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CC RES 94-098
RESOLUTION NO. 94-98 2 A RESOLUTION OF THE CITY COUNCIL OF THE CITY OF TUSTIN, CALIFORNIA, ESTABLISHING RESIDENTIAL DESIGN 3 GUIDELINES FOR THE CULTURAL RESOURCES DISTRICT 4 The City Council of the City of Tustin does hereby resolve as follows: 5 I. The City Council finds and determines as follows: 6 A. Section 9252 0) of the Tustin City Code adopted by City Council in 1988 provides that the City Council may establish and adopt by Resolution, design criteria and standards 7 for properties in the Cultural Resources District of Tustin. 8 B. The development of Residential Design Guidelines were recommended by the Cultural Resources Advisory Committee in order to promote the preservation, protection and 9 enhancement of the historic character of structures within the Cultural Resources District. 10 C. The Residential Design Guidelines provide a comprehensive set of design principles and 11 criteria to assist property owners of historically significant homes when making improvements to their property. 12 D. The Planning Division of the Community Development Department is responsible for 13 performing Design Review for any new construction or major exterior alterations or enlargements of existing structures and issuing Certificates of Appropriateness for 14 projects within the Cultural Resources District. 15 E. That certain guidelines are needed to assist the Community Development Department when considering and reviewing Design Reviews and Certificates of Appropriateness 16 for rehabilitation of residences within the Cultural Resources District. 17 II. The City Council hereby approves the Residential Design Guidelines for the Cultural Resources District attached hereto as Exhibit A, as policy guidelines for the Community Development 18 Department's use when approving Certificates of Appropriateness and evaluating proposed improvements to properties in the Cultural Resources District in Old Town Tustin. In addition, 19 the guidelines may be used by property owners to protect and enhance the historic character of their residences. 20 PASSED AND ADOPTED by the City Council of the City of Tustin at a regular meeting held on the 21 /S day of �-c.�. • , 1994. 22 (/ 23 / 24 THOMAS R. SA ARELLI Mayor 25 26 27 MARY WYNN 28 City Clerk IM m City of Tustin RESIDENTIAL DESIGN GUIDELINES 11l1L.1t"Ift11G �✓ .r'1v' •tea r.K'Sa -'fir' s'1.r.,. r SPANISH COLONIAL REVIVAL PERIOD REVIVAL - MOWEREY %—%j LA -A N I I % L, Nr- VIVAL. Vl%—lU1-,Ui1V -uVL'GlV t11V1VC. Y 1\. 1 l Irlal l V - J 114i\ CULTURAL RESOURCE DISTRICT i. City of Tustin RESIDENTIAL DESIGN GUIDELINES for the CULTURAL RESOURCES DISTRICT Public Hearing Draft - July 1994 - Prepared by: URBAN DESIGN STUDIO 27132-A Paseo Espada, Suite #425 San Juan Capistrano, California 92675 (714) 489-8131 TABLE OF CONTENTS INTRODUCTION Purpose And Intent Of The Guidelines ............................................... 1 When Are The Design Guidelines Applied ............................................ 2 Procedures For Obtaining A Certificate Of Appropriateness ............................... 4 Preliminary Review Of Projects ..................................................... 4 Organization And Contents Of The Design Guidelines ................................... 5 TUSTIN'S HISTORIC RESIDENTIAL ARCHITECTURAL STYLES Victorian - Stick................................................................. 8 Victorian - Queen Anne ......................................................... 10 Greek Revival .......................................... 12 Italianate................................................................... 14 Colonial Revival............................................................... 16 Craftsman Bungalow............................................................ 18 California Bungalow............................................................ 20 Spanish Colonial Revival......................................................... 22 Period Revival................................................................. 24 RESIDENTIAL DESIGN GUIDELINES INTRODUCTION Summary................................................................... 27 GeneralCriteria................................................................ 28 What Is "Architecturally Significant?" ............................................... 29 PRESERVATION AND REHABILITATION GUIDELINES General Rehabilitation Principles 31 ................................................... 32 Foundations.................................................................. WoodSiding.................................................................. 33 Shingles And Shake Siding.......................................................35 36 BrickMasonry................................................................. ExteriorPlaster 38 ................................................................ PorchesAnd Stairs .............................................................39 41 Windows..................................................................... Doors.......................................................................44 Ornamentation/Trim ............................................................46 Roofs........................................................................ 48 Gutters, Downspouts And Vents...................................................50 50 Flashing..................................................................... PaintColors..................................................................51 Solar Energy Systems...........................................................54 Fireplaces And Chimneys........................................................55 WindowAwnings..............................................................57 Screen Mechanical Equipment.....................................................58 I -louse Address Numbers........................................................ 59 ADDITIONS AND NEW ACCESSORY BUILDINGS Site Plan Considerations......................................................... 61 Architectural Compatibility....................................................... 62 Scale And Mass Compatibility..................................................... 63 ' � ADDITIONS AND NEW ACCESSORY D3UILD0NGS�� '---'-~^^~~~�^v _ 7�mn����r� _'~~^ Pitch Consistency Second Story Setbacks , , , , , , ` ` ` ^ ^ ` ^ ` ^ ` ^ ^ ` ^ ^ ^ ^ . . . . . ^ ^ ` ` ^ , . , , . , , . , , , , , , 64 Compatibility ��f Materials ` ^ ` ^ ^ ^ ^ ^ ` ` ^ ^ ` ^ ^ ^ ^ ^ ` ` ` ^ ^ ` , . . . ` ^ ^ ^ ^ ` ` ^ �� ��� ' _- ' . . . . , . , , . . , . , . -- ^~°�ZG . ` ^ ` ` ` ` ^ ` ^ ^ ` ^ ^ ` ` ^ ^ ^ ^ ^ ^ ^ ` ^ ^ ^ ^ . . . . , . ` ^ ` ` ` ` ` ` ^ ^ ^ ^ ^ ^ ^ ^ 6� Windows^ ^ ^ ` ^ ^ ^ ` ^ ^ ^ ^ ` ` ` , . . . , , , - m . , ` , ` ^ ` ` ^ ^ ` ^ ` ^ ^ ^ ^ ^ ` ` ^ ` ` ^ ^ ^ ^ ^ ^ , , . . . . ` ^ ^ ` ^ ^ ^ ^ ^ ` ^ ` ^ 65 Accessory ��[r��Ct��re8 , , , , , , , , , , , , , , , ^ ` ^ ^ ^ ^ ^ ^ ` ` ^ ^ ` ^ ` ` ^ ^ ` ` , , , . . . . , , , , 65 Garage, , , , , , , ^ , ` ^ ^ ^ ` ^ ` ^ ^ ` ` ` ` ` ^ ^ ` ^�^ ^ . . . , . , , , , , , , , , , , ^ , , , 66 '''.,.....,..,......,,.,.,,,,,,,,,,,,,.. 66 NEW INFILL DEVELOPMENT c��2 X��»%Y ��x"�������. ~~ ^°° Considerations . ^ ^ ^ ` ^ ArchitecturalConsiderations ` ` ^ ^ ` ` ` ^ ` ^ ^ ' ^ ^ ^ ^ ` ^ ` ` ` ` ^ ` ` , , , . , ` ^ ^ ` ` ` , , , , , . . . , ^ , . , , , A� -, . , , , . , , , , , , . . . , , , , , . , , -' ,,.,,.,,,.,......,,,.......,..^ 68 KAND�����y��� � �����^`^� Intent t Before Begin You , , _ , , ` ^ ^ ` ^ ` ` ` ^ ^ ` ^ ^ ` ` ` ^ ^ ` ` ` ^ ` ^ ` ^ ` ^ . , . . , , , , , , , , , .71 , , , , , , � Or �m X^«��%3��" ~^^ ^^,�����l�U , , , , , , ` ` ^ ^ ^ ` ` ` ^ ` ` ` ` ` ` ` ` ` ^ ` ` ` ^ ^ . . . , , , , , , , , , , ^ . ,71 , , , , Basic Landscaping Principles ` ` ^ ` ` ^ ` ^ ^ ^ ` ` ` ` ^ ` ` ` ` ^ . , . . . . . , , ^ 71 Fences /&'�d Walls . . , .�.^ ^ ` ` ^ ` ^ ^ ` ` ^ ^ ^ ` ^ ` ^ ` ^ ` ` ` ` ^ ` ` . . , . , , ^ ^ ` ` ` ' ` ` ` ^ ^ ` ` ` ` ` ^ ` ` ^ ^ ^ 72 L�rl�/8�/a�/G , , . . , . . ^^```^^^ ^ ^ ` ^ ^ ` ` ` ^ ^ ` ^ ` ^ ^ ` ^ ^ ` ^ ` ^ ^ ` ` ^ ` ^ . , . , ^ . . . 73 . ^ , . , . , , , , , . ��=ll'��ay8 , . ^ ^ ` ` . , , ^ ' ^ ^ ` ^ ^ ^ ^ ^ ` ` ^ ` . . . . ` ^ ^ ` ` ` ` ` ` ` ` ^ ` ^ ^ , . . . , , ^ 76 ` ` ^ ' ` ^ ^ ^ ^ ^ ^ ` ^ Mailboxes^ , ^ ` ` ' ` ^ ` ^ ^ ^ ` ^ ` ' ` ` ` ` ^ ` ` ` ` . . . , . , , , , , , , , , , , , , ^ , , , , , ^ , 77 , , , , , , , , , , ^ , , , , , , Security y�'Y'��]0 -----^.�^ Lighting . . , , . , , ^ . , , , ' ` ^ ` ^ ` ^ ^ ^ ` ` ` ^ ` ` ` ^ ^ , . . . . , ^ ^ ` ` ^ ` ^ ^~ ` ` ` ^ , . ^ , , , . . . �� .° L��C�������e � i1�l`t`D�Z . . , , , , ` ` ` ^ ^ ` ^ ` ^ ` ` ^ ^ ^ ` ` ` ` ` ` ' ^ 78 , , , , . . . . . . . , . ^ ^ , , , ',,.,..,,,...,,.,,,..,...,.,,,,,,^.., 79 APPENDICES: Appendix A: Appendix B: Appendix C: Appendix D: Appendix E: Appendix F: Appendix G: Glossary of Terms Technical "How To" Information Design Professionals and Contractors Home Repair Checklist City Approval Process Secretary of Interior's Standards for the Treatment of I-listoric Properties Helpful Books and Reports INTRODUCTION Purpose and Intent of the Guidelines The City Council has declared as a matter of public policy that, "the recognition, preservation, protection and use of culturally significant structures, natural features, sites and neighborhoods within the City of Tustin is required in the interest of the health, safety, prosperity, social and cultural enrichment and general welfare of City residents." To ensure the maintenance and enhancement of Tustin's Old Town area and the existing single family zoning within the area, the City Council approved Ordinance No. 1001 on June 20, 1988, adopting the Cultural Resources Overlay District. In adopting the Overlay District, the council appointed a Cultural Resources Advisory Committee consisting of citizens who reside in file City and within the Cultural Resources Overlay District. An objective of the committee was to act as a resource to assist in preparing informational guidelines for property owners interested in renovation of their homes. In addition, the City has received "Certified Local Government" (CLG) status in recognition of its efforts in historic preservation. The CLG program was established by the National Historic Preservation Act to provide financial and technical assistance for the preservation of significant cultural resources. A local government can participate directly in this program when the State Historic Preservation Officer certifies (fiat the local government has established its own historic preservation commission and a program meeting Federal and State standards. The primary goal of these residential Design Guidelines is to promote the City's goals to preserve, protect and enhance the existing historic character and culturally significant structures within the Cultural Resources District. The Design Guidelines are intended to assist property owners and their architects in understanding the City's goals for the preservation of historically significant neighbor- hoods and structures and to provide basic design principles for achieving quality development compatible with the character of the Cultural Resources District. This document will also be useful to persons who do not own a historically significant structure but would like to have some basic information on home repair and maintenance. The guidelines on preservation and rehabilitation will be useful, along with information in the Appendix related to home repair and maintenance (i.e. technical "How To" information, how to work with design professionals and contractors and the home repair checklist.) A glossary of terms is also provided in the Appendix. These Design Guidelines provide a comprehensive set of design Principles and criteria (flat will: NTRODUCTION 1) Guide the preservation and rehabilitation of designated cultural resources; 2) Promote the compatibility of new infill residential structures within the Cultural Resources District; and 3) Promote the compatibility of front yard landscaping and other improvements with the character of the Cultural Resources District. The Design Guidelines are intended to serve as a "yardstick" against which to measure proposed projects. The guidelines are not intended to be strict development standards as are found in the Zoning Ordinance. Therefore, they may be interpreted by the City with some flexibility when applied to specific projects. It is recognized that not all design principles or criteria may be workable or appropriate for each project, but all applicable projects are encouraged to follow the "spirit" of the guidelines to the greatest degree possible. When Are the Design Guidelines Applied? The Design Guidelines apply to all residential projects that are subject to a Certificate of Appropriateness as required by provisions of the City of Tustin Cultural Resources District. Specifically, approval of a Certificate of Appropriateness is required to: Alter the exterior features of a building or site within the designated Cultural Resources District; 2. Alter a Designated Cultural Resource; 3. Construct improvements within a designated Cultural Resources District that require a City building permit; and 4. Demolish or remove any Designated Cultural Resources or any improvements in a Cultural Resources District. 2 A Certificate of Appropriateness is not required for: 1. Ordinary maintenance or repairs that do not involve a change in design, exterior material or original appearance of an improvement; nor 2. Any construction, reconstruction, alteration or removal of any feature which has been determined by the Building Official to be necessary to protect the public health or safety due to an unsafe or dangerous condition provided the Building Official certifies such action. The map to the right indicates the boundaries of the Cultural Resources District. If you are not sure if your property is in the Cultural Resources District you should check with the City of Tustin Community Development Department. Location Map i INTRODUCTION Cultural Resources District Boundary Map - Figure 1. ---� L -J �-f L --..-_J L- 3 'TRODUCTION Procedures for Obtaining a Certificate of Appropriateness The procedures for obtaining a Certificate of Appropriateness are not difficult, but they are necessary in order to ensure consistency in the processing of all applications for alterations of exterior features or construction of improvements within the Cultural Resources District. The City wants to make the approval of your application as easy as possible, while at the same time ensuring that the goals of the District are implemented. Proposed projects that require a Certificate of Appropriateness are reviewed by Community Development Department staff with final approval by the Director (or designee). In rendering a decision the Director may request advice from the Cultural Resources Advisory Committee. Both the Director and the Committee will consult these Design Guidelines and other codes and policies of the City in determining the appropriateness and compatibility of the proposed project. A more complete description of the City's approval process (Certificate of Appropriateness and Design Review) is provided in Appendix E. Cultural Resources Advisory Committee The Cultural Resources Advisory committee acts in an advisory capacity to the City Council, Planning Commission and Community Development Department staff in matters affecting the establishment of a Cultural Resource District, designation of cultural Resources and as liaison between residents, property owners and the City within a Cultural Resource District. The Committee does not exercise any independent final decision-making authority and their actions are not actions of the City. Preliminary Review of Projects Applicants for a Certificate of Appropriateness are encouraged to schedule a preliminary review meeting with Community Development Department staff to discuss their proposed project prior to having plans drawn or buying materials. 4 Design review is required prior to the issuance of any building permit, including new structures or major exterior alteration or enlargement of existing structures, buildings to be relocated and signs to be constructed or modified. The Community Development Director (or designee) may approve site plans, elevations and landscaping for such development. Staff will be able to answer any questions about the review and approval process and to explain how the guidelines will be applied to a particular project. In instances where a proposed project/ improvement does not require the approval of a Certificate of Appropriateness (i.e. painting, fences, landscaping) property owners may request an advisory review of their project. Advisory review is provided to assist property owners in making improvements that will help to preserve and enhance the character of the Cultural Resources District and to avoid actions that may detract from the District. INTRODUCTIM) Organization and Contents of structures, such as garages, �, the Design Guidelines compatible with the character followinpe ix includes the of the existing house. g information: The Design Guidelines are organized A. Glossary f Terms so that property owners, design 3. New Infill Development - This B. Technical "Ho To" professionals, staff and other users section provides guidelines for Information will not have to review tite entire the architectural design and site C. Design Professionals document in order to derive the planning of new residences inContractors and salient guidelines applicable to a the Cultural Resources District. arair particular project. D. HomeRe Checklist The intent of these guidelines is E. City Approval Process to encourage development that F. Secretary of Interior's In order to provide an easy to use is respectful of the existing document, the Design Guidelines are character of the District. Guidelines for Rehabilitation presented in four sections: G. Helpful Books and Reports Landscapi 1. PreservationlRehabilitatiofi 4 deals prima ily With ectiott Guidelines - This section suggestions for front yard provides general rehabilitation landscape design and Principles and specific appropriate plant materials that suggestions that should be can help maintain the character observed whenever any repairs of the Cultural Resources or alterations are contemplated District. This section also to the exterior facade of a provides guidelines for house. appropriate fence types, 2. Additions and Nero Accessory driveways.ailboxes and Buildings - This section provides guidelines for the Finally, the Appendix contains a most appropriate ways to wealth of useful information for expand existing houses anyone using the Design Guidelines including adding a second or contemplating a project within story. This section also the Cultural Resources District. provides design suggestions for how to make new accessory 5 TUSTI .-av0HISTORIC RESIDENTIAL ARCHITECTURAL STYLES TUSTIN'S HISTORIC RESIDENTIAL ARCHITECTURAL .STYLES Prior to the typical post-war tract house developments which now cover most of Southern California, homes were custom built and each expressed a unique character of its own based on the architect's/ builder's interpretation of a particular architectural style that was popular at the time. The amount of architectural refinement and special details that were added to the house further defined its particular architectural style. When we say that a house is a particular "style" we are saying that all of the features of the house - its roofline, porch, ornamentation, hardware, interior spaces, etc. - work together to produce a single image, not just a collection of random parts. It is important to understand the particular architectural style of your house so that informed decisions can be made when it is time to make repairs, renovate or add a new room or accessory building. By understanding how the unique character defining elements of a particular house style combine to create a complete image, you will come to see how changing or deleting what might be considered an insignificant detail can drastically change the character of the house and decrease its architectural value and perhaps its monetary value as well. In July 1990 a Historical Resources Survey Report was completed by the City in order to identify its historic and cultural resources. The survey identified 251 residential structures City-wide that expressed some degree of historic architectural significance. The Cultural Resources District contains 132 of these 251 structures. The list of structures and their ratings is available from the City of Tustin Community Development Department. The Historical Resources Survey Report identified nine residential architectural styles: Victorian - Stick; Queen Anne; Greek Revival; 7 • Italianate; • Colonial Revival; • Craftsman Bungalow; • California Bungalow; • Spanish Colonial Revival; and • Period Revival. These are described in the text and drawings that follow. It should be noted that the list of character defining features for each architectural style provides a list of "typical" features. Each example shown in the drawings may not necessarily contain all of the typical character defining features. Victorian (about 1870 to 1905) Tustin has an impressive collection of Victorian homes. They range in size from cottages to mansions. Victorian is a general category used for all buildings built during the reign of Queen Victoria (1837 to 1901). Because there are examples of four of the Victorian sub -styles existing in Tustin, they are each described in further detail on the following pages. 'STIN'S HISTORIC RESIDENTIAL ARCHITECTUR ' t. STYLES Stick (1870-1905): The Stick style, rare in Southern California, is defined primarily by decorative detailing. The two dimensional design of the Stick decoration was a product of the scroll saw and jigsaw - tools not in wide use prior to the late 1870's. As a result, builders started to again treat wood as wood instead of trying to imitate stonework as they had with Italianate houses. Multi -textured wall surfaces, gable trusses that mimic the structural members of Medieval houses and varied patterns of siding installed in the square or triangular spaces created by the stickwork are all examples of such detailing. The "Vance House," located at 420 West Main Street, is a fine example of Victorian Stick and features the gable trusses, variety of wood shingles in the gables and bands of decorative work representative of this style. ornate Gable Detall Detalt of Porch Bracket 1.1 Typical Gable Trusses King's Post Queen's Post w Design 'STIN'S HISTORIC RESIDENTIAL ARCI it i L—crup�— STYLES Queen Anne (1880-1905): The introduction of the Queen Anne style in the mid -1880's was a marked departure from the more formal and vertical shapes of the Stick and Italianate styles of the time. The Queen Anne house is much more horizontal in its proportions and combines a wide variety of volumes, shapes and textures. Some of the most prominent architectural elements of the Queen Anne style are the steeply -pitched roofs with decorated gables, asymmetrical shape, patterned shingles, slanted bay windows, elaborate porches and towers. Queen Anne buildings possess varied rooflines and facades and are informal in nature. One of Tustin's best examples of this style is the Stevens House at 228 West Main Street. 1 Y 1 ' 1 1 J5L{s�(!t{I! The Stevens House exemplifies the Queen Anne Style with Its combination of elements. 10 Detail Of Porch Bracket Y Hyll``+�rr���r�r��. Lilt ���'!•'� QUEEN ANNE TUSTIN)riSTORIC RESIDENTIAL ARCHITECTURAL STYLt,_J Character Defining Features • 2 stories • more horizontal than Stick or Italianate • asymmetrical shapes • variety of volumes and textures (asymmetrical appearance) • clapboard siding minent front porches ply -pitched roofs -hed, ornate gables ited bay windows !ssed upstairs balconies ,ers and turrets amental brackets and spindles 11 540 West Third Street 'USTIN'S HISTORIC RESIDENTIAL ARCHITECTT L STYLES Greek Revival (1870-1905): Greek Revival buildings in other parts of the United States usually pre -date the Victorian era. However, in Southern California this style of home was in vogue during the early years of the Victorian period. The Greek Revival style is typically characterized as low-pitched gable (sometimes hipped) roof, pedimented gable, wood siding with corner boards, porches with non -fluted columns and elongated six -over -six double hung windows. There are no "pure" examples of the Greek Revival style in Tustin; however, parts of the house at 265 Pacific feature elements of the style. The six -over -six windows with boxed frames, enclosed eaves, basic volume and shape and corner boards are all Greek Revival elements. The shingled gable and front porch column details are actually from the Queen Anne style. Pedlmenled Window Hood Pedlmenled Gable 12 GREEK REVIVAL TUSTIN�b,-AISTORIC RESIDENTIAL ARCHITECTURAL STYLLb Character Definine Features • 1 or 2 story • gable roof (sometimes hipped) • pedimented gables • shiplap siding with corner boards • non -fluted porch columns • double hung windows with 6 windowpanes each 265 Pacific Street 13 �`USTIN'S HISTORIC RESIDENTIAL ARCHITECTU' L STYLES Italianate (1875-1890): The Italianate style is a California adaption of stone houses built in Italy in the seventeenth century. The quoins at the corners of the building are wooden replicas of the original stone reinforcements. Other elements such as column capitals, cornices, brackets and decorative panels were carved from wood to resemble items that would have been sculpted from stone. Tustin has a number of Italianate residences. They were built by prosperous early pioneers between 1875 and 1889. Elegant, tall and formal in style, Italianate houses featured shiplap siding, tall narrow windows placed in vertical courses and 2 story square or projecting bays. Attention was brought to the low profile roofline through the use of enclosed eaves, ornamental brackets, elaborate cornices and molding -trimmed panels. Windows were often paired and trimmed with decorative molding. There are a handful of these houses in Tustin which feature the arched window cornices introduced during the Itafianate period. They are very rare in Southern California. Decorative Bracket and Cornice Detail µ.,.,,.:;',.ii ie. i�S t;'t�+a-`�M�{-'��i ,L Kh • �.� a r� i+?`.p�i� �:. � ��•'=� A �'i:: --- f Typical Arched window Tops 14 BRACKET (KNEE BRACE 0 Quoins On The Corner Of A building ITALIANATE 44 o TUSTI14" ISTORIC RESIDENTIAL ARCHITECTURAL STYLL-nr) 15 Character Defining Features • 1 or 2 story • low -pitch hipped roof • wide flat siding • square or slanted bay windows • tall, narrow windows often paired • arched window hood mouldings (moldings) • enclosed eaves • ornamental roof brackets • turned porch columns 16 630 West Maui Street 'JSTIN'S HISTORIC RESIDENTIAL ARCHITECTUSTYLES Colonial Revival (about 1900 to 1910) The Colonial Revival style arrived in California soon after the turn of the century. In a rebellion against the excesses of the Queen Anne era, the well -ordered classical form seen in the homes of our New England forefathers, colonial architecture once again became popular. There was the patriotic belief that this was America's own style of architecture. Porticos, slender columns, restrained capitals and classical Greek moldings began to appear. Narrow clapboard siding was almost always used to cover the exteriors. llowever, the slanted bay window, decorative shingles and wrap- around porches from the Queen Anne era also continued to be used, creating a union of the two styles. Tustin has relatively few Colonial Revival houses in comparison to Santa Ana and Anaheim. A rare gambrel -roofed version, called a Dutch Colonial Revival, is located at 345 West Main Street. I¢ i J1. "►1'11��A�IrK^'�-1�..i. .yfi ,."�i,►-•L` - �-'t':�+-.