PUBLIC NOTICE City of Lockhart Historical Preservation Commission 5:30 p.m. Wednesday, June 4, 2025 Municipal Building = Glosserman Room 308 West San Antonio Street AGENDA 1. Call meeting to order. 2. Citizen comments not related to an agenda item. 3. Consider the minutes of the May 7, 2025 meeting. 4. CFA-25-14. Consider a request by Amy Bramwell of Studio Steinbomer Architecture & Interiors for approval of a Certificate for Alteration for various exterior improvements to Lockhart Fire Station #1 on part of Lot 6, Block 20, Original Town of Lockhart, zoned CCB Commercial Central Business), and located at 201 West Market St. 5. CFA-25-16. Consider a request by Alexander Scott of 3rd Rock Electrical Contractors, LLC for approval of a Certificate for Alteration for a new electric utility pole and associated equipment to serve an existing building on part of Lot 6, Block 19, Original Town of Lockhart, on property zoned CCB (Commercial Central Business), and located at 119 South Main St. 6. Discuss the possibility of prohibiting fabric awnings in the Historic District. 7. Discuss the date and agenda of the next meeting, including Commission requests for agenda items. 8. Adjournment. Posted on the bulletin board in the Municipal Building, 308 West San Antonio Street, Lockhart, Texas, at 9:00 a.m. on the 30th day of May, 2025. City of Lockhart Historical Preservation Commission May 7, 2025 MINUTES Members Present:, Christine Ohlendorf, Ray Ramsey, Ron Faulstich, Jerry Haug Members Absent: Kevin Thuerwaechter, Marcia Proctor, Frank Gomillion Staff Present: David Fowler, Kevin Waller, Romy Brossman Public Present: Jay and Bianca DelaCruz (applicants, Agenda Item 4), Chad Rea (applicant, Item 5), Grace Reyer (applicant, Item 6), Don O'Neil (applicant, Item 7), and Timothy Wakefield (applicant, Item 8), Cindy Gibeaux 1. Callmeeting to order. Vice-Chair Ohlendorf called the meeting to order at 5:36 p.m. 2. Citizen comments not related to an agenda item. None 3. Consider the minutes of the April 23, 2025, meeting. Commissioner Haug moved to approve the minutes as presented. Commissioner Ramsey seconded; the motion passed by a vote of 4 - 0. 4. CFA-25-09. Consider a request by Jay De La Cruz of Double Down Construction for approval ofa Certificate for Alteration for a new awning on part of Lot 5, Block 22, Original Town of Lockhart, zoned CCB (Commercial Central Business) and located at 107 N. Main St. Planning Staff Kevin Waller presented the staff report via PowerPoint. The applicant proposes a new awning at the subject property. The awning will be an extruded aluminum, flat tie-back canopy with a 24-gauge standing seam and a mill finished underside. It will have a rust color, powder coat finish, be engineered, and measure 37 feet wide with a 6-foot projection. It will be attached to the building using existing wall hangers and mounted flushed andsealed to the existing blocking where a previous awning was attached. Mr. Waller noted that a citizen comment was received voicing concern about the shorter, 6 foot awning projection over the sidewalk, as well as drainage. Staff recommends approval fort the project. Applicant Jay De La Cruz, 1607 Bluebell Cir., Lockhart, TX, discussed the engineering process for the awning and stated that the preferred projection is 8 feet. He continued that the awning is being modeled after the awning across the street at "Logos.' Property owner Cindy Gibeaux, 107 N. Main St, Lockhart, TX, discussed design details and strategies to avoid property damage. Commissioner Faulstich discussed possible design and drainage options with the applicant and business owner. He expressed that an 8 or 9 foot awning would be preferred. - 1- Historiçal Preservation Commission Meeting 5-7-2025 Vice-Chair Ohlendorf moved to approve CFA-25-09, with the recommendation, for an awning projecting to the edge of the sidewalk if determined feasible by an engineer, or an awning projecting 6 feet with an engineer's letter stating an 8 foot projection is not possible. Commissioner Faulstich seconded; the motion passed by a vote of 4 - 0. 5. CFA-25-10. Consider a request by Chad Rea for approval of a Certificate for Alteration for window and hanging signs on Lot 2, Block 23, Original Town of Lockhart, on property zoned CCB (Commercial Central Business), and located at 111 E. San Antonio St. Mr. Waller presented the staff report and explained that the applicant proposes a window sign and hanging sign for a new retail art gallery and gift shop at the subject property. The window sign will be an abstract representation of a smiley face consisting of an "X" set at an angle with a wide "U" shape below. The hanging sign will feature the business name, "Cult of Happy", in black lettering against a white background, framed with a black border. Staff recommends approval. Applicant Chad Rea respectfully reported that he had nothing to say. Commissioner Ramsey moved to approve CFA-25-10, with Staff's conditions that the property owner's signature be provided on the application form, priort to sign permit issuance, and that the hanging sign maintain at least 7 feet of clearance above the public sidewalk. Vice-Chair Ohlendorf seconded; the motion passed by a vote of 4 -0. 6. CFA-25-11. Consider a request by Grace Reyer for approval of a Certificate for Alteration for new signage and the repainting ofa portion of the front façade to a different color on part of Lot 6, Block 20, Original Town of Lockhart, on property zoned CCB (Commercial Central Business), and located at 215 W. Market St., Suite B. Mr. Waller reported that two window signs are proposed, as well as the repainting of the front façade to a different color (white) for the Plum Creek Records and Tapes retail store. The two decal signs will be placed on the glass of the front double doors, with each measuring 4.2 square feet in size. The repainting will occur beneath the awning. Staff recommends approval. Vice-Chair Ohlendorf moved to approve CFA-25-11 as presented. Commissioner Ramsey seconded; the motion passed by a vote of 4 - 0. 7. CFA-25-12. Consider a request by Don O'Neil for approval ofa Certificate for Alteration for a front door replacement, painting over clerestory windows, and two new signs on part of Lot 4, Block 22, Original Town of Lockhart, on property zoned CCB - - Commercial Central Business), and located at 119 N. Main St. Mr. Waller reported that the proposal includes a new window sign, projecting wall sign, new front door, and the painting of clerestory windows on the front façade. The window sign will be located on the glass ofthe new front door. The projecting wall sign will be square in shape and made of black wood with brass foil. This sign will hang 81 feet above the sidewalk from a black iron bracket attached to the building with existing awning bolts. The existing, damaged - 2- Historical Preservation Commission Meeting 5-7-2025 front door will be replaced with a single pane glass door and painted the same red color. The clerestory windows will be painted over in the same red color. Staff recommends approval of the proposed project. Applicant Don O'Neil, 542 FM 672, Lockhart, TX, introduced himself to the Commission. Commissioner Faulstich asked the applicant if the vent in the photo, above and to the right of the front door, is functioning. He also asked if, instead of painting over the windows, a solid piece of wood, painted the same red, could be installed over the vent and clerestory windows. Mr. O'Neil replied that wood paneling could be used in lieu of painting over the clerestory windows, and that the landlord must okay the alteration. Commissioner Ramsey moved to approve CFA-25-12, with the condition that the clerestory windows and vent are covered with a wood panel, painted the same existing red color. Commissioner Faulstich seconded; the motion passed by a vote of 4. - 0. 8. CFA-25-13. Consider a request by Timothy Wakefield for approval of a Certificate for Alteration for new signage, hanging flower baskets, and planter boxes on part of Lot 4-A, Block 22, Original Town of Lockhart, on property zoned CCB (Commercial Central Business) and located at 115 N. Main St. Mr. Waller reported that the proposal is for two new wall signs, four hanging flower baskets, and two planter boxes for Soundwaves Art Foundation. The two signs willl be placed on either side of the entry and will feature changing information about new artists, print releases, and events. Each sign will be made of canvas with a wood frame, affixed to the walls through the mortar joints, and will measure 18 inches by 30 inches. The signs will be changed-out monthly. The baskets will be hung from brackets attached to the wall through the mortar. The two iron planter boxes are already in place in front of the windows. Staff recommends approval. Commissioner Faulstich asked the applicant how the signs will be removed and replaced. Applicant Timothy Wakefield, 201 N. Pecos St, Lockhart, TX, replied that the signs will be professionally mounted and the same holes will be reused. Commissioner Faulstich moved to approve CFA-25-13, with Staff's condition that the hanging flower baskets maintain at least 7j feet of clearance above the public sidewalk. Commissioner Ramsey seconded; the motion passed by a vote of4- -0. 9. Discuss the date and agenda oft the next meeting, including Commission requests for agenda items. The Commission requested that a discussion about awnings, specifically awning materials, be added to a future agenda. -3- Historical Preservation Commission Meeting 5-7-2025 Mr. Waller stated that the next regularly scheduled meeting would be held June 4th, 1 and that no applications have been received to date. 10. Adjournment. Commissioner Faulstich moved to adjourn the meeting, and Commissioner Haug seconded. The motion passed by a vote of 4-0, and the meeting adjourned at 6:26 p.m. Approved: (date) Romy Brossman, Recording Secretary Kevin Thuerwaechter, Chairman -4- Historical Preservation Commission Meeting 5-7-2025 RMD, a 106 105 N 207 F 105 101 N 111 109 - 119 115113 215 S 101 303 SAN LANTONIOSI W. 103 105 200 120 210 202 111 220 113 115 117 111 CCB 119 117 201 215 211 CMB S 217 ST 201 117 S W MARKET 203 PI ) 202 118 V 310 302 207 205 200 209 W. PRAEBEICAST CFA-25-14 N SUBJECT PROPERTY 201 W MARKET ST ZONING BOUNDARY VARIOUS MPROVEMENTS TO FIRE STATION #1 Scale 1" = 100' - 3 - A MAIST 5 3 a 8 MAINST @ - ACIURENEL MCRURNSI s - a SALANOST ELAREOSI STAFF REPORT CERTIFICATE FOR ALTERATION CASE SUMMARY STAFF: Kevin Waller, Historical Preservation Officer / Senior Planner Kw/ CASE NUMBER: CFA-25-14 REPORT DATE: May 28, 2025 MEETING DATE: June 4, 2025 APPLICANT'S REQUEST: Various exterior improvements STAFF RECOMMENDATION: Approval CONDITIONS: None BACKGROUND DATA APPLICANT: Amy Bramwell, Studio Steinbomer Architecture & Interiors OWNER: City of Lockhart Fire Department SITE LOCATION: 201 West Market St. LEGAL DESCRIPTION: Part of Lot 6, Block 20, Original Town of Lockhart EXISTING USE OF PROPERTY: City Fire Station #1 PROPOSED USE OF PROPERTY: Same ZONING CLASSIFIÇATION: CCB (Commercial Central Business) ANALYSIS OF ISSUES PROJECT DESCRIPTION: Various exterior improvements are proposedi for City Fire Station #1. An overview of the conceptual improvements was presented to the Commission at its April 23, 2025 meeting. The proposed improvements are largely carryover from those presented at the April 23 meeting, with the exception of the proposed repainting of all exterior wood features. Specifically, the repainting has been narrowed down to a single paint scheme, being a deep red color for all doors, and a soft white color for all trim, architectural millwork, and window framing. The other project components include replacement of the roof with a different material and associated asbestos removal, new gutters and downspouts, restoration of the bell tower and replacement of the bell tower roof, replacement of the windows and associated asbestos removal, re-pointing of the brick and mortar where needed, and replacement of the overhead doors with similar-style doors. The three overhead garage doors on the south building wall façade to be replaced will consist of an insulated, factory-painted steel material. According to the applicant, the details and specifications of the replacement windows have not yet been determined, but will be provided prior to the meeting. With regard to the two steel-barred windows on the north wall façade, the applicant is considering reinstalling the steel grating afteri the windows are replaced. Various interior improvements are also proposed; however, these improvements are non-structural, and, along with the repointing oft the brick and mortar on the exterior, are considered ordinary maintenance and not subject to a Certificate for Alteration. Please refer to the enclosed photos, elevation drawings, and detailed scope of work for the overall project. COMPATIBILITY: The proposed improvements will enhance the building's appearance, visually benefit the far west portion of the Courthouse Square Historic District, and will ultimately provide a higher level of service to Lockhart's citizens. COMPLIANCE WITH STANDARDS: The proposed improvements, save for the ordinary maintenance elements as discussed above, are subject to approval oft this Certificate for Alteration, and to the issuance of building permits and other permits as necessary. ALTERNATIVES: None necessary. CERTIFICATE FOR ALTERATION APPLICATION CFA-25-14 fd4 /512/. 