Design Guidelines for Downtown Anderson, South … Guidelines for the Downtown page i Credits City of Anderson City Council Members Downtown Council Committee Richard A. Shirley, Mayor

Design Guidelines for

Downtown Anderson,South Carolina

March 2006

Design Guidelines for the Downtown

page i

Credits

City of Anderson

City Council MembersDowntown Council CommitteeRichard A. Shirley, MayorBlake WilliamsonTom W. Dunaway, IIISteven C. Kirven

Philip CheneyA. B. RobertsTony StewartBeatrice ThompsonDennis McKee

Steering CommitteeJimmy AndersonJack BuiceFred BurgettDon ChapmanAndy GallantBill & Peggy HendrixDarryl JewellCarey JonesSteve KayTommy MillerCarol NixonChris RozakosPhil SilversteinKimberly SpearsRichard SpeerAl & Liz StineLonnie TerryKatie TillmanMike Wooles

City StaffJohn R. Moore, Jr., City ManagerLinda Pruitt McConnell, Asst. City ManagerDebra Credeur, Downtown Manager

Consultants

Winter & Company1265 Yellow Pine AvenueBoulder, CO 80304(303) 440-8445

Noré V. WinterJulie HusbandBetsy ShearsJoseph SandersBayard Fenwick

City of Anderson

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Table of Contents

Introduction 1

Section I: 1. Building Types in Downtown Anderson 9

Section II: 2. Principles for Historic Preservation 17 3. Design Guidelines for Architectural Features 23 4. Design Guidelines for Historic Building Materials 29 5. Design Guidelines for Individual Building Elements 39 6. Design Guidelines for Additions & Alterations 51

Section III: 7. Design Guidelines for Site Design 57 8. Design guidelines for Signs 69 9. Design Guidelines for Awnings & Canopies 7710. Design Guidelines for Color 81

Section IV:11. Design Guidelines for Area 1 8312. Design Guidelines for Area 2 9113. Design Guidelines for Area 3 97

Appendix A: Glossary of Terms 105

page 1

Introduction

This book contains guidelines for DowntownAnderson. In recent years, downtown has seensignificant investment in streetscape enhance-ments, off-street parking and public facilities. Inaddition, several private property owners haveimproved their buildings. All of this work has con-tributed to the revitalization of the city core.

In recognition of this significant investment, thesedesign guidelines are provided to assure that fu-ture improvements complement the commitmentdemonstrated by the community in making down-town the vital core of the city and a dynamic forcein the region.

At the center is the downtown commercial core,which contains a collection of traditional commer-cial buildings that align at the sidewalk edge andhave storefronts at the ground level. This is de-fined as “Area 1” in these guidelines. It stretchesroughly from Greenville to River Streets north andsouth and Murray to Fant Streets east and west(see map). Special guidelines for this area are inChapter 11.

Immediately adjacent to Main Street, to the westlies Murray Street. This area also has many tradi-tional commercial buildings, but also contains avariety of properties that are more auto-oriented.

INTRODUCTION

On the outer edges of downtown some buildings areset back from the street with places for automobiles infront . These appear in Area 2.

The downtown commercial core contains a collectionof traditional commercial buildings that align at thesidewalk edge and have storefronts at the ground level.

The northern end of Main is similar in character.This is defined as “Area 2.” Chapter 12 applies.

Finally, a few blocks to the northeast of the tradi-tional core were originally residential in use, butnow are converted to commercial activities. Thisis defined as Area 3. Additional guidelines in Chap-ter 13 apply to this area.

Area 3 contains residential units that have beenconverted to commercial activities.

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Special guidelines apply to each ofthese areas, in addition to some gen-eral principles of design that focus onenhancing the setting for pedestrians.

Throughout the area, many structuresexist that have historic significance.Special guidelines for the treatment ofhistorically significant properties applyto these. They are found in section II.

Throughout the downtown, many structures exist that have historicsignificance. Special guidelines for the treatment of historicallysignificant properties which are found in section 2 apply to these.

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Introduction

Appropriate - In some cases, a stated action ordesign choice is defined as being “appropriate” inthe text. In such cases, by choosing the designapproach as referred, the reader will be in com-pliance with the guideline. In other cases, theremay be a design that is not expressly mentionedin the text that also may be deemed “appropri-ate.”

Consider - When the term “consider” is used, adesign suggestion is offered to the reader as anexample of one method of how the design guide-line at hand could be met. Applicants may elect tofollow the suggestion, but may also seek alterna-tive means of meeting it. In other cases, the readeris instructed to evaluate the ability to take thecourse recommended in the context of the spe-cific project.

Context - In many cases, the reader is instructedto relate to the context of the project area. The“context” relates to those properties and structuresadjacent to, and within the same block as, the pro-posed project.

Guideline - In this document, a “guideline” is arequirement that must be met when it is relevantto the project under consideration, in order to bein compliance with the City of Anderson’s designreview process.

Historic - In general, an historic property is onethat is at least 50 years old or older, associatedwith significant people or events or conveys a char-acter of building and design found during the city’speriod of significance. In some cases, an officialsurvey of historic properties may help to identifythese resources.

Interpretation of Terms Used in this DocumentThese definitions apply to terms related to compliance in the chapters that follow.

Imperative mood - Throughout this document,many of the guidelines are written in the impera-tive mood. The reader is often instructed to “main-tain” or “preserve” an established characteristic.For example, one guideline states: “Preserve sig-nificant storefront components.” In such cases, theuser shall comply. The imperative mood is used,in part, because this document is intended to servean educational role as well as a regulatory one.

Inappropriate - Inappropriate means impermis-sible. When the term “inappropriate” is used, therelevant design approach shall not be allowed. Forexample, one guideline states: “Signs that are outof character with those seen historically and thatwould alter the historic character of the street areinappropriate.” In this case, a design out of char-acter with those seen historically would not beapproved.

Preferred - In some cases, the reader is instructedthat a certain design approach is “preferred.” Insuch a case, the reader is encouraged to choosethe design option at hand. However, other ap-proaches may be considered.

Should - If the term “should” appears in a designguideline, then compliance is required, unlessspecific circumstances of a project make it imprac-tical to do so. In such cases where compliance isnot required, then the applicant must demonstratehow the related policy statement still will be met.

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Introduction

Purpose of the DesignGuidelinesThis document provides guidance for improve-ments to properties and work within DowntownAnderson. The guidelines are for property ownersplanning exterior alterations, additions to or therehabilitation of existing buildings. They also ap-ply to the design of new buildings.

The guidelines are not a rigid set of rules. They donot require that buildings be restored to an histori-cal period or style. Rather, their purpose is to pro-vide:• various appropriate ways to address design,

repair and rehabilitation issues;• good maintenance practices; and,• appropriate ways to design new, compatible

infill buildings.

How Are Guidelines Used?Property owners, real estate agents, developers,tenants and architects should use the guidelinescontained in this document when considering aproject. This will help establish an appropriate di-rection for its design.

It is important to recognize that, in each case, aunique combination of design variables is at playand, as a result, the degree to which each relevantguideline must be met may vary. In making its de-termination of the appropriateness of a project, theCity’s overall concerns are that:1. The proposed work complies with the crite-

ria in its ordinance.2. The integrity of an individual historic struc-

ture is preserved.3. New buildings or additions are designed to

be compatible with surrounding historic prop-erties.

4. The overall character of the Downtown is pro-tected.

The design review process is “reactive,” in that itonly applies to proposed actions initiated by a prop-erty owner. While it guides an approach to certain

design problems by offering alternative solutions,it does not dictate a specific outcome and it doesnot require a property owner to instigate improve-ments that are not contemplated.

While ordinary repair and maintenance does notrequire approval, it is necessary for any changesto the exterior of a building. Seemingly unimpor-tant changes, like adding a driveway or enclosinga porch, can have a dramatic effect on the visualcharacter of an historic resource and therefore areof concern to the City. The following are examplesof the types of exterior changes that would be re-viewed:• The construction of a new structure• The alteration or restoration of any exterior

features of an historic resource• Addition to a structure• The removal or demolition, in whole or in part,

of an historic resource• The construction of a new sign• Applying a new exterior siding material• Adding a new window, door or dormer• Creating a driveway or a parking facility• Adding a satellite dish (TV)• Building a deck, fence or garage

Civic facilities add accent to the character of downtown.Special consideration should be given to their design.

Introduction

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A sample of the format of a design guideline and its components, as used in this document.

Policy: Minimize the visual impacts of mechanical equipment

and service areas.

Utility service boxes, telecommunicationdevices, cables and conduits are amongthe variety of equipment that may be at-tached to a building which can affect thecharacter of the area. Trash and recyclingstorage areas also are concerns. To thegreatest extent feasible, these devicesshould be screened from public view.

7.6 Minimize the visual impact ofmechanical equipment as seen fromthe street.• Do not locate window air condition-

ing units on the building’s primaryfacade.

• Use low-profile mechanical units onrooftops that are not visible from thepublic’s view.

Do not locate window air conditioning unitson a building’s primary facade.

PolicyPolicyPolicyPolicyPolicyStatementStatementStatementStatementStatement

BackgroundBackgroundBackgroundBackgroundBackgroundInformationInformationInformationInformationInformation

DesignDesignDesignDesignDesignGuidelineGuidelineGuidelineGuidelineGuideline

AdditionalAdditionalAdditionalAdditionalAdditionalInformationInformationInformationInformationInformation

IllustrationIllustrationIllustrationIllustrationIllustration

What is the Format of aGuideline?Each chapter containing design guidelines is or-ganized in a way that provides background infor-mation as well as specific regulatory language. Aguideline contains the following components:

Pertinent subtopicsThe chapters are divided into subtopics. For ex-ample, in the chapter addressing "Site Design,"the subtopics include: lighting, mechanical equip-ment, parking, and rear entrance. This organiza-tion allows the user to quickly select the relevantdesign topics within a chapter.

Policy statementFor each subtopic, broad policy statements aregiven, which explain the City’s basic approach forthe treatment of the design feature being dis-cussed. This statement provides the basis formore detailed background information and the for-mal design guidelines that follow. In a case in which

special conditions exist that do not appear to beanticipated in the guideline, then this broad policystatement serves as the basis for determining theappropriateness of the proposed work.

Background informationA discussion of the issues typically associated withthe specific design topic is presented next. Thismay include technical information, such as fac-tors associated with the preservation of an his-toric building material, as well as general preser-vation theory that is relevant to the topic at hand.

Design guidelinesSpecific design guidelines are presented as boldface statements. These are also numbered to in-dicate their relative position within a chapter andto aid in specific reference in the design reviewprocess. Supplementary requirements also areincluded, which clarify the primary design guide-line statement and may suggest specific methodsfor complying with it. These supplementary require-ments are listed as bulleted (•) statements.

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Introduction

IllustrationsDesign guidelines are further explained throughthe use of photographs and illustrations. Examplesgiven should not be considered the only appropri-ate options. In most instances, there are numer-ous possible solutions that meet the intention ofthe design guidelines, as well as the needs of theproperty owner.

It is important to note that all of the elements ofthe design guidelines (i.e., including the introduc-tory and informational sections, the policy state-ment, and the sub-points) constitute the materialupon which the City will make its determination ofthe appropriateness of a proposed project.

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Building Types

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CHAPTER 1

BUILDING TYPES IN DOWNTOWN

ANDERSON

IntroductionThis section describes the key features of typical building types found downtown.

Storefronts align at the sidewalk edge,providing interest to pedestrians anddefining the “street wall.”

Upper story windows create a pattern across severalbuilding fronts, which contributes to a sense of visualcontinuity.

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DOWNTOWN ANDERSONARCHITECTURAL STYLES

These are some of the typical building types ofdowntown. Each of these has a set of featuresthat are important to consider.

Civic and Institutional Buildings• Sometimes set back from street edge with a

lawn or plaza• Monumental entry• No storefront at street level• Special features such as towers, cupolas,

and clocks• City Hall, the Courthouse, museums, librar-

ies, and churches are examples.

Garage Type• Simple facade• Large service doors• Modest detail, if any• Curb cut for auto access• Built to the street edge typically

Depot Type• Extended roof with brackets• Long ridge line• Large bays

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Mission Revival Style• Tile roof• Curved, stepped parapet• Some neo-classical details• Extend roof with brackets• Rounded arches

Neoclassical Cottage• Classical columns• Gable end treated as pediment• Sometimes symmetrical form

Warehouse Type• Industrial sash• Large loading bays• Modest scale to pedestrian entry• Often some Italianate details• Flat roof line• Often built to sidewalk edge, but sometimes

with loading bays

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Italianate Style• circa 1885-1900

Originally inspired by farmhouses found in North-ern Italy, this blending of classical and romanticfeatures became one of the most popular of thepicturesque styles in the United States. Project-ing ornamental moldings around windows anddoors, as well as eaves and parapets are key fea-tures. These are elaborations on classical mold-ing of Renaissance Architecture. Because of itsornate details, such as bracketed cornices, thisstyle was easily adapted to simple buildings andstorefronts. As the details and features of this stylewere capable of being interpreted in wood, ma-sonry or iron, it was also very adaptable in thevarious regions of the country. With this adaptabilityand the sensibilities of the times, its popularity grewfor commercial buildings.