+ Symmetrical Design With Pedimontod Porch Pedimented Porch Delall 16 Gable With Wide Cornice Tdm And Return COLONIAL REVIVAL t TUSTIi4' 11STORIC RESIDENTIAL ARCHITECTURAL STYLES Character Defining Features • 1 or 2 story • gable or hipped roof • symmetrical facades • narrow clapboard siding • Greek and Roman architectural details Ja boards ormer (central) prominent porch, ?s with pediment r rounded columns with 1pitals lar, three-part windows 17 450 West Third Street USTIN'S HISTORIC RESIDENTIAL ARCHITEca T. STYLES Craftsman Bungalow (about 1910 to 1925) Tustin has many fine Craftsman Bungalows, located along Main Street and throughout the remainder of the Cultural Resources District. The Craftsman Bungalow represented a philosophy of life which featured honesty, integrity and a return to nature. Natural woods, shingles, earth colors, brick, stone, river rock, clinker brick and heavy structural beams signified a oneness with nature. The rocks and bricks were often used on foundations, chimneys, foundations and railings to set a unifying theme for the home. Oriental, Tudor and Swiss - influenced bungalows lent a variety of architectural elements to the Craftsman Bungalow. Tustin has a good supply of Craftsman Bungalows built between 1910 and 1925. Detall of Porch Column And Beams Gable WRh Exposed Roo! Beams And Elongated Rafter Ends 18 Prominent Porch With Slickwork Gable Column Pler With Sloping (Battered) Sides CRAFTSMAN BUNGALOW TUSTIN'z,,fISTORIC RESIDENTIAL ARCHITECTURAL STYLE Character Defining Features story low-pitched • •• clapboard •siding exposed structural elements /rafters large open porches,• columns square or tapered columns overhanging eaves projecting brackets/beams ~II largefront• • 3 parts e .. doors and windows outlined with e w••• molding �_ ' ,�,� �p •il�Il IIIII lIII lyll IlII 0'I i!i� �! !D lu unnlumi milli In�� I!!!�i lu!i iii, �II!�,�n, �;� �I!P ���iljillh� �"� Al �:,SiirH: �? ��iiiriiiiiuimiiarli////yr �I��uiaiiiva�oiiiiiiiiiiiiniii�iiiii. �� �.�► 660 West Third Street 19 "USTIN'S HISTORIC RESIDENTIAL ARCHITECTU` L STYLES California Bungalow (about 1910 to 1930) The California Bungalow is a smaller, more streamlined version of the Craftsman Bungalow. Exterior wall surfaces are covered with clapboard or stucco. Most styles have large porches and utilize wood frame windows either double -hung or casement. The California Bungalow shares small size and low-pitched roof with the Craftsman Bungalow. The California Bungalow is the builders' distillation of the more sophisticated features of architect designed houses. It offered a solution to the need to build houses quicker and at more reasonable costs to keep pace with Southern California's rapid population growth. Typical Tapered Porch Columns Prominent Porch With Stickwork Gable 20 Sunrise Or Sunburst Motif 5 CALIFORNIA BUNGALOW TUSTIN'STORIC RESIDENTIAL ARCHITECTURAL STYL$� Character Defining Features • 1 story • low-pitched gable roof • contiguous gables facing street • clapboard or stucco siding • exposed building elements • simple double -hung or casement windows • large front window(s), often in arts eminent front porch with pair ?lephantine tapered columns issing in example shown) all gable over front porch 21 230 South B Street 'USTIN'S HISTORIC RESIDENTIAL ARCHITECTT L STYLES Spanish Colonial Revival (about 1910 to 1925) The earlier examples of Spanish Colonial Revival homes feature rectangular shapes, often with Flat roofs and no overhangs. Wood frame windows, often casement style, are used and are set in stucco walls. Roofing materials are generally red clay tile, but may be visible only in a small parapet cap along the front facade. In the 1920's, the Spanish Colonial styles were larger, more articulated and often had gabled roofs. The stucco walls and the roof features remained. This style often has large distinctive (sometimes arched) windows on the front facade. The porch may, or may not, be enclosed with a roof. If enclosed, openings are almost always arched. A stucco wing wall with arched opening may extend from one corner of the house as an entrance to the backyard. Other than the small bungalows, this is the most common of all architectural styles found in the Cultural Resources District. Typical Wing Wall Example Low Pltched Gable Roof Is Typical feature 22 4 y t 1 49 Typical Wing Wall Example Low Pltched Gable Roof Is Typical feature 22 SPANISH COLONIAL REVIVAL � I TUSTIN}5-AISTORIC RESIDENTIAL ARCHITECTURAL STYLI 23 Character Defining Features • 1 story • stucco siding • flat roof with Ile parapet cap • low-pitched gable roof with no overhang • large focal window on front facade • arched windows and porch openings (semicircular, elliptical or segmental) • wing wall at one corner • open porch, sometimes without roof 465 West 77iird Street "USTIN'S HISTORIC RESIDENTIAL ARCHITECT'— \L STYLES Period Revival (about 1920 to 1940) Originally, Period Revival houses were designed to conjure up images of far away places - another time in history - as spurred on by the motion pictures of the 1920's. Period Revival homes borrowed images from Mediterranean, Tudor, Federal, Georgian, Mission Revival, Monterey and many other styles. For many of these, the roof lines are steeply pitched with a particular style emphasis. For example, Tudor Revival homes feature wood shake roofs and stucco walls with exposed half -timbers. Window forms are generally casement or double -hung and the front door is often heavy wood in design. Most homes of this period do not have front porches, but this also depends on the particular style. Monterey style houses always have a second story balcony, usually cantilevered and covered by the principal roof. 24 Character Defining Features Character defining features of Period Revival houses are particular to the individual style of the house. The drawing, photos and text on these pages describe Tustin's most significant examples of Period Revival houses, which include Tudor and Monterey style houses. Readers interested in a particular style should consult an appropriate reference book to learn more about the specific design elements that make up that particular style. PERIOD REVIVAL - MONTEREY TUSTIN'"ISTORIC RESIDENTIAL ARCHITECTURAL STYLL ___,) Character Defining Features • 2 story • low-pitched gabled roof occasionally hipped) • second -story balcony (usually cantilevered) and covered by principal roof • the or shingle roof material • stucco finish, occasionally with wood siding for accent • multi -paned windows, often with ;hutters massive chimneys ,Rw,y�v..�/I7�++!'A`M �l1NMA1t�v+�••"w"M" 25 320 West Main Street -USTIN'S HISTORIC RESIDENTIAL ARCHI'ITECTT'— 'L STYLES PERIOD REVIVAL - TUDOR ,A-, 14 9�� R°7 Example Of Tudor Style With Half -Timbers 26 Character Defining Features • 1 or 2 stories • steeply pitched end gabled roofs • facade dominated by one or more prominent cross gables • gabled entryway • multi -paned narrow windows (usually in bands of 2 or 3) • tall chimneys (usually with some decoration, chimney pots) • masonry construction (stucco, brick, stone) with decorative half-timbering in some cases Prominent Cross Gable Dominates Front Facade tDENTIAL DESIGN GUIDELINES INTRODUCTI6:.1—) RESIDENTIAL DESIGN GUIDELINES INTRODUCTION Summary The design guidelines in the next four sections apply to improvements or alterations made to existing residences located in a Cultural Resources District or those residences designated as Cultural Resources which may be outside the District. In addition, persons owning houses of historical significance (i.e. houses with an identifiable historic architectural style) outside the Cultural Resources District are also encouraged to review the appropriate guidelines before beginning any exterior repair or restoration work. The design guidelines cover four basic categories, or types of projects, and the appropriate guidelines are found in the corresponding sections: 1. Repairing, restoring or remodeling the exterior of an existing house, refer to Preservation and Rehabilitation Guidelines; 2. Adding a room or a new detached accessory building (e.g. new garage) to an existing house, refer to Additions and New Accessory Structures; 3. Developing an entirely new house on a vacant lot (infill), refer to New Infill Development; and 4. Renovating existing land- scaping, installing new landscaping or putting up a fence, refer to Landscaping. Important Note ! Before beginning detailed planning of your project, it is a good idea to first discuss your plans with the staff at the City's Community Development Department. They can explain how the Design guidelines affect your plans, what zoning ordinance requirements need to be taken into consideration and what applications and fees may be required. A preliminary. meeting with City staff will help ensure that 27 your project gets started on the right track. Refer to Appendix E for a full description of the City's project approval process. State Historical Building Code The City has adopted the State Historical Building Code (SHBC). The intent of SHBC is to protect California's architectural heritage by recognizing the unique construction problems inherent in historic buildings and offering an alternative code to deal with these problems. The SHBC provides alternative building regulations for rehabilitation, preservation, restoration or relocation of structures designated as historic buildings. SHBC regulations are intended to facilitate restoration so as to preserve a historic structure's original or restored architectural elements and features. The City's Building Official can advise you on the specifics of using the SHBC in relation to your particular project. IESIDENTIAL DESIGN GUIDELINES INTRODUC' N General Criteria The following rehabilitation criteria were originally established by the Secretary of the Interior to determine the appropriateness of work to be done on properties qualifying for the Federal Historic Preservation Fund grant-in-aid program. Subsequently, the standards have been adopted by many state and local officials for the review of historic preservation projects within locally designated historic and cultural resource areas. The Secretary of the Interior's Standards for Rehabilitation are reprinted here because they represent the broad philosophical basis for the more specific design guidelines that follow. The Secretary of the Interior Standards are not mandatory. They were created to provide guidelines for the appropriate preservation/ restoration of a historic structure based on solid design principals. The City encourages their consideration whenever a project is proposed that will alter the exterior appearance of a residential structure in the Cultural Resources District. In the standards below, the word "should" would be substituted for the word "shall" in each case. Secretary Of Interior's Standards For Rehabilitation 1. A property shall be used for its historic purpose or be placed in a new use that requires minimal change to the defining characteristics of the building and its site and environment. 2. 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. 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. 5. Distinctive features, finishes and construction techniques or examples of craftsmanship that characterize a historic property shall be preserved. 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. lJ 4. Most properties change over time; those changes that have acquired historic significance in 8. their own right shall be retained and preserved. Chemical or physical treatments, such as sandblasting, that cause damage to historic materials shall not be used. The surface cleaning of structures, if appropriate, shall be undertaken using the gentlest means possible. Significant archaeological 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 massing, size, scale and architectural features to protect the historic integrity of the property and its environment. 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. �ccSIDENTIAL DESIGN GUIDELINES INTRODUCTION' What is "Architecturally Significant?" Throughout the following design guidelines reference is often made to structures/buildings that are "architecturally significant." For the purposes of these Design Guidelines, this terminology refers to houses that are distinctive in terms of their age and/or architectural style. All such structures will have been constructed prior to 1940 and will usually fall into one of the nine architectural style categories discussed in the previous chapter (e.g. Victorian, Craftsman Bungalow, Period Revival, etc.) From time to time the guidelines may also refer to "historic" houses. For the purpose of these guidelines the terms "architecturally significant" and "historic" are interchangeable. One of Tustin's Many Archllecturolly Significant Houses 29 30 P"SERVATION AND REHABILITATION GUIDELINL`Y PRESERVATION AND REHABILITATION GUIDELINES Preservation and rehabilitation efforts in Tustin's Cultural Resources District should be aimed at maintaining and protecting the original architectural features of a house that will help identify its individual style and thereby continue to contribute to the overall character of the District. These guidelines should be utilized whenever repairs or alterations are contemplated to the exterior facade of a house. General Rehabilitation Principles The following general principles establish the basis for the detailed guidelines that follow. Owners should consider conducting some research before designs for alterations or rehabilitation are prepared. Research should include determining the appearance of the house at its construction and a physical examination to determine if the significant historic fabric has been altered and is recoverable or restorable or can be reconstructed. Proposed changes to the house should consider the feasibility of retaining or restoring its significant architectural features. Information can be found in the Tustin Area Museum, old photographs, books about the style that describe typical features, by observing similar houses in the neighborhood and information presented in this manual. Rehabilitation efforts should try to retain and restore original elements of the house. If damage or deterioration is too severe, then the element might be recreated using materials which match the design, color, texture and other important design features as close as possible. When replacement of an architectural feature is necessary, and original material cannot be used, substitution material can incorporate the design, color and 31 form which conveys the visual appearance of the original material whenever feasible. When an entire piece of a house is missing (e.g. original porch columns), research can be very helpful in understanding the functional and aesthetic ideas behind the original style and form. • Rehabilitation efforts should not try to create or add a preconceived concept of history, but should reuse the existing or appropriate features. When repairing or remodeling exterior wall surfaces the original exterior building materials should be retained where possible. Replacement material should match the original materials as close as possible. Do not use mismatched materials of different types, sizes, shapes, textures or finishes. For example, houses with original wood siding should not be stuccoed in an attempt to "modernize" their appearance. 'RESERVATION AND REHABILITATION GUIDE` -S Likewise, asphalt shingles should not be used to replace wood siding or shingles on building elevations. Material substitutions such as these will invariably destroy the architectural integrity of the house and decrease its resale value. Foundations The foundation is a link, the anchor that holds the house frame to the ground. A foundation in poor condition threatens the structural integrity of the house. For this reason, the soundness of the house's foundation needs to be seriously investigated prior to considering a major house restoration project. Some of Tustin's early homes were constructed without permanent foundations. In these cases only a wood "mudsill" was placed on the ground and the frame of the house was attached to it. In other cases, loose stones were laid down to keep the wooden frame off the ground. If either of these conditions exist, you should seek advice from a professional (i.e. architect, civil engineer) before proceeding with other restoration work. If your house has a brick masonry or concrete foundation check for the following symptoms of deterioration: Cracks - Cracks can result from settling soil, water undermining or earthquakes. Both masonry and concrete foundations will likely have minor hairline cracks which are not serious, but any cracking wider than a penny should be watched to determine if the cracking is continuing. One simple way to check for movement is to draw a horizontal line across the crack with a straightedge and observe it for two to three weeks. If the lines across the crack have split, it means that movement has occurred and a professional contractor, engineer or architect should be consulted. If cracking is seen and self testing is not desirable, call a professional for further investigation. If the crack is determined not to be hazardous to the structure, aesthetics should guide the decision whether or not to patch the crack. Masonry patching and repainting are discussed on page 36, but concrete can be patched with readily available concrete patch mixtures. 32 Water Damage - Water seeping through walls and into basements is a sign of poor drainage and/or improper waterproofing of walls. Deteriorated roof drainage systems, such as broken downspouts, can allow water to Flow over walls or be drained directly onto the foundation of the building. Improper site drainage can cause surface water to run towards the building. These water -related problems can cause undermining and improper settlement of the footings. Constant dampness can cause deterioration of both brick and mortar. Simple remedies such as repairing downspouts or adjusting the grade to drain water away from the structure can alleviate many of these problems. However, a leaking exterior wall may need to be investigated by a professional to determine the proper remedy. Deteriorating Bricks and Mortar - Bricks and mortar can be damaged by the water problems described above. Deteriorated mortar can be tested by scraping the joint with a key or screwdriver. If the joint is easily scarred, the mortar may need repair, and a professional should be consulted. Crumbly brick where the hard, fired surface has deteriorated should also be evaluated by a professional. Refer to the discussion on "brick masonry" on page 36 for general repair techniques. Wood Siding With the exception of Spanish Colonial Revival and some California Bungalow style houses, many of Tustin's architecturally significant houses are clad in wood siding. Throughout the Cultural Resources District the appearance of wood sided houses helps define the historic character of the District. For this reason, wood siding should be retained rather than removed and replaced. Replacing wood siding with aluminum siding, asphalt shingles or masonite, even of the same size and shape as the original siding, is discouraged. Also, heavy spray -on coatings (texture coat) applied over wood siding is discouraged. These applications will decrease the historic value of the house and in the long run may not save as much money as originally thought. PXEI'SERVATION AND REHABILITATION GUIDELINty Siding Repair - Cracked, split or missing wood siding can cause severe water problems by allowing water to deteriorate the wood stud wall or interior finish. While small cracks can be filled with caulking, larger cracks or missing pieces should be replaced. To replace a piece of wood siding, gently pry up the piece immediately above the piece to be replaced and cut the nails holding the unwanted wood with a hacksaw blade (removed from the hacksaw and held with a pair of gloves). Using a chisel, remove the unwanted wood and replace with new, matching siding. Renail the new area and apply caulk where the new piece touches adjoining pieces. The most important element of protecting wood siding is the paint which protects the wood from weathering. The key to painting a wood exterior is proper preparation. The best paint job in the world will deteriorate rapidly if the surfaces are not properly prepared prior to the first coat of paint. 33 First, inspect the entire exterior and determine the general state of the existing paint. All crumbly, flaking, blistering and peeling paint must be removed. Evaluate the amount of work necessary to do the job correctly and decide whether or not to call in a painting contractor to help. Also, try to determine what might have caused the paint to deteriorate (peel, blister). There may be a reoccurring water problem that needs to be fixed first. Clapboard Siding Over Building Paper & Wood Studs Nall At Each Stud eplacing Wood Skiing 'RESERVATION AND REHABILITATION GUtt ►t. GS Surface Preparation - The following steps should be taken prior to starting surface preparation • All wood siding should be repaired; • All doors, windows and trim should be inspected for water tightness and caulked if necessary; • Windows should be inspected for damaged or deteriorated putty and repaired; and • All gutters and downspouts should be inspected and repaired as necessary. DROP SIDING HORIZONTAL SIDINGS BEVEL SIDING Surface preparation should include the use of a wire brush to remove dirt, plant growth and flaking paint. A scraper should be used to remove areas of blistering paint, followed by sanding to smooth down the transition between the scraped area and the adjacent painted area. Where damaged areas are large, heat paint removers may be the best solution, but should be used strictly according to supplier recommendations. After the work area has been properly scraped and sanded, all exposed wood must be primed and then the whole area can be painted. A paint dealer will assist in determining the type of paint, brushes and quantities that will be needed. BEVEL SIDING (CLAPBOARD) 34 Methods That Are Not Recommended in the Repair of Wood Siding: • Replace wood siding witli wood of a different size or shape. • Apply paitit witliout proper surface preparation and priniitig of surfaces. • Satidblast wood to retnove existing paint. • Use clietnical or lieat paint reniovers iniproperly or carelessly. VERTICAL SIDING (BOARD &BATTEN) �y BOARDS o ° BATTEN Shingle and Shake Siding Most shingles applied to exterior surfaces on historic structures are made of redwood or cedar. Scalloped edges or other specialty shapes are available by ordering at most large lumber yards. A sample of the existing shingle should be shown to the supplier to help ensure a proper match of shape and material. If a wall contains minor damage such as a few split or warped shingles, they may be easily repaired by nailing them down with galvanized nails (to avoid rusting that may occur with common nails). If there is more severe damage, it is probably best to replace all of the shingles in that area. Splitting, cracking or missing shakes and shingles can be replaced by forcing a wedge under the shake directly above the one to be replaced (only about one-eighth of an inch), then using a hacksaw blade to cut away old nails. Use a chisel to split the unwanted shake vertically, and remove. Insert the new shake, align the bottom with the adjacent shakes and nail at the top. 1-etSERVATION AND REHABILITATION GUIDELINE Shingles and shakes can be painted, stained or colored by natural weathering. Weathering can sometimes cause a problem when attempting to match existing weathered material, but can be solved by applying a light stain. Examples of the new and old shingles should be presented to a paint dealer to assist in the proper selection of a stain. If the replacement is made over a period of time, it will help to leave the unused shingles outside to start the aging process before installation. Galvanized Nan -2 At Each Shingle Wood Shinglot, Nailing/Spacer Strip Replacing Wood Shingles 35 Methods That Are Not Recommended in the Repair of Wood Shingles or Shakes: • The use of mismatched shingles and shakes or other materials for patching. • Piecing in a shingle without inserting it under the shingle above. • The use of non -galvanized nails which may rust. Diamond Octagonal Fish Scale Segmental Cove Hexagonal Staggered Square Full Wavy 'RESERVATION AND REHABILH ATION GUIDEr _ 5S Brick Masonry Brick Masonry is often found in foundation walls and chimneys throughout the Cultural Resources District. Wall cracking and deteriorating mortar joints are the most common problems and should be addressed by a professional. These could be signs of structural problems. Some historic houses may have unreinforced masonry (brick mortar that has no steel "skeleton" holding it together) and may need structural strengthening for earthquake safety. If a masonry wall must be structurally improved, the design and construction should be undertaken only by professionals experienced in addressing historic structures. Repairing mortar joints (repointing) where the existing mortar is soft and crumbly is a specialized operation and should be performed by experienced professionals. If the repointing job is improperly done it can detract from the appearance of the building and may, in fact, cause physical damage to the bricks themselves. The first step in the process is to remove the old mortar to a depth of 3/4 inch and remove all loose mortar (avoid the use of mechanical grinders, which can damage the brick surrounding the joint.) Next, dampen the joint before applying the new mortar. The new mortar must be composed of materials which closely match the original texture, color and strength. The exact physical and chemical properties of the historic mortar are not of major significance as long as the new mortar: 1) matches the historic mortar in color, texture and detailing; 2) is softer (measured in compressive strength) than the _ brick; 3) is as soft or softer (measured in compressive strength) than the historic mortar. The joint should be filled with new mortar in successive applications approximately 1/4 inch thick. As soon as the mortar has reached thumb -print hardness another 1/4 inch layer may be applied. When 36 the final layer of thumb print hard, the joint should be tooled to match the historic joint. If it is necessary to replace a few bricks within an existing wall, the new bricks should match the existing size, color and texture to the greatest extent possible. Remove 3/4' of crumbling mortar Clean lolnt, then wel mortar & bricks - Add new mortar Match shape of original joint Most brick masonry in older houses was left natural, but if it can be determined by investigation that the original was painted or that in the course of the house's history an alteration was made which made painting aesthetically desirable, then the masonry may be properly prepared and repainted. However, most brick masonry walls were and should be left natural. Y-i�SERVATION AND REHABILITATION GUIDELINE` Paint removal is generally recommended to return brick to its natural appearance. This can be accomplished by chemically stripping the paint to the bare brick. This is the safest way to remove paint, unlike sand or water blasting, which will destroy the brick's surface and its structural integrity. All work should be thoroughly tested in inconspicuous places on the house, and preparations should be made for the safe disposal of cleaning chemicals. Various Styles of Jointing STRUCK WEATHERED FLUSH RAKED BEADED CONCAVE V -SHAPED 37 .r,-4 Methods That Are Not Recommended in the Repair of Brick Masonry: • The use of sandblasting to remove paint or dirt. This will damage the natural fired surface of the brick and cause it to lose its water repellant qualities. If water is allowed to invade the inner brick, its structural integrity may