Historic District Commission

MANISTEE CITY HISTORIC DISTRICT COMMISSION Worksession of Thursday, November 17, 2016 2:00 p.m. in the Council Chambers, City Hall 70 Maple Street - Manistee, Michigan AGENDA I Call to Order II Roll Call III Items for Discussion 1. In-Fill Construction Guidelines/Policy 2. Misc. IV Adjournment 11  MEMORANDUM 231.398.2805 City of Manistee Planning & Zoning Administrator Fax 231.723-1546 dblakeslee@manisteemi.gov www.manisteemi.gov TO: Historic District Commissioners FROM: Denise Blakeslee, Planning & Zoning DATE: November 10, 2016 RE: Historic District Commission Worksession November 17, 2016 Commissioners, Chair Kracht scheduled a worksession at the November Meeting for the commission to review/discuss Infill Guidelines/Policy. The worksession has been scheduled for 3 pm on Thursday, November 17, 2016 in the Council Chambers. Your packets include:  Guideline #8 Infill Construction  Excerpts from the Sense of Place: Design Guidelines for New Constriction in Historic Districts, A Publication of the Presentation Alliance for Greater Philadelphia including: o Four Strategies for Additions to Historic Settings o Preliminary Design Guidelines o Recommended Approach and Design Guidelines for New Construction in Historic Districts A comparison was developed from these documents for discussion at the worksession. If you are unable to attend the worksession please call me at 398-2805.  Comparison between current Guidelines and Preliminary Design Guidelines & Design Guidelines from Sense of Place: Design Guidelines for New Construction in Historic Districts (Greater Philadelphia) Guideline #8 in-Fill Construction Preliminary Design Guidelines Design Guidelines Width - An in-fill building should General - compatibility with the size, scale, General - New buildings should be compatible with the size, scale, reflect the characteristic width of color, material and character of the district, sub- color, material and character of the district, sub-area or block. facades on the street. Wider area or block (preferred) or creating meaningful New buildings may be designed in a variety of architectural styles facades should be broken down juxtapositions with the existing context including styles that are intentional restorations, inventions within an into a series of smaller “structural” historic style, or abstract reference to styles present in the district, so bays. long as the design reflects the sense of place of the specific district and creates a continuity of character. Height - Historically commercial Height - consistency with the existing height of Height - New buildings should generally be consistent with the existing buildings are generally similar in the district, sub-area and/or immediate block height of buildings in the district, sub-area and/or immediate block. height. An in-fill building should Consistency with adjacent rooflines by not Absolute alignment with the rooflines or cornice lines of adjacent not be much higher or lower than exceeding rooflines by one story, or stepping buildings is not essential, but buildings should not exceed the height of the mean height of surrounding back from a prevailing roof or cornice line their neighbors by a significant amount. Buildings at the corners of structures. major named and numbered streets, however, may exceed the height of adjacent buildings, particularly if there is a prevailing pattern of such height differentiation in the immediate area. Relationship to Street - An in-fill Street line - maintaining the relationship to the Street wall - New buildings should maintain the relationship to the building should have a relationship street or property line characteristic of the street or proper- ty line characteristic of the district or block to the street (primarily an issue of district or block, including porches. set-back) which is consistent with Continuity of the building wall of the block neighboring facades Façade Proportion - The Massing - Mid-rise and high-rise buildings should relate the massing of characteristic proportion the building to the heights and character of the immediate area. The (relationship of height to width) of base or podium of the building should relate to the scale of other existing facades should be buildings in the area, and the design of towers should include respected. elements that reduce the overall scale and impact of the size of the building. Visual Composition - The visual Facade composition - maintaining a tripartite Facade composition - Facade composition should include the following composition of the in-fill facade building facade composition divided into base, elements: (that is, the organization of its middle and top. A tripartite building composition divided into base, middle and top visual parts) should be similar to Maintaining a vertical orientation to the facade A vertical orientation to the facade; that of surrounding facades. Defining the top edge of a building by a cornice A top edge of a building defined by a cornice line or similar articulation line or similar articulation. Fenestration patterns and percent of facade devoted to fenestration Fenestration patterns and proportions, and a that is consistent with the district or block percent of the facade devoted to fenestration Avoidance of blank, mirrored or opaque facades  that is consistent with the district or block A sufficient percentage of windows and door openings, particularly at Avoidance of blank mirrored or opaque facades the first floor, so as to