HomeMy WebLinkAbout03 DRAFT Residential Design GuidelinesAGENDA REPORT
MEETING DATE: MARCH 13, 2012
TO: PLANNING COMMISSION
FROM: COMMUNITY DEVELOPMENT DEPARTMENT
ITEM # 3
SUBJECT: RESIDENTIAL DESIGN GUIDELINES FOR THE CULTURAL
RESOURCES DISTRICT
RECOMMENDATION
That the Planning Commission review and authorize staff to forward the updated
Residential Design Guidelines for the Cultural Resources District to the City Council for
consideration by adopting Resolution No. 4192.
BACKGROUND
At the January 24, 2012, Planning Commission meeting, staff presented an overview of
the draft update to the Residential Design Guidelines for the Cultural Resources District.
Since that time, the draft document has been made available to the public for review
through the City's website and at the Tustin Library and City Hall. In addition, copies of
the document were provided to the Tustin Area Historical Society and Tustin
Preservation Conservancy. Notices regarding the public review period were published
in the Tustin News on February 9, 2012 and February 16, 2012. The public review
period ended on February 21, 2012. As of that date, staff had received comments from
three (3) individuals.
Attached to this report is a revised draft document (Exhibit A to Resolution No. 4192)
which incorporates most of the comments received from the public as well as changes
made by Community Development Department staff. The attached summary
(Attachment B) includes the names of the individuals that submitted comments and
summarizes the comments received and the actions taken. A copy of the comments
(Attachment C) received is also attached to this report.
Originally adopted by the City Council in 1994, the Residential Design Guidelines serve
as a guide to assist property owners, residents, and design professionals in
understanding goals for the preservation of historically significant buildings and
neighborhoods. Another purpose is to provide basic principles for achieving quality
design and development compatible with the character of the Cultural Resources
District; the guidelines often help property owners, residents, and design professionals
Planning Commission Report
Residential Design Guidelines
Page 2
in designing projects that are acceptable and consistent with the design criteria and
standards established by the District.
The illustrations, how-to methods, and design ideas shown in the "Residential Design
Guidelines" are to be used as a "yardstick" against which to measure proposed projects;
they are not intended to be development standards as are found in the Zoning
Ordinance. Therefore, they may be interpreted with flexibility. Applicable projects are
encouraged to follow the spirit of the guidelines to the greatest degree possible.
The revised draft document presented on January 24, 2012, incorporated the following
significant changes from the original 1994 Residential Design Guidelines:
• Removed references to the Cultural Resources Advisory Committee;
• Corrected other outdated information;
• Included new photographs and graphics, website addresses, and energy
efficiency tips;
• Added appendices on the Historic Register Plaque Designation Program and the
Mills Act Tax Abatement Program; and
• Revisited the sections on the appropriateness of exterior materials and the
architectural compatibility of new additions and accessory buildings.
In the most recent version of the updated draft document staff has:
• Added a new section on adaptive reuse:
• Provided a directory with photographs for the Tustin Historic Register Plaque
Program (Appendix F);
• Added photographs and new text on garage doors to the chapter on Additions
and New Accessory Buildings;
• Merged and alphabetized all glossary terms within one section (Appendix A);
• Included a descriptive key to the photographs on the front cover;
• Revised the design review/certificate of appropriateness section and flowchart;
• Clarified the types of architectural styles; and,
• Better explained the city approval process in Appendix D.
Scott Reekstin
Senior Planner
Attachments:
Elizabeth A. Binsack
Community Development Director
A: Planning Commission Resolution No. 4192
B: Summary of comments received
C: Comments received
ATTACHMENT A
PLANNING COMMISSION RESOLUTION NO. 4192
RESOLUTION NO. 4192
A RESOLUTION OF THE PLANNING COMMISSION OF THE CITY OF
TUSTIN, CALIFORNIA, AUTHORIZING THE UPDATED RESIDENTIAL
DESIGN GUIDELINES FOR THE CULTURAL RESOURCES DISTRICT TO
BE FORWARDED TO THE CITY COUNCIL FOR CONSIDERATION.
The Planning Commission of the City of Tustin does hereby resolve as follows:
The Planning Commission finds and determines:
A. That the City Council adopted the original Residential Design Guidelines for the
Cultural Resources District in 1994 to serve as a guide to assist property
owners, residents, and design professionals in understanding goals for the
preservation of historically significant buildings and neighborhoods; and to
provide basic principles for achieving quality design and development
compatible with the character of the Cultural Resources District;
B. That the Residential Design Guidelines assist property owners, residents, and
design professionals in designing projects that are acceptable and consistent
with the design criteria and standards established by the District;
C. That the Planning Commission requested that the Residential Design Guidelines
be revised to bring the original 1994 version up to date;
D. That on January 24, 2012, staff presented an overview and a draft of the
updated Residential Design Guidelines for the Cultural Resources District to
the Planning Commission and received input;
E. That the draft Residential Design Guidelines document was made available to
the public for review through the City's website and at the Tustin Library and City
Hall;
F. That notices regarding the public review period were published in the Tustin
News on February 9, 2012 and February 16, 2012;
G. That comments were received from three (3) members of the public during the
public review period which ended on February 21, 2012, and changes were
made to the document in response to these comments; and,
H. That the draft update to the Residential Design Guidelines incorporates the
following significant changes from the original 1994 Residential Design
Guidelines:
Resolution No. 4192
Page 2
• Removes references to the Cultural Resources Advisory Committee;
• Corrects other outdated information;
• Includes new photographs and graphics, website addresses, and energy
efficiency tips;
• Adds appendices on the Historic Register Plaque Designation Program
and the Mills Act Tax Abatement Program;
• Revisits the sections on the appropriateness of exterior materials and the
architectural compatibility of new additions and accessory buildings;
• Adds a new section on adaptive reuse;
• Adds photographs and new text on garage doors to the chapter on
Additions and New Accessory Buildings;
• Merges and alphabetizes all of the glossary terms within one section;
• Includes a new front cover with a descriptive key to the photographs;
• Revises the design review/certificate of appropriateness section and
flowchart;
• Clarifies the types of architectural styles; and,
• Better explains the city approval process in Appendix D.
The Planning Commission hereby authorizes the updated Residential Design
Guidelines for the Cultural Resources District, attached hereto as Exhibit A, to be
forwarded to the City Council for consideration.
PASSED AND ADOPTED by the Planning Commission of the City of Tustin at a regular
meeting held on the 13th day of March, 2012.
JEFF R. THOMPSON
Chairperson
ELIZABETH A. BINSACK
Planning Commission Secretary
STATE OF CALIFORNIA )
COUNTY OF ORANGE ) SS
CITY OF TUSTIN )
I, ELIZABETH A. BINSACK, the undersigned, hereby certify that I am the Planning
Commission Secretary of the Planning Commission of the City of Tustin, California; that
Resolution No. 4192 was duly passed and adopted at the regular meeting of the Tustin
Planning Commission, held on the 13th day of March, 2012.
ELIZABETH A. BINSACK
Planning Commission Secretary
EXHIBIT A
OF
PLANNING COMMISSION RESOLUTION NO. 4192
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Tustin's Historic Homes Featured on the Cover
City of Tustin
CULTURAL RESOURCES DISTRICT
RESIDENTIAL DESIGN GUIDELINES
*I
Name
Address
Architectural Style
1.
(Unnamed) 1895
230 South A Street
Victorian
z.
Wilcox Manor 1880
310 South Pasadena Street
Craftsman Bungalow
3.
Anderson House 1922
235 South A Street
California Bungalow
4.
Bennett House 1895
445 West Second Street
Victorian-Italianate
5.
Stanton House 1910
515 West Third Street
Craftsman Bungalow
6.
Carter House 1928
250 Pacific Street
Spanish Colonial Revival
March 2012
Dear Old Town Tustin Homeowners and Residential Enthusiasts:
It has been 18 years since the creation of the City of Tustin Residential Design Guidelines for the Cultural Resources District.
Since that time, the Cultural Resources District (or "Old Town" as we fondly refer) has become one of the cherished "jewels"
of our City. We have also learned a lot about history, architecture, and simplifying processes for encouraging appropriate
renovation work.
In particular, these updated guidelines are part of the continuing efforts by the City to record and encourage the preservation
of the rich historic past of "Old Town Tustin." These guidelines also provide important context for other preservation efforts
lead by the City, which include:
In 1988 the City designated "Old Town Tustin" as a local historic district.
In 1990 and 2003, surveys of all historic building within the City were completed. These guidelines are
complementary to the 2003 Historical Survey for understanding recognized historical value of specific
structures for appropriate renovation work.
In 2007 the City's historic preservation responsibilities were assigned to the Planning Commission in an
effort to streamline City committees and processes. Since then, the update of the Design Guidelines has
been made a priority goal of the Planning Commission.
The Design Guidelines are a guide for preservation and development within the overlay district and for historic homes
throughout the City. The document provides a wealth of information on architectural styles, preservation, rehabilitation,
landscaping, and more. This updated format includes:
Tips for energy efficiency and water conservation to promote sustainability.
Improvements in building materials and advancements in modern day materials that will economically help
to preserve and rehabilitate our historic homes.
An overview of Tustin's Historic Register Plaque Program started in 2000, which allows homeowners to
educate the public, increase public interest in historic properties and promote community pride. As of
January 2012, 50 properties were recognized through the Historic Register Plaque Program.
information on the Mills Act economic incentive program that allows eligible homeowners to enter into a
contract with the City for a reduction in property taxes while they preserve and/or restore their historic
homes. As Of 2011, the homeowners of 16 properties have entered into a Mills Act contract with the City.
New photos and graphics throughout the guidelines that document the improvements made to homes
throughout the District.
More resources and website links were added to make it easier for residents to find the information they
need.
It is our hope that the updated Design Guidelines will serve as a tool for the continued preservation of these architectural
"jewels" in our City. Thank you for the opportunity to serve our "®Id Town" in this capacity.
Sincerely,
The Planning Commission
Jeff Thompson Charles "Chuck" Puckett Ken Eckman Steve Kozak Fred Moore
Acknowledgements
City Council
John Nielsen, Mayor
Al Murray, Mayor Pro Tem
Jerry Amante, Councilmember
Deborah Gavello, Councilmember
Rebecca "Beckie" Gomez, Councilmember
Planning Commission
Jeff Thompson, Chairperson
Charles "Chuck" Puckett, Chair Pro Tem
Ken Eckman, Commissioner
Steve Kozak, Commissioner
Fred Moore, Commissioner
City Staff
Elizabeth Binsack, Director of Community Development
Dana Ogdon, Assistant Director of Community Development
Justina Willkom, Principal Planner
Scott Reekstin, Senior Planner
Suzanne Schwab, Planning Intern
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Table of Contents
1. Introduction
Background
11.
1-2
Purpose and Intent 2-3
Applicability, Design Review, and Certificate of Appropriateness 3-5
Organization and Contents 6
Tustin's Historic Residential Styles
Summary
Greek Revival
Victorian
Stick
Queen Anne
ltalianate
Colonial Revival
Craftsman Bungalow
California Bungalow
Spanish Colonial Revival
Period Revival
Monterey
Tudor
_7
8
9-11
_9
10
11
iN
_ 13
_ 14
_ 15
16-17
16
_ 17
111. Residential Design Guidelines Introduction
Summary 18
California Historical Building Code 18
Secretary of the Interior's Standards for Rehabilitation 18-19
Tahle of Contents
IV. Preservation and Rehabilitation Guidelines
Intent
20
General Rehabilitation Principles
20
Foundations
21
Shingle, Shake, and Wood Siding
22-24
Brick Masonry
�5-26
Exterior Plaster
26
Porches and Stairs
27-28
Windows
29-30
Doors
31-32
Ornamentation/ Trim
33
Roofs
34-35
Gutters, Downspouts, Vents, and Rooftop Equipment
36
Flashing
37
Paint Colors
38-41
Solar Energy Systems
42
Fireplaces and Chimneys
43
Window Awnings
44
Mechanical Equipments
45
House Address Numbers
45
Table of Contents
V. Additions and New Accessory Buildings
Intent
46
Site Plan Considerations
47
Architectural Compatibility
48-49
Scale and Mass Compatibility
49
Roof Pitch Consistency
50
Second Story Setbacks
50
Compatibility of Materials
51-52
Doors
52
Windows
52
Garage Doors
53
VI. New Infill ill Development
Intent
54
Site Plan Considerations 55
Architectural Considerations 55-56
VII. Adaptive Reuse
Intent
57
Sustainability and Architectural Considerations 57
When Converting a Building to a New Use 57
Table of Contents
Vlll. Landscaping
Glossary of Terms
Intent
58
Getting Started
58
Formal or Informal?
58
Basic Landscaping Principles
6o
Fences and Walls
61
Driveways
61
Walkways
62
Mailboxes
62
Security Lighting
63
Decorative Lighting
64
Appendices
Appendix A:
Glossary of Terms
65-76
Appendix B:
Materials
77-78
Appendix C:
Hiring a Professional
79-82
Appendix D:
Step by Step City Approval Process
83
Appendix E:
Certificate of Appropriateness/ Design Review
84
Appendix F:
Tustin's Historic Register Plaque Designation Program
85-92
Appendix G:
Mills Act Tax Abatement Program
93-95
Appendix H:
Secretary of the Interior's Standards for the Treatment of Historic properties, 1995
96-99
Appendix I:
Helpful Books and Websites
goo
1. Introduction
A. Background
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, preservation, and enhancement of Tustin's Old Town area and the existing single
family zoning within the area, the City Council approved Ordinance No. loot 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 resided in the City and within the Cultural Resources District. The
Committee was designed to act in an advisory capacity to the City Council in matters affecting the Cultural
Resources District, including the designation of Cultural Resources. In addition, this committee was to be a liaison
between residents, property owners, and the City Council. 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 an effort to reorganize the City's boards, commissions, and committees, the City Council approved Ordinance
No. 1332 on May 1, 2007, assigning historic preservation duties to the Planning Commission. While in other matters
the Planning Commission has independent final decision-making authority, the Planning Commission acts solely as
an advisory body to the City Council in matters relating to historic and cultural resources, with the Council holding
final decision-making authority.
The City has since fostered two new programs, the Mills Act and Historic Register Plaque Designation Program, to
incentivize and promote preservation and rehabilitation of its historic buildings. More information about the
Mills Act and Historic Register Plaque Designation Program can be found in Appendices F and G.
In recognition of its efforts in historic preservation, the City received the designation of a "Certified Local
Government" (CLC) in 1991. The CLG Program was established by the National Historic Preservation Act to provide
financial and technical assistance for the preservation of significant cultural resources. The CLG program is
designed to encourage direct participation of local governments in the identification, registration, and
preservation of historic properties located within their jurisdiction. A local government may become a CLG only
after developing and implementing a local historic preservation commission and a program that meets Federal
and State standards.
Location of Cultural Resources
District (CRD) within the City of
Tustin
More information about the CLG
Program and the benefits to the
City are available online at
www. nps.gov/history/hps/cig/
index.htm
City of Tustin 1 Design Guidelines for the Preservation of Historic Residences
I. Introduction (Continued)
A. Background (Continued)
Resources available to Certified
Local Governments include:
National Alliance of Preservation
Commissions, Preserve America,
the National Trust for Historic
Preservation, and the National
Dain Street Center.
The Design Guidelines provide a
comprehensive set of design
principles that will:
® Guide the preservation and
rehabilitation of designated
residential cultural
resources;
® Promote the compatibility of
new infill residential
structures within the
Cultural Resources District;
and
Promote the compatibility of
front yard landscaping and
other improvements with
the character of the Cultural
Resources District.
To participate in the CLG program, local governments must comply with the following five (5) minimum
responsibilities of a CLG, which include:
• Enforcing appropriate state and local legislation for the designation and protection of historic properties;
• Establishing an adequate and qualified historic preservation review committee by local law;
• Maintaining a system for the survey and inventory of historic properties;
• Providing for adequate public participation in the local historic preservation program, including the
process of reviewing and recommending properties for nomination to the National Register of Historic
Places; and
• Satisfactorily performing the responsibilities delegated by the state.
The benefits of being a CLG include:
• Eligibility for federal grants from the Historic Preservation Fund administered by the California Office of
Historic Preservation;
• Direct participation in the nomination of historic properties to the National Register of Historic Places;
• Opportunity for enhanced responsibilities to review and comment on development projects in
compliance with federal environmental regulations, thereby expediting the review time;
• Special technical assistance and training for local preservation commission members and staff from the
State Office of Historic Preservation; and
• Potential for participation in the review of building rehabilitation plans for federal investment tax credits.
1 �.
The primary purpose and intent of the Residential Design Guidelines is to promote the City's goals to preserve,
protect, and enhance the existing character of historic or culturally significant structures within the Cultural
Resources District.
The Design Guidelines are intended to assist property owners and their architects and contractors in
understanding the City's goals for the preservation of historically significant neighborhoods and structures and
provide basic design principles for achieving quality development compatible with the character of the Cultural
Resources District.
This document could also be useful to persons who do not own a historically significant structure but would like
basic information on home repair and maintenance. The guidelines on preservation and rehabilitation, along with
City of Tustin 2 Design Guidelines for the Preservation of Historic Residences
I. Introduction (Conthnued)
B. Purpose and Intent (Continued)
information in the Appendix related to hiring design professionals, contain principles that are not limited to historic homes; they can be applied to any
home. A glossary of terms is also provided in the Appendix.
The Design Guidelines are intended to serve as a "yardstick" against which proposed projects may be measured by approving authorities. The guidelines
are not intended to be strict development standards as are found in the Zoning Ordinance. 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 guidelines to the greatest extent possible.
Therefore, they may be interpreted by the City with some flexibility when applied to specific projects,
C. Applicability, Design Review, and Certificate of Appropriateness
Applicability
These Design Guidelines apply to all
residential projects within the City of Tustin
Cultural Resources District (see map to the
right) and to designated cultural resources
outside the District.
Property owners and other interested
parties should contact the City of Tustin's
Community Development Department to
verify if a particular property is located
within the Cultural Resources District or is a
designated cultural resource outside the
District and if a Certificate of
Appropriateness is required. A Certificate of
Appropriateness is a type of development
permit that applies specifically to structures
within the Cultural Resources District or a
designated cultural resource outside the
District. Though projects involving most
historic resources outside of the Cultural
Resources District do not require a
Certificate of Appropriateness, the property
owner and/or architect may wish to use the
Design Guidelines as a reference when
designing a project.
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Boundaries of the Cultural
Resources District
City of Tustin 3 Design Guidelines for the Preservation of Historic Residences
1. Introduction (Continued)
C. Applicability, Design Review, and Certificate of Appropriateness (Contimued)
The objectives of Design Review
are to:
. Provide for the review of
building design, site planning
and site development to
protect the value, standards
and importance of land and
development in the City.
. Retain and strengthen the
unity and order of the visual
community.
Ensure that new uses and
structures enhance their sites
and are harmonious with the
highest standards of
improvements in the
surrounding area and total
community.
Design Review
Project design is required to be approved prior to the issuance of a building permit. Design Review is required for
any project involving new structures, major exterior alteration or enlargement of an existing structure, and
buildings to be relocated.
