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Design GuidelinesDESIGN GUIDELINES FOR DOWN'T'OWN SALIVA, KANSAS MAY 1995 FOREWORD The Salina Downtown Business Improvement District is a locally based effort to encourage the redevelopment, revitalization and management of Downtown Salina. The Business Improvement District has adopted the Main Street Approach, which combines historic preservation with downtown development to create a working, growing, and aesthetically pleasing business center that works to reinforce and rekindle the economic vitality and values that Main Street stands for - making downtown the unique commercial and social heart of the city. The Main Street Program advocates restoring the historic character of Main Street while pursuing traditional development strategies ---such as business retention, real estate development and market analysis. Salina Downtown implements and manages the Main Street Program. Salina Downtown, Inc., is a non-profit organization, comprised of volunteers and representatives of the diversity of the community, who are committed to the preservation and revitalization of the Downtown Business District. These volunteers, through teamwork, pursue common goals utilizing the four elements of the Main Street Program: (1) Organization; (2) Promotion; (3) Design; and (4) Economic Restructuring. Managing the design changes that take place in downtown and neighborhood commercial districts is a critical part of successful revitalization strategies. Customers want to do business in an attractive and inviting environment, not one that is run-down or uncared for. Property owners want to generate adequate rents from their commercial buildings. Local government wants to maintain and improve the quality of life for its citizens. In order to reach these goals, the physical changes that take place downtown ---building rehabilitation, new construction, upgrading public improvements ---must respect the existing architectural environment and the emotional, economic and historic values it encompasses. The design guidelines that follow are intended to encourage a process of careful restoration and redevelopment. The goal is a vibrant downtown environment that contributes to the economic well being of the community, reflects a valued past and anticipates a vital future. ---- The Design Education Committee: John Burger, Warren Ediger, Saralyn Reese Hardy, Melissa Hodges, Don Loader, Ruth Moritz, and John Shaver. 'I A t TABLE OF CONTENTS INTRODUCTION ARCHITECTURAL STYLES 2 MAIN STREET AREA PROGRAM MAP $ GENERAL DESIGN GUIDELINES 7 BUILDING COMPONENTS g TRADITIONAL FACADE COMPONENTS 9 SPECIFIC DESIGN GUIDELINES 13 HEIGHT 13 WIDTH - SETBACK 14 PROPORTION OF OPENINGS 15 HORIZONTAL RHYTHMS 16 AWNINGS AND CANOPIES 17 SIGNS 18 COLOR 21 MATERIALS 22 NEW CONSTRUCTION 24 APPENDIX A THE SECRETARY OF INTERIOR'S STANDARDS OF REHABILITATION r-- r� z E u t INTRODUCTION The city of Salina enjoys a rich tradition and heritage as a regional center of commerce, culture and education. Salina's Downtown provides many of the activities essential to our role as a regional center and projects the city's central image by which our community is evaluated. Architectural variations among individual buildings create a visual richness --the essence of Salina's architectural heritage. Richard Longstreth, in The Buildings of Main Street: A Guide to American Commercial Architecture, writes that "the individuality of the emporiums, offices, banks, hotels and theaters that made up these [downtown] areas was as important as their collective image. .. Mass manufacture of building products, including ornament, and the creation of new materials allowed thousands of buildings to attain a distinctive appearance previously reserved for only the costliest edifices. Facades served as advertisements for the businesses within. Small and large buildings alike were often conceived as monuments to the industriousness of the people who commissioned them. The commercial center became a collage, a panoply of competing images embodying the rivalry of the marketplace." Downtown Salina features a wide variety of architecture styles, types and sizes of buildings that enhance the individuality of each business while at the same time strengthening our collective image. Design guidelines for Downtown Salina are not written to promote or to preserve a particular style, but to assist owners and designers in identifying the inherent strengths of individual buildings and their relationship to the streetscape as a whole. Sensitive renovations which relate to the building's original scale, character and materials capitalize on this diversity. And sensitive renovations, in turn, enhance the work of Salina Downtown, Inc., an active, visionary group serving the community by providing essential nurturing of the values and the vitality of Salina's multi -use Downtown. The majority of the downtown storefronts consist of a combination of brick masonry, limestone and terra-cotta. These storefronts are accented with stamped metal and stone caps, cornices and columns. There is little unity of design or style, but most fall into one of three categories: Post -Victorian vernacular, Art Deco or Spanish Revival. 