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57-03 Ordinance RECORD OF ORDINANCES Dayton Legal Blank, Inc. Form No. 30043 Ordinance No. 57-0~ (ADMENDED) Passed . 20 AN ORDINANCE ADOPTING THE HISTORIC DUBLIN DESIGN GUIDELINES (CASE NO. 00-118ADM -OLD DUBLIN DESIGN GUIDELINES). WHEREAS, the City of Dublin strives to preserve and enhance the unique high quality of life, community character, and fiscal well-being offered to those who live or work in the community; and WHEREAS, the City of Dublin is Certified Local Government, as part of a preservation program sponsored by the Ohio Historic Preservation Office, in cooperation with the U.S. Department of the Interior; and WHEREAS, it is the duty of the Architectural Review Board, as required by Section 153.173(F)(4) of the Dublin Zoning Code, to develop guidelines in accordance with the Secretary of the Interior's Standards for Rehabilitation and Guidelines for Rehabilitating Historic Buildings concerning the conservation of historic areas, buildings and resources; and WHEREAS, the proposed guidelines will better protect historic resources and result in development that is historically compatible, protecting and enhancing the special character of Historic Dublin and outlying historic properties, as recommended by the adopted 1997 Community Plan; and WHEREAS, the developed guidelines will afford more consistent and uniform review for the Architectural Review District and will provide enhanced administration of the Architectural Review Board; and WHEREAS, it is important to reexamine and to revise the Historic Dublin Design Guidelines from time to time; and WHEREAS, the City of Dublin seeks to preserve the public health, safety and welfare by managing the City's growth environment and ensuring that additional growth does not adversely affect the community; and WHEREAS, the Old Dublin Design Guidelines, to be adopted as the Historic Dublin Design Guidelines, were prepared in 1999 for this purpose and were approved by the Architectural Review Board on November 17, 1999, and have been published and distributed and have been in use since that time; and WHEREAS, these guidelines were not subsequently presented to City Council for adoption; and WHEREAS, the Planning and Zoning Commission reviewed this ordinance on June 19, 2003, and recommends adoption of the proposed ordinance. NOW, THEREFORE, BE IT ORDAINED by the Council of the City of Dublin, State of Ohio, '7 of the elected members concurring as follows: Section 1. That the Old Dublin Design Guidelines approved by the Architectural Review Board on November 17, 1999, be adopted as the Historic Dublin Design Guidelines, with the following subsequent amendments: 1. Case #00-118ADM approved by the Architectural Review Board on March 28, 2001, revising the maximum permitted sign area for ground signs from five square feet to six square feet, consistent with other sign types; and RECORD OF ORDINANCES Dayton Legal Blank, Inc. Form No. 30043 Ordinance No. c7_n2 ~ ~ MT1~7ilTi'~~ Passed 20 2. Case #01-060ADM approved by the Architectural Review Board on June 27, 2001, adopting "Recommended Shrubs for Landscaping in Old Dublin" and "Recommended Trees for Landscaping" to provide a more comprehensive and user-friendly plant palette, while protecting historic character. Section 2. That this Ordinance shall take effect on the earliest date provided bylaw. Passed this ~ day of , 2003. ayor -Presiding Officer Attest: Clerk of Council Sponsor: Division of Planning I hereby certify that copies of this Ordinance/Resolution were posted in the City of Dublin in accordance with Section 731.25 of the Ohio Revised Code. r ~ Dep Clerk of Council, Dublin, Ohio Department of Development Division of Planning 5800 Shier-Rings Road -Dublin, Ohio 43016 Phone: 614-410-4600 • Fax: 614-766-6566 M e m o CITY OF DUBLIN TO: Members of Dublin City Council FROM: Jane S. Brautigam, City Manager ~o~.v.