H isto r ic P r e se r v a tio n D e sig n G u id e lin e s

Historic PreservationHistoric PreservationHistoric PreservationHistoric PreservationHistoric PreservationDesign GuidelinesDesign GuidelinesDesign GuidelinesDesign GuidelinesDesign Guidelines

City ofSteamboat Springs, Colorado

NOVEMBER 2001

Old Town Steamboat Springs

Acknowledgments

City of Steamboat SpringsSteamboat Springs City CouncilKevin Bennett, PresidentKen BrennerKathy ConnellJim EngelkenBud RombergArianthé C. StettnerPaul Strong

Paul Hughes, City Manager

Historic Preservation Advisory CommissionJayne Austin, ChairpersonLara CraigJerry NettletonLeslie BorstadKarolynn Lestrud

Laureen Schaffer, Historic Preservation Specialist andProject Manager

Planning CommissionDan BakerDavid Baldinger, Jr.Tony ConnellJoe FoglianoVince HooperKathi MeyerKen MillerShelley Pastachak, ChairpersonDana StopherDick Curtis

Wendie Schulenburg, Director of Planning ServicesTracey Hughes, City Planner

Winter & Company775 Poplar AvenueBoulder, Colorado 80304

Noré V. WinterRay KramerJulie HusbandDiana BrentKaren GoodLinda RathbunBetsy Shears

Bruce Race, FAIA, AICPRACESTUDIO

Jan KaminskiMountain Architecture Design Group, PC

Historic photos are courtesy of The Tread of Pioneers Museum.

Photo examples from other towns are included throughout the document to illustrate some of theguidelines points. While many of these other settings have different contexts, the photos still demon-strate principles that apply in the core area of Steamboat Springs.

This project was paid for in part by a State Historical Fund grant from the Colorado Historical Society.

Old Town Steamboat Springs

Table of Contents

Page NumberIntroduction 1

History of the Development of Steamboat Springs 10Building Types and Style Elements 15

Guidelines for Streetscape and Lot FeaturesChapter 1 Streetscape and Lot Features 23

Guidelines for the Rehabilitation of Historic StructuresChapter 2 Historic Building Materials 27Chapter 3 Windows 33Chapter 4 Doors 41Chapter 5 Porches 47Chapter 6 Architectural Details 51Chapter 7 Roofs 55Chapter 8 Secondary Structures 59Chapter 9 Building Additions 63

Guidelines for New ConstructionChapter 10 New Construction 69

Supplemental Rehabilitation Guidelines

Chapter 11 Supplemental Guidelines 81

GlossaryChapter 12 Glossary of Terms 91

Introduction

This document provides design guidelines forpreservation of historic resources in SteamboatSprings. It conveys policies identified by thecommunity in a series of planning discussionsheld during 1998-2001 and also incorporatesfundamental preservation principles that areembraced nationally. It thereforeestablishes a basis for property ownersto plan improvement projects that willrespect the heritage of the communityand maintain its historic structures andsites.

This introductory chapter provides anoverview of the types of historicproperties that are to be found inSteamboat Springs, outlines thereasons for protecting them andprovides the basic preservationprinciples that underlie the guidelines.

These guidelines follow in a series ofchapters that address restoration andrepair of historic features, the designof compatible alterations, new construction andsite work.

Why Preserve Historic Resources?

Across the nation, thousands of communitiespromote historic preservation because doing socontributes to neighborhood livability and qualityof life, minimizes negative impacts on theenvironment and yields economic rewards. Thesesame reasons apply in Steamboat Springs.

Steamboat Springs is the center of business,governmental activity and tourism for RouttCounty, as well as northwest Colorado. Becauseit is rich in resources and offers an outstandingquality of life, it continues to attract developmentthat challenges the community to seek creativeways of protecting its character. Preserving

Preservation in Steamboat Springs

historic resources is a part of an overall strategyof maintaining community identity and livability.A key goal is that, as Steamboat Springs continuesto grow, it will maintain its ties to the past throughthe preservation of its architectural heritagereflected in its historic resources.

Throughout 1990s, the City and Countycommunity plans emphasized citizen concernsabout the need to preserve the scale and characterof the older residential neighborhoods and thedowntown commercial core. Preserving historicresources—including residential structures andcommercial buildings—should help maintain thefeel and way of life that makes Steamboat Springsattractive.

Preservation of the built environment provides afundamental link to the past. Many of thebuildings tell the story of Steamboat Springs'sunique historical development and keeping theseresources creates a sense of place for those wholive here and provides visitors a connection withthis unique heritage.

The guidelines convey policies identified by community residents in a series ofplanning workshops.

Introduction

Construction qualityMany of the historic structures in the City wereconstructed with high quality materials andcraftsmanship. Other buildings were moremodest, but even so may have used lumber frommature trees that were properly seasoned andtypically milled to full dimension, which oftenyields stronger framing. Masonry walls werecarefully laid, resulting in buildings with

considerable stability. Also, these structures werethoughtfully detailed and the finishes ofmaterials, including fixtures, wood floors andtrim, were generally of high quality—all featuresthat owners today appreciate and value.

AdaptabilityOwners frequently find that the floor plans ofhistoric buildings easily accommodate modernlifestyles and support a diversity of populations.Many rooms are large, permitting a variety of useswhile retaining the overall historic character of

the structure. Even historic buildings that aresmaller in scale often are on sites that canaccommodate additions, if needed.

Livability and quality of lifeWhen older buildings occur in groups, they createa street scene that is "pedestrian friendly," andencourages walking and neighborly interaction.Mature trees and decorative architectural featuresalso contribute to a sense of identity that is uniqueand difficult to achieve in newer areas. Thesehistoric buildings therefore help create desirableplaces to live and work.

Environmental benefitsPreserving an historic structure is also a soundenvironmental conservation policy because"recycling" saves energy and reduces the need forproducing new construction materials. Threetypes of energy savings occur:• First, energy is not consumed to demolish

the existing building and dispose of theresulting debris.

• Second, energy is not used to create newbuilding materials, transport them andassemble them on site.

• Finally, the "embodied" energy which wasused to create the original building and itscomponents, is preserved.

By "reusing" older buildings, pressure is alsoreduced to harvest new lumber and othermaterials that may have negative effects on theenvironment of other locales where thesematerials are produced.

Economic benefitsNationwide studies prove that preservationprojects also contribute more to the local economythan do new building programs because eachdollar spent on a preservation project has a higherpercentage devoted to labor and to the purchaseof materials available locally. By contrast, newconstruction typically has a higher percentage ofeach dollar spent devoted to materials that areproduced outside of the local economy and tospecial construction skills that may be imported.Therefore, when money is spent on rehabilitating

These design guidelines apply to avariety of situations in SteamboatSprings.

• First, they are relevant to all projectsin which property ownersvoluntarily seek to use preservationprinciples.

• Second, they also apply to situationsin which city regulations requirereview and comment on a projectinvolving an historic property.

In some cases, comments from theHistoric Preservation AdvisoryCommission may be required and formalapproval may also be necessary for someprojects. Steamboat Springs City Councilis the final approval body for all projects.In order to determine if specialregulations apply to a property, consultwith city planning staff.

Introduction

a building, it has a higher "multiplier effect,"keeping more money circulating in thecommunity. Rehabilitation therefore, providesmore jobs for Steamboat Springs area residents.

Incentives for preservationWhile the economic benefits are substantial,special incentives also exist to help offset potentialadded costs of appropriate rehabilitationprocedures. Income tax credits are offered at thestate and federal levels for appropriaterehabilitation. Eligible projects also can qualifyfor the State Historical Fund, a substantialopportunity for owners of commercial andresidential properties.

The City also offers a financial bonus which isavailable for properties listed on the local register.This bonus is a sales tax rebate for materialsbought (within city limits) for a restorationproject.

Responsibility of ownershipOwnership of an historic property carries boththe benefits described above and a responsibilityto respect the historic character of the resourceand its setting. While this responsibility does exist,it does not automatically translate into higherconstruction or maintenance costs. Ultimately,residents and property owners should recognizethat historic preservation is a long-rangecommunity policy that promotes economic well-being and overall viability of the city at large andthat they play a vital role in helping to implementthat policy through careful stewardship of thearea’s historic resources.

What is a Historic Property?

These design guidelines are for historic propertiesthat can be found throughout Steamboat Springs,including those listed on the "Historic PropertySurvey of Downtown Steamboat Springs." Whilemany properties may be recognized informallyas having historic significance (and the guidelinesapply to them), some may be officially listed assuch in the National Register, the State Register,and also locally by ordinance.

Local InventoryThe City conducted a "Historic Property Surveyof Downtown Steamboat Springs," whichidentified 48 downtown properties ofsignificance. Of these six properties wereidentified as being eligible for National Registerdesignation. In addition, three properties in thedowntown area already appear on the NationalRegister.

National Register ListingThe National Register of Historic Places is a listof sites and properties of historic significance thatis maintained by the Secretary of the Interior.Properties so listed may have nationalsignificance, but they may also be listed if theyare determined to have significance at a state orlocal level. The National Register is administeredby the National Park Service and nominations aresubmitted through the State Historic PreservationOfficer, using criteria adopted by the Secretary ofthe Interior.

Properties listed in the National Register may beeligible for federal income tax credit incentives.Designated properties are also protected fromfederally-funded projects which might harm oralter the historic character. Such federal projectsmust be reviewed for their potential negativeimpact. Otherwise, alterations are not reviewedby the Park Service if the property owner is notseeking the federal income tax incentive or if nofederal actions are involved.

Why have Design Guidelines?

The design guidelines provide a basis for makingdecisions about the appropriate treatment ofhistoric resources and compatible newconstruction. They also serve as a planning toolfor property owners and their designprofessionals who seek to make improvementsthat may affect historic resources. While thedesign guidelines are written such that they canbe used by the layman to plan improvements,property owners are strongly encouraged to enlistthe assistance of qualified design and planningprofessionals, including architects andpreservation consultants.

Introduction

While the guidelines providedirection for specific designissues, some basic principlesof preservation form thefoundation for them. Thefollowing preservationprinciples apply to the coreneighborhoods in SteamboatSprings:

1. Respect the historicdesign character of thebuilding.

Don’t try to change abuilding's style or make it lookolder than it really is.Confusing the character bymixing elements of differentstyles is not appropriate.

2. Seek uses that arecompatible with the historiccharacter of the building.

Uses that closely relate to thebuilding's original function arepreferred. Every reasonableeffort should be made toprovide a compatible use forthe building that will require

minimal alteration to it or itssite. An example of anappropriate adaptive use isconverting a residence into abed and breakfastestablishment (when zoningregulations permit). This canbe accomplished withoutradical alteration of the originalarchitecture.

3. Protect and maintainsignificant features andstylistic elements.

Distinctive stylistic features orexamples of skilledcraftsmanship should betreated with sensitivity. Thebest preservation procedure isto maintain historic featuresthrough proper maintenancefrom the outset so thatintervention is not required.This includes rust removal,caulking, limited paint removaland reapplication of paint.

4. Preserve key, character-defining features of theproperty.

Key features are those thathelp convey the character ofthe resource as it appearedduring its period of historicsignificance. These mayinclude the basic structuralsystem and building materials,as well as windows, doors,porches and ornamentation.Typically, those features thatare on the front of a building orthat are highly visible from apublic way will be mostimportant.

5. Repair deterioratedhistoric features, andreplace only those elementsthat cannot be repaired.

Maintain the existing material,using recognized preservationmethods whenever possible. Ifdisassembly is necessary forrepair or restoration, usemethods that minimizedamage to original materialsand replace the existingconfiguration.

The Basic Preservation Principles for Steamboat Springs

Introduction

How will these Guidelines be Used?

Property owners should review the guidelineswhen planning an improvement project, to assurethat the work contemplated will help preserve thehistoric character of the City. In some casescomments from the Historic PreservationAdvisory Commission may be required and,formal approval may also be necessary for someprojects. Steamboat Springs City Council is thefinal approval body for all projects.

How many Guidelines should be met?

Note that not every guideline will apply to eachproject, and that some balancing of the guidelinesmust occur on a case-by-case basis.

What is the format of a Guideline?

Each chapter containing design guidelines isorganized in a way that provides background

information as well as specific regulatorylanguage. A guideline contains the followingcomponents:

• Policy statementA broad statement explaining the City’s basicapproach for the treatment of the design featurebeing discussed. This statement provides the basisfor the more detailed background informationand design guidelines that follow. In a case inwhich special conditions exist that do not appearto be anticipated in the guideline, then this broadpolicy statement should serve as the basis fordetermining the appropriateness of the proposedwork.

• Background informationA discussion of the issues typically associatedwith the specific design topic is presented next.This may include technical information, such asfactors associated with the preservation of anhistoric building material, as well as generalpreservation theory that is relevant to the topicat hand.

Policy:Historic building materials should be preserved in place whenever feasible. Whenthe material is damaged, then limited replacement that matches the original inappearance should be considered. Primary historic building materials should neverbe covered or subjected to harsh cleaning treatments.

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

PolicyPolicyPolicyPolicyPolicyStatementStatementStatementStatementStatement

BackgroundBackgroundBackgroundBackgroundBackgroundInformationInformationInformationInformationInformation

PertinentPertinentPertinentPertinentPertinentSub-TopicSub-TopicSub-TopicSub-TopicSub-Topic

DesignDesignDesignDesignDesignGuidelineGuidelineGuidelineGuidelineGuideline

AdditionalAdditionalAdditionalAdditionalAdditionalInformationInformationInformationInformationInformation

IllustrationIllustrationIllustrationIllustrationIllustration

Protect wood features from deterioration. Maintainprotective coatings to retard drying and ultravioletdamage.

BackgroundIn Steamboat Springs, wood siding andmasonry were the typical primary buildingmaterials. Wood siding occurred in a varietyof forms but painted, horizontal clapboardwas the most popular. A variety of lapprofiles, including clapboard and ship-lapwere used.

Treatment of Building Materials2.2 Protect wood features fromdeterioration.• Provide proper drainage and

ventilation to minimize rot.• Maintain protective coatings to retard

drying and ultraviolet damage.

Introduction

• Pertinent subtopicsThe sections that follow the backgroundinformation are divided into subtopics. Forexample, in the chapter addressing "Streetscapeand Lot Features", the subtopics include: fences,site lighting and streetscape design. Thisorganization allows the user to quickly select thespecific design topics within a section that arerelevant.

• Design guidelinesThe specific design guidelines are presented asbold face statements under each subtopic. Theseare also numbered to indicate their relativeposition within the chapter and to aid in specificreference in the review process. Also providedwith the design guidelines are supplementaryrequirements, which clarify the primary designguideline statement and may suggest specificmethods for complying with it.

Policies Underlying the Guidelines

The design guidelines incorporate principles setforth in The Secretary of the Interior's Standards forthe Treatment of Historic Properties—a widelyaccepted set of basic preservation designprinciples. This document is compatible with theSecretary of the Interior’s Standards, whileexpanding on how these basic preservationprinciples apply in Steamboat Springs. Otherguiding materials include the Steamboat SpringsArea Community Plan and the CommunityDevelopment Code.

The concept of historic significanceWhat makes a property historically significant?It is generally recognized that a certain amountof time must pass before the historical significanceof a property can be evaluated. The NationalRegister, for example, suggests that a property beat least 50 years old or have extraordinaryimportance before it may be considered.Steamboat Springs also employs the 50 yearguideline; however, structures that are morerecent may be considered significant if they arefound to have special architectural or historicalmerit.

A property may be significant for one or more ofthe following reasons:• Association with events that contributed to

the broad patterns of history, the lives ofsignificant people, or the understanding ofSteamboat Springs’s prehistory or history.

• Construction and design associated withdistinctive characteristics of a building type,period, or construction method.

• An example of an architect or mastercraftsman or an expression of particularlyhigh artistic values.

• Integrity of location, design, setting,materials, workmanship, feeling andassociation.

Period of significanceEvery historic building has a period ofsignificance—or the time span during which itgained architectural, historical or geographicalimportance. In most cases, a property issignificant because it represents or is associatedwith a particular period in history. Frequently, thisbegins with its construction date and continuesthrough the peak of early occupation. Portions ofthe building fabric that date from the period ofsignificance typically contribute to the characterof the structure.