398-3461 . FAX/512) 398-3833 P.O. Box 239 e Lockhart, Texas 78644 Lockhart 308 West San, Antonio Street TEXAS APPLICANT / PROPERTY OWNER APPLICANT NAME Amy Bramwell ADDRESS 4303 Medical Parkway DAY-TIME TELEPHONE 512-479-0022 Austin, TX 78756 E-MAIL amy@steinbomer.com of Lockhart 105 Colorado OWNER NAME City ADDRESS S. St DAY-TIME TELEPHONE 512-398-3461 Lockhart, Texas 78644 E-MAIL esendez@lpcanar-ixorg City of Lockhart 1.6 million PERSON DOING WORK ESTIMATED COST PROPERTY LEGAL DESCRIPTION OrgmTvas e Lackhes becke for A Le & ADDRESS 201 W. Market Street, Lockhart, Tx ZONING CLASSIFICATION CcB GENERAL INFORMATION An approved Certificate for Alteration (CFA) is required by City Code for all signage, construction, alteration, or modification of property designated as Historic, if such activities will change the architecture, design, finishes, or outward appearance of a building, structure, object, site, area, or district, as viewed from the exterior (Ord. 93-19, Sec. 11 and 12). A CFA is also required for interior work affecting load-bearing walls. A City Sign Permit and/or City Building Permit may also be required by City Code. Only fully completed applications will be accepted. PROJECT DESCRIPTION AND ATTACHMENTS PLEASE INCLUDE PHOTOS OF THE PROJECT AREA WITH THE APPLICATION, AS WELL AS A DIAGRAM(S) OF THE PROPOSED WORK WITH DIMENSIONS, MATERIALS, METHOD OF ATTACHMENT TO THE BUILDING (IF APPLICABLE), TECHNICAL SPECIFICATIONS, ETC. THE DIAGRAM MAY BE HAND-DRAWN. ALL ATTACHMENTS MUST BE IN 8.5" X 11" FORMAT. PROVIDE AI DESCRIPTION OF THE PROPOSED WORK HERE: Abatement of cement asbestos roof and replacement with synthetic slate roof tiles. New gutters and downspouts Replacement of deteriorated window withr new. Replacement of deteriorated wood siding with new. New overhead garage doors. New exterior paint. All interior work is non-load bearing. APPLICATION FEE OF $50.00, payable to the City of Lockhart Receipt Number: Ro - 137-5653 TO THE BEST OF MY KNOWLEDGE, THIS APPLICATION AND ASSOCIATED DOCUMENTS ARE COMPLETE AND CORRECT, AND IT IS UNDERSTOOD THAT I OR ANOTHER REPRESENTATIVE SHOULD BE PRESENT AT ALL PUBLIC MEETINGS CONCERNING THIS APPLICATION. Digitallys signodbyA E-amyesteinbomers Amy Bramwell como o-StudoSieinbomer: 5-19-2025 APPLICANT SIGNATURE Amy Bramwell IB Datez M36A11S1S0SAV DATE 5-19-2025 PROPERTY OWNER SIGNATURE Syun, Lewis DATE MyR HISTORICAL PRESERVATION COMMISSION APPROVAL DATE S44 CERTIFICATE FOR ALTERATION- SCOPE OF WORK QUESTIONNAIRE This form must be completed by the applicant for a Certificate for Alteration. The Lockhart Historical Preservation Officer (HPO) shall independently verify all information provided on the application and attached questionnaire. The HPO shall review the application and this questionnaire in an expedient manner and notify the applicant of the outcome of the review. Additional information may be needed to complete the application and review process. Final review and action on the application for the Certificate for Alteration by the Lockhart Historical Preservation Commission in a public meeting is required. Any required explanations to answers given shall be attached. The proposed improvements represented on this application will be the limit of construction and alteration work undertaken. Construction shall not begin prior to authorization by the approval of the Certificate for Alteration. Yes No Verified SCOPE OF WORK QUESTIONS Section One X 1. Is this construction K application for or alteration on or at a property which is in a Historic District or a City-designated Historic Landmark? What is its zoning designation? CCB Check one: Historic Landmark Historic District X X kw 2. Is this application for any construction or alteration work that is NOT described or defined as ordinary maintenance of a historic property? Is it more than limited "Ordinary Maintenance"? X 3. Will the construction or alteration covered include kw by this application any work visible from the exterior of the property? X Kw/ 4. Will the construction or alteration covered by this application remove or physically change any structural elements of the property (i.e. interior or exterior load-bearing walls, columns, posts, foundations, footings, etc.)? Section Two X ywl 1. Is the construction or alteration covered by this application considered an emergency repair of sudden, accidental, or unforeseen property damage? When did damage occur? X Rw 2. Is the construction or alteration covered by this application considered necessary to correct a circumstance that endangers a building, business, owner, or the public?. X 3. Is the construction alteration covered jw or by this application considered permanent, to be in place more than 90 days? (A temporary construction or alteration is required to be removed within 90 days and the property is to be returned to the original or agreed upon condition.) X yw/ 4. Has a permit been issued for any of the proposed work? Date: Permit No. Has any work actually started? Describe: Section Three - w 1. Will the construction or alteration covered by this application make a physical change to any design elements, features, or finishes visible from the exterior of the property? X 2. Will the construction or alteration covered kw/ by this application repair or replace an element of the building or property with a material different from the original material of that element? X yw 3. Will the construction or alteration covered by this application include painting exterior surfaces that have not been previously painted? lw/ X 4. Does the construction or alteration covered by this application include demolition or removal of any part or element of the property visible from the exterior of the property? X LVV 5. Will the construction or alteration covered by this application make any change in the appearance of the property as viewed from the exterior of the property? Scope of Work Questions Waler Verified By: Kawin Date of Verification: 5/2.5/2.5 Certificate 5720135 No. CFA-2S-K Date Submitted Please Note: A Certificate for Alteration is valid for a period concurrent with the Building Permit granted for the proposed work, or a period not to exceed 18 months. 117 106 115 105 M 113 107 109 101 103 ST 105 101 ANTONIOS 111 109 ES SAN 119 115 113 ST ANTONIO W SAN 101 103 105 110 200 120 202 111 113 115 117 CCB 111 ST 119 E MARKET 117 215 201 n 104 116 211 ST 108 110 112 W MARKET 100 102 106 201 U 203 205 S 118 202 212 211 216 103 207 217 218 200 LEAST E PRAIRIE 209 LEAST 300 PRAIRIEL CMB 301 CFA-25-16 N SUBJECT PROPERTY 119 S MAIN ST ZONING BOUNDARY NEW ELECTRIC UTILITY POLE & ASSOCIATED EQUIPMENT Scale 1" = 100' e Cs AE Rioht 0 - - - - : - SIMAIST 0 AMIMATVST 4 a n o SCUTGNMEST 7 o - A - - 4 NGAUFCNST SBLINPOST STAFF REPORT CERTIFICATE FOR ALTERATION CASE SUMMARY STAFF: Kevin Waller, Historical Preservation Officer / Senior Plannerfw/ CASE NUMBER: CFA-25-16 REPORT DATE: May 29, 2025 MEETING DATE: June 4, 2025 APPLICANT'S REQUEST: New electric utility pole and associated equipment STAFF ECOMMENDATION: Approval CONDITION: Continue working with the City Electric Department and Public Works Department throughout all stages of the project. BACKGROUND DATA APPLICANT: Alexander Scott, 3rd Rock Electrical Contractors, LLC OWNER: Terry Black, 119 Corner Main, LLC SITE LOCATION: 119 South Main St. LEGAL DESCRIPTION: Part of Lot 6, Block 19, Original Town of Lockhart EXISTING USE OF PROPERTY: Vacant commercial building PROPOSED USE OF PROPERTY: Commercial (bowling alley, billiards, and restaurant) ZONING CLASSIFICATION: CCB (Commercial Central Business) ANALYSIS OF ISSUES PROJECT DESCRIPTION: The applicant proposes to install a new electric utility poleto support the electrical needs of the future "Big Bob's Bowling & Billiards" business for the subject property. The Commission approved various improvements to the building for the new businessin November 2024. The new electric pole will be located across West Market Street from the subject property, just east of an existing pole positioned at the alley entrance behind the current Lockhart Chamber of Commerce storefront. A new electrical conduit will connect the proposed pole to the rear, or west, end of the building on the subject property, to run beneath and across West Market Street. The proposed design has been discussed with both the Electric Superintendent and Public Works Director, who each support the project as proposed. The Public Works Director has stated that a new pole on the south side of the street, near the existing pole, helps to cluster impacts and avoids a new visual impact on the north side of the street. In addition, the pole's proposed location within the sidewalk will help to avoid conflicts associated with the new parking spaces in the area as part of the downtown revitalization project. Please refer to the enclosed photo renderings for further details. COMPATIBILITY: With the electric pole's proposed placement near an existing pole across the street from the subject property and the placement of the conduit beneath West Market Street to connect to the subject property, this project will minimize the visual impact to both the Courthouse Square Historic District and the downtown revitalization project elements. COMPLIANCE WITH STANDARDS: Although there are no design guidelines for the proposed project in the Historic Districts and Landmarks Ordinance, the project is subject to approval of this Certificate for Alteration and the issuance of building and electrical permits. In addition, Staff recommends that the applicant continue working with the Electric and Public Works Departments as to their requirements, as a condition of approval. ALTERNATIVES: None necessary. S - - sMenyst SM-tsT S E - 8 6 a o) a Wo 5/29/25, 11:55AM Siemens General Duty 600/ Amp 240-Volt Double Pole Outdoor Fusible Safety Switch GF226NRA The Home Depot #1! Home Improvement Retailer 00 P 8 G Kyle 10PM & 78640 What ca.., Q 1 G Kyle 10PM C 78640 Shop All Services DIY In Log Home / Electrical / Power Distribution / Disconnects Internet # 207185939 Model # GF226NRA Store sos SKU 1001854866 Siemens (Brand Rating: 4.4/5) O General Duty 600 Amp 240-Volt Double Pole Outdoor Fusible Safety Switch (2) V Questions & Answers (5) -Disconnerk proprard a reave d& ou iss Hover Image to Zoom +2 Share Print htps/Nw.homedepotcompSemens-Genera-Duy,so-Amp40alt-DoubiePale-OutsorfusbeSatly-SwitehdF226NRA207185939 1/5 CERTIFICATE FOR ALTERATION APPLICATION CFA-2.5.1G f.4 1512/ 398-3461 . FAX/512/ 398-3833 P.O. Box 239 e Lockhart, Texas 78644 Lockhart 308 West San Antonio Street TEXAS APPLICANT / PROPERTY OWNER APPLICANT NAME Heeslrc-Hallek ADDRESS 706 Lankig DAY-TIME TELEPHONE 216 -643-13397 LockletiX 78444 E-MAIL ABSB3 - KE/ Co OWNER NAME a 1,h 3lack d, Holdy ADDRESS 208NM sf DAY-TIME TELEPHONE 517-719 41 Lockhat 7X E-MAIL Scott N - - > Geh Av eshheels Go/y PERSON DOING WORK - Cac Gache ESTIMATED COST $L0o PROPERTY LEGAL Bleck DESCRIPTION OrsmTaune & Leckhect, 9Pant.o of Lot-G ADDRESS 19S.Ma SH ZONING CLASSIFICATION CcB GENERAL INFORMATION An approved Certificate for Alteration (CFA) is required by City Code for all signage, construction, alteration, or modification of property designated as Historic, if such activities will change the architecture, design, finishes, or outward appearance of a building, structure, object, site, area, or district, as viewed from the exterior (Ord. 93-19, Sec. 11 and 12). A CFA is also required for interior work affecting load-bearing walls. A City Sign Permit and/or City Building Permit may also be required by City Code. Only fully completed applications will be accepted. PROJECT DESCRIPTION AND ATTACHMENTS PLEASE INCLUDE PHOTOS OF THE PROJECT AREA WITH THE APPLICATION, AS WELL AS A DIAGRAM(S) OF THE PROPOSED WORK WITH DIMENSIONS, MATERIALS, METHOD OF ATTACHMENT TO THE BUILDING (IF APPLICABLE), TECHNICAL SPECIFICATIONS, ETC. THE DIAGRAM MAY BE HAND-DRAWN. ALL ATTACHMENTS MUST BE IN 8.5,X 11" FORMAT. PROVIDE. A DESCRIPTION OF THE PROPOSED WORK HERE: w) polc Ae-ed celho C oflar Electg 1 CH FR 0 M4e Eu bvdou rake power Jino erg rcuv vi4,4 &o APPLICATION 137-G031 FEE OF $50.00. payable to the City of Lockhart Receipt Number: TO THE BEST OF MY KNOWLEDGE, THIS APPLICATION AND ASSOCIATED DOCUMENTS ARE COMPLETE AND CORRECT, AND IT IS UNDERSTOOD THAT I QR ANOTHER REPRESENTATIVE SHOULD BE PRESENT AT ALL PUBLIC MEETINGS CONCERNING THIS APPLICATION. S2-25 APPLICANT SIGNATURE DATE PROPERTY OWNER SIGNATURE Ser owNr's eweilh DATE dwewoc 13 2ty tc HISTORICAL PRESERVATION COMMISSION APPROVAL DATE CERTIFICATE FOR ALTERATION- SCOPE OF WORK QUESTIONNAIRE This form must be completed by the applicant for a Certificate for Alteration. The Lockhart Historical Preservation Officer (HPO) shall independently verify all information provided on the application and attached questionnaire. The HPO shall review the application and this questionnaire in an expedient manner and notify the applicant of the outcome of the review. Additional information may be needed to complete the application and review process. Final review and action on the application for the Certificate for Alteration by the Lockhart Historical Preservation Commission in a public meeting is required. Any required explanations to answers given shall be attached. The proposed improvements represented on this application will be the limit of construction and alteration work undertaken. Construction shall not begin prior to authorization by the approval of the Certificate for Alteration. Yes No Verified SCOPE OF WORK QUESTIONS Section One 1. Is this application for construction or alteration on or at a property which is in a Historic District or a City-designated Historic Landmark? What is its zoning designation? CCB Check one: Historic Landmark Historic District V kw 2. Is this application for any construction or alteration work that is NOT described or defined as ordinary maintenance of al historic property? Is it more than limited "Ordinary Maintenance"? jw 3. Will the construction or alteration covered by this application include any work visible from the exterior of the property? kw 4. Will the construction or alteration covered by this application remove or physically change any structural elements of the property, (i.e. interior or exterior load-bearing walls, columns, posts, foundations, footings, etc.)? t pe Section Two Lw 1. Is the construction or alteration covered by this application considered an emergency repair of sudden, accidental, or unforeseen property damage? When did damage occur? V 2. Is the construction or alteration covered by this application considered necessary to correct a circumstance that endangers a building, business, owner, or the public? X - 3. Is the construction or alteration covered this considered low by application permanent, to be in place more than 90 days? (A temporary construction or alteration is required to be removed within 90 days and the property is to be returned to the original or agreed upon condition.) V kw/ 4. Has a permit been issued for any of the proposed work? Date: Permit No. Has any work actually started? Describe: Section Three w/ 1. Will the construction or alteration covered by this application make a physical change to any design elements, features, or finishes visible from the exterior of the property? X N 2. Will the construction or alteration covered by this application repair or replace an element of the building or property with a material different from the original material of that element? Gw 3. Will the construction or alteration covered by this application include painting exterior surfaces that have not been previously painted? y kv 4. Does the construction or alteration covered by this application include demolition or removal of any part or element of the property visible from the exterior of the property? & kw/ 5. Will the construction or alteration covered by this application make any change in the appearance of the property as viewed from the exterior of the property? Scope of Work Questions Verified Waler By: Kain Date of Verification: S/ 29/35 Certificate No. CFA-25-1G Date Submitted 5/7/75 Please Note: A Certificate for Alteration is valid for a period concurrent with the Building Permit granted for the proposed work, or a period not to exceed 18 months. Kevin Waller From: Terry Black teryOblacklamlyinvestments.om> Sent: Wednesday, May 21, 2025 7:46 PM To: Alexander Barret Scott Cc: Scott Wieland; Kevin Waller Subject: Re: Owner authorization needed This email originated from an external sender. Please exercise caution before clicking on any links or attachments. Hi Kevin: am out oftown until Monday. Alexander Scott has my authorization to act on my behalf regarding the Market Street electrical pole for the bowling alley building. Please call me ifyou need more information. 