create a pedestrian friendly scale Providing a sufficient percentage of windows Alignment with cornice lines, window sills and headers of adjacent and door openings particularly at the first floor, buildings as much as possible so as to create a pedestrian friendly scale Avoidance of introduction of garage doors at the first floor, except on Alignment with cornice lines or window sills and individual houses sufficiently wide enough to maintain 33% of the heads of adjacent buildings. facade as windows. Facade Rhythms - Visual rhythms Rhythm / Pedestrian experience - inclusion of Rhythm / Pedestrian experience - New buildings should incorporate which unify the blockscape in their architectural elements that divide facade into architectural elements that divide the facade into intervals that consistency (window and intervals that maintain a pedestrian friendly maintain a pedestrian friendly scale. Windows and doors should be storefront rhythms) should be scale. placed in a manner that is harmonious with the established rhythm of incorporated into in-fill facades. the district or block. Using windows and doors in a manner that is harmonious with the established rhythm of the district or block. Proportion of Openings - The size Continuity of wall surface - New buildings should maintain the and proportion of window and continuity of the wall surface of the block, with wall surface door openings should be similar to predominating over window openings and window openings those on surrounding facades. appearing to be cut into the wall surface. The introduction of bay The same applies to the ratio of windows should not disrupt the feeling of continuity of the wall window area to solid wall for the surface. facade as a whole. Use of Materials - An in-fill facade Materials and details - use of materials similar Materials and details - New buildings should use materials similar to should be composed of materials to those in the district or on the block, including those in the district or on the block, including similar color. Materials which relate to adjacent facades similar color should be used in a manner that creates details, incorporates textures Use of materials in a manner that creates or small-scale elements that give buildings a three-dimensional details, incorporates textures or small scale character and a “human scale” especially at the ground level. elements that give buildings a three-dimensional character and a “human scale Roof Form - The roof type of an in- fill building should correspond to those of adjacent buildings. On commercial streets, this usually means a flat roof not visible on the front façade.  Historic District Commission Planning & Zoning Department 70 Maple Street Manistee, MI 49660 231.398.2805 www.manisteemi.gov Guideline #8 In-Fill Construction These Guidelines have been developed by the Historic District Commission to assist applicants. Each request will be reviewed individually by the Commission based on its own merit. Exceptions to these guidelines may be made by the Commission on a case by case basis. The Historic District Commission uses the Secretary of the Interior’s Standards for Rehabilitation as interpreted by the Preservation Briefs. Copies are available at the Manistee County Historical Museum and the Planning & Zoning Department at City Hall. The construction of new buildings along the traditional commercial street is a valid tool for downtown revitalization. Since these buildings are often constructed on vacant lots, thus filling a “hole” in the street, they are called in-fill construction. It is extremely important, however, that these new buildings relate harmoniously with the older buildings which surround them. Exact reproductions of Victorian buildings using historically accurate materials such as old-growth lumber must be identified as such. Interpretative reproductions using contemporary construction materials and/or techniques may be approved. False interpretations such as “fussy” Victorian is generally not recommended in the Historic District. Visually, the design of an in-fill building, particularly its front facade, should be influenced by the other facades on the street. It should “grow” out of them. The new design should not, however, duplicate the design of the neighboring facades. Rather, it should be a contemporary design influenced by its surroundings...a blend of new and old. The in-fill facade should not pretend to be historic by using false “historic” detail. Pseudo- Colonial or Victorian elements are often used to blend a new building with older surroundings. This approach generally ends up only compromising what is authentically historic in the environment. Since good in-fill design responds directly to its surroundings, it is not possible to develop specific guidelines which apply to all cases. There are, however, several general ideas which should govern the visual ties between an in-fill building and its neighbors. Historic District Commission Guideline #8 In-Fill Construction Page 1 FACADE SHAPE The concepts and characteristics presented on the following page are those of the existing architecture which should determine the “rough” shape, size and location of the in-fill facade. Height Roof Forms Historically commercial buildings are generally The roof type of an in-fill building should similar in height. An in-fill building should not correspond to those of adjacent buildings. On be much higher or lower than the mean height of commercial streets, this usually means a flat