HomeMy WebLinkAboutOrdinance 21086-01-2014 ORDINANCE NO. 21086-01-2014
AN ORDINANCE AMENDING THE ZONING ORDINANCE OF
THE CITY OF FORT WORTH, BEING ORDINANCE NO. 13896,
AS AMENDED, CODIFIED AS APPENDIX "A" OF THE CODE OF
THE CITY OF FORT WORTH, TO AMEND CHAPTER 4
"ZONING DISTRICTS" ARTICLE 4 "OVERLAY DISTRICTS",
SECTION 4.401, "HISTORIC PRESERVATION OVERLAY
DISTRICTS ("HSE," "HC," "DD")" TO REVISE IN ITS
ENTIRETY THE DESIGN GUIDELINES FOR THE FAIRMOUNT
SOUTHSIDE HISTORIC DISTRICT;PROVIDING THAT THIS
ORDINANCE SHALL BE CUMULATIVE OF ALL ORDINANCES;
PROVIDING A SAVINGS CLAUSE; PROVIDING A
SEVERABILITY CLAUSE; PROVIDING A PENALTY CLAUSE;
PROVIDING FOR PUBLICATION IN THE OFFICIAL
NEWSPAPER AND PROVIDING AN EFFECTIVE DATE.
WHEREAS, October 1990, the City Council established the Fairmount Southside
Historic District; and
WHEREAS, Fairmount Southside Historic District design guidelines were
adopted by the City Council in 1.992 to establish the acceptable physical characteristics of
each building or structure or site in the historic district, and any modifications thereto,
including layout an location of site, size, shape, materials, fenestrations; and
WHEREAS, the guidelines for the Fairmount Southside Historic District have
not been had a comprehensive review since 1991; and
WHEREAS, the Fairmount Southside Historic Neighborhood Association with
City staff recommends revising the design guidelines to change subjective guidelines to
standards; add an educational and illustrative component to provide clarity to the standards
and aid staff and the Historic and Cultural Landmarks Commission review of certificates of
appropriateness; add new standards to address alternative building materials and
Ordinance No. 21086-01-2014
Pagel of 4
sustainability and lastly to incorporate changes made to the Historic Preservation
Ordinance; and
WHEREAS, the Historic and Cultural Landmarks Commission and Zoning
Commission recommends approval and adoption of the revised design standards and
guidelines;
NOW, THEREFORE, BE IT ORDAINED BY THE CITY COUNCIL OF
THE CITY OF FORT WORTH, TEXAS AS FOLLOWS:
SECTION 1.
Section 4.401 "Historic preservation overlay district ("HSE," "HC," "DD")" of
Chapter 4, "Zoning Districts", Article 4 "Overlay District, of Ordinance No. 13896, the
Zoning Ordinance of the City of Fort Worth, is amended to revise in its entirety the design
guidelines for the Fairmount Southside Historic District as referenced in attached Exhibit
"A". The Fairmount Southside Historic District Design Standards and Guidelines are
hereby approved by the City Council and are included in the zoning ordinance by
reference.
SECTION 2.
That this ordinance shall be cumulative of all other ordinances of the City of Fort
Worth affecting zoning and shall not repeal any of the provisions of such ordinances,
except in those instances where provisions of such ordinances are in direct conflict with the
provisions of this ordinance.
SECTION 3.
That all rights or remedies of the City of Fort Worth, Texas, are expressly saved
as to any and all violations of Ordinance Nos. 3011, 13896, or any amendments thereto that
Ordinance No. 21086-01-2014
Page 2 of 4
have accrued at the time of the effective date of this ordinance; and as to such accrued
violations, and all pending litigation, both civil or criminal, same shall not be affected by
this ordinance but may be prosecuted until final disposition by the courts.
SECTION 4.
That it is hereby declared to be the intention of the City Council that the sections,
paragraphs, sentences, clauses and phrases of this ordinance are severable, and if any
phrase, clause, sentence, paragraph or section of this ordinance shall be declared void,
ineffective or unconstitutional by the valid judgment or decree of any court of competent
jurisdiction, such voidness, ineffectiveness or unconstitutionality shall not affect any of the
remaining phrases, clauses, sentences, paragraphs or sections of this ordinance, since the
same would have been enacted by the City Council without the incorporation herein of any
such void, ineffective or unconstitutional phrase, clause, sentence, paragraph or section.
SECTION 5.
That any person, firm or corporation who violates, disobeys, omits, neglects or
refuses to comply with or who resists the enforcement of any of the provisions of this
ordinance shall be fined not more than Two Thousand Dollars ($2000.00) for each
offense. Each day that a violation is permitted to exist shall constitute a separate offense.
SECTION 6.
That the City Secretary of the City of Fort Worth, Texas is hereby directed to
publish this ordinance for two (2) days in the official newspaper of the City of Fort
Worth, Texas, as authorized by Section 52.013, Texas Local Government Code.
Ordinance No. 21086-01-2014
Page 3 of 4
SECTION 7.
This ordinance shall take effect after adoption and publication as required by law.
APPROVED AS TO FORM AND LEGALITY: ......
E
,s
By:
Assistant City Attorney Mary Kayser, i y ecre y
r
w
Adopted: January 7 2014
Effective:
Ordinance No. 21086-01-2014
Page 4 of 4
N :5
SECTION
1
INTRODUCTION AND ARCHITECTURAL STYLE
INTRODUCTION frame bungalows being the most common configuration.
ydn» got
Variations on the Four Square form are scattered throughout the
This guide has been compiled for the residents and property District. Fairmount/Southside's grandest homes are concentrated
i
h
f i the District and reflect a variety he eastern sections o
owners in the Fairmount/Southside Historic District. Preservation, in t of
restoration and adaptive reuse of old structures makes sense stylistic influences.
aesthetically, environmentally, and economically. Restoration is
often less expensive than demolition or new construction. We hope Growth in the district generally reflected proximity to downtown
this guide will aid current residents and property owners in and transportation routes. The streets were established on a grid
� �
restoring and maintaining the exterior of their properly. In with elongated blocks running north and south bisected by
addition, we hope that anyone interested in buying property in alleyways. Streetcar lines ran along Magnolia, Fairmount, College
Fairmount/Southside will find this guide helpful in deciding to and Hemphill Streets, defining growth patterns and areas of
become part of our neighborhood where we are "Preserving the commercial development.
Past and Planning the Future."
HISTORY OF FAIRMOUNT NEIGHBORHOOD
FPERIOD SIGNIFICANCE: 189o�-1940 TING STRUCTURES: '
Any building within a historic district that adds to the overall �` y
ahistoric integrity and architectural quality of the district. `
NON-CONTRIBUTING STRUCTURES:
A building within a historic district that does not contributjto
the historic character of the district.These buildings were usuconstructed prior to or after the era of significance. (1890-194
The Fairmount/Southside Historic District is a remarkably intact
! neighborhood, representative of the early twentieth-century
l I ;
streetcar suburb, with a diversity of house forms and related� RIGHT: Early streetcar
institutional and commercial properties. Fairmount/Southside is. lines in Fairmount. a /
situated on the near south side of Fort Worth, approximately two
miles south of downtown. Boundaries of the area form a rectangle
d
of about 375 acres (or o.6 square mile). Fairmount was developed REMINDER: All exterior work requiring a building permit requires a
as a middle class residential area between 1885 and 1940 with the Certificate of Appropriateness and must conform with all of City of
p largest concentration of houses dating from 1905 to 1920. The' Fort Worth ordinances. It is helpful when using these guidelines to be
predominant structure is the single-family residence, with wood familiar with your architectural style.
Although Fairmount/Southside contains parts Of 22 subdivisions, the core area DISTRICT BOUNDARIES
has a consistent, unified feeling. While variations in scale do appear, the
dominant impression of Fairmount/Southside is of block upon block of small
houses, closely spaced, with small front yards, set back from the street. The Fairmount Southside Historic District is roughly bounded by Magnolia to
Although alleyways were platted, few were open or in use at the time of the the North, 8th Avenue to the West, Jessamine to the South, and Hemphill to the
original survey. Currently most alleyways were open and usable, although some East, although there are many exceptions along the perimeter. The map below
had been vacated to the owners on either side or gated at each end. Shade trees highlights the area of the District:
occur in places throughout the District, with no regular pattern of landscaping.
In places, the collision of subdivisions creates a jog in the street or a shift in the Fairmount Southside Historic District
street axis. —7
k SIP
J
The earliest homes built in Fairmount/Southside reflect Victorian influences i
dominant in residential architecture throughout the turn of the century.
Examples of Victorian architecture occur in the northern section between
Henderson Street and Sixth Avenue. The move away from Victorian and Queen
Anne toward symmetry in the early twentieth century is illustrated by the
popularity of the Four Square in Fairmount/Southside. This form allowed for
more substantial homes than the modest bungalow, Four Squares generally are
two or two and one-half stories.
While Fairmount/Southside includes many large homes,it was predominantly a ........
middle-class neighborhood where the modest bungalow was the most common
house form. Some of the early Fairmount/Southside houses, particularly in the
northern sector of the nste etngwith vestiges of a Que Anne cottage. After this transitional style came the
Arts &Crafts style bungalow with their exposed rafter tails or eave brackets that _1
are this style's main identifying elements. .......
With the great growth of Fairmount/Southside after 1905, apartment buildings
became a significant element in the District. Two of the earliest apartment
buildings, both of three stories, are reminiscent of the 'triple deckers' common
in New England and the Midwest, and unusual in this region. Fairmount's
Tudor Revival apartment buildings were a very popular style for apartment
construction in Texas during the 1920'S.
The District includes many early twentieth-century commercial buildings.
Commercial buildings are clustered along Magnolia Avenue and Hemphill
Street. Pockets of commercial buildings survive along former streetcar routes,
notably at the intersection of College Avenue and Jefferson Street, at the
intersection of Fairmount and West Allen Avenues, at and near the intersection
of Fifth and West Allen Avenues, and at the south end of College Avenue. Most
are simple, one or two story Commercial style brick structures with storefront
windows. Fairmount/Southside contains quite varied examples of church and
school architecture. The styles include French and Tudor Gothic Revival, and _J1
Classical Revival.
Legend
Fairmount Boundary 0 '180 360 720 1,080 1,440
I 7O
FAIRMOUNT SOUTHSIDE HISTORIC DISTRICT BOUNDARIES Ithe north line of Lot 8-R, of said Addition, to the southwest corner of Lot 7-R of
Layman's Version said Addition; (1200 W. Magnolia Av)
�5 THENCE: with the west line of said Lot 7-R, north, to its northwest corner;
Beginning at the center line of Magnolia Avenue and Hurley Avenue, continue
south to the rear property line Of 1501 Magnolia, thence west to 8th Avenue, �6 THENCE: with the north line of said Lot 7-R, east, to its northwest corner,
thence south to Morphy, thence east to the alley behind lots facing east on passing its northeast corner,to the centerline of South Henderson Street;
Hurley Avenue, thence following the alley south continuing south where it
becomes the parking lot in front Of 1719 8 Avenue to the center line o f 7 THENCE: with said centerline,south to the northwest corner of Lot 9-R
th
Jessamine Street, thence east on Jessamine Street to the alley behind lots facing 8 THENCE: with the north line of said Lot 9-R, east to its northeast corner
west on Lipscomb Street, thence to the rear property line of 801 Powell Avenue,
continue east along the rear property line Of 717 Powell Avenue, thence north to 9 THENCE: north to its intersection of the north line of the south half of Lot
the center line of Powell Avenue, thence west on Powell Avenue to the alley 7,of said Addition projected west; (1120 W. Magnolia)
behind the lots facing west on Lipscomb Street, thence north to the southwest
corner of 220o Hemphill Street, follow the south property line to the center line lo THENCE: east, to and along the north line of the south half of said Lot 7,
of Hemphill Street, thence north along the center line at Hemphill Street across passing its northeast corner to its intersection with the centerline of South
Hawthorne Avenue to the north property line Of 2008 Hemphill, follow the Adams Street; (1228 S. Henderson)
north property line to the center line of Travis Avenue, thence north along the 111 THENCE: with said centerline, south to its intersection with the centerline
center line of Travis Avenue continuing north where it becomes the alley
of West Magnolia Avenue;
between Lipscomb and Hemphill Streets, thence to the east following the rear;
property line of 803 Jefferson Street to the center line of Hemphill Street, 112 THENCE: with said centerline, east to its intersection with the centerline of
thence north to the center line of Allen Avenue, thence west to the alley between Washington Avenue;
Lipscomb and Hemphill Streets, thence north along the alley to the center line
of Myrtle Street, thence continue north along Travis Avenue to the intersection 113 THENCE: with said centerline, north to its intersection with the north line
of Magnolia Avenue, thence west along the center line of Magnolia Avenue to Of Lot 14-R-1, Block 3, McAnulty and Nesbitt Addition, projected west; (l000
the intersection of College Avenue, thence north to the rear property line of W. Magnolia parking lot)
l000 W. Magnolia Avenue, thence west to the intersection of Washington
Avenue, thence south along the center line of Washington Avenue to the 14 THENCE: east, to and along the north line of said Lot 14-R-1, to the
intersection of Magnolia Avenue, thence west along the center line of Magnolia centerline of the alley within said Block;
Avenue to the intersection of Adams Street, thence north to the north property
line of 1228 Adams Street, thence west along the north property lines of 1228 15 THENCE: with said centerline, south to its intersection with the most
Henderson to the intersection of Fifth Avenue, thence south along the center easterly north line of said Lot;
line of Fifth Avenue to the intersection of Magnolia Avenue, thence west along 16 THENCE: with said line, to and along the north line of Lot 13-R, of said
the center line of Magnolia Avenue to the beginning at Hurley Avenue. Addition, passing its northeast corner, to its intersection with the centerline of
College Avenue; (l000 W. Magnolia Av)
LEGAL SUBDIVISION DESCRIPTION OF THE FAIRMOUNT HISTORIC DISTRICT
17 THENCE: with said centerline, south to its intersection with the centerline
1 BEGINNING at the intersection of the centerline of West Magnolia Avenue of West Magnolia Avenue;
with the centerline of Hurley Avenue, as projected from the south; (1301 Hurley 18 THENCE: with said centerline, east to its intersection with the centerline of
Av) Travis Avenue; (80o W. Magnolia)
2 THENCE: with said centerline, east to its intersection with the centerline of 19 THENCE: with said centerline, south to the northeast comer of Lot i-R of
Fifth Avenue; (1300 5th Av) Hendrick's Subdivision; (to Ingram)
3 THENCE: with said centerline, north to its intersection with the north line 20 THENCE: with the east line of said Lot 1-R, south, passing its southeast
of Lot 9R, Block 3, McClelland Addition, projected west; (1208 W. Magnolia Av) corner to its intersection with the centerline of Feliks Gwozdz Place; (1501
4 THENCE: east, to and along the north line of said Lot 9-R, and to and along Lipscomb)
21 THENCE: with said centerline, west, to its intersection with the most 1(717 W. Powell)
northerly east line of the A. Brown Subdivision of Block C-1, of Bellevue Hill
Addition, projected north; (150o Lipscomb, 1519 Lipscomb) 37 THENCE: west along the south boundary of said Lot to the centerline of the
alley between Blocks Al and D4; (721 W. Powell)
22 THENCE: south to and along said east line, crossing West Maddox Avenue,
and to and along the east line of Block 1, Fire Station Park Addition, to its 38 THENCE: along the centerline of the alley between Blocks A-1 and D4, Belle-
intersection with the centerline of W.Allen Avenue; (1600 Lipscomb to Allen) vue Hill Addition, to its intersection with the centerline of West Jessamine
Street; (Soo W.Jessamine)
23 THENCE; with said centerline,west,to its intersection with the centerline of
South Lipscomb Street; (excludes Chase Court) 39 THENCE: with said centerline,west, to its intersection with the centerline of
College Avenue;
24 THENCE: with said centerline, south to its intersection with the centerline
of Jefferson Ave 4o THENCE: with said centerline, south, to its intersection with the centerline
of West Jessamine Street; (226o College Av)
25 THENCE: with said centerline, east to its intersection with the centerline of
Hemphill Street; (1800 Hemphill) 41 THENCE: with said centerline,west, to its intersection with the centerline of
the alley within Block 28, Fairmount Addition, projected south; (alley between
26 THENCE: with said right-of-way, south, to the southeast corner of Lot 3, Hurley and 8th Av)
Block P, Bellevue Hill Addition; 42 THENCE: north,to and along said centerline, crossing Mitchell Avenue, and
27 THENCE: with the south line of said Lot, west, passing its southwest corner, with the centerline of the alley included within Block 21, Fairmount Addition,
to the east line of Block J, Bellevue Hill Addition; crossing West Arlington Avenue, and with the centerline of the alley included
within Block 20, Fairmount Addition, crossing West Richmond Avenue, and
28 THENCE: with said east line,passing its southeast corner, to its intersection with the centerline of the alley included within Block 11, Fairmount Addition,
with the centerline of West Richmond Avenue; crossing Park Place, and with the centerline of the alley included within the
29 THENCE: with said centerline, east, to its intersection with the centerline of original Block io, Fairmount Addition, crossing Allen Avenue, and with the
Travis Avenue; centerline of the alley included within Block 1, Fairmount Addition,to and along
the centerline of the alley within Block 1, Stewart Addition, to and along the
3o THENCE: with said centerline, south to its intersection with the north line centerline of the alley within Block 9, Loyd's Addition, to the south right-of-way
of Lot A-1, of E. B. Webster's Subdivision of Block 8, Bellevue Hill Addition, of Myrtle Street; (alley from Jessamine to Myrtle)
projected west; 43 THENCE: northwesterly, crossing Myrtle Street, to the south line of Block F,
31 THENCE: east, to and along said north line, to the east right-of-way of McAnulty and Nye Subdivision, at a distance of some 70 feet west of the south-
Hemphill Street; (20o8 Hemphill) east corner of said Block;
32 THENCE: with said right-of-way, south, crossing Hawthorne Avenue, and 44 THENCE: with a line some 70 feet westerly of the east line of said Block,
crossing Lilac Street, to the southeast corner of Lot A, of Powell's Subdivision of north,to the south right-of-way of West Morphy Street; (parking lot at Hurley&
Block B2, Bellevue Hill Addition; (2016 Hemphill, 2100 Lipscomb, and 2200 Morphy)
Lipscomb) 45 THENCE: northwesterly crossing West Morphy Street, to the centerline of
33 THENCE: with the south line of said Lot,west, passing its southwest corner, the alley included within the original Block A, McAnulty and Nye Subdivision;
to the centerline of the alley between Blocks B2 and C3, Bellevue Hill Addition; 46 THENCE: with the centerline of the alley included within the original Block
34 THENCE: with said centerline, south, to the centerline of West Powell A,north, to the south line of Lot 4-R, of said Block A;
Avenue; 47 THENCE: with the south line of said Lot, to and along the original north line
35 THENCE: along said centerline of West Powell Avenue east to the northeast of Lot 12, of said Block A, passing the west right-of-way of Hurley Avenue,to its
corner of Lot A,of Powell's Subdivision of Block A-1, Bellevue Hill Addition; intersection with the centerline of Hurley Avenue;
36 THENCE: south along the east boundary of said Lot to the southeast corner; 48 THENCE: with said centerline, north,to the Place of Beginning.