Concept of "integrity"In addition to being historically significant, aproperty also must have integrity—a sufficientpercentage of the structure must date from theperiod of significance. The majority of thebuilding’s structural system and its materialsshould date from that time and its key character-defining features also should remain intact. Thesemay include architectural details, such as dormersand porches, ornamental brackets and moldingsand materials, as well as the overall mass andform of the building. It is these elements thatallow a building to be recognized as a product ofits time.

Introduction

Developing a Preservation Strategy

Each preservation project is unique. A project mayinclude a variety of treatment techniques,including the repair and replacement of featuresand maintenance of those already in good

condition. In order to define the range ofpreservation treatments that may be needed in aproject, follow these steps:

1. Research the history of the property.This analysis should begin with an investigationof the history of the property. This may identifydesign alterations that have occurred and mayhelp in developing an understanding of thesignificance of the building as a whole as well asits individual components.

2. Assess existing conditions.Historical research should be combined with anon-site assessment of existing conditions. In thisinspection, identify those elements that areoriginal and those that have been altered. Alsodetermine the condition of individual buildingcomponents.

3. List use requirements.Finally, list the requirements for continued use ofthe property. Is additional space needed? Orshould the work focus on preserving andmaintaining the existing configuration?

4. Summarize a preservation strategy.By combining an understanding of the history ofthe building, its present condition, and the needfor action, one can then develop a preservationapproach.

Defining preservation treatments

When developing a preservation strategy,consider the application of these terms:

MaintenanceWork that often focuses on keeping the propertyin good working condition by repairing featuresas deterioration becomes apparent, usingprocedures that retain the original character andfinish of the features. In some cases, preventivemaintenance is executed prior to noticeabledeterioration. No alteration or reconstruction isinvolved. Property owners are stronglyencouraged to maintain their property in good

Developing a PreservationStrategy

1 .1 .Research thehistory of theproperty

2 .2 .Assess existingconditions

3 .3 .List userequirements.

4 .4 .Summarize apreservationstrategy.

Introduction

condition so that more aggressive measures ofrehabilitation, restoration or reconstruction arenot needed.

PreservationKeeping an existing building in its current stateby a careful program of maintenance and repair.It will often include repair and stabilization ofmaterials and features in addition to regularlyscheduled maintenance. Essentially, the propertyis kept in its current good condition.

RehabilitationRehabilitation is the process of returning aproperty to a state which makes a contemporaryuse possible while still preserving those portionsor features of the property which are significantto its historic, architectural and cultural values.Rehabilitation may include the adaptive reuse ofthe building and constructing additions. Mostgood preservation projects in Steamboat Springsmay be considered rehabilitation projects.

RestorationTo restore, one reproduces the appearance of abuilding exactly as it looked at a particularmoment in time; to reproduce a pure style—eitherinterior or exterior. This process may include theremoval of later work or the replacement ofmissing historic features. A restoration approachis used on missing details or features of an historicbuilding when the features are determined to beparticularly significant to the character of thestructure and when the original configuration isaccurately documented.

RenovationTo renovate means to improve by repair, to revive.Renovation is similar to rehabilitation, althoughit includes the use of some new materials andelements. The basic character and significantdetails are respected and preserved, but somesympathetic alterations may also occur.Alterations that are made are generally reversible,should future owners wish to restore the buildingto its original design.

Adaptive UseConverting a building to a new use that isdifferent from its original purpose is consideredto be adaptive use. For example, converting aresidential structure to offices is adaptive use. Agood adaptive use project retains the historiccharacter of the building while accommodatingnew functions.

While adaptive use allows the building owner toconvert the building to a purpose other than thatfor which it was designed, it should be done withrespect to the original building form. For example,it would be inappropriate to turn the living roomof an historic building into a bathroom. Thereason for this is that when the programmatic usesof a building are drastically altered, this oftenresults in a major change to the original floor planas well as to the exterior appearance of thebuilding. When adaptive reuse is the preferredpreservation alternative, the proposed designshould make use of the original building functionas closely as possible.

RemodelingTo remake or to make over the design image of abuilding is to remodel it. The appearance ischanged by removing original detail and byadding new features that are out of character withthe original. Remodeling is inappropriate forhistoric buildings in Steamboat Springs.

Combining Preservation StrategiesMany successful projects that involve historicstructures in Steamboat Springs may include acombination of preservation, restoration, andother appropriate treatments. For example, ahouse may be adapted to use as a restaurant, andin the process, missing porch brackets may bereplicated in order to restore the originalappearance, while existing original dormers maybe preserved.

Introduction

The Preferred Sequence of Preservation Actions

4 .4 .Reconstructmissing features.

1 .1 .Maintain fea-tures that are ingood condition.

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

3 .3 . Replace onlythose featuresthat are beyondrepair.

5 .5 .Design any newfeature to becompatible.

Once the basic approach to a project has beendefined, it is important to assess the property andto identify any significant character-definingfeatures and materials. Retaining these elements,and then using the guidelines to select anappropriate treatment mechanism will greatlyenhance the overall quality of the preservationproject. In making the selection follow thissequence:1. If a feature is intact and in good condition,

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

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

replace it with one that is the same or similarin character (materials, detail, finish) to theoriginal one. Replace only that portion whichis beyond repair.

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

5. If a new feature or addition is necessary,design it in such a way as to minimize theimpact on original features.

Repair features that are deteriorated rather than replace them.

Introduction

History of the Development of Steamboat Springs

Steamboat Springs is the commercial, recreationaland governmental hub of northwestern Colorado.It is a popular Rocky Mountain resort, not justfor its “champagne powder” skiing but also forthe world class hunting, fishing, hiking andcamping available year-round. But SteamboatSprings is much more than just a touristdestination. The town has a colorful heritagebased on fur trading, silver and gold mining, coalmining, and cattle ranching.

These modest industries influenced the mannerin which Steamboat Springs developed as a town.Gold and silver mining nearby did help tostimulate development, but they were never as

productive here as in other parts of the state;therefore Steamboat Springs and its developmentwasn’t dominated by major mining magnateswho would have built monumental hotels, officebuildings or homes with their wealth. Instead,the population was mostly hard-working, hearty,adventurous individuals making a living withtheir hands and backs, along with the

storekeepers, lawyers, bankers, and traders whosupported them. The types of commercial andresidential buildings built in Steamboat Springsalso reflected the preferences and budgets of theresidents. Thus, buildings tended to be strong,sound, relatively plain and functional. This isSteamboat Springs’ character—one that makes itunique among Colorado mountain towns andthat the residents feel strongly about protecting.

Early Settlement of the CommunityAs was true in many northern and western areasof the US. Territories, fur trading was a majorindustry in the Yampa Valley in the mid-1800s andthere are accounts of trappers operating in the

area. More substantialsettlement occurred withthe discovery of silver andgold deposits north ofSteamboat Springs, whichlead to settlement of theHahns Peak area in 1865.

Steamboat Springs itselfwas first settled by a CivilWar veteran fromMissouri, Lt. JamesHarvey Crawford, whosettled here with hisfamily in 1874. Lt.Crawford laid claim toland near the “bubbling”steamboat springs locatedalong Soda Creek andconstructed a log cabin.By 1875, six families had

built cabins around the springs, but only theCrawfords lived there year-round.

Crawford discovered many additional springs inthe area, one of which his family used for bathing.He built a small structure around the “BathSprings” for privacy. The miners from HahnsPeak often came down to enjoy the Bath Springs.

Commercial buildings in an early view of Lincoln Avenue exhibit typical details: Display windowsat the street level and thin, vertical windows above. Facades align at the sidewalk edge.

Introduction

The name "Steamboat Springs" was in useinformally as early as 1870 by miners, andtrappers traveling through the area who referredto the small settlement by that name. It was, ofcourse, in reference to the chugging sound it wasreported to have made.

Important Economic ActivitiesWhile gold and silver mining caused much of thedevelopment in Routt County during the last halfof the nineteenth century, it was the later-occurring coal mining that had a more significantinfluence on Steamboat Springs’s growth. Thetriangle formed between Steamboat Springs, andthe towns of Hayden andYampa was named “Twenty-Mile Park” and was a rich coal-producing area whichstimulated growth, especiallyafter 1910, when the railroadwas extended here and themineral could be shipped toother markets.

Ranching, in particular cattleranching, was also veryimportant. Cattle ranchingwas introduced into northwestColorado in the late 1850s, andby 1870s, it was the dominanteconomic activity in theregion. The arrival of therailroad also strengthened thetown’s role in the cattleindustry. Stockyards were built to serve theshipment of cattle and a rodeo facility, some ofwhich remains today, was built to allow thecowboys to show off their ranching skills. Withthe outbreak of World War I, coal and oil resourcesaround Steamboat Springs were in increasingdemand and these industries continued to grow.Sheep ranching also became as important to thearea’s economy as cattle ranching had been.

Historically, the area around Steamboat Springswas better suited to ranching than to farming;however, during the late 1890s and early 1900swheat, oats, and strawberry farming flourished.

Strawberries from Steamboat Springs gainednational recognition and were shipped to marketsas far away as Chicago and New York City.

Growth and DevelopmentCrawford’s original survey of what was tobecome the town of Steamboat Springs consistedof one township and the springs. Early structureswere built of log or stone. Building techniqueschanged when, in 1881, Horrace Suttle and hisfamily settled in Steamboat Springs. Mr. Suttlebrought equipment for a sawmill and buildingscould now be made of frame, not just log andstone.

In 1884, the an structure housing the town’s firstchurch and community center was built on PineStreet between Seventh and Eight Streets. Otherchurches were erected along Pine and Oak Streetsduring these early years as well.

In 1885 the town was laid out in its present gridform by John Maxwell and more businesses beganto open. One of the first was The Routt County Pilot(now known as The Steamboat Pilot) newspaperoffice, which published its first issue in Augustof that year. (The original Pilot building burnedin 1909 but a new one was built that same yearand it remains today.) By 1886, the town had a

Cottages and bungalows made up the bulk of the residential building stock in Old Town bythe early twentieth century.

Introduction

general store, post office, the “Bath Spring” facilityand a hotel. The Crawford’s cabin doubled as aschoolhouse until 1890 when the town’s firstdedicated schoolhouse was building at Pine andSeventh Streets.

Before rail service was available in SteamboatSprings itself, shipments had to be made by packanimal or wagon. When a railroad reachedWolcott, Colorado in 1888, a stagecoach line wasestablished between Steamboat Springs and the

Wolcott railhead. These stagecoaches regularlybrought supplies to Steamboat Springs’ residents.This lifeline allowed the small settlement to beginto grow to support the ranching and miningbusiness as well as to develop its small touristeconomy, centered around the hot springs.

Within the next four years, the little townblossomed and a commercial area emerged alongLincoln Street, primarily between Ninth andTenth Streets. By the early 1890s the core of whatis now downtown Steamboat Springs was platted“on a large scale, the lots being fifty feet to thefront and one hundred and forty feet deep.”Lincoln Street was laid out with a width of onehundred feet, and all other streets were eighty feetwide.

By 1892 there were three general merchandisingstores, a drug store, a jewelry store, bakery, tinstore, harness shop, gun store, millinery shop, twohotels, two livery barns, a flour mill, a bank, threeinsurance agencies, two real estate brokers and anumber of professional offices in town. These

A view of Old Town, looking to the southeast, includes commercial buildings facing Lincoln Avenue. In background, trees distinguishresidential blocks.

Introduction

businesses served the growing number ofSteamboat Springs residents and also the needsof the ranchers, cowboys and miners in thesurrounding valley.

After twenty-five years of informal operations,the community formally incorporated as the townof Steamboat Springs in 1900. James Crawfordwas appointed its first mayor.

By 1902 the town had another hotel, the Onyx,two more banks, four general stores, two meatmarkets and a number of other small businesses.A noteworthy arrival was the F.M. Light & Sonsstore, which opened in 1905.

When the railroad was extended to SteamboatSprings, it brought with it tourists who came toenjoy the hot springs and the scenery and morevisitor accommodations appeared. A third hotel,the Cabin Hotel, was built in 1909 on the presentsite of the Bud Werner Memorial Library.

Summer tourism was well established when, in1913, recreational winter skiing was introducedin the area. From this modest introduction grewa strong winter tourism business, anchored by theannual Winter Carnival, which began in 1914. Thefirst year’s competition was on Woodchuck Hillbut in 1915 it moved to Lincoln Avenue, where ithas remained. The carnival quickly became anationally-known celebration and winter sportscompetition which brought many visitors to thetown.

The county seat of Routt County governmentmoved to Steamboat Springs 1912, after previouslocations in both Hayden and Hahns Peak. Thecurrent County courthouse was completed in1923.

Once the transcontinental road over Rabbit EarsPass opened in 1914, Steamboat Springs wasmuch more accessible to Colorado’s growing“front range” cities, and the rest of the country.In response to this connection, many newcommercial buildings were built along LincolnAvenue in the 1930s. Also during this period,many craftsmen-style houses were built in thearea north of downtown.

Steamboat Springs grew modestly after WorldWar II, supporting the ranching and coal miningbusiness in the area. It was still a popular touristdestination, for the springs, hunting, fishing,skiing, hiking and camping. Winter recreationactivity exploded, of course, when the ski resortopened on Mount Werner, five miles south ofSteamboat Springs.

The Character of the Early CommercialCore

The character of the core commercial area ofSteamboat Springs was defined primarily by themodest design and small scale of earlycommercial buildings on Lincoln Avenue. Thesestructures were from one to two stories in heightand occupied one to two lots. The earliest oneswere wood frame while later, turn-of-the-centurybuildings were of brick, with storefronts set at theinside edge of the sidewalk. Most of these alsowere one and two stories. Many had false frontsand most had large display windows at the streetlevel, sometimes with another band of glassabove, like a transom. Architectural detail waslimited, usually a decorative brick molding at thecornice line and window sills. Buildings steppeddown in height along the back sides; sometimes,more utilitarian sheds were attached.

Introduction

The Character of the Early ofResidential AreaWhile the earliest houses were reported to be logor stone, wood frame became predominant withthe arrival of a saw mill in 1881. Horizontal,painted clapboard was the most popular material,although vertical board-and-batten did occur andlater, some stucco was introduced. Brick also wasused on some of the more substantial residences.

Business owners built their homes north ofLincoln Avenue on Oak or Pine Streets. Eventuallyearly residential development spilled over Pine

Street to the north into the “First Addition” to theoriginal town, comprised of lots facing onto thenumbered streets of Third through Ninth Streets.

The residential development patterns followedwestern traditions: Long lots ran from the streetto the alley. The house was set back from the road,with a front yard. Street trees appeared on manyof the streets and sidewalks also were occasionallyconstructed. Houses sat facing the street, usuallywith a front porch or stoop. Sloping roofs wereunifying elements. Secondary structures,including barns, sheds and garages, were usuallylocated along the alley.

Introduction

In an early photograph of Old Town, Lincoln Avenue is emergingas the commercial spine. Houses to the east started on open lots thatsoon would be sheltered with trees.

Building Types and StyleElementsThe City of Steamboat Springs contains a varietyof building types and architectural styles thatreflect its evolution, many of which have historicsignificance. The following is a brief overview ofthe most frequently recognized styles andbuilding types found in Steamboat Springs.

Traditional commercial buildings arepredominantly located in the downtown. Stylesrange from vernacular storefronts with Italianateor Queen Anne influences, to Romanesque andNeoclassical designs.

Regardless of the specific style, most traditionalcommercial buildings exhibit these features:• The street level has large areas of glass to

display goods and services offered inside• Entries are often recessed and moldings

separate the storefront from the upperportion of the facade

• A decorative cornice usually caps thebuilding front

Some key residential building types in SteamboatSprings:• Rustic cabin• Vernacular cottage• Queen Anne• Bungalow• Neoclassical

Many structures in Steamboat Springs are a mixof traditional vernacular building types to whichdetails of more formal architectural styles weresometimes applied. Some of the key types andstyles are summarized on the pages that follow.

Introduction

Pioneer Log (Rustic Vernacular)(circa. 1875-1900)

These early structures used logs as walls. Manywere squared and chinked. The first appearedbefore the arrival of a saw mill in the area,although this type continued as an economicalbuilding method for utility purposes. Thesestructures are simple rectangles. Many had thegable end facing the street. No trim was used. Asfinish materials became available, log structureswere clad with lap siding.

Characteristics:• log construction• no ornamental trim• gable roof

False-Front Vernacular Storefront(circa 1870- 1900)

Few examples of genuine false-front buildingssurvive in Steamboat Springs. These structuresare from the early years when wood was theprimary material. The front made a buildingappear taller than it actually was, masking agabled roof line. Cornice details and kickplateelements below the storefront windows also werecreated from wood.