surrounding structures. roof not visible on the front façade. Width Relationship to Street An in-fill building should reflect the An in-fill building should have a relationship to characteristic width of facades on the street. the street (primarily an issue of set-back) which is Wider facades should be broken down into a consistent with neighboring facades series of smaller “structural” bays. Facade Proportion The characteristic proportion (relationship of height to width) of existing facades should be respected. Historic District Commission Guideline #8 In-Fill Construction Page 2 FACADE DESIGN The concepts and characteristics presented on this page are those of the existing architecture which should determine the “detail” design of the in-fill facade. Visual Composition The visual composition of the in- fill facade (that is, the organization of its visual parts) should be similar to that of surrounding facades. Facade Rhythms Visual rhythms which unify the blockscape in their consistency (window and storefront rhythms) should be incorporated into in-fill facades. Proportion of Openings The size and proportion of window and door openings should be similar to those on surrounding facades. The same applies to the ratio of window area to solid wall for the facade as a whole. Use of Materials Use of Colors An in-fill facade should be The colors chosen for an in-fill composed of materials which facade should tie it to its relate to adjacent facades neighbors Historic District Commission Guideline #8 In-Fill Construction Page 3 FOUR STRATEGIES FOR ADDITIONS TO HISTORIC SETTINGS Literal Replication The strategy of replication prioritizes compatibility and minimizes differentiation. This strategy will likely sustain the character of an existing setting so long as the historic elements to be replicated are well understood, the technical means to effect replication are available, and so long as the scale of the replication is modest relative to the original building. Despite frequently- expressed disapproval of this strategy by many contemporary preservation theorists and officials, it has the sanction of history. Architects have often chosen to add to existing buildings by reproducing a previous architect’s work, sometimes even centuries afterward, usually for the sake of completing an intended but unrealized symmetry or extending a pattern already established. In such cases, the resource is defined as the design concept as a whole rather than any isolated part of it as it appears at a given time. Invention within a Style This strategy, while not replicating the original design, adds new elements in either the same or a closely related style, sustaining a sense of continuity in architectural language. The intention is to achieve a balance between differentiation and compatibility, but weighted in favor of the latter. This strategy also has a long history: In fact, it is what most architects have always done. Abstract Reference The third strategy seeks to make reference to the historic setting while consciously avoiding literal resemblance or working in a historic style. This approach seeks to balance differentiation and compatibility, but with the balance tipped toward the former. This is a difficult strategy to execute because it requires an artistry and skill that are not often available. Intentional Opposition Finally, the fourth strategy is one of conscious opposition to the context and the determination to change its character through conspicuous contrast, prioritizing differentiation at the expense of compatibility. Modern architects did not invent this idea. Andrea Palladio, who famously loathed gothic architecture, wrapped the medieval town hall of Vicenza with elegant arcades to conceal the geometric irregularities of the older building. Palladio’s arcades became a model of urban amenity and there is no question that the center of Vicenza is the richer for this facelift. Sometimes contrast is the appropriate response to a context that is weak or otherwise unsatisfactory, but we must be careful making such judgments. The most suitable use of this strategy is to repair damage to the historic setting brought about by previous insensitive or oppositional interventions. The use of this strategy intentionally to diminish a valued historic context is usually inappropriate. RETHINKING DIFFERENTIATION AND COMPATIBILITY These four strategies represent four variations on the relationship of differentiation and compatibility, two terms that represent a logical contradiction if we treat them as equally important values. In my view, the fundamental interests of preservation can only be served if compatibility is given greater weight, since it alone allows us to sustain valued historic character in the face of the many forces threatening it. To insist on differentiation by means of a contrasting modernist style for new construction, as some authorities have in recent years, condemns historic buildings and districts to change in ways alien to their historic patterns and typologies. When consistently applied, this policy leads to the gradual erosion of historic character as the inevitable consequence of the preservation effort itself—an unacceptable contradiction in contemporary preservation practice. The doctrine of differentiation has too often been used to mask simple stylistic bias. The Secretary’s Standards and the Venice Charter both assumed that the modernist aesthetic would remain normative for contemporary building indefinitely. But