D. 7� luod �� ��r� � t� ��� �dG���� �� � �� or�
PURPOSE- -- designated the Fairmount/Southside National Register Historic District
(roughly defined as bounded on the north by Magnolia Avenue,on the south
A. The Fairmount/Southside H&C Landmark District Design Standards and by Jessamine Street, on the east by Hemphill Street and on the west by
Guidelines for residential and commercial areas shall establish the Eighth Avenue).
acceptable physical characteristics of each building or structure and site,
and any modifications thereto, including layout and location of sitemize, I. In situations where these Standards and Guidelines do not address
shape, ials and fenestration. specific situation, coomububoo with the Fairmount Historic Preservation
Committee is strongly recommended.
B. The Standards and Guidelines shall be U bl U structures and sit
located-'the district(Contributing and-'-- ----'----g' and visible from DEVELOPMENT STANDARDS
C. The Standards and shall ^^^~ ^~^~^~ use and ~~'~^`'^^^~^^^ A. The development standards in the Fort Worth [)evekonuxmnL Code as
District,of the the historical significance of the District.discouraging alterations and modifications that detract from
applicable to the Fuirmmuot/8ou[hoidn H&C District shall apply to all
properties within the District.
D. The Standards and Guidelines shoJ1 preserve and protect places of historic,;
and c~'^"^~~ ^^^^y~^^~^^~~ as well as the ~'~^~~^ visual characteristics~ of the B. All ordinances followed,�ui�a]�o�o shall be �lon��` inoluding: Fairmount/
District. 8outhaide H&C Landmark District Design Guideliues; Secretary of the
E. The Standards and Guidelines shall encourage proper land—use Iotodoc' Standards for Rehabilitation and Guidelines for Rehabilitating
t u onooiog and adequate ourreoog between commercial and roy/ueuuau Historic Buildings; City of Fort Worth Ordinances.
areas and discourage commercial expansion and encroachment into estab-
lished residential areas.
C. In the event of conflict, Fairmount/South side H&C Landmark District
F. As required Worth City Ordinance covering the i of a Design Standards and Guidelines shall prevail or in the absence of a specific
Historic aoo Cultural Lu000nacu uiuo/uz ouoye otauua,uu and uuiuouucu directive in these Standards and Guidelines ' u decision of the Historic and
s""^^ be p"~^^s^^^~ for the use of '^~r`^�y ~''^^~^~ in the ^^^``~^~~ ~^s^^^~^ Cultural Landmarks Commission shall prevail.
definitions The published version shall contain an explanation of the process required
for implementation of these Standards and Guidelines in this District (e.g.,
- of such thin~ as routine maintenance, terminology used in the DEFINITION OF ^^SlAh\DARDS'r AND ^^GUX[]ELINESn,
Landmark Commission). Standards are objective, measurable regulations, often illustrated through
G. diagrams and okotrbmm with wdbiob all projects must cocunl, They will use
--- -'—'--'-- --- --'---'— -'- ---"--- provide -- ���--- ��--�-�` -- l�m such as "shall" and "prohibit". If of exceptional design is
r---'-'- while continuing — promote the ------ objectives.- - achieve clearly consistent with the Purpose of the Standards and Guidelines but does
-'------' ----'---- — -- ------'-- --- Guidelines- -� - minimum not conform to a certain standard, the Historic and Cultural Landmark's
---= -' ---'---- - ----'`-'�—� owners, - committee- preservation- Corumiusioo (B(�Tl� roay approve uCedifiouteof/�oproycinteoeae (C(l&) that
-minded- ---'-'---�-----'-- Historic District- residents shall- - available cites the project's with that purpose. Design Guidelines are more
--'�- -' -- advisory --- -- individual projects= - -- -- District.- -- subjective statements through which the proposes additional design
Neighborhood Association. The committee will be available to assist the� strategies-------- --- -- established as - -'-----`" committee- - -- Fairmount- mct vw and will use language such as "should" and "may". The guidelines
Landmark Commission and applicants at the discretion and instr-uction o should be suitable for most projects, and developers should endeavor to ensure
the Commission. that guidelines are followed to the extent possible. City staff and the HCLC will
work with developers to explore design approaches that maximize conformance
with guidelines.The HCLC shall not deny a COA solely because a project fails to
comply with guidelines.
TEXAS HISTORIC COMMISSION 4' histori-
cal
The Texas Historical Commission is the State agency responsible for
coordination of 5. Distinctive fea�r�' finished and cooa�utbootechniques oroxaon
^ ^ picsnf craftsmanship that characterize o property shall bepreserved.
Register iz Tax Act certifications, technical t U other 6. Deteriorated historic features shall be repaired rather than replaced. Where
preservation related inquiries. Structures listed as contributors in the the severity of deterioration requires replacement of distinctive feature,
��ooev�f�aturms�ul} naut����enl� io �eai�o' co}or' ten�uzuao�otbmrvisnul
��ir�- ` �� District ~ eligible qualities and, vvbmrc possible, materials. ftnrluomnoeut of missing features
benefits such as grant programs administered by the Architecture Division of^=^*o Historic ��^"^^^^"^° "="ys^^�""`^ ^^`= "�=`^=" "`^^"" "'^^,=�" ,"^'""" shall be substantiated bvdocumentary,physical or pictorial evidence.
the Texas Historical Commission. Other benefits include access to Historic 7. Chemical or physical treatments,such as sandblasting,that cause damage to
Preservation grant-in-aid ` g and Texas historic materials shall not be used. The surface cleaning of structures, if
Historic Preservation Grant funding. appropriate, shall be undertaken using the gentlest means possible.
8. Significant archaeological resources affected by a project shall be protected
THE ~ -= ~-°A ^' OF THE INTERIOR'S STANDARDS and preserved. If such resources must be disturbed, mitigation measures
shall boundertaken.
FOR REHABILITATION
g. New additions, exterior alterations or related new construction shall not
deeLon historic materials that characterize the property. The new work
�u� ��c���u,y^ o�uuuu�u� u/vu� °�u� uy�/��uu.c City v� �v,` Worth destroy differentiated fro nld ao� shall �� c atibl� ��tb L��
development mvue^ are the basis for the ,u,,u^vuu Historic�ouo'/� "'uuict massing, size, integri-
property to a state of utility, through repair or alteration, which makes possible ucx�v,uuvu �^ u�uucuu" u/� P.vcc^^ o/ /c�u�/u,"6u tynf the property and its environment.
an efficient cvuteu/yvr=uy use °uuc v/e»er,u,s u^voe pv^uvu^ and features of l0. New additions and adjacent or related new construction shall be undertaken
the property which are ^i8u".cuut to its historic, u/uuucctu,av and cultural iu such a manner that if removed in the future, the essential form and iuteg-
oma
vm . rityof the historic property and its environment would heunimpaired.
The first eight Standards apply t0 all treatments undertaken on historic
properties listed 0u the National Register. Numbers nine and ten are standards
specific b)rehabilitation.
z. A property shall be used for its historic purpose or be placed in a new use
that requires minimal change to the defining characteristics of the building
and its site and environment.
2. This historic character of property shall be retained and preserved. The
removal of historic materials or alteration of features and spaces that
characterize a property shall be avoided.
3. Each property shall be recognized as a physical record of its time, place and�
omc. Changes that create a false sense of historical development, such as
adding conjectural featuroa or architectural elements from other buildings,
shall not be under-taken.
FORT WORTH HISTORICAL AND CULTURAL QUESTIONS AND ANSWERS:
LANDMARK COMMISSION What is a Historic and Cultural Landmark District?
The Fort Worth Historic and Cultural Landmark Commission (HCLC) was An H&C Landmark District is designed to provide for the protection and
created by City Ordinance No. 8410, adopted on September 8, 1981. The HCLC preservation of places of historic and cultural importance and significance.
receives its directives from Comprehensive Zoning Ordinance No. 10444, Structures and sites in the Historic District carry HC overlay zoning.
adopted November 14, 1989. The HCLC functions under the mandate of the
Certified Local Government program administered by the Texas Historical Does overlay zoning change the use of structure or site?
No. The current use is retained. Most Fairmount/Southside Historic District
Commission. The nine members of the Commission are appointed by the City zoning is single family, two-family, or multi-family; and some commercial.
Council. The Development Director, the Planning Director, and the Building
Official shall be ex officio, non-voting members. The Commission enforces and
amends design standards and guidelines for "HC" Overlay Districts; holds What is the primary reason for the Historic and Cultural Land-
mark District?
hearings and makes decisions concerning the issuance of Certificates of The district overlay zoning is a tool which can be used to promote appropriate
Appropriateness; and administers the City's program of Historic Site tax restoration in Fairmount/Southside by encouraging compatibility of new
exemptions.The Fort Worth Appeals Board hears appeals of HCLC rulings. construction, and appropriate restoration of existing structures and other
ADMINISTRATIVE APPROVALS actions which would result in preservation of the distinctive visual character of
the neighborhood.
There may be some projects, though visible from the public right-of-way, which
are not required to go before the HCLC. What serves to attain these objectives?
The following are typical projects that maybe staff approved: The ordinance regulating H&C Landmark districts requires that guidelines be
written to oversee these types of activities. The minimum standards are the
• Repair or replacement of missing or damaged architectural features Secretary of the Interior's Standards for Rehabilitation. Original guidelines
including porch posts, siding, window trim, etc. written for Fairmount/Southside Historic District were approved on November
5, 1990•
• Removal of non-original material
• Emergency repairs How are the Guidelines used?
All work requiring a permit from the Department of Development which is done
WHAT DOES NOT NEED A CERTIFICATE OF APPROPRIATENESS? on structures in Fairmount/Southside Historic District is reviewed by the Fort
A. Routine in-kind repair using same materials and design that does not Worth Historic and Cultural Landmark Commission Staff to insure the plans
require a city permit. are in accordance with the City of Fort Worth Zoning Ordinance and these
Standards and Guidelines.
B. Landscaping
The previous owners made changes to my house that is not
C. Paint. Unpainted masonry does require a Certificate of Appropriateness, compatible with the Guidelines. Do I have to undo what has
already been done?
D. Roofing material. Metal roofs require a Certificate of Appropriateness.
No. The Fairmount/Southside Historic District Standards and Guidelines are
Contact City Planning Department for further clarification not retroactive.
ARCHITECTURAL STYLES IN THE DISTRICT Common Features and Building Materials
VICTORIAN- 1870-1910 Architectural Precedent: National Folk, Queen Anne, Italianate
Roof Tyne:Asphalt/fiberglass shingles
]hoof Forms: Front-gabled,gable front and wing,
g g, pyramidal with
moderate pitch.
Y� r�
Heights: One and two stories
Bave: Boxed or open
Building Materials:Wood siding, patterned wood shingles
Detailing: Porches with spindlework detailing and jigsaw cut trim. Lace-like
spandrels and turned balusters may be used in porch railings and in friezes
suspended from the porch ceiling. Window surrounds may have simple
� pediments above
f
Other Features: Spindlework details and jigsaw cut trim is sometimes used in
the gables.
ABOVE:Folk Victorian Cottage r
Folk Victorian style was common throughout the country. Like that of the
National Folk forms on which they are based, the spread of Folk Victorian
ul�
houses was made possible by the railroads. The growth of the railroad system
made heavy woodworking machinery widely accessible at local trade centers, ����
where they produced inexpensive Victorian detailing.
The railroads also provided local lumber yards with abundant supplies of
p re-cut detailing from distant mills. Many builders simply grafted pieces of this
newly available trim onto the traditional folk house forms familiar to local
carpenters. Fashion-conscience homeowners also updated their older folk
homes with new Victorian porches. These dwellings make strong stylistic
statements and are therefore treated here as distinctive styled houses, rather
than pure folk forms. After about 1910 these symmetrical Victorian houses, as
they are sometimes called, were replaced by the Craftsman, Colonial Revival,
and other fashionable eclectic styles.
ABOVE: Queen Anne Cottage
�z
AMERICAN FQURSQUARE— 1900-1920 Common Features and Building Materials
Architectural Precedent: Mission and Italian Renaissance
Roof'hype:Tile and Asphalt/ fiberglass shingles
�y Roof Forms: Hip or gable with low pitch
Heights: One to two and half stories
«� Eave: Wide
Building Materials: Wood stone or brick
-�, Other Features:The American Foursquare is a common vernacular variant of
the Prairie style. A large central roof dormer is a common feature of this
subtype.
n
WIWI`
r*
Rim%f.
r
AsovE:American Foursquare— Prairie Style
The Prairie style originated in Chicago and landmark examples are concentrated
in twentieth suburbs, pMidwestern Oak P ncForest Examples can al oe found other large es. Vernacular
' u
p
examples were spread widely by pattern books and popular magazines and are
common in early twentieth century suburbs throughout the country.