512-376-8840 Thank you, Terry Black On Wed, May 21, 2025 at 4:55 PM Alexander Barret Scott < ow3rdrockeecan ai. con > wrote: Good day Mr. Black. Alexander here. Working on the bwloing alley utility pole with the historic district. And city. They are needing your authorization or signature on some paperwork. For the application I'm working on. Ify you don't mind responding at your convenience Thank you. Thank you! Alexander Barret Scott 3rd Rock Electrical Contractors LLC. 210-643-3397 Abxe3cRockfectcalcom 1 CITY OF (512) 398-3461 . FAX (512) 398-5103 P.O. Box 239 e Lockhart, Texas 78644 Lockhart TEXAS 308 West San Antonio Street TO: Lockhart Historical Preservation Commission FROM: Kevin Waller, Historical Preservation Officer Senior Planner gw/ / SUBJECT: Fabric Awnings (Agenda Item 6) DATE: May 29, 2025 Agenda Item 6: Discuss the possibility of prohibiting fabric awnings in the Historic District. During a previous Commission meeting, certain members requested that an item be added to the agenda of a future meeting to discuss the possibility of prohibiting fabric awnings in the Courthouse Square Historic District, due to their lack of aesthetic appeal and lack of historic compatibility in relation to suspended metal canopies. Staff has subsequently reviewed historical photographs of the Square (enclosed), and has observed that metal canopies were the predominant feature on many buildings from the early 1900's to the 1950's. According to a publication from the National Park Service published in 2004 (enclosed), metal canopies, especially aluminum, became widespread in the 1950's, with fabric awnings more prevalent prior to that time period, originally being introduced in the mid-19th century. Lockhart appears to be somewhat of an anomaly, as metal canopies were the most prevalent at least as early as the beginning of the 20th century as noted above. With regard to awning material type, canvas was historically the most typical material, with either a solid or striped color scheme. In addition, individual awnings over individual doors and windows was a common characteristic for both commercial and residential buildings. The typical minimum distance between the projecting awning edge and the curb of the street below was between one and two feet. In summary, both awnings and canopies are considered historic, with awnings predating canopies in the evolution of building features. The Streetscape Guidelines for Historic Commercial Districts, published in 2011 by the Texas Historical Commission (enclosed), echoes the historic nature of both canopies and awnings. Historical Photo #3 RA w05 HILE IU SAIIANV a GSAN gy Winter scene, 1909 Source: Reagan, Ronda A., "Lockhart: Images of America", ) page 43 Original source: Caldwell County History Center Avibs efamples frow 909 - Sethn atn Strec Historical Photo #4 * WHILEWI CO i West side of Square, looking south, W. H. Lewis & Co., 1915-1925 Shows roofed balcony Sources: Historical Lockhart, then and now by Zona Adams Withers, page1 10, Briscoe F394 L78 W573 A Pictorial History: Remembering Lockhart's first 150 years, 1852-2002, page 25 Avnins Egmplesys Cleca 1915-1925- Sath Main Sree Historical Photo #6 SR Thi (.1 Aerial view, 1921-1923 Source #1: Reagan, Ronda A., Lockhart: Images of America", 1 page 64 Original source: Eugene Clark Library - Avniss eknplsy cicca 1921-1973- Sowhin Main Street This isa quality whichevades any immediate deti- the and the vacanl Prom Ehnmples nition; bul often in sharp lighl landscape of the Wesl anchitectural delail will seenr -Aws - -tng toachieve an almost archaie carity. s0 that. the most 1950s tawdry saloonor incrusted false façade may acquire a porlentous distinction, while whole towns founded 10 : earlier than exude Italian evidence Rrchommnaatl the'sitiescn an ehal- of: age.For these rasons. for the sympathetie traveler Vtah willevoke memoriesol Tuscany: Virginia City. Nevada. will appear a 19th-century Urbino: while such miningitiesas Ladville, Colorado. Carson City, A Nevada.or Globe, Vrizona. willscem: as unquestionably - noo as Gubbio or Siena tohave ahvaysceupied the land. Like the citiesol Lmbria Ihes are polent symbols of urbanily: and like these they become more delinite, moresurprisingls crystalline lo the mind. by reason of theemptiness through which they areapproched. much of the to these - llow present susceptibility a lowns is merely nostalgie. how much is pure halluci- E Eh PLD nation. and how much corresponds to a reality, it is dillicull lojudge. Their bnildingsares searcely inhibited 0? o] by either lasteor culture. were EE improvised apparently E Da without thought. seem lo be the embodiment of a popular architectural consciousness. and present them- selves lo the eyes of the present day as the linal and the comprehesive monumenls of an heroie age. But although it is by qualities such as these that Miss Stein's proposition is kiven substance, one hesitates lo exemplify it by then alone. T'hese western mining selilements areafter all loo hizarre to provea point. Onerecognizesin their buildings a peculiar combination ofgoolsesead. outrage. of forceand naiveté; but one really demands that these characteristics be embodied A. Caurthaedul in a mores completely Ispical situation. B. Jail (Figure) Ilisherethat, as a quite stercolyped urban patlern. C. First Christian Church (Figures) the American courthouse tou might be introduced D. St. Mary's Church (Tigures-I) ns a more representative llustration. A completely E. Vogel Block (Fi res 11. 12) seattered through- (Hiuures 12-18) normaland F. wil-yairilatliym. Masur Block oul thenorthern states, consistently recurring through- oul the Sonti.itkwarey the product. ofany deliber ately expressed taste and vet one assumes its repe- lition was inspird by more than mere habit. For patentis this is a lown dedirated lo an idea, and its scheme is neither forluitous nor whimsical. The theme of centralized courthouse in central square is DE should be abanal one And iisin fact oneol sreat 202 IRC HITECTU RAL RECORD VIRCH 1957 A AE N II I I rasi R h LLI power. For thevrrnrthonse squares are not the resi- mirable, uncompromising. repetitive, restrained. nD0- dential enclosures of Eugland, nor like the pinzzas of nolonous. subtle, mdumaria,tiaa scenically under- Italy do they admil the church in a presiding role. furnished and magnilicently eshausting display which Here it is the law which assumes a public significance: makes the minimum of overtures to the spectator. and it is around the secular image of the law. like Without matural pune luation and withoul natural architectural illustrations ofa political principle. thal reliel, it debilitales the ey: 5D that as an artificial these lowus revolve. In ench ense the rourthouse is caesura in an endlessly continmed scheme the distant both visual focus and social suarantee: and in each view of llsartawmypins peculiar signilicance. square the reality of covernment made formally ex- IL - is like a shipseen in mid-ocean an evidenceol plicit provides the continuiny assurance of order. amenity. and a kind of monumental magnet which There is hence a curious decorum aboul these lowns seems lo impose progressiyn intricaey as the town is which. however run down they might often be. are apt approached. to display an air of generality. Urbanistie phenomena Asa form of emotional complement lo the inter- they palpably are. but they ie also thes emblems of a minable terrain, the impactof these four-square, geo- political theors. A purely rchilectural esperience of metrical, concentrie litletownsis discovered to beone their squanes is therefore never possible. Within these of remarkable intensity. They have. all of them, some- enclosures the observer can never disentangle his thing of the: unqualified decisiveness, thex diagrammatic nesthetie response from his reaction as: a social mnimal. coherence of architectural models: and scrupulously They are the foyers of a republican ceremonial. and regular. they appear. almost more than real lowns, to their uncompromised formi neally condenses all the be small cities in primitive paintings. Something of imponderablesof republican principles. Itisthes almost their interest derives from their conformity, bul within classical typicality. the emblematie signilicance, and theaccepted pallern inmumerable variations are lo be the completely adequate symbolism of these lowns found. In one town brick will predominate, in another that is responsible for their seeming antiquity. stone or stucco; in one place laste will be meager. in The placcoforiginol ieiypipaesmmahy a matter another claborale: but in all of these places, as a of academie interest, but il is just possible thal its common mmimtorufyetin there will be felt a place of culmination is in central Texas. There at. dislocation of the sense of time. The buildings by least, singe the comparative absence of trees disen- which one is surrounded will appear to be ageless; cumbers the scheme from camoullage. onecan never he while the insistently reprated courthouse and square unaware of it. Further west the central courthouse will unavoidably sugest some Renaissance exercise to seems scarcely lo have been a viable motif: but in demonstrate thei ideal sigmificaneeof perspective. Texas, where the brilliance of the atmosphere lifts As a representative of these lowns at their best the most modest architectural statement loa new po- oner might selectLochhart. whose exuberant, more than tential. the iden becomes completely clarified: and for usually brilliant rourthonvriapl to suggest that some the unprejudiced eye, the eye which is willing lo see. provincial disciple of Richard Morris Hint's had dis- a number of small lowns do present themselves as covered theirresistible fascimations of Leomarlo'sstudies very minor triumphs ofurbanity. lor domical buildings (Figures 1. 2). The first view Llano. Lampasas. Gainesville, Belton, Georgelown. of the lown aflords the chamcteristic visual com- Lockhart. and others are all as much the same asso petition. In approaching from the south the dominant many French medieval baslides, Iiti is not the sight intricacies of courthouse silhouette struggle for al- ofa water lower, the first indication of arrival at one lention with the aluminmm painted spheroid of the of them is apl to be the courthouse which appears, waler lower: and a coneentration of interest upon -h slightest eruption either is further disturbed by the mppearance to the upon the horizon. Withoul major incident the land- right of as small castellated building of curiously Van- seape has unrolled itsell for mile after mile wilh an brughian prolile. A loy fort. brick and machicolated. almost complete nepation of pieturesque ellect. Ad- partly Homanesque and parlly Halianate, evideutly ARC HITECTERM RICORD MIRCI 1957 203 * - 11 the jail. its disarming selfassurance sels the mood for theentiretown (Figure. Isay Prfanlalleanhintunt promenadeol Lock- hart this little jail house could nol be more appro- priate. and as one is led imperatively from it towards thesquare it becomes apparent thal expectations have not been raised too high. The courthouse is agyressive, blull, and reasonably florid: the square itself is a more mtnalaiwifianw white paint, and Indian red brick. with here: and there: an intruding cast-iron column supplying a cerlain imported and Corinthian elegance. However. as one recovers from the shock of the square'so central omament.it becomes apparent thal someofllewemimor buildingsaremot in themselves undemonstrative. and the presenceol an interrupled staccato of distinetly assertive structures imposed upon the generally recessive background gradually be- comes evident. It is particularly along the north and west sides of the square that these more individu- alistie buildings are coneentrated (Figures 4. 6), and especially at the junetion of these lwo sides thal the presence of three white-painted gables of unequal height and widthsoone demands attention Figures 5). From this northwest angle of the square another - phaseol Lachhrfsehiteeturalevalutionu is revealed. A short block lined by small commercial buildings YN leads toa churchlower some300 feel away. The First au a no Christian Church to which it belongs is as miniscule as the jail (Figure 7), An ereesiastical representalive - of the Richardsonian suburban world of the eighties, dating from 1898, like the buildings in the square, it. seems to havebeen pul together from the standard elements provided by a box of bricks. But the First ut - - a n 1 Christian Churchis scarcely able todetain theobserver, since three blocksdown the street. another disposition ofchurch: and spire presentsiiselt. a This is St. Mary's a product of Irish and German Catholicism. a building of orange brickwork relieved by brick of a yellow or deeper red and occasionally checkered, as forinstance in the lower, with a pattern of greenish gray headers / 10). , igres 8,9, SL. Mary's 10 is nol. S0 ambitious a building as the other: bul its details are less ambiguousand more delicate. its model- ing confident dainminliktane both lyrical and strangely firm, with something of the economy of a child's drawing of a church. IL is with shock that, 201 VRCITECTLEN RECORD VIRCH 1952 d 0AU T. Mu E 9 12 13 one discoversst. Marykllvelwn erected in 1918. sequence of a small-lown Italian palace, and the more The common eTse of metropolitan time is severely fantastiec Vogel Block confront each other across the jolled by this improbable fact. That this diminutive street with a certain deliant individuality. The First monument of massuming piely should be nine vears Christian Church eupies.another corner. TheCatholie younger than the Robie llouse, should post-date chureh is still in sight. Nnd luring around. the per- Gropius' Werkbund Building by four jears. imposes spective of the earlier buildings and of the north side a sober curiosity which leads one lo examine with of the square almost completes a surves ofa series deference the buildings already passed hy. These. the of apparently related siruetures. I is not necessary structures immediately preeeding the Firsl Christian lo itemize their resemblanees. They are in themselves Church. are the Vogel Blerklnlhesoth ol the street aconvincing argument of their nelationship: and stand- andthe Masur uiliwslulleath. The Vogel Block ing between them. their intrinsie reasonableness. their isthel linludmonfalentiam Figures 11. 