Characteristics• Tall, narrow, double-hung windows, often

with arched or round arch heads• One-over-one or two-over-two window

panes• Protruding sills• Quoins at building corners• Transom above the front door• Brackets, modillions and dentil courses• Flat roof with ornate cornice• Decorative brackets

Because of its ornate details, such as bracketedcornices, the Italianate style was easily adapted tosimple buildings and storefronts.

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Vernacular Commercial Storefronts• circa 1900-1920

Vernacular storefronts are more modest in detailthan some other styles. Usually between one andthree stories, the vernacular commercial buildingis divided horizontally into two distinct bands. Thefirst floor is more commonly transparent, so goodscan be displayed, while the second story is usu-ally reserved for residential or storage space. Theupper floor is typically supported by a steel beamthat spans the glass opening. However, many one-story examples also exist. A kickplate is found be-low the display window while above the displaywindow, a smaller band of glass, a transom, isseen. Also, the main door is frequently recessed.

These buildings have stone and brick facades.Ornamental detail exists, but is simple, limited toa shallow molding such as a cornice. Some cor-nices are made of masonry, while others are madeof stamped metal. Many carry simplified Italianatedetailing. In essence, these buildings lack distinc-tive detail, contrasting them with the revival stylesthat were also popular during this period.

Characteristics• Sometimes cast-iron supported storefronts• Large display windows• Transom lights• Kickplate• Recessed entry• Tall second story windows• Cornice

Usually between one and three stories, the vernacularcommercial building is divided horizontally into twodistinct bands. Some modest detail may exist.

Many vernacular storefronts have simple displaywindows.

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Greek Revival influences• circa 1880-1890

The Greek Revival style became quite popularduring the middle of the nineteenth century. Basedon classical detailing that originated in ancientGreece, these buildings are known primarily forcolumns with Doric, Ionic or Corinthian capitals.Other Greek Revival detailing includes classicalentablatures, simple window surrounds and doorsurrounds consisting of transom and sidelights. No“pure” Greek Revival style buildings exist in down-town Anderson, but some details may be found inmore eclectic designs.

Characteristics• Rounded columns with capitals• Pediment roof• Tall first floor windows• Entablature• Doors with transom, side and corner lights• Gabled or hipped roof• Frieze band windows

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Beaux Arts Classicism• circa 1885-1930

The term “Beaux Arts,” or the French equivalentof “Fine Arts,” has come to mean both the periodof elaborate eclectic design from 1885 to 1920,as well as that style advocated by the era’s pre-mier architectural school in France: École desBeaux-Arts. This style is based on many classicalbuilding precedents that were then elaborated withlavish detailing.

Characteristics• Wall surfaces with decorative garlands, flo-

ral patterns, shields or keystones• Decorative brackets• Pedimented windows• Accentuated cornice• Facade with quoins, columns or pilasters

(usually paired with Ionic or Corinthian capi-tals)

• Rusticated first floor (stonework joints exag-gerated)

• Roof-line balustrade• Arched windows• Symmetrical facade• Masonry walls (usually light colored stone)

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Principles for Historic Preservation

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Chapter 2

PRINCIPLES FOR HISTORIC PRESERVATION

Policies Underlying theGuidelinesMany properties in the downtown area have his-toric significance. For those, special principles forpreservation apply.

The concept of historicsignificanceWhat makes a property historically significant? Itis generally recognized that a certain amount oftime must pass before the historical significanceof a property can be evaluated. The National Reg-ister, for example, suggests that a property be atleast 50 years old or have extraordinary impor-tance before it may be considered. Anderson alsoemploys the “50-year” guideline; however, struc-tures that are more recent may be considered sig-nificant if they are found to have special architec-tural or historical merit.

Period of significanceEvery historic building has a period of signifi-cance—or the time span during which it gained

architectural, historical or geographical impor-tance. In most cases, a property is significant be-cause it represents or is associated with a par-ticular period in history. Frequently, this begins withthe construction of the building and continuesthrough the peak of early occupation. Portions ofthe building fabric and features that date from theperiod of significance typically contribute to thecharacter of the structure.

Concept of "integrity"In addition to being historically significant, a prop-erty also must have integrity—a sufficient percent-age of the structure must date from the period ofsignificance. The majority of the building’s struc-tural system and its materials should date fromthat time and its key character-defining featuresalso should remain intact. These may include ar-chitectural details, such as storefronts, ornamen-tal brackets and moldings and materials, as wellas the overall mass and form of the building. It isthese elements that allow a building to be recog-nized as a product of its time.

Many properties in the downtown area have historicsignificance. For those, special principles forpreservation apply.

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While the guidelines provide direction for spe-cific design issues, some basic principles ofpreservation form the foundation for them. Thefollowing preservation principles apply inDowntown Anderson:

1. Respect the historic design character ofthe building.Don’t try to change a building's style or makeit look older than it really is. Confusing the char-acter by mixing elements of different styles isnot appropriate.

2. Seek uses that are compatible with thehistoric character of the building.Every reasonable effort should be made to pro-vide a compatible use for the building that willrequire minimal alteration to it or its site. Anexample of an appropriate adaptive use is con-verting a residence into a bed and breakfastestablishment (when zoning regulations per-mit).

3. Protect and maintain significant featuresand stylistic elements.Distinctive stylistic features or examples ofskilled craftsmanship should be treated withsensitivity. The best preservation procedure is

to maintain historic features through propermaintenance from the outset so that interven-tion is not required. This includes rust removal,caulking, limited paint removal and reappli-cation of paint.

4. Preserve key, character-defining featuresof the property.Key features are those that help convey thecharacter of the resource as it appeared dur-ing its period of historic significance. Thesemay include the basic structural system andbuilding materials, as well as windows, doors,and ornamentation. Typically, those featuresthat are on the front of a building or that arehighly visible from a public way will be mostimportant.

5. Repair deteriorated historic features,and replace only those elements thatcannot be repaired.Maintain the existing material, using recog-nized preservation methods whenever pos-sible. If disassembly is necessary for repairor restoration, use methods that minimizedamage to original materials and replace theexisting configuration.

The Basic Preservation Principles for DowntownAnderson

Some facades are covered, which obscures historicdetails.

The rhythm of upper story windows adds to the visualcontinuity of downtown. When upper story windows areblocked, that rhythm is changed.


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The Preferred Sequence ofPreservation ActionsOnce the basic approach to a project has beendefined, it is important to assess the property andto identify any significant character-defining fea-tures and materials. Retaining these elements, andthen using the guidelines to select an appropriatetreatment mechanism will greatly enhance theoverall quality of the preservation project. In mak-ing the selection follow this sequence:1. If a feature is intact and in good condition,

maintain it as such.2. If the feature is deteriorated or damaged, re-

pair it to its original condition.3. If it is not feasible to repair the feature, then

replace it with one that is the same or simi-lar in character (materials, detail, finish) tothe original one. Replace only that portionwhich is beyond repair.

4. If the feature is missing entirely, reconstructit from appropriate evidence.

5. If a new feature or addition is necessary, de-sign it in such a way as to minimize the im-pact on original features.

4 .4 .Reconstructmissing features.

1 .1 .Maintainfeatures thatare in goodcondition.

2 .2 . Repair features thatare deteriorated,rather than replacethem.

3 .3 .Replace onlythose featuresthat are beyondrepair.

5 .5 .Design any newfeature to becompatible.

The Preferred Sequence ofPreservation Actions

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These components can be found on many buildings downtown.

Typical facadeelements

upperfacade

kickplate

displaywindows

clerestorywindow

cornicemolding

recessedentry

Developing a Strategy...

If the building front is still in its original condition, it should be preserved. Restoration or replacement ofsome portions may be needed. The original features are usually an asset, because they add visualinterest that can improve the marketing image of the next property.

The original cornice is intact, and shouldbe preserved.

Upper story windows are still intact.

Clerestory should be preserved.

Decorative panels at the base may be im-portant parts of the facade design.

Original storefront


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If the original storefront has been destroyed, consider an accurate reconstruction.

Don’t remove original elements; avoid covering them. Doing so will weaken the historic integrity of thebuilding. If the facade is presently in this condition, reconstructing the original is one option.

Or ig ina lf a c a d e ,altered

Fine detail on the cornice has been re-moved.

Window frames have been altered.

The original clerestory glass has beencovered.

Original wood frames have been replacedwith thin unfinished aluminum.

One option is reconstruction

A new storefront has been builtto match the original.

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However, sometimes the original storefront is not intact...

A modern storefront may be used. The design should still incorporate the traditional elements—kickplate,display window, clerestory.

If the original storefront is already removed...

New clerestory windows

New metal frame divides glassinto proportions that are typical.

Simple kickplate

Next, consider the details of the storefront itself...

Preserve the original size and shape of the display windows. Where pieces are missing or deterio-rated, use replacements that match the original.

If the original storefront is intact...

Maintain the sashdimension.

Preserve theproportions of theoriginal openingsin any renova-tions.

Maintain theoriginal pane

size

Architectural Features

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CHAPTER 3

DESIGN GUIDELINES FOR

ARCHITECTURAL FEATURES

This chapter presents the design policies andguidelines for the rehabilitation of traditional com-mercial buildings located in the downtown.

Architectural details add visual interest, distinguishcertain building styles and types and often show-case superior craftsmanship. Such features, in-cluding window hoods, brackets and cornices,exhibit materials and finishes often associatedwith particular styles, and therefore their preser-vation is important.

Treatment of ArchitecturalFeaturesPreserving original architectural details is criticalto the integrity of an historic building. Where re-placement is required, one should remove onlythose portions that are deteriorated beyond repair.Even if an architectural detail is replaced with anexact copy of the original, the integrity of the build-ing as an historic resource is diminished and there-fore preservation of the original material is pre-ferred.

Materials for ReplacementDetailsIf a feature is missing or cannot be repaired, thenit should be replaced. Using a material to matchthat employed historically is always the best ap-proach. However, a substitute material may beconsidered for a detail when it appears similar incomposition, design, color and texture to the origi-nal.

In the past, substitute materials were employedas methods of producing architectural features.Many of these historic "substitutes" are now re-ferred to as traditional materials. For example, astamped metal cornice on a commercial building

was a substitute for stone. Just as these historicsubstitutes offered advantages over their prede-cessors, many new materials today hold promise.However, these substitute materials should not beused wholesale, but only when it is absolutely nec-essary to replace original materials with stronger,more durable ones.

Substitute materials may be considered when theoriginal is not easily available, where the originalis known to be susceptible to rapid decay, or wheremaintenance access may be difficult.

Another factor which may determine the appropri-ateness of using substitute materials for architec-tural details is their location and degree of expo-sure. For example, lighter weight materials maybe inappropriate for an architectural detail thatwould be exposed to intense wear. Also, it may bewise to avoid using a fiberglass column on a frontporch where it may be accidentally damaged;whereas, the use of fiberglass to reproduce a cor-nice on a commercial building may be successful.

In This Chapter:Preservation of architectural detailsRepair of architectural detailsReplacement of architectural details

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3.1 Avoid removing or altering any significantarchitectural detail.• Do not remove or alter architectural details

that are in good condition or that can be re-paired in place.

3.2 Avoid adding elements or details thatwere not part of the original building.• For example, details such as decorative mill-

work or cornices should not be added to abuilding if they were not an original featureof that structure.

3.3 Protect and maintain significant stylisticelements.• Distinctive stylistic features and examples of

skilled craftsmanship should be treated withsensitivity.

• The best preservation procedure is to main-tain historic features from the outset so thatintervention is not required.

• Employ treatments such as rust removal,caulking, limited paint removal and reappli-cation of paint.

Policy: Original architectural details should be preservedin place whenever feasible.

Distinctive stylistic features and examples of skilledcraftsmanship should be treated with sensitivity.

Protect and maintain significant stylistic elements.


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Policy: Deteriorated architectural details should be repairedrather than replaced, whenever possible.

Repair only those features that are deteriorated. Abovephoto is the "before” condition of the lower image. (St.Charles, MO)

In some cases, original architectural details maybe deteriorated. When this occurs, repair the ma-terial and any other related problems. It is alsoimportant to recognize that all details weather overtime and that a scarred finish does not representan inferior material, but simply reflects the age ofthe building. Therefore, preserving original mate-rials and features that show signs of wear is pre-ferred to replacing them.

3.4 Repair only those features that are dete-riorated.• Patch, piece-in, splice, consolidate or other-

wise upgrade existing materials, using rec-ognized preservation methods.

• Isolated areas of damage may be stabilizedor fixed using consolidants. Epoxies and res-ins may be considered for wood repair. Also,special masonry repair components may beused.

• Removing damaged features that can be re-paired is not appropriate.

• Protect features that are adjacent to the areabeing worked on.

3.5 When disassembly of an historic elementis necessary for its restoration, use methodsthat minimize damage to the original materi-als.• When disassembly of an historic feature is

required in a restoration procedure, docu-ment its location so it may be repositionedaccurately. Always devise methods of replac-ing the disassembled materials in their origi-nal configuration.

3.6 Use approved technical procedures forcleaning, refinishing and repairing architec-tural details.• When choosing preservation treatments, use

the gentlest means possible that will achievethe desired results.