Most were built between 1905 and 1915. The style quickly faded from fashion r
after World War I. Massive square or rectangular piers of masonry used to
support porch roofs are an almost universal feature ofbigh-style examples.They
remain common in vernacular examples, which also show squared wooden
imitations. The characteristic horizontal emphasis is achieved by such
decorative devices as: (r) contrasting caps on porch and balcony railings, (2)
contrasting wood trim between stories, (3) horizontal board-and-batten siding,
(4) contrasting colors on eaves and cornice, and (5) selective recessing of �
only the horizontal masonry joints. Other common details in both landmark and
vernacular examples include window glazing, broad, flat chimneys, contrasting
wail materials or trim emphasizing the upper part of the upper story, and
decorative door surrounds consisting of bands of carved geometric or stylized,
ornamentation. This type of decoration is sometimes called "Sullivanesque"
named after Chicago architect Louis Sullivan. A.QO'vE LEFT: American Foursquare with craftsman influence. AB(7VE RIGHT:
American Foursquare with Classical Revival influence.
BUNGALOW— 1905-1930 Common Features and Building Materials
Architectural Precedent: English Arts and Crafts movement, oriental
wooden architecture, and the manual arts
Roof e:Asphalt/fiberglass shingles
Roof Forms: Front, cross, side, or hipped gabled roofs with low-moderate
pitch
rill 1
Heights: One and one-half to two stories
Eave: Intermediate to deep with or without exposed rafter tails
Building Materials: Wood weatherboards or shake is most common; stone,
brick, concrete block, and stucco are also used
Detailing: Columns for supporting the porch roofs are a distinctive and
variable detail. Typically short, square upper columns rest upon more massive
piers, or upon a solid porch balustrade. Roof timbers either extend trough the
wall to support the eave or false rafter ends are added
Other Features: Craftsman doors and windows are similar to those used in
vernacular Prairie houses.
rya
X
ABOVE: Craftsman or double front gable Bungalaw „r
This was the dominant style for smaller houses built throughout the country
during the period from about 1905 until the early 1920s. The craftsman style
originated in southern California and most landmark examples are concentratedrF
there. Like vernacular examples of�the�contemporaneous Prairie style, it was
quickly spread throughout the count y b pattern books and popular magazines.
The style rapidly faded from favor after the mid-192os and few were built after
the 1930S.
Craftsman houses were inspired primarily by the work of two California w,
brothers—Charles Sumner Greene and Henry Mather Greene—who practiced
together in Pasadena from 1893 to 1914. About 1903 they began to design
simple Craftsman-type bungalows. By igog, they had designed and executed °
several exceptional landmark examples that have been called the ultimate
P P
bungalows, Several influences—the English Arts and Crafts movement, an
interest in oriental wooden architecture, and their early training in the manual
arts—appear to have led the Greenes to design and build these intricately
detailed buildings. These and similar residences were given extensive publicity
in such magazines as the Western Architect, The Architect, House Beautiful, rfl°. ����
Good Housekeeping, Architectural Record, Country Life in America, and
Ladies Home Journal, thus familiarizing the rest of the nation with the style.
ABOVE:Airplane Bungalow
7 7(Y
v
f�
CRAFTSMAN BUNGALOW
low-pitched roof grouped windows
cutout bracke
s
..,n aw �..'.• r tl�
t
split wc od shingles
projecting
tails
f
--rater tas
eaves � 9 b
kick
U
shed roof �1 p
plate glass r-
_= _
�
s III
squared �� t
11m am� ,
bay
--- _ _ -- -- Above:Hipped/Gable Bungalow
eight-over-one
double-hung sash
�I
le
iiuw' w
� J
� 4
T
G 5
1
M e
I
nn
P ✓`� 1ma
ABOVE:Hipped Roof Bungalow. ABOVE:A-frame or front facing gable Bungalow.
TUDOR— 1$90-1940 TRANSITIONAL
MEN",%////orme
i
/
i
/
i
INS I
ABOVE: The majority of Fairmount houses are a mix of architectural styles, like
these Queen Anne derivatives with classical revival elements.
ABOVE: Tudor/English Revival MINIMAL TRADITIONAL— 1935-1950
The Tudor style is another architectural style that grew out of the 191h century
movement away from the "modern" industrial revolution and towards a more
romantic historicism. The style is English
A
based on late Medieval cotta e ,
styles. The English Revival Cottage is a smaller version of the Tudor with brick
o �
walls instead of stucco and less half-timbering.
/p 1/
4 f
The Tudor and English Revival styles features can be found mixed with Shingle, � �
Queen Anne Revival, and Stick and Eastlake styles.
Common Features and Building Materials '
Architectural Precedent: English Medieval
Roof Type:Asphalt/fiberglass shingles
Roof Forms: Gable with steep pitch
Heights: One to two and half stories
Eave: Wide
ABOVE: The Minimal Traditional structure has almost no overhangs, a large
Building Materials: Stone or brick window and geometric columns, door and shutters.
1
1 77
SECTION STANDARDS AND GUIDELINES FOR
2 ACCESSORY STRUCTURES
INTRODUCTION HISTORIC GARAGES
Accessory structures are an important component of a residential ; Shelter for the automobile became an increasingly important
and commercial site. They contribute significantly to the overall consideration after igoo and by the igios garages were standard.
property, setting historic context and are part of the historic fabric Garages were almost always detached from the main structure due
II I
of the neighborhood. They contribute to our understanding of a 1 to common fear of exploding gasoline. At the time gasoline was
neighborhood's history and character and to the overall kept in the garage as gas stations had yet to be invented. As a
organization and use of a site. The most common types of result of this fear, it wasn't uncommon for garages built prior to
accessory structures are sheds, garages, garage apartments or 1920 to be built of brick, concrete block,hollow clay tile or pressed
carriage houses. Garages or carriage houses are the most typical tin rather than wood; even if the house was wood framed and had
accessory structures found in the Fairmount Historic District. wood siding. Many garages were built with a side, rear or second
floor apartment. Often the garage with an apartment was built
Accessory structures can be considered contributing if: first and occupied by the home owner until the main structure was
• Constructed at the same time as the main structure and/ or built. On rare occasion, detached garages were attached to the
shares distinctive characteristics with other structures on the main house by a pergola or a roofed breeze way. Garages were not
site. integrated into the main structure until the 1950's. After 1920 it
• Constructed prior to or after the main structure was became more common to see garages built in the same style as the
constructed on the site but had a significant function. main structure. These similarities can include the building form,
him • Representative of an important architectural style or materials and simplified detailing; however, it wasn't uncommon
construction method. for it to have a different type of cladding or roof material or roof
• Associated with an important event or person related to the shape than the
property. main house.
DEMOLITION
In the case of demolition, accessory structures that contribute to
the historic character of a site and neighborhood, shall follow the
Criteria for Demolition.
REMINDER: All exterior work requiring a building permit requires a
Certificate of Appropriateness and must conform with all of City of
Fort Worth ordinances. It is helpful when using these guidelines to be
familiar with your architectural style.
CONSTRUCTION OF A NEW ACCESSORY STRUCTURE ACCESSORY STRUCTURE STANDARDS
(Required)
Like additions, accessory structures should be subordinate to and visually
compatible with the main structure on the site. Accessory structures should s. Contributing accessory structures shall be maintained.
match in form and materials; and, have simplified detailing. In the 2. Original garage doors shall be repaired and retained,.
construction of a new garages only single car openings are appropriate. 3. When necessary replacement garage doors shall be compatible with the
garage design. Metal roll-up doors are acceptable; however, historic
APPROPRIATE INAPPROPRIATE APPROPRIATE garage doors are typically wood with recessed panels, and therefore a
s
10111
wood replacement door should be considered.
i 4. New accessory structures shall be designed to complement the period and
f style of the main structure and shall meet all other design guidelines.
5. New accessory structures shall be located at the rear of the property or
w ` zero lot line when appropriate.
6. Garages shall not be attached to the main structure.
LEI ] 7. Garages shall not exceed two bays unless replacing an existing three bay
OO 4
'�✓'r' ✓Jr DVS
garage.
8. Pre-manufactured or metal carports and outbuildings, sheds (over 50
STREET square feet)are prohibited.
ArtovE:Accessory structures are typically located to the rear of the main structure.
PPROPRIATE GARAGE DOORS ACCESSORY STRUCTURE GUIDELINES
(Recommended not required)
OMER M mp 1171 1. Garages on corner lots should have the driveway approach from the side
am Am WIN street, and should be located no more than one car length from the
low sidewalk,
ruurkrri rU rrFartru.m�arcmmry .r �.mn�ori.rr .. niorm�m......r.. .. ,..... .gym a..... .. inm.........N aaa � �a�aw2�arcrmiv�� uu iun�smmriurwrca� v� !nwmmmrrae�y.
ttu
Ll 11. �V ADDITIONAL RESOURCES
.
INAPPROPRIATE GARAGE DOORS
• Bungalow Details: Exterior by Jane Powell and Linda Svendsen
• NPS Preservation Brief#20: The Preservation of Historic Barn
�- � s
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SECTION STANDARDS AND GUIDELINES FOR
COMMERCIAL STRUCTURES
INTRODUCTION j TYPES OF COMMERCIAL STRUCTURES
Commercial Spaces in the i$th and early 19th Century were RETAIL OFFICE SPACE:
typically located on the round floor of a building. The had �
�� Y g g� Y Can be multiple stories
J residential scaled opening that made them almost with storefront on the
indistinguishable from residential structures. During the early ground floor and
part of the 19th Century commercial structures began residential or office
. ,. distinguishing themselves from residential building by °° ` space above.
incorporating storefronts at the ground level. The storefronts '
i
� from the weather. The entrance or an awning to protect costumers
typically had a recessed entry
1 ranee was flanked by large display �,JJJJ
windows. As time progressed signs, lighting became regular � `components of the storefronts and commercial properties. This
chapter will explore the different aspects of commercial
INSTITUTIONAL:
s
These buildings
structures. 9
provide public
services. Typically
TYPES OF COMMERCIAL STRUCTURES they are schools
,
STOREFRONT COMPONENTS churches, banks
and government
SIGNS AND AWNINGS buildings.
LIGHTING
"� ��°�i�""!�I�ul""���V�'1'�1111pp1i (i`Ys'y�i�l���ll�lu�ll�lllllll�llll�ll LARGE SCALE RESIDENTIAL:
BUILDING EQUIPMENT
Condominiums and
PARKING � �tl
apartments constructed to
house multiple families.
These building are similar to
commercial structures in
���1�" ��,- REMINDER: All exterior work requiring a building permit requires a
��W, t 9 9 9 p terms of signage, lighting
Certificate of Appropriateness and must conform with all of City of and building code.
Fort Worth ordinances. It is helpful when using these guidelines to be
familiar with your architectural style.
Components of a Storefront
TOP OR CORNICE:
A decorative feature, BUILDING CORNICE
typically projecting, that `�' ` ._� n _
s
provides a visual cap to the
building. ICN7 X011 16 � aa��f o t a e ��W ego �c � a to 6Wp 5 6 ��31r Z � a 10tt €M0
..
SIGN
o . o. . ti
MIDDLE OR UPPER
... .�,
_. IC
�FLOaRS: ,
Usually non-retail space
above the ground floor.
. :d...._....
Can be multiple stories.
This section will have oiler-
able windows. The win- - i WINDOW
doves do not have to align
with the storefront. c R o� Gd'� V ,� . 6 4s°c° ens o���.a"o c r a�... w
iG (a t� 0 6 �d�� �! STOREFRONT CORNICE
t r t
LINTEL
7TO'
BOTTOM OR STOREFRONT:
This i s typically ........ ..�....._ �` , '� .�. ..... :....... .:.. .. ....��.... ..�... � ' — 'I IrArrSOM
....�..... _.. _ .. ..._ .... .�
commercial space with
LIGHTING
large spans of glass. `
MULLIC)N
Comprised of an
EN'I'I2ANCE
entrance, typically
recessed, and display
DISPLAY WINDOW
windows capped by �_. �._. _.a .. �
n ° BULKHEAD
transoms and a cornice. °'°'
SIGNS APPROPRIATE SIGNS
Signs are an important component of commercial structures. The identi fy and
advertise for the business and decorate the commercial structure. The provide a
continuity to the streetscape and reflect the architecture and technology of their N
time. They typically are comprised of letters and logos that express the nature of �
the building's use to the public. The intent of standards for signs are nor to
dictate the design but to ensure that type , size and location are sympathetic to
the historic fabric and character of the streetscape. The size of signs shall
conform with the base zoning and should be proportional to the
structure. Signs should be located in a manner that they do not r I�
cover, destroy of detract from any architectural features on the y
structure. There are various types of signs most are appropriate for historic I Wall painted signs
structures. is
INAPPROPRIATE SIGNS
I
Blade sign with individual
illuminated channel letters
Ft
iL Flush mounted wall sign
r
Internally illuminated
Projecting internally
box cabinet wall signs
illuminated box cabinet
signs
Pole Signs Wall mounted channel letters Window decal
AWNINGS BUILDING EQUIPMENT
Awnings like signs are an important component of commercial structures. The Screening of mechanical, electronic, and communication equipment including
help to protect the costumer from the weather, provide shade to the window HVAC, restaurant exhaust fans, generators on the roof should be organized,
displays, decorate the structure and can act as signage. Awnings for commercial proportioned, detailed, and colored to be an integral element of the building as
structures can be made out various materials. Metal and fabric awnings are the seen from the points of high elevation, streets and adjacent residences.
most typical.
Ilill
Screening of pr,ooftop equipment
77 with roo rm is preferable.
.............
00
lit's 1-"".
The slate fabric awnings provide This metal decorative awning
protection as well as advertise. protects patrons from the elements.
LIGHTING
Lighting for historic structures should be placed in a location that does not PARKING
distract or conceal architectural features. Lighting should be appropriate for W
the architectural type of structure or should not suggest a period or style. In When possible parking should be located at the rear of the structure. When nec-
addition, lighting should be and moderate in placement. On commercial essary it can be located to the side of the structure,but should be screened from
structures lighting is often used to help identify the entrance. the public right of way by either fencing or landscaping.
•
.............................
..........
•
STRUCTURE
STRUCTURE
The simple Art Deco light Non-decorative down lighting fixtures
fixtures flanking the door are used to light the entrance. The fixtures
identify the entrance and match are moderate in placement and do not
the architectural style of the suggest a period or time.
structure. STREET
STOREFRONT STANDARDS SIGN STANDARDS
1. Historic storefronts shall be maintained and repaired. Wood storefronts 11. Historic signs shall be maintained and repaired.
including bulkhead shall be repaired. 12. Signs shall use materials that are consistent with the character of the
2. Recessed entries shall be maintained. building.
3. Upper story windows shall be maintained and repaired. 13. Signage shall complement the style of the building and shall be
4. Decorative cornices shall be maintained and repaired. appropriately scaled/sized for its location.
5, Historic unpainted brick and masonry shall not be painted. 14. Signs shall not conceal, destroy or distract from character defining
features.
BUILDING EQUIPMENT STANDARDS 15. Internally illuminated cabinet/ box signs and pole signs shall be
6. Screening of mechanical, electronic, and communication equipment prohibited.
including HVAC, restaurant exhaust fans, generators on the roof should 16. Exposed wiring, conduit,junction boxes and raceways for channel letters
be organized, proportioned, detailed, and colored to be an integral or sign lighting shall be prohibited.
element of the building as seen from the points of high elevation, streets
and adjacent residences and should be concealed from the public right of 17. Flashing,flickering or moving signs shall not be permitted.
way. AWNING STANDARDS
PARKING STANDARDS 18. Awing shapes shall correspond to the openings they protect.
7. The paving of driveways and parking lots shall be of natural concrete, 19. Awning material shall be fabric or a material compatible with the style of
brick,cut stone,pavers,natural rock or asphalt,or green grass pavers. the structure and shall be located between storefront bays or at entrances.
8. All parking lots for more than five vehicles having frontage on a residen- The primary colors of awnings should be slate,green,tan or stripe.
tial property shall be screened from the street. A four foot hedge can be 20. Lettering and logos shall be limited to the valances of awnings.
used. 121. Vinyl, plastic and internally illuminated awnings shall be prohibited.