be ruined. • The use of mechanical grinders to remove mortar. This can damage the brick surrounding a joint. Bricks and mortar damaged by sandblasting. I 'RESERVATION AND REHABILITATION GUIDE' ^ `T:S Exterior Plaster Exterior plaster has a natural tendency to crack but is generally easy to repair. Before starting the patching process, inspect the cracks thoroughly to determine if additional water damage occurred to other portions of the wall. Slightly bulging areas adjacent to the crack indicate that one or more coats of plaster have become separated from the previous coat. Lightly tap the bulging areas with a hammer to remove all of the separated plaster and extend the repair area to include these areas. Use a putty knife to open a crack and remove loose debris. Use a hammer and a small cold chisel to make the crack wider at the inside than at the outside; this will allow a "locked" joint to form between the new and old materials. Be careful not to damage the lath below the plaster. Thoroughly clean and then wet the area to receive the patch so that the old material will not rob the new plaster of its moisture. Exterior plaster patch is readily available at most hardware stores and is easily mixed with water. Follow all manufacturer's instructions. Apply the patching material using a trowel to make the patch level with the adjacent surfaces. Consult the manufacturer's suggestions regarding any necessary curing. Large areas of patching or sections which have to be replaced down to the stud wall should be handled by an experienced plasterer as it can be difficult to match some historic plaster textures. Crack Before Wire Loth a lreolmenf Building Pape crotch Coot, Color pigment should be added when patching integral colored stucco. Pigments should be used with the patching compound per the manufacturer's instructions. Carefully match the color and make a note of the amount of pigment that was used, for future reference. Methods That Are Not Recommended in the Repair of Exterior Plaster: • Patclibig plaster without removing all loose pieces and tliorouglily cleaning the patcli area. • Patchitig plaster zvitltollt creating a "locked joint" as ilescribeit on this page. CO lor (finish) Crack Mad Coat Separated Wider At ln'id© Color Coat Repalr Of Plaster Cracks IM Porches and Stairs For most of Tustin's house styles the front porch is one of the most important architectural features. The porch adds visual interest to the overall appearance of the house and creates a pleasant, welcoming passage into the house that has traditionally received the greatest amount of detail work and decoration. Maintain Original Design - During rehabilitation efforts the original design integrity of the porch should not be compromised. There is often a desire to modernize or change the appearance of the house by changing the details of the original porch design (i.e. roof overhangs, stairs, hand rails, support columns, balusters, decorative work, etc.). Temptations to change these items should be avoided as any change in the structural or decorative elements of the front porch will usually jeopardize the architectural integrity of the house. When a deteriorated porch needs to be rebuilt, the reconstruction should follow the original design to the greatest extent possible. "k -J -SERVATION AND REHABILITATION GUIDELINE Appropriate Orig/nal Design Inappropriate Wood Polling Inappropriate Wrought Iron 39 Porch Enclosures - Enclosing the front porch with solid walls and windows is a popular, but usually inappropriate means of creating additional interior space. This practice should be avoided as it is extremely difficult to maintain the architectural integrity of a house that has had its porch altered in such a way. If enclosing the porch is the only viable means of adding needed space, great care must be taken to use exterior siding materials, windows, doors, trim details and decoration that matches the facade of the house surrounding the porch. Inappropriate Enclosure Of Front Porch 'RESERVATION AND REHABILITATION GUIDE! ?S Stairs - The stairs leading to the porch can be an important part of the overall style of the house. When stairs require rehabilitation they should be rebuilt according to the style of the house. Especially avoid the use of off-the-shelf, ready-made wrought iron railings and skimpy oversimplified construction methods that reduce the visual importance of stairs. When rebuilding or replacing stair or porch railings you should be aware of the requirements of the Uniform Building Code (UBC). The UBC requires stair railings to be 30 inches to 34 inches above the stair nosing. For porches more than 2-1/2 feet above grade, railings must be a minimum of 36 inches high and the separation between balusters can be no more than 6 inches. Under certain circumstances these requirements may be exempt under the provisions of the State Historic Building Code which the City has adopted. Check with the City's Building Official before you start any demolition or repair work. Methods That Are Not Recommended in the Repair of Porches and Stairs: • The use of ahtminum canopies or incongruous balustrades or handrails. A change in the angle of the porch roof unless to match the origi►lal design. Generally, porch roofs should have the same angle as the roof of the house. • The permanent enclosure of porches with darkened glass, solid walls or perinane►lt screens. Appropriate Front Porch/Slab Designs Inappropriole Front Porch/Stolr Designs 40 Balustrade losing go Windows Most historic houses had wood windows that were either fixed, double hung or casement. The size, shape and style of windows are an important feature of most architectural styles, and the original type should be maintained and repaired whenever possible. Window Replacement - When window replacement is necessary the new window should match the original as close as possible. This may require custom milling but the extra effort will be worth it in the long run because the original style and character of the house will be maintained. LINTEL UPPER SASH LOWER SASH SILL SASH WINDOW 6 `SERVATION AND REHABILITATION GUIDELINE An alternative to custom milling for an approximate match may be the use of an 'off-the-shelf" standard window that closely matches the original. While this may compromise the true architectural integrity of the house it may be an alternative for areas of the house that are not visible from the public street. HEAD TOP RAIL MUNTIN LIGHT MEETING RAIL LAMBS TONGUE STILE BOTTOM RAIL APPROPRIATE Keep the original double -hung window and Its original details. 41 Aluminum frame windows that are visible from the public street should not be used as replacements on an architecturally significant house. Such windows are highly visible and the contrast of styles and materials will permanently destroy the architectural integrity of the house. Such windows may be appropriate for rear additions or elevations that have no architectural significance. NOT APPROPRIATE Do not block the original opening to accept stock aluminum frame windows. NOT APPROPRIATE The removal or covering of original ornamentation results In a total loss of visual Interest. 'RESERVATION AND I117IIAIiii.i t'ATION GHIPF"_ 'ES Window Glass Repair - Many wood windows can be repaired by simple methods or replacement of wood pieces or glass. A broken pane of glass is replaced by first removing the existing putty from t window. Sometimes a soldering iron or torch is necessary to heat t old putty to make it easier to remove. After removing the old putty, remove the glazing points (small pins). The wood should the be sanded smooth and painted wi a primer to seal it. lie he n wit The new pane of glass should be cut about one-eighth inch smaller than the opening (all sides of the pane should be measured because the opening is usually not shaped or "plumb"). Apply new glazing compound, place the glass firmly and secure with glazing points located about six inches apart. Use first -quality putty compound, shaped into lengths about three- eighths inch in diameter and press it along the edge of the glass. Use a putty knife to form a smooth, angled finish. Follow the manufacturer's recommendation regarding drying time for the putty before painting. It should be noted that old glass usually had slight irregularities in its thickness (waves) and small air bubbles (seeds). Since the new glass will lack these imperfections, a pane of glass that is replaced adjacent to older panes may be noticeable. If this occurs in a particularly prominent location (e.g. front entry door) consideration might be given to obtaining an old piece of glass from a salvage yard. Repair small holes in wood members by cleaning away all loose debris and filling with a good duality putty. After drying according to the manufacturer's instructions, sand the surface, prime and paint. 42 Glazing Compound before Tooling with Putty Knife Window Sash Glazier's Points Glazing compound -Tooled - Glass --- Glaring compour Glazier's Point h1unfin Replacing Broken Glass In VYrndows Double Hung Window Repair - Double hung windows have two sashes - an outside sash that slides down and a lower, inside sash that slides up. The sliding movement of the window is controlled by weights connected to the window by cords that run over pulleys. Aside from actual broken .or rotted sash pieces, the most common problems with these windows are broken sash cords, fouled pulleys and sticking due to warping or over painting. Sticking can usually be eliminated by gently tapping the frame of the window just enough to jar loose paint or debris, then opening the window. Cleaning the jambs, then lubricating with paraffin will often make the window operational. Light sanding may be necessary in order to smooth any rough areas where the window slides. SERVATION AND REHABILITATION GUIDELINr,' If severe warping has occurred, the window sashes will have to be removed and planed. This process, as well as any problems with the cords or weights, would best be completed by an experienced carpenter, as this work requires removal of the window from its frame. PARTING STRIP STILE BOTTOM RAIL 43 TOP RAIL Methods That Are Not Recommended in the Repair of Windows: • The use of reflective glass or films. The installation of aluminum windows in locations which are visible from the public right-of-way. The use of windows which are incompatible with the other windows on the house or with the overall style of the house. SASH WEIGHT PULLEYS SASH CORD LOWER SASH WEIGHT UPPER SASH WEIGHT 'RESERVATION AND REHABILITATION GUIDE"_ TS Doors Most architecturally significant houses in Tustin have wood doors that are particular to their style. The front door of the house is always the most ornate while secondary doors are usually more utilitarian and plain. The size, shape and style of doors are an important feature of an architectural style and the original type should be retained. Door Replacement - Original doors should be repaired in-place when possible, but when replacement is necessary they should be replaced to match the original designs and materials. If the original door is missing, select an appropriate design by studying the doors of similar houses in the District or consulting style books. Many types of solid panel doors are available directly from material suppliers and home improvement centers which may match original doors. Some doors, such as those from the Craftsman Era, may be difficult to find and may have to be specially milled or created by modifying a simple solid core door. Bungalow Cottage Colonial Panel Style 44 Period Revival Victorian Cottage Door Repair - Typical problems with doors include sticking, not closing properly or having gaps around the door when it is closed. The first thing to check is the hardware - the hinges and strike plates of the door. These can often become loosened over time and the remedy is as simple as tightening a few screws. If any of these hardware items need replacement, they should be replaced to match the original as closely as possible. Lock and latch mechanisms may need simple tightening of screws also, but more major repairs should be conducted by a qualified contractor or locksmith. Replacement door hardware should closely match the original. The following information will be necessary to secure properly matching hardware: • Diameter of the lock • Size and location of the latchbolt holes • Dimensions of the latch face plate • Door thickness ` SERVATION AND REHABILITATION GUIDELIN%..� • Back set measurement from the door's edge to lock hole center • Type of lock being replaced • Brand name of existing lock 45 Methods That Are Not Recommended in the Repair of Doors: • The use of hollow core doors for exterior doors. • The use of doors which are not compatible with the original style of the building in locations which are visible from the street. • The use of mismatched hardware or materials which are inappropriate to the style of the house. >F A DOOR At Head - Untot b h Mechanlsm fcheon i tat )m Rall es "RESERVATION AND REHAtili 1 YATION GUIDE' rS Ornamentation/Trim Most often it is the authentic decoration and trim on a house that lend character and help identify the structure with its architectural style. Great care should be taken in handling house trim and decoration during renovation because many times they are the very components that make the house so special. When repairing or replacing decorative trim work the following tips should be considered: • Loose trim or ornaments should be reattached with galvanized finish nails or brass wood screws. Countersink nail screw heads and conceal nails with putty before painting. If the material must be removed to be repaired or copied, inspect the attachment carefully prior to any work. It is often a good idea to label pieces according to their original locations in order to replace them exactly. • Wood ornamentation and trim should never be roughly hammered or pried loose. Determine how the piece is attached and carefully plan the work to be sensitive to the material and its weaknesses. Any prying action should be slow and careful, with a minimal amount of force. The prying bar or hammer should rest against a thin piece of wood to alleviate damage to the adjoining surfaces. Buill-up Wood Trim Wilh Finish Nails 1-- Adjoining•Surface Guard Removing Trim 46 • Many carved and detailed pieces of ornamentation can lose their detail by the continuous application of paint. Careful removal of the paint by heat gun or chemicals will revive the original detail. Never use abrasives on delicate ornamentation and never sandblast ornamentation or trim to remove accumulated paint as this will destroy subtle details. An experienced painting contractor sensitive to historic houses is the most likely to preserve ornamental detail properly. If the trim or ornamentation is comprised of several layers of materials, it is helpful to sketch the components as they come apart to ensure proper reassembly. Broken pieces can usually be repaired with a good wood glue and gently securing the pieces together with a clamp or band. If the pieces are beyond repair, a skilled finish carpenter can duplicate the original work. Replacement of trim and ornamentation should occur just as carefully as the removal. Pieces should be caulked where water infiltration might occur. F1-it6ERVATION AND REHABILITATION GUIDELIN6--" Methods That Are Not Recommended in the Repair of Trim and Ornamentation • Use of sandblasting to remove paint. • The application of too many coats of paint thereby obscuring details. • The removal or complete replacement of trim when only minor patching or repair is necessary. 47 "RESERVATION AND REHABILITATION GUIDE'—'ES Roofs Roofs are important functionally and aesthetically. Great care should be taken to insure that roofs are water- tight and that when replacement is necessary that new roofing materials are compatible with the original architectural style of the house. Permits are required for reroofing buildings. When reroofing, the new roofing material is required to have a minimum Class "B" fire resistive rating. Small repairs to roofs such as the stopping of leaks or the replacement of roofing up to one square (10' x 10') may be done without a building permit. Roofing repairs not exceeding one square (10' x 10') may be done with the same materials as the existing roof regardless of fire rating. Roof Leaks - Roof leaks should be quickly identified and repaired to eliminate the destructive abilities of water at inside surfaces, as well as to structural members. Leaks occur at two general areas: where there are leaks in the roofing material itself; or where the roof intersects with another component, such as a wall or chimney. An active leak may be very frustrating to trace because the water may travel prior to becoming noticeable. The wet spot in the ceiling is rarely directly below the actual leak in the roof. The inspection for the leak should take place in the attic of the house, starting at the location of the wet ceiling. To check for leaks in dry weather, look for telltale signs: • Light shining through to the inside where there are worn or missing shingles; • Dark stains or discolorations on the underside of rafters or shingles; • Loose, rusting or deterioration on flashing around joints and chimneys; • Sagging or distressed rafters; • Protruding nails; and • Peeling paint on eaves and cornices. To check for leaks in wet weather: • Find the area of wet ceiling in the attic; • Look to see if the water is coming from the rafters or the sheathing; • If water drips from a rafter, follow it to the source (usually the ridge); • Mark the location of the leak; and • Temporarily caulk the hole with roofing caulk for wet weather use. Roof Replacement - In addition to functional considerations of durability, fire resistance and cost of roofing materials there is the equally important consideration of visual impact and aesthetics. The selection of roofing materials should take into account the amount of roof area seen from the street, the shape of the roof (how prominent it is) and the architectural style of the house. The determination of what material to use for the replacement of wood shingles or shakes in historic houses is often a hard decision. Often the desire for the most aesthetic material is superseded by the desire to provide maximum fire protection. Many of the newer "architectural" styles of asphalt roofing closely emulate wood shingles or shakes and provide superior fire resistance. For the most significant buildings, one might consider using original wood materials, while less significant houses can adapt well to the "architectural" asphalt shingles which do not radically alter the appearance of the house. 1-,, -SERVATION AND REHABILITATION GUIDELIN6../J If the house is a Spanish Colonial Revival, Mediterranean or Monterey Revival style the original tile roof should be maintained and repaired as necessary. Many companies still manufacture clay roof tiles, but difficulty may arise when trying to match the color and shape of a particular tile. If new tile cannot be found that matches the existing tile, one of three alternatives should be followed: • Try to locate a house being demolished that has similar roofing material, and work with the owner to obtain salvaged tiles; If the house needing repair has blind spots - areas whe, &.I,- ~--c cannot be seen - remove from those areas to use i repair area, and reroof t] visible area with new til 49 • Use the available tile that most closely matches the existing tile. Methods That Are Not Recommended in the Repair of Roofs: • The use of materials or colors which are inappropriate to the style of the house. • Patching roofs with materials or color which do not match the rest of the roof. • Patching Spanish tile roofs by "dumping" mortar on cracked tiles. rxlsfing roof lues !eplacement file Jew bent copper trap fastener Existing fastener Existing sheeting Existing rafter `RESERVATION AND REHABILITATION GUIDEf ?S Gutters, Downspouts and Vents Gutters and downspouts collect water from roofs and carry it to the ground away from the house. If these elements are deteriorated or absent altogether, water may run down the sides of the house and cause the paint to prematurely blister. Gutters and downspouts should always be kept in proper working order by periodically checking for leaks and clogged areas. • Whenever possible, original gutters and downspouts should be repaired and replaced. Even these very utilitarian elements contribute to the overall character of the house. • When new gutters and downspouts are added they should relate to the style and lines of the house and should be painted to match the trim or body color of the house. They should not be painted a contrasting color so that they stand out. • New downspouts should be placed in the least conspicuous locations. Use the sides and rear of the house and avoid placing downspouts on the front facade. • Vent pipes and stacks that protrude through the roof should be painted to match the color of the roof material. GUTTER DOWNS Flashing Flashing is a metal barrier used to cover open joints on the exterior of a house such as roof -valley joints or roof -parapet joints to make them waterproof. Flashing should be inspected every eighteen months to identify potential problems. Generally, most gaps can simply be filled with a roofing compound available at a hardware store. A more serious problem can occur when the flashing pulls away from the vertical surface, usually seen in masonry. The old mortar must be carefully removed, the flashing replaced into the joint and the proper mortar reapplied. 50 Flashing should be painted to match the color of the roof material or fascia. Select a color scheme that will unify the different elements of the house into a single picture. If a historically correct scheme is desired consult the next section "Typical Historic Color Schemes." Also, look for books on the subject and obtain information 1�RESERVA"rmj AND �r from a quality paint store or qualified painting cpntractor. Look at other houses in the neighborhood with a similar architectural style and note how successful combinations of colors work together. For most architectural styles, (Victorian excluded), limit the number of different colors on a house to three. Use a light/muted color for the body, a complimentary darker shade for the base and trim and white for window frames. • The larger and plainer the house, the more subtle the color should be. Light colors help reduce the massiveness of large planes. Do not paint stained shingles, brick and stone work, chimneys, roofing or any decorative trim that was not originally painted as part of the building's style. Limit the use of strong, vivid colors to one per building and then use only for small trim areas. • Avoid combinations of warm and cold colors such as red and blue. 51 REHABILITATION GUIDELINES • The color of the roof is not easily changed except through reroofing. When a new roof is being considered prior to painting, there is an opportunity to work the roof color into the overall color scheme. If a new roof comes later, consider a charcoal gray that is neutral and can blend with a variety of house colors. Paint Colors LThe selection of a color scheme for a house is usually considered a matter of personal choice and so it should be. Aside from providing a prescribed palette of approved Lcolors, developing guidelines for color selection is somewhat of a difficult task. It is true that historically certain colors were associated with certain time periods and architectural styles, but over time these traditional color schemes have mostly disappeared as individuals and neighborhoods have selected more contemporary colors. This is not to say, however, that anything goes. Even a house with a strong architectural identity can be down graded by selecting an inappropriate color scheme. This can be avoided by following a few simple guidelines. Select a color scheme that will unify the different elements of the house into a single picture. If a historically correct scheme is desired consult the next section "Typical Historic Color Schemes." Also, look for books on the subject and obtain information 1�RESERVA"rmj AND �r from a quality paint store or qualified painting cpntractor. Look at other houses in the neighborhood with a similar architectural style and note how successful combinations of colors work together. For most architectural styles, (Victorian excluded), limit the number of different colors on a house to three. Use a light/muted color for the body, a complimentary darker shade for the base and trim and white for window frames. • The larger and plainer the house, the more subtle the color should be. Light colors help reduce the massiveness of large planes. Do not paint stained shingles, brick and stone work, chimneys, roofing or any decorative trim that was not originally painted as part of the building's style. Limit the use of strong, vivid colors to one per building and then use only for small trim areas. • Avoid combinations of warm and cold colors such as red and blue. 51 REHABILITATION GUIDELINES • The color of the roof is not easily changed except through reroofing. When a new roof is being considered prior to painting, there is an opportunity to work the roof color into the overall color scheme. If a new roof comes later, consider a charcoal gray that is neutral and can blend with a variety of house colors. ':SERVATION AND REHABILITATION GUIDELIt Historic Color Schemes The following section identifies major color selections used on residential buildings during the different periods. Pre -1900 Victorian (about 1870 to 1890) This period experienced three color transitions in much of southern California. The earliest examples up to about 1884 generally had the main body of the building painted pale colors, usually tans or white. Most houses were painted just two colors, the predominant being at the body of the house with the other at the trim. The trim was usually the same color, but in a deeper tone. Most all window sashes were painted black or white, and if shutters were present they were painted the same color as the body of the building. The roofs were wood shingles and were stained green, red or black. From 1884 to 1895 darker colors were used, and in some of the cases the number of colors on a single building increased to three or four. This change was partly influenced by the "trend" of the time, but also because some houses incorporated two exterior materials, perhaps shingles at the second story, with wood siding at the first. The two different materials were painted different colors, each with its own trim color, resulting in four colors on the house. The second story colors were generally light with the lower story a darker color. Trim sashes were usually black, deep red and sometimes white. The predominant roofing material was wood shingles, and they continued to be stained green, red or black. About 1895, colors were affected by the classical influence. The main body colors reverted to lighter colors --light grays, yellows and tans. The trim was often white, and the window sashes were generally black. The roofs during this time were still stained green, red or black. Turn of the Century (about 1900 to 1920) Houses of this time were generally white or light colors. Shingles were usually used gat the upper level, with siding below. The upper area might be stained green or brown, with 52 white used at the lower level. The building trim was generally white, and window sashes were generally painted black. The roofs continued to be stained red, green or black. Craftsman Bungalow (about 1910 to 1920) The houses of this style generally had rough wood siding or shingles, with finished wood used as trim. The shingles or siding were often stained "earth" colors of brown or green or sometimes left natural. The shingles or siding may be painted a light to medium, semi-neutral, soft shade of a color such as yellow, brown, red, green or gray. The trim was often painted white, ivory or cream. The window sashes were painted either white, black or sometimes the same color as the trim. The wood shingle roofs were still stained red, green, black and sometimes white. Crushed brick and white gravel roofs were introduced on flatter pitched roofs at this time. California Bungalow (about 1910 to 1925) The material on the main body of the houses of this style was either stucco, shingles or wood siding. When stucco was used it was often left its natural gray color. The trim was painted dark colors, such as dark green or brown. When rough wood siding or shingles was the major material, it would be stained a dark color, such as dark brown or green. The shingles or siding may be painted a light to medium, semi- neutral, soft shade of a color such as yellow, brown, red, green or gray. The trim which had a smooth finish, was often painted a lighter color, such as ivory, white or cream. The window sashes varied greatly, using either white, black or the trim color. New roofing materials were introduced with the bungalows, such as crushed brick or white gravel which were left natural colors. Wood shingles were also used and were usually still stained, or sometimes painted white, to emulate a snow covered roof. RESERVATION AND REHABILITATION GUIDELINES Period Revival (about 1920 to 1935) This period includes many styles, including Mediterranean, Spanish Colonial, Monterey and English Tudor Revival. The materials used on all of these styles were similar. The main body of the house was usually stucco, with rough or smooth finished wood trim and either wood shingles, shakes or clay tile roofs. The main body of the houses were usually light colors, such as tan, buff or white. If rough wood was used (as in half-timber), it was usually stained a dark brown. The smooth wood trim was usually painted a dark color, such as green or brown. In these styles, the window sashes were usually painted the same color as the trim. Roofing materials were left natural in this period. 