Characteristics:• gable roof concealed behind false front• recessed entry• large glass display windows• narrow, vertical windows on upper floors• simple bracketed cornice at the top• wood canopy supported on posts• front flush with the sidewalk• wood lap siding

False fronts in early Steamboat Springs

Pioneer log (Rustic vernacular)

Introduction

Vernacular Wood Frame House(circa 1860-1900)

The term "vernacular" refers to building traditionsthat reflect local taste, customs and materials. Thevernacular houses of Steamboat Springs aresimilar to those throughout other Coloradomountain towns—these houses were designed forutilitarian purposes with minimal attempts tocopy a prescribed style. Typically, decorativeelements were applied to cottages with steeproofs, wooden siding, vertical sash windows andfront porches. Some homes received moreornament than others, often influenced by QueenAnne designs. In plan, these cottages were L-type,gable end, or side gable. Often shed additionswere added.

Typical characteristics among all vernacularhouses:• projecting bay windows• wood clapboard siding• wood shingle or seamed metal roof

L-typeThe L-type vernacular houses have two wingswith intersecting gable roofs that form a letter "L"in plan. Very often an attached porch runs alongthe street-facing facade. Most of these houses areone story, but 1-1/2 and two story versions alsoexist. Other features include:• One story, covered porch, usually at the

intersection of the two wings

Gable-endThis basic house type has a simple, rectangularshape and a gable roof with the ridge runningperpendicular to the street. Most have a porch onthe gable-end and a smaller roof is attached toshelter the porch. Most are wood sided. Most are1 to 1-1/2 story and a few are two story.

Characteristics:• full width or inset two story porch, with hip

or gable roof• decorative shingles in gable-end

Side Gable

This house type has a ridge line that runs parallelto the street. Often a porch runs the length of thehouse. Details are similar to other gable cottageplans.

Characteristics:• full width, one story porch• decorative elements focused on the porch

area

Many structures in Steamboat Springs are a mix of traditionalvernacular building types to which details of more formalarchitectural styles were sometimes applied.

Introduction

Decorative corning details, or quoins, are part of the Italianatedetails found on the old depot.

Italianate(1885-1915)

Italianate designs draw upon the large townhouses, or palazzi, and country estates of centralItaly that emerged during the Renaissance. Thisstyle was widely popular in America, both forresidential and commercial applications.Italianate houses have low pitched roofs, oftenhip. Window and door trim is made of substantialmoldings and sills, often with several lines ofprofile in the molding.

In masonry, stepped cornices of brick and cornermoldings, or quoins, are used. Commercialstructures have storefronts supported on woodbulkheads, or kickplates, with decorative panels.

Characteristics:• bracketed cornice• wide, overhanging eaves• molded window surrounds• tall, narrow windows on houses

Victorian-Era (19th Century) Commercial(circa 1880-1910)

The commercial storefront of the late 19th andearly 20th centuries is the most common type ofbuilding found today in most older commercialdistricts throughout the country. Usually masonryand limited to one to two stories in height inSteamboat Springs, these buildings are dividedinto two distinct bands. The first floor is morecommonly transparent, so goods can bedisplayed, while the second story has smallerwindows and is usually reserved for a residentialor office space.

Characteristics:• large display windows on the first floor• transom lights above display windows• kickplate below display windows• recessed entry• double doors• tall second story windows• cornice at top

Victorian-era commercial storefronts have decorative moldings,often with overhanging cornices.

Introduction

Bungalow(circa 1900-1930)

The bungalow was popular along the Front Rangeand also appeared frequently in SteamboatSprings. Some drew upon the Arts and Craftsmovement, emphasizing hand details. Althoughbungalows display a variety of materials anddetails, they are easily recognized by their wide,low-pitched roofs and broad front porches thatcreate a deep, recessed space.

Characteristics:• rectangular plan with one or two stories• broad, pitched roof with the ridge line

typically parallel to the street• deep porch, often covered by the main roof• exposed rafters and brackets which evoke

the structural composition of the building• brick, stone, wood shingle or clapboard

siding• broad eaves

Bungalows have deep porches, exposed rafter tails and long, slopingroofs.

Queen Anne(circa 1880-1910)

The Queen Anne was perhaps the most ornatestyle of the Victorian period in Colorado. Itfeatures decorative wall surfaces, framed in strap-work, polychrome color schemes, and steeplypitched roof lines. Typically, the buildings are oneto two stories in height.

Characteristics:• irregular, asymmetrical massing• forward projection of wall planes;• towers and triangular sections• decorative shingles in gable ends• spindle work porch supports with lace-like

brackets• patterned window panes• bay windows• corbelled brick chimneys

Queen Anne features include a random, asymmetrical composition,complex roof forms and decorative shingle patterns.

Introduction

Classical Revival(circa 1900 - 1950)

Classical Revival designs were popularthroughout the country during the first half ofthe 20th century. It was frequently used forinstitutional buildings and some larger housesalso included Classical Revival details. TheClassical Revival style tends to be a moresymmetrical and formal style than othersdiscussed in this chapter. Decorative cornices andmoldings more directly draw upon Greek andRoman traditions and masonry columns appearfrequently.

Characteristics:• full-height porch or portico• dentiled cornice, modillions and frieze• panelled doors surrounded by side lights,

fan lights, pilasters and a pediment• double-hung, windows (often with multiple

lights)

The County Courthouse is the best example of Classical Revivaldesign in Steamboat Springs.

Introduction

Using the Styles Descriptions andPreservation Principles

The summaries of key design features ofindividual building types and styles that appearin this chapter are important pieces of informationthat should be used when considering how thedesign guidelines that follow will apply to anindividual project. The basic preservationprinciples that are summarized earlier in thischapter also are relevant, because, whencombined with an understanding of the keyfeatures of buildings that merit preservation, theyform the basis for the more detailed guidelinesthat follow. Throughout the guidelines, ownersare encouraged to "preserve key character-defining features." In order to determine whichfeatures are likely to be important, therefore, theyshould refer to the styles summaries in thissection.

Introduction

Streetscape and Lot Features

BackgroundA variety of historic site features appearthroughout the Old Town.

Each of these elements contributes to the characterof the area. They also add variety in scale, textureand materials to the street scene and provideinterest to pedestrians.

Key Features of LotsFencesOriginally, wood picket fences enclosed some ofthe front yards in Old Town. The vertical slatswere set apart, with spaces between, and theoverall height of the fence was generally less thanthree feet. Most were plain, but a few hadornamental details. Wire fences also were usedin early domestic landscapes. Where any of theseearly fences survive, they should be preserved.In a situation where the original fence is missing,a new fence that is similar in character to one seentraditionally would be appropriate.

Front yardsThe presence of a lawn in front of a house is afeature that was almost universal in Old Town.

Chapter 1: Streetscape and Lot FeaturesChapter 1: Streetscape and Lot FeaturesChapter 1: Streetscape and Lot FeaturesChapter 1: Streetscape and Lot FeaturesChapter 1: Streetscape and Lot Features

Policy:Historic landscapes and landscape elements that remain intact should bepreserved. Additions to the landscape should be compatible with the historiccontext of Old Town.

Plant beds were also seen, usually at the buildingfoundation and along a fence line. Shade trees andornamental evergreens were planted in frontyards as well.

Site LightingTraditionally, lighting within a site was minimal.An occasional garden or garage light was seen,but porch lights were usually the only exteriorillumination.

StreetscapeStreetscape features include planting strips andsidewalks. Planting strips, the bands of grassbetween the street and the sidewalk, occur alongsome streets in Old Town. A strip often containsa row of street trees. This tradition should becontinued. Placing paving materials in theplanting strip should be avoided. Sidewalks alsoare historically significant elements thatcontribute to a neighborhood's invitingatmosphere and encourage walking and personalinteraction. They should be preserved as well.

Guidelines for the Streetscape and Lot Features

Fences1.1 Preserve original fences.• Replace only those portions that are

deteriorated beyond repair.

1.2 Replacement fences should use materialsthat appear similar to that of the original.• A painted wood picket fence is an

appropriate replacement in most locations.A simple wire or metal fence, similar totraditional "wrought iron," also may beconsidered.

• Chain link and solid "stockade" fences areinappropriate in front yards.

1.3 A replacement fence should have a“transparent” quality allowing views into theyard from the street.• A fence that defines a front yard is usually

low to the ground and "transparent" innature.

• Privacy fences may be used in back yardsand along alleys.

• Note that using no fencing at all is often thebest approach.

• Contemporary interpretations of traditionalfences should be compatible with the historiccontext.

1.4 A side yard fence which extends betweentwo homes should be set back from the street-facing facade.• This setback should be significant enough

to provide a sense of open space betweenhomes.

1.5 Replacement or new fencing between sideyards should be compatible with the historiccontext.• Side yard fences are usually taller than their

front yard counterparts. They are also lesstransparent. A side yard fence may reachheights taller than front yard fences, butshould incorporate transparent elements tominimize the possible visual impacts.

A simple wire or metal fence, similar to traditional "wrought iron,"also may be considered.

A side yard fence may reach heights taller than front yard fences,but should incorporate transparent elements to minimize thepossible visual impacts.

A side yard fence which extends between two homes should be setback from the street facade.

Streetscape and Lot Features

• Consider staggering the fence boards oneither side of the fence rail. This will give theappearance of a solid plank fence when seenhead on.

• Also consider using lattice, or othertransparent detailing, on the upper portionsof the fence.

Front Yards1.6 Preserve historic elements of a yard toprovide an appropriate context for historicstructures.• The front yard should be maintained in a

traditional manner, with planting material,and not covered with paving, for example.

1.7 Preserve and maintain historicallysignificant planting designs.• Retaining historic planting beds, landscape

features and walkways is encouraged.

1.8 Additions to the landscape should beconsistent with the historic context of the site.• Select plant and tree materials, to allow for

the long-term impact of mature growth.• Reserve the use of exotic plants to small

areas for accent.• Do not cover grassy areas with gravel, rock

or paving materials.

1.9 Additions to the landscape that couldinterfere with historic structures areinappropriate.• Avoid planting climbing ivy or trees too

close to a building.• Avoid locating plants or trees in locations

that will obscure significant architecturalfeatures or block views to the building.

Site Lighting1.10 Minimize the visual impacts of sitelighting.• Site lighting should be shielded to avoid

glare onto adjacent properties. Focus lightingon walks and entries, rather than up intotrees and onto facade planes.

Preserve historic elements of a yard to provide an appropriatecontext for historic structures.

• See also Supplemental Guidelines Chapter11.

shieldedentry

low, shielded

low, walkway

Site lighting should be shielded to avoid glare onto adjacentproperties.

Guidelines for the Streetscape and Lot Features

Streetscape1.11 Preserve historically significant landscapedesigns and features in the public right-of-way.• This includes the arrangement of trees and

sidewalks in the public right-of-way.• Placing paving materials in the planting

strip should be avoided.

Preserve historically significant landscape designs and features inthe public right-of-way.

Historic Building Materials

Chapter 2: Historic Building MaterialsChapter 2: Historic Building MaterialsChapter 2: Historic Building MaterialsChapter 2: Historic Building MaterialsChapter 2: Historic Building Materials

BackgroundThis chapter addresses the treatment of primaryhistoric building materials—those that composethe dominant exterior surfaces of historicbuildings. The treatment of materials used forarchitectural trim is addressed in a separatechapter.

In Steamboat Springs, wood siding and masonrywere the typical primary building materials.Wood siding occurred in a variety of forms butpainted, horizontal clapboard was the mostpopular. A variety of lap profiles, includingclapboard and ship-lap were used. In each case,the distinct characteristics of the primary buildingmaterial, including the scale of the material unit,its texture and finish, contribute to the historiccharacter of a building.

The best way to preserve historic buildingmaterials is through well-planned maintenance.Wood surfaces are best protected with a goodapplication of paint.

In masonry, horizontal surfaces such as chimneys,sills and parapet copings are likely to show themost wear because they are more exposed andmay hold water for longer periods of time.

When deterioration occurs, repairing the materialrather than replacing it is preferred. Frequently,damaged materials can be patched orconsolidated using special bonding agents. Inother situations, however, some portion of thematerial may be beyond repair. The new materialshould match the original in appearance. If woodsiding had been used historically, for example, thereplacement also should be wood.

Policy:Historic building materials should be preserved in place whenever feasible. Whenthe material is damaged, then limited replacement that matches the original inappearance should be considered. Primary historic building materials shouldnever be covered or subjected to harsh cleaning treatments.

Examples of the variety of materials found in Steamboat Springs.

ShingleShingleShingleShingleShingle Ship-LapShip-LapShip-LapShip-LapShip-Lap

ClapboardClapboardClapboardClapboardClapboard Board & BattenBoard & BattenBoard & BattenBoard & BattenBoard & Batten

Ashlar StoneAshlar StoneAshlar StoneAshlar StoneAshlar StoneBrickBrickBrickBrickBrick

Rehabilitation Guidelines

It is important that the extent of replacementmaterials be minimized, because the originalmaterials contribute to the authenticity of theproperty as an historic resource. Even when thereplacement material exactly matches that of theoriginal, the integrity of a historic building is tosome degree compromised when extensiveamounts of the original are removed. This isbecause the original material exhibits a record ofthe labor and craftsmanship of an earlier time andthis is lost when it is replaced.

It is also important to recognize that all materialsweather over time and that a scarred finish doesnot represent an inferior material, but simplyreflects the age of the building. Preserving originalmaterials that show signs of wear is thereforepreferred to replacement.

Rather than replace siding, some property ownersconsider covering the original building material.Aluminum and vinyl are examples of materialsthat are often discussed. Some people may arguethe maintenance savings merit using thesematerials to cover original wood. However, usingany material, either synthetic or conventional, tocover historic materials, is inappropriate. Doingso obscures the original character and changes thedimensions of walls, which is particularlynoticeable around door and window openings.Therefore, if original wall materials are presentlycovered with a more recent siding, remove theouter layer and restore the original.

It is important that the extent of replacement materials be minimized,because the original materials contribute to the authenticity of theproperty as an historic resource.

River rock is a significant feature in Steamboat Springs that shouldbe preserved. It is often used in foundations and chimneys, as wellas for retaining walls.


Treatment of Building Materials2.1 Preserve original building materials.• Avoid removing siding that is in good

condition or that can be repaired in place.• Only remove siding which is deteriorated,

and must be replaced.• Masonry features that define the overall

historic character, such as walls, cornices,pediments, steps and foundations, shouldbe preserved.

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

minimize rot.• Maintain protective coatings to retard drying

and ultraviolet damage.

2.3 Plan repainting carefully.• Always prepare a good substrate. Prior to

painting, remove damaged or deterioratedpaint only to the next intact layer, using thegentlest means possible.

• Use compatible paints. Some latex paintswill not bond well to earlier oil-based paintswithout a primer coat.

• Brick or stone that was not paintedhistorically should not be painted.

Protect wood features from deterioration. Maintain protectivecoatings to retard drying and ultraviolet damage.

Stone that was not painted historically should not be painted.


Repair of Materials2.4 Repair deteriorated primary buildingmaterials by patching, piecing-in, consolidatingor otherwise reinforcing the material.• Avoid the removal of damaged materials

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

or fixed, using consolidants. Epoxies andresins may be considered for wood repairand special masonry repair components alsomay be used.

2.5 Maintain masonry walls in good condition.• Original mortar that is in good condition

should be preserved in place.• Repoint only those mortar joints where there

is evidence of a moisture problem or whenmortar is missing.

• Duplicate the original mortar in strength,composition, color, texture, joint width andprofile.

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

• Avoid using mortar with a high portlandcement content, which will be substantiallyharder than the brick and does not allow forexpansion and contraction. The result isdeterioration of the brick itself.

Avoid using mortar with a high portland cement content, whichwill be substantially harder than the brick and does not allow forexpansion and contraction. The result is deterioration of the brickitself.


Replacement Materials2.7 Match the original material in composition,scale and finish when replacing materials onprimary surfaces.• If the original material is wood clapboard,

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

• Replace only the amount required. If a fewboards are damaged beyond repair, thenonly those should be replaced, not the entirewall.