9. Vacant lots used as parking lots shall be screened.
lo. Parking lots shall be located to the rear and shall not front the street. LIGHTING STANDARDS
**See Standards and Guidelines for New Construction for parking structures. 22. Placement of outdoor security lights and their mounting shall not
11 — . . 11 "1 .1-11, 1 1-- "1 � 1111-1 ' " damage, detract from, or conceal character defining features of the
ADDITIONAL RESOURCES structure.
NPS Preservation Brief#11: Rehabilitating Historic Storefronts 23. Flood/security lights are prohibited at primary street elevations.
•• NPS Preservation Brief#25:The Preservation of Historic Signs 24• Lighting shall be compatible in age, style and scale to the building or
unobtrusive and not suggestive of a style or age. Their mounting shall not
NPS Preservation Brief#44:The Use of Awnings on Historic Building: damage,detract from, or conceal significant features of the structure.
Repair, Replacement and New Design
SECTION STANDARDS AND GUIDELINES FOR
DOORS AND WINDOWS
11Gru,yN, i,,lrq i�6liugiligu`i( INTRODUCTION TYPES OF WINDOWS
-
i�
j
MuODU �I011lili N, �I u
Y I�
FIXED DOUBLE- OR SINGLE- CASEMENT
HUNG (UPPER SASH
)i
� MAY BE FIXED IN EARLY
_:
EXAMPLES)n 11r: Doors and windows comprise roughly So%
of the surface area of
walls on historic structures. Traditionally they are spaced in
orderly fashion with each room having at least one opening. They
header of the openings typically ali g n. Doors and windows are
important components as they help to identify and define the SLIDING HOPPER AWNING
.. architectural style and period of construction of a structure, while
providing S" natural light s windows;�t e
ma y sty a d co mp on e is of doors andhe following
f sections can be found: I
WINDOW TYPES AND STYLES prvoT Lauv
COMPONENTS OF A WOOD WINDOW ER
DOOR'TYPES AND STYLES ABOVE: The types of windows images are from A Field Guide to American
Houses by Virginia and Lee McAlester.
SCREEN DOORS AND WINDOWS— See Sustainability Chapter REMINDER: All exterior work requiring a building permit requires a
SHUTTERS— See Sustainability Chapter Certificate of Appropriateness and must conform with all of City of Fort
Worth ordinances. It is helpful when using these guidelines to be
STORM WINDOWS AND DOORS— See Sustainability Chapter familiar with your architectural style.
A 1
COMPONENTS OF A WINDOW
,&U
;1d'69 DRIP CAP
i-AL"is, ".
eta" Y .. ..,.
�r ,.����VIU,Yp�1>X,��/i�„�)%�'`! 1 rn�rr�?rrrlrrn rr�rry',ri0fiyp�rrarwrrr§vrr�s✓aroni cmua a� � :"
1
CASING TRIM: `
VW1? %m,,,uti �.
HEAD
TOP RAIL
SINGLE GLAZE WOOD
TOP SASH — °
CASING TRIM; JAMB
i ?V o
MEET RAIL &
a'
t,,y�^mnNr14➢r�,r� '
SINGLE GLAZE WOOD "
---- BOTTOM SASH
or,jhu,011, II
BOTTOM RAIL
WOOD SILL
SIDING
ABovE: Traditional 1/1 wood window found in the Fairmount
Historic District.
EXTERIOR INTERIOR
ABovE: The section is an excerptfrom Architectural Graphic Standards published in 1932
by John Wiley and Sons,Inc.
n �
DO'S AND DON'T OF WINDOWS
DO DON'T
Uneven sashes are only appropriate if the
bottom sash can slide up into the wall.
This is known as a slip head condition or pf Don't have uneven sashes. Uneven sashes are
p �� ��'�'���e�j' ����i����il only appropriate if the bottom sash can slide
pocket window. This window has a wood I �plV I�
sill set of a 15 degree angle, which will up into the wall. This window is also missing a
allow water to drip off the edge instead of sill which allows water to drip instead o f
seeping behind the window unit and
seeping behind the weatherboards.
damaging the wall.
i, l l 1f
J
If a wood window is deemed non-repairable ' i
Don't change the size of the original '
give special attention when choosing a �
opening, surface mount the window
replacement. Consider material size grid
pattern and installations. Material changes unit or mitered the corners. It is
MUST be approved by the HCLC but are inappropriate to change the size of the
r original opening. Traditional wood
generally not approved. Replacement
windows are recessed within the wall
windows should be recessed mounted,
meaning they are not flush with the exterior to allow space for shutters and screens.
f r,;
of the wall and fit the original opening. Often Mitered corners allow for water to
the dimensions are difficult to replicate, ask seep behind the weatherboards,
Staff for assistance. causing water damage to the wall.
y � piYr i➢J !Y °>>�l' �lY��iir r�r x➢�..m9n n
Always double the width of
H
trim between aired
P
win-
dows. Make sure to include
a wood drip cap above the
Don't install siding between
trim and a wood sill. Drip paired windows. Paired
l
caps he prevent water
p p to p windows should have abutting
am seeping behind the
.�" P 9 trim.
window unit and prevent
water damage to the wall ...,,..., ..
A O
ENTRANCE COMPONENTS INAPPROPRIATE ALTERATIONS TO DOORS
LEFT, RIGHT AND BELOW:
The transoms and
sidelights of these
Crown MOLDING examples have all been
significantly altered by
either being covered or
nsorn removed. In some cases
the original door has been
removed and the opening
Transom BAR has been reduced in size
and the trim has been
altered.
SIDELIGHT
TRIM:
Traditionally
matches the
windows
..............
INAPPROPRIATE STYLES FOR HISTORIC DISTRICTS
..........
Borrom RAIL OR KicKPLATE:
Traditionall y equal height for
the door and side light. % �` i ,
A A
WINDOWS BY ARCHITECTURAL MOVEMENT DOOR BY ARCHITECTURAL MOVEMENT
VICTORIAN
I-U- j
1 C=71
i
m
A. 1/1 B. 2/2 C. 3/1
Arts and Crafts
IE 11 14
..
D. DIAMOND/1 E. HALF DIAMOND/ 1 F. 6/1
,µms
During the 17th century window sashes were often glazed with many small _�.. .. .._.w.�
panes of glass either in a square or diamond pattern. Often these windows
were fixed. This was mostly due to glass-making techniques and cost. As it
became easier to make glass and the cost fell, panes of glass became bigger. At
the beginning of the 19th century windows were 6 panes over 6 panes(6/6).As
Victorian architecture became prominent toward the later part of the century
4/4 windows began to replace the 6/6. By the turn of the century 1/1 were
being used and by the 1910 that was the prominent window configuration. As
the Arts and Crafts movement took over the nation small panes of glass often
over a single pane of glass were used as a design feature rather than a Minimal Traditional
technology necessity. As the Arts and Crafts movement transitioned to the
Modern movement aluminum windows became fashionable.
Victorian Windows: A,B,C, D, E, F �
Arts and Crafts: A, C, D, E,F
i
EuRoPFAN REVIVALS: A, D,F and multipane casement windows
Ar:
OPENING STANDARDS
i, Original windows, doors, transoms, side lights, and trim shall be repaired
rather than replaced. (For maintenance tips on wood windows see the
Sustainability Chapter.)
2. When necessary, replacement windows, doors, transoms, side lights, and trim
shall match existing in size, shape, configuration, type, operation, muntin and
mullion pattern, dimensions,profiles and detailing.
_...., 3. Replacement windows for wood windows shall have true divided lights.
i
4. Aluminum windows and doors are prohibited.
5. Fiberglass doors are prohibited.
r o !j f�rlu
6. Vinyl windows are prohibited on primary street elevations and shall not be
installed when visible from the public right of way, When installed in a
locations not visible from the public-- right— of way vinyl windows should be
1/1 recess mounted with appropriate trim. (Visibility of public- right- o£-way
is determined by the HCLC or their staff).
%J.
rf 7. When restoring, windows, doors, transoms, side lights, and trim, shall be
typical of the size, location, profile, exposure, detail, relief and dimension of
the style and period of the structure.
8. Security bars shall not be installed,
9. Original openings shall not be altered in size or location or removed. Window
to door and door to window conversions shall maintain the header height and
width of original opening.
io. New openings shall be typical of the size, location, material, profile, exposure,
detail,relief and dimension of the style and period of the structure.
� � ADDITIONAL RESOURCES *For awnings see chapter on outdoor spaces,
• NPS Preservation Brief#9:The Repair of Historic Wooden Windows See chapter on Sustainability for standards pertaining to screens for door and
windows,storm doors and windows, and shutters.
• NPS Preservation Brief #33: The Preservation and Repair of Historic
Stained and Leaded Glass
• A Field Guide to American Homes by Virginia and Lee McAlester �
II'
SECTION
STANDARDS AND GUIDELINES FOR NEW CONSTRUCTION,
5 ADDITIONS, DEMOLITIONS AND RELOCATION
INTRODUCTION DESIGN PRINCIPALS OF
Fairmount Historic District is fortunate to have such a diverse mix ADDITIONS AND NEW CONSTRUCTION
of architectural styles throughout the neighborhood. Each of these New construction should reflect design concepts of the period in
styles is equally important,just as each house and the way it has, or which it is created, while recognizing that a new building or
will, develop is important. The historic district designation is not additions must fit within an existing framework of a variety of older
meant to freeze the neighborhood in time, but rather to guide the structures. New structures and additions should harmonize with
neighborhood into the future. The most significant events that older structures, while at the same time remain distinct from the
effects the change of character in a historic district is demolition old so that the evolution of the district can be clearly read. Means
and new construction. When constructing a new home in the for differentiating may include materials, form and construction
district, it is important to draw upon the context of the local method. Style is discouraged from being the primary indicator of
neighborhood for inspiration. This does not mean that new differentiation. To achieve this goal, several aspects of the existing
construction should mimic existing homes. However, new context should be analyzed by the applicant and integrated into
construction should be sympathetic to the existing building their proposal including:
typologies within the district and, more specifically, in the
sub-district and block face, if applicable. This chapter will explore COMPLEMENTARY ROLE OF AN ADDITION
how demolition, the relocations of structures and new construct
can affect the historic fabric and character of a neighborhood. SCALE: HEIGHT AND WIDTH
BUILDING FORM AND MASSING
DESIGN PRINCIPLES OF ADDITIONS AND NEW CONSTRUCTION
DEMOLITION SETBACKS
RELOCATION SITE CONFIGURATION AND ORIENTATION
ARCHITECTURAL ELEMENTS
REMINDER: All exterior work requiring a building permit requires a RHYTHM OF OPENINGS
Certificate of Appropriateness and must conform with all of City of Fort
Worth ordinances. It is helpful when using these guidelines to be MATERIALS
familiar with your architectural style.
COMPLEMENTARY ROLE SCALE: HEIGHT AND WIDTH
If possible, new additions to an existing historic structure should occur to the Each historic district and neighborhood has a consistent dominant height
rear of the house. This has the least impact on the historic integrity of the throughout the district. Structures located with the residential portion of
home. In some cases, however, a side addition may be necessary based on the Fairmount Historic District are typically i or 2 stories, while the commercial
programmatic needs of the client. In these cases, the addition shall take a corridor structures have additional height of up to 4 stories. The proposed
subordinate or complementary role to the main structure in setback, size, scale, height and width of a new building shall relate to the typical height
and design. All additions should be compatible in design,yet differentiate from and width of the neighboring historic structures.
the historic building. This is usually accomplished through a simplification of
the new structure. If the addition is ever removed from the structure, the
guidance listed above will allow the house to return to its original condition.
I 6m 1 11 1 x -1- ` YES
J115
DESIGN Tips
• Avoid constructing an addition on a primary or character defining
elevation. Place the new addition on an inconspicuous side or rear
elevation.
No
• Make the size, scale, massing, and proportions of the new addition 1 "11,000000000 fi
compatible with the historic building to ensure that the historic form is
note xpanded or changed to an unacceptable degree. E3
• E9
Consider constructing an infill addition or connector from the historic
building's wall plane to the new addition, so that the form of the historic
building-or buildings-can be distinguished from the new construction.
• Set additional stories sufficiently back from the roof edge to ensure that
the historic building's proportions and profile are not radically changed. .. .........°.. . ............. . .............
DESIGN Tips
• Plan the new addition in a manner that provides some differentiation in Make the height of the structure consistent with the existing height of
material, color, and detailing, so that the new work does not appear to be adjacent structures.
part of the historic building; the character of the historic resource should
be identifiable after the new addition is constructed. Structure should be vertical in orientation.
• Use a minimum 9 foot floor to ceiling height on the first story and 8 feet
on the second story of residential structures.
ik
BUILDING FORM AND MASSING SITE CONFIGURATION AND ORIENTATION
Massing may be defined as the three-dimensional geometric composition, or The site configuration and orientation of new buildings or structures
envelope of a building. Massing is the combination of the building footprint, shall be compatible and consistent with the orientation of existing
height and width. The massing of a building shall be consistent with buildings or structures on the next adjacent lots within the block
that of the neighboring structures. face.
DESIGN Tips NO
• Make the roof line consistent with adjacent rooflines by not exceeding�h'
rooflines or stepping back from a prevailing roof or cornice line
• Consider aligning foundation heights, floor to ceiling heights and cornice
lines with the adjacent structures on the immediate block.
J
SETBACKS STREET
Setback refers to the distance a building is located from a property line. Front
setbacks are very important to the character of a historic district. To maintain ARCHITECTURAL FEATURES
the character of a district is important that new buildings maintain a similar
setback to the historic structures on the block. Consistent spacing between Architectural elements such as balconies, roofs, porches, chimneys, dormers,
buildings helps to establish an overall rhythm along a particular street. parapets, and other parts of a building that contribute to its overall shape and
silhouette. The choice and arrangement of elements of a proposed building
No No should reflect those of older buildings in the neighborhood. A building should
not draw unnecessary attention to itself by failing to relate to neighboring
styles; however, neither should it necessarily copy the neighboring styles. The
objective is to complement the context of the neighborhood.
BUILDING LINE W ..........
DESIGN Tips
STREET EDGE
When a front porch is incorporated into the design of a structure the
porch shall be a minimum of eight (8)feet deep.
• Roof shapes should be similar to those on the block face. Roof mate rial
DESIGN TIP should be asphalt shingles.
Align porch and front facing walls of structure with adjacent historic • The overhangs and eave should be similar to that of the block face.
structures or use the average setback of structures on the block.
. ............
ORNAMENTATION AND DETAILS MATERIALS
Ornamentation or embellishment, at times independent of construction, The building envelop material contributes to the exterior character and appear-
although elements of construction may be decorative. These include cornices, ante of a building. Appropriate materials include those which are predominant
lintels, arches, balustrades, chimneys, shutters, columns, and other common in a district. However, materials need not be identical to those in a district if
details. When used, details should create a unifying effect on a building and they are complementary. Inappropriate materials include those which unsuc-
cessfully pretend to be something they are not, such as plastic "bricks" and alu-
should be compatible with the context of the neighborhood.
... ....... minum or vinyl "weatherboards." All are imitations which fail to produce the
DESIGN Tips texture, proportions and colors of the real materials.
. Recess mount new windows(see Section 4: Openings for detail). DESIGN Tips
0 Use simplified detailing as not to imitate historic ornamentation. Use brick, stucco, or wood drop, wood false bevel, or wood lap siding as
Detailing should be inspired by historic structures rather than mimic, the primary building envelope material. 1
historic detailing. ,When using cement fiber board use the smooth finish; properly sanded
e Align all header heights. and painted wood does not have visually visible grain. fi
0 Use at least 4" trim for windows, doors and corner boards on residential o Use wood windows and doors on residential structures.
structures.
J1. . ....... ... .. .............. . ......... .. . ........
RHYTHM OF OPENINGS
Doors and windows comprise
roughly 30% of the surface area of
walls on historic structures.
Openings are spaced in an orderly
fashion with each room having at
least one opening. The header of
the openings align. Maintaining a
consistent opening pattern
creates a continuity of wall surface
thus allowing for a harmoniums
pedestrian experience. ABOVE: The structure's opening pattern is
not consistent with the neighborhood.
Blank walls should be avoided.
DESIGN Tips
Avoid blank walls. Incorporate at least one window per room or every io
15 feet on side elevations and align header heights.