53 ESERVATION AND REHABILITATION GUIDELIT Solar Energy Systems The use of solar energy is encouraged by the City and nothing in these design guidelines is intended to restrict its use. Within the Cultural Resources District, however, there is concern that the appearance of modern solar collector panels and other associated equipment may present a radical departure from the otherwise historic character of the District. The intent of the guidelines below is to suggest ways to conceal solar installations based on the concept of "sight lines." Used properly, the guidelines can affect the appearance of the streetscape when viewed by a pedestrian, or motorist from the ground. Most of the techniques suggested, however, will not conceal the solar equipment from the view of adjacent houses. Solar panel installation requires a City building permit. If located on the roof, a structural evaluation may be required. When installing solar equipment, consider the following: Solar equipment/ panels can be located on parts of the roof that are not visible from the street or other public areas depending on their orientation to the sun; Solar panels can be hidden from view behind roof parapets when the architectural style of the house allows. The Spanish Colonial Revival style is best suited for this technique. Mansard -style roofs can also be used; SOLAR COLLECTOR PANELS Emil ISI L II� Side Or Rear Elevations Are Most Appropriate For Solar Collectors 54 Landscaping can be used to conceal a ground -mounted solar panel 3 to 4 feet in height by use of low shrubs. This technique is especially effective when the panel would be visible from the street, but care must be taken not to decrease the amount of sunlight falling on the panel; and Ground -mounted solar panels should always be kept as low as technically feasible, but if they exceed 4 feet in height use a fence or wall that is architecturally compatible with the house to screen the panel from public view. Fireplaces and Chimneys In older/historic homes the fireplace was a functional part of the house, providing heat for its residents. They also provided decoration in terms of the chimney design on the exterior and the design of the fireplace and mantel on the interior. Each architectural style of house design had its own distinctive fireplace and chimney design that helped set it apart. While today, fireplaces are not so much required for their heating abilities (most are not efficient heat producers by today's standards) they are very important in defining the style of the house and creating that special feeling of individual character. For these reasons, plus the fact that a functioning fireplace adds resale value, fireplaces are well worth maintaining and repairing. Chimney details provide accent for the roof system. Accents such as unusual caps, chimney hardware and decorative panels in stacks enliven roof forms. Chimney caps also add profile character to the roof. Corbeled caps, in particular, stand our clearly against the skyline. l ESERVATION AND REHABILITATION GUIDELIN�.S The most common cap in the Cultural Resources District is a corbeled one in which the cap is built out from the stack by projecting successive courses of bricks beyond those below. If built back again toward the stack, the cap has a stepped profile on top and bottom. CHIMNEY BRACE 55 CORBELED CHIMNEY CAP CHIMNEY STACK SERVATION AND REHABILITATION GUIDELIV'— Cn/mney on Spanish Colonial Revival Style House F• Cnlmney un California Bungalow Style House 56 To inspect a fireplace, start at the exterior and look for cracks or loose mortar. This is an indication that the bricks are loose and could fall in a violent windstorm or earthquake. The only solution is to rebuild or brace the chimney back to the roof. For this you will need to consult with a masonry contractor. Chimneys should extend at least 2 feet above any roof section or wall that is within 10 feet of the chimney. Chimneys that are deteriorated on the inside can have new linings installed. This entails lowering a stainless steel liner into the chimney and then pouring a special cement between the liner and the masonry. Again, this should only be completed by an experienced masonry contractor. Finally, remember that unpainted brick or rock masonry should never be painted. If a coating is necessary to halt deterioration use a clear finish sealer. A City building permit is required for reconstruction or modification of a fireplace or chimney. Window Awnings Window awnings were not traditionally used on the styles of houses commonly found within the Cultural Resources District. However, when necessary to shade particular window or series of windows on the sunny side of a house, awnings can be very effective and can even add another element of color, texture, form and character to the house. Because awnings were not part of the original house, several considerations should be taken into account before they are installed: • Consider the shape of the window and use the same shape awning. Do not use a dome -shape awning over a rectangular window; Consider using retractable awnings so that when the sun is higher during winter months the awning can be pulled up to allow more indirect light to enter the window; PRESERVATION AND REHABILITATION GuTDFLTNr•.� Try not to cover too many windows with a single large awning. Generally, an awning should cover only one window unless 2 windows are located very close (within 18 inches) to each other. Large awnings that cover more than one window tend to look out of scale with the house; Use the same type and color awnings on all portions of the house. For example, if existing awnings are metal, then any additional awnings should match the existing ones. If existing awnings are deteriorated, consider replacing them at the time other new awnings are installed; Fabric/canvas awnings are the preferred type for Tustin's historic houses. Canvas was the material traditionally available at the time most houses were built. Metal awnings have become popular since the 1950's primarily because of their durability; • Awnings of plastic or corrugated metal are not appropriate. • A building permit is required for the placement of awnings to ensure that they are properly attached to the building structure. 57 Examples Of Appropriate Awnings ESERVATION AND REHABILITATION GUIDELI Screen Mechanical Equipment Often times on older homes it is necessary to locate mechanical equipment such as air conditioning units or water softeners on the exterior of the house. Because these devices generally detract from the overall appearance and historic character of the house they should be located out of public view whenever possible. When adding new equipment, the following guidelines should be considered: Try to locate mechanical equipment as far to the rear of the house as possible so that it will be out of public view and special screening devices will not be necessary; The location, height and color of satellite dish antennas must be in compliance with requirements of the Zoning Ordinance. Building permits are required for antennae exceeding 3 feet in diameter. If a window air conditioning unit is to be added to a room on the front of the house try to locate it in a window on the side of the house, not in a front window facing the street; Whenever possible, use fencing and landscaping to screen mechanical equipment from view. This can be an especially effective screening technique when the equipment is located on the side of the house toward the rear. Mechanical equipment sho be screened from public vle Refer to the section on landscaping and fencing (page 74) for proper fence locations and heights; and • When the use of a fence is necessary to screen undesirable elements from public view consider how much of the fence really needs to be solid and how much might be able to be a more open lattice -type fence. Lattice work fences, trellises and screening enclosures are particularly well suited to Tustin's architectural styles (except Period Revival and Spanish Colonial Revival) and their use is encouraged. uld W. LOW WALL OR FENCE House Address Numbers Street address numbers help identify a house for a variety of visitors, probably the most important of which are those responding to an emergency situation (i.e. police, fire, medical). If for no other reason, houses need to be easily identified from the street so the persons responding to an emergency will not have to waste precious time searching for the right house. Consider the following suggestions when adding new house numbers: House numbers should be a minimum of 4 inches in height and should be located near the front door or front porch entry in a location that is clearly visible from the street. The location should also be one that will not become covered with vegetation in the future; RESERVATION AND REHABILITATION GUIDELINES The design of the numbers should be simple in shape so that they can be read easily from a distance. Avoid overly fancy and intricate number styles that may look very decorative but may be hard to read from the street, especially at night; The color of the numbers should provide a strong contrast with the color of the background they are placed on. Usually, black numbers on a light color background works best. If polished brass numbers are used they should be placed on a dark background for contrast, and Consider how well the numbers will be seen at night. Will the porch light illuminate them adequately or will additional lighting be necessary? Illumination of house address numbers is required by the Building Security Code. Illumination may be either by direct internal means or by indirect external means. Large Numbers With High Contrast Colors Are Easy To Read 59 E t ADDITIONS AND NEW ACCESSORY BUILDINGS ADDITIONS AND NEW ACCESSORY BUILDINGS Modern additions to historically significant houses, including garages, may be necessary to insure their continued use. Such additions are also the most sensitive and difficult design issues to manage. These guidelines should be utilized when additions, including a second story or accessory structures (e.g. garages, carports, carports, patio covers, etc.) are contemplated. Modifications such as additions, seismic strengthening, new entrances and exits and parking facilities should not destroy historically significant features, materials or finishes. These alterations can fit within the overall scale of the existing house and be compatible with its architectural style if three simple principles are followed: Preserve significant historic and architectural features, details and materials of the existing house; • Preserve the character and scale of the house by maintaining existing proportions for the new addition; and Avoid creating a phony historical look. t.. ..+_ ...F Ne Addition Street APPROPRIATE 61 Site Plan Considerations Additions should be carefully placed to minimize changes in the historic appearance of the house from the street. Whenever possible, additions should be placed to the side or rear of the property and should not obstruct the appearance of the house from the street. Street NOT APPROPRIATE -)ITIONS AND NEW ACCESSORY BUILDINGS Architectural Compatibility Additions that may alter the facade of the house should be considered carefully. There may be alternative means to achieve the same end. For example, skylights can often be used to bring natural light inside rather than installing new windows which may disrupt the facade, or interior seismic bracing can be used rather than exposed exterior bracing which could also obstruct the facade. Additions to architecturally significant houses should incorporate the distinctive design features of the original house such as: • Window size, shape and type; • Exterior materials; • Roof style, pitch, material; • Finished floor height; • Color; and • Trim and decoration. Refer to the chapter "Tustin's Historical Residential Architectural Styles" for a discussion of the specific character defining features of each specific style. 62 Stairs to second at less visible sid or rear of house New air condition unit behind shrub at rear of house New exterior stair to second floor ., APPROPRIATE New air conditioning unit Original front porch retained NOT APPROPRIATE Porch enclosed front door changed Scale and Mass Compatibility Each house has a characteristic scale and mass that is unique to its particular style. For example, we usually think of Victorian houses (especially the Queen Anne style) as being rather tall and slender with steep roofs, asymmetrical shape and somewhat "frilly" because of their fine details and varied textures. These style houses emphasize the vertical dimensions of elements such a doors, windows, porches and roofs. Because of these features and the use of various architectural elements and materials to break up wall planes, these buildings appear smaller in scale and less massive than they really are. In contrast to the vertical appearance of the Victorian style, the bungalow style emphasizes the horizontal lines of the house giving it a low to the ground appearance. Low-pitched roofs with large overhangs, thick/squatty porch pillars and horizontal windows all add to this appearance. Other architectural styles of Tustin's past also have unique qualities that help to establish their own { ADDITIONS AND NEW ACCESSORY BUILDINGS individual feelings of mass and scale. It is important to recognize the character defining qualities that help create the viewer's sense of mass and scale and to incorporate these same ideas into proposed building additions and new accessory buildings. Following other guidelines in this chapter will help ensure that new additions will be in scale with the original house. Itallanate Style Presents Tall, Elegant Prollle Low Pitched Root of Bungalow Style Provides Low Profile N )ITIONS AND NEW ACCESSORY BUILDINGS Roof Pitch Consistency The roof of a house, especially its style and pitch, is an important architectural element that must be taken into consideration when planning an addition or accessory building. Whenever possible the roof style and pitch on the addition should match the original. Roof materials should also match as close as possible in order to maintain the architectural style of the original house. Second Story Setbacks Adding additional stories to an existing house will always change a building's proportions and should be carefully designed to follow similar two story examples of the particular style. Integrating the new second story addition into the original design of the house may be easier if the addition is setback from the front facade. NOT APPROPRIATE APPROPRIATE ", B8 Roolllne Addition Is Integrated Into The Design Of The Existing Building APPROPRIATE Design Of Craftsman Style Second Story Addition Blends With Existing Building 64 Compatibility of Materials The exterior appearance of additions and new accessory buildings should be compatible with the style, quality, dimension, texture and color of materials on the existing house to the greatest extent feasible. When using wood siding it may be difficult to exactly match the size of the original siding because mill sizes and trends have changed. When an exact match is desired a special milling may be required. Otherwise, the next closest siding in terms of style, dimension and texture can be used. When different sizes of siding are used, care should be taken at the intersections of the new and the old to avoid awkward connections of the horizontal lines. Roof materials have also changed over the years. If the same roofing material as on the existing house is not available for the new addition then consider what type of roof covering you would like to use when its time to reroof the entire house and use that material. You may also want to consider replacing the existing roof when the addition is roofed. i` I ADDITIONS AND NEW ACCESSORY BUILDIN Doors The exterior doors of a historic house are indicative of its architectural style as previously described. Additions should incorporate doors compatible with the style of the house, especially if they are visible from the street. Windows Windows in historic houses were generally wood sash and the original window type, style and material should be retained when creating an addition. The general rhythm of window placement (pattern of solid to void) and the size of the windows should complement the style of the house. Typical Woodtrome Windows Casement 65 Fixed Double -Hung )ITIONS AND NEW ACCESSORY BUILDINGS Accessory Structures A new accessory structure, such as a garage, granny flat or garden shed can generally attain architectural compatibility by incorporating a few key character defining elements of the main building. Some of the key elements to consider include: • Roof pitch and style; • Building proportions; • Exterior siding and roofing materials; • Door and window style; and • Color. Accessory buildings are utilitarian structures and should not attempt to incorporate the level of detail and decoration as the house unless they are attached to it and are clearly visible from the street. Barn -style garages, for example, are usually not appropriate unless used in conjunction with a Victorian period house. When the opportunity exists, locate accessory buildings out of view from the street. Underground electrical utilities in compliance with Section 9402 of the Electrical Code. Garage Doors Garage doors on older homes were generally the sliding type that operated with steel wheels sliding on a metal tract located above the door(s). If an authentic appearance is desired, this type of hardware is still available and can be ordered through most lumber suppliers and larger hardware stores. Garage doors should be simple in their design, but plain plywood sheeting by itself is not acceptable. Plywood is acceptable when 3 or more panels are created by the use of trim pieces and moldings. Garage doors with windows are also acceptable. Metal and plastic/ fiberglass doors should generally be avoided except when located where they will not be seen from the street. These types of materials are too modern and generally lack the appropriate amount of detail to be considered compatible with Tustin's architectural styles. 101 o�r�m v�v�r�ni�u�tr�� s,.inUlie-F 118 on rnn�i�►�iin ��� Eil Garage Door Wood Trim NEW INFILL DEVELOPMENT W NEW INFILL DEVELOPMENT The following guidelines are intended to ensure that new infill development respects the existing pattern, scale and character of Tustin's Cultural Resources District. Within this context, the single most important issue related to infill development is one of style and scale compatibility. When new, potentially larger, homes are developed adjacent to older single family residences there is a concern that the height and bulk (scale) of the new infill houses do not have a negative impact on their smaller scale neighbors. Site Plan Considerations New infill houses should continue the functional, on-site relationships of the surrounding neighborhood. For example, some of the common site configurations found in the Cultural Resources District are prominent entries facing the street, front porches, ample front yards and garages located towards the rear of the property. Minimum front yard setbacks are established by the Zoning Ordinance. However, in order to maintain consistency within a neighborhood, front yard setbacks for new infill development should follow either of the following criteria when possible: They should be consistent with the average setback of all houses on both sides of the street as the new house; or They should be consistent with the setback of the two immediately adjacent houses. In cases where consistency between two adjacent existing houses are chosen, the new house may be averaged in a step pattern. This method may work especially well for bungalow -style houses and other styles where it is desirable to provide a front porch along the front facade. Appropriate now Infill development respects existing on-site relationships and setbacks. 67 V INFILL DEVELOPMENT Moving past a sequence of buildings, one experiences a rhyt{lrn of recurrent building masses in relation to spaces (setbacks) between them. This rhythm is necessary in maintaining the element of harmony in a neighborhood's development pattern. The existing development pattern may establish either a regular or irregular pattern. New projects should be respectful of the existing open space pattern and should provide side yards that respect the existing pattern. Architectural Considerations The architectural style of a new house may be contemporary or the style may be reflective of one of the historic styles within Tustin's Cultural Resources District (see previous discussion of styles, page 7) or another historic style that was popular in Southern California during the same time period. Whatever architectural style is selected, the primary consideration should be that it respect the scale APPROPRIATE and character of the surrounding neighborhood. In adopting a historic architectural style it is not necessary, nor desirable, to achieve an exact replication of the style with all of its characteristic details and decoration. Rather, the goal should be to incorporate the most distinctive character defining features of the style. For example, Victorian houses typically have steeply pitched gable roofs, wood siding and are very Rhythm Of Buildings Is Maintained NOT APPROPRIATE Rhythm Is Broken By large Obtrusive Building vertical in their overall appearance. By incorporating these and other prominent architectural and site planning features, a new house can be a welcome addition to the Cultural Resources District. If you are considering constructing a new house in the Cultural Resources District take some time to become familiar with the various architectural styles in the District and particularly in the immediate vicinity of your house. Consider the height and scale of existing houses. Note that houses on Main Street tend to be larger in scale than the houses on the internal residential streets. Height and scale are important considerations because new infill houses are likely to be taller than one story, their height and bulk can impose on adjacent residences. The height of new houses should be considered within the context of their surroundings. Building with greater height should consider setbacks at the second story to reduce impacts on adjacent single story residences. NEW INFILL DEVELOPMENT The use of front porches, and to a lesser extent balconies, are common architectural features found in most of Tustin's historic homes. The incorporation of balconies and porches on new houses is encouraged for both practical and aesthetic value. These elements should be integrated to break up large front facades and add human scale. Prominent Front Porch Is Typical of Tustin's Historic Homes .