1 110 North Santa Fe c.1876 100 North Santa Fe c.1902 141 South Santa �e c.1910 Post -Victorian vernacular structures look much the same as they did when they were built in the late 1800's. Street -level storefronts are largely glass, topped by a transom and signboard; second levels feature single or grouped double -hung windows, often with elaborate surrounds and topped with a cornice molding. Examples include 100 N. Santa Fe, 110 N. Santa Fe and 219 N. Santa Fe. N Art Deco styling was used from the 1920's to the 1930's It is characterized by angular geometric shapes and low relief, highly stylized ornamental motifs of tile, glass, terra cotta and sculptured concrete. Examples include 107 and 111 N. Santa Fe, 119 W. Iron and the Fox -Watson Theater at 153-163 S. Santa Fe. 111 North Santa Fe c.1940 United Life Building 1929 101-113 South Seventh Fox -Watson Theater 1931 153-163 South Santa Fe 3 Spanish Revival buildings are characterized by tile roofs, detailed terra-cotta, brick and tile patterns, broad arches, stepped roof parapets and focal windows. Examples include 117-119 N. Santa Fe. 125-127 N. Santa Fe and 200-210 S. Santa Fe. 117-119 South Santa Fe 125-127 North Santa Fe c.1929 1928 200 -210 -South Santa Fe 1924 4 In 1983, a 31 square block business improvement district was organized to meet the challenge of increasing urban growth and sprawl, and by 1985 a $7 million streetscape renovation plan had been developed and funding was arranged. The renovation, which was completed in 1987 included four new public plazas, upgraded lighting, providing three new public restrooms, and various other public amenities. The district covers more than 106 acres and offers more than lmillion square feet of leasable commercial space. Salina's Downtown Business District No. 1 is bounded to north by Elm Street; to the south by Prescott Avenue; to the east by Fourth Street and to the west by Eight Street. Because these boundaries are not always distinct, it is necessary to promote the visual integrity of area boundaries. Site and street improvements that emphasize the distinctions between this area and surrounding areas are encouraged. C�Ill�ls ■■ 5 GENERAL DESIGN GUIDELINES Design guidelines serve many functions. Guidelines help reinforce the character of a historic area and protect its visual aspects. They improve the quality of growth and development. They protect the value of public and private investment, which might otherwise be threatened by the undesirable consequences of poorly managed growth. They preserve the integrity of an historic area by discouraging the construction of buildings that show no sensitivity to period styles. They indicate which approaches to design a community encourages as well as which it discourages. They provide an objective basis for the decisions of a design review board. They serve as a tool for designers and their clients to use in making preliminary design decisions. And guidelines increase public awareness of design issues and options. Design guidelines cannot, however, limit growth or regulate where growth takes place. They address only the visual impact of growth. Guidelines also cannot control how space within a building is used. They deal only with the exterior, visible portions of buildings, not with how interior space is laid out or used. The design guidelines are intended to emphasize the visual integrity of the Downtown area. Site and street improvements that emphasize the distinctions between this and surrounding areas are encouraged. 100-110 South Santa pe c_1984 7 f In planning rehabilitation work, it is helpful to develop a working knowledge of architectural elements. The following sketch of a typical building exhibits elements common to many facades in Downtown Salina. CORNICE UPPER FACADE STOREFRONT BUILDING COMPONENTS G ENTRANCE TO \.RECESSED ENTRANCE UPPER FLOOR 8 DECORATIVE CORNICE MASONRY WALL WINDOW HOODS UPPER STORY WINDOWS STOREFRONT CORNICE SIGNBOARD TRANSOM WINDOWS CANVAS AWNING n MASONRY PIER DISPLAY WINDOWS is BULKHEAD 1 E}SL F3 TRADITIONAL FACADE COMPONENTS The traditional commercial storefront can be considered the most important element that sets apart and gives historical significance and character to Downtown Salina. When originally constructed in the late 1800's and early 1900's, Downtown buildings shared a consistency in the design and proportion that was the key to creating a strong visual image. Changes have occurred to the facades by changing merchandising trends, changing tenants and natural calamities such as destruction by fire which resulted in modern infill construction. In most cases the changes affected the storefront