13. Dated anthenticity. their unsophistinaled strength, even their 1908. invested hy the heavy frieze-like claboration of obvious weakness cause one automatically lo presume its roof trim with a majestie seriousness, almost a theevistenceof some pronouneed arlistic persomality, loating prism. it seems to sland in a transitional sone architect, or more probably. since this is nol relationship helween the buildings in the square and architects" architeclure, some bnilder. This persomality llwmaerm-llaesirwl. wmawwofasimale volume. rapidly takes shape, an unkrown but not an indelinite asense of the horizontal. anda feeling for the siynili- figure, a master builder, a Master of Lockhart, whom cance of the structural bay are all emergent in the oner equips with theattribntes ue feels he should pos- Vogel Block. In the Masur Buildings they havecome sess an msubverted inteprits. an innate capacity. tocontrolthe entiredesizn Figures 13 lirongh 18). lastes which pA an mder- The Masur Buildings estendiny also along thend- slanding of necessity. And for some moments so jacent streels) (Figure 13) represent the ultimale strong is the lighl and SD etreme the heal the achievement in the commercial architecture of Lock- Master ol Lockhart remminmpltely plausible. hart. Emetedatasariels of datesdown! lo 191B.except Bul stubbornly, this ideally anonymous. quasi- for theJo Masur Building Figures M. 15. 16) they are medieval characler whon oue has educed refuses lo moreavosedily utilitarian than would earlier have beeu lakes shape. The Masteroflhlart resists formulation thought proper. and: also more classical. In them the asa myth. Indeed. wasthene neor were there several episodic detail which chareterizes the square is no Masters? Was the: architect of the Catholie church longer tolerated. the roof incident which still survives also the architect of the JJo Masur Building? Was the in the Vogel Block is suppressed. and the only inter- same. man responsible for the Vogel Block and the ruption of their repular silhonellesis provided by the jail Apparently sudrquestimsare surprisingly diflicult chunks of brickwork which form a capping lo the to salisfy and perhaps alsol they are irrelevant, because thin pilaster stripsoli their façades. Thethree buildings presumably il is the elernal problem of primitive art across the street from the Voyel Block are larye. rather than the eternal problem ol personality which simple. and distinel unils (Figures 1 throngli 18). is raised by these very recenl buildings. They are Linked by one-story elements. they read asa scheme structures which personally one linds deeply satisfac- ofi independent and varied pavilions.all manifesting the toryrandyel. with any consiction. onecannot attribute new idealol congruits. whichis noW seen lo aequire to their-designer a developed or aconscious aesthetie a decisive expression in the last of the series. the Jo intention, and certainly nol the intention lo produce Masur Building. There. subordinated lo n controlling the resulls of which one is. mosl deeply appreciative. gridol stringrurseand pilasters. in simplified. almost Seen dispassionately. these bnildings are utilitarian abstracted. form. arches and all the acceptable con structures casually enlivened hy a elementary eclectie ponents of a classical design are fused into a single symbolism. deriving somelhing of their eflect from Mlalemwutufauwiaing intensily conoentration and material uniformity. Bul it is now This three-lloor hardwane slore. with all the con impossible and meaningless In dismiss them as this ARCHITECTU RAL RECORD MARCH 1957 205 1113 41143 411 y A uM ATMITMVIUATAN 49 A t 0279 D a M S a JOE MA Hardwaresh 14 5 alone: in termsofa not unduly sentimental laste they have intrinsic virlues of a high onder. while only loo obviously leirestrinsicattributesareen moretelling. Forty vears ago, when the majority ol them were new and some were still unbuilt. il was such a lownas Lockharl that reduced the heroine of Main Sirrel to an intolerable distress. "I us nol only lhe unsparing, uapologelie ugliness ad rigid siraighlnexs which over whelmed her, nor the fact thal "in all the loun nol one F hilding sure lhe lonir bank" gave pleasure to her eyes; but it was buildings 'cromned milh balllements und pyramids of brick capped mill red sandstone" which really promoted her dismay. and it was in place of these that "she saI a neu Georgian loun (Is graceful and belored (IN lupolis or Merandria." She 077 9y HA suu in Gopher Prairie." - Lewis tells us. "a Ceorgian cily hall, Irm brick nalls rill uhile shullers, a. funlighl, a mide hall und curmng slair. She sunl il as lhe common home und inspiralion nol only of lhe lomn bul nf lhe counly uboul": and il was by fantasies such as these that she softened for herselt the loo harsh reality of a country which aspired "lo suereed lo liclorian England as lle chicf mediocrily oflherorld." In the years that have inlervened the neo-Georgian dream has receded. and as Victorian Eugland has be- come less mediocre, so 19th-century America has be- come less abrasive. For many observers ils towns have MMAAT 00 not vet become "as grareful and helored us Imapolis, bul their "rigid slruightnexs" at least has become a positive value: while "lheir balllemenls und pyrumids of s AVAsE a - BEO brick" have become even more evocative than their English equivalents. They are now the indications of a Mlfwionwiww-N, set mnimpaired by sophisticated inferiorits or doubt. the distingnishing marks ol a form of post-frontier architecture. I is a guileless un architecture which. because innocent. is often appar- ently venrables and which, because one may believe iL to be uncorrupled. is wmetinsurimwy coquent. When. as: al Lockhart. it iscombined with a city plan as entirely legitimate as that of the courthouse lown: when.as there. a waadaNe archi- wunotTTwTwT A Iectur-llarilawinraw romplementary relationship with a principle of authority: then we are in the presenee. 16, 17,18 not of an amusing specimen of Americana, but of an exemplary urbanistie sueress whose meaning has been for loolony obseured. 206 ARCHITECTU RAL. RECORD MIRCII 1952 PRESERVATION BRIEFS 44 The Use of Awnings on Historic Buildings: Repair, Replacement, and New Design Chad Randl National Park Service U.S. Department of the Interor Heritage Preservation Services As shopkeeper rolls out an awning at the beginning of the between interior and exterior, they were remarkably workday; a family gathers under a porch awning ona efficient and cost effectives Awnings permitted window- late summer afternoon. These are familiar and compelling shopping on rainy days: they protected show window images of earlier urban and residential lifei in America. displays from fading due to sunlight. On they primary For two centuries, awnings not only played an important facadeand neareyele level, they were central to a building's functional role, they helped define the visual character of appearance. Manufacturers: came up with attractive, our streetscapes. Yet, compared to historic photographs attention-getting awnings featuring distinctive stripes, of downtowns and neighborhoods with myriadawnings. omate valancesand, painted lettering and logos. With a today'ss streets often seem plain and colorless. wide range of color and pattern choices, owners could select an awning that complemented the building and get Throughout their history, awnings have) had great tappeal. both styleand function in a relatively affordable package Along with drapes, curtains, shutters, and blinds they (Figs. land 2). provided natural climate control in an agebeforez air conditioning and tinted glass. By blocking out the sun's In recent years, building owners and others interested rays while admitting daylight and allowing air to circulate in historic buildings hanenaikowedawming Local CARPETS MLCLOTNS ILA RC N TORY uRUCSu 2M VAS AA G OTRATE O9ME DAUEAUXUEIALAIe NETE JJR DRUCS PAINTS WOLL Figure 1. Slorfrontamings over silaoull-mfentnanes teere typical) features ofAmerican streetscapes for mucn of the 19th and 201h centuries. PhotoofLarimer Street, Demver, Colorado, 6 7870, Demzer Pablic Library, Western Histerv Collection, X-22058. much tis beaten about, betwixt the poles and cross- beams." Overthe next two millennia awnings appeared thronghoutheworld. while the technology used in their construction changed little. Awnings in the 19th Century When awnings began to commonly appear on American storefronts-during: the first half of the 19th century- they weresimple, often improvised, and strictly utilitarian assemblies. The basic hardware consisted of timber or cast-iron posts set along the sidewalk edge DEyy and linked byr afront Cross bar (Fig. 3). To lend support Figure2. Atonings vperes a masy / tor dress mp md distingusi to larger installations, angled rafters linked the front homes of cirtually any style. Image: Otis Axing Fabrics Company cross bar tothebuilding facade. brochure, a 1920s. The upper end of the canvas wasconnected to the facade with nails, with "main street" preservation programs encouraging and grommetsa and hooks, or by lacing the canvas to a head- in some cases funding rehabilitation work have rod bolted to the facade. The other (projecting) end of helped spurt the awning 5 return. Continued concerns thex canvas wasc drapedover, or laced to, a front bar with over energye efficiencyhave, also persuaded building theedges often hanging down to form a valance. On owners and developers touseawnings to reduceheat ornate examples, metal posts were adorned with filigree gain, glare, andcooling costs. Because awnings were and the tops decorated with spear ends, balls or other sO common until the mid-tsentieth century, they are embellishments. Onovercast days or when rain did visuallyappropriale for many historic buildings, unlike not threaten, thex covering was often rolled up against someother means of energy conservation. the building facade; during the winter months proper maintenancrcalled for the removal and storage of This Preservation Brief provides historical background informationabout diverse awning applications int the United States; suggests ways that historicawnings can best be maintained, repaired, and preserved: and recommends the varying circumstances in which replacement in kind, or new awning design may be appropriate for historic buildings. Historical Background Awnings are remarkable building teatures that have changedlittle over the course of history. Records dating back to ancient Egyptand Syria make note of woven mats that shaded market stalls and homes. In the Roman Empire, large retractable fabric awnings sheltered the seating areas of amphitheatres and stadiums, including the Coliseum. The Roman poet Lucretius, in 50 B.C., likened thunder to the sound that Figure3. Early 191h centur anings featured caDas cowrngs stretched betueen the building facade "linen-awning, stretched, o'er mtpost-supported front bars. Projecting, fmmezorksof extension bars vere not comon until later i mighty theatres, gives forth at thecentury Photo: Second Street, Philadelpkia, C. 1841, Pritanil Photo Collection, TheFre Libnaryof times, a cracking roar, when Philadelphin. 2 fixed-arm awning Awning Vocabulary roller roller window awning valance extension arm drop roller slide rod gearbox lateral-arm awning covering extended valance hood scissors-arm awning projection 1 WUVVVUU fixed pipe frame a front-bar extended head-rod 6 rafter upright retracted awnings, Photographs from the mid-1800s often show thebreframework, suggesting that the covering was extendedonly when necessary. Canvas duck was the predominantawning fabric (Fig. 4). A strong, closely wovens cotton cloth used for centuries to make tents and sails. canvas is aversatiler matenal with a relativelyshort lifespan compensated tor byits low cost. Awnings became a common teature in the years after the Civil War Iron plumbing pipe, which was quickly adaplediorawming frames, becamewidely available anda affordable asa result of mid-century industrialization, Itwas a natural material for awning rames, easily bent and threaded together to makea Figure 4. This 1892) pita ShORDS the cams seung roonte ofa large range of different shapes and sizes(Fig. 5). AL the same memg mangfacturer. Thez madles martyefcuston sizes and siapes, lime the adventof the steamship forced canvas mills anf the matural chrikage of cimbas deaiaafonsileahe skil D and sail makerstos search for new markets, An. cawning SMng auting md seig Photo: The Astrap Compay industry developedottering an array of frameand fabric a options adaptable toboth storefronts and windows. Operable Awnings. In the second half ot the 19th century, mamutactumduperable awnings grew in popularity (Fig. 6). Previously, most awnings had fixed frames--theprimary way to retract thes covering was to roll Bituptherafters by hand. Operablesystems. for both storefront. and window awnings had extension arms that were hingedwheret they joined the facade. The arms were lowered topiyectheaning, or raised to retract theawning using simple ropeand pulley arrangements. Becausethecanvas: remained attached to theframewark, retractableawnings allowed a more flexible approachto shading- shopkeepersa and owners could incrementally adjust the amount 01 awning coverage depending upon the weatherconditions When the sun came out from - - K behind clouds, theaw ming could be deployed with ease. SED In case of sudden storms, owners could quickly retract theawning against the building wall where it was Figure 5. During thes secomd) haif of le 19tn cotr iren phmmbig protected from wind gusts. pipe beonne 1 poprlr materinl for fixed orenigfrmes Hrc R pge