• Employ treatments such as rust removal,caulking, limited paint removal and reappli-cation of paint.

When disassembly of an historic feature is required ina restoration procedure, document its location so thatit may be repositioned accurately.

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Policy: Original architectural details that have deterioratedbeyond repair should be replaced in kind.

While restoration of the original material or fea-ture is the preferred alternative, in some situationsa portion of the original building material may bebeyond repair. Replacement should occur only ifthe existing historic material cannot be reasonablyrepaired. In the event replacement is necessary,the new material should match that being replacedin design, color, texture and other visual qualities.

3.7 Remove only that which is deterioratedand must be replaced.• Match the original in composition, scale and

finish when replacing materials or features.

3.8 Replace missing original details in kind.• If parts are damaged or missing, replace

them with the same material as the original.• In some instances, substitute materials may

be used. If substitute materials must be used,then they should convey the visual appear-ance of the original materials in design, scale,proportion, finish and appearance.

3.9 Replacement of missing or deteriorateddetails shall be based on original features.• The design should be substantiated by physi-

cal or pictorial evidence to avoid creating amisrepresentation of the building’s heritage.

Where replacement of a detail is required, one shouldremove only those portions that are deteriorated beyondrepair.

OriginalOriginalOriginalOriginalOriginalmoldingmoldingmoldingmoldingmolding

ReplacementReplacementReplacementReplacementReplacementPiecePiecePiecePiecePiece

Dressing up a building with ornamentation out ofcharacter with the architectural style gives the buildinga false “history” it never had. This jigsaw ornamentationis out of character with the style and is inappropriate.(Memphis, TN)

Replacement details should be accurate, based ongood historical data.

Replace missing original details in kind.


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The original details may be reconstructed,if good evidence is available.

A simplified version of the original, usingthe major lines of the original, may beconsidered.

3.10 When inadequate information exists to al-low for accurate reconstruction, use a simplifiedinterpretation of the original.• The new element should still relate in general

size, shape, scale and finish.

3.11 Avoid adding decorative elements, unlessthorough research indicates that the buildingonce had them.• Conjectural "historic" designs for replacement

parts that cannot be substantiated by docu-mented evidence are inappropriate.

• Dressing up a building with pieces of ornamen-tation that are out of character with the archi-tectural style gives the building a false "history"it never had, and is inappropriate.

3.12 If the original is intact, preserve originaldetails.

If the original is missing, two options may be considered:

3.13 The original details may be reconstructed, ifgood evidence is available.

3.14 A simplified version of the original may beconsidered. Be sure to use the major lines of theoriginal detail.

If the original is intact, preserve originaldetails.

If original is missing, two options may beconsidered.

Option

Option

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Historic Building Materials

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CHAPTER 4


HISTORIC BUILDING MATERIALS

This chapter presents the design policies andguidelines for the rehabilitation of historic buildingmaterials.

Brick and stone were the primary materials usedin downtown. Wood siding also occurred on resi-dential-type structures. Painted, horizontal clap-board was the most popular. In each case, thedistinct characteristics of the building material, in-cluding the scale of the material unit, its textureand finish, contribute to the historic character of abuilding.

The best way to preserve historic building materi-als is through well-planned maintenance. Woodsurfaces, for example, should be protected with agood application of paint. In some cases, historicbuilding materials may be deteriorated. When de-terioration occurs, repairing the material ratherthan replacing it is preferred. Frequently, damagedmaterials can be patched or consolidated usingspecial bonding agents.

In other situations, however, some portion of thematerial may be beyond repair and may be re-placed. The new material should match the origi-nal in appearance. It is important, however, thatthe extent of replacement materials be minimized,because the original materials contribute to theauthenticity of the property as an historic resource.Even when the replacement material exactlymatches the original, the integrity of an historicbuilding is to some extent compromised when ex-tensive amounts of original materials are removed.

Rather than replace original materials, some prop-erty owners sometimes consider covering them,which is inappropriate. Aluminum and vinyl sidingare examples of materials that are often discussed.However, using any material, either synthetic orconventional, to cover historic materials is inap-propriate. Doing so would obscure the originalcharacter and change the dimensions of walls,

In This Chapter:Preservation of original materialsRepair of original materialsReplacement of original materialsCovering original materialsMaintenance of original woodPreservation of masonryPreservation of metals

which are particularly noticeable around door andwindow openings. The extra layer may in fact

Historic building materials or features should not becovered.

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Policy: Original building materials should be preserved inplace, whenever feasible.

cause additional decay, by its method of attach-ment, because it may trap moisture inside the walland because it also creates cavities in which in-sects can live. For similar reasons, if original wallmaterials are presently covered with a more re-cent siding, consider removing the outer layer andrestore the original. When damaged, these mate-rials also can be more difficult to repaint, repair orreplace.

Building materials—including such characteristicsas their scale, texture and finish—contribute sig-nificantly to the character of a structure. The bestway to preserve many of these features is throughwell-planned maintenance.

4.1 Maintain existing wall materials and tex-tures.• Avoid removing materials that are in good

condition or that can be repaired in place.• Remove only those materials that are dete-

riorated and must be replaced.• Avoid rebuilding a major portion of an exte-

rior wall that could be repaired. Reconstruc-tion may result in a building that is no longerhistoric.

• In many cases, original building materialsmay not be damaged beyond repair and donot require replacement. Repainting wood,ensuring proper drainage and keeping thematerial clean may be all that is necessary.

Examples of the variety of exterior wall materials foundin Downtown Anderson.

Ship-LapShip-LapShip-LapShip-LapShip-LapClapboardClapboardClapboardClapboardClapboard

SandstoneSandstoneSandstoneSandstoneSandstoneBrickBrickBrickBrickBrick


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In some cases, original building materials may bedeteriorated. When deterioration occurs, repair thematerial and any other related problems. It is alsoimportant to recognize that all materials weatherover time and that a scarred finish does not repre-sent an inferior material, but simply reflects theage of the building. Therefore, preserving originalmaterials that show signs of wear is preferred toreplacing them.

4.2 Repair deteriorated primary building ma-terials by patching, piecing-in, consolidatingor otherwise reinforcing the materials.• Avoid the removal of damaged materials that

can be repaired.• Isolated areas of damage may be stabilized

or fixed, using consolidants. Epoxies andresins may be considered for wood repair.Also, special masonry repair componentsmay be used.

4.3 Use technical procedures that preserve,clean, refinish or repair historic materials andfinishes.• A professional experienced in the cleaning

of historic buildings should be hired to ad-vise on the best, lowest impact method ofcleaning that is appropriate for a project.

• Perform a test patch to determine that thecleaning method will cause no damage tothe material's surface or to surrounding ma-terials. Many procedures, such as sandblast-ing, are not appropriate, as they permanentlyerode building materials and finishes and ac-celerate deterioration.

• If cleaning is appropriate, a low-pressurewater and detergent wash, using plastic orfiber bristle brushes, is encouraged. A steamwash may also be considered.

• Clean masonry only when necessary to ar-rest deterioration (but not for cosmetic rea-sons).

• See also Preservation Briefs #6: Dangers ofAbrasive Cleaning to Historic Buildings, pub-lished by the National Park Service.

Policy: Deteriorated building materials should be repairedrather than replaced, whenever possible.

Use the gentlest means possible to clean the surfaceof a structure. Harsh cleaning methods, such assandblasting, can damage the historic materials,changing their appearance. Such procedures areinappropriate.

Use technical procedures that preserve, clean, refinishor repair historic materials and finishes.

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While restoration of the original material or fea-ture is the preferred alternative, in some situations,a portion of the original building material may bebeyond repair. Replacement should occur only ifthe existing historic material cannot be reasonablyrepaired.

4.4 Match the original material in composi-tion, scale and finish when replacing it on aprimary surface.• If the original material is wood clapboard, for

example, then the replacement materialshould be wood as well. It should match theoriginal in size, the amount of exposed lapand finish.

• Replace only the amount required. If a fewboards are damaged beyond repair, thenonly replace them and not the entire wall.

4.5 Do not use synthetic materials, such asaluminum, vinyl siding or panelized brick, asreplacements for primary building materials onan historic structure.• Primary building materials such as wood sid-

ing and brick may not be replaced with syn-thetic materials.

• See also Preservation Briefs #16: The Useof Substitute Materials on Historic BuildingExteriors, published by the National ParkService.

Policy: Original building materials that have deterioratedbeyond repair should be replaced in kind.

Replace missing original details in kind. (Greenville, SC)

Covering the original building materials is inappropriate.


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Policy: The covering of original building materials is notappropriate.

Rather than repairing or replacing siding, someproperty owners may entertain the idea of cover-ing the original building material. Aluminum andvinyl siding are examples of synthetic materialsthat are often considered. Using these productsto cover historic materials is inappropriate. Doingso obscures the original character and changesthe dimensions of walls, which is particularly no-ticeable around door and window openings.

4.6 Historic building materials or featuresshould not be covered.• No material shall be applied as a covering

to historic materials.• Synthetic stucco, panelized brick, vinyl, alu-

minum or other composite siding materialsare not appropriate.

• See also Preservation Briefs #8: Aluminumand Vinyl Siding on Historic Buildings, pub-lished by the National Park Service.

New pan-els covero r i g i n a lstone.

Covering original materials is inappropriate.

If a storefront is covered or obscured with a lateralteration (top photo), then restore the storefront to itshistoric character. (Austin, TX)

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Policy: Original wood should be protected against mois-ture and deterioration.

4.7 Consider removing materials that coveroriginal siding.• Removing later covering materials that have

not achieved historic significance is encour-aged.

• In some instances a later covering may haveachieved historic significance, especially ifit was applied early in the building’s history.When this is the case, the later covering maybe maintained on the structure.

• An applicant may not re-side a building withanother covering material if one already ex-ists. Removing the covering to expose theoriginal material is appropriate in such acase.

• Once the covering siding has been removed,repair the original underlying material.

Wood appears frequently in Anderson. It is usedfor siding, trim, windows, doors and sometimescornices. To preserve the wood, it is important tomaintain its painted finish.

4.8 Protect wood features from deterioration.• Provide proper drainage and ventilation to

minimize rot.• Maintain protective coatings to retard drying

and ultraviolet damage. Exterior wood wallsshould be painted, not stained. If the build-ing was painted historically, it should remainpainted, including all trim.

All wood surfaces should be painted.

Protect wood features from deterioration.

Maintain protective coatings to retard drying andultraviolet damage. If the building was painted originally,it should remain painted.


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4.9 Plan repainting carefully.• Note that frequent repainting of trim materi-

als may cause a buildup of paint layers thatobscures architectural details. When this oc-curs, consider stripping paint layers to re-trieve details. However, if stripping is neces-sary, use the gentlest means possible, be-ing careful not to damage architectural de-tails and finishes.

• Good preparation is key to successful re-painting, but the buildup of old paint layersis an important historic record of the build-ing. The removal of old paint, by the gen-tlest means possible, should be undertakenonly if necessary to the success of the re-painting.

• Old paint may contain lead. Precautionsshould be taken when sanding or scrapingis necessary.

• Prepare a good substrate and use compat-ible paints. Some latex paints will not bondwell to earlier oil-based paints without aprimer coat.

• See also Preservation Briefs #10: ExteriorPaint Problems on Historic Woodwork, pub-lished by the National Park Service.

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4.10 Preserve the original mortar joint and unitsize, the tooling and bonding patterns, coat-ings and color of masonry surfaces.• Original mortar, in good condition, should be

preserved in place.• See also Preservation Briefs #1: The Clean-

ing and Waterproof Coating of MasonryBuildings, published by the National ParkService.

4.11 Repoint only those mortar joints wherethere is evidence of moisture problems orwhen sufficient mortar is missing.• Duplicate the old mortar in strength, compo-

sition, color, texture and joint width and pro-file.

• Mortar joints should be cleared with handtools. Using electric saws and hammers toremove mortar can seriously damage the ad-jacent brick.

• Do not use mortar with a high percentage ofportland cement or white masonry cementcontent. It will be harder than the masonryand will not allow for expansion and contrac-tion. The result is deterioration of the mate-rial itself.

• A mortar formula containing lime should fillthe joint but should not overfill it, and it shouldnot be smeared on the faces of the masonryunits.

• See also Preservation Briefs #2: RepointingMortar Joints in Historic Brick, published bythe National Park Service.

4.12 Masonry that was not painted historicallyshall not be painted.• Painting masonry walls can seal in moisture

already in the masonry, thereby not allowingit to breathe and causing extensive damageover the years.

Policy: Masonry construction should be preserved in itsoriginal condition.

Repoint mortar joints where there is evidence ofdeterioration. Duplicate the mortar joints in width andprofile.

Mortar compresses

Mortar does notcompress &bricks spall

Hot(bricks expand)

Original mortar(lime, flexible)

Bad replacementmortar (cement,

inflexible)

Mortar flexes

Cold(bricks contract)

Mortar doesnot flex &

cracks open up

Avoid using mortar with a high portland cement content,which will be substantially harder than the brick anddoes not allow for expanding and contracting. The resultis deterioration of the brick itself.