area while the upper facade remained intact. Most alterations to the storefront areas are superficial, leaving the structural integrity of the original storefront design intact. In some cases the original storefront may be in place but covered over or in need of maintenance or repair. The basic commercial facade consists of three parts: the storefront, with entrance and large display windows; the upper masonry facade, with regularly spaced windows; and decorative cornice, which caps the building. These components may appear in various shapes, sizes and styles but the result is essentially the same facade. A typical building facade is two-story masonry construction. Cornices The top cap of the upper facade of a building is a cornice. In many buildings, it is the most decorative feature of the facade. Cornices may be augmented by corbelled masonry coursing, panels and brackets. Others feature stepped or pedimented parapets which extend above the cornice line, often with the original building name in a paneled stone placard. Generally, cornices are constructed of wood, metal or masonry. The Upper Facade The upper facade is generally a flat masonry wall, consisting of one or two stories, with regularly spaced windows cut into it. Window hoods can be simple lintels, pedimented or arched Decorative paneling of masonry, tile or terra cotta can embellish these window units or the masonry wall itself. 6 Typical Upper Facades Mid to late 1OW's late 16W*s to Early 1900's Eady 1900's b 1QWs o O O Q � ��� • WN ■ ■ MR to . . I Boldly Oetorated Corrwcs Corbeled Brick Comite Simple Bildt COf11iCe weWow Hoole WWow �,w L, wine, Pressed MeW berms sAWlple Urtits 6 Storefronts The traditional Salina building facade has a well-defined opening that the original storefront filled. The opening is bounded on each side by piers, usually constructed of masonry. It is also framed above by the storefront cornice, which is the structural member supporting the facade, and the sidewalk These storefronts were composed entirely of windows to display goods, as well as allow natural light deep into the store to minimize artificial lighting sources.Thin structural members of metal or wood usually framed storefront. This large glass area creates visual openness that is part of the building's proportional design and is as functional today as it was in the past. The importance of maintaining consistent proportions throughout Downtown storefronts was recognized by owners and builders as an important design tool for attracting customers. A consistent design theme lends itself to the attractiveness of a business. Storefronts have their own common elements: display windows, entries, bulkheads, transoms and horizontal areas reserved for canopies and signs. All were included within the building frame to give an open, visually interesting appearance at eye level. Traditional Storefront Design Storefront Boundaries Upper Facade Piers Sidewalk proper ti slo ftw Fns wall sounded Transom w.wo s op-ed LarOa aspie Nhwowa 6' Sal Most traditional facades in Downtown Salina have a well defined opening that contains the original storefront. Most original storefronts have been altered or replaced over time due to new technologies and changing tastes; although some replacements are done properly, many ignore the buildings' storefront boundaries, proportions and Waterials. These storefronts look pasted -on or conflict with the original overall design. As a result, the building appears disjointed, unattractive and without historic character. Buildings with inappropriately altered storefronts clash with each other visually, damaging the overall traditional character of Downtown, therefore, the proper design of the storefront is a high priority concern. The storefront must fit within its original opening and not extend past its traditional boundaries, maintaining a clear distinction between the first and upper floors. The storefront should be composed almost entirely of glass, creating a visual openness, balanced by more wall and less glass on the upper facade. 10 Storefront Materials Storefront materials should be simple and unobtrusive. Materials that give a false historic appearance should never be used in the storefront. A mansard roof with wood shingles, rough textured wood siding, fake bricks or stone, and gravel aggregate materials are not acceptable. Whether traditional or contemporary materials are used, the storefront should be based on the traditional storefront design and must have the traditional proportions. Storefront with Traditional Materials • A cornice can be constructed with wood framing, plywood & moldings with a sloping sheet metal cap to shed water. The cornice spans the top of the storefront often covering a structural beam or unfinished brick. • Transoms are optional design elements that help to break up the massive effect of a very large sheet of glass. They can be clear, tinted, or stained glass. • Masonry