• 7 INFILL DEVELOPMENT Color schemes for new houses should consider house colors in the surrounding neighborhood in order to maintain compatibility and harmony. Also, refer to the previous discussion of paint colors under the guidelines for "Preservation and Rehabilitation of Existing Houses" at the beginning of this chapter. In taking all of the above factors into account, it is possible that a compatible design scheme will be thoroughly contemporary, without any overt historical references. Quality contemporary designs and materials are permitted, provided they pass the above tests for compatibility. The use of an architect or design professional is highly encouraged in the design of new infill construction for the District. It is possible to approach this design challenge of compatibility while remaining within desired economic parameters. Good design need not mean extra expense. The construction of a new house offers many opportunities to screen mechanical and other equipment through proper placement of such items. The following items should be considered: Skylights should be designed as an integral part of the roof. Skylight glazing should be clear or solar bronze. White glazing is not appropriate. Skylight framing material should be colored to match the color of the roof. • All flashing and sheet metal should be painted to match the material to which it is attached. • All vent stacks and pipes should be painted to match the roof or wall material they project from. Satellite "dish" antennas should be screened from view from the street. (See applicable City Code sections related to satellite dish antenna installation.) • Solar panels should be integrated into the roof design or hidden from street level view. Solar equipment should be screened from view. 70 All utilities serving the site should be undergrounded. Refer to Section 9402 of the Electrical Code. All mechanical and electrical fixtures and equipment shall be adequately and decoratively screened. The screen shall be considered an element of the overall design of the project and shall blend with the architectural design of the house. LANDSCAPING i LANDSCAPING Intent Since landscaping of single family residences does not require any discretionary review or permit from the City, the guidelines in this chapter are simply to assist the homeowner who may need some guidance as to what is appropriate for an historical house. The intent of these guidelines is to provide an outline of the elements to be considered when landscaping your front yard. Additionally, the guidelines provide examples of the type of landscaping materials and designs that were typical between 1880 and 1940. Property owners can contribute to the overall appearance of the Cultural Resources District by carefully considering the front -yard landscaping of their property. While landscaping of the backyard should receive consideration, it is not the intent of these guidelines to suggest solutions for any yard except ones visible from the street. Before You Begin In addition to the site specific information that you will need to consider (i.e. sun exposure, drainage, soil, views, etc.) you will want to step back a little further and consider some larger factors before you begin. • What are the visual characteristics of your neighborhood? • Are there prevailing landscape styles in the neighborhood? • What is the relation of your house to the street? • Are many fences used on your street? What kind? • Formal or informal? This is one of the first decisions you will need to make. 71 Formal or Informal Design? Different architectural styles are generally associated with either a "formal" or "informal" landscape design theme. The formal design theme emphasizes a uniform balance of landscape features with an almost mirror-like symmetry - landscaped areas are plotted out in geometrical shapes. Trees and shrubs may be trimmed into stylized forms, thus altering their natural shapes. Formal landscape design is best suited to Victorian, Stick, Italianate, Queen Anne and the various Revival (Greek, Colonial, Period) architectural styles. The informal landscape theme emphasizes asymmetrical designs, preferring arrangements that appear more natural and free-flowing. The informal design approach is most suited to the Craftsman and California Bungalow architectural styles which represent a conscious rejection of the formal style and a return to nature. I 'DSCAPING Basic Landscaping Principles Whatever landscape style you choose, observing four basic landscaping principals will ensure that your yard is a pleasure to behold. Unity - A unified landscape is seen as one piece, rather than disjointed groupings and scattering of features. No one element stands out; instead, all the parts - plants, gradients and structures - work together harmoniously. Strong, observable lines and the repetition of geometric shapes contribute significantly to the unity of your landscape, as does simplicity - for example, using just a few harmonious colors and a limited number of plan varieties. Be prepared to give up the idea of having every one of your favorite plants around you and avoid designing too many distinct units that will have to be tied together. In fact, as you work on each landscaping area, you may find it best to design a unified background first -a lawn or patio, perhaps. Think of this background as a neutral element, a "blank canvas" on which you'll assemble your landscaping units to provide balance, proportion and variety. yard, it could overwhelm your Just remember that the more units house as it matures. Likewise, you have, the harder it will be to shrubs and vines can grow up to achieve unity. obscure important architectural details. This situation should be Balance - To balance a landscape is to use mass, color or form to create equal visual weight on either side of a center of interest. In a formal landscape, balance may mean simply creating one side as a mirror image of the other. In informal styles, balance is just as important, but more subtle: a large tree to the left of an entryway can be balanced by a grouping of smaller trees on the right. Likewise, you can balance a concentration of color in a small flower bed on one side of a patio with a much larger and more diffuse mass of greenery on the other side. Conscious asymmetry can be pleasing, too, but take care - too much of a good thing can become an irritating lopsidedness! Proportion - In a well-designed landscape, the various structural and plant elements are in scale with one another. Start with your house; it will largely determine proportion in your landscape. When choosing trees and shrubs, keep their ultimate sizes and shapes in mind. Though a tree when young may suit your 72 avoided. If you find it difficult to imagine a plant's final size and shape, look at several mature specimens and ask for advice at a nursery. This knowledge is essential to good planning. Remember, landscaping should compliment, not compete with, the architecture of the house. Variety - Break up a monotonous landscape by selecting plants in a variety of shapes, shades and textures; or add interest by juxtaposing different materials. Imagine the pleasant surprise afforded by spotting a palm tree among greenery or a break in a screening hedge that reveals a particularly interesting view. A perfect balance between the principles of unity and variety is difficult to achieve, but well worth the effort. For further ideas, consult books on historic landscape design and the City's "Landscape and Irrigation Guidelines." Fences and Walls Though the design possibilities are many, fences fall into either of two types: solid or open. Fences and walls can be constructed of various materials. For the most part, the fences in front yards in the Cultural Resources District are "white picket." In any case, be sure to coordinate fence/wall style with the style and material of your house. A new, red brick wall might appear incongruous with a white clapboard California Bungalow or a split rail fence may appear incompatible with a majestic Queen Anne structure. The graphic on the next page illustrates a variety of fence/wall types that are appropriate for various architectural styles. A building permit is required to construct a wall over 3 feet in height or a fence over 5 feet in height. The Community Development Department should be contacted for specific setback and location requirements. In addition, a Certificate of Appropriateness will be required if the fence requires the issuance of a building permit. LANDSCAPING i Appropriate Examples of Fences 73 DFIDE)DO non= nomono 00000D❑ nnnnnn nnnnnn mnomnno nnn 00 mmnoDn Fnonnnn nonrimn HHHHHH1 HHHHHHo MMOOM11 ❑❑11011❑ 0111101101E] APPROPRIATE Victorian/Colonial Revival Style I 61111W�- ---.now U amil APPROPRIATE Bungalow Style 74 APPROPRIATE Spanish Col6niallMonterey Style NOT APPROPRIATE Unadorned, unarticulated fence and wall materials such as plain concrete block, poured in place concrete and slumpstone will likely look out of place within the front yard area. Avoid solid fence types in the front yard whenever possible. See Fence Height and Locations graphic below. Chainlink fencing is stylistically the least compatible fencing materials and is not acceptable. Barbed or razor wire are also not acceptable. Plain concrete block may be placed behind the front setback line of the main dwelling (6'8" high, maximum) as well as solid wood fencing (see fence/height location graphic this page). 1 T.ANT)GCAPTTUr Appropriate low garden walls and fences may be placed►within the front setback area as long as they do not exceed 36 inches in height. As mentioned above, solid walls and fences with a maximum height of 6 feet 8 inches may be located behind the front setback area. FENCE HEIGHTS AND LOCATIONS 1111111111■■■■■■■�■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■■ ■ i I■ a I■ i i '0 ■ ■ 0 Front Yard Setback • 1111111111111111111111111 111 1111111/11111 1111111111 11111 1111111111111111111111111 Public ■■■■■■ 6181 Fence or wall (Located Behind Front Setback) 1111111111111111 36' Fence or Garden wall !Located Between the Street and Front Setback) ' Refer to Zoning Ordinance for Setback Requirements 75 I 'DSCAPING Driveways Traditional driveways for most of Tustin's older/historic homes consisted of two parallel paved strips for the tires separated by a turf or gravel panel down the middle. This is the preferred method of providing driveways in the Cultural Resources District. An acceptable alternative to this traditional approach is a single narrow driveway (10' wide maximum) with no turf panel and with a landscaped strip provided between the driveway edge and the nearest property line. It is not appropriate to pave the area between the edge of the driveway and the nearest property line and thereby eliminate areas for green landscaping. Also, if you now have a traditional two panel driveway, resist the temptation to pave in the center part with concrete. If you feel that you no longer want to maintain turf in this area consider using brick pavers or stone work as an alternative to concrete. Also, consider low ground cover or flowers in areas where vehicles are not usually parked. Typical Examples of Appropriate Driveways 9.1 L Walkways The main entry walkway to the house is often the first thing visitors notice as they enter your property. It is important that it set the right mood by contributing to the overall character of the house. y The materials listed below are the most appropriate for walkways in the Cultural Resources District, • Brick • Natural gray concrete - textured to expose only the fine aggregates (i.e. acid wash finish, light - sandblast finish, light retardant finish) • Stone - random or cut patterns, Flagstone, fieldstone, granite, slate or sandstone • Cobble - gray granite river rock • Decomposed granite • Poured in place or pre -cast natural gray concrete stepping stones • Glazed non -slip ceramic tiles (accents only) , • Terra cotta tiles and pavers • Painted concrete Paving materials that are least appropriate and are discouraged are: • Synthetic composite tiles and pavers (i.e. synthetic stone, cultured stone) • Wood decking - with the exception of porches, terraces, verandas and other architectural extensions • Railroad ties LANDSCAPING Brfck Walkway 77 Concrete Wa►Kway ► _ ' IDSCAPING Mailboxes Mailboxes, like other exterior improvements to your house, can contribute to, or detract from, its overall character, especially if the house has an identifiable architectural style. When selecting new mailbox, consider the followir suggestions: Mailboxes were traditionally simple wooden or metal boxes attached to a post in the ground or to the porch. They served the utilitarian function in unadornec fashion and this is still the best approach today. Keep it simple; If a more decorative approach is desired, keep in mind the style and scale of your house. Use materials and design elements that are used on the house (e.g. wood siding, brick, rock, stucco) and • Avoid making the mailbox support structure a visually dominant feature that competes with the house for attention. The location of your mailbox is determined by criteria established by the Post Office. Appropriate Mailbox Variations Wall Mounted Pedestal Mounted Fence Mounted 0 Security Lighting While exterior lighting may be desirable for security reasons, keep in mind that the overspill of light onto adjoining properties may be a nuisance to your neighbors. Also, using more light and higher wattage bulbs than necessary is a waste of energy. With this in mind, consider the following: Use only the amount of light required to efficiently illuminate the area - do not assume that more light is automatically better; Use multiple lighting fixtures with lower wattage bulbs instead of a single large fixture with a high output light source whose spread may be difficult to control; Use fixtures that aim the light where it is needed and shields light from spilling onto adjacent property and into areas where it is not wanted; and Paint fixtures to be compatible with house colors. L ti Decorative Lighting The use of area and accent lighting can add to the aesthetic appeal of any house regardless of its architectural style. Lighting can also fulfill security needs when properly placed. Here are a few simple guidelines to keep in mind when selecting lighting fixtures and placing them in your yard: • Use a style of lighting fixture that compliments the architectural style of your house. There are a wide variety of off-the-shelf lighting fixtures available to match almost any architectural style found in the Cultural Resources District and their cost is minimal considering the positive affect a well planned lighting system can have on the overall appearance of your house; Avoid using modern or trendy design fixtures that may be out of style in a few years. Also, avoid styles that are not consistent with a residential character such as an industrial fixture, nautical -style, or Federalist -style (more appropriate for public buildings); • Use lighting fixtures that shield the light from spilling over onto adjoining properties; • Avoid using tall fixtures that do not fit the pedestrian scale of the residential yard. An appropriate height it 5 to 7 feet. • Consider the use of a low -voltage lighting system that conserves Industrial Nouticayi Federalist Inappropriate Styles Of Lighting Fixtures 79 LANDSCAPING energy. The initial cost of the system may be higher than a standard 120 volt system, but the ease of installation and maintenance, and the savings in energy costs can make up for the difference in a short time; and • Paint lighting fixtures to be compatible with house colors. Appropriate Variations Of Lighting Fixtures :1 APPENDICES APPENDICES APPENDIX A: Glossary of Terms 1. Architectural and Planning Terms 2. Design Terms 3. Preservation Terms APPENDIX B: Technical "How To" Information 1. Weather Proofing and Insulating 2. Wood -Destroying Insects 3. Plumbing Problems 4. Electrical Problems 5. Earthquake Preparedness APPENDIX C: Design Professionals and Contractors APPENDIX D: Home Repair Checklist APPENDIX E: City Approval Procedures APPENDIX F: Secretary of Interior's Standards APPENDIX G: Helpful Books and Reports 1. Architectural History 2. Additions and New Design 3. Rehabilitation and Repair L APPENDIX A: GLOSSARY OF TERMS Architectural and Planning Terms Arcade - An arched roof or covered passage way. Arch - A curved structure supporting its weight over an open space such as a door or window. Architrave - In the classical orders, the lowest member of the entablature; the beam that spans from column to column, resting directly upon their capitals. Awning - A fixed cover, typically comprised of cloth over a metal armature, that is placed over windows or building openings as protection from the sun and rain. Baluster - The upright portion of the row of supports for a porch railing. Balustrade - A series of balusters surmounted by a rail. Bargeboard - A finishing board at the edge of a gable roof. Bay - A regularly repeated spatial element in a building defined by beams or ribs and their supports. Bay Window - A window projecting outward from the main wall of a building. Beveled Glass - Glass with a decorative edge cut on a slope to give the pane a faceted appearance. Beveled Siding - A type of wood cladding characterized by beveled overlapping boards with rabbeted edges. Belt Course - A continuous horizontal band, either plain or ornate, which projects from the surface of an exterior wall, separating two stories. Ornate belt courses often resemble cornices. Belvedere - A rooftop pavilion from which a vista can be enjoyed. A-1 APPENDIX A: GLOSSARY OF TLS Board and Batten - Vertical siding composed of wide boards that do not overlap and narrow strips, or battens, nailed over the spaces between the boards. Bond - The general method of over- lapping the joints of successive courses of bricks or stones, thereby binding them together to form a wall or other surface. Different patterns may be formed by these joints (e.g.,common bond, flemish bond, english bond, herringbone bond). Bowstring - A roof structural system composed of parallel trusses which resemble a bow with the string parallel to and nearest to the ground. Bracket - A support element under overhangs; often more decorative than functional. Canopy - A fixed, roof -like covering that extends from the building as protection from the sun and rain. _. "ENDIX r1: GLOSSARY OF TERMS Cantilever - A projecting overhang or beam supported only at one end. Capital - The upper part of a column, pilaster or pier: the three most commonly used types are Corinthian, Doric and Ionic. Casement Window - A window that opens on hinges fixed to its vertical side. Chamfer - A 90 degree corner cut to reduce it to 2-45 degree edges. A bias cut. Clapboard - A long thin board graduating in thickness with the thick overlapping the thin edges; also known as weatherboard. Clerestory - An upward extension of a single storied space used to provide windows for lighting and ventilation. Colonnade - A row of columns supporting a roof structure. Column - A vertical support, usually cylindrical, consisting of a base, shaft and capital, either monolithic or built-up of drums the full diameter of the shaft. Coping - The capping or top course of a wall, sometimes protecting the wall from weather. Corbel - A type of bracket found in some cornices of brick buildings. It is formed by extending successive courses of brick so that they stand out from the wall surface. Cornice - The third and uppermost division of an entablature, resting on the frieze and projecting out from it. Course - In a masonry wall, a single line of bricks or stones. Cultural Resources District - An area containing improvements which have a special character, historical interest or aesthetic value or which represent one or more architectural periods or styles typical to the history of the City, and which improvements constitute a distinct section of the City that has been designated a Cultural Resources District pursuant to Section 9252 of the Zoning Code. Cupola - A lookout or similar small structure on the top of a building. A-2 Curb Cuts - The elimination of a street curb to enable vehicles to cross sidewalks and enter driveways or parking lots. Dormer - A vertically framed win- dow which projects from a sloping roof and has a roof of its own. Double Hung Window - A window with an upper and low sash ar- ranged so that each slides vertically past the other. Eaves - The overhang at the lower edge of the roof which usually projects out over the walls. Elevation - A two dimensional representation or drawings of an exterior face of a building in its entirety. Entablature - In classical architecture, the elaborated beam member carried by the columns, horizontally divided into architrave (below), frieze and cornice (above). The proportions and detailing are different for each order, and strictly prescribed. Facade - The exterior face of a buil- ding which is the architectural front, sometimes distinguished from other faces by elaboration of architectural or ornamental details. Fanlight - Semi -circular window over a door or window with sash radiating like the ribs of an open fan. Fascia - A flat strip or band with a small projection, often found near the roofline in a single story building. Fenestration - The arrangement and design of windows in a building. Flashing - Copper or other materials used to make weather -tight the joint between a chimney and a roof. Fluting - The vertical channeling on the shaft of a column. Focal Point - A building, object or natural element in a street -scene that stands out and serves as a point of focus, catching and holding the viewer's attention. Frieze - The middle horizontal member of a classical entablature, above the architrave and below the cornice. Gable - The triangular part of an exterior wall, created by the angle of a pitched roof. Gambrel Roof - A roof with a broken slope creating two pitches between eaves and ridges, found often on barns. Glazed Brick - A brick which has been glazed and fired on one side Hip Roof - A roof with four uniformly pitched sides. Historic District - A geographically defined area possessing a significant concentration or continuity of landmarks, improvements or landscape features united by historic events or by physical development and which area has been designated as an historic landmark district; said district may have within its boun- daries noncontributing buildings or other structures that, while not of such historic and/or architectural significance to be designated as landmarks, nevertheless contribute to the overall visual character of the district. A-3 APPENDIX A: GLOSSARY OF TEtv,.tS Joist - Any small timber laid horizontally to support a floor or ceiling. Icon - A pictographic or graphic representation of an object. Used in signage to replace or supplement text. Infill - A newly constructed buil- ding within an existing development area. Light - A windowpane. Lintel - The horizontal member above a door or window which supports the wall above the opening. Loggia - A gallery behind an open arcade or colonnade. Lot - A parcel of land, in single or joint ownership, and occupied or to be occupied by a main building and accessory buildings, or by a dwelling group and its accessory buildings, together with such open spaces and having its principal frontage on a street, road, highway or waterway. "'PENDIX A: GLOSSAi.. i LRMS Mansard - A roof with two slopes on each side, the lower slope being much steeper; frequently used to add an upper story. Masonry - Wall construction of such material as stone, brick and adobe. Moulding (Molding) - A continuous decorative band that serves as an ornamental device on both the interior and exterior of buildings. Mouldings may also serve a functional purpose by obscuring the joint formed when two surfaces or materials meet. Synonym: Molding Mullions - The divisional pieces in a multi -paned window. Muntin - A small, slender wood or metal member which separates the panes of glass in a window. Newel Post - The major upright support at the end of a stair railing or a guardrail at a landing. Palladian Window - A three part window with a top -arched center window and long, narrow rectan- gular windows on either side. Parapet - The part of a wall which rises above the edge of a roof. Pediment - A triangular piece of wall above the entablature, which fills in and supports the sloping roof. Pier - A stout column or pillar. Pilaster - A column attached to a wall or pier. Pitch - The slope of a roof expressed in terms of ratio of height to span. Porch - A covered entrance or semienclosed space projecting from the facade of a building; may be open sided or screened. Portal - The principal entry of a structure. Porte Cochere - Carriage porch large enough to let a vehicle pass through. Portico - A large porch, usually with a pedimented roof supported by columns. A-4 Primary Building Facade - The particular facade of a building which faces the street to which the address of the building pertains. Purlin - A horizontal structural member parallel to the ridge, supporting the rafters. Can extend out from the gable. Quoins - Heavy blocks, generally of stone (or simulated in wood), used at the corner of a building to reinforce masonry walls. Rafter - A sloping structural member of the roof that extends from the ridge to the eaves and is used to support the roof deck, shingles or other roof coverings. Relief - Carving raised above a background plane, as in base relief. Reveal - The vertical side section of a doorway or window frame. Ridge - The highest line of a roof when sloping planes intersect. Rustication - A method of forming stonework with recessed joints and smooth or roughly textured block faces. APPENDIX A: GLOSSARY OF TErrAS Sash - The part of the window Soffit - The finished underside of an Turret - A little tower often at the frame in which the glass is set. eave. corner of a building. Section - A representation of a buil- Street Wall - The edges created by Veranda - A roofed porch ding, divided into 2 parts by a ver- buildings and landscaping that sometimes stretching on two sides of tical plane so as to exhibit the enclose the street and create space. a building. construction of the building. Setback - The minimum horizontal distance between the lot or property line and the nearest front, side or rear line of the building (as the case may be), including terraces or any covered projection thereof, excluding steps. Shake - Split wood shingles. Shed Roof - A sloping, single planed roof as seen on a lean-to. Siding - The finish covering on the exterior of a frame building (with the exception of masonry). The term cladding is often used to describe any exterior wall covering, including masonry. Sill - The exterior horizontal member on which a window frame res ts. Slate - Thinly laminated rock, split for roofing, paving, etc. Stringcourse - A narrow horizontal band extending across the facade of a building and in some instances encircling such decorative features as pillars or engaged columns; may be flush or projecting, and flat, molded or richly carved. Stucco - An exterior finish, usually textured, composed of portland cement, lime and sand, which are mixed with water. Terra-cotta - Earth colored baked clay products formed into molds and used ornamentally. Also referred to roof tile color. Transom - The horizontal division or cross -bar in a window. A win- dow opening above a door. Truss - A structure composed of a combination of members, usually in some triangular arrangement so as to constitute a rigid framework. A-5 Widow's Walk - A small roof deck with guardrail usually located at the peak of a roof from which wives of ship captains could catch a first glimpse of their husband's ship returning from sea. —''ENDIX A: GLOSSARY OF TERMS Design Terms Aesthetics - The science and philosophy of beauty. If something is aesthetic, it is of beauty or artistic. Asymmetry - The balanced arrangement of different elements without a common axis. Balance - Is another important aspect of rhythm. Balance can be described in terms of symmetrical and asymmetrical elements. An important feature of balance is that it is very often achieved by matching differing elements which, when perceived in whole, display balance. Eclectic - A composition of elements from different styles. Emphasis - Describes the use of elements which call attention to themselves. Emphasis is an important feature in creating balance when using dissimilar elements. Canopies and balconies are examples of elements which, when emphasized properly, can assist in presenting a balanced look. Emphasis also can be found within strip developments of malls by the location of a more massive or monumental building, such as a major department store. This emphasis provides a directional guide because it creates a point of reference for the users. Emphasis can also be used as a directional element such as the emphasis at a store entrance or mall entrance. Garish - That which is gaudy, showy, flashing, dazzling or too bright to be aesthetically pleasing. Mass - Mass describes three dimensional forms, the simplest of which are cubes, boxes (or "rectangular solids"), cylinders, pyramids and cones. Buildings are rarely one of these simple forms, but generally are composites of varying types of assets. This composition is generally described as the "massing" of forms in a building. During the design process, massing is one of many aspects of form considered by an architect or designer and can be the result of both exterior apd interior design concepts. Exterior massing can identify an entry, denote a stairway A-6 or simply create a desirable form. Interior spaces (or lack of mass) can be designed to create an intimate space or perhaps a monumental entry. Interior spaces create and affect exterior mass, and exterior mass can affect the interior space. Mass and massing are inevitably affected by their opposite, open space. The lack of mass, or creation of perceived open space, can significantly affect the character of a building. Architects often call attention to a lack of mass, by defining the open space with low walls or railings. Landscape architects also use massing in design such as in grouping of plants with different sizes and shapes. These areas are intended to be perceived as a whole rather than as individual trees or shrubs. Plant masses can be used to fill a space, define the boundary of an open area, or extend the perceived form of an architectural element. Monochromatic - Painting with a single hue or color. Monolithic - Exhibiting massive uniformity, singular. Movement - The apparent directional emphasis of a building