ABOVE: The photo depicts a structure that uses traditional materials, simplified fI
detailing and has a traditional opening pattern. « Incorporate window and doors openings with a similar proportion of it
window space as typically found on the block face.
J
r A
DEMOLITION AND RELOCATION OF A STRUCTURE
DEMOLITION
i
Demolition of a structure will NOT be allowed if: ��
1. A structure is of architectural or historical interest and/or value or its
removal would be detrimental to the public interest, or
2. The building contributes significantly to the character of the historic district sovE AND aEr ow: This
and demolition would create a detrimental view or adversely affect the !
,,,��� structure was moved to this
existing buildings an the black,or ,/; /
location and does not fit on lot
3. A structure is of old or unusual or uncommon design and materials and it with adequate side setbacks.
could not be reproduced without great difficulty and/or expense, or
4. If its proposed replacement would not make a positive visual contribution,
would disrupt the character or be visually incompatible within the historic
district.
Demolition of a structure MAY be allowed if:
1. The building as lost its architectural and historical integrity and f
r
g g �' A building maybe moved from a
importance and its removal will not result in a negative, less appropriate
site outside of the historic
visual affect on the historic district, or district to a site within the
2. The structure does not contribute to the historical or architectural character historic district under the
and importance of the historic district (e.g. a noncontributing structure), following conditions:
and its removal will result in a positive, appropriate visual effect in the a
1. The integrity and structural
district.
soundness of the building
RELOCATION will be maintained
A building may only be moved from one site to another site within the historic 2. The building will be compatible with the overall character, visual
district under the following conditions: appearance, and site orientation of existing buildings on the block at the
1. The building is seriously threatened in its original location, new location, and
2. The integrity and structural soundness of the building will be maintained, 3. Any proposed replacement at the original site will result in a more positive
visual effect on its immediate block.
3. The building will be compatible with the overall character, visual
appearance and site orientation of existing buildings on the block at the new 4. Any relocated building in the historic district shall be rehabilitated (i.e.
location, and repaired and/or rehabilitated) in accordance with the applicable sections of
4. The removal of the building from its original site will not create a
these guidelines so as to retain the original character, architectural details,
detrimental view or loss of integrity on its immediate block. design, and materials of the structure.
r. S
STANDARDS 12. Metal roofs and metal sheeting used as the primary building envelope
material on primary residential structures are prohibited.
1. The height and overall scale of new construction and additions shall be
consistent with that of adjacent structures. In residential areas, the height 13. Additions shall not be constructed on a primary or character defining
and scale of new construction should generally not exceed that of adjacent elevation.
structures by more than one story.In commercial areas, a greater variation 14. Additional stories shall be set back from the roof edge to ensure that the
in height may be appropriate with appropriate transitions. Step downs in historic building's proportions and profile are not radically changed.
building height,wall plane offsets and other variations in building massing
should be utilized to provide transition when height of new construction 1$. The size, scale, massing, and proportions of the new addition shall be
exceeds adjacent structures by more than a half story. compatible with the historic building.
2. Roof pitch, form and orientations shall be consistent with those 16. Additions shall be differentiated but compatible, so that the new work does
predominantly found on the block face. not appear to be part of the historic building; the character of the historic
3. The orientation of the front faqade shall be consistent with the resource should be identifiable after the new addition is constructed.
predominant orientations of historic structures found on the block face. 17. Demolition of a structure shall be prohibited if a structure is of
4. The orientation of primary building entrances, porches and landings shall architectural or historical interest, the building contributes to the
be consistent with those found on the block face. character of the historic district.
5. Where used front porches shall be a minimum of 8 feet deep. 18. Relocation of a structure within the district may be allowed provided that
the building is seriously threatened in its original location and the
6. Setbacks shall be the average of the historic structures on the block face. integrity and structural soundness of the building is maintained.
7. The site configuration and orientation of new buildings or structures shall ig. A relocated building shall be compatible with the overall character, visual
be compatible and consistent with the orientation of existing buildings or appearance and site orientation of existing buildings on the block at the
structures on adjacent lots within the block face. new location.
8. Blank walls on residential structures and street elevations of commercial 20.Any relocated building in the historic district shall be rehabilitated (i.e.
structures are prohibited. repaired and/or rehabilitated) in accordance with the applicable sections
9. Window and door openings shall use similar proportion of wall to window of these guidelines so as to retain the original character, architectural
space as typically found in the district. details, design,and materials of the structure.
io. Building envelope, roof, windows and door materials shall complement ... .........................
the type, texture and detail, including dimensions, of materials
traditionally found in the district. ADDITIONAL RESOURCES
ii. Vinyl siding, plastic,and EIFIS are prohibited for use of building envelope NPS Preservation Brief *14: New Exterior Additions to Historic
•materials. Buildings: Preservation Concerns.
SECTION STANDARDS AND GUIDELINES FOR
OUTDOOR SPACES
� ' INTRODUCTION Types of Outdoor Spaces
Outdoor spaces such as front yards, rear yards, pergolas, and
porches act as transitional space between the public sidewalk and �� y
street and the privacy of one's home. In addition, the architectural
components of outdoor spaces define the appearance of the
streetscape in our historic neighborhoods. This chapter will
address the different types of outdoor spaces,how they are defined
and their many architectural components.
TYPES OF OUTDOOR SPACES
LIGHTING
COMPONENTS OF PORCHES
PORCH
FENCES
PAVING Porches are often referred to as outdoor parlors and act as living
space where property owners can greet their neighbors and guests.
The roof form of a porch provides shelter from the elements
protecting not only the property owner but also the structure's
doors and windows. Porches are typically located on the first floor
at the structure's main entrance, are lo to 6 feet deep, partially
span or are the full width of the fagade and sometimes wrap to the
side elevation, and always have a roof. The photo above is of a
structure with a column supported porch which is the full width of
the front fagade and wraps around to the side elevation of the
structure. It is deep, and covered by the roof structure of the main
house.
REMINDER: All exterior work requiring a building permit requires a
Certificate of Appropriateness and must conform with all of City of
v
Fort Worth ordinances. It is helpful when using these guidelines to be
familiar with your architectural style.
BALCONY STOOP
STJOP
A balcony is a projecting
I ill I irY r I�hky6�'�,YYI4 r o'
A stoop consists of steps that lead
structure that often acts as an o mi directly to the entrance of a structure, it
outdoor corridor between j can have a 3 foot landing and it may
rooms. It is generally 4 feet deep, ° be covered by an awning or canopy. j
cantilevered, enclosed by a �
railing or balustrade and can be �
covered or uncovered.
'rte'
GALLERY
1
A gallery is a long �,�
covered area that can CANOPY
act as a corridor, A canopy is column supported covering,
typically elevated and Its frame is supported by the ground and
supported by columns, projects from the wall over an entrance.
l i U�r i�i V :,„i i�iq utl I I�l"�iIIIl01Vl I
v
�,�p�er bvrr r k
i
r
PORTICO
A portico is covered entrancei�iii�ii �i
AWNING
having a roof supported by a
%o An awning is a covering that is not
series o columns. Typically two 1 r��, g �'
stories and can be on the front and J supported by the ground. It is either
rear of residences. They are %„ hung or supported by brackets. It is
typically found on institutional intended to protect doors and windows
r�
and Neo Classical style structures. from the elements, as well as, add
They are rare in Fairmount and decorative details. y1
are usually an alteration.
(�TERRACE NON-VISIBLE SPACES
+ � � � I��r '�
A terrace is an elevated
platform. Typically it is i' DECK
the extension of the floor A deck is an elevated platform which is attached to the main structure. It is
from the main structure built on an open support system and is uncovered. It is different from a terrace
or it is built upon a solid in that the elevated platform is not built on a solid base. Decks are not
base. It is deeper than a appropriate for historic districts and can only be constructed in non
balcony and is always visible locations.
uncovered.
f
PATIO
PORTE-COCHERE
m A pone cochere is a
A patio is typically a paved area at ground level.
� covered passage way COURTYARD
for carriages or
automobiles. They are An interior patio.Typically surround by structure and is open to the sky above.
t
v attached to the main
i
jff J q� structure and
correspond to a LIGHTING
✓'r y primary entrance.
Lighting for historic structures should be placed in a location that does not
distract or conceal architectural features. Lighting should be appropriate for
the architectural type of structure or should not suggest a period or style. In
ARBOR � �� � yid addition,lighting should be discreet and moderate in placement.
An arbor is a free standing structure that
provides shade through the use of open timber- LEFT: These light fixtures are
frame construction. It is supported by evenly appropriate only for Arts and
spaced columns and often has lattice to support 1 �i%
W Crafts style structures.
vines or climbing plants. ,
PERGOLA
A pergola is a shaded walkway or
passage way with open timber-
„ LEFT: These light fixtures are
frame construction attached to a
not suggestive of a period of
structure. It is supported by evenly
type of architecture and are
spaced columns and often has lattice
appropriate for most structures.
to support vines or climbing plants.
COMPONENTS OF A PORCH
ROOF: Providing covering to space
below. Generally the same material
as the main structure.
ExPosE 7 PORCH BEAM: Sometimes SOFFIT: The underside of the eave.
doubled and covered in wood siding Typically wood tongue and groove
depending on architectural style. beaded board. The same material
can be found on the porch ceiling.
1
COLUMN: Provides support to the
roof structure above and differs
depending on architectural style.
Columns, especially in Arts and
Crafts structures can be placed on
top of a PEDESTAL , also known as a
BASE.
BALUSTRADE: Comprised of a wood
or brick top and rail and baluster. APRON: Conceals the wood sill and
floor joist. Typically a 1"xio" wood
board.
PORCH FLOOR: Floor should have a
slight slope away from the structure
to provide proper drainage.
Typically is wood tongue and groove i „”„ CHAIN WALL: Continuous
or concrete. foundation which is always
,rri,,, .�
masonry. When the chain wall and
apron are absent and wood siding is
present this is called sKTRTuvG.
COLUMNS EXAMPLES OF PRAIRIE COLUMNS
Columns are long vertical structurally supporting members. They come in a
variety of styles.
EXAMPLES OF VICTORIAN COLUMNS
T-1+
ff
PORCH DECK
BRICK GEOMETRIC PAIRED ON PANELED TAPERED
DETAILING BASE ON BASE ON BASE
PORCH DECK
CHAMPERED TURNED DORIC OR IONIC
1870-1880 1880-igoo CLASSIC
RIGHT: The two story
Victorian structure has
classic round wood
columns. These
columns are typical on
Victorian structures
built after 1 goo. ABOVE: TheAmerican Four Square style structure has square brick columns.
EXAMPLES OF CRAFTSMAN COLUMNS EXAMPLES OF MINIMAL TRADITIONAL COLUMNS
d u I,
PORCH 3
I
DECK
GROUND —..,_.w_...,.. —
TAPERED BRICK STONE TAPERED PAIRED SIMPLE BOX
BASE OR BRICK ON BASE PRIOR TO 1910
4"X4" IRON WOOD GEOMETRIC
POST SCROLL
TOP RIGHT. This one
story, wood clad "✓ „
M i n i m a l
� or
� Traditional
structure has wood
geometric columns.
As Victorian and
Arts and Crafts
ABOVE: This one columns required
story masonry repair they were
bungalow has often replaced with
W ,
III tlIIIIV
square brick ,, } inappropriate
columns that ��' columns from this
extend to the t h e m o d e r n
ground. This type ��'i��, architectural style
of column is also (RIGHT).
the prominent
column style for
Tudor s
structure(RIGHT).
NI
now
BALUSTRADES FRONT AND REAR YARDS
Balustrades are comprised of three pieces: a top rail, a bottom rail, and a ,
rx,'.., �'�° �'�' v,'w" �` tier�,°*.,a��\*•�",e .'`v ytiw, .��.� '�„
baluster. When replacing a balustrade it is important to take into consideration
P g P SIDE AND REAR4
style and character of the structure , as well as, existing building code. It was YARD „ k
not unusual for porches to be open and not have a balustrade. When installing , „
a new balustrade it should be sympathetic to the architectural style or have ,;
simplified detailing.
House
TOP RAIL AND BOTTOM RAIL
Top RAILS should be
%" ;, ✓r'r',rr "r. rr✓ 'r"r'r,✓✓/di r r rf/r'r / d' FRoNT YARD
substantial and sloped r rr/r /re'✓✓
to allow for water t0d ,r /' ' f/' r ✓'; ,;°
rain.
STREET
The move towards rear yards can be traced back to the 1940s. Prior to World
BALUSTER: Turned War II (WWII) America adopted a policy of isolation, the country would not
pickets should be at align itself with any foreign countries nor get involved in any war outside of the
minimum of 2x/4 inches
western hemisphere. After WWII, in 1944, Congress passed the G.I. Bill
and square pickets allowing returning veterans access to low cost mortgages. The economic
should be 2 inches. incentives combined with the newly improved highway and interstate
Turned pickets are infrastructure helped to fuel a suburban housing market. So-called
appropriate for "Levittowns", named for the brothers William and Alfred Levitt, consisting of
Victorian movement identical homes, white picket fences, green lawn and modern kitchens were
structures. Square t constructed across America.These rapidly built homes offered an alternative to
pickets are appropriate the cramped living quarters on the city, were economical in size and featured
, ��
for all structures. larger yards in the front and more importantly, in the rear
At the same time there was sharp focus of domestic issues. America's
BOTTOM RAILS are t� involvement in war had deep social implications. Access to low-cost mortgages
typically 2 inches above
and a prospering post war economy allowed for the expansion of the American
the floor of the porch middle class. An emphasis was placed on the nuclear family. With the looming
and should be sloped to Cold War, families began to enjoy the privacy that came with large backyards.
allow for water to Large rear yards could provided occupants with both protection and food. Air
drain. raid shelters could be constructed in case of nuclear fallout. The backyard
became both a place to escape the perils of the war and symbolic of the
M "American Dream".
ff�!.,
FENCES LEFF: 4 feet high wood fences are
appropriate for the front yard. Wood
Front yard fencing was typically reserved for substantial or high style houses. - — d i ;
fences at the front yard must be at
Fencing front yards fell out of favor during the Arts and Crafts period and by the least 5o% open and can either be a
194os almost no one fenced their front, but rear yards were almost always i N flat or square picket.
fenced. Double loop wire fences were very popular at the turn of the century. As
Traditionalflatpicketfence.
Arts and Crafts style structures became popular the iron fences most likely � I BELOW.-
! I ,
10 1
would have been on a masonry base and in front of a high style house. As for L
design, geometric earth designs were much more popular during the 1920S-
1940's. Scroll work went out of style and didn't reappear until the 196o's. Front Li
yard fences are typically 4 feet in height and at least 50% open. Side and rear
yard fences may be opaque and between 6 and 8 feet in height.
APPROPRIATE FRONT YARD FENCES Pic,
LEFT: A simple 4 foot high iron picket
fence with simple finials and no
decorative elements.
BELOW.- Traditional wire mesh fences
are only allowed with a Board of
Adjustments variance; however, the 4 t.
foot high iron loop fence with simple
finials is an appropriate alternative.
VNI
1
-T-fl+
A-BovE: This high style structure's front yard is enclosed by a wood square
picket fence with a pedestrian gate to match
LEFT: A 4 foot high iron picket fence with
geometric shapes and simple finials.
APPROPRIATE SIDE AND REAR YARD FENCES PAVING
D
LEFT: 6 to 8 foot high DRIVEWAYS AND WALKWAYS
wood privacy fences are Paving should be kept minimal and should not disrupt the rhythm of the
appropriate for side and streetscape. The following are illustrations of appropriate and inappropriate
rear yards. paving patterns.