Applicants for a Certificate of Appropriateness/Design Review are encouraged to schedule a preliminary review
meeting with Community Development Department staff to discuss the proposed project prior to having plans
drawn or buying materials. Staff will be able to answer questions about the review and approval process and
explain how the Guidelines will be applied to a particular project (See Appendix D for more information).
As part of the Design Review/ Certificate of Appropriateness process and in addition to the proposal and
submittal requirements for a building permit, the applicant may need to provide the following at the request of
the Community Development Department: color and material samples of the proposed finishes, color elevations,
and photographs of the existing house. The submitted materials will be 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 Planning Commission and/or City Council. The Director and the Commission/Council will
consult these Design Guidelines, along with other codes and policies of the City, in determining the
appropriateness and compatibility of the proposed project.
When reviewing your project, the Community Development Department will consider the following items:
Height, bulk and area of existing buildings • Chimneys, roof structures, flagpoles, awnings,
Setbacks and site planning
Exterior materials and colors
Type and pitch of roofs
® Size and spacing of windows, doors and other
openings
Landscaping and parking area/ garage
Location, height and standards of exterior
lighting
Location and screening of equipment
antennae and satellite dishes
Physical relationship of proposed structures to
existing structures in the neighborhood
Appearance and design relationship of
proposed structures to existing structures and
possible future structure in the neighborhood
and public thoroughfares
Design Guidelines and criteria as adopted by
the City Council
City of Tustin 4 Design Guidelines for the Preservation of Historic Residences
I. Introduction (Continued)
C. Applicability, Design Review, and Certificate of Appropriateness (Continued)
Certificate of Appropriateness
A Certificate of Appropriateness is required to be issued prior to or concurrent with a building permit for all
permitted structures in the Cultural Resources District. Obtaining a Certificate of Appropriateness is necessary to
ensure the goals of the District are implemented. As stated in Tustin City Code Section 9252f, a Certificate of
Appropriateness shall be required prior to:
® Alteration of the exterior features of a building or site within a designated Cultural Resource District, or
alteration of a Designated Cultural Resource, or construction of improvements within a designated Cultural
Resources District requiring a City building permit;
Demolition or removal of any Designated Cultural Resource or of any improvements in a Cultural Resources
District.
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. A Certificate of Appropriateness is granted for a finite amount of time; refer to Tustin City Code
Section 9252 to ensure work is completed within the time frame allotted by the Certificate. There is an expedited
"over the counter" Certificate of Appropriateness process for minor projects and for repairs needed due to
damage from fire, wind, etc.
Exceptions
When a proposed project/improvement does not require a Certificate of Appropriateness (i.e. painting, some
fences, landscaping), property owners may request that staff perform an advisory review of their project. Staff
advisory review is provided to assist property owners in making improvements that will preserve and enhance the
character of, and to avoid actions that may detract from, the Cultural Resources District.
Additionally, a Certificate of Appropriateness shall not be required prior to:
Ordinary maintenance or repairs that do not involve a change in design, exterior material or original
appearance of an improvement; nor
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.
Although there is no separate application or fee for a Certificate of Appropriateness, detailed information (plans,
drawings, photos, sample materials, agreements, etc.) as is determined by the Community Development
Department to be necessary to make required findings shall be provided.
For a complete description of the
City's approval process for a
Certificates of Appropriateness
and Design Review, please see
Tustin City Code Sections 9252
and 9272, as well as Appendices
D and E of this document.
City of Tustin 5 Design Guidelines for the Preservation of Historic Residences
L balroduction (Continued)
D. Organization and Contents
The Design Guidelines are presented in eight sections:
1. Introduction
II. T s in'sHistoric Resadent&a� SSt� les: Information on the architectural home styles found in the Cultural
Resources District.
III. RRsidential Desmon Guidelines Introduction: introduces California's Historical Building Code and the
Secretary of Interior's Standards for Preservation and Rehabilitation.
IV. Preservation and Rehabilita-t,7i-on Guidelines_ General rehabilitation principles and specific suggestions
that should be observed when repairs or alterations are contemplated for the exterior of a structure.
V. Additions and New Accessory uo_Idings_ Guidelines for the most appropriate way to expand existing
houses and design suggestions for making new accessory structures compatible with the character of the
existing structure.
VI. New Infill Develooment_ Guidelines for the architectural design and site planning of new residences in
the Cultural Resources District that are respectful of the existing character of the District.
VII. Ad-aptive ReL se: Information on using a historic home for a non-residential use.
VIII.__ ndsca in Suggestions for front yard landscape design and appropriate plant materials, fence types,
lighting, mailboxes, and driveways that help maintain the character of the Cultural Resources District.
The Appendices contain useful information for anyone using the Design Guidelines or contemplating a residential
project within the Cultural Resources District. The Appendices includes the following information:
A. Glossary of Terms
B. Materials
C. Hiring a Professional
D. City Approval Process
E. Certificate of Appropriateness/ Design Review Flow Chart
F. Tustin's Historic Register Plaque Designation Program
G. Mills Act Tax Abatement Program
H. Secretary of Interior's Standards for the Treatment of Historic Properties
1. Helpful Books, Websites and Reports
City of Tustin 6 Design Guidelines for the Preservation of Historic Residences
If . Tustin's Historic Residential Styles
A. Summary
Prior to the post-war (World War ll) tract house developments which are common throughout Southern
California, homes were custom built and expressed a unique character based on the architect's/builder's
interpretation of a particular architectural style. The amount of architectural refinement and details that were
added to the house further defined its particular architectural style. To say that a house is a particular "style" is to
say that the features of the house — its roofline, porch, ornamentation, hardware, interior spaces, etc. — work
together to produce a single image.
By understanding the architectural style of a house, 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 character defining
elements of a particular house style combine to create a complete image, it can be understood 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.
To identify historic and cultural resources, the City updated the original 1990 Historical Resources Survey. The final
report was completed in October 2002 and updated in March 2003. Over 400 sites were identified as possibly
being of distinction or notable recognition. While these sites can be found at various locations throughout Tustin,
the largest concentration of historic homes occurs within the Cultural Resources District. The Survey in its entirety
is available at the City of Tustin's Community Development Department and on the City's website at
www.tustinca.org. These Design Guidelines are a companion to the Tustin Historical Resources Survey.
The Historical Resources Survey identified multiple historic residential architectural styles, including the following:
• Greek Revival
• Victorian (Stick, Queen Anne, and Italianate)
• Colonial Revival
• Craftsman Bungalow
• California Bungalow
• Spanish Colonial Revival
• Period Revival (Monterey and Tudor)
These styles are described in the text and images that follow. The list of character defining features for each
architectural style provides a list of "typical" features. The examples shown may not contain all of the character
defining features and houses do not need to contain all of the listed character defining features to be considered
of that particular style. The dates referenced refer to the period of time associated with the architectural style,
they are not necessarily representative of the dates of the historic homes in Tustin.
Architectural Styles
Craftsman/ Bungalow
Victorian
7 n,iiiiii) 1 171
Spanish Colonial
City of Tustin 7 Design Guidelines for the Preservation of Historic Residences
II. Tustin's Historic Residential Styles (Continued)
B. Greek Revival (about 1870-1905)
Chara_c�ter ®e ludiFeatures
1 or 2 story/
Gable roof (sometimes hipped)
Pedimented gables
Shiplap siding with corner boards
Non -fluted porch columns
Double hung windows with
6 window panes each
Pediment Gable at
3o2 A Street
TypicnI double hang window
Greek Revival buildings in other parts of the United States usually pre -date the Victorian era, having been built in
the 18205 through the 1840s. However, in Southern California this style of home was in vogue during the early
years of the Victorian period.
The Greek Revival style is 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 Avenue
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.
265 Pacific Street
Brown House
City of Tustin 8 Design Guidelines for the Preservation of Historic Residences
II. Tustin's Historic Residential Styles (Continued)
C. Victorian (about M75 -i905)
Tustin has an impressive collection of Victorian homes ranging in size from cottages to mansions. The Victorian
period in architecture is a general category used for buildings built during, and in, the few years following the
reign of Queen Victoria (1837-1901). At least three Victorian sub -types (Stick, Queen Anne, and Italianate), are
found in Tustin and are described in further detail on the following pages.
1. Victorian Stick (1879-1905): 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 wail 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.
420 West Maas Street
Vance House
Character DefLnIng Features
i or z stories
Tall proportions
Applied stickwork as exposed
framing
Clapboard siding
Rectangular bay windows
Multi -textured siding/shingles
Roof projects over front of house
Ornate gables
Gable trusses
Typical Gable Trusses
Top: Icing's Post
Center: Queen's Post
Bottom: "W" Design
City of "Tustin 9 Design Guidelines for the Preservation of Historic Residences
ll. Tustin's Historic Residential Styles (Continued)
C. Victorian (Continued)
Character Defining Features
z stories
More horizontal than Stick or
Italianate
Asymmetrical shapes (variety of
volumes and textures)
Clapboard siding
Prominent front porches
Steeply -pitched roofs
Pitched, ornate gables
Slanted bay windows
Recessed upstairs balconies
Towers and turrets
Ornamental brackets and
spindles
z. Victorian Queen Anne (iNo-1905): The introduction of the Queen Anne style in the mid-188os was a marked
departure from the more formal and vertical shapes of the Stick and Itallanate styles of the time. A Queen Anne
house is more horizontal in its proportions and combines a variety of volumes, shapes and textures.
The most prominent architectural elements of the Queen Anne style are steeply -pitched roofs with decorated
gables, 'asymmetrical shape, patterned shingles, slanted bay windows, elaborate porches, and towers. Queen
Anne buildings possess varied rooflines and fa4ades and are informal in nature.
E��,.F -i
540 West Third Street
Chandler House
City of Tustin 10 Design Guidelines for the Preservation of Historic Residences
11. Tustin's Historic Residential Styles (Continued)
C. Victorian (Continued)
Character Defining Features
3. Italianate (about 1875-189o): The Italianate style is a California adaption of stone houses built in Italy in the
1 or z story
seventeenth century. The quoins at the corners of the building are wooden replicas of the original stone
Low-pitched, hipped roof
reinforcements. Other elements such as column capitals, cornices, cornice brackets, dentils, and decorative
Wide flat siding
panels were carved from wood to resemble items that would have been sculpted from stone. Tustin has a
Corner quoins
number of Italianate residences built by prosperous early pioneers between 1875 and 1889.
Square or slanted bay windows
Tall, narrow windows often
Elegant and formal in style, Italianate houses feature shiplap siding, tall narrow windows placed in vertical
paired
courses, and square or projecting bays. Attention is brought to the low profile roofline through the use of
Arched window hood moldings
enclosed eaves, ornamental brackets, elaborate cornices, and molding -trimmed panels. Windows were often
Enclosed eaves
paired and trimmed with decorative molding. Though rare in Southern California, there are a handful of houses in
Ornamental roof brackets
Tustin which feature the arched window cornices introduced during the Italianate period.
Turned porch columns
630 West Main Street
(Caroline) Downs House
The use of quoins on the corner
of a building is a characteristic of
this architectural style.
City of Tustin 11 Design Guidelines for the Preservation of Historic Residences
IL a�mstin's Historic R(Es lrd ential Styles (Continued)
- _ Fe Colonial Revival (about 1900-1910)
Character D iningfeatures
i or z story
Gable or hipped roof
Symmetrical facades
Narrow clapboard siding
Greek, Roman, and Queen Anne
architectural details
Wide fascia boards
Flipped dormer (central)
Classical prominent porch,
sometimes with pediment
Square or rounded columns with
simple capitals
Rectangular, three-part windows
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. However, 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 few Colonial Revival
houses in comparison to Santa
Ana and Anaheim. A rare
gambrel -roofed version, called
Dutch Colonial Revival, is
located at 345 West Main Street.
The roofline of the new
addition, shown above, mimics
the roofline of the original
home.
City of Tustin
450 West Third Street
12 Design Guidelines for the Preservation of Historic Residences
II. Tustin's Historic Residential Styles (Continued)
D. Craftsman Bungalow (about 1910-1925)
Tustin has many fine Craftsman Bungalows, built between 1910 and 1925. Craftsman Bungalow homes can be
found within the District and north of First Street, just outside of the Cultural Resources District. The Craftsman
and California Bungalow styles are the most common in the Cultural Resources District.
The Craftsman Bungalow represents a philosophy of life which features honesty, integrity and a return to nature.
Natural woods, shingles, earth colors, brick, stone, river rock, clinker brick, and heavy structural beams signify
oneness with nature. Rocks and bricks are often used on foundations, chimneys, foundations, and railings to set a
unifying theme for the home. Oriental, Tudor, and Swiss -influenced bungalows lend a variety of architectural
elements to the Craftsman Bungalow.
Charactar–D—efining Features
9 Or 11/2 story
Low-pitched gable roof
Clapboard or shingle siding
Exposed structural elements/
rafters
Large open porches, typically
with 2 columns
Square or tapered columns
Overhanging eaves
Projecting brackets/beams
Large front window(s), usually in
3 parts
Front door with sidelights
,Doors and windows outlined with
wood molding
33o West Main Street
An example of a gable roof
with exposed roof beams
and elongated rafter ends
at goo West Main Street.
City of Tustin 13 Design Guidelines for the Preservation of Historic Residences
11® Tustin's Historic Residential Styles (Continued)
E. California Bungalow (about 1910-1930)
Character®e�inin�atures
9 or 11/2 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 ten in 3 parts
Prominent front porch with pair
of elephantine
tapered columns
Small gable over front porch
Typgcvi dab1e Trusses
Vertical Stick -work
Surprise or Snap -burst Motif
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 either double -hung or casement
wood frame windows.
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 quickly and at more reasonable costs to keep pace with Southern California's
rapid population growth.
150 South B Street
City of Tustin 14 Design Guidelines for the Preservation of Historic Residences
. Tustin's Historic Residentlai Styles (Continued)
G. Spanish Colonial Revival (about 1910-1925) Character DefiningFeatures
I story
Earlier examples of Spanish Colonial Revival homes feature rectangular shapes, often with flat roofs and no Stucco siding
overhangs. Wood frame windows, often casement style, are used and are set in stucco walls. Roofing materials Flat roof with tile parapet cap or
are generally red clay tile, but may be visible only in a small parapet cap along the front fagade. Low-pitched gable roof with no
overhang
In the 1920% the Spanish Colonial styles were larger, more articulated and often had gabled roofs. The stucco Large focal window on front
walls and the roof features remain. This style often has large, distinctive (sometimes arched) windows on the fagade
front fagade. The porch may be enclosed with a roof, and if enclosed, openings are almost always arched. A Arched windows and porch
stucco wing wall with an arched opening may extend from one corner of the house as an entrance to the openings (semicircular, elliptical
backyard. or segmental)
Wing wall at one corner
This is the second most common architectural style found in the Cultural Resources District. Open porch, sometimes withoutroof
I+
ry..
Yr
Low pitched gable roof and
arched entry at 250 Pacific
Street, Carter House.
too Myrtle Street
Logan House
Typical wing wall example at
Oso Pacific Street,
Schwendeman House.
.................................................................................................................,...................................... ........................... ................ .,,...
.,.,,., .
City of Tustin 15 Design Guidelines for the Preservation of Historic Residences
11. Tustin's Historic Residential Styles (Continued)
Character. Deflning Features
Period Revival — Monterey
2 story
Low-pitched gabled roof
(occasionally hipped)
Second -story balcony (usually
cantilevered) and covered by
principal roof
Tile or shingle roof material
Stucco finish, occasionally with
wood siding for accent
Multi -paned windows, often
with false shutters
Large, massive chimneys
H. Period Revival (about 1920-1940)
Originally, Period Revival houses were designed to conjure up images of faraway 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, the rooflines 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, depending on the particular style.
Monterey style houses typically have a second story balcony, usually cantilevered and covered by the principal
roof.
320 West Main Street
Pankey House (Monterey)
City of Tustin 16 Design Guidelines for the Preservation of Historic Residences
11. Tustin's historic Residentiei Styles (Continued)
H. Period Revival (Continued)
Character defining features of Period Revival houses are particular to the individual style of the house. The 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 a reference book to learn about the design elements that
make up a particular style.
320 West Third Street
Browning House (Tudor)
Character Defining Features
Period Revival - Tudor
1 or 2 stories
Steeply pitched end gabled roofs
Gabled entryway
Multi -paned narrow windows
(usually in bands of z or 3)
Tall chimneys (usually with some
decoration, chimney pots
Masonry construction (stucco,
brick, stone) with decorative half-
timbering in some cases
azo West 3rd Street
Holmes House (Tudor)
City of Tustin 17 Design Guidelines for the Preservation of Historic Residences
III. Residential Design Guidelines Introduction
A. Summary
The design guidelines apply to improvements or alterations made to residences located in the Cultural Resources
District. In addition, persons owning houses of historical significance (i.e. houses with an identifiable historic
The City of Tustin's amendments architectural style) outside the Cultural Resources District are encouraged to review the appropriate guidelines
to the California Building before beginning exterior repair or restoration work.
Standards Code can be found at
www.tustinca.org by clicking on The design guidelines cover five categories, or types of projects, and the appropriate guidelines are found in the
Tustin City Code. corresponding sections:
1. Preservation_ion and Rehabilitation Guidelines_ Repairing, restoring or remodeling the exterior of an existing
house;
z. Additionsand fN AccessoryStructures• Adding a room or a new detached accessory building (e.g. new
garage) to an existing house;
3. New Infill Development: Developing an entirely new house on a vacant lot;
4. Adaptive Reuse: Using a historic home for a non-residential use; and
5. Lan cain Renovating existing landscaping, installing new landscaping, or erecting a fence.
B. (California Host®rucal BulMnig Ccode
The City has adopted the California Historical Building Code (CHBC) (California Code of Regulations, Title 24, Part
8). The intent of the CNBC is to protect California's architectural heritage by recognizing unique construction
challenges inherent in historic buildings and offering an alternative code that is performance oriented, rather than
prescriptive. The CHBC provides alternative building regulations for rehabilitation, preservation, restoration, or
relocation of structures or buildings included in the City's Historical Resources Survey. CHBC regulations are
intended to facilitate restoration so as to preserve a historic structure's original or restored architectural elements
and features. Contact the City's Building Official for specifics of using the CHBC in relation to a particular project.
The California Historical Building Code can be found at www.dgs.ca.gov.
C. Secretary of the Interior's Standards for Rehabilitation
The Secretary of the Interior's Standards for Rehabilitation were originally established to determine the
appropriateness of work to be done on properties qualifying for the Federal Historic Preservation Fund grant-in-
aid program. The standards have since been adopted by many state and local officials for the review of historic
preservation projects within locally designated historic and cultural resource areas. The intent of the Standards is
to assist the long-term preservation of a property's architectural significance through the preservation of historic
materials, construction types, sizes, and occupancy, and encompass the exterior and interior of the buildings.
They also encompass related landscape features and the building's site and environment as well as attached,
adjacent, or related new construction.
City of Tustin 98 Design Guidelines for the Preservation of Historic Residences
III. Residential Design Guidelines Introduction (Continued)
C. Secretary of the Interior's Standards for Rehabilitation (Continued)
The Secretary of the Interior's Standards for Rehabilitation are reprinted here as they represent the broad
philosophical basis for the more specific guidelines that follow. The Standards are not mandatory but are to be
applied to specific rehabilitation projects in a reasonable manner, taking into consideration economic and
technical feasibility. The City encourages their consideration when a project is proposed that will alter the
appearance of a residential structure in the Cultural Resources District. The Standards are as follows:
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.
z. 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.