current practitioners have revived traditional architecture and urbanism so that “contemporary” no longer necessarily means “modernist.” Preservation regulations, including the Secretary’s Standards, should not be construed to support the acceptance or rejection of any proposed project solely on the basis of style. Consequently, alterations or additions to historic settings that improve or strengthen the pre- existing character should be welcomed, regardless of their style; changes that weaken or diminish the historic character should not be permitted, again regardless of style. Additions or new construction may be in the same style as the historic buildings, provided that the new construction is consistent with the typology, composition, scale, proportion, ornament, materials, and craftsmanship typical of the setting. Violation of these attributes for the sake of a questionable principle of differentiation leads inevitably to the loss of historic character and, thereby, loss of the resource in its truest sense. When additions or new construction are appropriate at all, they should be added in such a way that the new is distinguishable from the historic fabric by informed observers or trained professionals. No differentiation should be made that would result in an incongruous appearance or a ruptured integrity. Where the new construction might not be readily distinguishable by the public at large, interpretive materials should clarify the construction history of the site rather than expecting this to be self-evident from the appearance of the new construction alone. De-emphasizing differentiation and prioritizing compatibility would allow historic buildings and districts to grow and change in accordance with their historic patterns and styles, thereby assuring a continuity of character through time. This, in my view, is the proper way to protect the resources to be conserved in our historic buildings and districts. Compatibility requires more than similarities of massing or abstract references; it must be a primary objective of the designer and an integral part of the design process for projects in historic settings. What makes buildings from different eras and styles compatible is that they share the same underlying principles of space, structure, elements, composition, proportion, ornament, and character. If these principles are consistent among the buildings along a street or around a square, they will be compatible, regardless of style. Compatibility is not uniformity; however, if the principles embodied by neighboring buildings are antithetical, no alignment of cornices or adjustments of massing will be sufficient to maintain a relationship of civility among them. The decision about which of the four strategies to follow cannot be made lightly. It is a question of what is most respectful of the existing architectural and urban conditions or, if these are not suitable, what will produce the greatest degree of harmony and wholeness in the built environment. Such decisions cannot be made one building at a time, but must recognize the potentially exemplary nature of every architectural act. If we pay more attention to the historic urban setting than to the individual building and move beyond an obsessive concern with the chronology of construction, our choice of strategy can fulfill our obligation as citizens to make the city more beautiful, sustainable, and just. If we adopt this ethic, we will naturally seek not the architecture of our time but, more importantly, the architecture of our place. PRELIMINARY DESIGN GUIDELINES The examples summarized above suggest that compatibility with the existing character of an historic district is more to be valued than significant difference. They also suggest a composite list of design criteria that are likely to enable new buildings to be designed in manner that is consistent with the character of an historic district regardless of their architectural style. This list of composite criteria is as follows: General  compatibility with the size, scale, color, material and character of the district, sub-area or block (preferred) or  creating meaningful juxtapositions with the existing context Height  consistency with the existing height of the district, sub-area and/or immediate block  consistency with adjacent rooflines by not exceeding rooflines by one story, or stepping back from a prevailing roof or cornice line Street line  maintaining the relationship to the street or property line characteristic of the district or block, including porches  continuity of the building wall of the block Facade composition  maintaining a tripartite building facade composition divided into base, middle and top  maintaining a vertical orientation to the facade  defining the top edge of a building by a cornice line or similar articulation  fenestration patterns and proportions, and a percent of the facade devoted to fenestration that is consistent with the district or block  avoidance of blank mirrored or opaque facades  providing a sufficient percentage of windows and door openings particularly at the first floor, so as to create a pedestrian friendly scale  alignment with cornice lines or window sills and heads of adjacent buildings Rhythm / Pedestrian experience  inclusion of architectural elements that divide facade into intervals that maintain a pedestrian friendly scale  using windows and doors in a manner that is harmonious with the established rhythm of the district or block Materials and details  use of