piers are uncovered and match upper facade. • The storefront is recessed 6" into the opening. • The storefront and windows are framed in wood. The sill slopes forward for drainage. • The bulkheads are constructed with wood framing and a plywood back with trim applied (sometimes bulkheads are constructed of brick). • The storefront rests on a concrete or masonry base to prevent water damage. Storefront with Contemporary Materials • A cornice is made with sheet metal over a wooden frame. • Opaque transoms can be stained glass, clear glass, or opaque • Masonry piers are uncovered and match upper facade. • The storefront is recessed 6" into the opening. • The storefront and windows are framed with dark anodized aluminum or painted aluminum. • Bulkheads are constructed of aluminum framing and plywood panel clad of aluminum. • The storefront rests on a masonry or concr( 11 Entries Commercial storefront entries were often recessed to provide greater display window area, protection from the weather and a sheltered transition area which emphasized the entrance. Entry doors use large glass panels with vertical proportions to enhance the transparent qualities of the storefront. Occasionally a second floor entrance was located to one side of the storefront and was either solid wood or glass and wood construction. Display Windows The display window is the link between the pedestrian environment outside and the business inside. Display windows provide a large area for the presentation of goods and allow natural light in to the interior space, thus making the storefront transparent and inviting. When present uses do not require this display, i.e., professional offices, blinds or cafe curtains are suitable adaptations that can be used for privacy. Transom Windows Transoms are glazed areas located above the display windows and over the entry door. The main purpose of transom windows are to permit indirect natural light deep into the store, and allow heat to escape. Transoms also continued the transparentness of the storefront up to the top "frame" of the upper facade, and therefore we've an important element in the proportion of the building front. In many cases, transoms have been filled in due to the lowering of ceilings inside the store or installation of canopies or signage outside. Uncovering such transoms can have a positive effect in both the interior and exterior of a building. If the ceiling inside the store has been lowered, the ceiling could slope up 2 - 3 feet back to meet the transom or dark panels can be placed behind clear transom glass to simulate transparency and depth. Decorative glass, such as prism glass, where located should remain uncovered. Careful planning of signage and awning location can also make these transoms functional again. Bulkhead/ Kickplate The bulkhead raises the display area for better viewing and provides a base that can withstand pedestrian traffic. Bulkheads were often constructed of wood. Because bulkheads are very hi vulnerable to weather damage, many have been replaced with more durable materials such as metal or masonry. Where the bulkhead has been replaced with an inappropriate material like (-' wood shingles, it should be removed and reconstructed to give the storefront the proper i_._; proportions again. Newer storefronts can have simplified kickplates in similar, or smooth material, or have an all -glass storefront that retains a kickplate line and repeats this proportion by use of a framing bar. LJ (�l L 12 L, L t -I SPECIFIC DESIGN GUIDELINES By working with the architectural characteristics of a building and those of its neighbors, any building in downtown Salina can fit in with and contribute to the overall quality of the business district. Bringing back lost detail, restoring existing features to their original condition, and emphasizing the elements that characterize the downtown built environment, help create a sense of place and identity. These contribute to the entire community as well as individual businesses. The following characteristics, typical of downtown Salina buildings, include general recommendations for how to address them as a specific project is considered. Height Building height is an important element in the compatibility of new structures or additions to existing buildings. A building that is significantly taller or shorter than adjacent structures can disrupt the visual continuity of a street. Decorative roof lines add interest, yet the relative similarity of heights creates a strong repetition, a common edge to the sky. Recommendations: * In an effort to strengthen the unit of a block as a single entity, additions, renovation or new construction should fall within a range of 10 percent of the mean building height found on the block. * Renovations of corner buildings may be more elaborate than renovations of other buildings. New construction on corner lots may also be larger and more elaborate. Buildings on