4. Most properties change over time; those changes that have acquired historic significance in their own
right shall be retained and preserved.
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.
7. 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.
8. 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.
lo. 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.
Additional information on the
Secretary of the Interior's
Standards and specific
recommendations for various
materials and treatments can be
found in Appendix H and online
at
http://www. nps.gov/history/hps/
tps/tax/rh b/index. htm
City of Tustin 19 Design Guidelines for the Preservation of Historic Residences
IV® Preservation and Rehabilitation Guidelines
A. intent
The City of Tustin's preservation and rehabilitation efforts are aimed at maintaining and protecting the original
architectural features of a house that help identify its individual style or contribute to the overall character of the
Principles of rehabilitation for District. The guidelines should be utilized whenever repairs or alterations are contemplated to the exterior fa4ade
the treatment of historic ofahouse.
buildings:
Identify, retain, & preserve (Generd Rehabilitation Principles
® Protect & maintain The following general principles establish the basis for the detailed guidelines that follow.
Repair ® Before designs for alterations or rehabilitation are prepared, research should be done to determine the
® Replace appearance of the house at its construction. Proposed changes to the house should retain or restore
significant architectural features. In addition, a physical examination should be conducted to determine
®
Design for missing historic the architectural style of the house and if the significant historic fabric and character defining features
features have been altered and can be recovered, restored, or reconstructed. Resources available for additional
information about a building or architectural theme include: the Tustin Community Development
Careful alterations/additions Department, the Tustin Area Museum, old photographs, books about the style that describe typical
features, similar houses in the neighborhood, and information presented in this document.
Energy efficiency
® Accessibility ® Rehabilitation efforts should retain and restore original elements of the house. If damage or
deterioration is too severe, the element might be recreated using materials which match the design,
Health & safety color, texture and other important design features.
® When replacement of an architectural feature is necessary, and original material cannot be used,
proposed substitution material should incorporate the design, color and form which conveys the visual
appearance of the original material.
® When an entire piece of a house is missing (e.g. original porch columns), research can help in
understanding the functional and aesthetic aspects of the original style and form.
® Rehabilitation efforts should not 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. When necessary, replacement material should match the original materials. The use of
mismatched materials is inappropriate and will invariably damage or destroy the architectural integrity of
the house and decrease its resale value.
.......... ro.............................................................................................................................................................................................................
City of Tustin 20 Design Guidelines for the Preservation of Historic Residences
IV. Preservation and Rehabilitation Guidelines (Continued)
C. 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. Therefore, a house's foundation needs to be investigated prior to
considering a major restoration project.
Some of Tustin's early homes were constructed without permanent foundations. In some cases, only a wooden
"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, seek advice from a
professional (i.e. architect, civil engineer) before proceeding with other restoration work.
If the 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. Masonry and concrete
foundations will likely have minor hairline cracks which are not serious. Any cracking wider than a penny should be
watched to determine if the cracking is continuing.
Movement - To check for movement, draw a line across the crack with a straightedge and observe it for two to
three weeks. If the line across the crack has split, 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 to patch the crack. If the foundation is concrete it can be patched with readily available patch mixtures.
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 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. Water -related problems can cause undermining and improper settlement of footings. Constant
dampness can cause deterioration of 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. Crumbling brick where the hard, fired surface has
deteriorated should also be evaluated by a professional.
Syms°os�as ®f deters®ration for
jounjations:
Cracks
Movement
® Water Damage
Water -related Problems
Deteriorating Bricks and
Additionally refer to section E. on
page 25 for a discussion of
general repair techniques for
"brick masonry."
City of Tustin 21 Design Guidelines for the Preservation of Historic Residences
IV. Preservation and Rehabilitation Guidelines (Continued)
When re airing Wood Shingles
or Shakes:
Use shingles and shakes of the
same size and shape as the
original.
It is not recommended to use
replacement shingles and shakes
that are made of a different
material than the original.
When replacing a shingle be sure
to insert it under the shingle
above before securing it with a
nail.
D. Shingle, Shake, and Wood Siding
Shingle Repair — Most shingles applied to exterior surfaces on historic structures are made of redwood or cedar.
Scalloped edges or other specialty shapes are available through most large lumber yards. When purchasing
replacement shingles, a sample of the existing shingle should be shown to the supplier to 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.
Shingles and shakes can be painted, stained or colored by natural weathering. Weathering can sometimes cause a
Use galvanized nails because the
are resistant to rust. 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 replacement is made over a period of time, leave the unused shingles outside to start the aging process
I before installation
Replacing Wood
Shingles or Shakes
Styles of Wood Shingles
=1 X" Galvanized nail -2
at each shingle
Wood shingle
Nailing/ spacer strip
Slanted Segmental Diamond Square Cove Hexagonal Octagonal Fish Scale Scallop
City of Tustin 22 Design Guidelines for the Preservation of Historic Residences
IV. Preservation and Rehabilitation Guidelines (Continued)
D. Shingle, Shake, and Wood Siding (Continued)
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. The appearance of wood sided houses helps define the
historic character of the Cultural Resources District. For this reason, wood siding should be retained rather than
When ®®d Si' in
removed and replaced.
Replace wood siding with new
wood of the same size and shape.
Replacing wood siding with aluminum siding, fiber cement, asphalt shingles, or masonite, even of the same size
and shape as the original siding, is inappropriate on a historic structure (these materials can be used on new
To retain the historical integrity
additions and accessory buildings)., Heavy spray -on coatings (texture coat) applied over wood siding are
of the home wood siding should
inappropriate as well. These applications harm the historic value of the house.
not be replaced with siding of a
different material.
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
Prime and prep the surface
missing pieces should be replaced. To replace a piece of wood siding, gently pry up the piece immediately above
before applying paint.
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 unwanted wood and replace with new, matching
In some cases it might be
siding. Renail the new area and apply caulk where the new piece touches adjoining pieces. When replacing wood
necessary to sandblast the wood
siding, care should be taken to only replace those pieces damaged beyond repair. Whenever possible, the historic
to remove existing paint.
wood siding should be preserved.
Be careful when using chemical or
Protecting wood siding is largely dependent on the paint which protects the wood from weathering. The key to
heat paint removers.
painting a wood exterior is proper preparation. The paint job will deteriorate rapidly if the surfaces are not
properly prepared prior to the first coat of paint.
To prepare the surface, inspect the entire exterior and determine the general state of the existing paint. All
crumbly, flaking, blistering and peeling paint should 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
caused the paint to deteriorate, as there may be a reoccurring problem that should be addressed first.
Surface Preparation — The following steps should be taken prior to starting surface preparation:
• Repair all wood siding;
• Remove old paint;
• Inspect all doors, windows and trim for water tightness and caulk if necessary;
• Inspect windows for damaged or deteriorated putty and repair; and
• Inspect all gutters and downspouts and repair as necessary.
City of Tustin 23 Design Guidelines for the Preservation of Historic Residences
IV. Preservation and Rehabilitation Guidelines (Continued)
D. Shingle, Shake, and Wood Siding (Continued)
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 Replacing Wood Siding
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 could be primed and painted or stained. A paint dealer
will assist in determining the type of paint/ stain, brushes and quantities that will be needed.
Horizontal'.
and and Batten
(Clapboard)
Clapboard
siding over
building paper
& wood studs
Nail at each stud
........................................................................................................................................................................................................................
City of Tustin 24 Design Guidelines for the Preservation of Historic Residences
IV. Preservation and Rehabilitation Guidelines (Continued)
E. Brick Masonry
When Re airing Brick Masonryr
Brick Masonry is found in foundation walls and chimneys in many historic buildings. Wall cracking and Use caution, using sand or water
deteriorating mortar joints are the most common problems and should be addressed by a professional since they blasting to remove paint or dirt
could be signs of structural problems. Some historic houses may have unreinforced masonry and may need could damage the motor joints of
structural strengthening for earthquake safety. If a masonry wall needs to be structurally improved, the design the bricks.
and construction should be undertaken by professionals experienced in addressing historic structures.
Repairing mortar joints (repointing) where the existing mortar is soft and crumbling is a specialized operation that
should be performed by experienced professionals. If the repointing job is improperly done it can detract from
the appearance of the building and cause physical damage to the bricks.
The first step in repointing is to remove the old mortar to a depth of % 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 should 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;
z. 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 A inch thick. When the mortar
has reached thumb -print hardness another % inch layer may be applied. When the final layer is 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.
Most brick masonry in older houses was left natural. If it can be determined 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, since paint can lock moisture in the bricks, causing them to deteriorate more rapidly.
Chip off old mortar with a
hammer to reuse old bricks.
A mechanical grinder should not
be used to remove mortar.
Leave brick in its natural state.
Various Styles of Jointing
Struck
Weathered
Flush OE_
Raked
Beaded
Concave
V— Shaped
City of Tustin 25 Design Guidelines for the Preservation of Historic Residences
IV. Preservation and Rehabilitation Guidelines (Continued)
E. Brick Masonry (Continued)
Paint removal is 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
Energy Efficiency Tim will destroy the brick's natural fired surface and cause it to lose its water repellant qualities. If water is allowed to
Install thermal insulating invade the inner brick, its structural integrity may be ruined.
material on the inside of
masonry walls to increase All work should be thoroughly tested in inconspicuous places on the house and preparations should be made for
energy efficiency where there is the safe disposal of cleaning chemicals.
no character -defining interior
molding around the window or F. Exterior Plaster
other interior architectural
detailing. 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 the 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 area with a hammer to remove all of the separated plaster and include these areas in the
repair area. Use a putty knife to open a crack and removed loose debris. Use a hammer and a small cold chisel to
When ReaQirin Exterior Plaster: make the crack wider at the inside than at the outside; this will allow a "locked" joint to form between the new
Remove all loose pieces and and old materials. Be careful not to damage the lath below the plaster. Thoroughly clean and then wet the area to
thoroughly clean the plaster receive the patch so the old material will not rob the new plaster of its moisture. Exterior plaster patch is available
before patching the area. at most hardware stores and is easily mixed with water. Follow all manufacturer's instructions.
Be sure to create a "locked joint".
Carefully match the color of the
existing stucco.
Read the manufacturer's
instruction prior to patching the
area with plaster.
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. IF 7/ 1 1771
Large Areas of patching or sections which have to be Crack Before
replaced down to the stud wall should be handled by an Treatment
experienced plasterer as it can be difficult to match some
historic plaster textures.
Color pigment should be added when patching integral Crack Made
colored stucco. Pigments should be used with the Wider at
Inside
patching compound per the manufacturer's instructions.
Carefully match the color and make a note of the amount
of pigment used for future reference.
Wire Lath'
& Building
Paper
Color_
(Finish)
Coat
Separated
Color Coat
City of Tustin 26 Design Guidelines for the Preservation of Historic Residences
IV. Preservation and Rehabioitation Guidelines (Continued)
G. 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 passage into the house that has
traditionally received a substantial amount of detail work and decoration.
Maintain Original Design - The original design integrity of the porch should not be compromised during
rehabilitation efforts. There is often a desire to modernize or change the appearance of a house by changing the
details of the original porch design (i.e. roof overhangs, stairs, hand rails, support columns, balusters, decorative
work, etc.). Changes to these items should be avoided as any change in the structural or decorative elements of
the front porch will jeopardize the architectural integrity of the house. When a deteriorated porch needs to be
rebuilt, the reconstruction should follow the original design, including use of materials that match the original
materials.
Porch Enclosures - Enclosing the front porch with solid walls and windows is a popular, but inappropriate, means
of creating additional interior space. This practice should be avoided as it is difficult to maintain the architectural
integrity of a house that has had its porch altered in such a way.
Stairs - The stairs leading to the porch are 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. Avoid the use of off-the-shelf, ready-
made wrought iron railing and oversimplified construction methods that reduce the visual importance of the
stairs.
Porch Flooring - There are many options for flooring that can withstand the elements of the outdoors.
Concrete, tongue and groove lumber, and even stone
are a few of the options to consider. Although
flooring consists of the foundation too, the most
visible portion is referred to as porch decking. When
the flooring of a porch on a historic home requires
repair, follow the original design, and match materials
to preserve the integrity of the structure.
Handrails . ��� Balustrade
When Re airing Porches and
S k -S.
Use materials that match the
original materials of the porch
and stairs.
Porch roofs should have the some
angle as the roof of the house;
unless the change in roof pitch is
to match the original design.
Permanently enclosing a porch is
not recommended and will deter
from the character of the house.
It is not recommended to add any
element that would reduce the
visual importance of the stairs or
the historic architectural integrity
of the home.
Newel Cap Ener Efficiency Tip
Newell Maintain porches and double
Nosing vestibule entrances so that they
Wall String can retain heat or block the sun
rnrriaap and provide natural ventilation.
Riser
Tread
Baluster
City of Tustin 27 Design Guidelines for the Preservation of Historic Residences
IV. Preservation and Rehabilitation Guidelines (Continued)
Rebuilding or replacing stairs or
porch railings should be done in
compliance with current building
code requirements. Building
codes change on a regular basis
and include requirements
regarding railing height and
separation between balusters.
Under certain circumstances
these requirements may be
exempt under the provisions of
the California Historic Building
Code. Check with the City's
Building Division before starting
any stair or porch demolition or
repair work.
G. Porches and Stairs (Continued)
Appropriate front porch and stair designs will complement the architectural style of the house. Keep the
following in mind when rehabilitating the front porch of a historical home.
Columns should be built of materials that encourage proper column designs. Extruded aluminum should not
be used.
The beam at the top of porch columns which supports the porch roof should be visible from both the inside
and the outside of the porch.
Porch beam castings should be built of materials that reflect the structural nature of the beams, the grain or
texture of the casing material should be horizontal.
Porch ceiling should be built of wood or stucco.
Railings may be built of wood, metal, or stone, but the railing material should not be heavier in appearance
than the primary elements of the porch or stairs.
Column bases should not protrude beyond the edge of the porch flooring, they should align with the face of
the pier or foundation below.
Columns and railing should be vertically proportioned and evenly spaced.
Inappropriate Wrought Iron
Inappropriate Wood Railing
Appropriate Original Design
.11— ... ................... ,........ I.........................................
City of Tustin i$ Design Guidelines for the Preservation of Historic Residences
IV. Preservation and Rehabilitation Guidelines (Continued)
H. Windows
Most historic houses were originally built with wood windows that were fixed, double hung or casement in
design. The size, shape and style of windows are an important feature of most architectural styles, and the
original type should be preserved or restored.
Window Replacement — When window replacement is necessary the new window should match the original. This
may require custom milling, but maintenance of the original style and character of the house will make the extra
effort worthwhile.
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. As this may compromise the architectural integrity of the house, it is only
appropriate for areas of the house that are not visible from the public street.
Aluminum frame or vinyl windows should not be used as replacements for original windows on an architecturally
significant house, especially on a primary fagade or any other locations visible from the public right-of-way. Such
windows contrast with the styles and materials of a historic house and will permanently compromise the
architectural integrity of the house. Aluminum and vinyl windows are often sought as replacement windows due
to the perceived increase in energy efficiency. However, increases in energy efficiency can most times be achieved
by ensuring a proper seal between the window frame and the wall and between the window frame and the glass,
as the majority of heat is lost due to improper seals. Additional increases in energy efficiency can be obtained
through the installation of interior storm windows, allowing the original window to remain in place and not alter
the appearance of the historic house. It is also important to note that, while wood windows require more
maintenance than other windows, they last much longer when properly maintained and are more easily repaired
than aluminum or vinyl windows.
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 the window. A soldering iron
or torch may be necessary to heat the old putty to make it easier to remove. After removing the old putty,
remove the glazing points (small pins). The wood should then be sanded smooth and painted with a primer to
seal it.
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 consistently shaped or "plumb"). Apply new glazing compound,
place the glass firmly and secure with glazing points located about six inches apart.
When Repairing or R in
Windows:
It is not recommended to use
reflective glass or films.
If replacing windows, only use
aluminum or vinyl windows on
the sides of the house that are
not visible to the public.
Reuse existing/ original windows
as much as possible to retain the
character and integrity of the
historic property.
Choose a window style that is
consistent with the historical
architectural style of the home.
City of Tustin 29 Design Guidelines for the Preservation of Historic Residences
IV® Preservation and Rehabilitation Guidelines (Continued)
H. Windows (Continued)
Press a high quality putty compound, shaped into lengths about three-eighths inch in diameter along the edge of
the glass. Use a putty knife to form a smooth, angled finish. Follow the manufacturer's recommendation
Energy Ef idency Tins_ regarding drying time for the putty before painting.
Improve thermal efficiency with
weather-stripping, storm Old glass usually has slight irregularities in its thickness (waves) and small air bubbles (seeds). Since the new glass
windows, caulking, interior will lack these imperfections, a pane of glass that is replaced adjacent to older panes may be noticeable. If this
shades, and if historically occurs in a prominent location consider obtaining an old piece of glass from a salvage yard or using an existing
appropriate, blinds and awnings. pane of glass from a rear elevation so that the new glass occurs away from the front elevation. in addition,
reflective glass or films should not be used on historic buildings, as these types of glass were generally not in use
Install interior storm windows during the historic building periods represented in Tustin.
with air -tight gaskets, ventilating
holes, and/or removable clips to Repair small holes in wood members by cleaning away all loose debris and filling with a good quality putty. After
insure proper maintenance and drying according to the manufacturer's instructions, sand the surface, prime, and paint.
to avoid condensation damage to
historic windows. 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 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.
Lintel
Upper
Sash
Lower
Sash
Sill
Head
Top Rail
Muntin
Light
Meeting Rail
Lambs Tongue
Stile
Bottom Rail
City of Tustin 30 Design Guidelines for the Preservation of Historic Residences
IV. Preservation and Rehabilitation Guidelines (Continued)
1. Doors
Most architecturally significant houses in Tustin have wood doors compatible with their style. The front door of
the house is the most ornate while secondary doors are usually more utilitarian and plain. The size, shape, and
style of doors are important features of an architectural style and the original type should be retained or restored.
Door Replacement — Original doors should be repaired in-place when possible. 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 which may match original doors are available directly from material suppliers and home
improvement centers. Hollow core doors were not used on historic homes and are inappropriate to use as
replacement doors.
Some doors, such as those from the Craftsman Era, may be difficult to find and may have to be specifically milled
or created by modifying a simple solid core door.
Door Repair — Typical problems with doors include sticking, not closing properly, or having gaps around the door
when closed. First, check the hardware — the hinges and strike plates of the door. These can become loosened
overtime and can be remedied by tightening a few screws.
Lock and latch mechanisms may also need simple tightening of screws.
Replacement door hardware should match the original.
The following information will be necessary to
secure proper matching hardware:
• Diameter of the lock
• Size and location of the latch bolt holes
• Dimensions of the latch face plate
• Doorthickness
• Back set measurement from the
door's edge to lock hole center
• Type of lock being replaced
• Brand name of existing lock
Trim at Head — Lintel
Jamb
Stop
Stile
Knob Set
Latch Mechanism
Hinges
Bottom Rail
When Re airing or Re lacing
Doors:
Use solid doors for the exterior
entrances.