~-S . DATE: July 3, 2003 INITIATED BY: Gary P. Gunderman, Assistant /~~~or of Planning RE: Second Reading Ordinance 57-03 (Case No. 00-118ADM -Old Dublin Design Guidelines) SUMMARY: Ordinance 57-03 requests the formal adoption of the Old Dublin Design Guidelines by City Council. The ARB adopted guidelines in 1999, as required by the Zoning Code. Since that time, the ARB has made minor revisions to sign standards and plant palettes to provide greater flexibility. While adoption by City Council is not required, it will provide greater legal standing to support the review work of the ARB. The Planning and Zoning Commission reviewed the Guidelines on June 19, 2003, without discussion and moved that the Guidelines be forwarded to City Council with a positive recommendation. RECOMMENDATION: Staff recommends adoption of the Guidelines. • PLANNING AND ZONING COMMISSION RECORD OF ACTION ,.ctTl' of ut;~t,[N JUNE 19, 2003 Division of Planning `700 Shier-Rings Road n, Ohio 43016-1236 Ply:. TD D: 614-410 -4600 fax: 614-761-6566 Web Site: www.dublin.oh.us The Planning and Zoning Commission took the following action at this meeting: 6. Architectural Review Board 00-118ADM -Old Dublin Design Guidelines Revision Request: Review and approval of minor modifications to the Old Dublin Design Guidelines. Applicant: City of Dublin, c/o Jane S. Brautigam, City Manager, 5200 Emerald Parkway, Dublin, Ohio 43017. Staff Contact: Carson Combs, Planner. MOTION: To approve the Guidelines as revised VOTE: 7-0. RESULT: A revision of the Old Dublin Design Guidelines was approved. It will be forwarded to City Council with a positive recommendation. STAFF CERTIFICATION G~ Barbara M. Clarke ' Planning Director AS SG~1M TC3 t~UNgE~ ~Ft MEE'TiNG ON v Dublin Planning and Zoning Commission Staff Report -June 19, 2003 Page 25 6. Architectural Review Board 00-118ADM -Old Dublin Design Guidelines Revision Request: Review and approval of minor modifications to the Old Dublin Design Guidelines. Applicant: City of Dublin, c/o Jane S. Brautigam, City Manager, 5200 Emerald Parkway, Dublin, Ohio 43017. Staff Contact: Carson Combs, Planner. BACKGROUND: The Old Dublin Design Guidelines were developed in 1999 by a grant from the U.S. Department of the Interior's Historic Preservation Fund, which is administered by the Ohio Historic Preservation Office. Section 153.173(F)(4) of the Dublin Zoning Code requires that the Dublin Architectural Review Board (ARB) develop guidelines in accordance with the Secretary of the Interior's Standards for Rehabilitation and Guidelines for Rehabilitating Historic Buildings. The Guidelines have been utilized by the ARB since its adoption on November 17, 1999. Since that time, minor changes have been made to the Guidelines to provide greater flexibility and assistance for residents and businesses within the Architectural Review District. On March 28, 2001, the ARB modified the Guidelines to revise the maximum permitted sign area for ground signs from five-square feet to six-square feet, consistent with other sign types. The ARB also approved an expanded plant palette on June 27, 2001, that includes historically appropriate trees and shrubs more common to local plant nurseries. Previously, staff was advised by the ARB to forward the Guidelines to City Council for informational purposes. While adoption of the Guidelines by City Council is not required, it will provide greater legal standing to support the review work of the ARB. The first reading of Ordinance 57-03 was heard on May 19, 2003, at City Council. It was referred to the Commission along with several other Historic District ordinances. STAFF RECOMMENDATION: The Old Dublin Design Guidelines were created and adopted by the ARB in accordance with the duties and powers set forth in the Dublin Zoning Code. The resulting document was developed in conjunction with a local historic preservation firm through federal funding administered by the Ohio Historic Preservation Office. While adoption by Council is not required, the Law Director's office has suggested that formal adoption will improve the ability to uphold those standards considered appropriate for the Historic District. Staff recommends approval of the Old Dublin Design Guidelines along with the subsequent modifications made by the ARB. Bases: 1) The Old Dublin Design Guidelines were approved as a duty of the Architectural Review Board, required by Section 153.173(F)(4) of the Dublin Zoning Code. 2) The Guidelines provide design recommendations consistent with the unique development characteristics of the Historic District and have been utilized since adoption by the ARB in 1999. 