APPROPRIATE
GARAGF, GARAGE
MAIN MAIN
N MAIN
LEFT: It is preferable for STRUCTURE STRUCTURE
STRUCTURE E-
wood privacy fences to
be capped. The wood cap
helps to shed water,
increasing the longevity
of the fence. STREET STREET
INAPPROPRIATE
GARAGE GARAGE
LEFT: Like front yard
fencing, simple iron
picket fences with
geometric shapes and
simple finials are MAIN MAIN
appropriate for side and STRUCTURE STRUCTURE
rear yards and can have
an increased height of 6
to 8feet. An
STREET STREET
Parch Standards Paving Standards
(Required) (Required)
1. Original porch and other outdoor space components (columns, railing, 13. Paving of private sidewalks and driveways shall be of natural concrete,
skirting,decking and soffit)shall be maintained... brick, cut stone,pavers,or natural rock or asphalt.,
2. When necessary, porch and other outdoor space components (columns, 14. In no instance shall the front yard of any lot be paved or graveled except for
railing, skirting, decking and soffit) replacement shall match existing in a driveway or walkways.
size,material,profile, exposure,detail,relief and dimension.
15. There shall be no front yard area designated as a vehicle parking area or
S. Primary porches such as first floor front porches shall not be enclosed. paved as such.
4. Secondary porches such as second story and rear porches may be enclosed lo. Walkway paving in the front yard shall be;
by screens only.
• A walkway from the front property line to the front entry of the
. Porch flooring shall be 3 1/2" tongue and groove wood installed with a structure or, on a corner lot,from the side property line to a side entry
floor-nailer and corners on a wrap-around porch shall be mitered. of the structure.
6. Synthetic tongue and groove flooring may be approved provided that it 0 The walkway shall not be wider than the width of the entry steps'and in
match existing in size, material, profile„ exposure, detail, relief and no instance shall the walkway be wider than ten( o)feet.
dimension.
A walkway from the driveway to the front and/'or side entry walkway.
7. Porch railings shall be made of wood or masonry and be typical and Shall be a maximum of four(4)feet in width.
appropriate to the style of the structure.
17. A front entry driveway shall be no wider than one car width or ten(lo)feet
8. Metal handrails shall be reviewed on a case by case basis and shall be maximum but may widened just prior to a two ear garage.
simple in design and detailing.
18. A front entry driveway may extend along the side of the residence or
g. Columns shall be masonry or wood and of a style and material typical of the structure, through the Porte Cochere if applicable, to the garage or
period and style of the structure. out-building,or to the rear yard.
10. Synthetic columns may be substituted for wood provided that they:match 19. On a corner lot, the driveway may extend from the side street to the garage.
size, profile, exposure, detail, relief'and dimension and are typical of the It shall be no wider than one car width or ten (io) feet maximum to a
period and style of the structure. one-car garage, or eighteen(18) feet maximum and widening to a two car
garage.
11. Decks,patios and courtyards shall be not be visible from the public right of
way. 20. Circular and semicircular driveways are prohibited.
12. Enclosed decks, second story or rooftop decks shall not be visible from the '21. Driveways shall be not be widened or extended into the project fronted
public right of way. yard.
22. Ribbon driveways are permitted, provided that the paved ribbons are no
greater than three(3)feet in width.
21. Any new driveway constructed through a front yard must be spaced a
minimum,of one(1)foot from an existing driveway on the adjacent lot.
.n
FENCE STANDARDS OTHER APPLICABLE STANDARDS
(Required) (Required)
22. Front yard fences shall be a maximum height of four(4)feet, 50%open and 31. Stairs providing entrance to a second story shall not be visible from the
compatible to the architectural style of the primary structure. public right of way on primary structures.
23. Side and rear yard fences shall have a maximum height of eight (8)feet. 32. Pergolas must be historically appropriate and compatible to the style of the
24. Side yard fences shall not project into the projected front yard. existing structure.
25. Fence materials shall be wood, antique wire fencing,or iron. 33• Mechanical equipment (air conditioning units, and satellite dishes) located
in the yard shall not be visible from the public right of way.
26. Plastic, chain link, barbed wire, or other synthetic materials used as
fencing is prohibited. OUTDOOR SPACE GUIDELINES
27. Masonry may be used for posts and bases for metal iron fencing only. (Recommended not required)
LIGHTING STANDARDS 1. The use of the front and side yards should be reserved for landscaping.
(Required) 2. The parkway between the sidewalk and the curb shall be reserved for
28. Placement of outdoor security lights and their mounting shall not damage, landscaping.
detract from,or conceal significant features of the structure. 3. Care should be taken to preserve existing trees or replant with long-living
29. Porch fans shall be mounted in a manner that will not damage, detract trees.
from, or conceal significant features of the structure and shall be simple in 4. Mailboxes should be typical of the style and period of the structure and be
design. affixed to the front of structure.
30. Lighting installed at the front porch shall be compatible in age, style and 5. Ramps installed for access or mobility purposes should be made of wood.
scale to the building or unobtrusive and not suggestive of a style or age. Care should be taken not to detract from the design of the structure.
Their mounting shall not damage, detract from, or conceal significant
features of the structure.
yy 11019191MINN"I 1188MMON "I MKIMMINAKI a INAINNUMME [I, UNAWMEND * ftuffiffl=%ft V 'Wil"00 iR "Mlavwffwu.�bi W, Offill"MUNNEVA, S 100"AMM"I61 W M010090huffib, "I MaNSWIMMEN iR M
11 Additional Resources
Re A Field Guide to American Home by Virginia and Lee McAlester 9 NPS Preservation Brief#32: Making Historic Proper-ties Accessible
Bungalow Details: Exterior by Jane Powell and Linda Svendsen 0 NPS Preservation Brief#45: Preserving Historic Wood Porches
li
NPS Preservation Brief #17: Architectural Character— Identifying the * Old House Journal: Porch Details by Brent Hull
Visual Aspects of Historic Buildings as an Aid to Preserving their Character
a
SECTION
7 STANDARDS AND GUIDELINES FOR ROOFING
INTRODUCTION COMMON ROOF FORMS
Roofs are one of the most important components of a structure.
They are the first line of defense against the elements and are a
major architectural feature. This chapter will address its many
components. In this chapter you will find the following sections:
ROOF FORMS AND PITCHES SIDE-GABLED FRONT-GABLED CROSS-GABLED
ROOF MATERIALS
VENTILATION SYSTEMS
a EAVES, OVERHANGS AND GUTTERS
SHED(HALF-GABLED HIPPED
DORMERS AND SKYLIGHTS CROSS-HIPPED
J CHIMNEYS
j MECHANICAL EQUIPMENT LOW STAPES
LESS THAN 30°
FLAT TO 4/12 HALF-HIPPED
FORM AND PITCH ABovE AND LEFT:
Low sloped roofs
There are three basic roof forms gable, hipped and flat. These J. Na are categorized as
forms combined with each other and pitch create dominant and NORMAL o� .flat to 4112. Normal
SLOPES
character defining features on a structure. Altering the roof form Sp' sloped roofs are
a°-
and pitch can negatively impact a historic structure and I 5 12"Ia48�12 `"'°- +--� categorized as 5112
neighborhood. Therefore, existing roof lines and the � 1r to 8112 and steep
architectural features that give the roof its essential � sloped roofs are
character shall be preserved. The following roof forms are ' generally above
ff 'y \
most commonly found in the Fairmount Historic District. ,� 9112. The images
are from A Field
REMINDER: All exterior work requiring a building permit requires]be STEEP SLOPES ,�` Guide to American
Certificate of Appropriateness and must conform with all of City MORE THAN 45° 5o Houses by Virginia
Fort Worth ordinances. It is helpful when using these guidelines to ABOVE:9/12 f ' and Lee McAlester.
familiar with your architectural style.
Z_.1------------
ROOF MATERIALS ROOF VENTILATION SYSTEMS
Roof materials are important because not only do they create a water-tight Ventilation systems greatly reduce the amount of heat in an attic or home
covering, protecting and helping to preserve your structure, they also add color during the summer months. They can be installed in three locations: the roof
and texture to the slope. Often the pitch of the roof slope will dictate the type of ridge,slope or at the gable end.
material used. Low-pitched to flat roofs depend upon an almost continuous
roof surface that lacks breaks and seams to prevent moisture intrusion.
Typically, low-pitched to flat roof materials include built—up hot tar roofing,
roll roofing and flat seam metal roofing. Low-pitched to flat roofs are unusual Ridge vents are appropriate for
in the Fairmount Historic District and therefore, metal roofs, unless most structures.
installed on an accessory structures or secondary roof structure
(such as porch or addition), are not permitted. Most of the roofs in the
Fairmount Historic District have moderately sloped roofs and would have been
clad in asphalt/fiberglass roof shingles.
A Ell, Low profile vents are not
ASPHALT SHINGLES appropriate on front facing roof
101111110 111
slopes and should be placed in a
Introduced in 1903 asphalt shingles were a by-product in the manufacturing location minimally visible from
of the tar and asphalt felt paper (commonly know as tar paper) used on flat
the public right of way.
roofs. For shingles, the felt was saturated with asphalt and then covered with
crushed limestone, slate or another types of rock. The addition of the rock
added color, protected the felt from the sun and increased the fire resistance.
The shingles were typically sold as individual shingles measuring 12"'X 16" or Turbine vents are only
12" x 36" (standard measurement for 3-tab shingles). The square cut tabs appropriate in locations not
were the most popular, but there were other shapes including hexagons, visible from the public right of
diamonds, dog-eared, and t-shaped. The colors were limited to red, green way
and black. It was not until the 1930's that asphalt shingles acquired the
blended colors they have now. Today asphalt shingles are made with
fiberglass and generally have a lifespan Of 15 to 25 years. Architectural or
dimensional shingles typically last longer. WN/0011111111
Gable vents are appropriate for
structures that have gable roof
forms. They come in a variety of
shapes and sizes.They should be
louvered and in a wood frame.
Gable vents are inappropriate as
a replacement for gables that
Scalloped red asphalt shingle Architectural Grade Three-tab black feature decorative windows or
green asphalt shingle asphalt shingle stained glass.
EAVES AND OVERHANGS GUTTERS
Where your roof meets the wall, also known as an eave, is important both Gutters and downspouts help shed water away from your structure; protecting
aesthetically and structurally. The roof and wall must meet, and the materials the walls and foundation system of your home.
used to clad each element must create a watertight juncture, protecting the
structure below. Overhangs and gutters help to create the water-tight seal.
TYPES OF EAVES AND OVERHANGS I TYPES OF GUTTERS
I ifs III Closed eave, no overhang K-style gutters are appropriate for closed eaves
Appropriate for: and open eaves with a closed rafter. They are not
appropriate when fascia board is not present.
........................................... Minimal Traditional
1/2 round gutters are appropriate for all types
Open eave,exposed rafter of eaves, especially where the fascia board is
Appropriate for: absent.
• Craftsman
0 Tudor
Roof mounted gutters are appropriate for all
Open eave, enclosed rafter types of eaves.
U
Appropriate for:
0 Prairie
* Tudor
• Queen Anne
Closed(boxed)eave Built-in gutters are appropriate for open eaves
and boxed eaves.
Appropriate for:
. ..... mitnal Traditional
• Prairie
DORMERS A DO AND DON'T VISUAL GUIDE TO DORMERS
Dormer comes from the French word meaning sleeping room". They are small
rooms that protrude from the main roof surface allowing light and air into the
attic area. Dormers can have a variety of different roof shapes with gable, hip "' o use modest proportions
and shed being the most popular, other types of dormers such as an eyebrow ��;'� for both the roof and body.
dormer can also be found in the Fairmount Historic District. This dormer's eaves mimic the
width of the main structure's
eave but are proportional to
th
e body o f the dormer.
rm o er.
� .✓ �' , mil ��J ���/�/ ��/�� �� �� %� ��f
face e r
�o f711 the o£the dormer
GABLED - - SHED �� �
HIPPED window with and trim leaving
ABOVE: The dormer type images are from A Field Guide to American Houses by Virginia r ;�"" % little to no room for siding on
and Lee McAlester.
`�'� the front of the dormer.
RESTORATION OF EXISTING DORMERS
Original dormers should be retained and maintained. Property owners are
encouraged to reconstruct dormers based on photographic evidence or ghosts
within the roof framing. _ Don't replicate the main
CONSTRUCTION OF NEW DORMERS structure's eave line on the
dormer or oversize the roof.
When considering construction of a new dormer property owners are It makes the dormer top
encouraged to use a comparable structure in style and period as a guide for the heavy. The dormer roof
location, form, spacing and detailing of a new dormer. The most crucial aspect ��` K, ``"`"' ;` proportion is typically 125%
of a dormer is having the correct proportions. The size of a window in a dormer , to 140% of the dormer body.
should correspond in proportion to the windows on the uppermost floor of the
� " ° z � Don't use a window that is
main structure. Should they vary in proportion then they should be slightly too small. Use the floor
honer. Window proportion should y below windows as a guide
determine the proportion of the body
��. � �� for determining the size of
of the dormer. The window and trim r�,,,��, , , ,� ,��� ���,
o the window in the dormer.
should fill the dormer face. The less „' Should the window size need
cheek wall cladding that is visible, the °" to be decreased, shorten the
closer the dormer will be to having f
! window or use only the top
the correct p ro ortions. For more
� � "�� %` sash. The windows and trim
information about correct dormer
should fill the majority of
r
proportion refer to the do and don't the dormer's face.
dormer guide. � ry�
CHIMNEYS ROOF TOP MECHANICAL EQUIPMENT
Chimneys are a standard feature on Rooftop equipment such as satellite dishes should be located in non-visible
American structures. Often referred to as
locations or minimally visible location. Location on a primary roof slope is
the soul of a home, chimneys were used for
inappropriate. Rooftop equipment located an secondary roof slopes should be at
heating and cooking. The rhythm and least 15 feet back from the front facing wall of the structure.
placement of chimneys often reflect the z �f ;w.
internal layout, while the detailing helps
indicate the period and architectural style of
a structure. During the Arts and Crafts era
(c. 1900-1930) the chimney was a place for
the mason to show his/her cra ft, and for
most architectural styles, and is considered f i
a prominent architectural feature. Because
of their importance, historic
chimneys shall be maintained and
preserved.
TIPS FOR MAINTAINING YOUR HISTORIC CHIMNEY
1.REPOINTING:Often chimneys need repointing which is the act of removing ✓ � °����,,
deteriorated mortar and replacing it. When replacing the historic mortar be ., ��Y,
sure to use a mortar that has little to no Portland cement. A high
The installation of other roof tap mechanical equipment such as air
concentration of Portland cement in mortar can cause damage to historic
2 conditioning units and telecommunications equipment is not appropriate and
brick. For more information on repointing historic brick, check out #
Preservation Brief. Repointing Mortar Joints in Historic Masonry Buildings can only be installed in non-visible locations.
made available by The National Park Service. Property owners are encouraged to locate solar collectors on secondary and
2. FLASHING: Where the chimney interacts with the roofline of a structure is non-visible roof slopes. For more information on the installation of solar panels
the most likely place for a leak. Metal z on historic structures refer to the section on sustainability.
OP, -flashing or step-flashing are
�r Mo20_1011201'D//
�r „/ i �� p recommended to ensure that there is
�� , SKYLIGHTS
no water intrusion. Often roofing
cement is applied to the joint to create
PP e J Skylights are typically found in commercial structures. They are rare on
VIr a water- tight juncture; however, the residential structures; however, occasionally they can be found on Bungalows,
” cement will eventually crack, thus typically on a secondary roof slope in a minimally visible location. This rule
�� Y rY P Y
allowing water in. should still be followed today. They should rise off the roof surface no more
LEFT:A properly flashed chimney.Image than eight (8) inches and be flat. Bubble and round skylights are inappropriate.
�/ /' ���� ' Source: www.oldhouseonline.com If multiple skylights are desired,they should be arranged in an orderly fashion.
ROOFING STANDARDS 15. Roof-mounted satellite dishes, skylights, alarms, air-conditioning units
(REQUIRED) and all roof- or wall-mounted accessories shall be located where its view
from the public right of way is minimized.
i. Original roof shape, form, design, eave depth, and other architectural • If a non-visible location is not feasible for rooftop equipment then
elements shall be maintained. it can be installed at least 15 feet back from the primary wall of the
2. Original tile and slate roofs shall be maintained. structure. ROOFING GUIDELINES
3. Asphalt/fiberglass (composite) roof shingles as an in kind replacement is (RECOMMENDED NOT REQUIRED)
allowed.