Be sure new doors are
compatible with the original style
of the building on the front/
primary fagade or any other
location visible from the public
right-of-way.
City of Tustin 31 Design Guidelines for the Preservation of Historic Residences
IV. Preservation and Rehabilitation Guidelines (Continued)
Ener E
Even new doors can have slight
gaps u//owing air to draft into o
home. Adding orreplacing the
sealing can help to eliminate this
problem.
install unexterior storm door
with glass panels that can be
switched out with screens /nthe
summer months. The screens will
provide air circulation during hot
months and glass panels will let
the sunlight /n and also help to
keep the cold air out during the
winter months.
1. DooTs (Continued)
Craftsman/ Bungalow
Colonial Panel
M
Period Revival
Victorian Cottage
--... '............ --'~...... ....... ---'~-~^~`'—'~-^^^'^`'`^'~'-^^^'^-^-~^~'—'~-``^`'`'^~-^~-~'-'................. '^^^~~^^^'''~^'`^^'~'^-^~`^-'`''~''^
City ofTustin 32 Design Guidelines for the Preservation of Historic Residences
IV. Preservation and Rehabilitation Guidelines (Continued)
J. Ornamentation/Trim
Authentic decoration and trim on a house lend character and help identify the structure with its architectural
style. Great care should be taken in handling house trim and decoration during renovation.
The following should be considered when repairing or replacing decorative trim work:
• 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 needs to be
removed to be repaired or copied, inspect the attachment carefully prior to any work. Label pieces
according to their original locations in order to replace them exactly.
• Wood ornamentation and trim should not 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. Prying 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.
• Carved and detailed pieces of ornamentation can lose detail by the continuous application of paint.
Careful removal of the paint by heat gun or chemicals will revive the original detail. Use of abrasives or
sandblasting on ornamentation or trim to remove paint could destroy subtle details and is not
recommended.
• An experienced painting contractor sensitive to historic houses is most likely to preserve ornamental
detail properly.
• If the trim or ornamentation is comprised of several layers of materials, sketch or photograph 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 as carefully as the removal. Pieces should be
caulked where water infiltration might occur.
77
When Re airing or RepIacing
Trim and Ornamentation:
It is not recommended to use
abrasives or sandblasting to
remove paint from trim work.
Apply thin coats of paint so the
details are not lost.
Try a minor patch or repair
before removing or completely
replacing trim could fix the
blemish.
If the trim needs to be replaced
select a style that is compatible
with the architecture of the
house.
City of Tustin 33 Design Guidelines for the Preservation of Historic Residences
Roofs are important functionally and aesthetically. Great care should be taken to insure that roofs are water -tight
and, when necessary, new roofing materials are compatible with the original architectural style of the house.
When airing -Roofs:
Use materials or colors which are Permits are required for reroofing buildings. Check with the building division to determine the requirements for
appropriate for the style of the reroofing a building, including the fire rating required for new roofing materials. Small repairs to roofs such as the
house. stopping of leaks or the replacement of roofing up to a certain size may be done without a building permit and
with the same materials as the existing roof regardless of fire rating.
It is not recommended to patch
Spanish the roofs by "dumping" Roof leaks — Roof leaks should be quickly identified and repaired to eliminate the destructive abilities of water.
mortar on cracked tiles. Leaks generally occur where there are leaks in the roofing material or where the roof intersects with another
component, such as a wall or chimney. An active leak may be hard to trace as water may travel prior to becoming
For Spanish style roofs it is noticeable. A wet spot in the ceiling is rarely directly below the actual leak in the roof. An inspection for a leak
recommended to use one piece should take place in the attic of the house, starting at the location of the wet ceiling.
red clay tile, it is fire proof, long
lasting, and takes less time to To check for leaks in dry weather, look for:
install.
• Light shining through to the inside where there are worn or missing shingles;
• ®ark 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 the cost of roofing
materials, consideration should also be given to 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, and the
architectural style of the house.
City of Tustin 34 Design Guidelines for the Preservation of Historic Residences
IV. Preservation and Rehabilitation Guidelines (Continued)
K. Roofs (Continued)
In determining which material to use for the replacement of wood shingles or shakes in historic houses, the desire
for the most aesthetic material is sometimes superseded by the need to provide maximum fire protection. Many
styles of asphalt (composition) roofing closely emulate wood shingles or shakes and provide superior fire Suggestions for finding5ujftabk
resistance. Reference the City of Tustin's amendments to the California Building Standards Code at NO dies:
www.tustinca.org and click on Tustin City Code, for approved roofing materials see Article 8, Chapter 1A.
For the most significant buildings, those with an "A" rating in the 1990 Historic Resources Survey and those with a
NRHP Status Code of 1, z, or 3 in the 2003 Historical Resources Survey, using original materials should be
considered. Less significant buildings may be able to use asphalt shingles which do not radically alter the
appearance of the house.
In Spanish Colonial Revival, Mediterranean, and Monterey Revival style buildings, the original tile roof should be
maintained and repaired as necessary. Attempting to repair a tile roof by simply dumping mortar on cracked tiles
detracts from the overall appearance of the roof and is an inappropriate method of roof repair. Cracked and
broken tiles should be removed and replaced. Many companies manufacture clay roof tiles, but difficulty may
arise when trying to match the color and shape of a particular tile.
1. Locate a house being
demolished that has similar
roofing material, and work
with the owner to obtain
salvaged tiles (if it meets
today's code standards);
2. Remove tiles from blind
spots, areas where the roof
cannot be seen, such as in
the rear of the house, to use
in the repair area and reroo f
the less visible area with new
tile; or
3. Use high quality roofing
the that most closely
matches the existing tile.
City of Tustin 35 Design Guidelines for the Preservation of Historic Residences
IV. Preservation and Rehabilitation Guidelines (Continued)
To Main ain _r Re air Gutters:
Clean gutters out once a year.
Install screen guards to keep
debris from clogging the down
spouts.
Paint gutters and downspouts in
a color that will enhance the look
of your home.
The use of plastic components is
not recommended, they are
weaker than metal and are not
authentic to the time periods of
the homes in the Cultural
Resources District.
Metal gutters such as galvanized
steel copper and aluminum are
recommended.
Considering using a half round
style of gutter, it blends well with
almost all styles of architecture
and are more resistant to
damage due to their shape.
L. Gutters, Downspouts, Vents, and Rooftop Equipment
Gutters and downspouts collect water from roofs and carry it to the ground and away from the house. If these
elements are deteriorated or absent altogether, water can run down the sides of the house, causing damage.
Gutters and downspouts should be kept in working order by periodically checking for leaks and clogged areas.
Vent pipes and stacks are necessary for various purposes and should be designed to be compatible with the
house. Rooftop equipment in residential areas should be avoided. However, if a flat roof and parapet exist, it may
be possible to place equipment on the roof and use the existing parapet for screening purposes.
The following should be considered when repairing, replacing, or, adding new gutters, downspouts, vents, or
rooftop equipment:
® Original gutters and downspouts should be repaired. These utilitarian elements contribute to the overall
character of the house.
® New gutters and downspouts should relate to the style and lines of the house and be painted to match
the trim or body color of the house.
® New downspouts should be placed in the least conspicuous locations. Avoid placing downspouts on the
front fa4ade.
® Vent pipes and stacks that protrude through the roof should be painted to match the roof material.
® Another option is to use rain gutters that are integrated into crown molding.
Gutter
Downsp
City of Tustin 36 Design Guidelines for the Preservation of Historic Residences
IV. Preservation and Rehabilitation Guidelines (Continued)
M. Flashing
Flashing is typically a rust proof metal (galvanized steel, aluminum, or copper) barrier; however, it can be plastic,
roofing felt or rubber. It is used to cover open joints to make them waterproof. Flashing should be inspected
every eighteen months to identify potential problems.
Most gaps can be filled with a roofing compound available at hardware stores. A more serious problem occurs
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.
Flashing should be painted to match the color of the roof material or fascia.
Step
Flashing
Chimney
Flashing
indow Flashing
Types of roofing fiashing=
Chimney— applied around the
base in several parts
Continuous Flashing— protects
between a vertical surface and a
sloped roof.
Drip Edges— prevents water from
seeping under the roofing along
rakes and eaves.
Step Flashing— Consists of a series
of right-angled metal pieces; each
section is worked into a course of
shingles so that it overlaps the
section beneath it. The flashing's
vertical edge is usually tucked
under siding or capped with a
second counter flashing that is
mortared into the chimney or
caulked along a skylight so water
can't sneak in behind it.
Valley Flashing— W-shaped metal
that protects the valleys where 2
roof planes meet.
Vent Flashing— Cone shaped
metal that fits over the flue or
pipe and anchors into the
shingles.
City of Tustin 37 Design Guidelines for the Preservation of Historic Residences
IV. Preservation and Rehabilitation Guidelines (Continued)
N. Paint Colors
City of Tustin 38 Design Guidelines for the Preservation of Historic Residences
The selection of a color scheme for a house is usually considered a matter of personal choice. Aside from
providing a prescribed palette of approved colors, developing guidelines for color selection is a difficult task. It is
Thm for choosing ex edorpaint:
true that historically traditional colors were associated with certain time periods and architectural styles, but over
1. Research the style of the
time these historic color schemes have mostly disappeared as individuals and neighborhoods have selected more
home and color schemes
contemporary colors.
associated with the time
This 6s not to say, however, that anything goes. Even a house with a strong architectural identity can be
period and style.
downgraded by selecting an inappropriate color scheme. This can be avoided by following a few simple
z. Be aware of surrounding
guidelines.
neighbor's paint colors.
3. Take into account any
® Select a color scheme that will unify the different elements of the house. If a historically correct scheme
housing details that will
is desired consult the next section, "Typical Historic Color Schemes," look for books and obtain
not change, such as brick
information from a quality paint store or qualified painting contractor, or look at other houses with a
similar architectural style and note how successful combinations of colors work together.
or stone.
® For most architectural styles, (Victorian excluded), limit the number of different colors on a house to
4. Consider using multiple
three. Use a light/muted color for the body, a complimentary darker shade for the base and trim and
colors (depending on the
white for window frames.
architectural style
® The larger and more plain the house, the more subtle the color should be. Light colors help reduce the
anywhere from two to
massiveness of large planes.
four colors may be
® Do not paint stained shingles, brick and stone work, chimneys, roofing, or any decorative trim that was
appropriate).
not originally painted.
5. Use contrasting colors to
® Limit the use of strong, vivid colors to one per building and then use only for small trim areas (Victorian
highlight architectural
homes excluded).
a Avoid combinations of warm and cold colors such as red and blue.
details and trim work.
® The color of the roof is not easily changed except through reroofing. When a new roof is being
6. Ilse available color
considered prior to painting, work the roof color into the overall color scheme. If a new roof comes later,
software, many paint
consider a neutral color that will blend with the house color.
manufactures have free
online resources where a
Historic Color Schemes
photo of the home can be
uploaded to preview color
The following section identifies popular color schemes used on residential buildings during the periods when
historical architectural styles were constructed. When choosing a color for a historic home, the following should
options.
be used in conjunction with other resources to determine an appropriate color scheme that fits both the style of
the house and the preferences of the owner.
City of Tustin 38 Design Guidelines for the Preservation of Historic Residences
IV. Preservation and Rehabilitation Guidelines (Continued)
N. Paint Colors (Continued)
Pre-t9oo Victorian
This period experienced three color transitions in much of southern California. The earliest examples (up to about 1884) utilized combinations of pale
colors, usually tans or white. Most early Victorian houses were painted two colors, the predominant color being the body of the house with the other
color used for the trim. The trim was usually the same general color as the body of the house, but in a deeper tone. Most window sashes were painted
black or white, and if shutters were present they were painted the same color as the body of the building. Wood single roofs were stained green, red or
black.
From about 1884 to 1895 darker colors were used, and in some cases the number of colors on a single building increased to three or four. This change
was partly influenced by the trends of the time, but also because some houses incorporated two exterior materials, perhaps shingles used as siding at
the second story, with shiplap wood siding at the first. The two 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. Beginning around 1895,
colors were affected by the classical influence. The main body color 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.
Victorian Stick
Closer to the Gothic Revival period the Victorians started painting their homes in dramatic colors. They often used bright contrasting colors to enhance
the ornate architectural details of this style. White for trim work and a dark color for the window sashes added an additional pop to the bright base
color.
Victorian Queen Anne
In Victorian times, natural earth -tone colors were favored, as a result of Victorian homeowners' fascination with nature. Although, popular during other
periods of Victorian Architecture, white was rarely used on Queen Anne homes. More common were shades of green, brown, red, and mustard. Darker
colors were also fashionable. Sienna red, hunter green, burnt yellow, muddy brown, and plum were also popular.
Victorian Italianate
Italianate homes were originally painted in multi color schemes. The body was painted in an earth tone and the trim work in multiple dark contrasting
colors. The early zoth century brought about a change. Lighter, pale color schemes with dark trim and shutters were favored. Over time the high
contrast between the body of the house and the details became more subdue. During the later time period of this architectural style only two colors or
two shades of one color were used. Many historians are in favor of brining back the original multi color scheme to show off the architectural details of
these decorative homes.
Post-igoo Victorian
Houses of this time were generally white or light colors. Shingles used as siding were usually used at the upper level, with shiplap wood siding used
below. The upper area might be stained green or brown, with 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.
............................
City of Tustin 39 Design Guidelines for the Preservation of Historic Residences
IV. Preservation and Rehabilitation Guidelines (Continued)
N. Paint Colors (Continued)
Greek Revival
Typically, Greek Revival houses were painted white, but off-white, ochre, and gray were also suitable, provided the trim elements were contrasted in
white. Natural earth and stone pigments remained the source of most exterior colors. Shutters and window sashes on Greek Revival houses are most
often painted dark green or black.
Craftsman Bungalow
Houses of this style generally had rough wood shiplap siding or wood shingles, with finished wood used as trim. The shingles or siding were often
stained "earth" colors of brown or green or left natural. The shingles or siding may have been 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 white, black or
sometimes the same color as the trim, the wood shingle roofs were stained red, green, black and sometimes white. Crushed brick and white gravel roofs
were introduced on flatter pitched roofs at this time.
California Bungalow
Suitable materials used for the main body of the houses of this style were stucco, shingle or wood siding. When stucco was used it was often left in its
natural gray color. The trim would have been painted dark color, such as dark green or brown. When rough wood siding or shingles were the major
material, the home would have been stained a dark color, such as dark brown or green. The shingles or siding were painted alight 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 white, black or the trim color. Newer 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 stained, or sometimes
painted white, to emulate a snow covered roof.
Span, ish Colonial
Spanish Colonial houses were generally painted with two colors, primarily in neutral earth tones. The main body of the house was typically stucco
painted a light color, such as cream or white. The trim was painted a darker color, such as brown, red, or yellow. The darker trim colors were typically
done in a subdued hue.
Colonial Revival
Many Colonial Revival style buildings have brick or stone siding. This type of siding should not be painted. Other types of siding and all trim, windows,
and other decorative elements could be painted in a wide array of colors. Paint colors were generally of a muted tone, not bright or bold, and are either
light or dark, muted medium tones were not used. Pure white, dark blue, and brick red are popular colors for this architectural style. Color combinations
are generally light and dark, with one on the main body of the building and the other on the trim. However, some Colonial buildings create an effective
color scheme using two dark colors.
., .. ..............,.. , .< ...
City of Tustin 40 Design Guidelines for the Preservation of Historic Residences
IV. Preservation and Rehabilitation Guidelines (Continued)
N. Paint Colors (Continued)
Period Revival- Mediterranean, Spanish, Monterey and English Tudor Revival
This period includes many styles, including Mediterranean, Spanish, Monterey and English Tudor Revival. The materials used on all these styles were
similar. The main body of the house was usually stucco, with rough or smooth finished wood trim and wood shingles, shake, or clay tile roofs. The house
was also usually painted a light color, such as tan, buff or white. If rough wood was used, 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.
Pull inspiration for the
color pallet from any
brick and stone work
Secondary Color:
Choose a contrasting
color for trim work
and eaves
Dominant Color: The
body of the house is
the primary color
Accent Color: Select a
n � pop of color for the
JI JI front door
City of Tustin 41 Design Guidelines for the Preservation of Historic Residences
IV. Preservation and Rehabilitation Guidelines (Continued)
O. Solar Energy Systems
The use of solar and alternative energy is encouraged and nothing in these design guidelines is intended to
restrict its use. However, in the Cultural Resources District, the appearance of modern solar panels and equipment
Solar Ener Ti ss may present a departure from the historic character of the District. The intent of these guidelines is to suggest
Place the solar panels where they ways to conceal solar installations from public view. Used properly, these guidelines can ensure a building using
can absorb direct sunlight. solar energy maintains its historic integrity when viewed from the public right-of-way. However, most of these
techniques will not conceal solar equipment from the view of adjacent houses.
Hire an expert to install your
solar panels carefully and ensure -When installing solar equipment, the following are considered appropriate means of installation:
that they are securely mounted.
® Solar equipment/panels should be located on parts of the roof that are not visible from the street or
Insulating your home in addition other public areas depending on their orientation to the sun;
to the solar panels will help to ® Solar panels should be hidden from view behind roof parapets, widows walks, etc. when the architectural
maximize energy savings. style of the house allows;
® Landscaping should be used to conceal ground -mounted solar equipment. This is especially effective
Check for local, state and federal when the panel would be visible from the street, but care should be taken not to decrease the amount of
programs with tax incentives and sunlight falling on the panel; and
rebates. ® Ground -mounted solar equipment should be kept as low as technically feasible. If they exceed four (4)
feet in height, a fence or wall that is architecturally compatible with the house should be used to screen
In addition to solar energy the equipment from public view.
consider a solar water heating
:.........................
system,
Solar nels
A:
I
k
I
F =
Roof View of Widow's Walk
415 West 6th Street
W.W. Martin— Thompson House �
City of Tustin 42 Design Guidelines for the Preservation of Historic Residences
IV. Preservation and Rehabilitation Guidelines (Continued)
P. Fireplaces and Chimneys
When Re kin or .Replacing
In older/historic homes, the fireplace was a functional part of the house, providing heat for residents. It also Chimneys:
provided decoration in terms of chimney design on the exterior and fireplace and mantel design on the interior. Use fire resistant materials such
Each architectural style of house has its own distinctive fireplace and chimney design. as brick, stone or stucco.
Today, fireplaces are not typically required for heating, but are important in defining the style and contributing to
the character of a house, in addition to adding resale value. Therefore, fireplaces should be maintained and
repaired.
Chimney details provide accents, such as unusual caps, chimney hardware and decorative panels in stacks, for the
roof system, enliven roof forms, and add profile character to the roof. The most common chimney cap in the
Cultural Resources District is a corbelled cap, which stand out clearly against the skyline. A corbelled cap is built
out from the chimney stack by projecting successive courses of brick beyond those below. If built back again
toward the stack, the cap has a stepped profile on top and bottom.
To inspect a fireplace, start at the exterior and look for cracks or loose mortar, as this is an indication that the
bricks are loose and could fall. The only solution is to rebuild or brace the chimney back to the roof, and a masonry
contractor will need to be consulted. The building code has requirements for chimney height in relation to the
surrounding roof. Please check with the Building Division prior to beginning a project involving a fireplace and
chimney. A City building permit is required for reconstruction or modification of a fireplace or chimney.