3) The Guidelines, which are consistent with Secretary of the Interior Standards for historic development and preservation activities, have been provided at no charge since its creation and were mailed to each property owner within the Architectural Review District following its approval by the ARB. Dublin Planning and Zoning Commission Minutes -June 19, 2003 D Page 12 6. Architectural Review Board 00-118ADM -Old Dublin Design Guidelines Revision Carson Combs said these Guidelines were adopted by the Architectural Review Board and have been in use since 1999. They were drafted pursuant to a grant from the State Preservation Office and conducted through Benjamin D. Rickey and Associates. While adoption by City Council is not required, staff is requesting it to provide a greater legal standing. Mr. Gerber made the motion to approve the Guidelines as revised, and Mr. Messineo seconded. The vote was as follows: Mr. Saneholtz, yes; Mr. Zimmerman, yes; Mr. Saneholtz, yes; Ms. Boring, yes; Mr. Ritchie, yes; Mr. Messineo, yes; and Mr. Gerber, yes. . BOARD ORDER ARCI~ITECTURAL REVICW BOARD November 17, 1999 ~ OF {)C(LL('~ ~Oirnsiort o{ Plartrtirtg 5800 S(aet-R'wtgs Raad OubGrt, Ohio 43016-1236 Pharte/1D 0:614-761 ~ 5 SO fa~c 614-761.6566 Web Site. www_dub!iaoh.us 2. Presentation of the Old Dublin Design Guidelines by Benjamin D. Rickey & Company The consultants presented the Old Dublin Design Guidelines to the Board. MOTION: To adopt the Old Dublin Design Guidelines and sending a formal letter notifying Ciry Council of same_ VOTE: 3 - 0 RESULT: The Old Dublin Design Guidelines were adopted. RECORDED VOTES: David Larson Absent Larry Frimmerman Yes Kris Swingle Absent Richard Termeer Yes Janet Axene Yes STAFI~ CERTIFICATION (N _c7 Joh?a Talentino Planner 00-118ADM Old Dublin Design Guidelines Revision k ARCI~IITECTURAL REVIEW aoARD I30A1?D ORDER Junc 27, 2001 :frl OE UtIBL[N Oc n of Pk~aaiag SE hie~~in9s Rand ubGnU~ia 43016-1236 ae/f00: 614-410600 fa~c 614-761566 6 SAe: www.duf~taiah.us The Architectural Review Board took the following action at this meeting: 3. Architectural Review Board 01-060ADM - O[d Dublin Design Guidelines Revision Request: Review and approval of a revised plant palette for the Old Dublin Design Guidelines. Applicant: City of Dublin, c% Timothy Hansley, City Manager, 5200 Emerald Parkway, Dublin, Ohio 43017. Staff Contact: Carson Combs, Planner. MOTION: To approve the proposed revision of the plant palette because it will make the Guidetines more comprehensive and user-friendly for individuals selecting landscaping, while preserving the historic character of Old Dublin. VOTE: 4 - 0. RESULT: The proposed revision was approved. Copies of the new plant palettes will be sent to property owners within the Architectural Review District. RECORDED VOTES: Janet Axene Yes Allan Staub Absent Richard Ta}~lor Yes David Larson Yes T110IllaS HOItOIl Yes STArF CCRTIPICATION ~~~~~L Carson Combs p tanner 00-118ADM Old Dublin Design Guidelines Revision i ARC[i[TCCTURAL REVICW BOARD BOARD ORDCR MARCH 28, 2001 iviswa o{ Panning 800 Shia-Rugs Rand ,:m. Ohia 43016-123b The Architectural Review Board took the following action at this meeting: Phane/1D0:614-/10600 4. Architectural Review Board 00-II8ADM - O[d Dub(ia Desiga Guideliaes Fa~c 614-761-65bb We.5Sile:wwwduhten.alias Revisions Request: Review and approval of minor modifications to the Old Dublin Design Guidelines. Applicant: City of Dublin, c/o Timothy Hansley, City Manager, 5200 Emerald Parkway, Dublin, Ohio 43017. Staff Contact: Carson Combs, Planner. MOTION #1: To update the Old .Dublin Sign Guidelines to revise the maximum permitted sign area for ground signs from five square feet to six square feet, consistent with other sign types. VOTIl: 5 - 0. MOTION #2: To recommend that the Old Dublin Design Guidelines not be revised to" include a procedure for the administrative approval for painting of building exteriors, based on the concerns noted by staff. VOTC: 5 - 0. RESULT: The current application and review process will continue for all applications involving the painting of structures. RI;CORDCD VOTCS: Motion 111 Motion i!2 Janet Axone Yes Yes Allan Staub Yes Yes G. Lynn McCurdy Yes Yes Richard Tcnneer Ycs Yes David Larson Yes Ycs STAI`[' CCRTIPICATION Yom-! i._'~ lS(1 9(1(1' RE(:1STk li1;O Carson Combs Planner 00-118ADM Old Dublin Design Guideline Revision Department of Development Division of Planning 5800 Shier-Rings Road Dublin, Ohio 43016 CITY OF DUBL[tV Phone: 614-410-4600 -Fax: 614-761-6566 Memo TO: Members of Dublin City Council FROM: Jane S. Brautigam, City Manage~„_,j. DATE: f1M7 15, 2003 INITIATED BY: Bar ara M. Clarke, Planning Director~~ CAL RE: First Reading Ordinance 53-03 (Case No. 01-113ADM -Historic District Code Amendment) Ordinance 54-03 (Case No. 01-1142 -Historic Development District Rezoning) Ordinance 55-03 (Case No. 01-1142 -Historic Development District Rezoning) Ordinance 56-03 (Case No. 03-049ADM -Architectural Review District / ARB Procedures) Ordinance 57-03 (Case No. 00-118ADM -Old Dublin Design Guidelines) SUMMARY: These ordinances are being introduced as the next step in the code revision process. Formal input from the Architectural Review Board and the Planning and Zoning Commission will be needed. For years, residential and business property owners have been confronted by the need for multiple variances to undertake projects consistent with historic development in Old Dublin. None of Dublin's zoning districts reflect "historic" building patterns. In order to streamline the development process and improve the compatibility of Code standards to the Historic District, staff is proposing the revision of all Zoning Code regulations pertaining to historic review. The Law Director's office has reviewed all five ordinances in this package. Ordinance 53-03 creates the Historic Residential District (HR) and the Historic Business District (HB). The proposed classifications are intended to provide zoning standards and administration for all properties in Old Dublin, utilizing base standards that are comparable to traditional development patterns. Ordinances 54-03 and 55-03 are intended to rezone the various properties in Old Dublin into the two newly-created zoning classifications. All commercial properties will be converted to HB, and residential properties will be rezoned into the HR classification. Ordinance 55-03, which creates the Historic Business District, will also repeal two existing zoning classifications that are utilized only in Old Dublin: Central Community Commercial District (CCC) and Central Business District (CB). While HR and HB will create the base zoning standards for properties within the Architectural Review District, there are many Code sections that do not match the character and development ~ NOTE: ORDINANCE 57-03 (AMENDED) -CHANGES: 1. Change in Case 00-118ADM revising the maximum permitted sign area from five square feet to six square feet included on page 109, Section 3. 2. 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CJ i f T Y l s s 5A _ ~ 5 ~ y R =f .~S : R n ~ L 3 i t. ~ 1 G "~y,.{S4 1 r TM y t ~ - "£K }ar s:. ; "T t c~ ~ d. r c 1 a • i ~ 3 S P f ) ~ , ~si^~' e" ?'s d _ i t a ~ ~y rt _i Y -,.s ~ ~ ~ s rye r. ' J.- ~~r ~ l" 1 ~ ~ ~ ~ ' fem. ~ ~ ~ S~IS~~Y.~ ~o~ ~ e ,,1 , .s ~',~~r~, ~ Js _ g' to ~ , E ~ ~rt ?'J /S A~~~~ ~ _ 1 v ~ 1 ,tea., S ay ~ , ~ • ~ j`y 1 ~ 02 ~ ~ ~t y ~ ~t 1 , tai-, ~ ,T.S~t ~r ~.:1'1~'~~~~, ~llr 3 £`i;1 1 tt i7 _ ~ - 1 . ~+r--~--~~~ ..