facade as indicated by its proportions. Static movement is based on square proportions, dynamic movement is based on rectangular proportions. Pattern - The pattern of material can also add texture and can be used to add character, scale and balance to a building. The lines of the many types of brick bonds are examples of how material can be placed in a pattern to create texture. The natural texture of rough wood shingles exhibit texture by the nature of the material and by the pattern in which the shingles are placed. Proportion - Proportion deals with the ratio of dimension between elements. Proportion can describe height to height ratios, width to width ratios, width to height ratios, as well as ratios of massing. Landscaping can be used to establish a consistent rhythm along a streetscape which will disguise the lack of proportion in building size and placement. Rhythm - The regular or harmonious recurrence of lines, shapes, forms, elements or colors, usually within a proportional system. Scale - Scale is the measurement of the relationship of one object to another object. The scale of a building can be described in terms of its relationship to a human being. All components of a building also have a relationship to each other and to the building as a whole, which is the "scale" of the components. Generally, the scale of the building components also relate to the scale of the entire building. The relationship of a building, or portions of a building, to a human being is called its relationship to "human scale." The spectrum of relationships to human scale ranges from intimate to monumental. Intimate usually refers to small spaces or detail which is very much in keeping with the human scale, usually areas around eight to ten feet in size. These spates feel intimate because of the relationship APPENDIX A: GLOSSARY OF TEkldS of a human being to the space. The distance of eight to ten feet is about the limit of sensory perception of communication between people including voice inclination and facial expression. This distance is also about the limit of an up -stretched arm reach for human beings which is another measure of human scale. The components of a building with an intimate scale are often small and include details which break those components into smaller units. At the other end of the spectrum, monumental scale is used to present a feeling of grandeur, security, timelessness or spiritual well-being. Building types which commonly use the monumental scale to express these feelings are banks, churches and civic buildings. The components of this scale also reflect this grandness, with oversized double door entries, 18 foot glass storefronts or two-story columns. Landscape or hardscape elements can also bring human scale to a large building by introducing features such as a tree canopy, leaf textures and fragrance. ENDIX i1. GLOSSARY Or TERMS Plants can complement the scale of the architecture, as when large trees are used next to tall buildings, or small trees to accent a building component such as an entry. Surface Materials - Can be used to create a texture for a building - from the roughness of stone or a ribbed metal screen to the smoothness of marble or glass. Some materials, such as wood, may be either rough (such as wood shingles or resawn lumber) or smooth (such as clapboard siding). Symmetry - The balanced arrangements of equivalent elements about a common axis. Texture - Texture refers to variations in the exterior facade and may be described in terms of roughness of the surface material, the patterns inherent in the material or the patterns in which the material is placed. Texture and lack of texture influence the mass, scale and rhythm of a building. Texture also can add intimate scale to large buildings by the use of small detailed patterns, such as brick masonry. A-8 �W Glossary of Preservation Terms 'd Adaptive Reuse - Conversion of a building designed for a specific use to a new use (e.g. a residence converted to office space). Cultural Resources Advisory Committee - A committee of 5 members appointed by the City Council, all of whom reside or own property within a designated Cultural Resources District. To the extent possible the committee shall have among its membership at least one person engaged in architecture or a design profession, one person with a demonstrated interest and knowledge in local history and historic preservation, one person engaged in business within a designated Cultural Resources District and a member of the Tustin Area Historical Society. The committee is to act in a solely advisory capacity to the City Council. Cultural Resources District - A zoning overlay district that applies to those properties as shown on the official Tustin Zoning Map and to those cultural resource structures and sites as may be designated by resolution of the City Council and listed by address and filed with the Department of Community Development. Designated Cultural Resource - An improvement or natural feature that is established by the City Council upon application by any person to meet the following criteria: 1) It exemplifies or reflects special elements of the City's cultural, architectural, aesthetic, social, economic, political, artistic, engineering and/or architectural heritage; 2) It is identified with persons, a business use or events significant in local, state or national history; 3) It embodies distinctive characteristics of style, type, period or method of construction or is a valuable example of the use of indigenous materials or craftsmanship; A-9 I APPENDIX A: GLOSSARY OF TL-nAS 4) It is representative of the notable work of a builder, designer or architect; 5) Its unique location or singular physical characteristic represents an established and familiar visual feature of a neighborhood, community or the City; 6) Its integrity as a natural environmental or feature strongly contributes to the well being of residents of the City or the well being of a neighborhood within the City; or 7) It is a geographically definable area possessing a concentration or continuity of site, building, structures or objects as unified by past events or aesthetically by plan or physical development. Historic Preservation Commission - A nine member citizen board appointed by the Council to assist in administering the City's historic preservation program. The Commission meets the first Tuesday of every month. :NDIX A: GLOSSARY OF t'ERMS National Historic Landmark - The highest designation of a historically significant site or building in the United States. Non-Descript - Without distinctive architectural form or style. Ordinary and without architectural character. Preservation - The treatment of an existing building to stop or slow deterioration, stabilize the structure and provide for structural safety without changing or adversely affecting its fabric or appearance. Restoration - The careful and meticulous return of a building to its appearance at a particular time period, usually on its original site, by removal of later work and/or replacement of missing earlier work. Reconstruction - The construction, on its original site or a replica of a building or facility which no longer exists, based upon archeological, historical, documentary and physical evidence. Both modern and traditional construction techniques may be used. Reconstitution - The piece -by -piece reassembly of a building. Reconstitution on the original site replaces buildings damaged by disasters such as war, earthquake or flood, where most of its parts remain; reconstitution at a new site is usually the result of changes in land use and redevelopment programs. Recycling, Adaptive Reuse - The reuse of older structures that would have otherwise been demolished, often involving extensive restoration or rehabilitation of the interior and/or exterior to accommodate the new use. Rehabilitation, Renovation - The modification of or changes to an existing building in order to extend its useful life or utility through repairs or alterations, while preserving the features of the building that contribute to its architectural, cultural or historical character. Remodeling - Any change or alteration to a building which substantially alters its original state. A-10 Significant Architectural Style - The style of the building which existed when the building became important historically. L L - APPENDIX B: TECHNICAL "HOW TO" INFORMATION APPENDIX B: TECHNICAL "HOWT011 INFORMATION Weather Proofing Repairs and improvements around the house that help keep the air inside at a comfortable temperature can save you more money than the cost of the improvement. The three basic ways to keep inside air comfortable are 1) plug leaks through which outside air enters and inside air escapes; 2) install insulation, which makes heat transfer more difficult; and 3) make the heating source more efficient. The first two methods are discussed below. Plugging Leaks Studies have shown that between 15-50 percent of the heating and cooling costs in older homes can be attributed to air leaks in the building shell. Some air exchange is desirable (up to 15 percent) so that the house can breath and rid itself of stale air, but beyond 15 to 20 percent is a waste of money and energy. Look for leaks in the most common areas of the house first. Windows and Doors: Windows and doors are obvious places to look for leaks, and many materials on the market are made specifically to stop infiltration there. But air gets through walls in other places as well. Baseboard and Trim: Wind blowing against windows, doors and siding can enter through a wall and escape where the baseboard and the trim around windows and doors fit imperfectly against the plaster or wallboard. The remedy is a clear or paintable caulk applied on the inside of the house. Fireplaces: A fireplace can be a constant funnel for heat loss. When not in use, warm air forms a natural draft up the chimney in winter; when in use, much stronger drafts from the fire draw heated interior air up with the smoke. B-1 If you use the fireplace, install glass doors to save heat both when in use and when not. If the fireplace is now a mere decoration, block the flue as best you can. Closing off the air that escapes up a fireplace when it is not in use cuts down on a house's total air leakage by about 5 percent. An alternative is to fit the fireplace with a wood burning stove made just for this purpose. You get heat out of the fireplace and not as much warmed room air is drawn up the chimney. Outlets, Wall Switches and Fixtures: Electrical outlets and switches are housed in metal or plastic boxes that are several inches deep. When these outlets and switches are set into an exterior wall, small gaps between them and the wall surfaces occur. Air can enter the house through the holes in the box and attached cover plate. Leaks around and through wall outlets and switches and fixtures can account for as much as A ""ENDIX B: TECHNICAL "HOW TO" INFORMATI04' 10 percent of a home's heating or air conditioning costs. To prevent heat exchange and air filtration, install inexpensive foam gaskets behind outlet and switch cover plates. When you reattach the cover plate, check for cracks between it and the wall; seal any you find with caulk. OUTLET FOAM COVER 0 o J o o. A loam gasket between the cover and the wall effectively stops air from getting Into the room. Some of the worst sources of heat loss are lighting fixtures in the uppermost ceilings, including recessed lighting fixtures. Warm air escaping around them draws cold air in from windows. Caulk any cracks around ceiling light fixtures. Ducts: Another source of leaks is a home's duct work. Air, warmed by the furnace or cooled by the air conditioner's condenser, leaks out of the ducts into nonlivable space, such as an unfinished basement or attic. There's no reason to heat or cool these regions, and by stopping those sources of leaks, you deliver more heated or cooled air where you need it. The best way to stop leaks in ducts is to tape duct -work seams with a high-grade aluminum -faced duct tape. In addition, check where exposed chimneys penetrate an insulated ceiling or exterior wall and caulk the cracks. Caulking Caulk should be applied from the inside of the house, not the outside. The old way to caulk and weatherstrip focused on filling holes and cracks from the outside. New studies have shown that better energy savings can be achieved by blocking holes from the inside. B-2 The only reason for caulking outside is to prevent water penetration behind the siding or trim. Inside, clean and fill cracks at the baseboard and around door and window trim. Overall, the following four materials are the most cost-effective for specific, but common, uses: Siliconized Acrylic: Use for interior and exterior cracks that do no change width because of humidity or the seasons. Silicone: Use for interior and exterior cracks that do move with humidity or the seasons. Generally, these are cracks between unlike materials, such as brick and wood, or where wood trim shrinks and swells. • Silicone with Fungicide: Use in bathroom and kitchen applications. • Copolymer: Use for exteriors when application is possible only in temperatures below 40' F. Weatherstripping In addition to sealing cracks around door and window trim it is also important to install weatherstripping in the gaps between doors and windows and the frames that hold them in place. Below is a list of the most widely recommended types of weatherstripping for common jobs. • Standard Doors: Spring -metal tension strips and door sweeps. • Sliding Glass Door: Factory - installed weatherstripping, especially those with the bristles held in a plastic retainer. • Exterior Basement Doors: Foam strips. • Wood Double -Hung Windows: Metal or plastic tension strips. • Wood Casement Windows: Closed -cell foam strips (air bubbles in the foam are not connected, preventing water penetration and providing greater insulating protection). • Metal Casement Windows: Metal tension strips. • Horizontal Sliding Windows: Metal tension strips. DOUBLE -HUNG WINDOW WEATHERSTRIP PLACEMENT `-A�PENDIX B: TECHNICAL "HOW TO" INFORMATItr METAL WEATHERSTRIPPING A. Inside o/ upper sash bottom rall (seals gap between top and bottom sash when window Is closed) B. Bottom of lower sash C. Sash channels (Do not cover pulleys) B-3 Insulation The first inch of insulation in an uninsulated house does more for you than the second, the second more than the third, and so on. The tenth inch of insulation, in fact, is only 1/76th as effective as the first inch. Somewhere between one and ten inches, there is a point at which the cost of extra insulation is greater than the savings it will generate in reduced fuel consumption. Therefore, it is important to pay attention to the payback period of insulation. We define this as the number of years it takes for the dollar savings realized by reduced fuel consumption to equal the cost of the improvement, including all the labor and repair required. Sometimes, you will find that the payback period of the insulation improvement is so long that the improvement is not worth the cost and effort. When an insulation payback period stretches to ten years or more, you should first spend your resources looking for more effective energy saving measures. These should ENDIX B: TECHNICAL "HOW TO" INFORMATIC include reducing air infiltration or improving the efficiency of your furnace and air conditioner. How Much Insulation? If you have more than 2-1/2 inches of existing insulation in the ceiling and would use a contractor to do the work, the payback period for the new insulation might be 9 to 14 years in a non -air-conditioned house --an improvement that should not be a high priority. Obviously, the payback periods differ by air conditioning load and whether you do the work yourself or pay to have it done. For Tustin's moderate climate, walls should be insulated to a factor of R-11 and attics to R-19. You should consult a home repair book to learn more about R -values, as these change with the type (e.g. fiberglass, cellulose, perlite, etc.) and thickness of insulation materials. Attics • If there is less than 3-1/2 inches of insulation, add 6 -inch (R-19) fiberglass batts. • If there is more than 6 inches now, take other energy-saving steps first. Walls In Tustin's mild climate, wall insulation should not be added unless you are opening the walls for another reason. • In an air-conditioned house, you may want to consider blowing cellulose into wall cavities to get R-11. If you do not know the R -value of the insulation you have in your walls and ceilings, you may need to have an insulation contractor advise you. Make sure the evaluators check all the walls to see that they are insulated, because some walls might be, while others are not. Before you install insulation check with The Gas Company to find out if you qualify for a rebate. You may also want to take advantage of their free Energy Audit Program. When installing insulation, remember that a very small installation error can lead to a very B-4 great loss in heat -retaining efficiency. Even a small gap created by an ill-fitting batt causes a dramatic loss in R -value and cost- effectiveness, despite the thickness of the insulation. Consequently, if you are having a contractor do the work for you, watch carefully when the crew is fitting the batts to the studs, rafters and joists. If you see insulation poorly cut, fit or stuffed, make the workers correct the problems or stop work. Otherwise, you'll never stop paying (in fuel consumption) for the mistakes. Where to Install Insulation The most important place to have good insulation is in the uppermost ceiling of the house. This may be the flat ceiling beneath an unheated attic or, if the attic is heated for a living space, the pitched ceiling that attaches to the roof rafters. In addition, proper venting at the uppermost parts of the house will allow hot air to escape before it has a chance to heat up the rooms below. Good insulation is especially important in flat ceilings, because horizontal surfaces lose heat more rapidly than do angled ones. Fortunately, flat ceilings are often the easiest to insulate in older homes, because you can lay the insulation into the ceiling from the attic above. The most common insulations for open -attic ceilings are fiberglass and cellulose. Both can be poured between ceiling joists from above, or fiberglass blankets or batts can be fitted into place. Ideally, a layer of insulation should cover the joists themselves, not just fill the cavities between. The wood in the joists is not as good an insulator as the insulation around it and, unless the joists are covered at the top, you do not really get the full R -value of the purchased insulation. Existing walls can be insulated with blown materials --fiberglass, mineral wool or cellulose --from the exterior or interior. For this method, 2- or 3 - inch diameter holes are drilled in the walls and insulation is forced in through a tube from a machine on the'ground. Often, blow-in t 7Ai PENDIX B: TECHNICAL "HOW TO" INFORMATION insulating is less expensive if you work from the inside because it is less expensive to patch drywall or plaster than exterior siding, especially if some of the holes are 20 feet off the ground. But, if you are covering old siding with new, working through the exterior and then covering with the new siding will be the least expensive method. Of the three types of blown insulation material, cellulose is the least expensive, has a high R -value and helps recycle paper. B-5 Where a frame wall is new or where either its inside or outside surface has been removed for a repair, the most cost-effective way to add insulation is to staple in fiberglass R-13 blankets or batts. Important Note: Never install insulation on or near old-style knob and tube wiring. This can cause a serious fire hazard. '__ 'ENDIX B: TECHNICAL "HOW 1'0" iNFORMATIC'— Wood-Destroying Insects and Fungus Termites There are several types of termites found in the United States, but the non -subterranean or drywood termite is the one common to Southern California. Unlike subterranean termites, drywood termites do not need moisture or contact with the soil since they only live in the wood itself. Termites swarm near a house during the spring and fall seasons. These are the best times to look for evidence of infestations. Both subterranean and non -subterranean termites exist in two forms, winged and unwinged. Termites are different from flying ants in several ways. For instance, flying ants have a narrow waist while termites do not. Also, termites have longer wings than ants and their wings are similar in shape and size and have many small veins in them, while the wings on a flying ant differ in both size and shape and have few veins in them. Male and female termites, which are referred to as kings and queens, fly in swarms to establish new colonies. Since they shed their wings after flight, piles of wings on wood are sure signs of termite infestation in or near a house. One of the early signs of drywood termites is a collection of sandy excretory pellets on or near the wood. Infested wood makes a rattling sound when shaken. Also, look for small holes about the size of a pinhead in window frames and trim. At night termites swarm towards light so window frames are a natural target. Once termites have gotten into a house, a termite exterminating company has to be called to treat it. A knowledgeable exterminating company can do the job correctly so that it is safe and effective. Do not attempt to do this job yourself. It is a good idea to obtain 2 to 3 bids for extermination work. Different companies may use different methods and it is best that you fully understand all of your options. Wood -Decaying Fungus (Dry Rot) Wood -decaying fungus can be as destructive to wood as termites. It grows rapidly on wood in areas where there is high humidity as well as on wood that is constantly wet or damp. The fungus softens the wood, making it almost spongy to the touch. In its early stages of decay, the wood discolors and eventually it turns brownish. As the fungus continues to destroy the wood, the wood cracks and disintegrates. Painted wood also can be destroyed by wood -decaying fungus. As the wood under the paint decays; it discolors the paint. When left in this condition for an extended period of time, the wood also cracks and disintegrates. Wood -decaying fungus is commonly found in crawl spaces where humidity and moisture have been allowed to build up. To prevent moisture in the soil in a crawl space from condensing on the wood framing members, it is best to place a vapor barrier over the soil. In addition to crawl spaces, wood decaying fungus also grows in the forming lumber that was used -APPENDIX B: TECHNICAL "HOW TO" INFORMATItT4 during the construction of the house and was buried in the,soil under it. This fungus also grows in attics when they are not adequately vented and in walls in a house without gutters and downspouts installed for proper drainage. The only way to get rid, of wood - decaying fungus is to remove it. This is done by removing the infested pieces of wood and replacing them. This may mean that an interior wall or ceiling will have to be removed and replaced. When this is done, it is also essential to minimize humidity and moisture buildup in this areas to prevent a recurrence of this fungus in the new wood framing members. When the fungus is in a painted exterior wall such as in wood siding, the siding has to be removed to get rid of the wood -decaying fungus. New wood siding has to be installed and then, most likely, the entire exterior facade will have to be repainted since matching the new paint color with the old will be very difficult. B-7 ENDIX B: TECHNICAL "HOW TO" INFORMATIO' Plumbing Problems Plumbing can often be one of the most expensive parts of a renovation project, but savings can be realized in several areas. Plan properly. For example, if you are remodeling a kitchen or adding a bathroom, arrange the fixtures, appliances and pipes so that you use the fewest possible pieces of pipe and the shortest possible pipe lengths. Use plumbing codes to the best advantage, save parts that can be saved and apply permitted techniques that reduce the amount of labor or materials needed. Another way to save money is to use new, nontraditional and inexpensive materials, some of which are made expressly for amateurs. Plumbing has gone through a revolution in just a few years, making it now a do-it-yourselfer's delight. Materials are relatively inexpensive compared to those used until recently, and further, they are easy to cut and install. For example, you can use plastic soil pipe that glues together and flexible neoprene connectors that join new plastic to old cast-iron pipes. There are a number of do-it-yourself books on the market that can help make simple and even advanced repairs to your plumbing system. Refer to Appendix E for a list of helpful books and reports on home repairs and renovation. If you have to get involved in plumbing repairs on either water or sewer lines, it may be better to repair than to replace the whole line with new materials, depending on the general condition of the line and the location of the problem. Here are some common problems you may face: Leaking Sewer Pipe First, clean the section to be repaired well and allow it to dry; use a hair dryer to speed this process along. For a temporary repair, wrap the leaky pipe tightly with electrician's tape or duct tape. For a permanent repair, replace the offending section with plastic pipe with neoprene coupling clamped onto the old pipe. You should be able to get the old section out by melting the lead in the joints with butane torch. Alternatively, old sewer pipe can usually be broken by driving successive holes around it with a sharp metal punch. Any jagged ends can be broken off by adjusting a crescent wrench to the thickness of the pipe wall and snapping the jagged piece off. If the leak is in the joint of cast- iron sewer pipe, dry it out and try sealing it with silicone sealer. Leaks Around A Toilet Base • Turn off water supply. • Drain the tank. • Unfasten the water inlet line. • Remove the two to four bolts holding the toilet to the floor. • If the floor is rotted out, cut out a square section of floor to the nearest joists and replace it with a new waterproof plywood section of floor with a hole cut for the sewer pipe. • Install a new wax seal on top of the sewer pipe, being certain the seal is on right side up. • Carefully replace the toilet. • Fasten and reconnect the water line. r �- r Leaking Sink Traps First, try tightening the offending joint, while holding the rest of the trap firm. If that does not stop the leak, and the trap still looks in good shape, try adding new washers. If that does not work, remove the whole assembly and replace with a P.V.C. Trap. Use silicone sealer generously where the new plastic system meets the old drain. Leaking Galvanized Pipes First, turn off the water supply and remove the whole section, from one threaded joint to the next. You can then replace this section with two pieces of pipe and a union, which allows you to screw together pipes coming from two directions, or you can add adaptors at each pipe joint and insert a piece of plastic pipe in the middle. k -PPENDIX B: TECHNICAL "HOW TO" INFORMATtr,-r4 If the leak happens to be a pinhole leak (as is often the case in an underground water line), it can be repaired temporarily by clamping a plastic patch against the leak. One pinhole leak, however, usually signals corrosion to the point that it will probably spring more leaks soon. B-9 '-"ENDIX B: TECHNICAL "HOW TO" INFORMATIC-- Electrical System Problems A house that was built more than 40 years ago probably has a 110 volt electrical system with 30 to 60 ampere service. Newer houses will usually have 110/220 