Chimneys that are deteriorated on the inside should
have new linings installed. This entails lowering a
Corbelled Cap stainless steel liner into the chimney and pouring a
special cement between the liner and the masonry.
This should only be completed by an experienced
Chimney Brace masonry contractor.
Unpainted brick or rock masonry should not be
painted, as this could seal in moisture and lead to
more rapid deterioration. If a coating is necessary to
halt deterioration, use a clear finish sealer.
See the California Building Standards Code as
amended by the City of Tustin within the Tustin City
Code, Article 3, Part 5 Fire Code, for more information
about chimneys and spark arrestors.
Wood and vinyl siding are
flammable and could be
dangerous, they are not suitable
materials for a chimney.
Chimney height should be
appropriate to the scale of the
home.
Use decorative details on a
chimney that are compatible with
the architectural style of the
house and are suitable for the
material.
Consider replacing wood burning
fireplaces with gas, electric, or
bioethanol ventless fireplaces
that burn cleaner and are more
environmentally friendly.
The City of Tustin's amendments
to the California Building
Standards Code can be found at
www.tustinco.org by clicking on
Tustin City Code.
.........................................................>.........,.........,,.,,........................,...........................I......". I ,...,—. .................. I...
City of Tustin 43 Design Guidelines for the Preservation of Historic Residences
IV Preservation and Rehabilitation Guidelines(Continued)
Appropriate Awning
Not an Appropriate Awning
Window awnings are not traditionally used on the styles of houses found in the Cultural Resources District with
the exception of the Spanish Colonial Revival Stye. When necessary to shade a window or series of windows,
awnings can be effective when done in a manner appropriate to the historic style of the house, adding another
element ofcolor, texture, form, and character tothe house.
if an awning was not part of the original house several considerations should be taken into account before
installation to ensure they are appropriate:
m The same shape should be used for the window and awning. Do not use a dome -shape awning over a
rectangular window.
m Retractable awnings can be pulled up during winter months when the sun is higher to allow more indirect
light 10enter the window.
• Do not cover multiple windows with a single awning. An awning should cover only one window unless
two windows are located within 18inches ofeach other.
• Use the same type and color awning on all areas of the house. If existing awnings are deteriorated,
replace them when new awnings are installed.
• Fabric/canvas awnings should be used, as canvas was the material traditionally available at the time most
houses were built.
• Awnings ofplastic vinyl or corrugated metal are not appropriate.
• To not detract from the architectural integrity of the house' awnings should be in good condition at all
times.
465 West Third Street
435 Pacific Street
—'`....... `''^-~-^~~'~-'^~'`~~^```-```-^`'~^^^^~'~'^----'~^~—~~—~'''^~~'~^^-~''~-`--~^-^~^^—^^... ~^^-^-~^'^~^^^^—'~`^^`~'~^-~-'^^—''
City ofTustin 44 Design Guidelines for the Preservation ofHistoric Residences
IV. Preservation and Rehabilitation Guidelines (Continued)
R. Mechanical Equipment
In older/historic homes, it is often necessary to locate mechanical equipment on the exterior of the house. These
generally detract from the overall appearance and historic character of a house and should be located out of
public view. When adding new equipment, the following guidelines should be considered:
• Locate mechanical equipment as far to the rear of the house as possible so it will be out of public view
and separate screening devices may 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 toward the front of the house, locate it in a
window on the side of the house, not in a front window facing the street.
• Use fencing and landscaping to screen mechanical equipment from view. Refer to the section on
landscaping and fencing (page 6o) for proper fence locations and heights.
• When the use of a fence is necessary to screen elements from public view, consider using an open fence,
trellis or screening enclosure, as these are suited to most of Tustin's historical architectural styles.
• Mechanical equipment should not be located on the roof unless properly screened.
S. House Address Numbers
Street address numbers help identify a house for a variety of visitors, including those responding to an emergency
situation (i.e. police, fire, medical). Houses need to be easily identified from the street so time is not wasted in
searching for the right house.
Consider the following when adding new house numbers:
• House numbers should be a minimum of 4 inches in height and located near the front door or front porch
in a location clearly visible from the street.
• The design of the numbers should be simple so they can be read easily from a distance. Fancy and
intricate number styles may look 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. Black numbers on a light color background work best. If polished brass numbers are used,
they should be placed on a dark background for contrast.
• Consider how well the numbers can be seen at night. If the porch light does not illuminate them
adequately, additional lighting may be necessary. Illumination of house address numbers is required by
the Building Security Code and may be by direct internal means or indirect external means.
Ener E f ficiency1 iia.°
Improve energy efficiency of
existing mechanical systems by
installing insulation in attics and
basements.
Low wall or fence
Consider nominating your home
for a Historic Register Plaque; the
plaque could be placed near the
address numbers on your house.
See Appendix F for more
information.
City of Tustin 45 Design Guidelines for the Preservation of Historic Residences
V. Additions and New Accessory Buildings
A. Intent
To meet the Secretes of the
Interior's Standards_ for
Rehabilitation a new addition
should:
Preserve significant historic
materials, features and form;
Be compatible; and
Be differentiated from the
historic building.
For more information regarding
off street parking requirements
for historic homes see Tustin City
Code Section 92646.
A dormer is often a visually
Additions to historically significant houses or new accessory structures may be necessary to ensure their
continued functionality, but are generally the most sensitive and difficult design issues to manage. This section of
the guidelines should be used when additions, including a second story or an accessory structure (garages,
carports, carports, patio covers, etc.), are contemplated to ensure that the street appearance of a historically
significant residence is preserved.
Modifications such as additions, seismic strengthening, new entrances and exits, and garages should be
compatible with historically significant features, materials or finishes. By following basic principles, alterations can
fit within the overall scale of the house and be compatible with its architectural style. Some of these principles
include:
® Preserve significant historic and architectural features, details, and materials of the house;
® Preserve the character and scale of the house by maintaining existing proportions for the new addition;
and,
® Avoid replicating the historically and architecturally significant features of the house, as this can create a
false sense of history and architectural significance.
The Secretary of the Interior's Standards for Rehabilitation provide additional guidance:
® A new addition should be simple and unobtrusive in design, and should be distinguished from the historic
building— a recessed connector can help to differentiate the new from the old.
® A rear or other secondary elevation is usually the best location for a new addition.
® The construction materials and the color of the new addition should be harmonious with the historic
building materials.
® The new addition should be smaller than the historic building— it should be subordinate in both size and
design to the historic building.
If considering a rooftop addition also consider the following:
® A rooftop addition is generally not appropriate, however, it may be acceptable for some architectural
styles.
® A rooftop addition should be minimally visible.
® Generally, a rooftop addition should be set back at least one (1) full bay from the primary elevation of the
building, as well as from the other elevations if the building is freestanding or highly visible.
® Generally, a rooftop addition is more likely to be compatible on a building that is adjacent to similarly -
sized or taller buildings.
City of Tustin 46 Design Guidelines for the Preservation of Historic Residences
V. Additions and New Accessory Buildings (Continued)
B. Site Plan Considerations
Additions and new accessory structures should be carefully placed to the side or rear of the property to minimize
changes in the historic appearance of the house from the street. Not only will the addition be less visible, but
because a secondary elevation is usually simpler and less distinctive, the addition will have less of a physical and
visual impact on the historic building. Such placement will help to preserve the building's historic form and
relationship to its site and setting.
New Addition \
Street
Original
Setback
can be
/ maintained
fora historic
home
addition
Minimum Setback per
the Zoning Code
*Tustin City Code allows additions to Historic Residential Structures listed on the City's Historic Resources Survey
to maintain the existing side or rear yard setback of the original structure if the requirements of the California
Building Standards Code can be met. See Section 9271p of the Code for more details.
Appropriate Addition
New Addition
I I I
171
I I I
I I I
I I I
I I I
i
Street
Not an Appropriate Addition
J.._.._.._.._..I_I._.._.._.._.l_
I I I
I I I
I I I
Street
New Addition
City of Tustin 47 Design Guidelines for the Preservation of Historic Residences
V. Additions and New Accessory Buildings (Continued)
C. Architectural Compatibility
Additions or accessory structures that alter the faqade 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 in natural light rather than installing new windows,orinterior seismic bracing can beused rather
than exposed exterior bracing.
Additions to and accessory structures for architecturally significant houses should incorporate some design features of the originalhouse such as:
• Door and window size, shape and type;
* Exterior materials;
• Building proportions;
* Roof style, pitch, and material;
* Finished floor height;
p Color; and
~ Trim and decoration.
Appropriate Architectural Compatibility
Not Appropriate Architectural Compatibility
...... —`'^-~'~^--~-^^....... ----............. '^--`'--------'---~^~-^`^`~''^~~`^'~~^^... ....... ^'^^'^-^^^^'^^^^—'''~~^'—^^^^'..........
City of Tustin 48 Design Guidelines for the Preservation ofHistoric Residences
V. Additions and New Accessory Buildings (Continued)
C. Architectural Compatibility (Continued)
While additions and accessory structures should complement the historic home, it is important to differentiate
between the original house and the new addition in order to avoid creating a false sense of history or detracting
from the architectural significance of the historic structure. Additionally, accessory buildings are generally
utilitarian structures and should not attempt to incorporate the level of detail and decoration as the main house
unless attached to it and clearly visible from the street.
Refer to the chapter, "Tustin's Historical Residential Architectural Styles" (page 7), for a discussion of character
defining features of each style.
A variety of design techniques can be effective ways to differentiate the new construction from the old, while
respecting the architectural qualities and vocabulary of the historic building, including the following:
• Incorporate a simple, recessed, small-scale hyphen to physically separate the old and the new volumes or
set the addition back from the wall plane(s) of the historic building.
• Avoid designs that unify the two volumes into a single architectural whole. The new addition may include
simplified architectural features that reflect, but do not duplicate, similar features on the historic
building. This approach will not impair the existing building's historic character as long as the new
structure is subordinate in size and clearly differentiated and distinguishable so that the identity of the
historic structure is not lost in a new and larger composition. The historic building should be clearly
identifiable and its physical integrity should not be compromised by the new addition.
• Use building materials in the same color range or value as those of the historic building. The materials
need not be same as those on the historic building, but they should be harmonious; they should not be so
different that they stand out or distract from the historic building.
• Base the size, rhythm and alignment of the new addition's window and door openings on those of the
historic building.
Using a hyphen is recommended
to connect an addition with the
existing home. The graphic
below is a side view of a home
where a hyphen is used to
connect the original historic
home to a new addition.
Example of a hyphen used for a
proposed home addition at 14611
North Prospect Avenue.
______ __ .__._.......................................................................................................,.........ti....
City of Tustin 49 Design Guidelines for the Preservation of Historic Residences
V. Additions and New Accessory Buildings (Continued)
D. Scale and Mass compatibility
Appropriate
Roofline is integrated into the
design of the existing building
Not Appropriate
Flat or shed roofline addition
contrasts with the existing
Each historic house has a scale and mass that is unique to its particular architectural style. For example, Victorian
houses are typically tall and slender with steep roofs, asymmetrical shape with fine details and varied textures.
This style of house emphasizes the vertical dimensions of its architectural elements. In contrast, the bungalow
style emphasizes the horizontal lines of the house. Low-pitched roofs with large overhangs, thick, squatty porch
pillars, and horizontal windows add to this appearance.
Each architectural style has unique qualities that help establish a sense of mass and scale. It is important to
recognize and preserve the character defining qualities of the original building and incorporate these same ideas
into any proposed building additions and new accessory buildings.
E. Roof Pitch consistency
The roof of a house, especially its style and pitch, is an important and easily recognizable architectural element
that should be taken into consideration when planning an addition or accessory building. The roof style, pitch, and
materials of the addition or accessory structure should match the original house to maintain the architectural
style and integrity.
F. Second Story Setbacks
Adding a second story to a single story house will change the proportions of the building. Some historic
architectural styles are typically single story and adding a second story may be inappropriate. When adding a
second story where there was not one historically is appropriate to the style of the house, careful design and
planning to maintain the original design and character of the house will be required. Looking at other two story
houses of the same architectural style can provide ideas for what would be appropriate. Though additions are
looked at on a case by case basis, in nearly all cases, second story additions may be required to be set back from
the front facade. When considering a second story addition, it is strongly recommended that a preliminary review
meeting be scheduled with Community Development Department staff.
City of Tustin 50 Design Guidelines for the Preservation of Historic Residences
V. Additions and New Accessory Buildings (Continued)
G. Compatibility of Materials
The exterior appearance of additions and new accessory buildings should be compatible with the style, quality, dimension, texture, materials, and color
of the existing house.
When using wood siding, it may be difficult to match the size of the original siding, as mill sizes and trends change over time. When an exact match is
desired, special milling may be required. Otherwise, the next closest siding in terms of style, dimensions, material, and texture may be used. Different
sizes of siding can create awkward connections of horizontal lines at intersections of the new and the old. To avoid this, additions to houses with
horizontal siding should use siding of the same width. At places where new and old siding meet, distinguish the old from the new siding to avoid
creating a false sense of history. While the two siding materials should be complementary, an observer should be able to distinguish the original, historic
building from the new, modern addition.
In addition, it may not be possible to match the exact siding and finishes of a new accessory structure to the original historic home. Modern materials
such as patterned fiber cement, composite siding, etc. may be appropriate (keep in mind that these materials are generally not acceptable for use on
the historic part of the home). Use the materials list found in Appendix B to find the most appropriate options for the architectural style of the house.
The Community Development Department will review the materials selection during the design review process.
Appropriate accessory
building and garage at 265
South Pacific Street,
Brown mouse.
..............................,...............................................................................,................,.......,.......<...................................................... ,.................
City of Tustin 51 Design Guidelines for the Preservation of Historic Residences
V. Additions and New Accessory Buildings (Continued)
G. Compatibility of Materials (Continued)
Craftsman Style Door
Italianate Window
Roof materials have also changed over the years. If the roofing material used on the existing house is not
available for the new addition or accessory structure, consider what compatible roof covering will be used when
it's time to reroof the entire house and use that material. To avoid the disjointed appearance of differing roofing
materials, it may be appropriate to replace the entire roof, depending on the size and location of the addition or
accessory structure.
Exterior doors of a historic house should complement its architectural style. Consideration should be given to
ensure that additions and accessory structures incorporate exterior doors compatible with the historic
architectural style of the house, especially if they are visible from the street. See pages 31 and 32 for more
information.
Windows in historic houses were generally wood sash and the original window type, style and material should be
retained when creating an addition or accessory structure. The rhythm of window placement (pattern of solid to
void) and the size of the window should complement the style of the house. For more information on windows in
historical homes see pages 29 and 30.
..................................................................................................................................................................................................................
City of Tustin 52 Design Guidelines for the Preservation of Historic Residences
V. Additions and New Accessory Buildings (Continued)
I Garages and Garage Doors
Adding a garage to a historic home takes careful consideration. Many homes throughout the Cultural Resources
District have detached garages and that also serve as an accessory building. The character and architectural style
of the garage should be consistent with that of the home. As previously discussed roof pitch consistency and
compatibility of materials are also important when renovating or building a new garage.
Garage doors on older homes generally operated with steel wheels sliding on a metal tract located above the
door(s). This type of hardware is still available and can be ordered through lumber suppliers and larger hardware
stores.
Garage doors should be simple in design, though plain plywood sheeting is not appropriate. Plywood is
acceptable when 3 or more panels are created by the use of trim pieces and moldings. Garage doors with
windows are also appropriate.
Metal and plastic/fiberglass garage doors are oftentimes considered, as they are more durable than wooden
garage doors. While these materials can be too modern and lack detail, they can be manufactured or painted to
be compatible with a specific architectural style.
The Pollard House at 465 West Second Street
demonstrates good roof pitch and materials
compatibility.
Garage Door Styles
The Fewell House at 155 Pacific Street has good
architectural compatibility, especially with the detail
just under the pitch of the roof.
0
0
0
0
City of Tustin 53 Design Guidelines for the Preservation of Historic Residences
VI. New Infill Development
Appropriate new infill
development respects existing
on-site relationships and
setbacks. In some cases it is
appropriate for the new home
to split the difference among
the setbacks of existing homes
in order to maintain the rhythm
of the street.
Street
A. Intent
New development within an existing and perhaps aging built-up area is called infill. New infill development should
respect the existing pattern, scale and character of Tustin's Cultural Resources District. Within this context, the
most important issues related to infill development are style and scale compatibility. When new, larger, homes are
developed adjacent to older single family residences there is a concern that the height and bulk (scale) of the new
houses could have a negative visual impact on the smaller scale neighbors.
>�Any?7=7�r, k
Some of the common site configurations 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. New infill houses should
take the surrounding neighborhood and site configurations into account when site planning for a new house.
Minimum front yard setbacks are established by the Zoning Code. In order to maintain consistency within a
neighborhood, front and side yard setbacks for new infill development in the Cultural Resources District should
follow either of the following criteria when possible;
® Setbacks should be consistent with the setbacks of houses on both sides of the street as the new house;
or
® Setbacks should be consistent with the setbacks of the two immediately adjacent houses.
In cases where the difference in setbacks between two adjacent existing houses is significantly different, the new
house may need to be averaged in a step pattern. In some cases, following these guidelines may result in a
greater setback than would otherwise be allowed by the Zoning Code.
When moving past a sequence of buildings, one experiences a rhythm of recurrent building masses in relation to
spaces (setbacks) between them. This is necessary to maintain harmony in a neighborhood's development
pattern. New projects should be respectful of the existing open space pattern and should provide front and side
yards that respect the existing pattern within the neighborhood streetscape (see the figure on the right).
L In addition, the Zoning Code may allow more building mass than would be appropriate for the scale of the
neighborhood. In these cases, the requirements of the Zoning Code will be considered a starting point and new
development may need to build with greater setbacks or at a lower height than allowed to maintain architectural
massing consistency within a neighborhood and preserve the character of the District.
City of Tustin 54 Design Guidelines for the Preservation of Historic Residences
VI. New Infill Development (Continued)
C. Architectural Considerations
The architectural style of a new house may be contemporary or 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 respects the scale and character of the surrounding neighborhood.
In adopting a historic architectural style it is not necessary or desirable, to replicate the style with all the characteristic details and decoration. The goal
should be to incorporate the most distinctive character defining features of the style. By incorporating prominent architectural and site planning
features, a new house can be a welcome addition to the Cultural Resources District.
When considering constructing a new house in the Cultural Resources District, become familiar with the architectural styles in the immediate vicinity of
the site and the District. Though not large, the Cultural Resources District contains a wide variety of house styles varying in height and scale. Houses
along Main Street tend to be larger in scale than the houses along the District's internal residential streets.
Height and scale are important considerations as new infill houses are likely to be taller than most of Tustin's historic one and two story residences and
their height and bulk can impose on adjacent residences. The height of a new house should be considered within the context of its surroundings, not
solely on what is allowed by the Zoning Code. Buildings with greater height should be setback at the second story to reduce any visual impact on
adjacent single story residences.
Appropriate Infill— Rhythm of building is maintained
Not Appropriate Infill— Rhythm is broken by large obtrusive building
.- .
