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.
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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
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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 ■■
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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
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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
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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
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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
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Fns wall
sounded
Transom
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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.
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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(
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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
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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.
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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
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* Where open lots are located, the development of these lots should
maintain the sense of "wall" along the street whenever possible.
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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.
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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
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Line of canopies and awnings
116-122 North Santa Fe
Cornice detailing
117-123 South Santa Fe
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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.
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Types of Standard Awnings
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Open -sided
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valance
Open -sided with valance drop
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Closed with a return
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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
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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
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dressed up with a 12- to
24 -inch awning valance.
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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
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Awning Sign
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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.
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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.
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* 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
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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.
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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.
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