4. Metal roof shingles are permitted only if the shingle accurately replicates 1. The primary roof colors should be:
original shingle materials in appearance,scale,and texture. Asphalt/fiberglass: red, green and black. Brown should be used to
•S. Standing seam metal roofs can be installed on secondary roof slopes with imitate the color of wood shingles.
roof pitches of less than four and twelve (4/12) and on accessory roof Metal roofs: white,galvanized or neutral.
structures.
2. The prima
6. Metal roof profiles such as R-panel and rib panel are prohibited on primary gutter profile should be half round or box gutter.
residential structures. 3. Interior chimneys below the roofline should be maintained.
7. Appropriate metal profiles,tile, slate and asphalt/ fiberglass roofs shall be
considered an appropriate or compatible replacement material for ADDITIONAL RESOURCES
asbestos roof shingles provided that the new material is appropriate for • NPS Preservation Brief#2: Repointing Mortar Joints in Historic Masonry
the period and style of the structure. Buildings
8. Exposed rafter tails may not be boxed in,concealed and/or removed. • NPS Preservation Brief#4: Roofing for Historic Buildings
9. Original gutter profile shall be maintained. • NPS Preservation Brief #ig: The Repair and Replacement of Historic
io. New gutters shall not damage or conceal rafter tails or other significant Wooden Shingle Roofs
details of the structure.
• NPS Preservation Brief #29: The Repair, Replacement and Maintenance'll
Vinyl and plastic gutters are prohibited. of Historic Slate Roofs
12. The exterior portion of chimneys shall be maintained even if the fireplace • NPS Preservation Brief#30: The Preservation and Repair of Historic Clay
is not functional and/or the interior portion has been removed.
Tile Roofs
13. New chimneys shall be of a style, proportion and materials compatible
with the period and style of the structure . Bungalow Details: Exterior by Jane Powell and Linda Svedsen
14. New dormers shall be appropriate in mass, scale, fenestration pattern and NPS Technical Preservation Services: From Asbestos to Zinc: Roofing for
detail to the period and style of the structure. Historic Buildings
• Old House Journal: Amazing Asphalt by Gordon Bock
...........
SECTION STANDARDS AND GUIDELINES FOR
8 SIDING AND MASONRY
' INTRODUCTION � TYPES OF WOOD SIDING
Wood frame structures must have some type of exterior cladding. Wood wall cladding can be divided into three broad categorizes:
Wall structure systems are clad in either a wood or masonry (shingles,vertical and the most common horizontal.
material to protect the wall structure beneath. Wood cladding is
typically made up of either horizontal or vertical boards. This type
of cladding is unusual for masonry structures. Around the turn of SHINGLE CLADDING
the century, as veneering techniques became easier to install and Wood shingles are typically only used in gable ends; however,
more popular, wood frame buildings can be found clad in a some structures are clad entirely in shingles. The shingles are
mason material, typically brick or stucco. This chapter will
masonry Y p tapered and installed in an overlapping pattern to prevent
explore the most common types of cladding found in the (moisture infiltration. Below are common patterns.
Fairmount Historic District. The following can be found in this
chapter:
p TYPES OF WOOD SLDING
ASBESTOS SIDING
9 �
ALTERNATIVE SIDING f J
MASONRY COURSED STAGGERED FISHSCALE
g F DECORATIVE ELF..MENTS � w. ��`,r1 wry r ��� ✓ \ „
Ilk n
y Y
s
� w
ye'4�
SAWTOOTH DIAMOND CHISEL
ABOVE: The images of wood shingles are fromAField Guide to
American Houses by Virginia and Lee McAlester.
1.
REMINDER: All exterior work requiring a building permit requires a
Certificate of Appropriateness and must conform with all of City of
Fort Worth ordinances. It is helpful when using these guidelines to be
familiar with your architectural style.
VERTICAL SIDING BOARDS,VERTICAL. � ASBESTOS SIDING
In the image to the right LAPPED Asbestos siding became popular at the beginning of the 20th century. With
from A Field Guide to )
� ' 4mm,51 appropriate maintenance, asbestos shingles can be expected to last over 30
American Houses by e years. The EPA banned asbestos in 1973, as a result, the repair of asbestos roof
Virginia and Lee BOARD-ON-BOARD shingles and siding is not always feasible. If more than 20% of siding is
McAlester, you can see damaged then replacement is most likely warranted. The removal of
that vertical siding often
g i o asbestos siding and the restoration of the wood siding, is
lapped with either board X11 encouraged.
on board or with a batten.
BOARD-AND-BATTEN �
a ;
ti �y
VI 5 0
" f
HORIZONTAL SIDING
Until the mid-19th Century most wood frame houses could be found with a �
square boards that were over lapped to revent water intrusion. Toward the
p
latter part of the 19th century drop siding became popular. Simple drop
siding in the 145 profile and false bevel siding in the 117 profile are
the most common in the Fairmount Historic District. Flush siding is
typically found on the interior of the structures as a wall finish,
RIGHT: The BOARDS,HORIZONTAL BEVEL
r
images of wood
i
weatherboards
arefrom A
Field Guide to ....o� � °�
�,
� 6 ALTERNATIVE SIDING
American
Houses by
Artificial siding and;'�iw4�/�
Virginia and
veneers such as vinyl and
Lee McAlester.
LAPPED CLAPBOARD RABBETED asphalt siding are not
appropriate for historic
DROP FLUSH districts are not suitable
materials. Currently there 1S
not a cement fiber board ail r 1�
available in the prominent 105
and 117 siding profile.As more
profiles become available they
- will be reviewed by the HCLC
SIMPLE OR FALSE BEVEL SHIPLAP TOUNGUE AND
on a Case by Case basis. .ABOVE: The structure has a back veneer on the front
105 PROFILE OR 117 PROFILE JOINT GROOVE JOINT
and inappropriate vinyl siding at the side.
BRICK MASONRY MORTARS
WOOD MOLD BRICK- Is wet or dry clay that is pressed into a wood mold BASIC MORTAR INGREDIENTS/ FORMULA: Lime or Portland cement (binder),
allowed to dry and then fired. Depending on the firing method used strength sand,water and additives (animal hair, oyster shells, etc.)
(soft vs. hard) and color (shade) can vary. These are typically solid. They are PRIOR TO MID-19— CENTURY: Lime based. High lime mortar is soft, porous
most prevalent in structures constructed prior to 19oo; however, can still be and varies little in volume with seasonal temperatures.
found today at various brick factories. Wood mold bricks can be identified by
their rounded edges and corners and by holes and voids in the surface, MID-19TH CENTURY- EARLY 20TH CENTURY: Lime and Portland cement
based. The amount of Portland cement used in mortar was gradually increased
during this time. This corresponds with the evolution of brick. As the brick
became harder the mortar became harder.
EARLY 20— CENTURY- PRESENT: Portland cement based. Portland cement is
extremely hard, resistant to water movement and is sensitive to seasonal
temperatures.
MASONRY VENEERS
N
I Masonry veneer is most commonly found in 20th Century structures.These are
wood frame buildings that are clad in brick, stucco or stone. The masonry
EXTRUDED BRICK- Is very dry clay that is forced through a form (creating a materials on these building are not structural and are purely decorative. After
long ribbon) and cut by either a machine or by a wire into individual bricks and World War I, veneer techniques advanced significantly and thus more homes
then fired.They are often hollow. Because they are produced on a massive scale were built using this technique.
they are typically very hard and the color (shade) is more consistent. These
bricks were popularized in the early 20th century. Extruded brick can be
identified by its smooth surface and bard edges and corners. Wire cut brick
can be identified by a series of vertical ridges in the surface and by hard edges
and corners.
7
WOO
"'&...........
TRIM AND DECORATIVE ELEMENTS SIDING AND MASONRY STANDARDS
Trim and decorative elements often have a strong visual impact and aesthetic (Required)
value which functionally serves as a transition between building elements and 1. Original siding, brick, stone, stucco and decorative elements shall be
often acts as a sealant, providing protection from water intrusion. Examples maintained.
include corner boards, fascia, window and door trim, half timbering, brackets, 2. Original siding,brick, stone,stucco and decorative elements on a structure
stucco banding,brick and wood quoins and dentil work. shall not be changed or concealed by the introduction of a different
material.
LEFT: The half
S. When restoring wood siding, masonry and decorative elements, the
timbering in the front manner in which they are used, applied or joined together shall be typical
gable of this of the style and period of the existing structure.
structure identifies it
Arts and Crafts 4. Use of synthetic materials may be permitted on a case by case basis
as an provided the material accurately replicates original materials in size,
structure, but it also profile, exposure,detail, relief and dimension.
serves as expansion
and ventilation joints 5. Vinyl,plastic, metal and E.I.F.S cladding is prohibited.
for the stucco veneer. 6. Historic brick, stone or other naturally unpainted materials shall not be
painted unless the material has been previously painted.
NO,
7. Florescent, neon,and metallic paint colors are prohibited.
SIDING AND MASONRY GUIDELINES
(Recommended not required)
RIGHT: The corner uu boards, fascia and 1. Appropriate colors are those which are complimentary to the style and
trim surrounding period of the structure, as well as the overall character and colors of
the windows unit adjacent structures.
creates a water tight
seal at the siding an WIMAYINNIMAY, a V WARPRONfifln TIK IT&ONNIN WHOM a HIMMINAIM01 IN NOMMOW61t Na wmmomhiutaramm a a mummming
joints. The trim l ADDITIONAL RESOURCES
provides w the weather
proofing NPS Preservation Brief#2: Repointing Mortar Joints in Historic Masonry
to
Buildings
interior wall system
and decreases water • NPS Preservation Brief #6: Dangers of Abrasive Cleaning to Historic
intrusion. Buildings
• PS Preservation Brief #io: Exterior Paint Problems of Historic
Woodwork
IN !I
[Umndmnm 0
SECTION STANDARDS AND GUIDELINES FOR
9 SUSTAINABILITY
INTRODUCTION J „r@ �d,, Graphic from#3 NPS
Preservation Brief
Design and construction of historic structures maximized the use depicts where energy
of natural resources such as light and ventilation. This chapter Y U01, loss occurs.
will explore old and new techniques to assist you in maintaining '
your home and provide additional energy efficient options. These
i rfr,
techniques and options will allow your home to operate efficiently
y
while maintaining its character defining features. - ;
f
ElettrK outku 2%40
MAINTAINING WOOD WINDOWS
STORM DOORS AND WINDOWS
Top
SHVZTERs
RAM
SCREEN DOORS AND WINDOWS
AWNINGS MAINTENANCE WEATHER STRIPPING AND CAULKING
e Y ate
,r
nw� COOL Rooi<s Maintaining windows on a regular basis to ensure that they operate
'properly will significantly reduce the amount of air loss. This
SOLAR TECHNOLOGY
includes replacing rotten wood, painting, and adding weather
stripping and caulk. Weather stripping should be used between the
movable parts of a window. It can easily become ripped, torn,
loose, bent or otherwise damaged so follow the manufactures
instructions for installation and routinely inspect and replace if
needed. Caulk and other sealants can be used on the exterior of
WOOD WINDOWS—MAINTENANCE AND EFFICIENCY your building where different materials meet or where expansion
uuuuuu�Y "`"tlYi�
and constriction occur.
The US Department Of Energy estimates that windows account for
roughly io% of a structure's air loss.Three basic steps can be taken REMINDER: All exterior work requiring a building permit requires a
to reduce the amount of air loss through the window unit; Certificate of Appropriateness and must conform with all of City of
Fort Worth ordinances. It is helpful when using these guidelines to be
maintenance and the installation of low—e film and storm windows. familiar with your architectural style.
, irr,
Low-E FILM SHUTTERS
iii/////ii//ii �/iii/ /i�/%i %%io�'"'������
A quick and inexpensive fix is to apply �������, �� Historic windows are recessed within the wall of the structure. This allows for
Low-emissivity film (Low-E). This can reduce ����/j���„ �j„ ��,//�/ either a shutter or a screen to sit within the frame of the window unit. When
your window energy loss by 30% to 50%. In '%
the shutter is closed it creates a flush condition that provides protection from
warmer climates the film should be applied to storms and intruders. Exterior shutters, historically have been used to provide
the exterior of the window pane to reflect solar privacy and security while controlling light and air circulation. For this reason,
radiation out. In cooler climates the film all shutters shall be operational (hinged). The style of shutter is
should be place on the interior of the window
� dependent upon the architectural style and not all styles can accommodate
pane. So heat is 9 R ar shutters. Styles that cannot accommodate shutters can accommodate wood
reflected back into” � " ' �
j screens and awnings on the exterior and blinds on the interior.
the house. The
film can be � �", �� �� � / �
t ✓/�, o:,� � um�numah �
n
purchased at your
local hardware N LEFT/ Windows with Law-E
L � r �
r
stare and has a
f
t coating reflect back part a�`' �,
life
span o f � '` , ; , /,/, the summer sun. AsovE: "°
approximately i j/i MEN, Windows with Low-E coatin
art
reflect back o f rooms
' « 4
15 years. J' p
heat. IMAGE SOURCE: Energy
u
Savers U.S. Department of
y
i �h Energy.
��% �
/� A. LOUVERED B..�
r
. BOARD AND FATTEN C. PANELED
A. LOUVERED: Provide the most control for light and air circulation. They can
STORM WINDOWS AND DOORS be closed and locked, with the louvers open. This provides protection from
Storm windows can be installed either on the interior rain and security while allowing light and air in. Louvered shutters are
or exterior of the structure to increase the thermal appropriate for all style of homes.
performance of your window. The addition of a storm B. BOARD AND BATTEN: Are vertical boards, usually beaded tongue and grove,
window to a single pane window will have an energy, fastened by horizontal battens. They provide security , but do not allow for
rating close to that of a double pane replacement IT fi the control of air circulation and light. They are appropriate for Arts and
unit. Storm windows avoid the irreplaceable seal'11 i Crafts style structures, with or without a decorative cutout and Tudor style
failure on insulated glass units (ICUs). The typical ', structures.They are NOT appropriate for Victorian style structure.
life span of an IGU is approximately 25 years. Storm C. PANELED: These shutters have panels and don't afford much control of air
windows can also be purchased with a Low-E coating.
circulation or light infiltration. The areappropriate for Arts and Crafts le
Strom windows and doors should not be installed in j �� g y style
structures, with a decorative cutout, and for ground floor commercial
locations where they damage or conceal significant ' Victorian style structures,without a decorative cutout.
features and should fit the opening.
SCREENS FOR DOORS AND WINDOWS AWNINGS
Screening became popular in the 188os and For nearly two centuries
remained popular throughout the United awnings have helped to define
States. It fell out of favor as air conditioning the American streetscape.
became affordable. During the beginning of Awnings first made an
the loth century it was so popular that a appearance in America in the
-a. 1930 survey from The Journal of Horne first part of the 19th Century.
`Economics ranked window screening as the These awning were simple and
third most important "household appliance" utilitarian in design. After the
behind running water and sewage disposal. . " - Civil War awnings became more
Screen doors can be simple in design or can I popular; industrialization made the frame work of awnings affordable. By the
match the style of the main structure. Paired later part of the 19th Century operable and roller awnings were common. They
and ribbon windows will not accommodate allowed for more flexibility in the shading of shops and residences.
shutters; however, wood screens can be
installed to help control light and air J Historically their primary use has
always been to regulate light
circulation. Screens also provide some i
protection from rain and sun. Screens can infiltration. The US, Department
�s 1 of Energy states that awnings can
be combined with shutters. Structures that
have shutters located on the exterior will reduce heat gain by up to 65% in
o� south facing windows and up to
have screens located on the interior; while,
windows that can not accommodate shutters ' 77% in east facing windows. They1.
will often have screens on the exterior with K reduce the stress on air
1 conditioning units and can lower the cost of cooling a building by up to 26%.
blinds on the interior.
? They reduce glare and heat gain as efficiently as tinted windows and window
film. During serve weather they provide protection to the structure while
( allowing the window or door to remain open, circulating air.
SOLAR SCREEN Awnings were typically triangular in shape with a simple metal frame to which
dyed canvas was attached. Slate, tan and green were the most popular colors.