City of Tustin 55 Design Guidelines for the Preservation of Historic Residences
VI. New Infill Development (Continued)
C. Architectural Considerations (Continued)
When building a new home on
an existing street consider., Front porches and, to a lesser extent, balconies, are common architectural features found in Tustin's historic
1. Height and scale homes. Balconies and porches on new houses are encouraged for practical and aesthetic value, as these elements
break up large front facades and add human scale. Porches, balconies, and other architectural elements attached
2. The historic architectural to the main building must comply with the setback requirements of the main building.
style of other homes on the
street Color schemes for new houses should consider house colors in the surrounding neighborhood to maintain
3. A color scheme consistent compatibility and harmony. For residences that incorporate historical architectural design, refer to the discussion
with the surrounding of paint colors under the guidelines for "Preservation and Rehabilitation of Existing Houses."
neighborhood yet
appropriate for the Whale taking these factors into account, it is possible that a compatible design scheme could be contemporary
without any overt historical references. Quality contemporary designs and materials are permitted, provided they
architectural style of the new are compatible. The use of an architect or design professional is recommended in the design of new infill
home construction within the District.
The construction of a new house offers the opportunity to screen mechanical and other equipment through
proper placement of such items. The following should be considered:
® Design skylights as an integral part of the roof. Skylight glazing should be clear or solar bronze. White
glazing is not appropriate. Skylight framing material should match the color of the roof and should not be
viable from the street.
® 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 Tustin City Code Section
9271y related to satellite dish antenna installation.)
® Solar panels should be integrated into the roof design or hidden from street level view.
® Utilities serving the site should be underground, per Tustin City Code Section 7430.
® All mechanical and electrical fixtures and equipment should be adequately and decoratively screened.
The screen should be considered an element of the overall design of the project and blend with the
architectural design of the house.
City of Tustin 56 Design Guidelines for the Preservation of Historic Residences
VI1. Adaptive Reuse
A. Intent
Adaptive Reuse can be thought of as marrying old buildings with new ideas. Over time a historic structure may become better suited for another use;
often due to its location. As Cities grow and evolve historic structures may need to change too. If the zoning or use of the property has changed it may
be desirable to preserve the building and adapt the structure for the new use rather than to continue the nonconforming use or to tear the building
down and start over. For instance, it is not uncommon to see historic homes converted into commercial offices for lawyers and doctors, or for use as
retail shops or perhaps even restaurants and cafes.
B. Sustainability and Architectural Considerations
Even though the use of a building may have changed it is often prudent to keep the original architectural style and character intact. Reusing a building
not only preserves a piece of history, but it can add character to the business or neighborhood. Preserving a historic structure is considered cultural
sustainability, which is part of sustainable development. Reusing a building typically offers greater environmental savings than demolition and new
construction. The preservation and rehabilitation guidelines found in Chapter IV also apply to adaptive reuse buildings. Additions or accessory
structures associated with these buildings should follow the guidelines presented in Chapter V.
C. When Converting a Building to a New Use
Partner with the Community Development Department to determine which uses are appropriate for your location. Staff can also help you to determine
what the next steps are for your project, including identifying all necessary City permits. Keep in mind that your proposal may also need to receive
Planning Commission approval. Reference Appendix C for guidance on hiring a professional to help you to get started with drawings and plans.
Stevens Mansion, 228
West Main Street was
originally home to
Sherman Stevens and
his wife Martha Snow.
It is now the focal point
of the Stevens Square
commercial offices and
is listed on the National
Register of Historic
Places.
0
McCharles House, 335
South C Street, was
originally home to the
McCharles Family. It
was once converted
into a nursery school
and today is home to a
Victorian tea room and
restaurant.
City of Tustin 57 Design Guidelines for the Preservation of Historic Residences
VIII. Landscaping
Formal vs. Informal
Informal
Formal
71
a
A. Intent
Since landscaping of single family residences does not require a discretionary review or a permit from the City, the
guidelines in this chapter are meant to assist a homeowner who may need guidance as to what landscaping
principles may be appropriate for a historical house. The intent is to provide an outline of the elements to be
considered when landscaping a front yard. Additionally, the guidelines provide examples of landscaping designs
that were typical at the time the houses in the Cultural Resources District were built. Modern standards for
materials and water conservation principles are also provided.
Property owners can contribute to the overall appearance of the Cultural Resources District through 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 those visible from the street.
B. Getting Started
In addition to site specific information (i.e. sun exposure, drainage, soil, views, etc.), other factors that should be
considered include:
® Visual characteristics of the neighborhood: What types and sizes of trees are primarily used?
® Prevailing landscape styles in the neighborhood: Is it formal or informal?
® The relation of the house to the street: What direction does the house face and what can the setback
accommodate?
® Fences along the street: How many other homes have fences in the front yard?
® The architectural style of the home: What type of landscaping will complement the home— formal or
informal?
C. Formal or Informal?
Different architectural styles are associated with "formal" or "informal" landscape designs. Formal landscape
design emphasizes uniform balance of features with an almost mirror-like symmetry; landscaped areas are plotted
out in geometrical shapes. Trees and shrubs may be trimmed into stylized forms, altering their natural shape.
Formal landscape design is best suited to Victorian, Stick, Italianate, Queen Anne, and the various Revival (Greek,
Colonial, Period) architectural styles.
Informal landscaping emphasizes asymmetrical design, preferring arrangements that appear natural and free. -
flowing. The informal approach is best suited to Craftsman and California Bungalow architectural styles which
represent a conscious rejection of the formal style and a return to nature.
City of Tustin 58 Design Guidelines for the Preservation of Historic Residences
Vill. Landscaping (Continued)
Tudor Revival
8ungalowl[mftsman Style Gardens
Victorian, Colonial, Greek Revival, and Itulianote
Inspired Style using native plants
Spanish Colonial Revival and Monterey Revival
LamdscawInLy Deslern Ideas:
Victorian, Colonial, Greek Revival,
and ItoUonutehomes:
~
Use native flowers
~
Plant in symmetrical pattern
~ Mimic native landscape by
planting shrubs and then fill
/nwith flowers
Bungalows:
^
Consider uCalifornia natural
native inspired garden
complimenting the
asymmetry ofthe home
~ Use ornamental grasses and
flowering trees
Spanish Co/on/o/ Rev/vu/ and
Monterey Revival:
~
Mimic the arches and clay tile
roof with terracotta pots
~ Use clearly defined
geometric patterns and
shapes
.
Use native citrus and palm
trees
Tudor Revival:
.
Take inspiration from English
Gardens
^
include meandering
walkways, soft angles and
curves
. Use colorful flowers and
plants
~
Consider planting fragrant
flowers and herbs
................................ ....... ............................................................. ................................................ ........... ... .............................. ...... ...... ~..
City ufTustin 59 Design Guidelines for the Preservation ofHistoric Residences
VIII. Landscaping (Continued)
D. Basic Landscaping Principles
Tins or water and energy
conservations
Xeriscapin�
A systematic method of
promoting water conservation in
landscaped areas.
Based on seven principles:
'. Site plan and design
z. Select plants for
appropriate planting zone
3. Limit turf areas
4. Improve the soil
Whatever landscape style is chosen, four basic landscaping principles should be observed:
Unity — Landscape should be seen as one piece rather than disjointed groupings and scattered features. All the
parts, plants, gradients, and structures, work together harmoniously. Strong, observable lines and repetition of
geometric shapes contribute to the unity of the landscape, as does simplicity — a few harmonious colors and a
limited number of plant varieties, for example. Avoid designing many distinct units that have to be tied together.
In each landscaping area, design a unified background first, such as a lawn or patio. This is a neutral element on
which the landscdpirjg units will be assembled to provide balance, proportion and variety. The more units, the
harder it will be to achieve unity.
the Balance — Balancing a landscape requires use of mass, color, or form to create equal visual weight on all sides of a
center of interest. In formal landscaping, balance may mean creating one side as a mirror image of the other. In
informal designs, 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, or a concentration of color in a small flower bed on one side
of a patio can be balanced by a larger and more diffused mass of greenery on the other side.
5. irrigate efficiently proportion — In a well-designed landscape, the various structural and plant elements are in scale with one
6. Use mulches another. Start with the house; it will determine proportion in the landscape. When choosing trees and shrubs,
keep their eventual sizes and shapes in mind. A tree may suit the yard when young, but could overwhelm the
7. Maintain the landscape house as it matures. Likewise, shrubs and vines can grow up to obscure important architectural details. Though
some of this may be avoided by careful and ongoing maintenance, not everyone will be willing to put in the work
to maintain the landscaping. Consider using trees, plants, and shrubs that are drought tolerant and require a
manageable amount of work.
For more information on Tustin's
Water Efficiency Ordinance see Variety — A landscape can be broken up by selecting plants in a variety of shapes, shades and textures, and
the Tustin City Code, Article 9, interest can be added by placing different materials side by side. Imagine the pleasant surprise afforded by
Chapter 7, starting with Section spotting a palm tree among greenery or a break in a screening hedge that reveals a particularly interesting view. A
9709. Tustin City Code can be balance between the principles of unity and variety is difficult to achieve, but well worth the effort.
found at www.tustinca.org.
If it is difficult to imagine a plant's final size and shape, look at mature specimens and ask for advice at a local
nursery. Landscaping should compliment, not compete with, the architecture of the house.
For further ideas, consult books and/or websites on historic landscapes, see Appendix I.
City of Tustin 6o Design Guidelines for the Preservation of Historic Residences
VIIO. Landscaping (Continued)
E. Fences and Walls
Fences and walls fall into two general categories, solid or open, and can be constructed of a variety of materials.
A fence or wall style should complement the style and material of the house. A red brick wall is not appropriate
for a white clapboard California Bungalow and a split rail fence is not appropriate for a majestic Queen Anne
structure. The graphics on the left-hand side of this page illustrate a variety of fence and wall types that are
appropriate for various architectural styles.
Natural or natural looking material such as, wood, stone, and stucco are appropriate materials for fences and
walls within the Cultural Resources District. Chain link fencing is not a historically compatible fencing material and
is not appropriate. Barbed or razor wire are not allowed in the City. Unadorned, unarticulated fence and wall
materials such as plain concrete block, poured in place concrete, and slump stone will look out of place within the
front yard area and are not appropriate.
A permit is required to construct some fences and walls (refer to the Tustin City Code Section 92711 for more
information). Within the Cultural Resources District some fences and walls will also require a Certificate of
Appropriateness (see page 5). In addition, any fence or wall proposed to be located on a property line requires
the consent of the neighboring property owner. The Community Development Department should be contacted
for specific setback, location, height, and submittal requirements.
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, also known as a "Hollywood Driveway." This is the preferred
method of providing driveways in the Cultural Resources District. An acceptable alternative is a single narrow
driveway (12' wide) with no turf panel and with a landscaped strip provided between the driveway edge and the
nearest property line. If a traditional two panel driveway currently exists, paving the center with concrete is
inappropriate.
Paving (flatwork) does not typically require a building permit and, therefore, would not require a Certificate of
Appropriateness. However, in order to ensure the maintenance of the historic integrity of a property, owners
should adhere to these guidelines and contact the Community Development Department with any questions or
need for clarification. Refer to Tustin City Code 9267 for information regarding driveway widths.
Appropriate Victorian/ Colonial
Revival Style
Appropriate Bungalow Style
Appropriate Spanish Colonial/
Monterey Style
City of Tustin 61 Design Guidelines for the Preservation of Historic Residences
VIII. Landscaping (Continued)
G. Walkways
�gstone
rale w,
Wall
Mounted
mailbox
The walkway to the house is often the first thing visitors notice as they enter a property . It contributes to the
overall character of the house. As with any exterior detail be sure to choose materials and a design that are
appropriate for the architectural style of the house. The materials listed below are appropriate for walkways at a
site containing a historic house.
® Brick
® Concrete- poured in place or pre -cast concrete stepping stones, painted concrete or stamped concrete
® Stone — random or cut patterns, Flagstone, fieldstone, granite, slate or sandstone
® Cobble — gray granite river rock
® Decomposed granite
® Glazed non -slip ceramic tiles (accents only)
® Terra cotta tiles and pavers
Paving materials that are discouraged and least appropriate 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
H. Mailboxes
Mailboxes, like other exterior improvements to a house, can contribute to, or detract from, the overall character,
especially if the house has an identifiable architectural style. When selecting a new mailbox, consider the
following suggestions:
Keep it simple. Mailboxes were traditionally simple wooden or metal boxed attached to a post in the in
ground or to the porch;
Keep the style and scale of the house in mind. 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 a mailbox is determined by criteria established by the United States Postal Service.
City of Tustin 62 Design Guidelines for the Preservation of Historic Residences
VIII. Landscaping (Continued)
1. Security Lighting
While exterior lighting may be desirable for security reasons, the overspill of light onto adjoining properties may
be a nuisance. Using more light and higher wattage bulbs than necessary is also a waste of energy. Consider the
following:
• Use only the amount of light required to illuminate the area — more light is not always better;
• Use multiple 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 light where it is needed and shields light from spilling onto adjacent property; and
• Paint fixtures to be compatible with house colors.
J. Decorative Lighting
The use of area and accent lighting can add to the aesthetic appeal of a house. Lighting can also fulfill security
needs when properly placed. When selecting and installing lighting fixtures, consider the following:
• Use lighting fixtures that compliment the architectural style of the house. There are a wide variety of off-
the-shelf lighting fixtures available to match any architectural style;
• Avoid using modern or trendy fixtures that may be out of style in a few years. 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 fixtures that shield light from spilling over onto adjoining properties;
• Avoid using tall fixtures that do not fit the pedestrian scale of a residential yard. An appropriate height is
5 to 7 feet, provided the fixture is outside of the front yard setback.
• Consider the use of a low -voltage lighting system that conserves energy; and
• If the color the fixture comes in is not compatible with the house colors, repaint lighting fixtures.
Appropriate variations of lighting
fixtures for the Cultural
Resources District
City of Tustin 63 Design Guidelines for the Preservation of Historic Residences
Appendices
Appendix A:
Appendix B:
Appendix C:
Appendix D:
Appendix E:
Appendix F:
Appendix G:
Appendix H:
Appendix I:
Glossary of Terms 65-76
Materials 77-78
Hiring a Professional 79-82
Step by Step City Approval Process 83
Certificate of Appropriateness/ Design Review 84
Tustin's Historic Register Plaque Designation Program 85-92
Mills Act Tax Abatement Program 93-95
Secretary of the Interior's Standards for the Treatment of Historic properties, 1995 96-99
Helpful Books and Websites goo
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City of Tustin 64 Design Guidelines for the Preservation of Historic Residences
Appendix A: Glossary of Terms
Adaptive Reuse
Conversion of a building designed for a specific use to a wholly different new use (e.g. a residence converted to office space).
Aesthetics
The science and philosophy of beauty; if something is aesthetic, it is of beauty or artistic.
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 on their capitals.
Asymmetry
The lack or absence of symmetry in spatial arrangements.
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.
Balance
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 often achieved by matching differing element which, when perceived in whole, display balance.
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
Any division of a building between vertical lines or planes, especially the entire space included between two adjacent 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.
City of Tustin 65 Design Guidelines for the Preservation of Historic Residences
Appendix A: Glossary of Terms (Continued)
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.
Board and Batten
Vertical siding composed of wide boards that do not overlap and narrow strips, or battens, nailed over the spaces between boards.
Bond
The general method of overlapping 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.
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 go 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.
City of Tustin 66 Design Guidelines for the Preservation of Historic Residences
Appendix A: Glossary of Terms (Continued)
Clerestory
An upward extension of a single storied space used to provide window 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
Any prominent, continuous, horizontally projecting feature surmounting a wall or other construction, or dividing it horizontally for compositional
purposes.
Cornice. Bracket
A decorative bracket used directly below the cornice along the top of a building.
Cultural Resources District
Contains sites, structures, buildings, landscapes, districts, and objects that are significant in history, prehistory, architecture, archaeology, engineering,
and/or culture. In Tustin the Cultural Resources District is a zoning overlay district that applies to those properties as shown on the official Tustin Zoning
Map and to cultural resource structures and sites as designated by resolution of the City Council and listed by address and filed with the Community
Development Department within the Historic Resources Survey.
Cupola
A lookout or similar small structure on the top of a building.
Curb Cuts
The elimination of a street curb to enable vehicles to cross sidewalks and enter driveways or parking lots.
Cultural Sustainability
The role served by culture in planning for sustainable development; the application of ideas of sustainability to cultural concerns.
Dentil
A small rectangular block molding used as a repeating ornament usually beneath a cornice.
City of Tustin 67 Design Guidelines for the Preservation of Historic Residences
Designrates1 Culhural 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;
z. 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;
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 event or
aesthetically by plan or physical development.
Dormer
A vertically framed window which projects from a sloping roof and has a roof of its own.
Double Flung Window
A window with an upper and lower sash arranged 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.
Eclectic
A composition of elements from different styles.
Elevation
A two dimensional representation or drawings of an exterior face of a building in its entirety.
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 uses. Emphasis can also be used as a directional element such as the emphasis
at a store entrance or mall entrance.
sur-l�lr-11■u=�
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.
City of Tustin 68 Design Guidelines for the Preservation of Historic Residences
Appendix A: Glossary of Berms (Continued)
Facade
The exterior face of a building 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.
Fecal Mnt
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.
Garish
That which is gaudy, showy, flashing, dazzling or too bright to be aesthetically pleasing.
Glazed Brick
A brick which has been glazed and fired on one side.
Hip Roof
A roof with four uniformly pitched sides.
Hyphen
A structural section that serves as a connecting link between the main portion of a building and another large building element or addition.
City of Tustin 69 Design Guidelines for the Preservation of Historic Residences
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 a historic landmark district; said district may have within its boundaries
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 or the district.
Joist
Any small timber laid horizontally to support a floor or ceiling.
Icon
A pictograph or graphic representation of an object; used in signage to replace or supplement text.
Infill
A newly constructed building 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 building, 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.
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.
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 the many aspects of form considered by an architect or designer and can be the result
of both exterior and interior design concepts. Exterior massing can identify an entry, denote a stairway 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
City of Tustin 70 Design Guidelines for the Preservation of Historic Residences
Appendix A: Glossary of Terms (Continued)
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 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.
Molding
A continuous decorative band that serves as an ornamental device on both the interior and exterior of buildings; moldings may also serve a functional
purpose by obscuring the joint formed when two surfaces or materials meet.
Monochromatic
Painting with a single hue or color.
Monolithic
Exhibiting massive uniformity, singular.
Pflovement
The apparent directional emphasis of a building fagade as indicated by it proportions. Static movement is based on square proportions, dynamic
movement is based on rectangular proportions.
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.
National Historic Landmark
The highest designation of a historically significant site or building within the United States approved by the Secretary of Interior.
Non-Descript
Without distinctive architectural form or style; ordinary and without architectural character.
Palladian Window
Athree-part window with a top -arched center window and long, narrow rectangular windows on either side.
Parapet
The part of a wall which rises above the edge of a roof.
City of Tustin 71 Design Guidelines for the Preservation of Historic Residences
Appendix A: Glossary of Terms (Continued)
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.
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 ration of height to span.
Porch
A covered entrance or semi -enclosed space projecting from the fa4ade of a building; may be open sided or screened.
Portal
A doorway or entrance.
Porte Cochere
Carriage porch large enough to let a vehicle pass through.
Portico
A large porch, usually with a pedimented roof supported by columns.