fmametitiont is cs coners ectends moundlhecorer ofai buili- But thec early operable awnings had their own Dg in Washington, DC. PotoLibarw of Congres SS Printsand drawbacks. When retracted, the covering on early Photographte Diviston, 1C41SZ62-12060, operable awnings bunched up against the building facade whereits was still partially exposed to inclement weather. (In fact, deterioration was oftenacclerated as moisture pooled in the fabric folds.) Also, theretracted fabric often obscured a portion of thewindow oro door opening and unless itwasfoldede carefully, presented an unkempt appearance. Figu6. A 79tr nrry shoe stere in Ric- moni, Virgane ietaoperble aening, retract- edaganstle hathlns, ficade. Hingede cxtension anns sereraised ami loteered allouung for an aening configunation casily chnged in responset tor tealhercomhtios. This photo shous hour tiey farics suthontmfnss aposet le thedle ments toin Rtratol- partofthe reason voller aigs! later Arcmcyreulett. Photo: Libmny o Congress, PshomatPhoagiwplie Division, Lc-usZ6293 Roller Awnings. Addressing the drawbacksothe - wriginathingaawnng. newr roller awnings featureda wood or melalcylinder. raround which the canvaswas stored when the awnng was retracted. Whenfully retracted, only the valance was) visible(Fig. 7) The roller was usually bolledtoaback kboard set against the RER building and protected beneath d wood or galvanized metal hood. Insome cases it was installed in a recessed box built into the facade. Along detachable handle (called a "winding brace"), or a gearbox andcrankshatt attached to thebuilding, was used to turn theroller Some later models wereoperated by electric motor. Rollers, especially those on window awnings, otten contained a spring that helped retract the awningand kept thecanvas from saggingexeessively. Most 19theentury roller awnings had fixedarms that were similar tothose tound on the earlier operable awnings. The arms hinged flush to the building when theawning wasr retractedand, with the help ot gravity, Vertical straightenedout overthesidewalk when extended. slide rod- Whenas storefrontawning" S projectioneveeded its drop by more than a toob, its long arms weres connectedto an adjustable slide rod rather thanl hinged directly to the building facade- increasing head rooma along the sidewalk (Fig. 8). Shapes and Stripes. An expanded variety of available canvas colors, patterns, and valance shapes also appeared during this period. Somecoverings were Figures. The noller br rrpuafandm. aeing is cked dyed a solid color; shadesof slate, tan, and green were tor release the fabric Avthraonas mnfuris tie tertical arns sung especially popular. Others had painted stripeson doumaant from thin hoevrpnt, Because the pucturede aening lad theupper surfaceof the canvas. Awning companies a large pojactimsatodang far from the bilding wall, the louer levelopedacoloriul vocabulary of awnng strpes that hinges sene moratad o tertioti slile rods affixed lo the facade. Wien He atoningis looernd, the hottom linges of the arnstrme thes slites rod to manase lhe vho heneath He fully extended aing- THE JOIRT ETET ELn EE CLR enhanced thedecorative schemes of buildings, and in ECO some cases, served lasal building's primary decorative CARK CO. feature (Fig, 9). oT ME ON RLS Thebroader choiceoft frames and canvas oplions encouraged the reassessment of awnings simply as a means to provide shelter from rain and sun. W. SA Homeowners: found that the new generation of awnings EANENR could enhanceexterior paint schemes and increase the visual appeal of their homes. Manufacturers developed - new awning shapes, colors, patterns, and hardware & tot fit different house, door, window and porch styles (Fig. 10). Theywerc.am.liondabl, quick and simple improvement. They alsoproved to be an easy means of capturing outside space. Homeowners could use awning covered balconies, porches and patios at any time of day; grocery stores were able to convert sidewalks tooutdoor display areas prolected from Fgure 7 Earlu 20rweturyphite ouing hav opcrabie men ings sunlight and quic ckchanges in the weather. On Main ae arlu Dersten on titetmhe next-goyatos rlkr Rag 0n Street, idTemiN. thes right Thes olie moninse with nesie punes and nest the cuianoe repertoireot shog presatal a deans starefrant memmee Phater Uhti State awnings todraw attentiontol their buildings withb bright fiistoraal Socetu. used by pennIss/on, ui rights resern colors, whimsicalstripe patternsa andexotic scallops. fafeterit dSS SSADSESS a AG00D7 PAEIOEAU ARD SHOESPSHOES THAT WEAR 1 t a 92 9 6 a 3 OpA, dnens uraitk frnyeb nite 34 k. * 4 A. ROSE THE FLORIST UI L6 WERS C - AAA DIAMONDS STRAUS THE JEWELER VAAMAKRAAANENY 3 9 asign NMs yr SODA-LICIOUS, tingel mit buyawbowl Figures 9. Awide selection ofs striped) palterns took He mening beyond its original, utilitarinn function tos serze as a decarative anil PURE HOMEMADE CANDIES - E CREAM ICE CREAM cwoslanmdxeaiteicEs appealing building feuture Photo: Libnann of Congress, Prints anl Phetographic Dinision, LC-DW-62072. Awningsincreasingly functioned as signs identifying Hevenon XE OE M un the proprietor'sname, goods on offer, or year of establishment. It was a trend that would culminateover acentury later with awning installations in which shelter LADIES READY TO WEAR LINERY OLDEINN STEAKS CHoPS was: secondary to advertisement (Fig. 1I). YOT Awnings in the 20th Century DRUG SIORE 4V Awning development during theearly wentieth centurs hh 7 DOGS focused on improving operability, Variationsin roller PTHE eral! STORED PDRUGS BAR-B-Q FACE FILLING STATION awnings addressed the need to provide anincreasingly customized product that accomodated a wide rangeot DESIGNS FOR STORE AWNINGS storefront configurations.ands styles. Figure 11. Apgefiona an atrhy 20th century catalog shotes leffering New folding-arm awnings appeared that operated either and sigmage thut couldhe applied to commercial anings. Inage: vertically or horizontally supplementing the fixed-arm Anchor Industries, Inc awnings developed in the latter 19th century. Vertical folding arms were made up of smaller hinged arms unfurling the cover from the roller and maintaining that crossed like scissors. Operated by gravity thearms tension. Laleralarmawnings featured a shallow drop extendedoutward pulling thex covering off the roller that remained relatively constant regardless of how far Like a fixed-arm awning, the pitch of this scissors-type thearms were extended(Fig 13). Operable awnings, awning varied depending on whether it was fully or whether fixed arm, scissors arm, or lateral arm, rapidly only partially extended(Fig. 12). Somewhat different gained popularity ascustomers came to the a appreciate was the "lateral arm awning" horizontally operating flexibility, comculedappearance, and longer lifespan awning that worked like a human elbow with thespring made possible by roller units. action in the arms pushing outward toward the street, New Coverings. Slover to change was the fabric used WINDOW AWNINGS to cover awnings. Canvas duck remained the common awning fabric during the first half of the 20th century. However, its tendency to stretch and fade, and its susceptability tomilde , and flammable materials like cigarettes and matches motivated the awning industry to search for alternatives. Shortly after World War I, Squsre Top- Seint-eirele. Roond Con ners. ent a vinyl plastic coating that increased fade and water Figure 10. Theepanding aing industry manfactreel, frames resistance was first applied tothe canvas. By the 1960s, and cut fabric for epery type of seindore and door opening This vinyl resins, acrylic fibers and polyester materials were 198h century citalog illustration, procides measuring instruc tions to all used ussuread custom fit. Avonings ere typice allu set mithin thes somdoas being to provide a longer-lasting awning cover. opening Ironically, just when these innovations promised more 6 durableawnings. thefabric awning industry felt the pwtwtdhumasanhu fashion, the widespread Mhpamufairoalia. and thei increasing availability of aluminum awnings. Modernism luminutelcmmercia) architecture during the postwar era. Thestyless signature form -austere steel, glass andconcrete boses- had little use for fabric awnings. Colorfulawmings seemed old-fashioned, an unwanted.dstraction trom the smooth lines of the machineaesthetic. They prelerence, instead, was for perforatedstrudtunal. screens or brises-soleil (French: "breakst the sun") thatintegrated shading functionswith new building forms. lwasassumed that new buildings had noneed forawnings. Widely available for the first time, mechanical air conditioning threatened to make the asning an unnecessary vestigeof an earlier era. Awning companies fought back with arguments that fraditional shading systems couldreducel the required size and investment in air conditioning systems. Though canvas awningscontimuedi tol beused on contemporary buildings, new ty pes wereoften selected to do thej job, aluminum and fiberglass awnings. Widely available by the 1950s, aluminum awnings were touted as longer lasting and lower-maintenance Figure 12. Scissors-arm menings lcs a puin ofs vertical, lingedars than traditional lawnings Though used on small-scale orcthers side fte assembl support ting the hant bar. Te mfurl He commercial structures, they wereespecially Me anl popular inemg zoller isamkeda the asaafoutcen, palling with homeowners. were made thes Cor A from the roiler Aluminumawnings with slats called"p pans" ananged thorizontally or vertically. For varietyr andto match the building to which theywereapplaed, difterent colored slats could be arrangedtos createstripes 01 other decorative patterns. While aluminum awnings were usually fixed, in the 1960s several operable roller awnings were developed, including one with the tradenamel Flexalum Roll-Up (Fig. 14). Also during thisperiod. manufactured flat-metal canopies werean increasingly popular teature, used in new commercial construct tion and when remodeling existing storefronts. They were particularly common in the South whereshading was critical to the comfort of both windows shoppersand store interiors. Often made of aluminum, the canopie / could stretch across a single facade, or kecomnedeallortend along an entire block. New Shapes. An increasing reliance upon fixed aluminum trames andp plastic coverings spurred the development of new awnung shapes during the 1970s and 1980s. Oiten, theaw ning served as a business's primary sign. Mansard awnings, concave awnings, quarter-round aw nings and quarter-rounds with rounded domeends appo cared with increasing frequency Most had vinylors other plastic coverings that were Fagure 13. Lateral-are acmings uen prelerredon long de touted as being more resilient than traditional materials. tions, apecnallv these sith shect xhss tuhere ertical rsconld Featuring bold and colors that were often motie Nastenat fothe huilding fan ades Whier hatodmmmowge lettering Mercstallatacrss. a bont storefrosr on parc mtamnch emphasized by illuminating the awnings from within, aReNAAypMeNg t in msal approdmute eit Aat these awnings werecommon on new commercial mteris strips and wereeven popular inside enclosed shopping 7 Fiwre Thes vozrs after Weria War Is stn the udesprenl adoption cfahunim menings a hotht storefronts and residences. Operable alummun aigs incorponcteda agwilafroller inta he frouthar centers and loodcourts. They werealsoapplied, less coatedsteelpipes welded together. Frames are secured successfully, toolder orhistoric buildings wheret their to building facadeswith damps, -shaped clips, and shape, size, and materialborelitle resemblanceto other hardware. Untilecently, operable awnings found traditional awnings. inl historic commerdaldistrid ts were primarily those withhistoric framesand hardware that had survivedto Although the 1950s and 1960s saw theendot the they present. But new lateral-arm awnings with powder canvas awning S ubiquity on Main Street, it remaineda contedaluminum trames are an increasingly common moderately popular feature ot rwientalanhitectune choice for building osners who want the convenience of New materials. amfihmalagaiha lateralarm anoperablesysiem. operators, acrylic tabric, andalminum kept theawnig relevant to the postwar ranchh houseandattonded an solution-dydacnlic of and crylic-coated economical polyester- way toupdateolder structures Colortul cotton blendediabrics areoften used to replicate historic awnings helped suburban dwellerdiwinguiwn their awning coverings. These relatively new materials homes froms other similar, models in theneighborhood. resemblec canvas imappearance and texture.yet offer greater strengthand durability. Because acrylics are Awnings Today woven (with the stripesand colors woven directly into thet fabric rather than painted on the surface), they are loday, awningscome ina Variety of shapes, szes frames durableandallowe light to filter through while and fabrics. Fixed, quarter round, back lit awnings with heat out. Theydry quickly, thereby reducing damage keeping broad faces featuring company names, logos, phone causedby mildew, andcontain a UVinhibitor that numbers, and street addresses lunction moreas signs further reducessunlight damage. Poly-cotton fabrics than sunshades. Restaurants andathercommercial coatedwitha thinacrylic layer that dirt and chains use repels lluminatedawnings with nationally MAdHuNcaIN Both acrylic and poly- recognized brand graphics and stripe andcolor patterns cotton fabrics donot stretch or shrink like traditional Keattractastomersa along: suburban strips. The canvas so they are generally easier to measure, cut, and triangular shedtrameshape hasenjoyed. a Tesurgence install. of popularity in recent years, in many cases playing off nostalgia for the traditional. awning Relatively new "staple-in" awnings with a shed shape are commonly Preserving Existing Historic Awnings used on new commercial construction. This system has a weldedh frameot extruded aluminum with a sloton Ifawnings already exist on a historic building, they theouteredge. Thefabric covering is pulled laut, and should be evaluated todetermine whether they are hS galvanized steel appropriatet to theages style, and scale of thel building, staples. Avinylt trim beadcovers the groove prolecting using the criteria identifiedbelow. Backlit awnings the fabric edgesand providing a flushappearance and domeawnings are usually inappropriate for 19th century andother historic buildings, while aluminum Apart from the stripmall, awnings anealomuppearing awnings may beperfectly compatible with buildings in historic business districts