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Protect masonry from water deterioration.

4.13 Protect masonry from water deteriora-tion.• Provide proper drainage so that water does

not stand on flat, horizontal surfaces or ac-cumulate in decorative features.

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Maintain protective coatings, such as paint, on exposedmetals.

Policy: Architectural metals should be protected againstcorrosion.

Metals were used for a variety of applications in-cluding columns, storefronts, siding, roofing, win-dow hoods and decorative features. Metal appli-cations should be maintained where they exist.

4.14 Preserve architectural metal features thatcontribute to the overall historic character ofthe building.• Examples are columns, roofs, window hoods

and storefronts.• Provide proper drainage to minimize water

retention.• Maintain protective coatings, such as paint,

on exposed metals.

4.15 Repair metal features by patching, splic-ing or otherwise reinforcing the original metalwhenever possible.

4.16 Use the gentlest cleaning method pos-sible when removing deteriorated paint or rustfrom metal surfaces.• Harsh abrasive cleaning methods should be

avoided.

Design Guidelines for Historic Resources

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This chapter presents design guidelines for thepreservation of individual historic building elementsin downtown.

Commercial FacadesOrnamental items include hood molds, trim atdoors and windows; plaques and medallions; dateor name stones; and simple geometric shapes inmetal, stone, or concrete.

Cornices, which are usually found at the top ofbuilding walls, and ornamental moldings or beltcourses, which are located just above storefronts,are horizontal projecting elements that provide avisual break in a wall. A parapet is an upward ex-tension of a building wall above the roofline, some-times ornamental and sometimes plain, used togive a building a greater feeling of height or a bet-ter sense of proportion.

Cornices are most apparent on late 19th centurycommercial structures, when several ornate,bracketed types were used. Early 20th centurybuildings were, as a rule, less decorated and hadsimpler ornamentation. Rather than cornices, theytend to have parapets, some low and some ex-tending several feet above the roof surface. A para-pet may be capped with brick, stone or tile, andfrequently decorative elements or panels areplaced in it.

Commercial buildings should, for the most part,all relate to the street and to pedestrians in thesame manner: with a clearly defined primary en-trance and large windows that display goods andservices offered inside. The repetition of thesestandard elements creates a visual unity on thestreet that should be preserved.

CHAPTER 5


INDIVIDUAL BUILDING ELEMENTS

In This Chapter:Commercial facadesWindows and doors

Typical commercial storefront components.

parapet

cornice

upperstorywindows

belt course

transom

displaywindowpiers

recessedentry

kickplate

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Windows & DoorsWindows and doors are some of the most impor-tant character-defining features of historic struc-tures. They give scale to buildings and providevisual interest to the composition of individual fa-cades. Distinct window and door designs in facthelp define many historic building styles. Windowsand doors often are inset into relatively deep open-ings or they have surrounding casings and sashcomponents which have a substantial dimensionthat cast shadows which also contributes to thecharacter of the historic style.

RoofsThe character of the roof is a major feature formost historic structures. When repeated along thestreet, the repetition of similar roof forms contrib-utes to a sense of visual continuity for the down-town area. In each case, the roof pitch, its materi-als, size and orientation are all distinct featuresthat contribute to the character of a roof. Flat roofsappear on most historic commercial buildings indowntown Anderson.

Typical Downtown Roof Types

False front(with pediment)

Flat roofwith parapet

If evidence of the original design is missing, use asimplified interpretation of similar storefronts. Thestorefront still should be designed to provide interest topedestrians. (Boulder, CO)


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Policy: Maintain an historic storefront and all of itscharacter-defining features.

Using historic photographs can help in determining theoriginal character. (Compare with below.)

If a storefront isaltered,restoring it tothe originaldesign ispreferred.(Compare withthe two photosof the samebuilding below.)

This rehabilitation preserves surviving details andreconstructs missing ones. (Ft. Collins, CO)

5.1 For a commercial storefront building, arehabilitation project shall preserve these char-acter-defining elements:• Display windows: The main portion of glass

on the storefront, where goods and servicesare displayed. This will help maintain the in-terest of the street to pedestrians by provid-ing views to goods and activities inside firstfloor windows.

• Transom: The upper portion of the displaywindow, separated by a frame.

• Kickplate: Found beneath the display win-dow. Sometimes called a bulk-head panel.

• Entry: Usually set back from the sidewalk ina protected recess.

• Upper-story windows: Windows locatedabove the street level. These usually have avertical orientation.

• Cornice molding: A decorative band at thetop of the building.

• These features shall not be altered, obscuredor removed.

5.2 Maintenance of storefronts.• Wash display windows.• Repair damaged kickplates.• Re-caulk display windows to reduce air infil-

tration.• Install weather-stripping around doors.

5.3 If a storefront is altered, restoring it to theoriginal design is preferred.• If evidence of the original design is missing,

use a simplified interpretation of similar store-fronts. The storefront still should be designedto provide interest to pedestrians.

• Note that, in some cases, an original store-front may have been altered early in the his-tory of the building, and may itself have takenon significance. Such alterations should bepreserved.

• See also Preservation Briefs #11: Rehabili-tating Historic Storefronts, published by theNational Park Service.

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5.4 Alternative designs that are contempo-rary interpretations of traditional storefrontsmay be considered.• Where the original is missing and no evi-

dence of its character exists, a new designthat uses the traditional elements may beconsidered.

• However, the new design should continueto convey the character of typical storefronts,including the transparent character of the dis-play window.

5.5 Retain the kickplate as a decorative panel.• The kickplate, located below the display win-

dow, adds interesting detail to the street-scape and should be preserved.

• If the original kickplate is covered with an-other material, consider exposing the origi-nal design.

5.6 If the original kickplate is missing, de-velop a sympathetic replacement design.• Wood is an appropriate material for replace-

ments on most styles. However, ceramic tileand masonry may also be considered whenappropriately used with the building style.

5.7 Preserve the character of the cornice line.• Most historic commercial buildings have cor-

nices to cap their facades. Their repetitionalong the street contributes to the visual con-tinuity on the block.

• Many cornices are made of sheet metal. Ar-eas that have rusted through can be patchedwith pieces of new metal.

5.8 Reconstruct a missing cornice when his-toric evidence is available.• Use historic photographs to determine de-

sign details of the original cornice.• Replacement elements should match the

original in every detail, especially in overallsize and profile. Keep sheet metal ornamen-tation well painted.

• The substitution of another old cornice forthe original may be considered, provided thatthe substitute is similar to the original.

Many cornices are made of sheet metal. Areas that haverusted through can be patched with pieces of new metal.

Retain the kickplate as a decorative panel.

Alternative designs that are contemporaryinterpretations of traditional storefronts may beconsidered.


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When a building is missing its cornice, consider thetwo options presented below.

Reconstruct a missing cornice when historic evidenceis available.

A simplified interpretation also is appropriate for areplacement cornice if evidence of the original ismissing.

5.9 A simplified interpretation is also appro-priate for a replacement cornice if evidence ofthe original is missing.• Appropriate materials include stone, brick

and stamped metal.

5.10 Retain the original shape of the transomglass in historic storefronts.• Transoms, the upper glass band of traditional

storefronts, introduced light into the depthsof the building, saving on light costs. Thesebands should not be removed or enclosed.

• The shape of the transom is important to theproportion of the storefront, and it should bepreserved in its historic configuration.

• If the original glass is missing, installing newglass is preferred. However, if the transommust be blocked out, be certain to retain theoriginal proportions. One option is to use itas a sign panel or decorative band.

5.11 A parapet wall should not be altered, es-pecially those on primary elevations or highlyvisible facades.• When a parapet wall becomes deteriorated,

there is sometimes a temptation to lower orremove it. Avoid doing this because the flash-ing for the roof is often tied into the parapet,and disturbing it can cause moisture prob-lems.

• Inspect parapets on a regular basis. Theyare exposed to the weather more than otherparts of the building, so watch for deteriora-tion such as missing mortar or excessivemoisture retention.

• Avoid waterproofing treatments, which caninterfere with the parapet’s natural ability todry out quickly when it gets wet.

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5.12 Preserve the position, number, size andarrangement of historic windows and doors ina building wall.• Enclosing an historic opening in a key char-

acter-defining facade is inappropriate, as isadding a new opening.

• Do not close down an original opening toaccommodate a smaller window. Restoringoriginal openings which have been alteredover time is encouraged.

• Preserve the original size and shape of dooropenings on storefronts with historic value.

• Don’t close down the opening to make asmaller door fit.

• For the downtown, entries that provide clearvisibility into the building are encouraged.

• Historically, windows had a vertical empha-sis. The proportions of these windows con-tribute to the character of each residence andcommercial storefront.

• In renovation of older buildings, use doorswith panels or windows that have verticalproportions.

Policy: Historic windows and doors significantly affect thecharacter of a structure and should be preserved.

Enclosing an historic opening in a key character-defining facade is inappropriate, as is adding a newopening.

✓

Preserve the position, number, size and arrangementof historic windows and doors in a building wall.

✘

Don’t close down the opening to make a smaller doorfit.


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Preserve the arrangement of windows and doors onkey facades.

Restoring original openings which have been alteredover time is encouraged.

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5.13 Preserve the functional and decorativefeatures of an historic window or door.• Features important to the character of a win-

dow include its clear glass, frame, sash,muntins, mullions, glazing, sills, heads,jambs, moldings, operation, location and re-lation to other windows.

• Features important to the character of a doorinclude the door itself, door frame, screendoor, threshold, glass panes, paneling, hard-ware, detailing, transoms and flanking side-lights.

The transom above the primary display window isimportant because it adds to the lower level.

Preserve original transoms, such as these.

Preserve the transom as glass where ceiling heightspermit.

Where ceilings are now lowered, consider retaining theshape of the clerestory as a sign band.


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Even with a lowered ceiling in the store, the original glass can be preserved by a special soffit detail or sloping upthe ceiling to the glass.

Existing ceiling height

New lowered panel

New lowered ceiling

Preserve the shape of the originalwindow opening.

Yes No No

Avoid closing down the original opening to fit new window sizes. Ifthe original openings are presently blocked, consider restoringthem.

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Sashmatches

Interiorapplication

Exteriorapplication

5.14 Repair wood features by patching, piec-ing-in, consolidating or otherwise reinforcingthe wood.• Avoid the removal of damaged wood that can

be repaired.• See also Preservation Briefs #9: The Repair

of Historic Wooden Windows, published bythe National Park Service.

5.15 Glazing in doors should be retained.• If it is broken or has been removed in the

past, consider replacing it with new glass. Ifsecurity is a concern, consider using wireglass, tempered glass, or light metal secu-rity bars (preferably on the interior).

5.16 Installing window air-conditioners in win-dows on building fronts is inappropriate.

5.17 Maintain recessed entries where they arefound.• The repetition of recessed entries provides

a rhythm of shadows along the street, whichhelps establish a sense of scale.

• These recessed entries were designed toprovide protection from the weather and therepeated rhythm of these shaded areasalong the street helps to identify businessentrances. Typically, recessed entries wereset back between three and five feet.

• Restore the historic recessed entry if it hasbeen altered.

• Avoid doors that are flush with the sidewalk,especially those that swing outward. Maintain recessed entries where they are found.

Preserve original sash when feasible.


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5.18 Where entries were not recessed histori-cally, maintain them in their original position.• However, one may also need to comply with

other code requirements, including doorwidth, direction of swing and construction.

• In some cases, entries must comply with ac-cessibility requirements of the Americanswith Disabilities Act. Note, however, thatsome flexibility in application of these otherregulations is provided for historic proper-ties.

• See also Preservation Briefs #32: MakingHistoric Properties Accessible, published bythe National Park Service.

5.19 When window or door replacement isnecessary, match the replacement to the origi-nal design as closely as possible.• Preserve the original casing, when feasible.• If the original is double-hung, then the re-

placement window should also be double-hung, or at a minimum, appear to be so.Match the replacement also in the numberand position of glass panes.

• Very ornate windows or doors that are notappropriate to the building's architecturalstyle are inappropriate.

• Using the same material (wood) as the origi-nal is preferred.

Maintain recessed entries.

Inappropriate storefront replacement.

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Design Guidelines for Additions & Alterations

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CHAPTER 6


ADDITIONS & ALTERATIONS

In This Chapter:AlterationsCommercial Additions

This chapter presents design guidelines for addi-tions and alterations to historic buildings in down-town Anderson. The design guidelines are orga-nized into a series of relevant design topics. Withineach category, individual policies and designguidelines are presented, which the City will usein determining the appropriateness of the workproposed.

Design of AlterationsAlterations may be considered for historic build-ings; however, these alterations should occur in amanner that will not diminish the historic integrityof the property and they should be reversible forfuture property owners. Alterations to structuresthat do not have historic significance are also an-ticipated.

AdditionsMany buildings have experienced additions overtime, as need for additional space occurred, par-ticularly with a change in use. An historic additiontypically was subordinate in scale and characterto the main building. The height of the additionwas usually positioned below that of the mainstructure and it was often located to the side orrear, such that the primary facade remained domi-nate. An addition was often constructed of materi-als that were similar to those in use historically. Insome cases, owners simply added on to an exist-ing roof, creating more usable space without in-creasing the footprint of the structure. This tradi-tion of adding on to buildings is anticipated to con-tinue. It is important, however, that new additionsbe designed in such a manner that they maintainthe character of the primary structure.