2.8 Do not use synthetic materials, such asaluminum, vinyl siding or panelized brick, asreplacements for primary building materials.• In some instances, substitute materials may

be used for replacing architectural details,but doing so is not encouraged. If it isnecessary to use a new material, such as afiberglass column, the style and detail shouldmatch that of the historic model.

• Primary building materials such as woodsiding and brick should not be replacedwith synthetic materials.

Match the original material in composition, scale and finish whenreplacing materials on primary surfaces.

Prior to replacement of original details.

After the replacement of original details.


Consider removing later covering materials that have not achievedhistoric significance. This metal siding, for example, hides theoriginal wood.

Covering original building materials with new materials isinappropriate.

Covering Materials2.9 Covering original building material witha new material is inappropriate.• Regardless of their character, new materials

obscure the original, historically significantmaterial. For example, vinyl siding,aluminum siding and new stucco areinappropriate as coverings on historicbuildings. Other imitation materials thatare designed to look like wood or masonrysiding, but that are fabricated from othermaterials, are also inappropriate.

• If a property already has a non-historicbuilding material covering the original, it isnot appropriate to add another layer of newmaterial, which would further obscure theoriginal.

2.10 Consider removing later covering materialsthat have not achieved historic significance.• Once the non-historic siding is removed,

repair the original, underlying material.

An example showing the inappropriate covering of original buildingmaterial.

The same site as above once the non-historic siding has beenremoved. The original, underlying material has been repaired .

Windows

BackgroundWindows are some of the most importantcharacter-defining features of historic structures.They give scale and provide visual interest to thecomposition of individual facades. Distinctwindow designs in fact help define many historicbuilding styles. Windows often are inset intorelatively deep openings or they havesurrounding casings and sash components whichhave a substantial dimension that casts shadowsand contributes to the character of the historicstyle. Because windows so significantly affect thecharacter of an historic structure, the treatmentof old windows and the design of new ones arevery important considerations.

Key Features of WindowsWindow ConstructionThe size, shape and proportions of an historicwindow are among its essential features. Manyearly residential windows in Steamboat Springswere vertically-proportioned, for example.Another important feature is the number of"lights," or panes, into which a window is divided.Typical windows for many late nineteenthcentury houses were of a "one-over-one" type, inwhich one large pane of glass was hung aboveanother single pane. The design of surroundingwindow casings, the depth and profile of windowsash elements and the materials of which theywere constructed are also important features.Most historic windows were made of wood. Ineither case, the elements themselves had distinctdimensions, profiles and finishes that should berespected.

Chapter 3: WindowsChapter 3: WindowsChapter 3: WindowsChapter 3: WindowsChapter 3: Windows

Policy:The character-defining features of historic windows and their distinctivearrangement on a wall should be preserved. This is especially important onprimary facades. In addition, new windows should be in character with the historicbuilding.

Window TypesWindows types typically found in historicstructures of Steamboat Springs include:• Casement - Hinged windows that swing

open, typically to the outside• Double hung - Two sash elements, one

above the other. Both upper and lowersashes slide within tracks on the windowjambs.

• Fixed - The sash does not move.• Single hung - Two sash elements, one above

the other. Only the lower sash moves.

Deterioration of Historic WindowsProperly maintained, original windows willprovide excellent service for decades. Most

Distinct window designs in fact help define many historic buildingstyles.


of the building and on sides that are visible fromthe street are key character-defining elements.Windows which are located on other facadeswhich are not character-defining—such as at therear of the building or in an obscure location—and are less visible from public right-of-way, aretypically less significant. Greater flexibility in thetreatment or replacement of such secondarywindows may be considered.

Typically, windows on the front of the building and on sides thatare visible from the street are key character-defining elements.

A second step is to inspect the window todetermine its condition. Distinguish superficialsigns of deterioration from actual failure ofwindow components. Peeling paint and driedwood, for example, are serious problems, butoften do not indicate that a window is beyondrepair. What constitutes a deteriorated window?A rotted sill may dictate its replacement, but itdoes not indicate the need for an entirely new

problems that occur result from a lack of propermaintenance. For example, the accumulation oflayers of paint on a wood sash may makeoperation difficult. Using proper paintingtechniques, such as removing the upper paintlayers and preparing a proper substrate, can solvethis problem.

Water damage and the ultra violet degradationcaused by sunlight also are major concerns. Ifsurfaces fail to drain properly, water may beintroduced. Condensation during winter monthsalso can cause problems. Damage occurs whenthe painted layer is cracked or peeling. Decay canresult that may make operation of the windowdifficult, and if left untreated can lead tosignificant deterioration of window components.In most cases, windows are protected if a goodcoat of paint is maintained.

Repair of Historic WindowsWhenever possible, repair an historic window,rather than replace it. In most cases it is in factmore economical to repair the existing frame andglass rather than to replace them. Another benefitto repair is that the original materials contributeto the historic character of the building. Evenwhen replaced with an exact duplicate window,a portion of the historic building fabric is lost andtherefore such treatment should be avoided.When deciding whether to repair or replace anhistoric window, consider the following:

First, determine the window’s architecturalsignificance. Is it a key character-defining elementof the building? Typically, windows on the front

Geometric

Typical window types on historic buildings in Steamboat Springs.

Double-hung Casement

Windows

though gaps in an older window that are theresult of a lack of maintenance, rather than lossof energy through the single pane of glass foundin historic windows. Glazing compound may becracked or missing, allowing air to move aroundthe glass. Sash members also may have shifted,leaving a gap for heat loss.

The most cost-effective energy conservationmeasures for most historic windows include thereplacement of the glazing compound, the repairof wood members and the installation weatherstripping. These steps will dramatically reduceheat loss while preserving historic features.

If additional energy savings are a concern,consider installing a storm window. This may beapplied to the interior or the exterior of thewindow. It should be designed to match thehistoric window divisions such that the exteriorappearance of the original window is notobscured.

window. Determining window condition mustoccur on a case-by-case basis; however as ageneral rule, a window merits preservation, withperhaps selective replacement of components,when more than fifty percent of the windowcomponents can be repaired.

Third, determine the appropriate treatment forthe window. Surfaces may require cleaning andpatching. Some components may be deterioratedbeyond repair. Patching and splicing in newmaterial for only those portions that are decayedshould be considered in such a case, rather thanreplacing the entire window. If, however, theentire window must be replaced, the new oneshould match the original in appearance.

Energy ConservationIn some cases, owners may be concerned that anolder window is less efficient in terms of energyconservation. In winter, for example, heat lossassociated with an older window may make aroom uncomfortable and increase heating costs.In fact, most heat loss is associated with air leakage

Typical double-hung window components.

Head

Mullion/Muntin

Stile

Stops

Jamb

Casing

Rail

Wall

Glazing

Sash

Sill

If additional energy savings are a concern, consider installing astorm window.


Replacement WindowsWhile replacing an entire window assembly isdiscouraged, it may be necessary in some cases.When a window is to be replaced, the new oneshould match the appearance of the original tothe greatest extent possible. To do so, the size andproportion of window elements, including glassand sash components, should match the original.In most cases, the original profile, or outline ofthe sash components, should be the same as theoriginal. At a minimum, the replacementcomponents should match the original indimension and profile and the original depth ofthe window opening should be maintained.

A frequent concern is what the material of thereplacement window should be. While wood wasmost often used historically, metal and vinyl cladwindows are common on the market today andsometimes are suggested as replacement optionsby window suppliers. In general, using the samematerial as the original is preferred. If the historicwindow was wood, for example, then using awood replacement is the best approach.

However, it is possible to consider alternativematerials in some special cases, if the resultingappearance will match that of the original, interms of the finish of the material, its proportionsand profile of sash members. For example, if ametal window is to be used as a substitute for awood one, the sash components should be similarin size and design to those of the original. Thesubstitute material also should have ademonstrated durability in similar applicationsin this climate.

Finally, when replacing an historic window, it isimportant to preserve the original casing whenfeasible. This trim element often conveysdistinctive stylistic features associated with thehistoric building style and may be costly toreproduce. Many good window manufacturerstoday provide replacement windows that will fitexactly within historic window casings.

Casement window in a hipped dormer.

Windows

Treatment of Windows3.1 Preserve the functional and decorativefeatures of an historic window.• Features important to the character of a

window include its frame, sash, muntins/mullions, sills, heads, jambs, moldings,operation and groupings of windows.

• Repair frames and sashes rather thanreplacing them, whenever conditionspermit.

• Preserve the original glass when feasible.

3.2 Preserve the position, number andarrangement of historic windows in a buildingwall.• Enclosing an historic window opening in a

key character-defining facade isinappropriate, as is adding a new windowopening. This is especially important onprimary facades where the historic ratio ofsolid-to-void is a character-defining feature.

• Greater flexibility in installing new windowsmay be considered on side and rear walls.

• Do not reduce an original opening toaccommodate a smaller window or door orincrease it to receive a larger window onprimary facades.

DiscouragedDiscouragedDiscouragedDiscouragedDiscouraged HistoricHistoricHistoricHistoricHistoric

1111122 222

Preserve the size and proportions of an historic window opening.The new window (on the left) is shorter than the historic windowand is inappropriate.


Replacement Windows3.3 Preserve the historic ratio of windowopenings to solid wall on a primary facade.• Significantly increasing the amount of glass

on a character-defining facade willnegatively affect the integrity of thestructure.

3.4 Match a replacement window to theoriginal in its design.• If the original is double-hung, then the

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

• Matching the original design is particularlyimportant on key character-defining facades.

3.5 In a replacement window, use materialsthat appear similar to the original.• Using the same material as the original is

preferred, especially on character-definingfacades. However, a substitute material maybe considered if the appearance of thewindow components will match those ofthe original in dimension, profile and finish.

3.6 Preserve the size and proportion of anhistoric window opening.• Reducing an original opening to

accommodate a smaller window orincreasing it to receive a larger window isinappropriate.

• Consider reopening and restoring originalwindow opening where altered.

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Preserve the historic ratio of window openings to solid wall on aprimary facade.

Windows

3.7 Match as closely as possible the profile ofthe sash and its components to that of the originalwindow.• An historic window often has a complex

profile. Within the window's casing, thesash steps back to the plane of the glazing(glass) in several increments. Theseincrements, which individually onlymeasure in eighths or quarters of inches, areimportant details. They distinguish theactual window from the surrounding planeof the wall.

When replacing an historic window, match, as clearly as possible, the profile of the sash and its components to that of the original window.This example is primarily for historic wood frame buildings.

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PreferredPreferredPreferredPreferredPreferred


Energy Conservation3.8 Use a storm window to enhance energyconservation rather than to replace an historicwindow.• Install a storm window on the interior, when

feasible. This will allow the character of theoriginal window to be seen from the publicway.

• If a storm window is to be installed on theexterior, match the sash design and materialof the original window. It should fit tightlywithin the window opening without theneed for sub-frames or panning around theperimeter. Match the color of the stormwindow sash with the color of the windowframe; do not use an anodized or a milled (asilvery metallic) finish. Finally, set the sashof the storm window back from the plane ofthe wall surface as far as possible.

Most heat loss is associated with air leakage though gaps in an olderwindow that are the result of a lack of maintenance, rather than lossof energy through the single pane of glass found in historicwindows.

This part of thewindow, wheremost leakageoccurs, should besealed to conserveenergy.

Very little energy islost through a paneof glass.

If a storm window is to be installed on theexterior, match the sash design and materialof the original windows.

Doors

BackgroundDoors are important character-defining featuresof historic structures, which give scale tobuildings and provide visual interest to thecomposition of individual facades. Many historicdoors are noted for their materials, placementand finishes. Because an inappropriate door canaffect the character of an historic building, oneshould be careful to avoid radical alteration ofan old door and, if needed, choose a new onethat is appropriate to the period.

Key Features of DoorsDoor FeaturesImportant features include the materials anddetails of the door itself, its frame, sill, head, jamband any flanking windows or transoms.

Door TypesDoor types found on historic structures inSteamboat Springs include:• Doorway with transom - Typically a

wooden door topped with a rectangulartransom with glass.

• Glass paneled door - This type of door hasa wide sash of glass in the upper portion ofthe door. Many early Steamboat Springshouses have glass paneled doors.

• Paneled door - Wooden door with raisedpanels

Maintenance Issues of Historic DoorsBecause an historic door is typically constructedof thick planks of wood and is often sheltered bya porch, it tends to be long-lasting. However,deterioration does occur; most problems resultfrom a lack of maintenance and from swellingand warping due to climatic changes. A door alsomay be worn and sagging from constant use. As

Chapter 4: DoorsChapter 4: DoorsChapter 4: DoorsChapter 4: DoorsChapter 4: Doors

Policy:The character-defining features of an historic door and its distinct materials andplacement should be preserved. In addition, a new door should be in characterwith the historic building.

a result, some historic doors do not properly fittheir openings and therefore they allow moistureand air into the house.

Water damage and the assault of sunlight aremajor concerns. Condensation during wintermonths also can cause problems with glass panelsand sashes on doors. Damage occurs when the

Doors are important character-defining features of historicstructures, which give scale to buildings and provide visual interestto the composition of individual facades.


painted or finished layer is cracked or peeling.Decay may make operation of the door difficultand, if left untreated, can result in significantdeterioration of door components. In most cases,doors are not susceptible to damage if a good coatof paint or varnish is maintained.

Repair of Historic DoorsTypically, a problem door merely needs to be re-hung. This treatment is preferred rather thanreplacing it altogether. It is often easier, and moreeconomical, to repair an existing door rather thanto replace it. This is preferred because the originalmaterials contribute to the historic character of thebuilding. Even when replaced with an exactduplicate, a portion of the historic building fabricis lost and such treatment should be avoided.When deciding whether to repair or replace anhistoric door, consider the following:

First, determine the door ’s architecturalsignificance. Is it a key character-defining elementof the building? Is the front door in a prominentposition on a primary facade such that it is highlyvisible? Is the design of the historic door indicativeof the architectural style or building type? If theanswer to one or more of these questions is "yes,"then preservation is the best approach. A door inan obscure location, or on the rear of a structuremay not be considered a prominent feature of thehouse. Thus, greater flexibility in the treatment orreplacement of such doors may be considered.

Second, inspect the door to determine itscondition. Is the door hanging out of alignmentor does it lack proper hardware and framingcomponents that make it functional? If so,replacing these elements is appropriate. Check thedoor to see that it opens and closes smoothly andthat it fits in its jamb. Some problems may besuperficial ones, such as peeling paint ordeteriorated detailing. These are issues that canbe remedied without altering the historiccharacter.

Third, determine the appropriate treatment for thedoor. In many cases the door may not fit the doorjamb or threshold as it should. In this case thehinges and the threshold of the door should betightened or refit to allow smooth opening and

Door with transomDoor with transomDoor with transomDoor with transomDoor with transom

Typical primary door types seen in Steamboat Springs historicallyduring the mining era.

Glass Paneled DoorGlass Paneled DoorGlass Paneled DoorGlass Paneled DoorGlass Paneled Door

Paneled DoorPaneled DoorPaneled DoorPaneled DoorPaneled Door

Doors

closing. Shaving or undercutting the door to fitthe door frame is not recommended as a solution.

When rehabilitating an historic door it isimportant to maintain original doors, jambs,transoms, window panes and hardware. Surfacesmay require cleaning and patching and somecomponents may be deteriorated beyond repair.Patching and splicing in new material for onlythose portions that are decayed should beconsidered in such a case, rather than replacingthe entire door. However, if the entire door mustbe replaced, the new one should match theoriginal in its general appearance and should bein character with the building style.

Replacement DoorsWhile replacing an entire door assembly isdiscouraged, it may be necessary in some cases.When a door is to be replaced, the new one shouldmatch the appearance of the original. In replacinga door, one should be careful to retain the originaldoor location, size and shape. In addition, oneshould consider the design of the door, choosinga replacement that is compatible with the styleand type of the building.

A frequent concern is the material of thereplacement door. In general, using the samematerial as the original is preferred. If the historicdoor was wood, then using a wood replacementis the best approach.

Finally, when replacing an historic door, it isimportant to preserve the original frame whenfeasible. This is important in keeping the size andconfiguration of the original door in scale.

Energy ConservationIn some cases, owners may be concerned that anolder door is less efficient in terms of energyconservation. In winter, for example, heat lossassociated with an older door may make a roomuncomfortable and increase heating costs. In fact,most heat loss is associated with air leakagethough the space below the door and aroundglass panes in the door, if it has them.

Inappropriate primary doors on historic buildings in SteamboatSprings.