volts and at least 100 ampere service to meet the needs of today's lifestyles. There are two ways to deal with the fact that your house does not have a big enough electrical system. The first is to have the system upgraded. Generally, if you have heavier lines brought in from the pole, an electrical inspector will require that you have a qualified electrician rewire your house. If you plan to do this, the earlier you do it in your renovation process, the better and the cheaper. The second option for dealing with an inadequate electrical system is to make do with the present service by expanding the lines and by radically curtailing your use of electricity. If you have a system that has at least half a dozen circuits (indicated by the number of fuses there are in the fuse box), and if you do not depend on electricity for cooking, heating and hot water, you might get along with the present service. You might also try some conversions and avoid complete rewiring. Systems that have a circuit (or sometimes even a separate meter) installed for a hot water heater and/or an electric range have the potential for expansion. Since the electric stove is 220 volts, and the hot water heater probably is also, both stove and heater were converted to gas there would be four extra circuits that could be u for circuits elsewhere in the house As you add extra lines to existing circuits, think ahead and balance them so only one large appliance, such as the refrigerator, freezer, toaster, dishwasher, attic fan, is on each circuit. Upgrading the Electrical System if sed The best way to modernize an old electrical system is to have an adequate supply of electricity brought into the house. A minimum of 110/220 volts with 100 ampere service should be brought into the house. An old electrical system usually has an+old fuse box in use. B-10 - This should be removed and a main circuit breaker panel box should be installed to accommodate the new electrical service. The new main circuit breaker box should be large enough to accommodate additional circuit breakers as the need for them arises. The best way to handle distribution of the electrical service is to use a single breaker for each major appliance as well as for each air conditioning unit. The washer, dryer, refrigerator and electric range should be connected to individual circuit breakers as well as the domestic hot water heater or the boiler ignition for the pilot light, when these are in use. The electricians recommendations for these installations should always be part of the plans made for a renovation or modernization project so that the work is done correctly and the electrical service is distributed evenly. As part of any modernization project, it is a good idea to eliminate all electrical circuits that you know are overloaded or that your electrician determines are overloaded. Electrical service in a house should be distributed evenly among the circuit breakers installed in the main box. This even distribution is especially important for electrical appliances that use lots of electricity, such as the refrigerator and toaster, for instance. Additional switches and receptacles may be needed in bathrooms to accommodate blow dryers and electric shavers. These types of electrical devices had not even been invented when the house was originally equipped for electrical service. It is best to do this work while renovations are underway, not only to save on the cost of the installation, but also to be able to customize the rooms for their updated electrical needs. Remember, always use GFCI (round -fault circuit -interrupter) receptacles in bathrooms, kitchens and other places around water (e.g. garages, laundry rooms, spas). Any modifications to, or upgrading of, an electrical system requires an electrical permit from the City. APPENDIX B: TECHNICAL "HOW TO" INFORMATIO Updating Old Wiring Another important part of any electrical system's updating in a very old house is to have new electrical wiring installed throughout the house since the existing wiring may be as old as the house itself. In some cases, a mixture of old and new wiring can be made workable, but for the most part, this is not the case, especially when heavy electrical usage is anticipated. The old wiring may be loose at various connections, or brittle, or it may be in a general state of disrepair. This is a dangerous situation that should be corrected early in the renovation process. The homeowner who does not know the condition of his wiring, or who is concerned that it may be old and brittle, should hire an electrician to determine its age and whether or not it needs to be replaced. Since walls and ceilings have to be broken to install new wiring, this work also should be planned simultaneously with major renovation projects, especially for those that involve the removal and/or replacement of walls and ceilings. B-11 State Historical Building Code The City has adopted the California State Historical Building Code, which provides a basis for exempting historical structures from current code requirements in certain circumstances. Specific questions regarding the Historical Building Code should be directed to the City Building Official. `^'ENDIX B: TECHNICAL "HOW TO" INFORMATIC'"^' Earthquake Preparedness In earthquake prone regions like Southern California it is important to take precautions against earthquake damage. Here are some things to consider to make your house safer in an earthquake. Structural Conditions If your home is of conventional wood frame construction, check to see if the frame of the house is connected to the foundation with anchor bolts or similar connectors. These are important because in an earthquake the most common damage to older homes is that they slip off of their foundations. If your home was constructed prior to 1940 it probably does not have bolts securing the wood frame structure to the foundation. Older homes can be strengthened by adding expansion bolts at the foundation. This is an item that should seriously be considered at the time other major repair work is being contemplated. Consult an architect or structural engineer for advice before you proceed. Also, if you have any of the following conditions, consult an architect of structural engineer if you suspect problems: • Brick or stone foundation (especially houses built prior to 1920); • Brick house, brick or stone veneers on woodframe house and brick higher than the waist; • Chimneys which may need bracing; or • Large window areas on exterior walls, particularly on two story homes. ANCHOR BOLT EXPANSION BOLT SILL PLATE A I r k . FOUNDATION B-12 Check in the garage, basement, porch or patio cover for exposed framing that might benefit from additional strengthening. Metal strap connectors can be used to strengthen areas where posts and beams join. Metal Connector `APPENDIX B: TECHNICAL "HOW TO" INFORMATIb1V Securing A Water Heater Securing your water heater so that it will not fall over during an earthquake is one of the easiest and most important things you can do to make your home safer. Two methods are described below. f tank has in Insulation Nanket, leave a place 2x4 Non-combusllble spacer Steel plumber's tape best If snuggly wrapped one full tum around tank This system may be used to anchor a hot water heater that Is adjacent to a wall. Tank feet need to be bolted to the floor and the heater hooked up with a flexible gas connection. 2 x 4 Slud:—► 2X4 Extra spacer to create L/. snug M between lank and wall 0-13 � 2x4Stud 1/4' x 4-1/4' lag screw with washer (for concrete walls, substitute 1/4' expansion bolls for screws) 2 x 4 aRacheo with 16d nails Plumber's tape adached with T6d nails to 4x4 Steel angle brackets -1 Joist IV K a Steel angle -brackets Section A A Allernafe method of bracing for free-standing water healers. ENDIX B: TECHNICAL "HOW To) INI-ORMATIC Shutting Off Gas, Water and Electricity Following an earthquake of sufficient magnitude to cause damage to utilities and structures, check utility systems to see that they are functioning properly. If utility line breakage is suspected, turn off electricity outdoors at the main control point. If gas leakage is detected, shut off at main valve, open windows, leave house, report to authorities and stay away until utility officials say it is safe. Have wrench stored In a specific location where It will be immediately available Gas meter and shut-off valve ItF 'Irl ON OFF B-14 Wafer shut-off valve where water enters bu11ding Off X o� On MOFF W ®O®®® ®� OO ®O R Label for quick ®� M Identification Circuit* Pull-out H breaker cartridge fuses B-14 L L L r APPENeIX C: DESIGN PROFESSIONALS AND CONTRACTORS APPENDIX C: DESIGN PROFESSIONALS AND CONTRACTORS There are two extremes to approaching home improvement work. One is to do all the work yourself, the other is to do no more than hire an architect or a design - build remodeler, tell him or her what you want, and then write the checks. Many people with fairly big jobs in mind choose a middle course. They hire an architect, a home inspector, or a designer to help with the design; they hire a general contractor or subcontractors; and they do some of the work themselves. Planning the job In planning the approach that is best for you, it is helpful to understand how construction professionals map out the stages of a construction job. These are the stages through which they proceed. doing the design, it may simply be called the "estimate." Biddin Stage: Put the plans or specifications out to bid to general contractors or various trade specialists (plumbers, electricians, carpenters, siding contractors, and so on). Compare costs and qualifications and choose the contractor or contractors. Plan Check and Permit Approval Std: Plans and/or specifications along with a completed building permit application are submitted to the City Community Development Department. The plans or specifications will be reviewed by City staff for conformance to applicable State and City codes. Once the project is approved, permits for construction may be issued. (Refer to Appendix E for details of the City's process.) • Desi n Stage: Come up with • Construction Sta e: This stage blueprints and/or written includes more than just doing the specifications. If a remodeler is work. The remodeler or general G1 contractor, any subcontractors, and possibly you, the owner, must manage different phases of the work. The work must be scheduled. It must be checked for quality and conformance to the plans. Contractors and suppliers must be paid. The budget must be tracked. Change orders may have to be negotiated. Building code inspectors and possibly bank inspectors must be satisfied. All these steps are nearly invisible if you hire a design -build contractor. Your simplest course is merely to hire a remodeler to come up with a design and an estimate. Get several such competitive bids. Remodeling general contractors build in a 10 to 30 percent margin for managing subcontractors. You can save a good part of that surcharge if you do this hard work yourself. Sometimes, general contractors simply won't do the kind of work you want. In that case, you may be better off to hire a repair person and separate contractors for `ENDIX C: DESIGN PROFESSIONALS AND CON"—' CTORS the electrical work, siding, plumbing, and so on. But in a very conventional remodeling job, a general contractor's management ability and contacts with good subcontractors may be hard to match. Preparing Plans You need plans for your job for a number of reasons. First, they formalize what you have in mind. Second, the City's building department may need plans to issue you a permit. And third, contractors who are bidding on the work need plans so that they can see the scope of the job, calculate labor and materials costs, and instruct their workers accurately once the work begins. Before any plans are put to paper it is a good idea to discuss your plans with the City's Community Development Department. The staff can help you determine how the Design Guidelines will affect your project, what the Design Review process involves and what fees and applications/permits may be required. Please refer to Appendix E for a detailed explanation of the City's project approval process. The design can be done by one or more of the following people: • You • A design -build remodeler • A subcontractor who can produce plans • An architect • An engineer (for major foundation, structural, or mechanical problems) • A professional home inspector (some of whom are licensed engineers) • A landscape architect If you are paying for design work, you have many options. Certified home inspectors are often better qualified to assess mechanical problems, energy improvements, and needs for simple repairs. On the other hand, architects are better qualified to design an attractive addition or changes in floor plans. Design -build remodelers often have designers on staff for major improvements that are hard for you to design. A C-2 If a licensed professional such as an architect designs the work, it is not mandatory that lie or she supervise that work. Most architects calculate one part of their fee for design and another for bidding and supervision. If you do the bidding and supervision, you may cut this fee, but for large jobs this is best left to the architect. Bidding the Job If you want to save money when you go to get bids, have good plans that are not subject to change. This will speed up the contractors' estimating process and make it easier for them to price the job accurately. When you see real prices, it may make sense to go for a cheaper option. Contractors also may suggest alternatives that require less labor or materials that they can get at especially low prices. If you are using an architect, talk these things over. It is important to distinguish among the various kinds of bids. An estimate is just an estimated price for the work, one that the contractor hopes to achieve. Do not accept a L L r proposal with the word "estimate" at the top, a description of the work, and a price at the bottom. Such a proposal may not be legally binding and can result in serious disputes. A time -and -materials proposal specifies the hourly rates of various employees who will work on the job and includes an estimate of total labor and material costs. This type gives you a little more control, if you can keep track of the workers' time on the job. It is not recommended except for plumbers, electricians, and similar workers who are putting in a limited number of materials that have known costs. A not -to -exceed proposal gives an estimate and states a maximum price for the work. These contracts are appropriate for jobs over a few thousand dollars and for work where all the materials are hard to itemize. Contractors figure their actual labor and material costs and add a reasonable margin for supervision and profit. If it is less than the proposal price, you will benefit. If it is more, they have legally agreed to take the loss, or less profit. APPENDIX C: DESIGN PROFESSIONALS AND CONTRACTORS A fixed-price proposal specifies work to be delivered for a certain price. You may pay a little, or even a lot, more for this assurance, but on a big job by a general contractor that you are not watching daily, it is probably worth it. A contingency allowance can be built into a not -to -exceed or fixed-price contract. This is advisable when there are big unknowns, such as what is inside a wall or a floor that is going to be torn out. Suggesting an allowance of 5 to 10 percent of the job should give you leverage for lower bids when unknowns exist. If everything goes well, you save the contingency. If it does not, you approve a change order for unexpected time and materials. Many how-to books are available that include contract procedures, model contracts, and change -order forms such as the ones used by architects and contractors. These are highly recommended reading for do- it-yourself construction. C-3 Selecting a Contractor Unless you are doing all the labor on a large project yourself, there are only two ways to get the job done from a management standpoint: Hire a general contractor or hire a group of specialized subcontractors. If you have a good contract, a general contractor is completely responsible for delivering all the work. The firm usually employs its own crews for general carpentry, but often hires subcontractors for specialized trades, such as electrical, siding, roofing, foundation work, and so on. A general contractor is responsible for specifying work to subcontractors. If you manage the job yourself, no one is specifically liable for getting all the work done and coordinating it. Subcontractors are responsible only for what they put in their proposals. If one subcontractor performs poorly, spoils the schedule of another subcontractor, or leaves a mess for others to fix, you may face cost overruns. 'ENDIX C: DESIGN PROFESSIONALS AND CON'-- CTORS There is an alternative to managing a group of subcontractors all by yourself. Architects, professional construction managers, and some inspection professionals may manage the job for you. They will bid the work, help qualified contractors oversee and coordinate the work, and approve payments— for a fee of 7 to 10 percent of the job's costs. Regardless of which method you choose, the best way to begin is to ask people you trust, starting with friends and neighbors. Other people who are familiar with contractors, their work, and their reputations are bankers who make construction loans, real estate agents, lumberyard owners, and agents who sell construction bonds to contractors. Once you have narrowed your possibilities to 3-4 contractors proceed as follows: Interview and Get References: Interview contractors by setting up a time for them to come by and discuss your plans informally. You will learn how interested they are in doing the job and about their ability to keep an appointment. To check on a contractor's work, ask for references and for the names of former clients. Call them up and ask how well the contractor worked for them; you might even ask to see the work. You can check the Better Business Bureau or California Consumer Protection Agency to see if there have been any complaints against the person you are thinking of hiring. Request Formal Bids: The rule of thumb is to narrow your list of contractors to three and ask each to submit bids. Be as precise as possible in your specifications. Write down the model numbers of such things as dishwashers, the thickness and color of tile, the model and finish on light fixtures, the exact number of pieces of plywood needed to repair the roof, and the number of coats of paint in the bathroom. In addition to being specific about what you want, ask contractors to suggest changes that would save money without sacrificing quality. They may be able to suggest different equipment, materials, or methods that are less costly. C-4 Signing the Contract: A signed contract is an absolute must. But before you sign a contract take one final precaution, if you have not already done so, and check to make sure that the contractor is licensed. This can be done by phoning the Santa Ana office of the California Department of Consumer Affairs, Contractors State License Board (558-4086). The Board can also send you a free 30 -page brochure, What You Should Know Before You Hire A Contractor, to provide you with detailed information. Spell out as much as you can in the contract, including all the specifications in the bid document. Put in the date that the work is to begin and the date it is to end. Try to write in a clause that would penalize the contractor for every day after the specified completion date that the work is not finished. Include a payment schedule. Include a clause about who is responsible for cleanup at the end of the day and the end of the job. The contract should state that the contractor releases you from liability to any subcontractors (mechanics lien release provisions), should the contractor go bankrupt. Require that the contractor have sufficient workmen's compensation and liability insurance to pay for on-the- job injuries to workers. For large remodeling jobs you may want to require the contractor to obtain a performance bond to guarantee completion of the work. A performance bond guarantees the project's completion according to the building plans and specifications. If the job is abandoned or the work is unacceptable, the bonding company has the option of hiring another contractor to complete the work or of settling for damages. When the work is under way, new ideas will inevitably crop up. If you and the contractor decide on a change, put it in writing, initial the paper, and attach it to the contract. When the time comes for final payment, make certain that all the work is finished to your satisfaction. Check the final bill for any additional charges and make sure they're proper. Check to be sure you've received proper credits. APPENDIX C: DESIGN PROFESSIONALS AND CONTRACTORS C-5 'ENDIX C: DESIGN PROFESSIONALS AND CON"-' CTORS C-6 APPENDIX D: HOME REPAIR CHECKLIST L APPENDIX D: HOME REPAIR CHECKLIST I Foundation Comments L Cracking? �- Deteriorating bricks or mortar? Crumbling, cracking, missing chunks? Deterioration of the brick's hard, fired surface? Mortar is easily scarred? Water Damage? Constant dampness or wet spots on the exterior or interior? Discoloration or stains? Finishes worn away by splashing or soaking? Water draining toward the building? Settlement or separations at foundation? Wood Siding r Cracked, split or missing siding? Crumbling, flaking, blistering or peeling paint? Water Damage? Dampness or wet spots on the exterior or interior? Discoloration stains? Clinging vines or plants? Termite damage? D-1 —"ENI -')IX D: IiOME REPAIR CIi�LkJAST Wood Shingles and Shakes Splitting, cracking, cupping, missing shakes or shingles? Crumbling, flaking, blistering or peeling paint? Water Damage? Dampness or wet spots on the exterior or interior? Discoloration stains? Clinging vines or plants? Brick Masonry Stucco Deteriorating bricks or mortar? Crumbling, cracking, missing chunks? Deterioration of the brick's hard, fired surface? Mortar is easily scarred? Water damage? Constant dampness or wet spots on the exterior or interior? Discoloration or stains? Finishes worn away by splashing? Crumbling, flaking, blistering or peeling paint? Cracks or bulges where the stucco has separated from the outer wall? Crumbling, flaking, blistering or peeling paint? D-2 ('nmmPnfa APPENDIX D: HOME REPAIR CHECKL47Z5� L Porches Comments Id Broken or missing pieces on the roof, floor, balustrade, posts, handrails, steps? Replacement pieces that do not match the original style? Crumbling, flaking, blistering or peeling paint? Permanent screens, clear or darkened glass, or other permanent enclosures? Check porch roof as above? Doors Water damage? Leaks water or wind? Is caulking cracked? Constant dampness or wet spots around the opening or frame? Discoloration or stains on walls around door frame? Rotting door or pieces of the frame? Replacement door or hardware that does not match the original style? Missing or broken hardware, hinges, kickplate, lock, latch? Rust? Crumbling, flaking, blistering or peeling paint? Sticking? D-3 -JENDIX D: HOME REPAIR CHECKLIST <- Windows Roofs Water damage? Leaks water or wind? Is caulking cracked? Constant dampness or wet spots around the opening or frame? Discoloration or stains on walls around window frame? Crumbling, flaking, blistering or peeling paint? Rotting pieces of the sash or frame? Replacement windows that do not match the original style of the building? Missing or broken hardware, cranks, hinges, locks? Rust? Broken or cracked glass? Water damage? Leaks? Constant dampness or wet spots? Discoloration or stains on ceilings or walls? Light shining through to the underside? Missing or broken shakes, shingles or tiles? Is the roof fire retardant? D-4 Comments APPENDIX D: HOME REPAIR CHECKL�.. t1 Gutters and Downspouts Comments Loose or missing pieces? Loose spots between gutters and roof or balcony? Leaks? Debris or leaves? Rust? Drains onto walls, trim, or foundation either directly from a downspout, or the grade allows water to flow toward the building? Flashing Leaks? Loose or missing pieces? Loose spots between flashing and walls, roofs or chimney? Landscape Overgrown shrubs and/br lawn? Trees need pruning? Lawn needs rejuvenation? D-5 °-"VENDIX u: HOME REPAIR CHECKLIST Walls, Gates, and Fences Comments Loose or missing slats? Cracks or dry rot? Warped or decayed? Parking Surfaces Paving material cracked? Driveway has pot holes? Walkways Concrete cracked? Paving material cracked/missing? Trash and Debris Unused or discarded items being stored in yard area? Graffiti Spray paint, ink, or chalk? 0 i APPENDIX D: HOME REPAIR CHECKLIST Stored Vehicles Comments Vehicles parked on unpaved surfaces? Inoperable vehicle(s) stored in public view? Storage of Hazardous Material Storing oil, grease, or noxious chemicals? Auto Repair Performing auto repair in public view? Swimming Pools Pool water dirty? D-7 Im., W r APPENDIX E: CITY APPROVAL PROCIE!�S APPENDIX E: CITY APPROVAL PROCESS What City Approvals are Required? Whenever you are modifying the exterior of an existing house, building an addition on to an existing house or building a new house or accessory structure you will need to obtain a building permit from the City. The application for a building permit initiates an approval process by the City's Community Development Department that has 2 components; Design Review and a Certificate of Appropriateness. Building Permits and Certificates of Appropriateness for simple modifications (e.g. replacing roofing material in-kind) can generally be approved in one day, provided that the applicant submits all necessary information, including a sample of the new materials and, if possible, photographs of the existing structure. Design Review - is required prior to the issuance of any building permit, including new structures or major exterior alterations or enlargement of existing structures; buildings to be relocated and signs to be constructed or modified. Design Review is performed by Community Development Department staff in compliance with Section 9272 of the Zoning Ordinance. Depending on the scale of the project, Design Review can be conducted concurrently with the building permit plan check process conducted by the Building Division. Simple modifications such as replacing roofing materials in-kind do not require Design Review. You will need to discuss your plans with the Community Development Department prior to submitting your application for a building permit so you will know what plans (e.g. site plans, elevations, landscape plans) you will need to submit for Design Review. The step-by-step process is discussed in greater detail later in this section. E-1 After all required plans are submitted, the Community Development Department will approve the plans if it is clear that the location, size, architectural features and general appearance of the proposed development will not impair the orderly and harmonious development of the area, the present or future development therein, the occupancy thereof, or the community as a whole. In making these findings, the Department will consider the following items. a. Height, bulk and area of buildings; b. Setbacks and site planning; c. Exterior materials and colors; d. Type and pitch of roofs; e. Size and spacing of windows, doors and other openings; f. Towers, chimneys, roof structures, flagpoles, radio and television antennae; "'ENDIX E: CITY APPROVAL PROCESS g. Landscaping; h. Location, height and standards of exterior lighting; i. Location and screening of equipment; j. Physical relationship of proposed structures to existing structures in the neighborhood; k. Appearance and design relationship of proposed structures to existing structures and possible future structures in the neighborhood and public thoroughfares; 1. Design Guidelines and criteria as adopted by the City Council. In rendering a decision the Community Development Department will also take into consideration the guiding principles of Design Review as provided in Section 9272-e of the Zoning Ordinance. Certificate of Appropriateness - is a type of development permit that applies specifically to projects within the Cultural Resources District. The intent of the district and Certificate of Appropriateness are outlined in the Zoning Ordinance. You will need approval of a Certificate of Appropriateness by the Community Development Department before obtain a building permit. However, prior to doing so you should discuss your plans with the Community Development Department. This can be done at the same time you discuss your plans relative to the design review process. The submittal requirements for site plans, elevations, etc. will be the same for each procedure. The Director (or designee) has the authority to approve, approve with conditions or deny Certificates of Appropriateness for improvements requiring a City building permit, including demolition and relocation of structures. In reviewing applications for a Certificate of Appropriateness, the Director may consult with and receive the advice and recommendations of the Cultural Resources Advisory Committee prior to rendering a decision. E-2 In rendering a decision the Director is required to make the following findings: a. The proposed work conforms to the Municipal Code and design standards which may be established from time to time by the Cultural Resources Committee. b. The proposed work does not adversely affect the character of the district or Designated Cultural Resources within the district. c. The proposed work is harmonious with existing surroundings. The extent of harmony shall be evaluated in terms of appropriateness of materials, scale, size, height, placement and use of new building or structure in relationship to existing buildings and structures and the surrounding setting. APPENDIX E: CITY APPROVAL PROCI�S i Step -By -Step Approval Process To obtain approval of your project it will be necessary to follow a few simple steps to ensure that your proposed project meets the City's applicable codes and that the exterior appearance of the completed project will be compatible with the architectural character of the Cultural Resources District. 