materials similar to those in the district or on the block, including similar color  use of materials in a manner that creates details, incorporates textures or small scale elements that give buildings a three-dimensional character and a “human scale Recommended Approach and Design Guidelines For New Construction in Historic Districts The examination of case studies indicated that there were some issues not addressed in the preliminary design guidelines listed at the end of Part Four. In addition, the case studies also indicated that the way the guidelines are applied to specific districts is dependent on first examining the overall characteristics of the districts, the presence of sub-areas and of significant land- marks. The Preservation Alliance recommends the following approach and design guidelines for evaluating, and for designing, new buildings in historic districts. APPROACH  Determine whether the district has a single overall environmental and architectural style or whether there are sub-areas.  If the district or sub-areas have a single overall environmental and architectural style, identify and document that style through photographs of typical environmental patterns and architectural character. Adopt a guideline that requires new construction to adhere to that environmental and architectural style or to do so with only minor variations consistent with the environmental and architectural style. (Semes’s literal replication or invention within a style.)  For districts with a variety of architectural styles, identify the common approach to the design characteristics listed in the guidelines below and apply those characteristics to the evaluation (or design) of new buildings in the district. These designs may take the form of literal restorations, inventions within a style or abstract reference depending on the particular circumstance and location of the new building.  Identify significant landmark buildings in the district whose importance justifies the creation of a “zone of respect” around those buildings. Determine the appropriate size of the zone of respect and the special design guidelines that should apply in this zone of respect. Height may be the most significant factor of the guidelines for these zones of respect. DESIGN GUIDELINES General  New buildings should be compatible with the size, scale, color, material and character of the district, sub-area or block.  New buildings may be designed in a variety of architectural styles including styles that are intentional restorations, inventions within an historic style, or abstract reference to styles present in the district, so long as the design reflects the sense of place of the specific district and creates a continuity of character. Height  New buildings should generally be consistent with the existing height of buildings in the district, sub-area and/or immediate block. Absolute alignment with the rooflines or cornice lines of adjacent buildings is not essential, but buildings should not exceed the height of their neighbors by a significant amount. Buildings at the corners of major named and numbered streets, however, may exceed the height of adjacent buildings, particularly if there is a prevailing pattern of such height differentiation in the immediate area. Massing   Mid-rise and high-rise buildings should relate the massing of the building to the heights and character of the immediate area. The base or podium of the building should relate to the scale of other buildings in the area, and the design of towers should include elements that reduce the overall scale and impact of the size of the building. Street wall  New buildings should maintain the relationship to the street or proper- ty line characteristic of the district or block Continuity of wall surface  New buildings should maintain the continuity of the wall surface of the block, with wall surface predominating over window openings and window openings appearing to be cut into the wall surface. The introduction of bay windows should not disrupt the feeling of continuity of the wall surface. Facade composition - Facade composition should include the following elements:  a tripartite building composition divided into base, middle and top  a vertical orientation to the facade;  a top edge of a building defined by a cornice line or similar articulation  fenestration patterns and percent of facade devoted to fenestration that is consistent with the district or block  avoidance of blank, mirrored or opaque facades  a sufficient percentage of windows and door openings, particularly at the first floor, so as to create a pedestrian friendly scale  alignment with cornice lines, window sills and headers of adjacent buildings as much as possible  avoidance of introduction of garage doors at the first floor, except on individual houses sufficiently wide enough to maintain 33% of the facade as windows. Rhythm / Pedestrian experience  New buildings should incorporate architectural elements that divide the facade into intervals that maintain a pedestrian friendly scale. Windows and doors should be placed in a manner that is harmonious with the established rhythm of the district or block. Materials and details  New buildings should use materials similar to those in the district or on the block, including similar color. Materials should be used in a manner that creates details, incorporates textures or small-scale elements that give buildings a three-dimensional character and a “human scale” especially at the ground level.