Sliding Aluminum patioSliding Aluminum patioSliding Aluminum patioSliding Aluminum patioSliding Aluminum patiodoordoordoordoordoor

Flush faceFlush faceFlush faceFlush faceFlush facedoor withdoor withdoor withdoor withdoor withsmall lightssmall lightssmall lightssmall lightssmall lights

ImitationImitationImitationImitationImitation"Dutch" door"Dutch" door"Dutch" door"Dutch" door"Dutch" door


The most cost-effective energy conservationmeasures for a typical historic doors are to installweather stripping along the door frame, to fit thedoor to the jamb and threshold and to caulk anywindow panes. These measures will dramaticallyreduce heat loss while preserving historic features.

Also, consider installing a storm door. This maybe applied to the exterior of the door. If a stormdoor is to be installed, it should match the designand materials of the original door.

Treatment of Existing DoorsThese guidelines for the treatment of doors applyprimarily to front doors, although they do includesecondary entrance doors, where applicable, andscreen doors. Greater flexibility can be appliedwhen replacing side and rear doors when they arenot visible from the public right-of-way.

4.1 Preserve historically significant doors.• Maintain features important to the character

of an historic doorway. These may includethe door, door frame, screen door, threshold,glass panes, paneling, hardware, detailing,transoms and flanking sidelights.

• When a historic door is damaged, repair itand maintain its general historic appearance.

• Avoid changing the position and function oforiginal front doors and primary entrances.

4.2 Maintain the original proportions of a doorand its opening.• Altering its size and shape is inappropriate.

It should not be widened.

4.4 If a new screen door is used, it should be incharacter with the primary door.• Match the frame design and color of the

primary door. If the entrance door isconstructed of wood, the frame of the screendoor should also be wood. Match the color ofthe screen door frame with the color of theentrance door; do not use an anodized or amilled (a silvery metallic) finish.


Maintain the original proportions of a door and its opening.

Maintain features important to the character of an historic doorway.

Doors

Replacement Doors4.5 When replacing a door, use a design thathas an appearance similar to the original door ora door associated with the style.• A replica of the original, if evidence exists, is

the preferred replacement.• An historic door from a similar building

also may be considered.• Simple paneled doors were typical.• Very ornate doors are discouraged, unless

photographic evidence can support theiruse.

Energy Conservation4.6 If energy conservation and heat loss areconcerns, consider using a storm door instead ofreplacing an historic entry door.• Generally, wood storm doors are most

appropriate when the original door is wood.• If a storm door is to be installed, match the

design of the original door.

When replacing a door, use a design that has an appearance similarto the original door or a door associated with the style.

Porches

BackgroundHistorically porches were popular features inresidential design. A porch protects an entrancefrom snow and provides shade in the summer. Italso provides a sense of scale and aesthetic qualityto the facade of a building. A porch catchesbreezes in the warmer months, while providinga space for residents to sit and congregate. Finally,a porch often connects a house to its context byorienting the entrance to the street. Because oftheir historical importance and prominence ascharacter-defining features, porches shouldreceive sensitive treatment during exteriorrehabilitation and restoration work.

Key Features of PorchesPorch StructurePorches vary as much as architectural styles. Theydiffer in height, scale, location, materials andarticulation. A porch may be cut in, project orwrap around a corner and it may have elaboratedetails and finishes. Although they vary in

Chapter 5: PorchesChapter 5: PorchesChapter 5: PorchesChapter 5: PorchesChapter 5: Porches

Policy:Where a porch has been a primary character-defining feature of a front facade,it should be maintained. If the original porch is missing, a replacement should beconstructed to be in character with the historic building, in terms of its scale,materials and detailing.

Porches have various functions: they orient buildings to the street,tie houses to their larger contexts and are often catalysts forpersonal interaction in the neighborhood.

character, most porches have these elements incommon:• Balustrades• Posts/columns• Architectural details• Hipped/shed roofs

These elements often correspond to thearchitectural style of the house and therefore thebuilding's design character should be consideredbefore any major rehabilitation or restorationwork is done.

Porch DeteriorationBecause of constant exposure to sun and rain, aporch decays faster than other portions of a house.Furthermore, if water is not channeled away fromthe foundation of the porch its footings may bedamaged. Peeling paint is a common symptom.In some cases the porch itself may experiencesagging or detachment from the house due tosettling.Because of their historical importance and prominence as character-

defining features, porches should receive sensitive treatment duringexterior rehabilitation and restoration work.


Porch AlterationsIn some cases, original porches have been alteredor removed. Some have had minor changes, suchas roof repairs or repainting, while others havebeen altered to the degree that they have lostmuch of their character. For instance, woodcolumns and balustrades sometimes have beenreplaced with thin "wrought iron" railings andposts. This compromises the proportions andintegrity of the house.

Repair of PorchesAfter discovering structural or cosmetic problemswith a porch, one should formulate a strategy forits treatment. The most preferred strategy is torepair the porch, rather than replace it altogether.This approach is preferred because the originalmaterials contribute to the historic character ofthe porch. Even when replaced with an exactduplicate, a portion of the historic building fabricis lost; therefore, such treatment should beavoided when feasible.

Replacing a PorchWhile replacing an entire porch is discouraged,it may be necessary in some cases. When a porchis to be replaced, the first step is to research thehistory of the house to determine the appearanceand materials of the original porch. In doing so,one should search for: 1) documentation of theoriginal porch in the form of historic photographs,sketches and/or house plans; 2) physical evidenceof the original porch, including "ghost lines" onwalls that indicate the outline of the porch and/or holes on the exterior wall that indicate wherethe porch may have been attached to the frontfacade; 3) examples of other houses of the sameperiod and style that may provide clues about thedesign and location of the original porch.

The most important aspects of the project involvethe location, scale, and materials of thereplacement porch. It is not necessary to replicatethe details of the porch on most buildings;however, it is important that new details becompatible with the design of the porch and thestyle of the house.

Repairing rather than replacing porch elements always is thepreferred approach.

Porches

Treatment of Porches5.1 Preserve an original porch.• Replace missing posts and railings when

necessary. Match the original proportionsand spacing of balusters when replacingmissing ones.

• Expanding the size of an historic porch isinappropriate.

5.2 Avoid removing or covering historicmaterials and details on a porch.• Removing an original balustrade, for

example, is inappropriate.

5.3 Avoid enclosing an historic front porch.• Keeping an open porch is preferred.• Also consider reopening an enclosed porch.• Enclosing a porch with opaque materials

that destroys the openness and transparencyof the porch is inappropriate.

• Enclosing a porch with large areas of glass,thereby preserving the openness of theporch, may be considered in specialcircumstances.

Replace missing posts and railings when necessary. Match theoriginal proportions and spacing of balusters when replacingmissing ones.

Enclosing a porch with large areas of glass, thereby preserving theopenness of the porch, may be considered in special circumstances.


It is not necessary to strictly replicate the details of the porch onmost historic buildings; however, it is important that new detailsbe compatible with the design of the porch and the style of the house.The replacement railing on the top photograph is in scale with thatseen historically, whereas the balusters are spaced too widely in thebottom photo.

Porch Replacement5.4 If porch replacement is necessary,reconstruct it to match the original in form anddetail.• Use materials that appear similar to the

original.• While matching original materials is

preferred, when detailed correctly andpainted appropriately alternative materialsmay be considered.

• Where no evidence of the appearance of thehistoric porch exists, a new porch may beconsidered that is similar in character tothose found on comparable buildings. Keepthe style and form simple. Also, avoidapplying decorative elements that are notknown to have been used on the house orothers like it.

• When constructing a new porch, its depthshould be in scale with the building.

• The scale of porch columns also should besimilar to that of the trimwork.

• The height of the railing and the spacing ofbalusters should appear similar to thoseused historically as well.

Architectural Details

Chapter 6: Architectural DetailsChapter 6: Architectural DetailsChapter 6: Architectural DetailsChapter 6: Architectural DetailsChapter 6: Architectural Details

Policy:Architectural details help establish an historic building's distinct visual character;thus, they should be preserved whenever feasible. If architectural details aredamaged beyond repair, replacements that match the original detailing arerecommended.

BackgroundArchitectural details play several roles in definingthe character of an historic structure. They addvisual interest, distinguish certain building stylesand types, and often showcase superiorcraftsmanship. Features such as window hoods,brackets and posts exhibit materials and finishesoften associated with particular styles, andtherefore their preservation is important.

Key Features of Architectural DetailsTreatment of Architectural FeaturesPreserving original architectural details is criticalto the integrity of an historic building. Wherereplacement is required, one should remove onlythose portions that are deteriorated beyondrepair. Even if an architectural detail is replacedwith an exact copy of the original, the integrityof the building as an historic resource isdiminished and therefore preservation of theoriginal material is preferred.

Materials for Replacement DetailsUsing a material to match that employedhistorically is always the best approach. However,a substitute material may be considered for a detailwhen it appears similar in composition, design,color and texture to the original.

In the past, substitute materials were employedas methods of producing architectural features.Many of these historic "substitutes" are nowreferred to as traditional materials. For example,a stamped metal cornice on a commercial buildingwas a substitute for stone. Just as these historicsubstitutes offered advantages over theirpredecessors, many new materials today holdpromise. However, these substitute materialsshould not be used wholesale, but only when it isabsolutely necessary to replace original materialswith stronger, more durable ones.

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

Another factor which may determine theappropriateness of using substitute materials forarchitectural details depends on their location anddegree of exposure. For example, lighter weightmaterials may be inappropriate for anarchitectural detail that would be exposed tointense wear. For example, it may be wise to avoidusing a fiberglass column on a front porch whereit may be accidentally damaged. Conversely, theuse of fiberglass to reproduce a cornice on a secondstory may be successful.

Preserving original architectural materials is critical to the integrityof an historic building.


Treatment of Architectural Features6.1 Preserve significant architectural features.• Repair only those features that are

deteriorated.• Patch, piece-in, splice, consolidate or

otherwise upgrade the existing material,using recognized preservation methodswhenever possible.

• Isolated areas of damage may be stabilizedor fixed, using consolidants. Epoxies andresins may be considered for wood repairand special masonry repair components alsomay be used.

• Removing a damaged feature when it can berepaired is inappropriate.

6.2 When disassembly of an historic elementis necessary for its restoration, use methods thatminimize damage to the original.• Document its location so it may be

repositioned accurately. Always devisemethods of replacing the disassembledmaterial in its original configuration.

6.3 Remove only the portion of the detail thatis deteriorated and must be replaced.• Match the original in composition, scale and

finish when replacing materials or features.• If the original detail was made of wood , for

example, then the replacement materialshould be wood when feasible. It shouldmatch the original in size, and in finish,which traditionally was a smooth finish, andthen painted.

When disassembly of an historic feature is required in a restorationprocedure, document its location so that it may be repositionedaccurately.

Paddingprotectsmolding while itis stored.

Moldingsection storedforrestoration.

Repair only those features that are deteriorated.

Architectural Details

Replace features that are missing or beyondrepair. Reconstruct only those portions thatare damaged beyond repair.

6.4 Repair or replacement of missing ordeteriorated features should be based onoriginal designs.• The design should be substantiated by

physical or pictorial evidence to avoidcreating a misrepresentation of thebuilding’s heritage.

• When reconstruction of an element isimpossible, develop a compatible newdesign that is a simplified interpretation ofthe original, and maintains similar scale,proportion and material.

6.5 Avoid guessing historic designs forreplacement parts.• Where "scars" on the exterior architectural

features existed but there is no other physicalor photographic evidence, then new featuresmay be designed that are similar in characterto related buildings.

• Using overly ornate materials on a buildingfor which there is no documentation isinappropriate.

6.6 Replacement of missing elements may beincluded in repair activities.• Replace only those portions that are beyond

repair.• Replacement elements should be based on

documented evidence.• Use the same kind of material as the original

when feasible.• A substitute material may be acceptable if

the form and design of the substitute itselfconveys the visual appearance of theoriginal material. For example, a fiberglasscornice may be considered at the top of abuilding.

Appropriate: Where replacement of a detail is required, one shouldremove only those portions that are deteriorated beyond repair.

Originalmolding

Replacementsection

Roofs

BackgroundThe character of the roof is a major feature of anhistoric structure. In each case, the roof pitch,materials, size and orientation are all distinctelements that contribute to its character. Gabledand hip forms occur most frequently, althoughshed, gambrel and flat roofs appear on somebuilding types.

Although the function of a roof is to protect astructure from the elements, it also contributes tothe overall character of the building. Historicallythe roof shape was dictated by climaticconsiderations, which determined roof form andpitch.

Key Features of RoofsRoof DeteriorationThe roof is the structure's main defense againstthe elements. However, all components of theroofing system are vulnerable to leaking anddamage. When the roof begins to experiencefailure, many other parts of the structure may alsobe affected. For example, a leak in the roof maylead to damage of attic rafters or even wallsurfaces. Common sources of roof leaks include:• Cracks in chimney masonry• Loose flashing around chimneys and ridges• Loose or missing roof shingles• Cracks in roof membranes caused by settling

rafters• Water backup from plugged gutters

Repairing an Historic RoofWhen repairing or altering an historic roof it isimportant to preserve its historic character. Forinstance, one should not alter the pitch of thehistoric roof, the perceived line of the roof fromthe street, or the orientation of the roof to the

Chapter 7: RoofsChapter 7: RoofsChapter 7: RoofsChapter 7: RoofsChapter 7: Roofs

Policy:The character of a historic roof should be preserved, including its form andmaterials, whenever feasible.

street. The historic depth of overhang of the eaves,which is often based on the style of the house,should also be preserved.

Roofs on AdditionsThe roof form of an addition should be compatiblewith the roof form of the primary structure, interms of its pitch and orientation. In planning aroof top addition, one should avoid altering theangle of the roof and instead should maintain theperceived historic roof line, as seen from the street.See also the Guidelines for Additions in Chapter9.

DormersHistorically a dormer was sometimes added tocreate more head room in an upper level. It didnot dominate a roof form, as it was subordinatein scale to the primary roof. Thus, a new dormershould always read as a subordinate element tothe primary roof plane. It should never be so largethat the original roof line is obscured. It shouldalso be set back from the roof edge and locatedbelow the roof ridge. In addition, the style of thenew dormer should be in keeping with that ofthe building.

A variety of roof forms can be seen throughout Old Town.


Typical roof shapes seen throughout Old Town Steamboat Springs.

Hipped RoofHipped RoofHipped RoofHipped RoofHipped Roof

Shed RoofShed RoofShed RoofShed RoofShed Roof

Clipped GableClipped GableClipped GableClipped GableClipped Gable

Flat RoofFlat RoofFlat RoofFlat RoofFlat Roof

Gabled RoofGabled RoofGabled RoofGabled RoofGabled Roof

Cross-Gabled RoofCross-Gabled RoofCross-Gabled RoofCross-Gabled RoofCross-Gabled Roof

False Front RoofFalse Front RoofFalse Front RoofFalse Front RoofFalse Front Roof

Gambrel RoofGambrel RoofGambrel RoofGambrel RoofGambrel Roof

Roofs

Roof MaterialsWhen repairing or altering an historic roof, oneshould avoid removing significant materials thatare in good condition. Where replacement isnecessary, such as when the historic roofingmaterial fails to properly drain, one should use amaterial that is similar in appearance to the originalin style and texture. The overall pattern of theroofing material also determines whether or notcertain materials are appropriate. For instance,cedar and composition shingles have a uniformtexture, while standing seam metal roofs cause avertical pattern.

The color of the repaired roof section should alsobe similar to the historic roof material. Wood andasphalt shingles are appropriate replacementmaterials for most roofs. A specialty roofingmaterial, such as tile or slate, should be replacedwith a matching material whenever feasible.

When repairing or altering an historic roof, one should avoidremoving significant materials that are in good condition.


Treatment of Roofs7.1 Preserve the original form of a roof.• Avoid altering the angle of an historic roof.

Instead, maintain the perceived line andorientation of the roof as seen from thestreet.

• Retain and repair roof detailing.

7.2 Preserve the original eave depth.• The shadows created by traditional

overhangs contribute to one's perception ofthe building's historic scale and thereforethese overhangs should be preserved.

7.3 Minimize the visual impacts of skylightsand other rooftop devices.• Flat skylights that are flush with the roof

plane may be considered only in an obscurelocation on a historic structure. Locating askylight or an solar panel on a front roofplane should be avoided.