and residential from the 1950 or 60(Fig 15). The time is approaching neighborhoods In these locations, newt awnings when somea aluminumawnings may even be considered typically feature fixedtramesor: operating lateral armse approprintetoidet buildings. if the awnings formed both differing little fromtheawnings: of one hundred partot an updatedsietront, or are central featuresof years before. TMlay made an intact postwar ndashioning of the building's exterior ot citheraluminum. or ahteagihmlan zine (Fig. 16). When an existing awning is determined to be Ongoing maintenanceconisis of keeping all pivot appropriate to the building, a program of repair points and gears lubricated and clean of debris. Regular and regular maintenance should bedeveloped. The inspections should dalso include checking for rust condition of its covering, hardware, connections between on the frameand hardware. Such areas should be the hardware and the building, and theawning's promptly scraped and painted, as rust may discolor and operability should be evaluated. Hardwaresuch as deteriorate fabric coverings. When awning hardware arms, rollers, and gearboxes may only need cleaning and is properly repaired and maintained, its lifespan can be lubrication. In other cases more substantial repairs by an significantly extended. awning company familiar with historic hardwares may also be needed. Exposure to the elements and the limited lifespan of even new acrylic fabrics mean thes repair and Awning Repair and Maintenance. The best replacement ofthecovering will probably occur more preservation practice is to maintain and repair historic frequently than work on the frame or hardware. The features. The proper careand maintenances of existing longevity of any fabric covering is largely dependent awnings and canopies will extend thelifes of both upon where it is installed and how it is cared for. hardware and covering whileensuring the safety of Awnings beneath overhanging trees, for example, are those passing beneath them. Parts for historic hardware vulnerable to sap, fruit, and animal droppings that can still be obtained from some suppliers, either from contain acids, which can deteriorate and discolor fabrics. existing stock or as newly manufactured pieces. In some Branches, flags, banners or other objects brushing cases, new marine and boating hardware can substitute against an awning can abrade the awning fabric. With for missing historic awning hardware. Damaged pieces proper care acrylic fabrics on fixed awnings have of the still popular galvanized pipe frames can easily a service life of eight to fifteen years of year-round be bent back into shape or, if necessary, replaced with exposure. virtually identical material. Figure 15. This 1950s-era drydemer lus a aluminu moning that, Figure 16. These fiberglass I lamshell" awnings, although not as with its vertical pattern and alternating stripes, complements the old as the 1930s building lo zehicl h they weeres affixed, are important facudes 5 porcelein enamel panes mdalummn mlions. Theaemmg features that havencquirels significance. They were retained wohen forms an essential clement of the building'sh historic chanacles. the building was recently rehabilitated. 9 Regulardeaning will lengthen the lifespan of any Although moredurable than in times past, awning awning. About once. a month the covering should be covers can still developtears. and holes caused by hosed down with clean water. Choose a sunny day ladders, falling trees, and vandalism. Fabric nearing the sO that the fabric dries quickly and thoroughly, Keep end of its service life is most vulnerable to tearing along retractable awnings extended until they dry completely. thes seams. Thoughawning companies are usually called Theawning underside can be kept clean by brushing todorepairs enterprising owners can undertake some it with a houeholdbroom. Regular cleaning helps work themselves. if thes damage is minor, repair work prevent dirt from becoming embedded in the fabric At may bedones while the awning remains in place. Small least twice a year the awning should be gently scrubbed holesor tears inacrylic coverings can be immediately using a soft brush and a mild, natural soap(not a treated witha hot needle or awl that will melt thef frayed detergent)and rinsed with a gardenhose. Every two edges and prevent thes damage from spreading. Patch or threeyears, professional cleaning is recommended. kits areavailable that function like band-aids, keeping During this process, the covering is usually removed thetorn edges together These patches, glued or sewn from thel building, washed, and treated with an tothe fabric, lettheawning color show through but do appropriate water repellani solution. Localawning haveasemigloss sheen to them. Significant damage companies may offer this service or theb building owner requires removing thecovering and, usually, sending can ship the covering to a specially awning cleaning it toas sewing shop. There, work may include inserting firm. Depending on the framestyle and fabric, some a fabric patch, restitching seams, or replacing an entire awnings may be cleaned without being removed. fabric panel. lftheawning is relatively new it is possible to obtain a good match between replacement and While most fixed awnings remain in placeyear round, original material they last longer if taken downat theend oft the warm weather season. Preferably, coverings should be Installing New Awnings removedby an awning servicet that can cean them, restitch seams if necessary, and store them tor the Since hmbptwahsing and deterioration winter. Property owners removing awning coverings and hardware lothe elements, some themselves need to store them in a dry place with good be isexposed awnings may beyond Depending on the circumstances, air circulation. repair new awnings may replaces deteriorated existing awnings in kind or be installed where awnings were once in place Ifas covering begins to sag belween cleanings, thecause as seen in pictorialor physical documentation. In other (an objecton top stretching the material, loose laces,a instances, they maybenewly installed where no damaged seam) must be addressed as soon as possible. awning previously existed, provided they are with When other maintenance or repair work is undertaken thel historic building. Whatever the circumstances, compatible it on the building, it is advisable to remove fixed awnings is important to selectan appropriate awning shape, temporarily, as they ares easily damaged or stained by material, framedimensions, signage (if and materials any), dropped from above. placement on the facade Ift the condition of a historically appropriate existing awning is beyond repair, it should beused as the basis Funding Awning and Canopy Work for selecting a replacement Whena historic awning is missing owners should first look for evidenceofa a In some commercial districts, local "main street" previous awningi installation. Evidence can be either associations, chambers of commerce, or business physical or documentary: The existenceofs surviving improvement district offices offer assistance for hardware--rollers and arms, gearboxes, clamps and awning rehabilitation projects. Such organizations other fasteners--or signs that hardware was once in may sponsor grant programs or low-interest loan place, such asbolt holesor recessed roller boxes-are programs with funds that can be used for awning the most likely forms of physical evidence (Fig. 17). work. These initiatives, often bundled with facade Storefront remodeling projects often uncover concealed improvement and signage programs, enhance and disusedawning hardware that can either be repaired the visual character of a street or neighborhood, or at least suggest what type ofa awning was formerly encourage conformance. with guidelines and in place. Thisisespecially true for awnings that had an offset what is in some cases the higher cost of operating rod, gearboxes, and perhaps motors concealed a historically appropriate installation. When in recesses within the building wall. Protected from the al building is located within a historic district, elements, these itemsare likely to survive in repairable additional grants, loans and tax incentives may condition. Sometimes physical evidence of earlier exist. The availability of funding assistance, in awnings cant befound in the basement or upper floors these cases, is usually contingent upon completing wherek hardwareand even old coverings may havebeen rehabilitation work in keeping with established stored after being removed from the facade. preservation practices. Clamps, fasteners, and bolt holes in an exterior wall can reveal the position, type. and dimensions of a missing 10 Wherenoawning: curmently exists, and there is no evidenceot a past ones it may still bep possible to add an awning toal historic building without altering distinctive features, damaginghistoric fabric or changing the building'sh historic character. A new awning should becompatible witht thefeatures and characteristics of a historic building. as well as with neighboring buildings, or the historic district, if applicable. Historic photographs of similar neighboring buildings with awnings. canalso bel helpful in choosing an appropriate installation. Whenselecting and installing a new awning, a numberof otberfactors should be considered: shape, scale, massing, placement, signage, and color. Shape. fraditionally, both residential and commercial awnings weretriangular in: section, usually with a valancel hanging down theoutside edge( (Fig. 19). Earlyexamplesot these shed" awnings had simple 3u1 11I TTT Tigire 17. Agearbox. sinle roi, solles oflwramwfcaeaw amwallhat this 191h centNy Mwllagonorfanwmaie retract cableaning. nB likelv lhat zeithe DInOr rarstaz SADDIS handeres cou ngrin he madcepenble receredieinl Figue18. GAboce) When Ne confu derk in Morgan Couty, mraDas or noylic fabric mrpsatler SerINC tites starctront West Virginit, RB leokingn tondc glares in the courthonse offices shel loctedu1940s) phate suring sefs of atings OR the first fleor Belausing Ne Nistoric photos as a guide, new mongs soith 4 smilar shpe und stripe pattern voere installai awning installation. Fittings or other marks on thes side incrensing the comfovtofe phesand; protecting coufy records ofthe entranceor windows, fore example sugse st thata fomdincsnhgh. Ahomphote: Frances Widmeyere and Debra fixed-arm awning was present rather than a lateral-arm Kesecker. awning. Gearboxes point to a retractable rather thana fixedawning. Historic photographs. anddrawings area prmary documentary resource usedto determine anearlier aningcomfiguration. Photographs have theadded benefit of providing information about thecovering, such as stripe pattern, valance type, and lettering. When old photographs indic ate that the historic characterofa 5 building wasdefined in part by divimctiveawnnys. it IS appropriate toinstall newi awnings thatreplic ale their appearance(Fiy. 18), If thereisevidence thatawnings wereonce present but mointormationabout theircolor or: signage is available, ax color shouldbeseleclesd thatis in keeping witht thehistoric character of thebuilling and district, 11 ranwerhaswsingw, pipesor planksangling out from thebuilding facade amasuppartiampwi Early retractable versions continued histriangularfomm, Newawning shapes appeared in thelater I9thcentury loaccommodatert theexpanding variety of door and windoycomigurations Casement window awnigs werel box-like in shape AAdNNwwrRaNd swingofthey verticalsash. Window openingswith archedtops, suchas those foundon Halianatehonses andcommercial! buildings wereoftenshaladly, awnings with matching tops. Generally, traditional shed awi nings are appropriate tor most historic window, door, and storetronts installations Itisp preferable(andi in some historic districts, required) that these awnings havefree-hanging valances, the Bappingbottom pieces socharacteristic ol historic Figune 79. Simpleshehy unigs with acrylic or canas awnings. Quarterround awnings. modern mansard rIgsNAeNngng ies ue appropriatey for mest hustoric awnings, anfuthersomtempway commercialdevigns resilences fealuag nechlonr ponngs, withdistended, fixed valances have no precedent in traditional awning design and are usually mnappropriate tor historic buildings (Fg. 20). Likewise, Mapl-inslemsanenwt recommendedion historic buildings One of wdaindheeta staple-in system is anexceptionally faut andwrinkle-tree appearance,i indeed, this Rachiefappealaft thesystem whenapplied to new constructon. Historic awnings. however, wereeither retractableor built with acovering laced onto a trame. Both formshad a fair amountof givein the fabric. Staple systems, especially thosewith long valances, usually present an appearance more suited tonewer construchion. Whilenot recommended for malatmom.h.aA buildings, they mav be suitable for nfillconstruction within a historic district. Scale, Massing, and Placement. Because their primary purposewast functional rather than decorative, awnings weretraditionally installedonly wherenecessary. Window awnings weremoktommonly foundion Figure 20. Adome slenag es an bappropriate addition to this building elevations withs outhemexpesuresint the cim 18905 bldig In eder to qualify) for historic tax credits northernareasol the saaN the meR Minylatewigae replaretreitita a shed nong zith a - CaDIs-liRe aremonic conerig- uthemnUhicadsane Taywoalwsanlwws amdwestelevations, and sometimes justonselective windows. Retractable awnings wereoriginally more commonin northem climates whereawnings required additional PuwAmwNwaNw, conditions. The design of a particular commerciall building influenced the placement of its awnings. Some storefronts with traditional glass transoms had theawning placed below the transom, others, had theawning installed above the transom. Onboth commercaland residential buildings, awmngs were A o - 2 only wide enough tos cover thes window openings thal they sheltered;a singleawning rarely coveredtwoor morebays(Fig. 21). On storefronts, they werenothigher Figure 21 Singlearmigs sionta not be set oven more than one door oraeindon bay. synate sred aummg seillt 4 canus 07 uponthebuilding facade than wasnecessary to shade meryiconcergr toondlhe ores mppropriate oper cac of these theentranceand displaywindow. Thus, itisi important opcnings 12 when installing new awnings on historic buildings to Weather-resistant acrylic fabrics such as solution-dyed ensure that the covering not obscure the building's acrylic and acrylic-coated polyester-cotton approximate distinctive: architectural