the ends of blocks should be similar in height to buildings on adjoining corners. * Where existing building heights vary greatly, the height of the new or renovated building should be within the range of heights found on the immediate block. * Maintain existing cornices on buildings wherever possible. Where cornices have been removed or altered dramatically, restoration of the original cornice is encouraged. When restoration is not practical, use paint -schemes or simplified cornices to strengthen the visual unity of building tops. 13 Width Along with height, the width of a building or lot is one of the most predominant visual qualities of downtown. Most original structures were built out to the side lot lines with few open spaces between. The primary lot width in Downtown Salina is 25 x 120 feet. Many lot widths, however, are 50 feet or even 75 feet. Recommendations: * New construction taking two or more lots should respect the primacy of the width of other buildings and the area of development by designing a rhythmic division of the facade to maintain this progression. * Where the streets are defined by a wall of buildings, infill construction is encouraged to maintain the existing building wall by building from side lot line to side lot line. l New Facade Fib Opening Setback A third primary characteristic of the Downtown Salina area is setback. The dominant setback pattern in Downtown Salina is that commercial buildings are typically set directly on the front lot line, creating a "wall of buildings" effect. Even the parking lots in Downtown Salina have been designed using the typical setback found in most areas of Downtown. Recommendations: * Maintain the alignment of facades along the sidewalk edge or existing setback. * Where facades must be set back from sidewalks, use columns, hedges, low walls or other screens to help define the edge of the site and to preserve alignment of the rest of the setback. * Use similar separations between the sidewalk and site to screen parking areas. 14 L a * Where open lots are located, the development of these lots should maintain the sense of "wall" along the street whenever possible. fla�'ee 1I X91 I19 Not This WILLP Proportion of Openings Different areas of Downtown Salina have unique size, spacing and shapes of window openings. Most second floor building windows however, have predominantly narrow, vertical orientation, sometimes stacked above each other, with a spacing of one or two window widths between openings. Street -level openings, on the other hand, are often wide, horizontal windows with little or no spacing between openings. Recommendations: * Maintaining the pattern created by upper -story windows and their vertical/horizontal alignment is encouraged. * Window sizes and shapes should not be altered during renovation. New construction should use windows of similar sizes and shapes or incorporate other facade elements that establish the same sort of pattern. * Where possible and appropriate, patterns of recessed entrances should be maintained. Renovations should also preserve the original entrances whenever possible and new construction should locate the primary entrances facing the street. 7 o u r J �❑❑ C J S �� �� ❑a 7JU C J� ❑❑0 JrJ i70� 1.1 �.... :J 1.3 .� i.i i...:.i �.• LJ i.: �a i i 1.J a.1 :.1 i.i 1 1 : • Rhythm of wlndonva Rhythm Of Stmf=u 15 Horizontal Rhythms Several areas of Downtown Salina have similar "horizontal" elements that create a continuous band, or a look of their own. At 116-122 North Santa Fe, for example, the canopies or awnings create a band or division between store front and upper facades of the buildings at similar heights. In 117-122 North Santa Fe the predominance of cornice detailing helps create this rhythm. Recommendations: * Where strong horizontal banding between floors exists, maintaining a clear visual division between storefront and upper levels is encouraged. * The use of awnings, canopies, horizontal moldings, or sign bands is encouraged to help maintain or extend a strong shared streetscape rhythm where possible. * Renovations and new construction should also respect the use of large areas of storefront glass for pedestrians to have a better view of merchandise inside the store. 