• A skylight or solar panel should notinterrupt the plane of the historic roof. Itshould be positioned below the ridgeline.

7.4 Preserve original chimneys, even if theyare made non-functional.• A new chimney should be the same scale as

those used historically.

7.5 When planning a rooftop addition,preserve the overall appearance of the originalroof.• An addition should not interrupt the original

ridgeline.• See also the Guidelines for Additions.

7.6 A new dormer should remain subordinateto the historic roof in scale and character.• A new dormer should fit within the existing

wall plane. It should be lower than theridgeline and set in from the eave. It shouldalso be in proportion with the building.

• The mass and scale of a dormer additionmust be subordinate to the scale of thehistoric building.

Preserve the original form of a roof.

Preserve original chimneys, even if they are made non-functional.

Roofs

Materials7.7 Preserve original roof materials.• Avoid removing historic roofing material

that is in good condition. When replacementis necessary, use a material that is similar tothe original in both style as well as physicalqualities and use a color that is similar tothat seen historically.

• Specialty materials such as tile, slate orconcrete should be replaced with a matchingmaterial.

7.8 New or replacement roof materials shouldconvey a scale, color and texture similar to thoseused traditionally.• Replacement materials should be similar to

those used historically on comparably styledbuildings.

• Composition shingles and low profile metalroofs are appropriate.

• If a composition shingle is used, an earthtone with a matte, non-reflective finish isappropriate.

• Flashing should be in scale with the roofmaterial.

7.9 If it is to be used, a metal roof should bedetailed in a manner that is compatible with thehistoric appearance of the building.• A metal roof is acceptable as it relates to the

historic context.• A metal roof material could have an earth

tone and have a matte, non-reflective finish.• A metal roof with a lead-like patina also is

an acceptable alternative.• Seams should be of a low profile.• A roof assembly with a high profile seam or

thick edge is inappropriate.

7.10 Avoid using conjectural features on a roof.• Adding ornamental cresting, for example,

where there is no evidence that it existedcreates a false impression of the structure'soriginal appearance, and is inappropriate.

Preserve original roof materials.

If it is to be used, a metal roof should be detailed in a manner thatis compatible with the historic appearance of the building.

Secondary Structures

This chapter addresses the treatment of secondarystructures. These guidelines apply in addition tothe guidelines for treatment of doors, windows,materials and other features presented in thepreceding chapters.

BackgroundAccessory structures include garages, carriagehouses and sheds. Traditionally these structureswere important elements of residential sites.Because secondary structures help interpret howan entire site was used historically, theirpreservation is strongly encouraged.

Key Features of Secondary StructuresMost secondary structures were simple incharacter, reflecting their more utilitarianfunctions. Many were basic rectangular solids,with simple finishes and they typically hadlimited or no ornamentation.

Chapter 8: Secondary StructuresChapter 8: Secondary StructuresChapter 8: Secondary StructuresChapter 8: Secondary StructuresChapter 8: Secondary Structures

Policy:When a secondary structure is determined to be historically significant, it shouldbe preserved. This may include keeping the structure in its present condition,rehabilitating it, or adapting it to a new use so that the building continues toserve a function.

Adaptive Reuse of Secondary StructuresThe reuse of any secondary structure should beplanned realistically so that its character is notlost. Maintaining the overall mass and scale isparticularly important and therefore, raising theroof-line of a structure to create a "pop-top" isdiscouraged since it will alter the height of theroofs' ridgeline, and the structure will appearmuch larger than it would have historically.

Primary MaterialsMany of the materials used traditionally insecondary structures are those employed in theconstruction of primary buildings. Simple boardand batten siding or clapboards were typical.Treatment of siding is addressed in the precedingchapter and applies to secondary structures aswell. In preserving or rehabilitating secondarystructures, it is important that the character-defining materials be preserved.

Typical secondary structures along an alley in Steamboat Springs.

In preserving or rehabilitating secondary structures, it is importantthat the character-defining materials be preserved.


Roof Forms and MaterialsTraditionally most secondary structures hadgabled or shed roofs. Roofing materials includedmetal, wood, asphalt and composition shingles.Property owners are encouraged to use traditionalroof forms and materials if undertaking moreextensive projects, such as converting a secondarystructure to a new use. However, becauseaccessory structures are often subordinate to themain house, greater flexibility in the treatment ofaccessory structures may be considered.

Secondary Structures8.1 If an existing secondary structure ishistorically significant, then its preservation isencouraged.• When treating an historic secondary

building, respect its character-definingfeatures. These include its primary and roofmaterials, roof form, windows, doors andarchitectural details.

• If a secondary structure is not historicallysignificant, then its preservation is optional.

8.2 If an existing secondary structure is beyondrepair, then replacing it is encouraged.• An exact reconstruction of the secondary

structure is not necessary. The replacementshould be compatible with the overallcharacter of the historic primary structure,while accommodating new uses.

8.3 Avoid attaching a garage or carport to anhistoric primary structure.• Traditionally, a garage was sited as a

separate structure at the rear of the lot; thispattern should be maintained.

Traditionally most secondary structures had gabled or shed roofs.

If an existing secondary structure is historically significant, thenits preservation is encouraged.

Additions

This chapter presents guidelines for theconstruction of additions to historic structures.They apply to primary and secondary structures.

BackgroundMany historic buildings in Steamboat Springs,including secondary structures, experiencedadditions over time as need for more spaceoccurred, particularly with a change in use. Insome cases, owners added a wing onto a primarystructure for use as a new bedroom, or to expandthe kitchen. Typically the addition wassubordinate in scale and character to the mainbuilding. The height of the addition was usuallylower than that of the main structure and wasoften located to the side or rear, such that theoriginal facade remained primary.

The addition was often constructed of materialsthat were similar to those used on the originalstructure. In some cases, owners simply addeddormers to an existing roof, creating more usablespace without increasing the footprint of thestructure.

This tradition of adding onto historic buildingsshould continue. It is important, however, that anew addition be designed in such a manner thatit preserves the historic character of the originalstructure.

Existing AdditionsAn early addition may have taken on historicsignificance itself. It may have been constructedto be compatible with the original building andit may be associated with the period of historicsignificance, thereby meriting preservation in itsown right.

In contrast, more recent additions usually haveno historic significance. Some later additions infact detract from the character of the building,and may obscure significant features. Removingsuch noncontributing additions should beconsidered.

Basic Principles for New AdditionsWhen planning an addition to an historicbuilding, one should minimize negative effectsthat may occur to the historic building fabric.While some destruction of historic materials isalmost always a part of constructing an addition,such loss should be minimized.

An addition also should not affect the perceivedcharacter of the building. In most cases, loss ofcharacter can be avoided by locating the additionto the rear. The overall design of the addition alsomust be in keeping with the design character ofthe historic structure as well. At the same time, itshould be distinguishable from the historicportion, such that the evolution of the buildingcan be understood. This may be accomplished ina subtle way, with a jog in the wall planes or byusing a trimboard to define the connection.

Keeping the size of the addition small, in relationto the main structure, also will help minimize itsvisual impacts. If an addition must be larger, itshould be set apart from the historic building, andconnected with a smaller linking element. Thiswill help maintain the perceived scale andproportion of the historic portion.

One also should consider the effect the additionmay have on the character of the area, as seenfrom the public right-of-way. For example, a side

Chapter 9: Building AdditionsChapter 9: Building AdditionsChapter 9: Building AdditionsChapter 9: Building AdditionsChapter 9: Building Additions

Policy:If a new addition to an historic building is to be constructed, it should be designedsuch that the early character of the original structure is maintained. It shouldalso be subordinate in appearance to the main building. Older additions thathave taken on significance also should be considered for preservation.


addition may change the sense of rhythmestablished by side yards in the block. Locatingthe addition to the rear could be a better solutionin such a case.

Existing Additions9.1 Preserve an older addition that hasachieved historic significance in its own right.• Such an addition is usually similar in

character to the original building in terms ofmaterials, finishes and design.

9.2 A more recent addition that is nothistorically significant may be removed.• In this case, removal of this addition may be

considered.

Scenario A—This addition is too large and is directly attached to the historicstructure.

Scenario B—This addition remains too large. A small, connector is used, butis insufficient to adequately separate the two masses.

Scenario C—This addition is reduced in scale and is more clearly separatedfrom the historic building.

Case Studies for Larger Additions:

Direct connection

Connector is too small

Appropriate connector

Additions

New Additions9.3 Design a new addition such that one'sability to interpret the historic character of thebuilding is maintained.• A new addition that creates an appearance

inconsistent with the historic character ofthe building is inappropriate.

• An addition that seeks to imply an earlierperiod than that of the building also isinappropriate.

• An addition that seeks to imply an inaccuratevariation on the historic style should beavoided.

• An addition that covers historicallysignificant features is inappropriate as well.

9.4 Design a new addition to be recognized asa product of its own time.• An addition should be made distinguishable

from the historic building, while alsoremaining visually compatible with theseearlier features.

• A change in setbacks of the addition fromthe historic building, a subtle change inmaterial or a differentiation between historicand more current styles are all techniquesthat may be considered to help define achange from old to new construction.

9.5 When planning an addition to a buildingmaintain historic alignments that may exist onthe street.• Some roof lines and porch eaves on historic

buildings in the area may align atapproximately the same height. An additionshould not be placed in a location wherethese relationships would be altered orobscured.

An addition should be made distinguishable from the historicbuilding, while also remaining visually compatible with theseearlier features.


9.6 Design an addition to be compatible insize and scale with the main building.• An addition that is lower than or similar to

the height of the primary building ispreferred.

• Set back an addition from primary facadesin order to allow the original proportionsand character to remain prominent. Aminimum setback of 10 feet on primarystructures is recommended.

9.7 If it is necessary to design an addition thatis taller than the historic building, set it backsubstantially from significant facades and use a"connector" to link it to the historic building.• A one story connector is preferred.• The connector should be a minimum of 10

feet long between the addition and theprimary building.

• The connector also should be proportionalto the primary building.

One option is to construct an addition to the rear and link it to themain structure with a "connector."

ConnectorConnectorConnectorConnectorConnector

Not AppropriateNot AppropriateNot AppropriateNot AppropriateNot Appropriate

A new addition should not dramatically change the form or scaleof the existing building.

The original house.

Additions

9.8 Place an addition at the rear of a buildingor set it back from the front to minimize thevisual impact on the historic structure and toallow the original proportions and character toremain prominent.• Locating an addition at the front of a

structure is inappropriate.• Additional floor area may also be located

under the building in a basement which willnot alter the exterior mass of a building.

9.9 Roof forms should be similar to those ofthe historic building.• Typically, gable, hip and shed roofs are

appropriate.• Flat roofs are generally inappropriate for

additions on residential structures withsloped roofs.

9.10 Design an addition to a historic structuresuch that it will not destroy or obscurehistorically important architectural features.• For example, loss or alteration of

architectural details, cornices and eavelinesshould be avoided.

9.11 On a new addition, use exterior materialsthat are compatible with the historic materialsof the primary building.• The new materials should be either similar

or subordinate to the original materials.

Use roof forms and roof pitches on additions that are compatiblewith the primary structure and with other established structuresalong the block.

Appropriate

Discouraged

Place an addition at the rear of a building or set it back from the frontto minimize the visual impact on the historic structure and to allowthe original proportions and character to remain prominent.


Rooftop Additions9.12 When constructing a rooftop addition,keep the mass and scale subordinate to that ofthe of the historic building.• An addition should not overhang the lower

floors of the historic building in the front oron the side.

• Dormers should be subordinate to theoverall roof mass and should be in scalewith historic ones on similar historicstructures.

• Dormers should be located below theprimary structure's ridgeline, usually by atleast one foot.

9.13 Set a rooftop addition back from the frontof the building.• This will help preserve the original profile

of the historically significant building asseen from the street.

9.14 The roof form and slope of a new additionshould be in character with the historic building.• If the roof of the historic building is

symmetrically proportioned, the roof ofthe addition should be similar.

• Eave lines on the addition should be similarto those of the historic building or structure.

In some cases, adding on vertically, through construction ofdormers, will help to minimize the impacts of additions and preserverear yards.

New Construction

Chapter 10: New ConstructionChapter 10: New ConstructionChapter 10: New ConstructionChapter 10: New ConstructionChapter 10: New Construction

Basic ApproachRather than imitating older buildings, a newdesign should relate to the historic designcharacteristics of Old Town while also conveyingthe stylistic trends of today. New constructionmay do so by drawing upon some basic buildingfeatures—such as the way in which a building islocated on its site, the manner in which it relatesto the street and its basic mass, form andmaterials—rather than applying detailing whichmay or may not have been historicallyappropriate. When these design variables arearranged in a new building to be similar to thoseseen traditionally in the area, visual compatibilityresults. Therefore, it is possible to be compatiblewith the historic context of the neighborhoodwhile also producing a design that isdistinguishable as being newer than the historicbuildings of the area.

Some people may be confused about this concept;for many, the initial assumption is that any newbuilding in the neighborhood should appear tobe old. On the contrary, the design guidelines thatfollow encourage new buildings that can bedistinguished as being of their own time. At thesame time, they do promote new building designsthat would relate to the more fundamentalsimilarities of the neighborhood.

Some of the more fundamental design featuresthat would help a building relate to its contextare described in the section that follows. Theseare features that should be considered whenplanning a new building.

Street PatternsHistoric settlement patterns seen in street andalley plans often contribute to the distinctcharacter of the neighborhood and therefore theyshould be preserved. These street plans influencethe manner in which primary structures are sitedand they also shape the manner in whichsecondary structures and landscape features mayoccur on the site.

Building AlignmentA front yard serves as a transitional space betweenthe "public" sidewalk and the "private" buildingentry. In many blocks, front yards are similar indepth, resulting in a relatively uniform alignment

Policy:Creative solutions that are compatible with the desired character of Old Townare strongly encouraged, while designs that seek to contrast with the existingcontext simply for the sake of being different are discouraged. This guidance willhelp protect the established character of the core neighborhood, while alsoallowing new, compatible design of projects.

Rather than imitating older buildings, a new design should relateto the historic design characteristics of Old Town while alsoconveying the stylistic trends of today.

Guidelines for New Construction

of building fronts which contributes to the senseof visual continuity. Maintaining the establishedrange of setbacks is therefore preferred.

Site DesignWhen considering the design features ofindividual building sites, a rich palette appearsin the neighborhood. The similar orientation ofbuildings to the street, the variety of landscapedesigns and the intermittent use of fences areamong those site features that contribute to thecharacter of the neighborhood.

Traditionally, a typical building had its primaryentrance oriented to the street. This helpedestablish a “pedestrian-friendly” quality, whichencouraged walking. This characteristic shouldbe maintained where it exists. Locating theentrance of a new building in a manner that issimilar to those seen traditionally is a means ofdoing so.

Mass and ScaleThe mass and scale of a building is also animportant design issue. Similarities in scaleamong prominent building features, such asporches and cornices, are also important. In manycases, earlier buildings were smaller than currenttastes support; nonetheless, a new buildingshould, to the greatest extent possible, maintainthis established scale. While new buildings andadditions are anticipated that may be larger thanmany of the earlier structures, this newconstruction should not be so dramatically greaterin scale than the established context that the visualcontinuity of the neighborhood would becompromised. Refer to the appropriate section ofthe Community Development Code for furtherinformation.

Building WidthMany early buildings were constructed similarin width to nearby structures. This helped toestablish a relatively uniform scale for theneighborhood. In such a case, the perceived widthof a new building should appear similar in sizeto that of historic buildings in the neighborhoodin order to help maintain this sense of visualcontinuity. For example, if a new building wouldbe wider than those seen historically, it should be

divided into modules that appear similar in widthto traditional buildings.

Building FormA similarity of building forms also contributes toa sense of visual continuity. In order to maintainthis sense of visual continuity, a new buildingshould have basic roof and building forms thatare similar to those seen traditionally. Overallfacade proportions also should be in harmonywith the context.

RoofsThe character of the roof is a major feature ofbuildings in the core neighborhoods. Whenrepeated along the street, the repetition of similarroof forms also contributes to the sense of visualcontinuity. In each case, the roof pitch, itsmaterials, size and orientation are all importantto the overall character of the building. Newconstruction should not break from thiscontinuity. New structures, and their roofs, shouldbe similar in character to their neighbors.