features (Fig. 22). Also, new the historic look of canvas coverings, yet afford a new awning hardware should not beinstalled inaway level of durability, color-fastness, and ease of use. that damages historic materials. Clamps and fasteners Quality poly-cotton coverings may be more appropriate used to attach awning frames should penetrate mortar in some cases because, liketraditional awnings, the joints rather than brick k or other masonrysuriaces. IC colors and stripes are painted directly on the upper new backboards and rollers are installed, carer needsto surface, while the underside remains a pearl gray color. bet taken not to damage cornice es or transoms. Finally, awning placement, size, and shape must be compatible Signage. In addition to sheltering shoppers and with the historic character of the building (Figs. 23 and merchandise, and reducing glare and temperatures, 24). awnings on commercial buildings offer valuable advertising space. Photographs from the mid-19th Material. Historically, awnings were covered with century show a wide range of lettering and logos- canvas that waseither solid in color or painted with business names, types of trade (hosiery shop, telegraph stripes. During the second half of the twentieth century house), street numbers- on the sloped coverings and canvas fell out of favor and was superceded by vinyl side flaps of awnings. The most common placement and other synthetic textiles. For various reasons of a shop proprietor S business name or service was on particularly its reflectivity and texture--vinyli is the valance hanging down from the awning edge. The generally an unsuitable material for awnings on historic front valance provideda flat surface visible whether the buildings. Many historic review commissions note the awning was retracted against the building wall or fully inappropriateness: of vinyl in their guidelines and call extended (Fig. 25). Many establishments, however, left for the use of canvas, canvas blends, or acrylics that their awnings unadorned without any lettering. resemble canvas. Figure: 22. Thoriindnemcwigs: today matcrmehat vould Figure 23. This postzear ahminm aming does not contribute to hate mppeared it the 19tirontury Thej fabric isslightly loose thec caracter of this 191 contuy residence and could be replaced on the frames, the aulances hans frecly, odrindore bay hasils during a rchabilitation projct with a fabric shed mening more m pun mening.an! lhe enig framess we set within heopenhgs keeping teith the building age and appearance. Phato: Mike Jackson. 13 0B - AR Suei I Figire 24. This anns tendangacross Mich of hhe bilding 15 pcompatible in shapes. ors srenten concern, horeetes 5 tat is size holly overshadous tite modest histonc buillinghehnt. - Figune 26. Tles &hz l hos gidy stripes flat decorate these porcravsings complemest finmatching sinutters andbrick faoude ER MEK designs embellished building facades like a necktieor scart doesasuit. Thexibrancy they lent tocity streets and neighborhoods is part of the history of these environments and smiilar resuits can be achieved today as well. Awning and C anopy Regulation Becauses commercial awnings often extend into the public right-of-way munici ipal building departments usually regulate their Ises Regulations specify construction typematerials and dimensions of framing Figune 25, Approprinel letterins as on this roller monins Datlance, members, the useot llame-retardant fabrics), minimum an faction as distiche signage zithout detractnss fromi te above thesidewaik (usually between seven and Aistoric cuaracter of tin buthtig- height tent feet), minimum distance between the projecting edgeand the curb lusually between one and two feet), loday creating large lettered signs on a new awning and maximum projection from the building wall. a Such regulations are meant tos ensurethat awnings are as partofa rehabilitation project requirespeialcan and is not appropriatein. allcases. Used long before securely built, donot posea threat top pedestrians, and any local signage control, historic 3 examples of such lettering often reflected the characterofar district. & with more upscale retailareas, for example, being more reserved than Awnings - Es wholesale districts. Contemporary Se awning lettering can add visual C - t 5 a - - interest and commercial identity but should be designed in keeping with & - a oriss 5 s - e a Fnk - - e At a - 1 the historic charac ter of a building MERS - e als - My - s - - de and its historic district. - als 17A - - e s % * - Color. As in the past. variety in - L 3 awning color is an appropriate sign : characteristic when reintroducing Ens is - awningsinhistoric districts. Has Sincethe 19th century, awnings havefeatured a range of different a s stripe patternsand an extensive color palette (Fig, 26). These Figoe - Bonillastene distrct sompisstos ami rignhorhnes Timprotmet! asseciations often lively, even whimsic al, publish AeMKuNce un fherr recbsites. Tagat Riyon Man Street, Ic 14 arenot ati risk Tnmwilwlpaualima Letterig, color and the relationship to adjacent tawning designs Awnings and the Sun may: alsobesubject tol building department review. and approval. Although their effectiveness can be affected by many factors including location, climate, Awning work on buillingslocated in historic districts window size, and glass type, the energy efficiency willlikely bereviewed by a historic districtcommission advantages of awnings are clear, According to the (HIDC). HDCS may also review grant applications Department of Energy, awnings can reduce heat mimmmendappoaw for facadei improvement gain up to 65% in south facing windows and up programs, wheresuchprograms areinplace. Though to 77% on windows facing east. Awnings reduce commissionslook at projectson a case-by-casehasis. stress on existing air conditioning systems, and manyh haveestablished guidelines that address general make it possiblet to install new HVAC: systems issuesand localconcems relating to awnings and with smaller capacity, thus saving purchasing and canopies(Fig. 27). Often, local design guidelines are operating costs. Air conditioners need to work less modeled upon The Secretary ot the Interior S: Standards hard, less often. When used with air conditioners, and Guidelines for Rehabilitating Historic Buildings awnings canlower the cost of cooling a building These standards set forth princi iples meant toensure by up to 25%. that new elements are. addeisensitively. donotdamage historic fabric, anda arecompatibles with thes historc Awnings offer a number of benefits to owners of character of thebuilding. historic buildings. Awnings can make unnecessary a host of other alterations made to buildings in Summary the name of energy efficiency. Awnings provide nearly comparable glare reduction and reduced kealfevlorbuling teature that aresubjectedio heat-gain as tinted windows or window films, snow, rain,sunlight, wind, and; pollution-suemmgs yet are, in keeping with the historic appearance need regular attention. Coveredeven with modern of a building facade. They help protect historic materials, theyn require maintenance, repairand windows and storefronts, and allow windows to eventually replacement. Awninys areoften the arst remain open, and cool air to circulate, even during leaturetobealtened whenhistoric buildings change inclement weather. In warm climates, they reduce owners or uses. They oftenbavea significant role in thenead to replace existing windows with new contributing to the historic character of a building. IE 15 inssalating glass units for the purpose of energy important that owners, architects, engineers, historians, corservation. and others consider this when planning work on a historic building. 9 1553 11 - IW 11 MAAA Awuings tocrereinstalled O1 the east, west, and south weindows of the Florida State Capitol in the 1980s With a design based on those seen in historic photograps oft the bulding thene awnings allowed a downsizing ofthe HVAC systen by 25 lons. After installation, the exposed glass surface in a typical firs! floor office accountedfor only 46% of te required cooling load, doun from 72% Photo: Division of Historical Resources, Florida Department of State. 15 Selected Bibliography umerican Socety of Heating Refrigerating ani M Morenberg. Steves Mymings Through the Ages, conditioning Engns Eandhook Chapter 30: Iniustrual Fabric Pivins Renvete, September 1993 benestration, Atlanta: ASHRAE, 2001. US. Departmenterlneyse Cooling Your Home Naturally, Candien Ernest amgsand Tenis: Cmstrictonat Officeof Energy Eucency and Renewable Energy Destgn, New York: EmesiChandler, 1914 Facsheet.DOE CHI93:221, October 1994. Fusionof Oldand New," Fabrie wfArdtectirs WhiteA Anthonyt Bonges CaepemfMINPwA September October 1994. 12-45. Sclect ded Bibliagnapi, Vance - Bibliographies, Architecture Series: Bibliography FA. 1986. Muckenfuss, Laura A. and Pisher, Charlesk., Preseration Teck Neto. Windows Number7. Wandow Awnings" Washington, D.C National Park Service, L.S. Department ot the Interion andGeorgia Institutesot lechnology, 1984. Awnings Back inStyle" Thadifional Bulding Janmary February 1997,76. Acknowledgements Chad Randl isan Archite hrallistorian with Technicall Preservation Services, Herilae MeSwPee National Center for Cultural Resources, National Park Service, m Washington, DG. Theauthor wishes to thank the following for theirs assistance in the preparation and revess 1 this brief. scott Massey of Awning Cleaning Industries; Walterl. Conine of John Boyle & Company Inc lacobLLuker of Muskegon Awning: Steve Morenberyg of Reeves Brothers, Inc; Karen Musech of the Industriallabrie ssociation! Intemnational; Robert Montgomery of Montgomery Shade & Awning Lid., Michelle Capek of thes Astrup Conpany BruceN. Wright ot Fabric Anitectune: LincolnH. Christensen otAnchor Industries, Inc, Mike Jackson, FAIA,ofthe Inois Historic Preservation. Agency, Stephen Stowellot theLowell Historic Board: ands Sharon C. Park, FAIA, Michaelj. Auer KavD. Weeks, AnneGrimmer, Lauren Vanl Damme,a andCharlesE Fisher of Heritage P'reservation' Services. National Park Sessies Frontcover images Anchor Industries, Inc Thispublication hasbeen preparedpursuant to the NationallHistoric PreservationAd. asamended, which directs the Secretary of thel Interior todevelop and makeavailable information concerning historic properties. ommentsabout this publication should bex directed lorCharleslHaher, lechnical Publications Program Manages Technicall I'eservation Services, National Park service, 1849C Street. NW, 3255, Washington, DC 20240. www.cmpsgow hps/tpss Thspubhaation is not copyrighted and canbes reproduced without penalty: Normal procedures forcredit to the author and the NationalPark Servioe areappreciated. Lnless otherwise indicated, photographs areby the author Excepting the author's photos thephotographs used in this publication may uthwuwalhelasrane other publications 5M ithout PmwtIwws 155N:0885-706 Us.Gioyernment Printing Oftices 2004 124-005-01222-2 April 2005 6 TEXAS HISTORICAL COMMISSION STREETSCAPE GUIDELINES FOR HISTORIC COMMERCIAL DISTRICTS When street and sidewalk improvement projects receive federal funding and oversight, federal agencies or communities must consult with the Texas Historical Commission (THC) in accordance with Section 106 of the National Historic Preservation Act. Examples of commonly funded federal programs for streetscape projects in Texas include the Texas Capital Fund (U.S. Department of Housing and Urban Development funding administered by the Texas Department of Agriculture) and the Statewide Transportation Enhancement Program (Federal Highway Administration funding administered by the Texas Department ofTransportation). Section 106 requires consideration of the potential effects of a project on historic properties. If your project area is identified as including historic properties in consultation with the THC, continued close coordination with the THC regarding the design of your project will be a key element for success. Successful projects tailor design solutions to preserve the history and character of an individual community. The THC's goal in guiding a project 1s to preserve significant elements and introduce new features that are compatible with the historic character ofa community, not to freeze the appearance of a streetscape in time or restore it to a particular period. As each community in Texas is unique, the design of each project should be tailored to respond to the history and needs of that specific community. In addition, community input and the creativity of your design professional are important components of the design process, and in many cases more than one option can offer a preservation- oriented solution. The THC, therefore, does not set strict rules, but instead assists design decisions, basing its review on the Secretary of the Interior's Standards for Rebabilitation. These 10standards, developed by the National Park Service for projects that require sensitive treatment of historic properties while allowing for their modification to meet continued or changed uses, are as follows (italicized sections represent the THC's interpretation of these standards for streetscape projects): 1. A property shall be used forits historic purpose or be placed in a new use that requires minimal change to the defining characteristics of the building and its site and environment. Support the HSE and preservation of the area's historic buildings and streetscape features. Allon the bistoric setting, buman activity, individual businesses, and special events to provide the cultural stimulus and revitalization. 2. The historic character of a property shall be retained and preserved. The removal of historic materials or alteration of features and spaces that characterize a property shall be avoided. Identif bistoric streetscape features in your praject area and plan for their preservation. 3. Each property shall be recognized as a physical record of its time, place, and use. Changes that create a false sense of historical development, such as adding conjectural features or architectural elements from other buildings, shall not be undertaken. Study the bistoric appearance ofyour streetscape and avoid adding elements from otber communities that vere not bistorically present in yours. 4. Most properties change over time; those changes that have acquired historic significance in their own right shall be retained and preserved. Onderstand the period witbin wbich important events and growth occurred in your bistoric donntonn. Respect the character ofbuildings and elements added during thbat period of significance. 