116-122 North Santa Fe Cornice detailing 117-123 South Santa Fe 16 � B9�3ea, 2E3 � 0 SAW Line of canopies and awnings 116-122 North Santa Fe Cornice detailing 117-123 South Santa Fe 16 Awnings Fabric awnings are both visually and functionally appropriate for many Downtown storefronts and upper facade windows. Historic photographs indicate their presence and popular use throughout much of the life of historic Downtown. An awning can add character to a building, provide shade and shelter for customers, and conserve energy by controlling the amount of sunlight that enters a storefront. In some cases, awnings can inexpensively disguise inappropriate building alterations and provide a strong business identity. Awnings can be mounted in a permanent or retractable metal framework. The original cotton based canvas is now being replaced with vinyl laminated polyester and dyed woven acrylic which can be opaque or translucent to provide backlighting. A fabric awning that is properly designed, installed and maintained will usually have a lifetime of five to seven years. Fixed aluminum awnings and metal and wood simulations of mansard roofs are not appropriate for Downtown commercial buildings. Design of any awning or canopy should follow an analysis that considers the framing, placement and number of building storefront entrances and windows. In all cases, awnings should be installed without damaging the building or visually impairing distinctive architectural features. Recommendations * Original awnings or canopies found on buildings should be maintained, be structurally sound and should not be removed from the building. * Awnings and canopies should complement the scale of a building, reinforce the frame of the storefront and not cover the piers or the space between the storefront cornice and the sills of the second story windows. * Aluminum awnings and flat metal canopies generally detract from the historic character of a building and should not be erected. If a flat canopy exists, it can be dressed up with a 12 -inch to 24 -inch awning valance. * Awnings which are too large can cover important features and destroy the continuity of the building's design. An awning should cover no more than one- third of the opening in which it is placed. * Avoid the use of non -compatible materials such as fiberglass, plastic or wooden shake shingles for awnings dr sidewalk coverings. * The minimum height of an awning shall be seven feet from the lowest point of the sidewalk. Awnings should not project more than six feet from the face of the structure. * When used, canopies should be designed to obscure as little of the building and storefront as possible. 17 Types of Standard Awnings �II � Ilii I i.l i I Open -sided Ii �ilj , valance Open -sided with valance drop return 9'i1"i���i�,�1.� 1 Closed with a return 11111,111'Pof I91�4iw Fixed valance Free valance An awning can be attached above the display windows and below the cornice or sign panel. Sometimes it is mounted between the transom and the display windows, allowing light into the store while shading the merchandise and pedestrians from the sun. An awning should reinforce the frame of the storefront and should not cover the piers or the space between the second -story window sills and the storefront cornice. Inappropriate storefront alterations can be effectively disguised by mounting C:1 D an awning over the alterations while maintaining the proportions of a tradioonal storefront. 18 a Aluminum awnings or canopies generally detract f; from the historic character U and should not be erected If a flat canopy exists, it can be } i dressed up with a 12- to 24 -inch awning valance. �( A Signs Signs can go a long way toward enhancing or detracting from the attractiveness of a Downtown shopping area. Large signs of inappropriate scale, inappropriate design or numerous projecting signs can obscure the distinctive architectural characteristics of a building. Where there is existing signage or a sign structure of historic interest, the intrinsic value of such signage should be appreciated for its contribution to the character of the Downtown. Signs should always be harmonious with the existing features of the facade. On many buildings, flat areas of brickwork below the storefront cornice moldings can serve as indicators of a compatible signage area. Likewise, on most historic Victorian designs, decorative moldings create natural frames for signs. The following recommendations are suggested guidelines and may exceed the requirements of the sign ordinance adopted by the City of Salina. The intent of these recommendations is to encourage signage that is compatible with the character of each building and the entire downtown. Recommendations: * Storefronts shall be limited to two signs per business --one primary and one secondary. The primary sign should be located above the storefront display windows and below the sills of the second floor windows. It should carry only the business name. Secondary signs can be used to describe the goods or services offered and located on door, windows, awning valances or below the primary sign. * Signs should be kept subordinate to the building and not the opposite. Where possible wall mounted signs should be affixed within the original signboard panel or transom area of the building facade. * Signs should be harmonious with the existing features of the facade. On many buildings, bands of decorative moldings can serve as indicators of a compatible signage area. * Wall -mounted signboards, when used, should not exceed two -and -a -half feet in height. Message letters should be no less than eight inches or more than