Solid -to-Void RatioA typical building appeared to be a rectangularsolid, with small holes “punched” in the wallsfor windows and doors. Most buildings hadsimilar amounts of glass, resulting in a relativelyuniform solid-to-void ratio. This ratio on a newbuilding, the amount of facade that is devoted to

New structures, and their roofs, should be similar in character totheir neighbors.

New Construction

wall surface, as compared to that developed asopenings, should be similar to that of historicbuildings within the neighborhood.

MaterialsBuilding materials of new structures andadditions to existing structures should contributeto the visual continuity of the neighborhood. Theyshould appear similar to those seen traditionallyto establish a sense of visual continuity.

Architectural CharacterEntries are clearly defined on most structures inthe neighborhood. Porches, porticos and stoopsare elements that typically define entries. Thesefeatures add a one-story element to the fronts ofbuildings, helping to establish a uniform senseof human scale along the block. They are essentialelements of the neighborhood that should bemaintained. Other architectural details alsocontribute to the sense of character of the street,adding visual interest for pedestrians. Theircontinued use is strongly encouraged.

WindowsThe similarity of window size and locationcontributes to a sense of visual continuity alongthe street. In order to maintain this sense of visualcontinuity, a new building should maintain thebasic window proportions and placement seentraditionally in the neighborhood.

DoorsThe similarity of door size and locationcontributes to a sense of visual continuity alongthe street. In order to maintain this sense of visualcontinuity, a new building should maintain thedoor proportions and orientation seentraditionally in the neighborhood.

Unlike this example, the amount of facade that is devoted to wallsurface, as compared to that developed as openings, should besimilar to that of historic buildings within the neighborhood.


Street Patterns10.1 Respect historic settlement patterns.• Site a new building such that it is arranged

on its site in a way similar to historicbuildings in the area. This includesconsideration of building setbacks and openspace.

10.2 Maintain the traditional character of alleys.• Maintain the traditional character and scale

of an alley by locating buildings and fencesalong the alley edges to maintain the narrowwidth.

Building Alignment10.3 When constructing a new building, locateit to fit within the range of yard dimensions seenin the block.• These include front yard , side yard and rear

yard setbacks.• In some areas, setbacks vary, but generally

fall within an established range. A greatervariety in setbacks is inappropriate in thiscontext.

Site Design10.4 Provide a front yard similar in depth to itsneighbors.• A grass lawn should be the dominant

material of a front yard.• The use of rock and gravel is discouraged,

and if used, should only occur as an accentelement.

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

InappropriateInappropriateInappropriateInappropriateInappropriate

Inappropriate: This building's front yard setback is too great incomparison with the traditional setback along the block.

typical setbacks

typical setbacks

typical setbacks

typical setbacks

typical setbacks

New Construction

Building Orientation10.5 Orient the front of a primary structure tothe street.• The building should be oriented parallel to

the lot lines, maintaining the traditional gridpattern of the block.

• In some cases, the front door itself ispositioned perpendicular to the street;whereas, the entry should still be clearlydefined with a walkway and porch thatorients to the street.

Mass and Scale10.6 Construct a new building to be similar inmass and scale to those single family residencesseen traditionally.• Traditional features that convey a human

scale should also be used. Consider thesetechniques:- Provide a one-story porch that is similar tothose seen traditionally.- Include landscape elements, such as fencesand walkways, similar in scale to those seentraditionally.

10.7 On larger structures, step down a building'sheight toward the street, neighboring structuresand the rear of the lot.• The back side of a building may be taller

than the established norm if the change inscale will not be perceived from public waysand when zoning regulations permit.

10.8 On larger structures, subdivide largermasses into smaller “modules” that are similarin size to single family residences seentraditionally.• Other, subordinate modules may be attached

to the primary building form.

On larger structures, subdivide larger masses into smaller modulesthat are similar in size to single family residences seen traditionally.

InappropriateInappropriateInappropriateInappropriateInappropriate

AppropriateAppropriateAppropriateAppropriateAppropriate

Orient the primary entry of a building to the street. Clearly definethe primary entrance by using a front porch.


Building Width10.9 Design a new building to appear similar inwidth to that of nearby single family structures.• A single wall plane should not exceed the

typical maximum facade width of typicalsingle family structures.

• If a building would be wider overall thanstructures seen historically, the facadeshould be divided into subordinate planesthat are similar in width to those of thehistoric context.

Proportion of Facade Elements10.10 Design overall facade proportions to besimilar to those of historic buildings in theneighborhood.• The “overall proportion” is the ratio of the

width to height of the building, especiallythe front facade.

Building Form10.11 Use building forms that are similar to thoseseen traditionally on the block.• Simple rectangular solids are typically

appropriate.

10.12 Exotic building and roof forms that woulddetract from the visual continuity of the streetare discouraged.• Geodesic domes and A-frames are not

generally considered traditional buildingforms and should not be used.

Exotic building and roof forms that would detract from the visualcontinuity of the street are discouraged.

New Construction

Roofs10.13 Use roof forms that are similar to thoseseen traditionally in the block.• Sloping roofs such as gable and hip roofs are

appropriate for primary roof forms.• Shed roofs are appropriate for some

additions.• The primary ridge line of a residential

structure should not exceed the typicalmaximum for the block.

• On a residential structure, eave depthsshould be similar to those seen traditionallyin the neighborhood.

• Because they break up the perceived scale ofa roof, dormers are also encouraged.

10.14 If they are to be used, metal roofs shouldbe applied and detailed in a manner that iscompatible with the historic character of theneighborhood.• Metal roof materials should be earth tones

and have a matte, non-reflective finish.• Seams should be of a low profile.• The edges of the roofing material should be

finished.

Solid-to-Void Ratio10.15 Use a ratio of solid-to-void (wall-to-window) that is similar to that found on historicstructures in the neighborhood.• Large surfaces of glass are generally

inappropriate. Divide large glass surfacesinto a smaller set of windows that are similarto those seen traditionally.

Use a ratio of solid-to-void (wall-to-window) that is similar to thatfound on historic structures in the neighborhood. Large surfaces ofglass are generally inappropriate.

Use roof forms that are similar to those seen traditionally in theblock.


Materials10.16 Use building materials that appear similarto those used traditionally in the area.• Horizontal lap siding is appropriate in most

applications. Brick and stone are alsoappropriate.

• All wood siding should have a weather-protective finish.

• Use of highly reflective materials isdiscouraged.

10.17 The use of masonry that appears similar incharacter to that seen historically is appropriate.• Brick should have a modular dimension

similar to that used traditionally.• Stone, similar to that used traditionally, is

also appropriate.• Stucco may also be considered.

10.18 New materials that are similar in characterto traditional materials may be acceptable withappropriate detailing.• Alternative materials should appear similar

in scale, proportion, texture and finish tothose used historically. They also shouldhave a proven durability in similar locationsin this climate.

10.19 Use building materials that contribute tothe traditional sense of scale of the block.• This will reinforce the sense of visual

continuity in the neighborhood.

Architectural Character10.20 If they are to be used, design ornamentalelements, such as brackets and porches, to be inscale with similar historic features.• Thin, fake brackets and strap work applied

to the surface of a building are inappropriateuses of these traditional details.

Use building materials that appear similar to those used traditionallyin the area.

New Construction

10.21 Contemporary interpretations oftraditional details are encouraged.• Interpretations of historic styles may be

considered, if they are subtly distinguishableas being new.

• New designs for window moldings anddoor surrounds, for example, can providevisual interest while helping to convey thefact that the building is new. Contemporarydetails for porch railings and columns areother examples. New soffit details anddormer designs also could be used to createinterest while expressing a new, compatiblestyle.

Windows10.22 Windows with vertical emphasis areencouraged.• A general rule is that the height of the

window should be twice the dimension ofthe width in most residential contexts.

10.23 Frame windows in materials that appearsimilar in scale, proportion and character tothose used traditionally in the neighborhood.• Double-hung windows with traditional

depth and trim are preferred.• Windows should be trimmed in wood. This

trim must have a dimension similar to thatused historically.

10.24 Windows should be simple in shape.• On some styles, octagonal and diamond-

shaped windows were used as accents inthe gable end of a front facade.

10.25 Dormers shall be in scale with those usedtraditionally in the neighborhood.• Dormers shall be subordinate to the roof

itself, and lower than the ridge line.

Windows with vertical emphasis are encouraged. These are examplesof appropriate window designs.

Contemporary interpretations of traditional details are encouraged.


Doors10.26 Clearly identify the primary entrance intothe building.• The primary entrance should be easily

identified from the street.

10.27 For a new door, use a design similar tothose found historically on comparablebuildings.• A door should be trimmed in wood. Use

trim with a dimension similar to that usedhistorically.

• Use door lights which are similar in numberand size, as seen on historic buildings.

• A door shall appear to be similar inproportion to historic doors seen in theneighborhood.

10.28 Frame doors in materials that appearsimilar in scale, proportion and character tothose used traditionally in the neighborhood.

New Secondary Structures10.29 Locate a secondary structure to the rear ofa lot.• Locating a secondary structure to the side of

the primary structure, but set backsubstantially is also appropriate.

• A secondary structure should be orientedsimilar to those seen traditionally along thealley.

10.30 Construct secondary structures that arecompatible with the primary structure.• In general, garages should be unobtrusive

and not compete visually with the house.While the roof line does not have to matchthe house, it is best that it not varysignificantly.

• Typical materials include horizontal siding,board and batten, and in some cases stucco.Vinyl and aluminum siding are discouraged.

• A secondary structure should remainsubordinate, in terms of mass, scale andheight, to the primary structure.

For a new door, use a design similar to those found historically oncomparable buildings.

Locating a secondary structure to the side of the primary structure,but set back substantially is also appropriate.

New Construction

10.31 A secondary structure should be similar incharacter to those seen traditionally.• Basic rectangular forms, with hip, gable or

shed roofs, are appropriate.• Contemporary interpretations of traditional

secondary structures should be permittedwhen they are compatible with the historiccontext.

10.32 Locating a garage such that its visualimpacts will be minimized is encouraged.• Provide access to parking from an alley.• Design multi-family parking areas to

minimize the visual effects on thestreetscape.

• Locating a garage in the front yard isdiscouraged.

10.33 A detached garage is preferred.• This will help reduce the perceived mass of

the overall development.• When the garage must be attached, the

percentage of building front allocated to itshould be minimized.

Supplemental Guidelines

ColorColor schemes for older buildings varythroughout Steamboat Springs. Many areassociated with individual building types andstyles, while others reflect the tastes of distincthistorical periods. While color in itself does notaffect the actual form of a building, it candramatically affect the perceived scale of astructure and it can help to blend a building withits context.

A color scheme that reflects the historic style ispreferred, although some new color selections canbe compatible. For a newer building, a colorscheme that complements the historic characterof the neighborhood should be used. Propertyowners are particularly encouraged to employcolors that will help establish a sense of visualcontinuity for the block.

When renovating an historic building, the firstthing to consider is using the original colorscheme, which can be discovered by carefullycutting back paint layers. To accurately determinethe original color scheme usually requiresprofessional help, but one can get a general ideaof the colors that were used by scraping back paintlayers with a pen knife. Since the paint will befaded, moisten it slightly to get a better idea ofthe original hue. It isn’t necessary, however, to usethe original color schemes of the building. Analternative is to use colors in ways that weretypical in the past, and to create a new colorscheme.

Some inappropriate applications of color,however, may hinder one’s ability to perceive thecharacter of the architecture. For example, if abuilding with jigsaw brackets and moldings is

painted solid black, with no contrast between thebackground and the details, and little opportunityfor expression of shadows, the perception of thecharacter of the building may be diminished.

LightingThe character and level of lighting is a specialconcern in Old Town. Exterior lighting should bea subordinate element so that the stars in the nightsky are visible. Light emanating from within abuilding can also have an effect upon thecharacter of the town at night. Large areas of glasscan become sources of glare and can affectperception of the night sky.

On-going MaintenanceRegular and periodic maintenance of a historicbuilding assures that more expensivepreservation and restoration measures will not beneeded at a future date. Historic buildings weretypically very well built and were meant to last.

Chapter 11: Supplemental GuidelinesChapter 11: Supplemental GuidelinesChapter 11: Supplemental GuidelinesChapter 11: Supplemental GuidelinesChapter 11: Supplemental Guidelines

Policy:This chapter discusses a variety of design topics that may be associated with alltypes of projects, including renovation, new construction and site work.

While color in itself does not affect the actual form of a building, itcan dramatically affect the perceived scale of a structure and it canhelp to blend a building with its context.


Mechanical Equipment & Service AreasNew technologies in heating, ventilating andtelecommunications have introduced mechanicalequipment into historic areas where they were notseen traditionally. Satellite dishes, rooftop heatingand ventilating equipment, and vent stacks areamong those that may now intrude upon thevisual appearance of historic structures. Whereverfeasible, the visual impacts of such systemsshould be minimized such that one’s ability toperceive the historic character of the context ismaintained. Locating equipment such that it isscreened from public view is the best approach.

Driveways & ParkingHistorically, parking was an ancillary use andlocated to the rear of a site. This tradition shouldbe continued, and in all cases the visual impactsassociated with parking should be minimized.On-site parking, when necessary, should besubordinate to other uses and front yards shouldnot appear to be "parking areas."

AwningsProjecting elements help to provide visual interestto a building and can influence its perceived scale.These features should be compatible in size, shapeand type with those found on historic buildingsand should be treated as an integral part of thebuilding design.

SignsWherever they are used, signs should besubordinate to the overall character of the areaand they should be subordinate to the individualbuildings to which they are related. Traditionally,signs were relatively simple in character inSteamboat Springs. Historic photographsillustrate a limited range of types. Alongcommercial streets, signs were mounted flush onstorefronts or projected over the sidewalk. Today,the number of signs is greater than seenhistorically and it is important that their characterremain subordinate to the overall street scene.Their placement and design should respect thecharacter of the districts or landmark property.


ColorThese guidelines are provided to encourage theuse of a paint scheme that would be similar toone used historically, as well as enhancing thestructure and its character-defining features.

11.1 Keep color schemes simple.• Using one base color for the building is

preferred. Muted colors are appropriate forthe base color.

• Using only one or two accent colors is alsoencouraged, except where precedent existsfor using more than two colors with somearchitectural styles.

11.2 Coordinating the entire building in onecolor scheme is usually more successful thanworking with a variety of palettes.• Using the color scheme to establish a sense

of overall composition for the building isstrongly encouraged.

11.3 Develop a color scheme for the entirebuilding front that coordinates all the facadeelements.• Choose a base color that will link the entire

building face together. For a commercialbuilding, it can tie signs, ornamentation,awnings and entrances together. Onresidences, it can function similarly. It canalso help your building relate better to othersin the neighborhood.

11.4 Muted colors are preferred for thebackground color of most buildings.• A darker background color will allow you

to use lighter colors for trim—where thehighlights will show up better.

• Lighter colors can also be used as abackground, but with a light backgroundand accent color on the trim, the entirescheme is more susceptible to becoming toobusy. If light background colors are used, itis best to use a different shade of the samehue for the trim.

When developing a color scheme, use a limited number of colors.Apply one or two colors to porch elements; avoid making the schemetoo busy. Consider using a different shade of the first trim color—or even matching it exactly for porch trim.

Apply a base color to the main plane of the facade (A). Next, applythe first trim color to window frames and edge boards (B).

BA

When designing a color scheme, consider the entire composition:a) The back plane of the main facade is a major surface for which

a scheme should be devised.b) A color scheme for the front plane, composed of a porch in this

case, also should be designed.


11.5 Use bright colors for accents only.• Reserve the use of strong, bright colors for

accents, such as signs, ornamentation, andentrances.

• In most cases only one or two accent colorsshould be used in addition to the base color.

• Doors may be painted a bright accent color,or they may be left a natural wood finish.Historically, many of the doors would havesimply had a stain applied.

• Window sashes are also an excellentopportunity for accent color.

• Brilliant luminescent or “dayglow” colorsare not appropriate.

Lighting11.6 Exterior lights should be simple incharacter and similar in color and intensity tothat used traditionally.• The design of a fixture should be simple in

form and detail.• All exterior light sources should have a low

level of luminescence.

11.7 Minimize the visual impacts of site andarchitectural lighting.• Unshielded, high intensity light sources and

those which direct light upward will not bepermitted.

• Shield lighting associated with service areas,parking lots and parking structures.

• Do not wash an entire building facade inlight.