It is important that new additions be designed in sucha manner that they maintain the character of theprimary structure. The addition (to the right), inDurango, CO, is appropriate.

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6.1 Avoid alterations that would damage his-toric features.• Avoid alterations that would hinder the abil-

ity to interpret the design character of theoriginal building.

• Alterations that seek to imply an earlier pe-riod than that of the building are inappropri-ate.

• For example, mounting a sign panel in amanner that causes decorative moldings tobe chipped or removed would be inappro-priate.

After rehabilitation, the row of buildings shown in thephotograph above conveys a stronger sense of itshistoric character. Note that some old uses wereretained, while other new uses were also introduced.Some noncontributing alterations were removed andstorefronts reconstructed. One was retained, but waspainted to minimize impacts. (Ft. Collins, CO)

This row of buildings had lost some details over timeand a monochromatic color scheme obscures theoriginal design character. Overhead garage doors thathad replaced original storefronts were later alterationswithout historic significance. (Compare with the “after”photograph below.)

Policy: Design an alteration to be compatible with the his-toric character of the property.

The windows in this structure were boarded andarchitectural details needed repair. (Compare with thephoto below.)

Storefront windows were reopened and upper-storywindows were repaired. (Ft. Collins, CO)


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A modest building can also berenovated to be compatible with thecontext. In this photograph theoriginal millinery shop front hadsimple moldings at the top.(Compare with the photos below.)

Design of Alterations, continued...

The same building (top) duringrenovation (left) and after renovation(above) exhibits the more classicalfeatures of commercial storefronts,including a painted cornice, kickplateand recessed entry. (Ft. Collins, CO)

Years later, all original detail had been stripped from the building. (Comparewith the photos above and below.)

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A new roof-top addition set back from the front facademay be considered.

A new ground-level addition to the side and rear maybe considered.

Policy: Minimize the visual impacts of an addition to a com-mercial building.

Two distinct types of additions are considered tobe appropriate by the City: ground-level or roof-top. First, a ground-level addition that involves ex-panding the footprint of a structure may be con-sidered. Such an addition should be to the rearor side of a building. This will have the least im-pact on the character of a building, but there mayonly be limited opportunities to do this.

Second, an addition to the roof may be designedthat is simple in character and set back substan-tially from the front of a building. In addition, thematerials, window sizes and alignment of trim el-ements on the addition should be compatible tothose of the existing structure.

Another option, which will only be considered ona case-by-case basis, is to design an addition tothe front wall plane of the existing building. Thisoption may only be considered on a “newer” ormore contemporary building that was originallyconstructed set back from the front property lineor sidewalk edge.

6.2 An addition shall be compatible in scale,materials and character with the main build-ing.• An addition shall relate to the building in

mass, scale and form. It should be designedto remain subordinate to the main structure.

• An addition to the front of a building is inap-propriate. However, where a building is setback from the front property line, the firstconsideration for the placement of an addi-tion should be to fill the gap between theexisting building and sidewalk. This will main-tain the consistent “street wall” desired in thedowntown.


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6.3 An addition shall not damage or obscurearchitecturally important features.• For example, loss or alteration of a cornice

line should be avoided.

6.4 An addition may be made to the roof of acommercial building if it does the following:• An addition should be set back from the pri-

mary, character-defining facade, to preservethe perception of the historic scale of thebuilding.

• Its design should be modest in character, soit will not attract attention from the historicfacade.

• The addition should be distinguishable asnew, albeit in a subtle way.

In the angle view above, two newer floors are visible.Note how in this building the addition cannot be seenwhen looking at the building straight on in the top photo.(Denver, CO)

An addition should be set back from the primary,character-defining facade, to preserve the perceptionof the historic scale of the building. (Boulder, CO)

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Design Guidelines for Site Design

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CHAPTER 7

DESIGN GUIDELINES FOR SITE DESIGN

This chapter presents design guidelines for sitedesign in the Downtown. The design guidelinesare organized into a series of relevant design top-ics. Within each category, individual policies anddesign guidelines are presented, which the Citywill use in determining the appropriateness of thework proposed.

In This Chapter:LightingMechanical equipmentParkingRear entrances

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Policy: Site lighting should be used to enhance the pedes-trian experience at night by providing a well-lit environ-ment.

Lighting on a site is important for aesthetics andsafety, and, on commercial properties for customerawareness. Traditionally, lights were simple incharacter and were used to highlight buildings,signs, entrances, first floor details, walkways andbuildings. Today they are also used to light park-ing lots. Most fixtures had incandescent lamps thatcast a color similar to daylight, were relatively lowin intensity and were shielded with simple shadedevices. Site lighting should reinforce the visualcontinuity of downtown. The light fixtures (lumi-naires) and poles (standards) should be unifyingdesign elements that promote visual interest andvariety.

7.1 Use lighting for the following:• To accent architectural details• To accent building entrances• To accent signs• To illuminate sidewalks and pedestrian

routes• To illuminate parking and service areas, for

safety concerns

7.2 Provide low-scale lighting for pedestrianroutes.• Lighting along the right-of-way should be a

combination of pedestrian-scaled streetlights and spillover from lights on adjacentbuildings. Lighting in this location should bedesigned to be comfortable to pedestrians.

• The position of a lamp in a light on a pedes-trian way should not exceed fifteen feet inheight.

Use lighting to illuminate sidewalks and pedestrianroutes.


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7.3 Lighting for parking areas, service areasbuildings, pedestrian routes and public waysshall be shielded to prevent any off-site glare.• Note that this also applies to parking and

service areas.• The light source shall not emit a significant

amount of the fixture’s total output above avertical cutoff angle of 90 degrees directlyvisible from neighboring properties. Anystructural part of the fixture providing thiscutoff angle shall be permanently attached.

• Keep parking area lighting at a human scale.The maximum height of parking lot lumi-naires shall be fifteen feet. This height re-striction may be exceeded to twenty-four feetif it is demonstrated that the overall visualimpact of lighting is less.

7.4 The light pole, or standard, should be de-signed to accommodate special decorativeaccessories.• Mounts for hanging planter baskets and ban-

ners, for example, should be included.• Mounts for seasonal lighting schemes also

should be considered.

7.5 Minimize the visual impacts of architec-tural lighting.• All exterior light sources should have a low

level of luminescence.• Wall-mounted floodlamps shall be shielded

so that the light source is not visible off site.Spotlights without shielding devices are notallowed.

• A lamp that conveys the color spectrum simi-lar to daylight is preferred. For example,metal halide and color-corrected sodium areappropriate.

• Lighting fixtures should be appropriate to thebuilding and its surroundings in terms ofstyle, scale and intensity of illumination.

• Wall-mounted light fixtures should not extendabove the height of the wall to which theyare mounted.

Indirect lighting may be used for signs.

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Utility service boxes, telecommunication devices,cables and conduits are among the variety ofequipment that may be attached to a building thatcan affect the character of the area. Trash andrecycling storage areas also are concerns. To thegreatest extent feasible, these devices should bescreened from public view.

7.6 Minimize the visual impact of mechani-cal equipment as seen from the street.• 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 withother regulations.

7.7 Minimize the visual impacts of utility con-nections and service boxes.• Locate them on secondary walls, when fea-

sible.• Do not locate gas or electric meters on the

roof.

7.8 Minimize the visual impacts of trash stor-age and service areas.• Locate service areas away from major pe-

destrian routes; typically place them at therear of a building when feasible.

• Dumpsters should be screened from view.

Policy: Minimize the visual impacts of mechanical equip-ment and service areas.

Do not locate window air conditioning units on abuilding’s primary facade.

Minimize the visual impacts of trash storage and serviceareas.


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An on-site parking area should be located behind abuilding, where its visual impacts will be minimized.

New parking facilities should be designed to beattractive, compatible additions to the downtown.Using high quality materials, providing a sense ofscale in architectural details and providing activeuses at the sidewalk edge are methods that canmitigate the potentially negative impacts of newparking facilities. In general, a new parking facilityshould remain subordinate to the street scene.

7.9 Locate a surface lot such that it will besubordinate to other site features.• An on-site parking area should be located

behind a building, where its visual impactswill be minimized.

• Minimize the surface area of paving materi-als. Consider using a less impervious mate-rial such as “grasscrete.”

• It is not appropriate to demolish a structureon a building’s lot or surrounding lots in or-der to create additional parking.

7.10 Site a parking lot so it will minimize gapsin the continuous building wall of a block.• Where a parking lot shares a site with a build-

ing, place the parking at the rear of the site(preferred) or beside the building (if there areno other options).

Policy: Minimize the visual impacts of a parking lot.

Side Street

Primary Street

Where a parking lot abuts a public sidewalk, provide abuffer.

streetstreetstreetstreetstreet parkingparkingparkingparkingparking

stre

etst

reet

stre

etst

reet

stre

et

park

ing

park

ing

park

ing

park

ing

park

ing

Provide landscaped buffers at the sidewalk edge whereopen lots occur.

plantingstrip onoutsideedge

land-scapedbuffer oninsideedge

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Where a parking lot abuts a public sidewalk, provide avisual buffer. Consider the use of a wall as screen forthe edge of the lot. Materials should be compatible withthose of nearby buildings.

7.11 Where a parking lot abuts a public side-walk, provide a visual buffer.• This may be a landscaped strip or planter.• Consider the use of a wall as screen for the

edge of the lot.• Use a combination of trees and shrubs to

create a landscape buffer.• Where a parking lot exists that is presently

not screened or landscaped, consider a land-scaping program or an infill building that re-lates to the surrounding historic context.

Use a combination of trees and shrubs to create alandscape buffer.

Dividing a parking lot into smaller areas that arescreened with landscaping is encouraged.

Avoid leaving an edge of exposed cars along a streetedge.

Where a parking lot abuts a public sidewalk, provide avisual buffer. (Bellingham, WA)


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The ground level of a parking structure should bewrapped by retail, office or some other active use alongthe street edge.

Preferred!

retail

parking

Not appropriate

parking

A part of this infill building is a parking structure that isset back from the front and sides of a retail wrap. Theopenings in the parking section reflect windowproportions similar to those seen historically in the area.(Boulder, CO)

Policy: Minimize the visual impacts of a parking structureby designing it to enhance the activity of the streetscape.

Parking structures should be designed to enhanceactivity of the street level. At a minimum, a park-ing structure should help to animate the street andbe compatible with the surroundings. The visualimpact of the cars themselves should be mini-mized.

7.12 Design a parking structure so that it cre-ates a visually attractive and active street edge.• When feasible, a parking structure in the area

should be wrapped with retail, commercialor another active use along the street edgeto shield the cars from the street and to addactivity to the street.

• Other methods of accomplishing this include,but are not limited to:- Retail/commercial wrap- Murals or public art- Landscaping- Product display cases/show windows

New parking facilities should be designed to beattractive, compatible additions to a commercial area.Using high quality materials, providing a sense of scalein architectural details and providing active uses at thesidewalk edge are methods that can mitigate thepotentially negative impacts of new parking facilities.(Louisville, KY)

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This parking structure incorporates a wrap of retailstores along the street edge. The storefronts arecontemporary interpretations of the historic downtowncontext. (Boulder, CO)

7.13 In the Downtown, a parking structureshall be compatible with traditional buildingsin the surrounding area.• Respect the regular window pattern and

other architectural elements of adjacentbuildings.

• Maintain the alignments and rhythms of ar-chitectural elements, as seen along thestreet.

• Continue the use of similar building materi-als.

• Avoid multiple curb cuts. These complicateturning movements and disrupt the sidewalk.

• Express the traditional widths of buildings inthe area.


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Improvement of rear entrances is encouraged, toaccommodate use of parking areas behind build-ings.

Awningatentrance

Improvement of rear entrances is encouraged, toaccommodate use of parking areas behind buildings.

Canopies are encouraged to identify rear entrances.

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Improving access to second floors can improveleasing ability while also creating shelter for firstfloor entrances.

This new stair provides access to upper floors.

New balconyand stair


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Using plant materials to enhance rear entrancesis another technique to consider.

Landscaping is encouraged to identify rear entrances.

Planters are recommended to separate service areas from customer entrances.

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Design Guidelines for Signs

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CHAPTER 8

DESIGN GUIDELINES FOR SIGNS

This chapter presents design guidelines for thedesign of new signs in the Downtown.

Traditionally, a variety of signs were seen in thedowntown. Five different types occurred:• Small, freestanding signs mounted on a pole

or post; located near the sidewalk becausethe primary structure or business was setback from the street (e.g., an area with resi-dential character); printed on both sides

• Medium-sized, square or rectangularly-shaped signs that projected from the build-ing above the awnings or canopies; printedon both sides

• Small, horizontally-oriented rectangularsigns that protruded from the building belowthe awnings or canopies but above pedes-trians’ heads; printed on both sides

• Medium- to large-sized, horizontally-orientedrectangular signs attached flat against thebuilding, above and/or below the awnings;printed on one side only

• Window signs, painted on glass; used at thestreet level and on upper floors

Signs that were mounted on the exterior adver-tised the primary business of a building. Typically,this use occupied a street level space and some-times upper floors as well. In the case of a largestructure that included several businesses on up-per floors, the name of the building itself was dis-played on an exterior sign. Tenants relied on adirectory at the street level.