eighteen inches in height. Lettering should account for at least 50 and no more than 67 percent of the signboard area. * Flush -mounted signs or letters applied directly to building facades or transom areas are recommended. * Where possible, align signs with other signs on adjacent buildings. * If a building has an historic sign, it should be preserved or incorporated into the storefront's new identification and signage whenever possible. Projecting signs, those signs hung at right angles to the building facade, obscure and overwhelm the 19 proportions of a building and building features that would otherwise be visible along the block. Projecting signs therefore should be limited in size and number, and are discouraged. * In general, internally -lighted signs are discouraged in areas where they would tend to overpower distinguishing characteristics of buildings. If internal lighting is used, illuminating individual letters on a dark background is preferable. * Signs incorporating symbols, trademarks or registered company logos should be scaled and executed with size, color and materials compatibility in mind. * In general, sign colors, materials, shapes and method of illumination should reinforce the overall composition of the building facade. * When a large building contains more than one storefront and each houses a different business, the signs should relate well to each other in terms of height, proportion, color and background value. Maintaining uniformity among characteristics between signs reinforces the building's facade composition while still retaining each business's identity. * Oversize signs which span two or more distinct building facades can diminish the architectural features that differentiate them and are discouraged. Smaller signs which relate the overall message intended, are recommended. COMPATIBLE SIGN EXAMPLES Wall -Mounted Signboard Transom Sign 20 Awning Sign F__ L a Color Color is an important element in a building's design. Historically, certain color schemes were associated with different architectural styles. Late nineteenth century Victorian buildings used dark, rich colors. Turn -of -the century Beaux Arts Classical style buildings used off-whites. Spanish or Mission Revival buildings of the early part of the century used pale yellow and peaches, while 1930's Art Deco structures often used shades of black, white, or gray. The careful use of color can enhance the existing features of a building. Recommendations: * Be a good neighbor. Look at the buildings in the area and choose a color scheme that will fit in with the other buildings while allowing each building to retain a sense of identity. Avoid using colors that are disharmonious with those found on adjacent buildings. * Consider the orientation of the building. Colors on south and west facades appear warmer than if placed on north or east sides. * Relate applied colors to existing material colors found on the building such as terra cotta, brick, stone, ceramic tile, etc. * Keep intense colors to small areas or details and limit their use. Use subtle colors on large or plain surfaces. M Q M ri M INEENNEENH 21 Hints on Color Applications Base Color: - Wall Surfaces - Storefront Piers - Cornice (when same material as wall) Major Trim: - Cornice - Window Woods - Window Frames - Storefront Columns - Storefront and bulkheads Minor Trim: - Window Sash - Doors Frame: - Small details on cornice, window hoods and bulkheads Storefront: - Should contrast with wall color Materials Downtown buildings share a history of local building materials. Stucco, brick and terra cotta, for example, are a few materials common to Downtown Salina. Such buildings help link Salina to its geographical setting. Recommendations: * Use building materials and components compatible in quality, color, texture, finish and scale to those common in the Downtown area. * Respect the original character and period of the facade. Do not try to make the building look "historical", or older than it really is, because this debases what is truly historical. However, references to historical elements by the use of similar shapes, patterns or materials is encouraged. * The use of brick is encouraged in new construction. Consider creating simplified interpretations of existing patterned brick facades. When brick facades are renovated, do not cover existing patterns and do not paint over them unless absolutely necessary. * Do not obscure facades by covering them with other materials, such as panels, signs or painting. * Preservation of the original finish of masonry facades is vital. Always use the gentlest cleaning methods possible. Some chemical cleaners may be acceptable, but their effects should be researched before being used. The City Planning Department and the State Historic Preservation Office at 120 West Tenth, Topeka, Kansas 66612-1271 can provide technical information for further suggestions. * Sandblasting should be avoided at all costs as this removes the water protective glaze on the surface of brick and accelerates erosion. * Usually, allow painted masonry to stay painted; let unpainted masonry stay unpainted. * When tuckpointing existing masonry, new mortar should match the existing mortar color when dry. Careful testing is necessary prior to start of work. * When infilling into existing brick walls, do not use new brick which is "close" to the existing brick. Brick may have to be salvaged from other discrete parts of the building. When salvaging is not possible, carefully choose a contrasting brick. 