*r ~ ~ ~ ' R ~ pa+ ^ ~ fs-~ I J 7 ..III ~ 1~ ~ ~ ~ ~ ~ ~ ` [jlr r~ ( ~ . ~ w I. Xci• nc~ `,115 i~, ~ , , Xc~•J ~ , d~ U s (ate=~ `~i~-,+~ t e r?,~ ~ t p 6 t r~ y ~ ~ ~ lin D si n Guidelines Cold Dub e g I _ ~ I Preserving Historic Architecture r ; - i c _ _ i CITY OF DUBLIN Dublin, Ohio Division of Planning - 1 III Acknowledgements Hard work and dedication from numerous individuals made this publication a reality. The following groaps desen~e high praise [or ull the time, talents and cspertise they gave to this publication: The Dublin Architectural lieview Board The following other individuals Larry Fiimennan, Chair made contributions to this project: Carole Olshavslry, Vice Chair Joan Fggspuehler Janet Axene I Ierb Jones Krishm Swingle David Hakim Richard Termeer Sally Edward Marian Eeldmiller City of Dublin, Division of Planning Gayle Ilolton Bobbie Clarke, Planning Director Teresa Zedeker Suzanne ~Vingenfiekl, Planner/Project Bill Chambers Manager Carol Pearce Lisa Fierce, Assistant Planning Director Jane Jacoby Kyle Ezeli„ Senior Planner Ben Jacoby Mary Ne~a~comb, Landscape Planner Catherine Loveland John Talentino, Planner Bill Miller Kim Littleton, Planner Helen ~Veaeer Chad Gibson, Planner Jack Price Chris Hermann, Planner Craig Price Velma Coen, Development Revieiu Specialist Frida Akers Dave Marshall, Developnent Revietc George AVing Specialist Lany Eberhart Greg Jones, Code Enforcement Officer Kathy Janoski Flora Rogers, Clerical Specialist Herb L,igocki Libby Farley, Adnunistrative Secretan~ Al Gleine Jon Nelms, CAD/GIS Operattor Anne Gleine Anne ~~Vanner, CAD/GIS Operator Lecia Anderson hlterns: Aaron Son~el, Holly Susong, Bob Benson Carson Combs, and Joel Dennison - ,a, Contents Introduction 1 Old Dublin -Past and Present 3 Old Dublin - A Unique Environment 11 Old Dublin Building Types 14 ~ Environmental Features 24 Preservation Philosophy and The Secretary of the Interior's Standards for Rehabilitation 29 e Preservation, Rehabilitation and New Construction Guidelines 33 Foundations 33 ~ Exterior Materials 36 Commercial Building Storefronts 46 Commercial Use of Residential Buildings 48 Doors and Entrances 50 ~ Porches 54 I Windows - 56 Canopies and Awnings 63 Roofs, Gutters and Downspouts 65 Outbuildings 69 , ~ New Construction 70 Additions 72 Site Considerations 76 ~ Access for People with Disabilities 80 ~ Signage 84 i Building Color 87 I j Demolition Considerations 88 I - _ - - - - - I - Working - _ With the Dublin Architectural Review Board Appendix 91 Glossary of Terms 97 I Sources of Information and Assistance 97 i The Historic Rehabilitation T 100 ax Credit The National Re ister of 105 g Historic Places Summary of Article 34, Ohio Basic Buildin 106 Old Dublin Si g Code gn Guidelines 108 I Landscaping Recommendations 109 I Sample Architectural Revie~, B 117 I oard Aapplicahon 118 I I I i I i 1 ~ ~ - Working With the Dublin Architectural Review Board 91 Appendix 97 Glossary of Terms 97 Sources of Information and Assistance 100 The Historic Rehabilitation Tax Credit 105 ~ The National Register of Historic Places 106 Summary of Article 34, Ohio Basic Building Code 108 i~ Old Dublin Sign Guidelines 109 Landscaping Recommendations 117 Sample Architectural Review Board Aapplication 118 l: i i i '~I it ~I i y x- y, n - - .a•y,F .4- A~1.S A M~ 7 yyT^ V _ ; 4. t. 4"~ _C ~Y~,• ? l A - i 'Y w-~ -r '7 '`4--L cc hd y ~ t v 7 ~~F ~ 'M"t r . -'S A~, F ~ - .tom s '.~s~ rr~y: va2~ti~?~r v~ - s+. c tiJx - } .a. ~•-3-fS at,y x~ ~'Y..,° 1 ~ '.<r ~ - r t - .z r~.ct4 ;?nl i ~ ,ct ~x.~'T 'cY.`iro } n~' ..eft t ~ ; a~~ - xs -.+i S'-. a atSE ~.t'.~,~~~+..f.: ~.ti JF~ ,j y.C .4 t. rY 'n-.M. .r ~~a ~ ~,o. 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F'ayb`~',a„~s" X ~•~~c yr ~c`fr'E r ? a • s ~ T ~ -y.; v a ~ ; j ~,t ~ `q nr -ti ~ a+ { ie, c ~ w a~~~ z< tixx 4'te ~ < ~ J ~ ~ -c - k < 7~t' >-.....e z. > s .t. ' 4y c' s $ " $ aL i r ta,> .t, _ya t~ ~ ~ ~.X' - tr 1~ S 4 . `~..f ~ F ~ - 4 4:. q;t -T ' <°tL' F ~ - ~ r x ~ Y c .a, ~ ~ Y Y -3 Y +r~ `c ~r x if . y y s ,i% ~ - ~ ~ ~ ? -T ix `~Lx :.t i.L i i i_~ r., ~ ~ w ~t. tf d ~3 ~ v nn. ~F,v ~ r - yy r y { Y ~ -X c - fir` c-s' _ s `fr ,y "3 ? ~ n x ~ ~ ~ ~ 7r :j <k;.r• 3 ?ry ~ ~ ~ ~:c.xa s rt a- ~ . ~ a . r'? y-'C'r si ~ k,. ~ ~~5 ~ ; rx y Z r y F h. R rot, ,x 4 v. > s .