In addition, signs were mounted to fit within archi-tectural features. In many cases, they weremounted flush above the storefront, just abovemoldings. Others were located between columnsor centered in “panels” on a building face. Thismethod also enabled one to perceive the designcharacter of individual structures.

In This Chapter:Sign contextAppropriate signsSign content

Each business in the Downtown is permitted tohave up to four types of signs in use at any giventime: primary, secondary, portable and temporary.• A primary sign represents the owner’s larg-

est sign expense and is likely the most im-portant of the four sign types. Only one pri-mary sign will be allowed per business perbuilding.

• Secondary signs are utilized in addition tothe primary building sign. Typically, a sec-ondary sign is an awning, hanging or win-dow sign. The secondary sign is generallyintended to capture the attention of the pe-destrian walking on the sidewalk, while theprimary sign’s audience is specifically theviewer driving past in a vehicle.

• Portable signs are intended for the pedes-trian walking on the sidewalk. Portable signsinclude sandwich boards, signs mounted oneasels or freestanding frames with sign in-serts.

• Temporary signs are used for a special pur-pose, such as limited-time offer or a sale.

These guidelines supplement theCity’s sign ordinance.

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A sign typically serves two functions: first, to at-tract attention, and second to convey information,essentially identifying the business or servicesoffered within. If it is well designed, the buildingfront alone can serve the attention-getting func-tion, allowing the sign to be focused on conveyinginformation in a well-conceived manner. All newsigns should be developed with the overall con-text of the building and of the area in mind.

8.1 Consider the building front as part of anoverall sign program.• Coordinate a sign within the overall facade

composition.• A sign should be in proportion to the build-

ing, such that it does not dominate the ap-pearance.

• Develop a master sign plan for the entirebuilding; this should be used to guide indi-vidual sign design decisions.

• This is especially important where the useof contemporary building forms and stylesand several colorful, attention-getting signsare the norm. Such a typical “strip-commer-cial” development pattern is inappropriate inthe Downtown.

8.2 A sign shall be subordinate to the overallbuilding composition.• A sign should appear to be in scale with the

facade.• Locate a sign on a building such that it will

emphasize design elements of the facadeitself.

• Mount a sign to fit within existing architec-tural features. Use the shape of the sign tohelp reinforce the horizontal lines of mold-ings and transoms seen along the street.

Policy: Design a sign to be in balance with the overall char-acter of the property.

The overall facade composition, including ornamentaldetails and signs, should be coordinated.

A flush-mounted wall sign is appropriate.


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The placement or location of a sign is perhapsthe most critical factor in maintaining the order andintegrity of the Downtown.

8.3 Freestanding or pole mounted signs maybe considered.• A freestanding sign may be used in the front

yard of a residence with a commercial use.• A freestanding sign may also be used in ar-

eas where the primary use is set back fromthe street edge.

8.4 A flush-mounted wall sign may be con-sidered.• In many cases, turn-of-the century building

types common in Anderson have a signfrieze. This is the ideal location for the pri-mary building sign. The sign frieze is typi-cally located above the transom and belowthe second-floor windows.

• When utilizing the sign frieze as the signplacement location, it is important to respectthe frieze borders. In other words, the signshould not overlap or crowd the top, bottomor ends of the frieze.

• When feasible, place a wall sign such that italigns with others on the block.

Policy: Appropriate signs include freestanding, flush-mounted, window, projecting, hanging, awning and direc-tory signs.

Sign fits in original clerestoryopening.

Original glass opening

When feasible, place a wall sign such that it aligns with others on the block.

When utilizing the sign frieze as the sign placementlocation, it is important to respect the frieze borders.

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8.5 A window sign may be considered.• A window sign may be considered in addi-

tion to the primary building sign.• A window sign should cover no more than

approximately fifteen percent (15%) of thetotal window area.

• It may be painted on the glass or hung justinside a window.

• Interior hanging window signs shall be con-structed of appropriate, durable materials.

8.6 A hanging sign may be considered.• A small hanging sign is easier for a pedes-

trian to read than other sign types and is en-couraged.

• A small hanging sign should be located nearthe business entrance, just above the dooror to the side of it.

• A hanging sign installed under a canopyshould be a maximum of 50% of the canopy’swidth.

• A hanging sign should be mounted perpen-dicular with the building facade.

• A hanging sign should provide a minimumof eight feet clearance between the sidewalksurface and the bottom of the sign. However,a hanging sign mounted under a canopy mayprovide a minimum clearance of seven feet.

• A hanging sign shall be no more than eightsquare feet in size.

A small hanging sign should be located near thebusiness entrance.

Signs on glass are effective for pedestrians and fordrawing attention to merchandise.

A hanging sign may be considered.

A window sign may be considered. A window sign maybe painted on or hung just inside a window. (Wichita,KS)


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8.7 A projecting sign may be considered.• A larger projecting sign should be mounted

higher, and centered on the facade or posi-tioned at the corner of a building.

8.8 Awning and canopy signs may be con-sidered.• Consider mounting a sign centered on top

of a building canopy where a flush-mountedsign would obscure architectural details.

A larger projecting sign should be positioned at thecorner of a building.

Signs on awnings can be colorful and easily seen fromacross the street.

Signs may be located on awnings.

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8.9 A directory sign may be considered.• Where several businesses share a building,

coordinate the signs. Align several smallersigns, or group them into a single panel as adirectory.

• Use similar forms or backgrounds for thesigns to tie them together visually and makethem easier to read.

• The manner in which a directory sign ismounted to a building, either flush to or pro-jecting from a wall, will determine the maxi-mum allowable sign area.

8.10 A portable sign may be considered.• Portable signs include A-frame, sandwich

boards, signs mounted on easels or free-standing frames with sign inserts.

8.11 A sign should not obscure or competewith architectural details of an historic build-ing facade.• This is especially important for a building with

historic significance.• A sign should be designed to integrate with

the architectural features of a building notdistract attention from them.

Avoid signs that cover architectural features. In thisexample, the sign is too big and obscures the storefrontwindows.

Where several businesses share a building, coordinatethe signs.


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8.12 Signs that are out of character with thoseseen historically and that would alter the his-toric character of the street are inappropriate.• Animated signs are inappropriate.• Any sign that visually overpowers the build-

ing or obscures significant architectural fea-tures is inappropriate.

8.13 Sign materials should be compatible withthat of the building facade.• Painted wood and metal are appropriate

materials for signs. Their use is encouraged.Unfinished materials, including unpaintedwood, are discouraged because they are outof character with the context.

• Plastic is not permitted, except for flush, ad-hesive lettering.

• Highly reflective materials that will be diffi-cult to read are inappropriate.

• Painted signs on blank walls were commonhistorically and may be considered.

8.14 Using a symbol for a sign is encouraged.• A symbol sign adds interest to the street, can

be read quickly and is remembered betterthan written words.

8.15 Use colors for the sign that are compat-ible with those of the building front.• Also limit the number of colors used on a

sign. In general, no more than three colorsshould be used.

Policy: A sign should be in character with the material, colorand detail of a building.

Symbol signs add interest to the street, are quickly readand are remembered better than written words.(Durango, CO)

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8.16 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 com-patible with the building front.

• Generally, these are typefaces with serifs.• Avoid hard-to-read or overly intricate type-

face styles.

8.17 The light for a sign should be an indirectsource.• Light should be directed at the sign from an

external, shielded lamp.• A warm light, similar to daylight, is appropri-

ate.• Light should not shine directly in the eyes of

pedestrians.

8.18 If internal illumination is used, it shouldbe designed to be subordinate to the overallbuilding composition.• Internal illumination of an entire sign panel

is discouraged. If internal illumination is used,a system that backlights sign text only is pre-ferred.

• Neon and other tubular illumination may beconsidered. However, use neon in limitedamounts so it does not become visually ob-trusive.

• Internal illumination of an awning is inappro-priate.

8.19 Sign brackets and hardware should becompatible with the building and installed in aworkman-like manner.

8.20 Maintenance of signs.• Re-secure sign mounts to the building front.• Repaint faded graphics.• Repair worn wiring.• Replace burned out bulbs.• Remove non-historic, obsolete signs.• Preserve historic painted signs in place as

decorative features.

Lighting that is directed at a sign from an external,shielded lamp, is preferred.

A simple sign design is preferred. (Spartanburg, SC)

Indirect light sources that are shielded and shine onthe sign are preferred.

Design Guidelines for Awnings & Canopies

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CHAPTER 9


AWNINGS & CANOPIES

This chapter presents design guidelines for theuse of awnings and canopies in the Downtown.

Historically, awnings and canopies were notewor-thy features of buildings in downtown and their con-tinued use is encouraged.

A sign band, awning and display window are traditionalelements combined with a contemporary flavor.

This awning is too wide—it covers some of theornamental column.

This awning fits within the width of the existing opening.

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9.1 An awning compatible in material andconstruction to the style of the building is en-couraged.• Operable awnings are encouraged on his-

toric buildings.• Use colors that are compatible with the over-

all color scheme of the facade. Solid colorsor simple, muted-stripe patterns are appro-priate.

• The awning should fit the opening of thebuilding.

• Simple shed shapes are appropriate for rect-angular openings.

• Odd shapes, bullnose awnings and bubbleawnings are inappropriate on most historicstructures.

• Internal illumination of an awning is inappro-priate.

9.2 A fixed metal canopy may be considered.• Appropriate supporting mechanisms are

wall-mounted brackets, chains and posts.• Consider using a contemporary interpreta-

tion of those canopies seen historically.

Policy: An awning or canopy should be similar to thoseseen historically.

An awning compatible in material and construction tothe style of the building is encouraged.

Odd shaped awnings are inappropriate on most historicstructures.


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9.3 Internal illumination in an awning is in-appropriate.• Lights may be concealed in the underside of

a canopy, however.

9.4 Mount an awning or canopy to accentu-ate character-defining features.• It should be mounted to highlight moldings

that may be found above the storefront andshould not hide character-defining features.

• Its mounting should not damage significantfeatures and historic details.

9.5 Maintain awnings and canopies in thefollowing ways:• Replace worn fabric awnings or damaged

metal canopies.• Re-secure loose hardware.• Wash fabric awnings regularly. This will help

extend the life of the fabric. Spray with wa-ter from the underside first, to lift dirt par-ticles, then rinse them off.

• Paint metal canopies regularly, to reduce thepotential for rust. This will extend the life ofthe canopy.

A fixed metal canopy may be considered.

Mount an awning or canopy to accentuate character-defining features.

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CHAPTER 10

DESIGN GUIDELINES FOR COLORS

These guidelines do not specify which colorsshould be selected, but rather how they should beused.

In black and white, it is easier to see the principlesfor using color. Contrasting colors are used toemphasize detail. Bright colors are used for ac-cent only.

10.1 Use colors to tie together the entire store-front.• Consider the building as a whole, and then

decide which details to emphasize.• Avoid colors that visually split the upper floors

from the lower floor.• Using the same color on the same architec-

tural elements (i.e., window frames) can re-inforce the patterns which tie together thestorefront.

10.2 When choosing a color, consider the con-text or major colors on the surrounding build-ings.• Brick and masonry colors are common in the

Downtown.• Muted and compatible tones should charac-

terize a building.• Avoid bright high-intensity colors.

Use colors to tie together the entire storefront.

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Design Guidelines for Area 1 - The Commercial Core Area

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This chapter presents design guidelines for Area1, the Commercial Core of Downtown Anderson.

Summary of KeyCharacteristicsKey design characteristics of this area include thefollowing:• Buildings aligned with adjacent historic build-

ings at the sidewalk edge• One- to three-story, traditional commercial

buildings• Masonry construction dominates• Transparent ground floor with smaller win-

dows “punched” into predominantly solid up-per floors

• Flat-roof buildings• Sidewalk uses and activities

Design GoalsThe Downtown Commercial Core should continueto develop in a coordinated manner so that anoverall sense of visual continuity is achieved. Thedominant character of this area should be that ofa retail-oriented, commercial environment, with anactive street edge that is pedestrian friendly.

The design goals for Area 1 are:• To rehabilitate existing historic commercial

buildings• To continue the use of traditional building ma-

terials found in the area• To maintain the traditional mass, size and

form of buildings seen along the street (i.e.,a building should be a rectangular mass thatis one- to three-stories in height)

• To design commercial buildings with store-front elements similar to those seen tradi-tionally (i.e., a commercial building shouldinclude: recessed entries, display windows,kickplates, transom windows, midbelt cor-

nices, cornices or pediments and vertically-oriented upper-story windows)

• To design a project that reinforces the retail-oriented function of the street and enhancesits pedestrian character

• To promote friendly, walkable streets (i.e.,projects that support pedestrian activity andcontribute to the quality of life are encour-aged)

• To provide site amenities—such as benches,lights, waste receptacles, landscaping, etc.—to enhance the pedestrian experience.