Preservation
The act or process of applying measures necessary to sustain the existing form, 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 features
rather than extensive replacement and new construction. New exterior additions 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 functional is appropriate within a
preservation project.
Primary Building Fa4ade
The particular fa4ade of a building which faces the street to which the address of the building pertains.
City of Tustin 72 Design Guidelines for the Preservation of Historic Residences
Appendix A: Glossary of Terms (Continued)
Proportion
Proportion deals with the ratio of dimension between elements. Proportion can describe height to height ratios, width to width 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.
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.
Reconstruction
The act or process of depicting, by means of new construction, the form, features, and detailing of a non -surviving site, landscape, building, structure, or
object for the purpose of replicating its appearance at a specific period of time and in its historic location.
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.
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.
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.
Relief
Carving raised above a background plane, as in base relief.
Remodeling
Any change or alteration to a building which substantially alters its original state.
Restoration
The act or process of accurately depicting the form, features, and character of a property as it appeared at a particular period of time by means of the
removal of features from other periods in its history and reconstruction of missing features from the restoration period. The limited and sensitive
upgrading of mechanical, electrical, and plumbing systems and other code -required work to make properties functional is appropriate within a
restoration project.
City of Tustin 73 Design Guidelines for the Preservation of Historic Residences
Appendix A: Glossary of Terms (Continued)
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.
Rhythm
The regular or harmonious recurrence of lines, shapes, forms, element or color, usually within a proportional system.
Sash
The part of the window frame in which the glass is set.
Section
A representation of a building, divided into z parts by a vertical plane so as to exhibit the construction of the building.
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 humans scale ranges from intimate to monumental.
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 finished 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.
Significant Architectural Style
Refers to a historic building's style, which is important because it is from a distinguished architectural period.
City of Tustin 74 Design Guidelines for the Preservation of Historic Residences
Appendix A: Glossary of Terms (Continued)
Sill
The exterior horizontal member on which a window frame sits.
Slate
Thinly laminated rock, split for roofing, paving, etc.
Soffit
The finished underside of an eave.
Street Wall
The edges created by building and landscaping that enclose the street and create space..
Stringcourse
A narrow horizontal band extending across the fagade 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.
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).
Sustainability
Using a resource so that the resource is not depleted or permanently damaged
Symmetry
The balanced arrangements of equivalent elements about a common axis.
Terra-cotta
Earth colored baked clay products formed into molds and used ornamentally; also referred to as a roof tile color.
Texture
Texture refers to variations in the exterior fagade 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.
Transom
The horizontal division or cross -bar in a window; a window opening above a door.
City of Tustin 75 Design Guidelines for the Preservation of Historic Residences
Appendix A: Glossary of Terms (Continued)
Truss
A structure composed of a combination of members, usually in some triangular arrangement so as to constitute a rigid framework.
Turret
A little tower often at the comer of a building.
Veranda
A roofed porch sometimes stretching on two sides of a building.
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.
............................................................................................................................................................................................................ ..
City of Tustin 76 Design Guidelines for the Preservation of Historic Residences
Appendix B: Materiae
The appropriate type of materials will be determined by the use of the structure (main structure, accessory structure, new infill), the type of
work to be done (maintenance, repair, alterations, additions, new construction), the location of the work to be done (visible or not visible from
public view), and the style of the house. It is appropriate to use materials that match the original house in terms of material, design, texture, and
color. For new accessory structures and infill development it may be more appropriate to use modern materials. The following lists give
guidance for appropriate and inappropriate materials depending on the style of the existing house. Any material not on the lists will be
evaluated on a case by case basis for appropriateness in a particular project, with the final determination being made by the Community
Development Director.
Victorian Stick
and Queen Anne
Appropriate
Inappropriate
Materials
Materials
Brick
Adobe
Cast Iron
Aluminum
Composition
Clay/Tile
Shingles
Shingles
Natural Stone
Synthetic Brick
or Stone
Wood
Plywood
Tm
Stucco
&a`i:e
Metal
Vinyl
Victorian Italianate
Appropriate
Inappropriate
Materials
Materials
Brick
Adobe
Cast Iron
Aluminum
Composition
Clay/Tile
Shingles
Shingles
Natural Stone
Synthetic Brick
or Stone
Wood
Stucco
Tm
Metal
&a`i:e
Vinyl
Greek Revival
Appropriate
Inappropriate
Materials
Materials
Brick
Adobe
Cast iron
Aluminum
Composition
Clay/Tile
Shingles
Shingles
Tin
Synthetic Brick
or Stone
Wood
Stucco
Metal
Vinyl
Colonial Revival
Appropriate
Inappropriate
Materials
Materials
Brick
Adobe
Wood
Aluminum
Composition
Clay/Tile
Shingles
Shingles
Synthetic Brick
or Stone
Stucco
Metal
Vinyl
City of Tustin 77 Design Guidelines for the Preservation of Historic Residences
Appendix B: Materials (Continued)
Craftsman Bungalow
Appropriate
Inappropriate
Materials
Materials
Brick
Adobe
Composition
Aluminum or
shingles
Vinyl
Natural Stone
Clay/Tile
Shingles
Shingles
Wood
Synthetic
Wood Siding
Brick or Stone
Wooden
Plywood
Casement
Stucco
Windows
Metal
Wrought Iron
California Bungalow
Appropriate
Inappropriate
Materials
Materials
Clapboard
Aluminum
Stucco
Asphalt Siding
Brick
Composition
Clay/Tile
Shingles
Shingles
Synthetic Brick
Stucco
or Stone
Wood Siding
Vinyl
Wooden
Adobe
Period Revival - Monterey
Appropriate
Inappropriate
Materials
Materials
Adobe
Aluminum
Brick
Composition
Terra Cotta
Shingles
Clay/Tile
Synthetic
Shingles
Brick or Stone
Stucco
Vinyl
Wood Siding
Brick or Stone
Spanish Colonial Revival
Appropriate
Inappropriate
Materials
Materials
Adobe
Aluminum
Clay/Tile
,asphalt Siding
Shingles
Shingles
Natural
Composition
Stucco
Shingles
Stucco
Synthetic
Terra Cotta
Brick or Stone
Wooden
Casement
Vinyl
Windows
Wood Siding
Period Revival - Tudor
Appropriate
Inappropriate
Materials
Materials
Brick
Aluminum
Composition
Clay/Tile
Shingles
Shingles
Natural
Synthetic
Stone
Brick or Stone
Stucco
Vinyl
Wood
Terra Cotta
.........................................................................................................................................................................................................................
City of Tustin 78 Design Guidelines for the Preservation of Historic Residences
Appendix Co Airing a Professionai
There are two approaches to 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 contractor, tell him or her what your 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 to 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.
® Design Stage:
Come up with blueprints and/ or written specifications. If a remodel contractor is doing the design, it may simply be called the "estimate."
Bidding 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 Stage:
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.)
Construction Stage:
This stage includes more than just doing the work. The remodel or general contractor, any subcontractors, and possibly you, the owner, will
have to manage different phases of the work. The work has to be scheduled. It will need to be checked for quality and conformance to the
plans. Contractors and suppliers will need to be paid. Someone should track the budget. 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 remodel contractor to come up with a
design and an estimate. Get several such competitive bids.
Remodeling general contractors build in a to to 30 percent margin for managing subcontractors. You can save a good part of that surcharge is 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 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.
City of Tustin 79 Design Guidelines for the Preservation of Historic Residences
Appendix C: Hiring a Professional (Continued)
Before any plans are put to paper it is a good idea to discuss your plans with the City's Community Development staff. 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 Appendices D and E for a detailed explanation of the City's project approval process.
The design and plans can be done by one or more of the following people:
You
A design -build Remodel Contractor
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 remodel contractors often have designers on staff for major improvements that are hard for you to design.
If a licensed professional such as an architect designs the work, it is not mandatory that he 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 final 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 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.
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.
City of Tustin 8o Design Guidelines for the Preservation of Historic Residences
Appendix C: Hiring a Professional (Continued)
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.
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.
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 constructions 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. Cali 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.
„...,,,,............................................
City of Tustin 81 Design Guidelines for the Preservation of Historic Residences
Appendix C: Hiring a Professional (Continued)
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.
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. Verifying a license can be done by visiting the website for the
California Department of Consumer Affairs Contractor State License Board at www.cslb.ca.gov or by calling 1-800-321-CSLB (2752).
Additional information and brochures are also available on the website.
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 underway, 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 credit.
.............I ..................... ..
City of Tustin 82 Design Guidelines for the Preservation of Historic Residences
Appendix D: Step by Step City 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 Design Requirements- 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 City 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 fees 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 a Buildine Permit -Certificate of Appropriateness and/or Design Review may
R uir — The next step is to submit plans for Community Development Department staff review.
Community Development Department staff will review the plans for compliance with the provisions of the
California Building Standards Code as well as 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.
4. City Approval— Upon receiving a recommendation from staff the Director (or designee) will review the
proposed project and will either approve, approved with conditions or deny the project based on compliance
with the findings for Certificates of Appropriateness and Design Review as previously discussed. 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. Alp royal by Planning Commission or City Council— If the project involves other discretionary action, it may
require the approval of the Planning Commission or City Council. The Community Development Department
will identify which approval method(s) will be required for your project.
For more information on the
Cultural Resources District and
Certificate of Appropriateness
see the Tustin Zoning Ordinance
Section 9252
For more information on the
Design Review Process see the
Tustin Zoning Ordinance Section
9272
Both can be found on-line at
www.tustinca.org/departments/
commdev under Planning and
Zoning Documents, Tustin
Zoning Code
City of Tustin 83 Design Guidelines for the Preservation of Historic Residences
Appendix E: Certificate of Appropriateness / Design Review
Building PermitI I Building Permit
Not Required Required
Preliminary Meeting with
No Certificate of Community Development
Appropriateness needed Department
Submit Application
Community Development
Department Review
Approve * I I Approve with Conditions *
Building Plan Check
Certificate of Appropriateness
Issued / Building Permit Obtained
* Any decision may be appealed per the Tustin City Code Section 9294
Planning Commission as
an Advisory Committee
on Historic Preservation
Disapprove *
........................................................................................................................................................................................................................
City of Tustin 84 Design Guidelines for the Preservation of Historic Residences
Appendix F: Tustin's Historic Register Plaque Designation Program
The purpose of the plaque designation program is to recognize Tustin's historic properties, educate the public, increase public interest in historic
properties and promote community pride. All properties listed in the Tustin Historical Resources Survey are eligible for nomination to the program.
Owners of properties that are selected by the City's Planning Commission for the program are not obliged to purchase and/or display a plaque.
Participation is completely voluntary.
A nomination form can be obtained at www.tustinca.org/departments/commdev/forms/planning/PlaqueNominationForm.pdf
The plaque will display the construction date and the words "Tustin Historic Register," it may also display supplemental text that identifies the building,
as determined by the Planning Commission according to established criteria in the order of priority described below:
For residences, the supplemental text may consist of the surname of the most prominent owner or occupant of the residence, as determined by the
Planning Commission. The individual's first name will be used when necessary to distinguish the residence from another residence in Old Town Tustin or
when the surname could be associated with more than one prominent Tustin resident. The name will precede the word "House" unless another building
description such as "Mansion," "Villa," "Estate," or "Manor" is determined by the Planning Commission to better describe the property, based on
historical records and/or the architecture and style of the residence.
When one prominent owner or occupant cannot be identified, the criteria below, as applicable, may be used:
-When no prominent owner or occupant can be identified, the supplemental text may consist of the name of the builder, the original owner of
the property, or the owner/occupant with the longest tenure in the building. If no historical ownership or occupancy information is publicly
available, the architectural style of the building or the name of the current owner or occupant may be used.
. When more than one prominent owner or occupant has been identified, the supplemental text may include one name or multiple names, at the
discretion of the Planning Commission.
.The name of a current prominent owner or occupant of a residence may be used individually or in addition to the name of a past prominent
owner or occupant, the builder, etc. if the Planning Commission determines that the building is strongly associated with the current owner or
occupant and the current owner or occupant has made a significant contribution to Tustin history and/or to the preservation of the structure.
The Tustin Historical Surveys and input from the Tustin Preservation Conservancy and Tustin Area Historical Society
serve as the primary sources of historical information used in determining the most appropriate historical property
name(s).
The Planning Commission, in its application of these criteria, shall exercise due discretion consistent with the
purpose of the Tustin Historic Register Plaque Program.
For a nomination form go to www.tustinca.org, click on departments, select Community Development, then forms
and handouts.
City of Tustin 85 Design Guidelines for the Preservation of Historic Residences
Appendix F: Tustin's Historic Register Plaque Designation Program
The following buildings have been recognized through the Historic Register Plaque Designation Program since 20oo. The intent of this appendix is to
recognize the buildings and owners who have done an outstanding job of preserving and maintaining the City's historic structures. Plaques are usually
placed on the front of most recognized buildings near the entrance or address. To nominate a deserving building visit www.tustinca.org/departments/
commdev/forms/planning/PlaqueNominationForm.pdf or stop by City Hall for a printed form.
Arvilla Utt House
455 West Main Street
1905
Colonial Revival
Bowman House
66o West Third Street
1910
Craftsman Bungalow
Browning House
520 West Main Street
1930
Period Revival Tudor
(Mills Act Property)
Blacksmith Shop
245 South C Street
1912
Western Falsefront
Brown House
265 S. Pacific Street
1875
Victorian Greek Revival
Carter House
250 Pacific Street
1928
Spanish Colonial Revival
City of Tustin 86 Design Guidelines for the Preservation of Historic Residences
Appendix F: Tustin's Historic Register Plaque Designation Program (Continued)
Chambers House
14891 Yorba Street
1930
Spanish Colonial Revival
(Caroline) Downs House
630 West Main Street
1888
Victorian Italianate
First Advent Christian Church
555 West Main Street
1881
Victorian Gothic Church
Greenwood House
525 West Main Street
1915
California Bungalow
Cox Market Building
401 EI Camino Real
C1926
Commercial Neo Classical
Fewell House
155 Pacific Street
1915
Craftsman Bungalow
First Doctor's Office in Tustin
434 EI Camino Real
1885
Victorian Italianate
Hayden House
215 South Myrtle Street
1926
California Bungalow
City of Tustin 87 Design Guidelines for the Preservation of Historic Residences
Appendix Fo Tustin's Historic Register Plaque Designation Program (Continued)
Hewes House
350 South 8 Street
1881
Victorian Italianate
Howes House
145 Pacific Street
1924
California Bungalow
(Mills Act Property)
Humeston House
465 West Third Street
1930
Spanish Colonia Revival
Knights of Pythias
Building
397 EI Camino Real
1925
Commercial Neo Classical
Holmes House
azo West Third Street
1922
Period Revival Tudor
Hubbard House
302 South A Street
1876
Victorian Greek Revival
Johnson House
163 North A Street
C1924
California Bungalow
(Mills Act Property)
Logan House
140 South Myrtle Street
1928
Spanish Colonial Revival
`1ry� •� i�. . 6 Ny�.4 �l�i�
w
City of Tustin 88 Design Guidelines for the Preservation of Historic Residences
Appendix F: Tustin's Historic Register Plaque Designation Program (Continued)
Mary Tustin - Lindsay House
305 South C Street
C1886
Victorian -Board and Batten
McCoy Building
160 East Main Street
188o
Western Falsefront
Miller House
535 South Pacific Street
1925
California Bungalow
Pankey House
320 West Main Street
1928
Period Revival Monterey
McCharles House
335 South C Street
1885
Victorian Queen Anne
McHenry House
18o South A Street
1885
Victorian Greek Revival
Morris House
150 Yorba Street
1921
Craftsman Bungalow
Patton House
315 South C Street
1910
California Bungalow
.,,,,<,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,,..,,,....................I........—.......
City of Tustin 89 Design Guidelines for the Preservation of Historic Residences
Appendix F: Tustin's Historic Register Plaque Designation Program (Continued)
Pollard House
465 West Second Street
1895
Colonial Revival
Schwendeman House
410 Pacific Street
1925
Spanish Colonial Revival
Silver House
455 West Third Street
01924
Craftsman Bungalow
(Mills Act Property)
Stanton House
515 West Third Street
1910
Craftsman Bungalow
Preston House
245 South A Street
1922
Craftsman bungalow
(Mills Act Property)
Shatto House
200 South A Street
1907
Colonial Revival
Slusser House
705 West Main Street
1926
Spanish Colonial Revival
Suddaby House
405 West Main Street
1919
Craftsman Bungalow
......................................................................................................................................................................................................I................
City of Tustin 90 Design Guidelines for the Preservation of Historic Residences
Appendix R vustin's Historic Register Plaque Designation Program (Continued)
Thorman House
340 West Main Street
1914
Craftsman Bungalow
Turner House
160 South Pacific Street
1927
Spanish Colonial Revival
(Mills Act Property)
Tustin Hardware
115 West Main Street
1912
Neo Classical
Vanderlip - Allen House
665 West Main Street
1883
Victorian Italianate
"WA000001, r]
- e
Tom Lewis House
355 West Second Street
1889
Victorian Italianate
Tustin Garage
560 EI Camino Real
1915
Eclectic- Mission Revival
_ ff
11-0 -cit.
10
\
Tustin Presbyterian Church
225 West Main Street
1929
Spanish Colonial/ Gothic Revival
W.W. Martin -Thompson
415 West Sixth Street
0878
Victorian Italianate
(Mills Act Property)
............................................................. ........... -........................... „.. I.,.,,,,,..,,,,,,,.. .............................................. .........
City of Tustin 91 Design Guidelines for the Preservation of Historic Residences
Appendix F: Tustin's Historic Register Plaque Designation Program (Continued)
Widden House
245 Pacific
1933
California Bungalow
Woodward Building
333 EI Camino Real
1928
Spanish Colonial Revival
County, State, and Federal Historic Recognition Programs
Wilcox Manor
310 South Pasadena Street
1880
Craftsman Bungalow
(Mills Act Property)
Orange County Historic Site Plaque Program
More information can be found at www.ocparks.com/historicalcommission, then click on Programs
California Registration Program
For more information go to http://ohp.parks.ca.gov/, then click on Programs, select Registration Program
National Register of Historic Places
Guidelines and additional information can be found at www.nps.gov/nr, then click on How to List a Property?
City of Tustin 92 Design Guidelines for the Preservation of Historic Residences
Appendix G: Mitis Act Tax Abatement Program
The Mills Act is an economic incentive program in California for the restoration and preservation of qualified historic buildings by private property
owners. Enacted in 1972, the Mills Act legislation grants participating local governments (cities and counties) the authority to enter into contracts with
owners of qualified historic properties who actively participate in the restoration and maintenance of their historic properties while receiving property
tax relief.
Benefits
Owners of historic buildings may qualify for property tax relief if they pledge to rehabilitate and maintain the historical and architectural character of
their properties for at least a ten-year period. The Mills Act program is especially beneficial for recent buyers of historic properties and for current
owners of historic buildings who have made major improvements to their properties.
Mills Act participants may realize substantial property tax savings of between 409 and 60% each year for newly improved or purchased older properties
because valuations of Mills Act properties are determined by the Income Approach to Value rather than by the standard Market Approach to Value. The
income approach, divided by a capitalization rate, determines the assessed value of the property. In general, the income of an owner -occupied property
is based on comparable rents for similar properties in the area, while the income amount on a commercial property is based on actual rent received. The
property tax savings are transferable to subsequent owners of the home.