1. Consideration of the Project - Early in the consideration of a potential project, you should carefully review the City's Zoning Ordinance and these Design Guidelines to obtain an understanding of what is allowed for the site or project under consideration. 2. Discuss Your Project With Staff - Before you or your designer/ architect complete all of your building plans you should first discuss your project with the Community Development Department staff to find out how the Design Guidelines affect your plans, what zoning requirements (setbacks, height, lot coverage,, parking, etc.) need to be taken into consideration and what applications and fges are required. This is an informal meeting at the Department's public counter but it is advisable to call and arrange an appointment first. 3. Submit Application For Design Review and Certificate Of Appropriateness - The next step is to submit preliminary plans for Community Development Department staff review. This will require filing an application and paying a fee. Community Development Department staff will review the plans for compliance with the provisions of the Zoning Ordinance and Design Guidelines and will make a recommendation to the Director of the Department based on their findings. If your plans are not complete or do not meet the adopted design criteria or zoning regulations you may be asked to submit additional information or to redesign the project. If your plans are in compliance, staff will recommend approval. E-3 4. Approval By Director - Upon receiving a recommendation from staff the Director (or designee) will review the proposed project and will either approve, approve with conditions or deny the project based on compliance with the findings for Certificates of Appropriateness and Design Review as previously discussed. In rendering a decision, the Director may request a recommendation from the Cultural Resources Advisory Committee. Any person may appeal a decision of the Director to the Planning Commission by filing an appeal notice in writing with the Community Development Department stating the reason(s) for the appeal. Decisions of the Planning Commission may be appealed to the City Council. 5. Approval By The Redevelopment Agency - Design Review applications for projects located in the City's Town Center Redevelopment Project Area will also require approval by the Redevelopment Agency. _ 'ENDIX E: CITY APPROVAL PROCESS I -, Upon receiving a recommen- dation from staff, the Agency will review the proposed project and either approve, approve with conditions or deny the project. In rendering a decision the Agency may consider recommendations from the Cultural Resources Advisory Committee. Decisions of the Agency are not appealable. E-4 I CERTIFICATE OF APPROPRIATENESS / DESIGN REVIEW Preliminary Meeting With Community Development Department Submit Application Cultural Resources Community Development Advisory Committee Department Review Approve Approve Disapprove With Conditions Building Plan Check C of A Issued / Building C of A Issued / Building Appeal To Permit Obtained Permit Obtained [Planning Commission Check Evidence For Each Finding Check Guidelines Applications Decision Of Planning Commission Appeal To City Council E-5 "ENDIX E: CITY APPROVAL PROCESS E-6 4 APP. iDIX F: The secretary of the Interior's Cto"AnrAc TREATMENTS There are Standards for four distinct, but inter- related, approaches to the treatment of historic properties — Preservation, Rehabilita- tion, Restoration, and Reconstruction. Preser- vation focuses on the maintenance and repair . of existing historic materials and retention of a property's form as it has evolved over time. (Protection and Stabilization have now been consolidated under this treatment.) Rehabili- tation acknowledges the need to alter or add to a historic property to meet continuing or changing uses while retaining the property's historic character. Restoration is undertaken to depict a property at a particular period of r t vF13; Yeti- - time in its history, while removing evidence of other periods. Reconstruction re-creates van- ished or non -surviving portions of a property for interpretive purposes. In summary, the simplification and sharpened focus of these revised sets of treatment Stan- dards is intended to assist users in making sound historic preservation decisions. Choos- ing an appropriate treatment for a historic property, whether preservation, rehabilitation, restoration, or"reconstruction is critical. This choice always depends on a variety of factors, including the property's historical significance, physical condition, proposed use, and intended interpretation. Alamo Square Historic District, San Francisco, California. Photo: Clhnrles A. Birnbaum. F-1 s Alamo Square Historic District, San Francisco, California. Photo: Clhnrles A. Birnbaum. F-1 PRESERVATION s defined as the act or process of applying mcasures necessary to sustain the existing font, integrity, and materials of an historic property. Work, including preliminary measures to protect and stabilize the property, generally focuses upon the ongoing maintenance and repair of historic materials and feotn"es rather than extensive replacement and new const trctiom. New exterior additiotrs are not within the scope of this treatment; however, the limited and sensitive upgrading of mechanical, electrical, and plumbing systems and other code -required work to make properties junctional is appropriate within a preservation project. STANDARDS FOR PRESERVATION 1. A property shall be used as it was histori- cally, or be given a new use that maximizes the retention of distinctive materials, features, spaces, and spatial relationships. Where a treatment and use have not been identified, a property shall be protected and, if necessary, stabilized until additional work may be under- taken. 2. The historic character of a property shall be retained and preserved. The replacement of intact or repairable historic materials or alter- ation of features, spaces, and spatial relation- ships that characterize a property shall be avoided. 3. Each property shall be recognized as a physical record of its time, place, and use. Work needed to stabilize, consolidate, and conserve existing historic materials and fea- tures shall be physically and visually compat- ible, identifiable upon close inspection, and properly documented for future research. 4. Change; ' proper ty that have acquired historic si ice in their own right shall be retained ano preserved. 5. Distinctive materials, features, finishes, and construction techniques or examples of crafts- manship that characterize a property shall be preserved. 6. The existing condition of historic features shall be evaluated to determine the appropriate level of intervention needed. Where the severity of deterioration requires repair or limited re- placement of a distinctive feature, the new ma- terial shall match the old in composition, de- sign, color, and texture. 7. Chemical or physical treatments, if appropri- ate, shall be undertaken using the gentlest means possible. Treatments that cause damage to his- toric materials shall not be used. 8. Archeologi- cal resources shall be pro- tected and pre- served in place. If such re - Sources III list be disturbed, mitigation measures shall be undertaken. F-2 I trhem the property's distinctive materials, features, and spaces are essentially intact and thus cotmrey the historic significance without extensive repair or replacement; -when depiction at a partindar period of time is not appropriate; and when a continuing or new use does not require additions orexteusive alterations, Preservation may be considered as a treatment. Prior to undertaking work, a documentation plan for Preservation should be developed. REHABILITATION is defined as the act or process of making possible a compatible use fora property through repair, alterations, and additions while preserving those portions or features which convey its historical, r cultural, or architectural values. STANDARDS FOR REHABILITATION 1. A propertyshall be used as it was historically or be given a new use that requires minimal change to its distinctive materials, features, spaces, and spatial relationships. 2. The historic character of a property shall be retained and preserved. The removal of dis- tinctive materials or alteration of features, spaces, and spatial relationships that character- ize a property shall be avoided. 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 fea- tures or elements from other historic proper- ties, shall not be undertaken. 4. Changes to a property that have acquired historic significance in their own right shall be retained and preserved. 5. Distinctive materials, features, finishes, and construction techniques or examples of crafts- manship that characterize a property shall be preserved. 6. Deteriorated historic features shall be re- paired rather than replaced. Where the sever- ity of deterioration requires replacement of a distinctive feature, the new feature shall match REHABILITATION AS A TREATMENT. When repair and replacement of deteriorated features are necessary; when alterations or additions to the property are planned for a new or contituted use; and when its depiction at a partiatlar period of time is trot appropriate, Rehabilitation may be considered as a treatment. Prior to undertaking work, a docurnernation plan for Rehabilitation should be developed. the old in design, color, texture, and, where pos- sible, materials. I Replacement of missing features shall be substan- tiated by docu- mentary and physical evi- dence. 7. Chimical or physical treat- ments, if appro- priate, shall be undertaken using the gentlest means possible. Treatments that cause damage to historic materi- als shall not be used. 8. Archeological resources shall be protected and preserved in place. If such resources must be dis- turbed, mitigation measures shall be undertaken. 9. New additions, exterior alterations, or related new construction shall not destroy historic materi- als, features, and spatial relationships that charac- terize the property. The new work shall be differ- entiated from the old and shall be compatible with the historic materials, features, size, scale and pro- portion, and massing to protect the integrity of the property and its environment. 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 envi- ronment would be unimpaired. F-3 The Secretary of the Interior is responsible for establishing professional standards and pro- viding advice on the preservation and protec- tion of all cultural resources listed on or eligible for the National Register of Historic Places. Mr. Auburn Cemetery, Cambridge, Massachusetrs. Photo. Charles A. Birnbaum. The Secretary of the Interior's Standards for the Treatment of Historic Properties, initially devel- oped in 1975 and revised in 1983 and 1992, are intended to be applied to a wide variety of re- source types, including buildings, sites, struc- tures, objects, and districts. The Standards are not codified as program regulations and may be used as a guide by anyone planning work on historic properties. Note. this 1992 revision of the Standards replaces tire Federal Register Notice, Vol. 48, N. 190, September, 1983. A slightly modified version of the Standards for Rehabilitation was codified in 36 CFR 67, and fo- cuses on "certified historic structures" as defined by the IRS Code of 1986. These regulations are used in the Preservation Tax Incentives pro- gram. The 1992 Standards in this leaflet do not replace the Tax Incentives regulations; 37 CFR 67 should continue to be used'When property owners are seeking certification for Federal tax benefits. RESTORATION RESTORATION AS s..... 4. Materials, 6. imcrturatcd tcatures (rotn the UcAuralloo pe - is de}. ;the net or process of accurately de- TREATMENT. features, riod shall be repaired rather tha :ed. spaces, and fin- Where the severity of deterioratiu.. —quires re- picting the form, features, and character of a 10jen the property's design, ishes that char- placement of a distinctive feature, the now feature ropert}'rts it appeared at a particularperiod of p s it architectural, or historical acterize other shall match the old in design, color, texture, and, rime 6y rrn of the removal of feartaes from other periods in its history aml reconstruction of si rnr narticular once durin g f g n P historical peri- where possible, materials. missing features from the restoration period. period of time outhveighs the ods shall be documented 7. Replacement of missing features from the res - 7 -he limited and sensitive upgrading of rnechnni_ P otential loss of extant materials, features, spaces, and prior to their toration period shall be substantiated by docu- cal, electrical, ami plurnbing systems and other mishes that characterize other f alteration or mentaryand physical evidence. A false sense of code -required work to make properties junc- historical eriods; when there is p removal. history shall not be created by adding conjectural tionnl is appropriate within a restoration project. substantial physical and features, features from other properties, or by documentary evidence for the S. Distinctive combining features that never existed together STANDARDS FOR RESTORATION work; and when coquemporar}' materials, fea- historically. 1. A property shall be used as it was histori- alterations and additions are not planted, Restoration may be tures, finishes, and construe- 8. Chemical or physical treatments, if appropri- tally or be given a new use which reflects the considered as a treatmen t. prior tion techniques ate, shall be undertaken using the gentlest means property's restoration period. to undertaking work, a or examples of possible. Treatments that cause damage to his- nrticular eriod o me, i.e., p p f time, craftsmanship toric materials shall not be used. 2. Materials and features from the restoration the restoration period, should be that character- period shall be retained and -preserved. The re- selected and justified, and a ize the restora- 9. Archeological resources affected by a project moval of materials or alteration of features, docuner»atio» plan for tion period shall be protected and preserved in place. If such spaces, and spatial relationships that charac- Restoration developed. shall be pre- resources must be disturbed, mitigation measures terize the period shall not be undertaken. served. shall be undertaken. 3. Each property shall be recognized as a physical record of its time, place, and use. Work needed to stabilize, consolidate and conserve materials and features from the res Victorian wood-frnmelrouse. toration period shall be physically and visually Work in progress. Nruioiutl compatible, identifiable upon close inspeclion, Turk Service files. and properly documented for future research. P-4 10. Designs that were never executed historically shall not be constructed. W rr ed RECONSTRUCTION is defined as the act orprocess of depictirng, by means Of new construction, the form, features, and detail- ing of a non -surviving site, landscape, building, stlucnure, or oltie t (rrr she rurliose of rclVirruinK its appcora ce at it specific period of tittle and in its his- toric location. STANDARDS FOR RECONSTRUCTION 1. Reconstruction shall be used to depict vanished or non -surviving portions of a property when documentary and physical evidence is available to permit accurate reconstruction with minimal conjecture, and such reconstruction is essential to the public understanding of the property. 2. Reconstruc- tion of land- scape, building, structure, or ob- ject in its historic location shall be preceded by a thorough ar- cheological in- vestigation to identify and evaluate those features and arti- facts which are essential to an accurate recon- struction. if such resources must be disturbed, miligation mea- sures shall be undertaken. RECONSTRUCTION AS A . TREATMENT. Mien a contemporary depiction is required to understand and interpret a property's historic valise (including the re-creation of missing components in a historic district or site ); when no other property with the same associative value has survived; and when sufficient historical documentation exists to ensure all accurate reproduction, Reconstruction may be considered as a treatment. Prior to undertaking work, a documentation plan for Rcconstruction should be developed. F-5 3. Reconstruction shall include measures to preserve any remaining historic materials, fea- tures, and spatial relationships. A. Reconstruction shall be based mi the accu- rate duplication of historic Icaltit es curd ele- ments substantiated by documentary or physi- cal evidence rather than on conjectural designs or the availability of different features from other historic properties. A reconstructed property shall re-create the appearance of the non -surviving historic property in materials, design, color, and texture. 5. A reconstruction shall be clearly identified as a contemporary re-creation. 6. Designs that were never executed histori- cally shall not be constructed. :etary of the Interior's Standards for the Treatment of Historic Properties may be i to one historic resource T type or a variety of historic resource types; for example, a project may include a complex of ouudings such as a house, garage, and barn; the site, with a designed landscape, natural features, and archeological components; structures such as a system of road- ways and paths or it bridge; and objects such as fountains and statuary. HISTORIC RESOURCE TYPES & EXAMPLES Building: houses, barns, stables, sheds, garages, court- houses, city halls, social halls, commercial buildings, li- braries, factories, mills, train depots, hotels, theaters, sta- tionary mobile homes, schools, stores, and churches. Site: habitation sites, funerary sites, rock shelters, village sites, hunting and fishing sites, ceremonial sites, petroglyphs, rock carvings, rains, gardens, grounds, battlefields, campsites, sites of treaty signings, trails, ar- eas of land, Shipwrecks, cemeteries, designed landscapes, and natural features, such as springs and rock forma- tions, and land areas having cultural significance. Zoar Historic District, Ohio. Aerial view. Photo: National Park Service. !,r7. Elrnendorf,Lexington, Kennicky. Photo: Charles A.Birnbaun. Structure: bridges, tunnels, gold dredges, firetowers, ca- nals, turbines, dams, power plants, corn -cribs, silos, roadways, shot towers, windmills, grain elevators, kilns, mounds, cairns, palisade fortifications, earthworks, rail- road grades, systems of roadways and paths, boats and ships, railroad locomotives and cars, telescopes, carou- sels, bandstands, gazebos, and aircraft. Object: sculpture, monuments, boundary starkers, statuary, and fountains. District: college campuses, central business districts, residential areas, commercial areas, large forts, industrial complexes, civic centers, rural villages, canal systems, collections of habitation and limited activity sites, irriga- tion systems, large farms, ranches, estates, or planta- tions, transportation networks, and large landscaped parks. (Sidebar adapted from National Register Property and Resource Types, p. 15, National Register Bulletin 16A, How to Complete tine National Register Forum, publisher) by the National Register Araticl, Interagency Resources Division, National Park Service, U.S. Department of lite Interior, 1991.) F-6 The Preservation Assistance Divisio ares Guide- lines to help property owners and o pply the Stan- dards. The Guidelines provide general design and tech- nical recommendations and establish a model process to follow in planning historic preservation project work. Please write: Preservation Assistance Division, National Park Service, P.O. Box 37127, Washington, D.C. 20013- 7127 for further information. The Division also develops technical information on preserving, restoring, and rehabilitating historic proper- ties. Many of these publications, such as the Preservation Briefs series, are available from the Superintendent of Documents, Government Printing Office. Write to the Division at the above address for a free copy of the air - rent Catalog of Historic Preservation Publications, which includes stock numbers, prices, and a convenient order form. In addition, copies of leaflets on preserving his- toric landscapes and on accessibility to historic buildings by individuals with disabilities maybe requested. Cover photo: Columbus Circle, Syracuse, New York Photo: Charles A. Birnbaum. L L L APPENDIX G: HELPFUL BOOKS AND REPORTS APPENDIX G: HELPFUL BOOKS AND REPORTS Architectural History Blumenson, John; Identifying American Architecture: A Pictorial Guide to Styles and Terms, 1600-1945. Nashville: American Association for State and Local History, 1981. City of Tustin Community Development Department; Historical Resources Survey Report, City of Tustin, CA, 1990. Kirker, Harold; California's Architectural Frontier, Santa Barbara: Peregrine Smith, Inc., 1974. Maddex, Diane [ed]; All About Old Buildings, The Whole Preservation Catalog, The Preservation Press, National Trust for Historic Pres., Washington, DC, 1985. McAlester, Virginia and Lee; A Field Guide to American Houses. New York: Alfred A. Knopf, 1984. Poppeliers, John, et al.; What Style Is It? Washington, DC: The Preservation Press, 1977. Whiffen, Marcus; American Architecture 1607-1976. Cambridge: MIT Press, 1981 Additions and New Design National Park Service. "Preservation Briefs," Washington, DC: Technical Preservation Services. #14: New Exterior Additions to Historic Buildings, 1986. Norberg-Schultz, Christian; Old and New Architecture, Design Relationship. Washington, DC: The Preservation Press, 1980. Rehabilitation and Repair America's Handyman Book;. The Staff of the Family Handyman. NY: Charles Scribner's Sons, 1970. Basic Home Repairs Illustrated; The Editors of Sunset Books and Sunset Magazine, Menlo Park: Lane Books, 1974. G-1 Grow, Lawrence; The Old House Catalogue, NY: Main Street, Universe Books, 1976. Kahn, Renee and Meagher, Ellen; Preserving Porches, New York: Henry Holt and Company, 1990. Kaplan, Helaine and Prentice, Blair; Rehab Right. Oakland: City of Oakland Planning Department, 1978. Madorma, James; Understanding and Caring For Your Home, White Hall, VA: Betterway Publications, 1991. Moss, Roger; Century of Color: Exterior Decoration for American Buildings, 1820-1920. Watkins Glen, NY: The American Life Foundation, 1981. National Park Service. 'Preservation Briefs," Washington, DC: Technical Preservation Services. #1: The Cleaning and Waterproof Coating of Masonry Buildings, 1975. :NDIX G: HELPFUL BOOKS AND REPORTS #2: Repointing Mortar Joints in Historic Brick Buildings, 1980. #3: Conserving Energy in Historic Buildings. #4: Roofing for Historic Buildings, 1978. #6: Dangers of Abrasive Cleaning to Historic Buildings, 1979. #8: Aluminum and Vinyl Siding on Historic Buildings, 1984. #9: The Repair of Historic Wooden Windows, 1981. #10: Exterior Paint Problems on Historic Woodwork, 1982. #15: Preservation of Historic Concrete: Problems and General Approaches, 1987. #16: The Use of Substitute Materials on Historic Building Exteriors, 1988. #17: Architectural Character - Identifying the Visual Aspects of Historic Buildings as an Aid to Preserving Their Character, 1988. #18: Rehabilitating Interiors in Historic Buildings - Identifying Character - Defining Elements, 1988. #19: The Repair and Replacement of Historic Wooden Shingle Roofs, 1989. #21: Repairing Historic Flat Plaster -Walls and Ceilings, 1989. #22: The Preservation and Repair of Historic Stucco, 1990. #23: Preserving Historic Ornamental Plaster, 1990. New Life for Old Dwellings: Appraisal and Rehabilitation; U.S. Department of Agriculture, Agriculture Handbook 481, Washington, DC, 1975. New York Landmarks Conservancy; Repairing Old and Historic Windows. Washington, DC: National Trust for Historic Preservation, 1992. Old House Journal Editors. The Old House Journal 1992 Catalog: A Buyers Guide for the Pre -1939 House. Brooklyn, NY:,Old House Journal, 1992. G-2 Orme, Allen D.; Reviving Old Houses, Pownal, VT: Storey Communications, 1989. Reader's Digest Complete Do -It - Yourself Manual, Pleasantville, NY: The Reader's Digest Association, 1973. Shivers, Natalie; Walls and Molding - How to Care for Old and Historic Wood and Plaster. Washington, DC: National Trust for Historic Preservation, 1990. Stantucci, Robert; A Consumers Guide to Home Improvement, Renovation, and Repair, NY: John Wiley and Sons, 1990. Stephen, George; Remodeling Old Houses Without Destroying Their Character, NY: Alfred A. Knopf, 1976. The Old -House Journal; (periodical), Brooklyn: The Old -House Journal Corporation, 1973-1993. Yuen, Jim; Inspecting A Home or Income Property, Berkeley, CA: Ten Speed Press, 1990. STATE OF CALIFORNIA ) COUNTY OF ORANGE ) CITY OF TUSTIN ) RESOLUTION NO. 94-98 City of Tustin RESOLUTION CERTIFICATION ss Mary E. Wynn, City Clerk and ex -officio Clerk of the City Council of the City of Tustin, California, does hereby certify that the whole number of the members of the City Council is five; that the above and foregoing resolution was passed and adopted at a regular meeting of the City Council held on the 15th day of August, 1994, by the following vote: COUNCILMEMBER AYES: Saltarelli, Potts, Doyle, Thomas, Worley COUNCILMEMBER NOES: None COUNCILMEMBER ABSTAINED: None COUNCILMEMBER ABSENT: None � . In C \ate Mary E. Wynn Cr. Id, :ity Cl