"! �t Solar screening is more opaque than' Sometimes stripes were painted to the top portion of canvas. The color of the
traditional screening. This allows for more stripes typically corresponds to the color of the structure. Shed like awnings
privacy while still allowing for air ',i4��a,�4d'''"'i����1� °'ii''N'9'" P�,1°1ji ""�""lip hiiU'ill'°°� with free hanging valances are
r circulation. It will reduce the amount of light appropriate for most structures in the
infiltration, by reflecting the sun's rays and Fairmount Historic District. Awnings
because of its thickness it will help to trap should be installed only where
heat in the winter months.The reflection of needed, typically the south and west
the sun ray's will also extend the life of your !,
elevations of a structure or on
window unit. selected openings.
SOLAR PANELS
Prior to installing solar technology on-site, try improving the
energy efficiency of the structure through other passive
methods such as awnings, and screens. When placing solar
MID— BLOCK STRUCTURE panels on-site, consider the impact that the technology will
have on the historic character and fabric of the site. Consider
the following locations prior to requesting the installation of
solar technology on historic structures:
1. Pole mounted below the fence line
2. Non-historic structures on the site
If the desired energy efficiency cannot be achieved in the above
ACCESSORY STRUCTURE location then consider the following location:
tai 3. Historic Accessory structures
.If the desired energy efficiency cannot be achieved by placing
solar technology in the above three areas, and the technology
must be place on the historic structure, then the following
locations should be considered in the order listed below.
4. Non-visible roof slope
♦ 5. Rear roof slope
6. Rear portion of side or secondary roof slope
CORNER STRUCTURE 7. Side or secondary roof slopes
L8. Front or primary roof slope
In addition solar panels installed on the main structure should
STREET conform to the slope of the roof and not extend past the ridge
line or eave line of the roof,
ABOVE: The above illustration shows where the most and lest appropriate locations for solar
panels.
NOT LEAST APPROPRIATE
APPROPRIATE APPROPRIATE M
COOL ROOFS SUSTAINABILITY STANDARDS
SOLARSOLAR REFLECTANCE:The fraction of solar
energy that is reflected by the roof. i. Desired locations of solar panels shall be: pole mounted (not visible
energy
4k above fence line), accessory structures, rear roof slopes and rear portion
of side (secondary) roof slopes.
001 THERMAL EMITTANCE:The
The sun's
_io reflective ability of the roof surface to
radiation hits '00 2. Solar panels located on front roof slopes or primary roof slopes shall only
f radiate absorbed heat I
the roof surface be permitted provided that they increase energy production by more than
Some heat us absorbed by the roof and 10%.
transferred to the building below 3. Solar panels shall conform to the slope of the roof.
Cool roofs reflect and emits the sun's heat back into the sky instead of 4• Solar panels shall not extend above the ridge line of the roof.
transferring it to the structure. Their average energy saving range from 7-10%• 15. Shutters shall be operational(hinged)and fit the opening.
There are several different types of cool roofs. They range from coatings for
metal roofs and flat roofs to reflective granules on asphalt and other synthetic 6. Shutters on paired or ribbon Windows are prohibited.
shingles.
7. Vinyl and metal shutters are prohibited.
8. Storm doors and windows shall not damage or conceal significant
features and shall fit the opening.
9. Screen doors and widows should be made of wood and shall not damage
ABovL: Cool Roofs come in three colors in asphalt/fiberglass shingles. They are or conceal significant features and shall fit the opening.
typically lighter and more reflective than traditional roof shingles.
I io. Metal screens or storm doors and windows shall have a factory painted
iV; ... ................... .. .................... .......... .. ........I,,,,«,,,. `�.................. 4................... .. ...................... .. .......
ADDITIONAL RESOURCES finish or shall be painted to match the window frame or sash.
• NPS Preservation Brief#3 Improving Energy Efficiency in Historic W 11. Metal,corrugated and slatted plastic awnings are prohibited.
Buildings
NPS Preservation Brief#9: The Repair of Historic Wooden Windows 12. Fabric awnings with simple metal frames shall be allowed provided that
the shape, and size of the awning is compatible with the structure and
• NPS Preservation Brief#44: The Use of Awnings on Historic Buildings: does not conceal or damage any significant architectural elements.
Repair, Replacement and New Design Primary colors of awnings should be slate, tan,green or stripe.
• The Secretary of the Interior's Standards for Rehabilitation&Illustrated
Guidelines on Sustainability for Rehabilitating Historic Buildings
• Energy Savers, US Department of Energy
SECTION
10 (:5 DEFINITIONS
w Apron: A raised panel below a window sill. Carriage Porch: A roofed structure constructed over a driveway
at the main entrance of a building; it was designed to protect
Arbor. A detached latticework structure for climbing vines individuals from the weather when entering or exiting into the
Architrave: The lowest part of an entablature, sometimes used by j
main residence.
itself. Casement: A window sash that swings open along its entire
Balustrade: An entire railing system including a top rail, length, usually on hinges fined to the sides.
balusters, and a bottom rail.
Chimney Cap: The cornice forming the crowning termination of
Batten: A narrow strip of wood applied to cover a joint along the -a chimney.
w a �f���U�iai„a,, ,�� a„��� edges of two parallel boards in the same plane. Classical Revival: An architecture movement in the early
t Brackets: Ornamental carpentry, used frequently to give the nineteenth century based on the use of Greek and Roman forms.
overhangs of houses a sense of exterior support. Colonial Revival: The re-use of Georgian and Early Colonial
Beaded—Profile Panels: Panels manufactured to resemble designs in the United States in the late nineteenth century and
traditional bead board. early twentieth century.
N.,: ” „
Boxed Eave (boxed cornice): A hollow eave enclosed by the Contributing Structure: A contributing building, site, structure
roofing,the soffit, and the building wall or abject which adds to the historical architectural qualities,
historical associations or archaeological values for which a property
Bricked Eave: Eave condition where the top of the brick or district is significant and possesses historical integrity reflecting
its character at that time or is capable of yielding important
masonry wall is corbelled out to the eave eliminating the soffit. information about the period, or it independently meets the
Brickrnold: Window or door trim that covers the seam between National Register criteria.They include,but are not limited to:
the jamb and the wall,typically two inches wide. Original structures built before 1940
Historic structures moved into or moved within the District
Carpenter Gothic: A nineteenth century architectural style have the same contributing qualities as if they were built at
found in the United States. It is evidenced by the application of their current location.
Gothic motifs (typically wooden)by artisan-builders.
Specific structures designated contributing by the architectural
� REMINDER: All exterior work requiring a building permit requires a survey.
Certificate of Appropriateness and must conform with all of City of
Corbels:A bracket which fits under a horizontal surface.
Fort Worth ordinances. It is helpful when using these guidelines to be
familiar with your architectural style.
r
in i
Corbelling: An overlapping arrangement of bricks or stones in which each Front yard: The front yard shall be defined as yard across the full width of a
course (row) extends farther out from the vertical surface of the wall. it usu- tt extending from the front line of the main building to the front sidewalk.
ally supports a cornice or overhanging member. Gable: The vertical triangular portion at the end of a building having a double
Corinthian Order: The most slender and ornate of the three classical Greek sloping roof from the level of the cornice or eaves to the ridge of the roof.
orders, typically having elaborate capitals with volutes and acanthus leaves as Gable L: Describes the massing of a house having a hipped roof with a project-
decoration. ing gable form at the front, typically two-thirds the width of the fa�ade.
Corner Board: A board which is used as trim on the external corner of a !Gable Roof- A roof having a gable at one or both ends.
wood frame.
'Gambrel Roof. A roof with two slopes of different pitch on either side of the
Cornice: An ornamental molding at the meeting of the roof and walls; it usual- 1 ridge.
ly consists of bed molding,soffit,fascia, and crown molding.
Half-timbering: A technique of wooden-frame construction in which the
Crown Molding: Projecting molding forming the top member of a cornice, timber members are exposed on the outside of the wall.
door, or window frame.
�Hipped Roof. A roof that slopes upward from all four sides of a building,
Dentil: One part of a band of small, square, tooth-like blocks forming part of requiring a hip rafter at each corner.
the characteristic ornamentation of some classical orders.
Doric Order: The column and entablature developed by the Dorian Greeks. It Hood: A cover placed above an opening or an object originally meant to shed
water from the opening. Often found over windows and seen as trim.
is sturdy in proportion with a simple square capital and no base.
I _-1d d repair: Repair with like materials which does not change the historic
Dormer:A projection from a wall or roof structure. When it rises from a roof is anppearance of the structure (i.e. wood replaced with wood, brick with brick, re-
called a roof dormers and when it is an extension of a wall it is called a wall
pairing a tongue and groove wood porch floor by using new tongue and groove
dormer. When the dormer is located between the wall and roof it is referred to a ',
cornice line dormer. wood where needed. etc.).
Driveway: The purpose of the driveway shall be to create a paved surface for In-kind replacement: Duplicating the original feature or a missing feature;
the movement of vehicles to their designated parking areas. The driveway shall (i.e. replacing an unsalvageable 4 over 1 wood window with a recycled 4 over 1
be defined as the paved area within the property line extending from the back of'wood window, or adding a matching i over 1 wood window to a window opening
the sidewalk or lot line to the side yards, garage,out-building or through a porte �where a window had been removed in the past).
Ionic Order: One of the three classical Greek orders of architecture
Entablature: In classical architecture, the elaborated beam member carried characterized by a capital with large paired volutes.
by the columns. it is horizontally divided into architrave,frieze, and cornice.
Jack Arch: A flat or straight masonry arch.
Eaves: The edge of the roof, with or without exposed rafter tails, which extends
beyond the side of the structure usually twelve to twenty-four inches. Knee braces: Ornamental carpentry, used frequently to give the overhangs of
houses a sense of exterior support.
EIFS: Exterior insulation finishing system 1
Fascia: Vertical board that terminates a sloped roof at the eave. Knee Wall: A short,vertical wall that closes the low space created by a sloping
Frieze: The middle horizontal member of a classical entablature located above ceiling and floor.
the architrave and below the cornice. Light: A pane of glass, a window or a subdivision of a window.
in 13
Lintel: A horizontal structural member(such as a beam) over an opening that Post—and—beam framing: A type of timber framing where heavy
carries the weight of the wall above it. horizontal beams (girts) hang from heavy vertical corner posts. It began to fall
out of favor in the United States by the early nineteenth century with
Louver: An assembly of sloping, overlapping blades or slats designed to admit technological advances in lumber and fasteners (nails)that improved efficiency.
air and/or light. They also offer protection from adverse weather like extreme Public Right of Way: Any area of public use, including the public sidewalk, or
sunlight. street which is open to traffic.
Mullion and Muntin: The vertical and horizontal members (respectively) Rafter Tails: A rafter, bracket, or joist that projects beyond the side of a
separating(and often supporting)windows,doors, or panels. building and supports an overhanging portion of the roof.
Non-contributing structure: A building, site, structure or object within a Rear Yard: The rear yard shall be defined as a yard extending across the full
historic district that does not add to the values or qualities of that district be- width of the lot and measured between the rear line of the lot and rear line of
�
cause it was not present during the period of significance or because it no longer the main building.
retains integrity.
i Relocation: Moving a structure in the District from one site to another within
Ogee Curve:A double curve resembling an S—shape. 'the District, or moving a structure from outside the District into the District, or
moving a structure from within the District to outside the District boundaries.
Oriel Window: In medieval English architecture, a window corbelled out Roof Pitch: The slope of a roof expressed as a ratio of its vertical rise to its
from the wall of an upper story. horizontal run.
Palladian Motif. A door or a window opening having three parts. Flat lintels Routine Maintenance: Repair, cleaning, painting,etc.which does not change
are found over each side opening; the center opening having an arched top. the historic appearance of the structure.
Parkway: The space between the public sidewalk and curb. Sash: The framework of a window. It may be movable or fixed and may slide
in a vertical plane or pivoted.
Pediment: In classical architecture, the triangular gable end of the roof above
the horizontal cornice. Also, a surface used ornamentally over doors or Shed Dormer: A dormer window whose eave line is parallel to the eave line of
windows. I the main roof instead of being gabled.
Pergola: An attached structure of posts with carrying beams and trelliswork Shed Roof- A roof shape having only one sloping plane.
for climbing plants.
IShutter Dog: A pivoting bar for fixing shutters in the open position against a
Period of significance: Structures built between 1885 and 1940. wall.
Pilaster: An engaged pier,pillar or column, often seen with a capital and base. Side Gable: Describes the massing of a house having the gable end (or roof
Porte-coch6re: A passageway through a building or screen wall to let vehicles ridgeline)perpendicular to the street.
pass from the street to an interior courtyard. Side yard: The side yard shall be defined as a yard between the building and
Portico: A porch or covered walk consisting of a roof supported by columns; a the sideline of the lot extending from the front yard to the designated rear yard.
colonnaded porch. Skirt Board: A board set horizontally at the bottom of exterior wall cladding
along the ground line or building foundation.
Soffit: The exposed undersurface of any overhead component of a building,
such as a beam, cornice,lintel, or vault.
Stile-and-groove: A type of door construction that utilizes a framework of
vertical and horizontal members with inset panels.
Verge: The edge projecting over the gable of the roof. Also, the area of
planting,lawn or pavement between the sidewalk and the street curb.
Vergeboard: An ornamental board hanging from the rake,or verge, of a gable
roof.
Water Course or Water Table: A horizontal projecting stringcourse,
molding, or ledge constructed to divert rainwater from a building. Typically
made of stone or wood.
Wing: A secondary part of a building that extends out from the main portion
or'block"of the structure.
In A
SECTION
11
ACKNOWLEDGEMENTS
° Fairmount/Southside Historic District was established on the THIS UPDATE OF THE FAIRMOUNT STANDARDS AND GUIDELINES WAS
National Register of Historic Places in April 1990. Subsequently, DEVELOPED BY:
guidelines were established to maintain the standards that assured
the preservation and architectural integrity of the historic district. 1 Fairmount/Southside Historic District Design Guidelines Revision
We owe an immeasurable debt of gratitude to a number of Committee and Fairmount Neighborhood.Association Historic
dedicated individuals for their role in the preservation of Preservation Committee:
Fairmount and the development of this document.
David Cantu-Crouch Michael McDermott
THE FIRST PRINTING OF THE FAIRMOUNT SOUTHSIDE GUIDE TO
Deanna Crook Sue McLean
REHABILITATION, RESTORATION AND NEW CONSTRUCTION WAS IN Martin Dahl Patti Randle
Meghan Dennis Alex Seleny
OCTOBER 1991 AND WAS PREPARED $Y:
Susan Harper Kathleen Seleny
FAIRMOUNT ASSOCIATION HISTORIC ISSUES COMMITTEE: Mike Howe Rodney Wade
Barbara Koerble Robert Wedding
Phil Bordeleau Dorothy McKinney
Judi Cole Kenneth McKinney
Ruth Goolsbee Gary Miller CITY OF FORT WORTH
Glen Loveday Scotty Mitchell DEPARTMENT OF PLANNING AND DEVELOPMENT:
CITY OF FORT WORTH DEPARTMENT OF Liz Casso, Historic Preservation Officer
PLANNING&GROWTH MANAGEMENT SERVICES: Randy Hutcheson, Planning Manager
Sevanne Steiner, Senior Planner
Julia Hertenstein,Associate Planner;
Emil Moncivais AIA AICP,Assistant Director; Special thanks to:
yip
Paul Nedde,AICP,Associate Planner; • The many residents of the Fairmount/Southside Historic
District who have worked tirelessly for years to protect and
CITY OF FORT WORTH DEPARTMENT OF DEVELOPMENT: improve the historic neighborhood.
• Those residents who provided comments through online
Jolene Loftus,Assistant Building Official surveys.
TExAS HISTORICAL COMMISSION:
• Members of the Fairmount Neighborhood Association who
voted unanimously to adopt these standards.
W. Dwayne Jones, Preservation Planner « Joel Burns, District 9 City Councilmember, for championing
Fort Worth City Council's adoption of the standards.
„r FUNDING PROVIDED BY: Fairmount Association and The U.S. . The members of the Fort Worth Historic and Cultural
f Department of the Interior through a certified local government( Landmarks Commission.
grant administered by Texas Historical Commission.