22 * Incorporate elements of the original facade into the renovation scheme. This could include repairing or replacing original building elements. Some elements not recommended for facade renovation include: obscuring the facade with metal or plastic panels; obscuring original materials, unless absolutely necessary, to halt deterioration; obscuring significant facade details by covering them with panels or signs, or by painting them out; altering the shape of original openings (if windows must be blocked because of change in use, care should be taken to attempt to maintain the original shape of the openings). Inappropriately Altered Storefronts T�Sto � t Recessed 23 Now Storefront Looks 'Pasted - On.' R Is Not Contained gy The Upper Facade r� New Construction The existing fabric of the downtown area should be retained wherever possible. New construction may occur when existing buildings are lost to fire, deterioration or other causes. ` Vacant lots should be infilled with buildings to maintain the density of the central business district. New construction should relate to and respect its surroundings while expressing the time of its construction. It should not mimic historical styles. Recommendations: € * Respect building setback lines and heights established by existing buildings. * Relate to the rhythm and proportion established by adjacent buildings through the placement of openings, facade elements and overall building size and shape. * Use contemporary materials in a way that complements adjacent buildings through the careful use of texture, color, pattern and scale. * Avoid strong contrasts with the existing downtown buildings. New buildings should visually belong to the downtown while expressing their date of construction. N 24 APPENDIX A The Secretary of the Interior's Standards for Rehabilitation Every reasonable effort shall be made to provide a compatible use for a property which requires minimal alteration of the building, structure, or site and its environment, or to use a property for its originally intended purpose. 2. The distinguishing original qualities or character of a building, structure, or site and its environment shall not be destroyed. The removal or alteration of any historic material or distinctive architectural features should be avoided when possible. All buildings, structures, and sites shall be recognized as products of their own time. Alterations that have no historical basis and which seek to create an earlier appearance shall be discouraged. 4. Changes which may have taken place in the course of time are evidence of the history and development of a building, structure, or site and its environment. These changes may have acquired significance in their own right, and this significance shall be recognized and respected. 5. Distinctive stylistic features or examples of skilled craftsmanship which characterize a building, structure, or site shall be treated with sensitivity. 6. Deteriorated architectural features shall be repaired rather than replaced, wherever possible. In the event replacement is necessary, the new material should match the material being replaced in composition, design, color, texture, and other visual qualities. Repair or replacement of missing architectural features should be based on accurate duplications of features, substantiated by historic, physical, or pictorial evidence rather than on conjectural designs or the availability of different architectural elements from other buildings or structures. 7. The surface cleaning of structures shall be undertaken with the gentlest means possible. Sandblasting and other cleaning methods that will damage the historic building materials shall not be undertaken. 8. Every reasonable effort shall be made to protect and preserve archaeological resources affected by, or adjacent to any pfoject. 9. Contemporary design for alterations and additions to existing properties shall not be discouraged when such alterations and additions do not destroy significant historical, architectural or cultural material, and character of the property, neighborhood or environment. 10. Wherever possible, new additions or alterations to structures shall be done in such a manner that if such additions or alterations were to be removed in the future, the essential form and integrity of the structure would be unimpaired. I L I L