Building SetbacksA typical building in the Downtown CommercialCore has its primary entrance oriented to thestreet. This helps establish a “pedestrian-friendly”quality. In most cases, similar entryways are evenlyspaced along a block, creating a rhythm that alsocontributes to the sense of visual continuity. Theseentrances are also typically recessed from thesidewalk edge.

Mass and ScalePatterns are created along the street by the rep-etition of similarly-sized building elements. For ex-ample, uniform facade widths evenly spaced indowntown create a rhythm that contributes to thevisual continuity of the area.

CHAPTER 11


AREA 1 - THE COMMERCIAL CORE AREA

In This Chapter:Building setbacksMass and scaleBuilding formBuilding materialsArchitectural character

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Building FormOne of the most prominent unifying elements ofthe Downtown Commercial Core is the similarityin building form. Commercial buildings are simplerectangular solids, deeper than they are wide. Thischaracteristic is important and should be contin-ued. Also, commercial roof forms appear flat, al-though there is typically a slight pitch to it for wa-ter to drain. This characteristic is important andshould be preserved.

MaterialsBuilding materials of new structures should con-tribute to the visual continuity of the area. Theyshould appear similar to those seen traditionallyto establish a sense of visual continuity. Brick andstone are the dominant materials and their use innew construction is preferred.

Architectural CharacterThe street level floors of traditional commercialbuildings are clearly distinguishable from the up-per floors. First floors are predominantly fixed plateglass with a small percentage of opaque materi-als. Upper floors are the reverse: opaque materi-als dominate, and windows appear as smalleropenings puncturing the solid walls. The floor-to-floor height on the street level is also generallytaller than the upper floors. This feature shouldalso be expressed in new construction.

Building heights vary in the Downtown Commer-cial Core and yet there is a strong sense of simi-larity in scale. This is in part because most build-ings are one to two stories in height.

While it is important that buildings be compatiblewith the surrounding traditional commercial con-text, it is not necessary that they imitate older build-ing styles.

The dominant character of the Commercial Core Areashould be that of a retail-oriented, commercialenvironment, with an active street edge that ispedestrian friendly.


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Structures in the Downtown Commercial Coreshould contribute to a strong “building wall” alongthe street. A new building should align at the frontlot line and be built out to the full width of the par-cel (i.e., to the side lot lines). Although small gapscan occur between some structures, these are ex-ceptions.

11.1 Maintain or enhance the alignment ofbuildings 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 landscape elements to definethe sidewalk edge.

11.2 Orient the primary entrance of a buildingtoward the street.• A building shall have a clearly-defined pri-

mary entrance. For most commercial build-ings, this should be a recessed entry-way.

• Secondary public entrances to commercialspaces are also encouraged on a largerbuilding.

Policy: Maintain the line of building fronts in the block.

After: Simplified interpretations of traditional buildingelements, including a transparent first floor with displaywindows and an ornamental cornice, help this newbuilding fit into its context.

Before: New buildings should be compatible with thecommercial buildings seen traditionally. Creative newdesign is especially encouraged that is compatible withthe design goals of the district. Here, a parking lot awaitscompatible infill. (See below.)

Align the building front at the sidewalk edge.

Unacceptable

Acceptable

Maintain the alignment of buildings at the sidewalkedge. Small plazas, however, are appropriate.

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Policy: A building should appear similar in scale to tradi-tional commercial buildings.

This single infill building is divided into smaller buildingmodules that reflect traditional building widths. Upperfloors step back from the front, thus maintaining thetraditional two-story scale of the street.

11.3 Maintain the traditional range of buildingheights seen in the historic core.• Traditional floor heights should be expressed

with horizontal moldings, alignment of win-dows and other architectural details.

11.4 Buildings should appear similar in widthto those seen historically in the block.• Traditionally, buildings were built in 20- to 30-

foot increments. New structures should re-flect this pattern.

11.5 Consider dividing a larger building into“modules” that are similar in scale to build-ings seen traditionally.

• If a larger building is divided into“modules,” they should be expressedthree-dimensionally throughout the en-tire building facade.

11.6 Floor-to-floor heights shouldappear to be similar to those seentraditionally.• In particular, the windows in a build-ing should appear similar in height tothose seen traditionally.

A building shall maintain the alignment of horizontal elements alongthe block.


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Policy: The form of a building should be similar to thoseseen traditionally.

Rectangular forms shall be dominant on commercialfacades.

Materials shall appear to be similar to those usedtraditionally.

Policy: Building materials should be similar to those usedtraditionally.

One of the most prominent unifying elements ofdowntown is the similarity in building form. Com-mercial buildings were simple rectangular solids,deeper than they were wide. This characteristic isimportant and should be continued.

11.7 Rectangular forms shall be dominant oncommercial facades.• Rectangular forms should be vertically ori-

ented.

Traditionally, a limited palette of building materi-als was used in the area—primarily brick andstone. This same selection of materials shouldcontinue to be predominant. New materials alsomay be appropriate when they relate to the scale,durability, color and texture of the predominantmaterials of this area.

11.8 Materials shall appear to be similar tothose used traditionally.• Brick and stone were the traditional materi-

als and are preferred.• A matte, or non-reflective, finish is preferred.

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Policy: A new building should be visually compatible withtraditional commercial buildings.

Contemporary interpretations of traditional buildingelements are encouraged. In this case, shed formawnings are stretched across rigid frames. Transomwindows are expressed with a metal grill design.

11.9 Maintain the distinction between thestreet level and the upper floor.• The first floor of the primary facade should

be predominantly transparent glass.• Upper floors should be perceived as being

more opaque than the lower floor.• Highly reflective or darkly tinted glass is in-

appropriate.

11.10 Upper-story windows with vertical em-phasis are encouraged.• A typical, upper-story window is twice as tall

as it is wide. These proportions are within alimited range; therefore, upper-story win-dows in new construction should relate tothe window proportions seen historically.

• Windows should align with others in a block.

11.11 Window dimensions that are similar tothose used traditionally are encouraged.• Many windows are “one-over-one,” in that a

single pane of glass is in both the upper andlower sashes. Others are “two-over-one,”with two panes (or lights) in the upper sashand one is in the lower sash. These arrange-ments are preferred.

11.12 The ratio of solid-to-void shall be simi-lar to that seen traditionally on commercialstorefront buildings in the district.• First floors should be more transparent than

upper floors.• Upper floors should appear more solid than

first floors.

Highly reflective or darkly tinted glass is inappropriate.


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Typical facade components that should beinterpreted in new designs:A. Provide a recessed entry.B. Use large surfaces of glass on the first floor.C. Match height of adjacent display windows.D. Use smaller, vertical windows on upper

floors.E. Cap the building with a cornice.F. Express the typical building width found on

the block.G. Match the height of kickplates.

A new commercial storefront building should incorporatedisplay windows, a transom window, a kickplate andrecessed entry.

A

BC

D

EF

G

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Design Guidelines for Area 2

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CHAPTER 12

DESIGN GUIDELINES FOR AREA 2

This chapter presents design guidelines that ap-ply to Area 2, which is a series of commercialblocks that frame the traditional commercial core.

This area has emerged from a heritage of build-ings that were commercial in nature, but devel-oped at a relatively low density, with substantialportions of land given over to automobiles. Whilemany of the buildings are relatively new, someolder structures survive, which contribute to a pe-destrian-orientation and may in some cases havehistoric significance. Preserving these resourcesshould be encouraged and, when feasible, theyshould be incorporated in new developments.

The area should continue to develop with a mix ofuses, and improvements should occur in a man-ner that enhances the experience for pedestrians.It should also build a sense of visual relatednessamong properties. Even though automobile circu-lation routes significantly affect the character, it isstill possible to strengthen pedestrian links and toimprove the edges of properties such that a senseof human scale is conveyed.

Design GoalsArea 2 should develop in a manner that is invitingto pedestrians while also accommodating automo-

biles. Development should have a mix of buildingtypes, including older structures and more con-temporary ones. Each should reflect the designtrends of its own time, while also contributing to asense of visual continuity and strengthening thepedestrian experience. In addition, a combinationof uses is encouraged, including residential, of-fice and retail.

The design goals for Area 2 are:• To define the sidewalk edge with elements

that are amenities for pedestrians• To establish a sense of scale in buildings and

streetscape design that can be understoodby pedestrians

• To minimize the visual impacts of automo-biles

• To strengthen the pedestrian network of side-walks, plazas and paths

Building SetbacksA wide variety of building setbacks can be seenthroughout Area 2. Much of this variety is due tothe influence of the automobile and need to pro-vide on-site parking. This parking typically hasbeen provided in front of the building for consumerconvenience. However, this trend causes an ero-sion of the edge of buildings located along a side-walk like that seen historically. Therefore, it isstrongly encouraged that new developments inArea 2 should build on this tradition and locatebuildings at the front lot line.

Development in Area 2 has been largely commercialin nature, with substantial portions of land given overto automobiles.

In This Chapter:Building setbacksMass and scaleBuilding materialsArchitectural character

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Area 2 Context photo

Mass and ScaleA variety of building sizes exist in this area. Whilecontemporary design approaches are encouraged,developments should continue to exhibit a varietyin sizes, similar to the buildings seen traditionally.

Building MaterialsBuilding materials of structures should contributeto the visual continuity of the area. They shouldappear similar to those seen traditionally to es-tablish a sense of visual continuity.

Architectural CharacterCommercial buildings throughout the Downtownshould relate to one another through the consis-tent use of similar building materials, storefronts,recessed entries and the alignment of these dif-ferent elements along a block. This tradition isstrongly encouraged for new developments in Area2.


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Policy: A new building in Area 2 should be aligned at thesidewalk edge.

A minimum of 50% of the street frontage of a propertyshall have a building wall at the sidewalk edge.

BuildingBuildingBuildingBuildingBuilding

ParkingParkingParkingParkingParking

12.1 Locate a new building at the front prop-erty line when feasible.• Align the building front at the sidewalk edge.• A minimum of 50% of the street frontage of

a property should have a building wall at thesidewalk edge.

12.2 Where a portion of a building must be setback, define the edge of the property with land-scape elements.• For example, define the edges of a lot with

landscaping, such as low-scale urban streettrees or shrubs.

Define the edges of a lot with landscaping, such aslow-scale urban street trees or shrubs. (Georgetown,Washington, DC)

Some buildings in Area 2 align at the sidewalk edge.This tradition is encouraged.

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Policy: The overall mass of a new building should conveya sense of human scale.

Consider dividing a larger building into “modules” thatare similar in scale to buildings seen traditionally.(Bellingham, WA)

Buildings in the downtown should appear similarin height and width to commercial structures seentraditionally in the core.

12.3 Consider dividing a larger building into“modules” that are similar in scale to build-ings seen traditionally.• If a larger building is divided into “modules,”

they should be expressed three-dimension-ally throughout the entire building.

Policy: Building materials should be visually compatiblewith the predominant materials of this area.

12.4 Masonry materials that convey a senseof scale are preferred.• Brick and stone are preferred for new con-

struction.• New materials should appear similar in char-

acter to those used traditionally. For example,stucco, cast stone and concrete should bedetailed to provide a human scale.

• New materials should have a demonstrateddurability. For example, some facade mate-rials used in new construction are more sus-ceptible to weather and simply do not lastas long as stone or brick.

12.5 A simple material finish is encouraged fora large expanse of wall plane.• A matte, or non-reflective, finish is preferred.• Polished stone and mirrored glass, for ex-

ample, should be avoided as primary mate-rials.

A simple material finish is encouraged for a largeexpanse of wall plane. (Lexington, KY)


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Policy: A new building should contribute to a pedestrian-friendly environment by providing an active street edge.

12.6 Develop the ground floor level of a projectto encourage pedestrian activity.• Provide at least one of the following along

primary pedestrian ways:- A storefront- Display cases- Landscaping- A courtyard or plaza

• Include traditional elements such as displaywindows, kickplates and transoms on com-mercial storefronts.

• Avoid a blank wall or vacant lot appearance.

12.7 Orient the primary entrance of a build-ing toward the street.• A building should have a clearly-defined pri-

mary entrance.• The building entrance should be recessed.• A primary building entrance also should be

at or near street level.

Consider using display cases on the ground floor wherean active storefront is not a possibility. (Boulder, CO)

A new building—such as this gas station in downtownBoulder, CO—that draws upon the fundamentalcharacteristics of building in Anderson is encouraged.

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Design Guidelines for Transitional Character Area

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CHAPTER 13

DESIGN GUIDELINES FOR AREA 3

Area 3 contains blocks that originally developedas residential neighborhoods, with houses setback from the street. Front yards provided agreen edge, and only a limited amount of on-siteparking existed. Porches were key features ofhouses, which provided a visual connection tothe street. Today, this area is converted to com-mercial uses. Many houses are now adapted foroffices, personal services and specialty retailuses.

While new uses are anticipated, the area shouldmaintain a visual connection to its residentialpast. Therefore, compatible adaptive reuse ofhouses is preferred to their demolition and re-placement. And, where new construction doesoccur, designs that draw upon the residentialdesign traditions, while accommodating newuses, are preferred.

RoofsThe character of the roof is a major feature formost existing structures in Area 3. When re-peated along the street, the repetition of similarroof forms contributes to a sense of visual conti-nuity for the neighborhood. This tradition shouldbe continued.

