,
repaired, or repointed according to
masonry guidelines.
7. Awnings
• Canvas awnings should be washed
periodically and kept in good repair.
• Awning hardware should be regularly
checked for rust or loose mechanisms.
• Awnings which become torn or
otherwise deteriorated should be
replaced.
8. Signage
Abandoned signs and sign hardware
should be removed from buildings,
unless they are historic in character.
Signs should be kept painted and
mounting bolts should be -checked
periodically to make sure they are
secure.
Light fixtures, conduits, and wiring for
signs should be inspected and replaced
when necessary.
9. Fences and Walls
Keep all fences and walls in good repair.
Check for loose or missing pieces and
repair if necessary.
Keep exterior brick clean of mildew,
efflorescence and dirt. Also keep
exterior brick clean of vines, ivy, and
other plant materials. Washing with
detergents and water are best for
exterior masonry and mortar.
Sandblasting, waterblasting, and other
abrasive cleaning methods are
detrimental to historic buildings and
should not be used.
Repointing of historic mortar should be
with a mortar which matches the original
in appearance and composition. Most
mortar prior to 1900 was composed of
lime and sand, a mortar with similar
content should be applied. The use of
Portland cement is generally , not
appropriate due to the hardness of the
mortar versus the softness of the brick.
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