• Avoid placing lights in highly visiblelocations, such as on the upper walls ofbuildings.

• Avoid duplicating fixtures. For example, donot use two fixtures that light the same area.

11.8 Minimize the visual impact of light spillfrom a building.• Prevent glare onto adjacent properties by

using shielded and focused light sourcesthat direct light onto the ground. The use of


downlights, with the bulb fully enclosedwithin the shade, or step lights which directlight only on to walkways, is stronglyencouraged.

• Lighting should be carefully located so asnot to shine into residential living space, onor off the property or in to public rights-of-way.

• Large areas of glass in exterior walls thatmay allow "spill-over" of interior lightsources, resulting in nighttime glare, shouldbe used with caution.

On-going Maintenance of HistoricProperties11.9 Use the gentlest means possible to cleanthe surface of materials and features.• Perform a test patch (in an inconspicuous

place) to make sure the cleaning methodwill not damage the surface. Manyprocedures can have an unanticipatednegative effect upon building materials andresult in accelerated deterioration or a lossof character.

• Harsh cleaning methods, such assandblasting, can damage the historicmaterials, make them vulnerable tomoisture, accelerate deterioration andchange their appearance. Such proceduresare inappropriate.

• If cleaning is necessary, a low pressure waterwash is preferred. Chemical cleaning maybe considered if a test patch is first conductedto determine safety.

• Also see technical rehabilitation literaturepublished by the National Park Service andavailable through the Steamboat SpringsCommunity Development Department.

Use approved technical procedures for cleaning, refinishing andrepairing historic materials. Harsh cleaning methods, such assandblasting and circular sanding, can damage the historicmaterials, changing their appearance. Such procedures are notappropriate.


11.10 Repair deteriorated primary buildingmaterials by patching, piecing-in, consolidatingor otherwise reinforcing the material.• Avoid the removal of damaged materials

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

or fixed, using consolidants. Epoxies andresins may be considered for wood repairand special masonry repair components alsomay be used.

11.11 Plan repainting carefully.• Note that frequent repainting of trim

materials may cause a buildup of paint layersthat obscures architectural details. Whenthis occurs, consider stripping paint layersto retrieve details. However, if stripping isnecessary, use the gentlest means possible,being careful not to damage architecturaldetails and finishes.

• Remember good preparation is key tosuccessful repainting but also the buildupof old paint is an important historic recordof the building. The removal of old paint, bythe gentlest means possible, should beundertaken only if necessary to the successof the repainting. Remember that old paintis of very good quality and is enviable intoday’s painting world.

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

11.12 Provide a weather-protective finish towood surfaces.• Painted surfaces are most appropriate. Stains

may be accepted in combination withmaterials that give a well-finishedappearance.

• Rustic finishes will not be approved.• Brilliant luminescent or “dayglow” colors

should be avoided.

Regular and periodic maintenance of an historic building assuresthat more expensive preservation and restoration measures will notbe needed at a future date.

Plan repainting carefully.


11.13 Leave natural masonry colors unpaintedwhere feasible.• Where the natural colors of building

materials exist, such as with stone or brick,they should be left unpainted.

• For other parts of the building that requirepainting, select colors that will complementthose of the natural materials.

• If an existing building is already painted,consider applying new colors that simulatethe original brick color.

• It is also appropriate to strip the paint froma masonry building to expose the naturalcolor of the stone or brick.

Mechanical Equipment & ServiceAreas11.14 Minimize the visual impacts of serviceareas as seen from the street.• When it is feasible, screen service areas from

view, especially those associated withcommercial and multifamily developments.

• This includes locations for trash containersand loading docks.

11.15 Minimize the visual impacts of mechanicalequipment as seen from the public way.• Screen mechanical equipment from view.• Screen ground-mounted units with fences,

stone walls or hedges.• Where rooftop units are visible, provide

screening with materials that are compatiblewith those of the building itself.

• Avoid locating window air conditioningunits in the primary facade.

• Use low-profile mechanical units on rooftopsso they will not be visible from the street oralley. Also minimize the visual impacts ofutility connections and service boxes. Usesmaller satellite dishes and mount them lowto the ground and away from front yards,significant building facades or highly visibleroof planes.

• Paint telecommunications and mechanicalequipment in muted colors that willminimize their appearance by blending withtheir backgrounds.


11.16 Locate standpipes and other serviceequipment such that they will not damagehistoric facade materials.• Cutting channels into historic facade

materials damages the historic buildingfabric and is inappropriate. Avoid locatingequipment on the front facade.

Driveways & Parking11.17 Design a new driveway in a manner thatminimizes its visual impact.• Plan parking areas and driveways in a

manner that utilizes existing curb cuts.

11.18 Garages should not dominate the streetscene.• See design guidelines for Secondary Structures

in Chapter 8

11.19 For driveways provide tracks to a parkingarea rather than paving an entire driveway whenfeasible.• Using minimally paved tracks will reduce

the driveway's visual impact.• Consider using a porous paving material to

reduce the driveways visual impact.

11.20 Driveways leading to parking areas shouldbe located to the side or rear of a primarystructure.• Locating drives away from the primary

facade will maintain the visual importancethe structure has along a block.

• See also design guidelines for SecondaryStructures in Chapter 8.

11.21 Parking areas should not be visuallyobtrusive.• Large parking areas should be screened from

view from the street.• Divide large parking lots with planting areas.

(Large parking areas are those with morethan five cars.)

• Consider using a fence, hedge or otherappropriate landscape feature.

• Automobile headlight illumination fromparking areas should be screened fromadjacent lots and the street.


Awnings11.22 The use of an awning on a commercialbuilding may be considered.• Avoid exotic forms that are not traditionally

found in Steamboat Springs.• Coordinate the color of the awning with the

color scheme for the entire building.• Operable fabric awnings are appropriate.• Installing lighting in awnings so they

effectively act as an internally lit sign isinappropriate.

• Awnings are not appropriate on residentialbuildings.

Signs11.23 Locate signs to be subordinate to thebuilding design.• Signs shall not obscure historic building

details.• Small scale signs, either mounted on the

building or free-standing, are encouraged.• Free-standing signs should not be so large

as to obscure the patterns of front facadesand yards.

11.24 Sign materials shall be similar to thoseused historically.• Painted wood and metal are appropriate.• Plastic and highly reflective materials are

inappropriate.


11.25 Use signs to relate to other buildings onthe street and to emphasize architectural features.• Position flush-mounted signs to emphasize

established architectural elements. It is bestto mount signs so they fit within "frames"created by components of the facade design.

• Position projecting signs to highlightbuilding entrances.

• Pay particular attention to placing new signson existing buildings when renovating. Thesigns should not obscure existing details.

• Mount projecting signs so they generallyalign with others in the block. This helps tocreate a "canopy line" that gives scale to thesidewalk.

• Other graphics applied to exterior walls,such as painted decorations and mural, alsoshould not obscure building details.

11.26 Pictographic symbols are encouraged onsigns.• These add visual interest to the street.• They may be considered on awnings.

11.27 Illuminate a sign such that it complementsthe overall composition of the site.• If signs are to be illuminated, use external

sources. Light sources should be placed closeto, and directed onto, the sign and shieldedto minimize glare into the street or ontoadjacent properties.

Glossary 91

Adaptive reuse. Refers to the recycling of an oldbuilding for use other than that for which it wasoriginally constructed. This can involve asensitive rehabilitation that retains much of abuilding's original character, or it can involveextensive remodeling.

Alignment. The arrangement of objects along astraight line.

Appurtenances. An additional object added to abuilding; typically includes vents, exhaustshoods, air conditioning units, etc.

Arch. A structure built to support the weightabove an opening. A true arch is curved. It consistsof wedge-shaped stones or bricks called Voussoirs(vu-swar’), put together to make a curved bridgethat spans the opening.

Ashlar. A square, hewn stone used in building. Italso refers to a thick, dressed, square stone usedfor facing brick walls.

Asphalt Shingles. A type of roofing materialcomposed of layers of saturated felt, cloth orpaper, and coated with a tar or asphalt substanceand granules.

Association. As related to the determination of"integrity" of a property, association refers to a linkof an historic property with a historic event,activity or person. Also, it refers to the quality ofintegrity through which an historic property islinked to a particular past time and place.

Balcony. A platform projecting from the wall ofan upper story, enclosed by a railing or balustrade,with an entrance from the building and supportedby brackets, columns or cantilevered out.

Baluster. A short, upright column or urn-shapedsupport of a railing.

Balustrade. A row of balusters and the railingconnecting them. Used as a stair or porch rail.

Bargeboard. A projecting board, often decorated,that acts as trim to cover the ends of the structurewhere a pitched roof overhangs a gable.

Bay Window. A window or set of windows whichproject out from a wall, forming an alcove or smallspace in a room; ordinarily begins at ground level,but may be carried out on brackets or corbels.

Beltcourse. A flat, horizontal member of relativelyslight projection, marking a division in the wallplane.

Board and Batten. Vertical plank siding withjoints covered by narrow wood strips.

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

Building. A resource created principally to shelterany form of human activity, such as a house.

Clapboards. Narrow, horizontal, overlappingwooden boards, usually thicker along the bottomedge, that form the outer skin of the walls of manywood frame houses. The horizontal lines of theoverlaps generally are from four to six inchesapart in older houses.

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

Composition Shingles. (See "asphalt shingles.")

Conjectural. Design based on or involvingguesswork or an unsubstantiated theory.

Chapter 12: Glossary of TermsChapter 12: Glossary of TermsChapter 12: Glossary of TermsChapter 12: Glossary of TermsChapter 12: Glossary of Terms

92 Glossary

Contributing Resource. A building, site, structure,or object adding to the significance of an historicdistrict.

Corbelling. A series of projections, each steppedout further than the one below it; most oftenfound on brick walls and chimney stacks.

Cornice. The continuous projection at the top of awall. The top course or molding of a wall when itserves as a crowning member.

Design. As related to the determination of"integrity" of a property, design refers to theelements that create the physical form, plan,space, structure and style of a property.

Dormer. A window set upright in a sloping roof.The term is also used to refer to the roofedprojection in which this window is set.

Dentil Molding. A molding with a series of smallblocks that look like teeth, usually seen under acornice.

Eave. The underside of a sloping roof projectingbeyond the wall of a building.

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

Facade. Front or principal face of a building; anyside of a building that faces a street or other openspace.

False Front. A front wall which extends beyondthe sidewalls of a building to create a moreimposing facade.

Fascia. A flat board with a vertical face that formsthe trim along the edge of a flat roof, or along thehorizontal, or "eaves," sides of a pitched roof. Raingutters are often mounted on it.

Fenestration. The arrangement and design ofwindows in a building.

Finial. The decorative, pointed terminus of a roofor roof form.

Form. The overall shape of a structure (e.g., moststructures are rectangular in form).

Frame. A window component. (See also "windowparts.")

Gable. The portion that is above eave level, on anend wall of a building with a pitched or gambrelroof. In the case of a pitched roof, this takes theform of a triangle. The term is also usedsometimes to refer to the entire end wall.

Glazing. Fitting glass into windows and doors.

Head. The top horizontal member over a door orwindow opening.

Historic District. A significant concentration ofsites, buildings, structures or objects unitedhistorically or aesthetically by plan or physicaldevelopment and so designated by the City.

In-Kind Replacement. To replace a feature of abuilding with materials of the samecharacteristics, such as material, texture, color, etc.

Lancet Window. A narrow, vertical window thatends in a point.

Lap Siding. (See "clapboards.")

Lintel. A heavy horizontal beam of wood or stoneover an opening of a door or window to supportthe weight above it.

Mass. The physical size and bulk of a structure.

Masonry. Construction materials such as stone,brick, concrete block or tile.

Glossary 93

Material. As related to the determination of“integrity” of a property, material refers to thephysical elements that were combined ordeposited in a particular pattern or configurationto form an historic property.

Modillion. The projecting decorated bracket usedin a series to support a cornice.

Module. The appearance of a single facade plane,despite being part of a larger building. One largebuilding can incorporate several buildingmodules.

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

Muntin. A bar member supporting and separatingpanes of glass in a window or door.

Non-contributing Resource. A building, site,structure or object that does not add to the historicsignificance of a property.

Oriel Window. A projecting bay with windows,which emerges from the building at a point aboveground level. It is often confused with a baywindow which ordinarily begins at ground level.

Orientation. Generally, orientation refers to themanner in which a building relates to the street.The entrance to the building plays a large role inthe orientation of a building. Generally theentrance, and thus the orientation, faces the street.

Parapet. A low wall or railing often used arounda balcony or along the edge of a roof.

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

Period of Significance. Span of time in which aproperty attained the significance.

Pier. The part of a wall between windows or otheropenings. The term is also used sometimes to referto a reinforcing part built out from the surface ofa wall; a buttress.

Pilaster. A support or pier treated architecturallyas a column, with a base, shaft and capital that isattached to a wall surface.

Post. A piece of wood, metal, etc., usually longand square or cylindrical, set upright to supporta building, sign, gate, etc.; pillar; pole.

Preservation. Keeping an existing building in itscurrent state by a careful program of maintenanceand repair.

Property. Area of land containing a single historicresource or a group of resources.

Protection. The act or process of applyingmeasures designed to affect the physical conditionof a property by defending or guarding it fromdeterioration, loss or attack, or to cover or shieldthe property from danger of injury. In the case ofbuildings and structures, such treatment isgenerally of a temporary nature and anticipatesfuture historic preservation treatment. In the caseof archaeological sites, the protective measuremay be temporary or permanent.

Quoin. (koin) Dressed stones or bricks at thecorners of buildings, laid so that their faces arealternately large and small. Originally used to addstrength to the masonry wall, and later useddecoratively.

Rafter. Any of the beams that slope from the ridgeof a roof to the eaves and serve to support theroof.

94 Glossary

Reconstruction. Involves recreating an historicbuilding that has been damaged or destroyed byerecting a new structure that resembles theoriginal as closely as possible. A reconstructionmay be built with new or recycled buildingmaterials.

Recessed Entry. A common component of anhistoric storefront. Historically display windows,which contained dry goods and other wares forsale, flanked the recessed entry.

Rehabilitation. Making a structure sound andusable again, without attempting to restore anyparticular period appearance. Rehabilitationrespects the original architectural elements of abuilding and retains them whenever possible.Sometimes also called "reconditioning."

Remodeling. Changing the appearance and styleof a structure, inside or out, by removing orcovering over original details and substitutingnew materials and forms. Also called"modernizing."

Renovation. Similar to rehabilitation, except thatin renovation work there is a greater proportionof new materials and elements introduced intothe building.

Repair. To restore to a sound or good state afterdecay, dilapidation, or partial destruction; tomend.

Restoration. The repair or recreating of theoriginal architectural elements in a building sothat it closely resembles the appearance it had atsome previous point in time. As compared withrehabilitation, restoration implies a more activeapproach to reproducing architectural featuresthat may have been removed.

Roof. The top covering of a building.

Sash. See "window parts."

Shape. The general outline of a building or itsfacade.

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

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

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

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

Soffit. The underside of a structural part, as of abeam, arch, etc.

Stile. A vertical piece in a panel or frame, as of adoor or window.

Stabilization. The fact or process of applyingmeasures designed to reestablish a weatherresistant enclosure and the structural stability ofan unsafe or deteriorated property whilemaintaining the essential form as it exists atpresent.

Standing Seam Metal Roof. A roof with verticalpanels. Historically, the panels were fittedtogether with hand rolled seams.

Store Front. The street level facade of acommercial building, usually having displaywindows.

Streetscape. Generally, the streetscape refers to thecharacter of the street, or how elements of thestreet form a cohesive environment.

Glossary 95

Stucco. An exterior wall covering that consists ofPortland cement mixed with lime, applied over awood or metal lath. It is usually applied in threecoats.

Traditional. Based on or established by the historyof the area.

Transom. A window located above a door orlarger window.

Vernacular. This means a building that has detailsassociated with common regionalcharacteristics— generally a simple building withmodest detailing and form. Historically, factorsoften influencing vernacular building were thingssuch as local building materials, local climate andbuilding forms used by successive generations.

Visual Continuity. A sense of unity or belongingtogether that elements of the built environmentexhibit because of similarities among them.

Window Parts. The moving units of a windoware known as sashes and move within the fixedframe. The sash may consist of one large pane ofglass or may be subdivided into smaller panesby thin members called muntins or glazing bars.Sometimes larger window divisions calledmullions are used.

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