PorchesMany residential styles and building types de-veloped with the porch as a prime feature of thefront facade. Because of their historical impor-tance and prominence as character-defining fea-tures, porches should be preserved and theyshould receive sensitive treatment during exte-rior rehabilitation.

The size, shape and proportions of window anddoor openings are important features. They givescale to buildings and provide visual interest tothe composition of individual facades. These fea-tures are inset into relatively deep openings in abuilding wall or they have surrounding casings andsash components that have substantial dimen-sions. They cast shadows that contribute to thecharacter of the building.

Many houses in Area 3 have been converted tocommercial uses.

In This Chapter:RoofsPorchesAdaptive useAdditionsParkingLandscape character

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Converting a building to a new use that is differentfrom that which its design reflects is considered tobe "adaptive use." When residential use ceasesto be viable, the first preference is to choose newuses that minimize the negative changes in build-ing features. Often there are new uses that areinherently less disruptive to residential structuressuch as a bed and breakfast, professional offices,small specialty restaurants and personal servicebusinesses.

13.1 Seek uses that are compatible with thehistoric character of the building.• The primary goal should be preserving the

original residential character, appearanceand scale of the structure.

• Building uses that are closely related to theoriginal use are preferred. Avoid radical al-terations to either the interior or exterior ofthe structure.

• Avoid altering porches and original windowsand doors.

13.2 When use changes demand that struc-tures be altered such that little or no use canbe made of the original structure, considermoving the structure to a compatible location.• This move can be made to another location

on the same site or to a vacant site in an-other neighborhood.

13.3 Only as a last resort should an historicstructure be considered for demolition.• This applies only to structures of little or no

historic significance.• Where a structure must be razed, then a

record shall be made of it prior to demoli-tion. This shall include photographs and ar-chitectural drawings.

• A structure should never be demolished asa matter of convenience.

Policy: When adapting a residence to a commercial use,respect the residential character of the building.

When adapting a residence to a commercial use,respect the residential character of the building bypreserving the overall form of the building, the frontporch and front yard character. (Boulder, CO)

Seek uses that are compatible with the historiccharacter of the building.

When use changes demand that structures be alteredsuch that little or no use can be made of the originalstructure, consider moving the structure to a compatiblelocation.


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When replacing porch posts, use supports that are ofadequate size. This porch reconstruction was basedon neighboring houses of similar character and age.(Spartanburg, SC)

This porch has experienced an inappropriate alteration;wrought iron supports have replaced wood piers.Compare it with its "twin" in the photo below.(Spartanburg, SC)

Policy: Maintain a porch and its character-defining features.

13.4 Maintain porch and its detailing.• Do not remove original details from a porch.

These include the columns, balustrade andany decorative brackets that may exist.

• Maintain the existing location, shape, details,and columns of the porch.

• Missing or deteriorated decorative elementsshould be replaced with new wood, milledto match existing elements. Match the origi-nal proportions and spacing of balusterswhen replacing missing ones.

• Unless used historically, wrought iron porchposts and columns are inappropriate.

• Where an historic porch does not meet cur-rent code requirements and alterations areneeded or required, then retrofit it to meetthe code, while also preserving original fea-tures. Do not replace a porch that can oth-erwise be modified to meet code require-ments.

13.5 Avoid enclosing an historic front porchwith opaque materials.• Enclosing a porch with opaque materials that

destroy the openness and transparency ofthe porch is inappropriate.

• When a porch is enclosed or screened, itshall be done with a clear transparent mate-rial. This material should be placed behindporch columns.

When a porch is enclosed or screened, it shall be donewith a clear transparent material. This material shouldbe placed behind porch columns. (Memphis, TN)

Nice porch example

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Policy: Design an addition to a residential structure to becompatible with the primary building.

An addition to a structure can radically change itsperceived scale and character if inappropriatelydesigned. When planning an addition, consider theeffect the addition will have on the building itself.When creating an addition, keep the size of theaddition small, in relation to the main structure. Ifan addition must be larger, it should set apart fromthe main structure and connected with a smallerlinking element. A design for a new addition thatwould create an appearance inconsistent with thecharacter of the building, especially an historic one,is discouraged.

One also should consider the effect the additionmay have on the character of a street or neigh-borhood, as seen from the public right-of-way. Forexample, a side addition may change the senseof rhythm established by side yards in the block.Locating the addition to the rear could be a bettersolution in such a case.

13.6 Design a new addition such that the origi-nal character can be clearly seen.• In this way, a viewer can understand the his-

tory of changes that have occurred to thebuilding.

• An addition should be made distinguishablefrom the original building, even in subtleways, such that the character of the originalcan be interpreted.

• Creating a jog in the foundation between theoriginal and new structures may help to de-fine an addition.

• Even applying a new trim board at the con-nection point between the addition and theoriginal structure can help define the addi-tion.

• See also Preservation Briefs #14: New Ex-terior Additions to Historic Buildings, pub-lished by the National Park Service.

Design a new addition such that the original charactercan be clearly seen. This addition to the front of thehistoric structure is inappropriate.

If an addition in front is necessary, use roof forms thatare similar to those of the original.


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13.7 Place an addition at the rear of a buildingor set it back from the front to minimize thevisual impacts.• This will allow the original proportions and

character to remain prominent.• Locating an addition at the front of a struc-

ture is inappropriate.

13.8 Do not obscure, damage, destroy or re-move original architectural details and mate-rials of the primary structure.• When preserving original details and mate-

rials, follow the guidelines presented earlierin this chapter.

Place an addition at the rear of a building or set it backfrom the front to minimize the visual impacts.

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A parking area should be located to the rear of a site.

Do not use a front yard for parking. Instead, use a longdriveway, or alley access, that leads to parking locatedbehind a building.

NO!NO!NO!NO!NO! YES!YES!YES!YES!YES!ExistingExistingExistingExistingExistingConditionConditionConditionConditionCondition

13.9 Minimize the visual impact of a parkingarea.• A parking area should be located to the rear

of a site.• Do not use a front yard for parking. Instead,

use a long driveway, or alley access, thatleads to parking located behind a building.

13.10 A parking pad, carport or garage shouldbe located to the side or rear of a lot, and de-tached from the main structure.• Consider providing only ribbon paving. This

will reduce visual impacts—as well as allowmore drainage through soils.

• Consider sharing a single drive and curb cutwhere multiple driveways are needed.

• A driveway should lead straight from thestreet to the parking area.

• A parking pad located in the front of a resi-dence is inappropriate.

Policy: The visual impacts of parking should also be mini-mized.

A driveway should lead straight from the street to theparking area.


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Policy: Where historic landscape features exist in residen-tial areas, they should be preserved when feasible.

In areas of the Downtown with traditional residen-tial characteristics, site features that may havebeen seen historically include fences, sidewalks,walkways and areas of private landscaping.

13.11 Preserve historic landscape features.• Existing historic landscape features, such as

fences, sidewalks and trees, should be pre-served and protected during construction.Replace only those portions that are dete-riorated beyond repair.

• Minimize the amount of hard surface pavingfor patios, terraces or drives in front yards.

13.12 In new landscape designs, use materi-als that are compatible with the historic con-text.• Landscaping schemes that are simple and

subdued in character are encouraged.• Using native trees, shrubs and wildflowers

is encouraged.

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Appendix

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Alignment. The arrangement of objects alonga straight line.

Appurtenances. An additional object addedto a building; typically includes vents, exhaustshoods, air conditioning units, etc.

Awning Sign. Any sign painted or applied tothe face, valance, side or top panel of an awning,or any sign made by removing material from anawning.

Bracket. A supporting member for a projectingelement or shelf, sometimes in the shape of aninverted L and sometimes as a solid piece or atriangular truss.

Building. A resource created principally toshelter any form of human activity, such as ahouse.

Column. A slender upright structure, generallyconsisting of a cylindrical shaft, a base and acapital; pillar: It is usually a supporting orornamental member in a building.

Cornice. The continuous projection at the topof a wall. The top course or molding of a wall whenit serves as a crowning member.

Doorframe. The part of a door opening towhich a door is hinged. A doorframe consists oftwo vertical members called jambs and a horizon-tal top member called a lintel.

Double-Hung Window. A window with twosashes (the framework in which window panes areset), each moveable by a means of cords andweights.

Elevation. A mechanically accurate, “head-on” drawing of a face of a building or object, withoutany allowance for the effect of the laws ofperspective. Any measurement on an elevation willbe in a fixed proportion, or scale, to thecorresponding measurement on the real building.

Facade. Front or principal face of a building,any side of a building that faces a street or otheropen space.

Fascia. A flat board with a vertical face thatforms the trim along the edge of a flat roof, or alongthe horizontal, or “eaves,” sides of a pitched roof.The rain gutter is often mounted on it.

Fenestration. The arrangement of windowsand other exterior openings on a building.

Flush-mounted Sign. Any flat sign mountedor applied to a building facade.

Form. The overall shape of a structure (i.e.,most structures are rectangular in form).

Frame. A window component. See windowparts.

Glazing. Fitting glass into windows and doors.

Hanging Sign. Any sign suspended from anawning, canopy, bracket or brace.

Head. The top horizontal member over a dooror window opening.

Interior Illuminated Sign. Any sign designedto be lit from the inside (including awning, canopy,hanging or flush-mounted signs).

Mass. The physical size and bulk of astructure.

Masonry. Construction materials such asstone, brick, concrete block or tile.

Material. As related to the determination of “in-tegrity” of a property, material refers to the physi-cal elements that were combined or deposited ina particular pattern or configuration to form a his-toric property.

APPENDIX A

GLOSSARY OF TERMS

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Module. The appearance of a single facadeplane, despite being part of a larger building. Onelarge building can incorporate several buildingmodules.

Molding. A decorative band or strip of materialwith a constant profile or section designed to castinteresting shadows. It is generally used incornices and as trim around window and dooropenings.

Muntin. A bar member supporting andseparating panes of glass in a window or door.

Orientation. Generally, orientation refers tothe manner in which a building relates to the street.The entrance to the building plays a large role inthe orientation of a building; whereas, it shouldface the street.

Panel. A sunken or raised portion of a doorwith a frame-like border.

Pedestrian Sign. Any sign oriented to pedes-trians at street level visibility (including window,awning or hanging signs, as well as nameplates,plaques or sandwich boards).

Pediment. A triangular section framed by ahorizontal molding on its base and two slopingmoldings on each of its sides. Usually used as acrowning member for doors, windows and mantles.

Post. A piece of wood, metal, etc., usuallylong and square or cylindrical, set upright to sup-port a building, sign, gate, etc.; pillar; pole.

Projecting Sign. Any sign attached to andplaced perpendicular to or at an angle to a build-ing facade.

Property. Area of land containing a singlehistoric resource or a group of resources.

Quoin. (pronounced koin) Dressed stones orbricks at the corners of buildings, laid so that theirfaces are alternately large and small. Originallyused to add strength to a masonry wall, later useddecoratively.

Sandwich Board. Any sign designed forplacement on the sidewalk, of A-frameconstruction, generally two-sided.

Sash. See window parts.

Seasonal Banner. Any sign generally de-signed for temporary, long-term or seasonal usemounted to a light standard.

Scale. The size of structure as it appears tothe pedestrian.

Shape. The general outline of a building or itsfacade.

Side Light. A usually long fixed sash locatedbeside a door or window; often found in pairs.

Sidewalk Furniture. Any item used to em-bellish the facade of a building or the streetscape(including statues, planter boxes, pots or vases,benches, trash receptacles, art or signs).

Siding. The narrow horizontal or vertical woodboards that form the outer face of the walls in atraditional wood frame house. Horizontal woodsiding is also referred to as clapboards. The term“siding” is also more loosely used to describe anymaterial that can be applied to the outside of abuilding as a finish.

Sign. Any structure or display used as an-nouncement or business identification.

Sill. The lowest horizontal member in a frameor opening for a window or door. Also, the lowesthorizontal member in a framed wall or partition.

Size. The dimensions in height and width of abuilding's face.

Special Event Banner. Same as SeasonalBanner.

Stile. A vertical piece in a panel or frame, asof a door or window.

Appendix

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Streetscape. Generally, the streetscaperefers to the character of the street, or howelements of the street form a cohesiveenvironment.

Thematic Banner. Same as Seasonal Ban-ner.

Traditional. Based on or established by thehistory of the area.

Transom Window. A small window or seriesof panes above a door, or above a casement ordouble hung window.

Visual Continuity. A sense of unity orbelonging together that elements of the builtenvironment exhibit because of similarities amongthem.

Window Parts. The moving units of a windoware known as sashes and move within the fixedframe. The sash may consist of one large pane ofglass or may be subdivided into smaller panes bythin members called muntins or glazing bars.Sometimes in nineteenth-century houses windowsare arranged side by side and divided by heavyvertical wood members called mullions.

Window Sign. Any sign painted, applied to,hung inside or intended to be viewed through win-dow glass.

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Documents

Design Guidelines for Downtown Anderson, South … Guidelines for the Downtown page i Credits City of Anderson City Council Members Downtown Council Committee Richard A. Shirley, Mayor