Qualifications
A qualified historic property is a property listed on any federal, state, county, or city register, including the National Register of Historic Places, California
Register of Historical Resources, California Historical Landmarks, State Points of Historical Interest, and locally designated landmarks. Owner -occupied
family residences and income-producing commercial properties may qualify for the Mills Act program, subject to local regulations.
Administration
The Mills Act Program is administered and implemented by local governments. Tustin participates in the Mills Act Program. Mills Act contracts are
between the property owner and the local government granting the tax abatement.
Tustin's Criteria
To participate in the program, owners must agree to maintain and preserve their property for at least ten years.
Mills Act properties may be bought and sold without penalty. The property tax savings is transferred to the new owners.
Owners are allowed to make changes to their properties, provided that the historic structure is maintained and preserved and all City approvals
are obtained.
Mills Act properties may be owner occupied or income properties.
The property tax savings may vary from year to year because County Assessors are required to assess all properties annually.
An application fee covers the City's cost to process the application and prepare the Mills Act Contract between the property owner and the City
of Tustin.
The Mills Act program is available to the owners of residential properties located outside of redevelopment areas that are rated "A," "B," or "C" by
the 1990 Tustin Historical Resources Survey and those with a NRNP Status Code of t, z, 3, 557, 5D1, or 5133 in the 2003 survey.
Owners are required to provide an annual report to the city with an update on the status of their home and preservation efforts.
For more information visit www.tustinca.org or www.parks.ca.gov, contact the Community Development Department to determine eligibility.
City of Tustin 93 Design Guidelines for the Preservation of Historic Residences
Appendix G: Mills Act Tax Abatement Program (Continued)
Owners of the following homes have entered into Mills Act contracts with the City of Tustin. They are recognized below for their commitment to
historic preservation within our city.
168 North A Street
1915
California Bungalow
165 South A Street
1915
Craftsman Bungalow
178 North C Street
1925
Craftsman Bungalow
17o North A Street
1915
California Bungalow
138 North B Street
01922
California Bungalow
183 North C Street
1925
Colonial Revival—
Craftsman
tsman
......,...........................................................I...................................... ............................. ......... ....................................
City of Tustin 94 Design Guidelines for the Preservation of Historic Residences
Appendix G: Mills Act Tax Abatement Program (Continued)
300 & 302 South 3 Street
308 West Third Street
01920
Colonial Revival
365 West Sixth Street
1924
Period Revival Tudor
The following homes also have Mills Act contracts and are featured in Appendix F, Tustin's Historic Register Plaque Designation Program:
520 West Main Street
145 Pacific Street
163 North A Street
455 West Third Street
415 West Sixth Street
16o South Pacific Street
310 South Pasadena Street
245 South A Street
..................................,.........................................—.......... -................ ...... I .............. ................
City of Tustin 95 Design Guidelines for the Preservation of Historic Residences
Appendix H: Secretary of the Interior's Standards for the Treatment of Historic Properties, 1995
Preservation as a Treatment. Standards are given for four distinct, but interrelated, approaches to the treatment of historic properties:
When the property's distinctive Preservation • Rehabilitation
materials, features, and spaces r _,
are essentially intact and thus • Restoration Reconstruction IATIONAL PARK SERYI'
convey the historic significance
without extensive repair or This Appendix will cover the standards for each approach to treatment.
replacement; when depiction at a The standards are provided by the National Park Service and can be found at www.nps.gov/hps
particular period of time is not
appropriate; and when a Standards for Preservation
continuing or new use does not
require additions or extensive 1. A property will be used as it was historically, or be given a new use that maximizes the retention of distinctive
alterations, Preservation may be materials, features, spaces, and spatial relationships. Where a treatment and use have not been identified, a
considered as a treatment. property will be protected and, if necessary, stabilized until additional work may be undertaken.
z. The historic character of a property will be retained and preserved. The replacement of intact or repairable
Pyr seryation Defined -historic
materials or alteration of features, spaces, and spatial relationships that characterize a property will be
The act or process of applying
avoided.
measures necessary to sustain
the existing form, integrity, and
3 Each property will be recognized as a physical record of its time, place, and use. Work needed to stabilize,
materials of a historic property.
consolidate, and conserve existing historic materials and features will be physically and visually compatible,
Work, including preliminary
identifiable upon close inspection, and properly documented for future research.
measures to protect and stabilize
the property, generally focuses
4. Changes to a property that have acquired historic significance in their own right will be retained and preserved.
upon the ongoing maintenance
and repair of historic materials
Distinctive materials, features, finishes, and construction techniques or examples of craftsmanship that
and features rather than
5•
extensive replacement and new
characterize a property will be preserved.
construction. New exterior
additions are not within the
6. The existing condition of historic features will be evaluated to determine the appropriate level of intervention
scope of this treatment;
needed. Where the severity of deterioration requires repair or limited replacement of a distinctive feature, the new
however, the limited and
material will match the old in composition, design, color, and texture.
sensitive upgrading of
mechanical, electrical, and
7. Chemical or physical treatments, if appropriate, will be undertaken using the gentlest means possible.
plumbing systems and other code
Treatments that cause damage to historic materials will not be used.
-required work to make
properties functional is
g. Archeological resources will be protected and preserved in place. If such resources must be disturbed, mitigation
appropriate within a preservation
measures will be undertaken.
project.
.... ,,... —1 ........................-.,..e.-...,
City of Tustin
... ,..,......... ..... ...............................................................
96 Design Guidelines for the Preservation of Historic Residences
Appendix H: Secretary of the Interior's Standards for the Treatment of Historic Properties (Continued)
Standards for Rehabilitation rehabilitation as a Treatment
When repair and replacement of
1. A property will be used as it was historically or be given a new use that requires minimal change to its distinctive deteriorated features are
materials, features, spaces, and spatial relationships. necessary; when alterations or
additions to the property are
2. The historic character of a property will be retained and preserved. The removal of distinctive materials or planned for a new or continued
alteration of features, spaces, and spatial relationships that characterize a property will be avoided. use, and when its depiction at a
particular period of time is not
3. Each property will be recognized as a physical record of its time, place, and use. Changes that create a false appropriate, Rehabilitation may
sense of historical development, such as adding conjectural features or elements from other historic properties, be considered as a treatment.
will not be undertaken. Prior to undertaking work, a
documentation plan for
Rehabilitation should be
4. Changes to a property that have acquired historic significance in their own right will be retained and preserved. developed.
5. Distinctive materials, features, finishes, and construction techniques or examples of craftsmanship that
characterize a property will be preserved. Rehabilitation ®efined-
The act or process of making
6. Deteriorated historic features will be repaired rather than replaced. Where the severity of deterioration possible a compatible use for a
requires replacement of a distinctive feature, the new feature will match the old in design, color, texture, and, property through repair,
where possible, materials. Replacement of missing features will be substantiated by documentary and physical alterations, and additions while
evidence.
preserving those portions or
features which convey its
7. Chemical or physical treatments, if appropriate, will be undertaken using the gentlest means possible. historical, cultural, or
Treatments that cause damage to historic materials will not be used. architectural vales.
8. Archeological resources will be protected and preserved in place. If such resources must be disturbed,
mitigation measures will be undertaken.
9. New additions, exterior alterations, or related new construction will not destroy historic materials, features,
and spatial relationships that characterize the property. The new work will be differentiated from the old and will
be compatible with the historic materials, features, size, scale and proportion, and massing to protect the
integrity of the property and its environment.
1o. New additions and adjacent or related new construction will 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.
City of Tustin 97 Design Guidelines for the Preservation of Historic Residences
Appendix H: secretary of the Interior's Standards for the Treatment of Historic Properties (Continued)
Restoration as a Treatment
When the property's design,
architectural, or historical
significance during a particular
period of time outweighs the
potential loss of extant materials,
features, spaces, and finished
that characterize other historical
periods; when there is substantial
physical and documentary
evidence for the work; and when
contemporary alterations and
additions are not planned,
Restoration may be considered as
a treatment. Prior to
undertaking work, a particular
period of time, i.e., the
restoration period, should be
selected and justified.
Restoration Defned—
The act or process of accurately
depicting the form, features, and
character of a property as it
appeared at a particular period of
time by means of the removal of
features from other periods in its
history and reconstruction of
missing features from the
restoration period. The limited
and sensitive upgrading of
mechanical, electrical, and
plumbing systems and other code
-required work to make
properties functional is
appropriate within a restoration
project.
Standards for [Rastora°tion
1. A property will be used as it was historically or be given a new use which reflects the property's restoration
period.
2. Materials and features from the restoration period will be retained and preserved. The removal of materials or
alteration of features, spaces, and spatial relationships that characterize the period will not be undertaken.
3. Each property will be recognized as a physical record of its time, place, and use. Work needed to stabilize,
consolidate and conserve materials and features from the restoration period will be physically and visually
compatible, identifiable upon close inspection, and properly documented for future research.
4. Materials, features, spaces, and finishes that characterize other historical periods will be documented prior to
their alteration or removal.
5. Distinctive materials, features, finishes, and construction techniques or examples of craftsmanship that
characterize the restoration period will be preserved.
6. Deteriorated features from the restoration period will be repaired rather than replaced. Where the severity of
deterioration requires replacement of a distinctive feature, the new feature will match the old in design, color,
texture, and, where possible, materials.
7. Replacement of missing features from the restoration period will be substantiated by documentary and physical
evidence. A false sense of history will not be created by adding conjectural features, features from other
properties, or by combining features that never existed together historically.
8. Chemical or physical treatments, if appropriate, will be undertaken using the gentlest means possible.
Treatments that cause damage to historic materials will not be used.
9. Archeological resources affected by a project will be protected and preserved in place. If such resources must be
disturbed, mitigation measures will be undertaken.
7o. Designs that were never executed historically will not be constructed.
.,Cit.,, of .��...,.....,,....,,�..,�.,..� �.,���..,....,.,..�,...... �.,�.... 9
City 8 Design Guidelines for the Preservation of Historic Residences
Appendix i9: Secretary of the interior's Standards for the Treatment of Historic Properties (Continued)
Standards for Reconstruction Reconstruction as a Treatment
When a contemporary depiction
1. Reconstruction will be used to depict vanished or non -surviving portions of a property when documentary and is required to understand and
physical evidence is available to permit accurate reconstruction with minimal conjecture, and such reconstruction interpret a property's historic
is essential to the public understanding of the property. value (including the re-creation of
missing components in a historic
2. Reconstruction of a landscape, building, structure, or object in its historic location will be preceded by a thor- district or site); when no other
ough archeological investigation to identify and evaluate those features and artifacts which are essential to an property with the some associa-
accurate reconstruction. If such resources must be disturbed, mitigation measures will be undertaken. tive value has survived; and when
sufficient historical documenta-
3. Reconstruction will include measures to preserve any remaining historic materials, features, and spatial rela- tion exists to ensure an accurate
tionships. reproduction, Reconstruction
may be considered as a treat-
ment. Prior to undertaking work,
4. Reconstruction will be based on the accurate duplication of historic features and elements substantiated by documentation plan for Recon -
other a um
documentary or physical evidence rather than on conjectural designs or the availability of different features from a d c should be developed.
other historic properties. A reconstructed property will re-create the appearance of the non -surviving historic
property in materials, design, color, and texture.
Reconstruction gfined-
5. A reconstruction will be clearly identified as a contemporary re-creation. The act or process of depicting,
by means of new construction,
6. Designs that were never executed historically will not be constructed. the form, features, and detailing
of a non -surviving site, landscape,
building, structure, or object for
the purpose of replicating its
appearance at a specific period of
time and in its historic location.
.....................
..,,. ,,...., ....,
City of Tustin 99 Design Guidelines for the Preservation of Historic Residences
Appendix I: Helpful Books and Websites
Books: Websites:
America's Handyman Book. The Staff of the
Family Handyman. New York, NY: Scribner, 1980.
Blumenson, John. Identifying American
Architecture: A Pictorial Guide to Styles and
Terms,1600-1945. Nashville, TN: American
Association for State and Local History, 1981.
Brenzel, Kathleen Norris. Sunset Western Garden
Book. Menlo Park, CA: Sunset Pub., 2007.
City of Tustin Community Development. Tustin
Historical Resources Survey, City of Tustin, CA,
2003.
Complete Home Repair: with 350 Projects and
2,300 Photos. Chanhassen, MN: Creative
Publishing International, 2008.
Dodd, Richard H. Architectural Styles Orange
County. Richard H. Dodd and Associates, 2oo9.
Favretti, Rudy J., and Joy P. Favretti. Landscapes
and Gardens for Historic Buildings. Walnut Creek:
AltaMira Press, 1997.
Kirker, Harold. California's Architectural Frontier,
Santa Barbara, CA: Peregrine Smith, Inc., 1974.
Kahn, Renee and Meagher, Ellen. Preserving
Porches. New York, NY: Henry Holt and
company, 1990.
Maddes, Diane [ed]. All About Old Buildings, The
Whole Preservation Catalog, The Preservation
Press, National Trust for Historic Preservation.,
Washington, DC, 1985.
City of Tustin
McAlester, Virginia, and A. Lee McAlester. A Field National Trus f r Historic Preservation
Guide to American Houses. New York, NY: Knopf, www.preservationnation.org
2000
National Park Service www.nps.gov
Moss, Roger W. Century of Color: Exterior
Decoration for American Buildings, 1820-1920• New Mill Act www.tustinca.org and www.parks.ca
York, NY: American Life Foundation, 1981.
Mouzon, Stephen A., and Susan M. Henderson.
Traditional Construction Patterns. New York, NY:
McGaw -Hill, 2004.
Nash, George. Renovating Old Houses: Bringing
New Life to Vintage Homes. Newtown, CT:
Taunton, 2003.
Landscaping
www.landscape-design-advisor.com
www.plantnative.org
General Tips for Historic Homes
www.oldhouseonline.com
www.oldhouseweb.com
Connolly, M. Caren., and Louis Wasserman.
Ranches: Design Ideas for Renovating, Remodeling, www.thisoldhouse.com
and Building New. Newtown, CT: Taunton, 20o6.
S -entices
Poppeliers, John C., and S. Allen. Chambers. What www.tradwebdirectory.com
Style Is W: a Guide to American Architecture. New
York, NY: John Wiley, 2003. www.historichousecolors.com
Sherwood, Gerald E., and U.S. Forest Service.
www.usheritage.com
New Life for Old Dwellings: Appraisal and
Rehabilitation. University of the Pacific, 2004.
Local Preservvation Groups
www. preservetustin.org
The Preservation of Historic Architecture: the U. S.
Government's Official Guidelines for Preserving
www.tustinhistory.com
Historic Homes. Guilford, CT: Lyons, 2004
www.orangecountyhistory.org
Whiffen, Marcus, and Frederick Koeper. American
Architecture, 1607-1976. Cambridge, MA: MIT, www.ocparks.com/historicalcommission
1981.
100 Design Guidelines for the Preservation of Historic Residences
Notes
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City of Tustin 101 Design Guidelines for the Preservation of Historic Residences
Notes
.......................................................................................................................................................................................................................
City of Tustin 102 Design Guidelines for the Preservation of Historic Residences
:1-I=Hki=?
SUMMARY OF COMMENTS RECEIVED
Residential Design Guidelines Summary of Comments Received
Date Received
Comment
Action Taken
Source
02/21/2012
Add on Page 4 a note to see Appendix D for the step by step approval process
Note added
Carol Fox
(Linda Jennings
E-mail)
02/21/2012
pp 13 — How about special consideration for fire or earthquake damage
Expedited Certificate of Appropriateness
process explained
Dick Dodd
(Linda Jennings
E-mail)
02/21/2012
pp 15 — Bungalow and Victorian are eras; there are several architectural styles during
Architectural styles further clarified
these eras: Greek Revival may be referred to as Classical Revival. This refers to the 4th
Dick Dodd
century in Greece which transitioned into Roman Classical Architecture.
(Linda Jennings
E-mail)
02/21/2012
pp 20 — Picture of house in lower left is Dutch Colonial Revival Again there were many
House already identified as Dutch Colonial
architectural styles during the Colonial era.
Y g
Revival- no action taken
Dick Dodd
(Linda Jennings
E-mail)
02/21/2012
pp 52 —Awnings were traditionally used on Spanish Colonial Revival Homes.
Use of awnings properly described
Dick Dodd
(Linda Jennings
E-mail)
02/21/2012
pp 55 — Note on bottom of page- The uniform building Code is no longer used;
Reference changed
reference should be to the California Building Standards Code.
Dick Dodd
(Linda Jennings
E-mail)
02/21/2012
pp 81— Consider changing headings to:
Architectural styles further clarified
1. Victorian Era Styles
2. Classical Revival
3. Italianate (Victorian Style)
Dick Dodd(Linda
Jennings
E-mail)
02/21/2012
pp 83 — For those that act as their own contractor, consider the legal ramifications and
Comment noted- no action taken
be familiar with the CA Lien Laws and Lien Releases.
Dick Dodd
(Linda Jennings
E-mail)
02/21/2012
pp 95 — List of book recourses they could add my book "Architectural Styles Orange
Reference to book was added
County", which describes all of the styles mentioned.
It is available at the Tustin Library. I would also be happy to donate one to the Tustin
Dick Dodd
Planning Dept.
(Linda Jennings
E-mail)
02/21/2012
Lineburger House- better example of Italianate.
Picture Added
Linda Jennings
E-mail
ATTACHMENT C
COMMENTS RECEIVED
From: Linda Jennings jmailto:lindagjennincis@hotmail.coml
Sent: Tuesday, February 21, 2012 2:52 PM
To: Binsack, Elizabeth
Subject: Draft Design Guidelines
I have comments from two people I forwarded the draft guidlines to:
Carol Fox suggest you add on Page 4 a note to see Appendix D for the step by step approval
process.
Dick Dodd, an architect who is one of our awards judges, has several thoughts. I've
forwarded them all to you. He is using computer page numbers and not the document page
numbers - a bit confusing.
The referenced page numbers refer to the computer page numbers - not the actual dgcument page
numbers.
pp 13 - How about special consideration for fire or earthquake damage
pp 15 - Bungalow and Victorian are eras; there are several architectural styles during these eras:
Greek Revival may be referred to as Classical Revival. This refers to the 4" century in
Greece which transitioned into Roman Classical Architecture.
pp 20 - Picture of house in lower left is Dutch Colonial Revival Again there were many architectural
styles during the Colonial era.
pp 52 - Awnings were traditionally used on Spanish Colonial Revival Homes.
pp 55 - Note on bottom of page -
The uniform building Code is no longer used; reference should be to the California Building
Standards Code.
pp 81 - Consider changing headings to:
1. Victorian Era Styles
2. Classical Revival
3. Italianate (Victorian Style)
pp 83 - For those that act as their own contractor, consider the legal ramifications and be familiar
with the CA Lien Laws and Lien Releases.
pp 95 - List of book recourses they could add my book "Architectural Styles Orange County",
which describes all of the styles mentioned.
It is available at the Tustin Library. I would also be happy to donate one to the Tustin
Planning Dept.
I'm wondering if the Lineburger House isn't a better example of Italianate than my house. Hope you
got a lot of feedback