5. Distinctive features, finishes, and construction techniques or examples of craftsmanship that characterize a historic property shall be preserved. Protect significant bistoric shreetscape) features and incorporate them into your project. Protect adjacent bistoric buildings from damage during construction. 6. Deteriorated historic features shall be repaired rather than replaced. Where the severity of deterioration requires replacement of a distinctive feature, the new feature shall match the old in design, color, texture, and other visual qualities and, where possible, materials. Replacement of missing features shall be substantiated by documentary, physical, or pictorial evidence. 7. Chemical or physical treatments, such as sandblasting, that cause damage to historic materials shall not be used. The surface cleaning of structures, ifa appropriate, shall be undertaken using the gentlest means possible. 8. Significant archeological resources affected by a project shall be protected and preserved. If such resources must be disturbed, mitigation measures shall be undertaken, 9. New additions, exterior alterations, or related new construction shall not destroy historic materials that characterize the property. The new work shall be differentiated from the old and shall be compatible with the Streetscape Guidelines for Historic Commercial Districts 2 massing, size, scale, and architectural features to protect the historic integrity of the property and its environment. Design MeNV elements, sucb as ramps for accessibility, to be in keeping witb the historic character of the sheefscape but distinglisbable as modern additions. Respect the existing character of the project ared. Avoid tbe HIge to oerdesign and recogize that new features should be secondar, smpporting elements. 10. New additions and adjacent or related new construction shall be undertaken in such a manner that if removed in the future, the essential form and integrity of the historic property and its environment would be unimpaired. Guidelines for the design and treatment of sidewalks and streets, accessibility, corner extensions, trees and vegetation, historic canopies and awnings, street furniture, street lights, artwork and decoration, and historic buildings are listed below to assist you in the application of the Standards to streetscape projects. THC staff can provide additional assistance regarding how to interpret this guidance in the context ofy your project and historic commercial district. Please do not hesitate to contact us with questions. The THC encourages you to consult and incorporate these guidelines as early as possible, ideally before public meetings are held to discuss the scope and nature of the streetscape project. Material may be submitted to the THC for preliminary review early in the design process to ensure that the proposed work is in keeping with the Standards. To complete the Section 106 process, construction documents nearing finalization must be submitted for' THC review. Ifthe proposed work meets the Standards, a determination of "no adverse effect to historic properties" will conclude the review process and the project may proceed without further consultation; however, any changes made following this determination must be submitted for review. Please see our website at htpl/mavhestEasL cr/crmdefauitshtm! for additional information on the Section 106 process and what to submit for a project review. The project must be coordinated separately with other state agencies with regulatory authority. SIDEWALKS AND STREETS Identify historic features of the sidewalks and streets, such as high or stepped curbs, stone or brick curbs, stamped concrete in the sidewalks, historic manhole covers, mosaic tile street names, tiled store entries, trolley tracks, and brick streets. When these clements contribute to the distinctive character of your historic downtown, preserve them in place whenever possible. Repair damaged brick streets if necessary and perform selective, in-kind replacement with matching brick for areas damaged beyond repair. Likewise, repair historic sidewalks Or consider replacing them with like material if damaged beyond repair. If sidewalk replacement is necessary, the preferred option is to use either the same material as currently exists or a material used in the location historically, based on adequate documentation. Unless documentation shows historic brick sidewalks, accepted preservation practice discourages the introduction ofbrick or modern pavers to sidewalks as it can create a false sense ofhistorical development oft the community. However, the use of removable concrete panels or pavers for ease of access to in-ground utility boxes or channels is acceptable, when the color of the pavers is similar to or matching the existing sidewalk. Similarly, pavers may be used to distinguish pedestrian zones in areas where there are multiple curb cuts or no curb separating the sidewalk from the street. Avoid pavers that are brightly colored, multicolored, placed in decorative patterns, or inscribed with donors' names, because they can be distracting from the historic character of a commercial district. Ifyous wish to introduce variety to concrete sidewalks, vary the texture by the use of a simple trowel or broom finish. Elaborate paving patterns, multiple colors, and different materials distract users and are generally not compatible with the character of historic streetscapes. However, where a variety ofhistoric materials contribute to the varied character of the historic streetscape, these materials should be preserved. ACCESSIBILITY The THC: supports efforts to make historic commercial districts accessible by bringing sidewalks into compliance with Texas Accessibility Standards (TAS) and the Americans with Disabilities Act (ADA) Accessibility Guidelines. However, an effort should be made to balance new features, such as ramps and handrails, with the historic character of the commercial district. Retain historic high curbs with the addition of new steps and accessible ramps in a compatible material. Where Streetscape Guidelines for Historic Commercial Districts 3 possible, install these features on side streets to better preserve the main street's historic appearance. Railings may be necessary at ramps or along sidewalks to meet current accessibility and safety requirements. Select railings that are simple in design and as unobtrusive as possible sO as not to block views or distract from the historic storefronts. CORNER EXTENSIONS Corner extensions (expansion of the sidewalk into the parking lane at street corners, also known as bump-outs or aprons) are sometimes necessary when sidewalks are too narrow or have too high an elevation for other solutions, for the control of vehicle traffic and parking, or for the provision of pedestrian safety. However, when not carefully considered, these new elements can dramatically change the character of a block or district. When corner extensions are planned, either minimize their size as much as possible and use materials that are compatible in color and texture with the historic sidewalk, or allow these spaces to be the foci for introducing new elements such as light poles, planters, trees, and benches. TREES AND VEGETATION Historically, trees and vegetation were primarily planted on residential streets and around civic buildings like courthouses, post offices, and libraries. In commercial districts, canopies and awnings (see below) were the most common method of providing shade to sidewalks. Historic documentation, such as photographs of the downtown area, should inform your decisions about whether to plant trees in your commercial district. New plantings reduce can visibility to storefronts and signs, block future restoration of canopies, and obscure street lighting. When introducing trees, plant them on side streets with no or limited storefronts, in corner extensions, or in specific spaces such as pocket parks, vacant lots, parking lots, and blocks with non-historic buildings. Vegetation should be low in profile SO as not to block historic features of buildings and districts. Take into account necessary periodic maintenance of proposed trees and other plantings, their likelihood of survival in a heavily paved area, and potential future damage to paving from root growth. HISTORIC CANOPIES AND AWNINGS Historically, canopies (projecting roof structures) and awnings (lightweight shade structures, often fabric stretched over a frame) sheltered entrances to businesses and shaded sidewalks in commercial districts. In some cases, these elements are no longer extant or have been modified over time. Although enhancement projects may not include repair or reconstruction, protect support poles for canopies or balconies during construction (see "Protection of Historic Features during Construction" below). In addition, do not introduce new elements to the streetscape that will inhibit future restoration of historic canopies and awnings by building owners. STREET FURNITURE Identify and protect historic street signs, planters or historic plantings, hitching rings, benches, and other historic street furniture and preserve these elements in their original locations. Concentrate new street furniture, such as benches, planters, and trash receptacles, at corners. Only include furniture where sidewalks are wide enough to accommodate these elements. Select furniture based on a local historic design, or introduce a simple, modern design that is compatible in scale, style, color, and texture with surrounding significant historic features. Do not introduce historic designs from other locations as this will present a false sense of local history. Choose muted colors for modern elements to avoid distracting attention from the historic features of the buildings and streetscape. Do not permanently fix new street furniture to historic features. Instead, connect furniture through pavement joints, with chains to stationary objects, or other reversible methods. STREET LIGHTS Protect and incorporate existing historic lighting into the streetscape design where possible. Ifhistoric street lights are no longer extant, choose new fixtures that match the historic as closely as possible. Some manufacturers continue to produce historic designs. However, if a commercial district did not have street Streetscape Guidelines for Historic Commercial Districts 4 lights during the historic period or if the community does not wish to replicate the historic lights, choose new street lighting that is a modern design but compatible in scale, appearance, and color with the character of the downtown. Do not select historic designs from other locations as this would create a false sense of historical development. ARTWORK AND DECORATION Retain and preserve historic artwork such as murals and sculpture. Carefully consider proposed new decorative features for their compatibility with the historic district or buildings, and whether their design and construction are likely to stand the test of time. Plan for staff time, training, and funding for periodic maintenance of proposed new features. Consider limiting the number of new decorative features in an effort to retain the historic character of the area. Seasonal enhancements and decorations are generally acceptable, provided they do not damage historic fabric. Attach festive lighting and decorations to non-historic surfaces. PROTECTION OF HISTORIC FEATURES DURING CONSTRUCTION Historic features, such as buildings, fences, and canopies, should be protected from damage during sidewalk demolition and construction. At the request of the THC, the Texas Department ofTransportation has produced standard protection notes, below. Insert these, or similar protection notes, in construction documents: PROTECTION NOTES FOR THE REMOVAL OF EXISTING PAVEMENT, CURB OR SIDEWALK AND CONSTRUCTION OF NEW PAVEMENT, CURB OR SIDEWALK ADJACENT TO HISTORIC BUILDINGS, CANOPIES, MATERIALS, FENCES, AND RETAINING WALLS Where proposed work is in proximity to historic buildings or other structures (walls, canopies, retaining walls, fences), and planting beds, and egetation/groundcover, follow the procedures listed below for demolition, protection, and construction at these addresses: In the city of at. (ist addresses): 1. To minimize potential damage to historic structures and materials, contractor to saw cut existing sidewalk 8 to 12 inches away from thel historic structure, canopy supports, fence, or retaining wall. 2. Contractor to construct new sidewalk next to the saw cut edge with installation of expansion joint in between. Ifexisting sidewalk is to be removed entirely, the remaining 8 to 12 inches next to the historic structure, canopy supports, material, fence, or retaining wall will be removed by hand. Expansion joint to be placed between historic structure, canopy support, material, fence, or retaining wall and new sidewalk, 3. Contractor: is responsible for preventing damage to historic structure, canopy supports and their awning, materials, fences, retaining walls, including garden elements (planting beds, plantings) during the entire construction project, especially during removal of existing pavement, curb, or sidewalk. During the saw cut and hand removal process, contractor will exercise utmost caution and will physically protect historic structure foundation, canopy supports, materials, elevations, entryways with decorative flooring, fences, retaining walls, and landscape elements. 4. Contractor to repair or replace in kind, at his own expense, any historic materials damaged in the course of executing the work. Contractor is responsible for locating replacement source for historic materials damaged in the course of the work. Texas Historical Commission to be informed of damage and proposed repairs prior to execution of repair work. CONCLUSION Providing a safe and pleasant streetscape environment is important but does not require the loss of historic context. Streetscape modifications can be accomplished while being sensitive to and enhancing local historic resources. Early and consistent consultation is the most effective way to assist the THC in providing a smooth and efficient review. Designs may need to be revised in order to comply with preservation standards--please do not wait until the construction documents are completed to involve the THC. (Updated 2011.) Texas Historical Commission PO. Box 12276 Austin, TX78711-2276 512.463.6100 TEXAS HISTORIÇAL COMMISSION fax 512.475.4872 real places relling real stories thc@thc.stare.tx.us www.thcstate.t.s