*-y f f< S33 # t .t a. e - .ye. R^.s y t >t. [:-`"ti e5'+ ~ JS f a i 4 .,.R~r y4 ~ F~. >,a S r< . :-~-i Y... ~ <,,!h, s+:{. 5...>L fi.~. :Xe 'yr ~j.x.. 'R ,'t .F'iv > ~r. fC. v. `~.,b°`* :~a,.~s.,~5 • City of Dublin, Ohio 1 - ublin has, for many years, been one of the fastest-growing com- munities in Ohio. Unlike many other communities, however, Dublin has retained its original historic core, today known as Old Dublin, in a remarkably intact state. Old Dublin is a well-pre- served historic district of homes and businesses which is a great asset to the community. In addition, individual historic properties elsewhere in the community contribute to Dublin's sense of character and remind residents and vis- _ . itors of its long history. In Old Dublin, you can still experience the environment of a small village and can . see and visit the actual buildings that have been a part of Dublin for well over a I - century and a half. In Old Dublin it is easy to get a sense of the community's past and to understand what village life must have been like during the 19th and early 20th centuries. Old Dublin is a large and very intact historic district, and for it to . . have survived so well is a real credit to the community. i " Preserving historic districts and properties has significant economic and social ben- - ~ efits, a fact that has been discovered by more and more communities in recent - years. Doing so, however, takes a lot of hard work. Dublin recognized the impor- tance of community preservation in its 1997 Community Plan. It includes the Old - Dublin Area Plan, which recognizes the unique character of Old Dublin and pro- vides many recommendations about the preservation and enhancement of the his- . toric district's character. The Plan also recommends further efforts to identify and . - recognize other historic properties in the community. Dublin's efforts to preserve the Old Dublin district were undertaken almost 30 years ago. For many years, the City of Dublin has promoted historically appropri- = ; ate development and investment in Old Dublin. The Architectural Review Board (ARB), since 1970, has assisted business and property owners in maintaining the historic character and visual quality of Old Dublin and elsewhere. The ARB encourages both appropriate new development as well as sensitive alter- ations of, or additions to, existing historic structures. It plays a major role in imple- menting the historic preservation recommendations in the Coininunity Plan. The Board's work is important in protecting the character of Dublin's historic places. - The following guidelines were prepared to help guide rehabilitation and new construction involving the historic structures of Dublin. While the guidelines focus primarily on the Old Dublin Historic District, they are useful for, and apply to, any of the community's historic buildings. The ARB will use the guidelines to evaluate ~ - rehabilitation work, both for buildings in the historic district and for other individ- - ually-designated properties also subject to ARB review. The design guidelines pro- : - vide information about the best in current preservation techniques, products, and methods. They will have some secondary regulatory function in day-to-day matters. ' . v \ < tc.. • ~ ~ e,. ~ i `~'r T~ L?-I.[,iP~~~~., .if~~ Y~ ~ `Y`~, ~ ~ ~ ~~3 Old Dublin-Past and Present ~ ~ , ~ / . ~ , .may;` %I ~ i - ' , ' j - - ~ , _ - ~ r - , r ~ ~ - s t• ~ r~ - r _ ~ / ~ , _ s 3 , I r ~ j _ - Q t - _ ` , , ~ 9 1 ~ ~ / - 1 = ~Yi.. - ~ r .c ; -.__y, # "'stir i s 3 > ~r A >`f , / ~ ~ ,tie e ° _ 1., e~ . v, S } x ~ c ' - MP, 4 4 City of Dublin, Ohio 3 ~~I I he City of Dublin is a thriving community located in northwest Franklin County, Ohio. Dublin has undergone tremendous growth in the last three decades, the population increasing from a village of approximately 700 in 1970 to nearly 29,000 in 1998. Still, the historic Old Dublin area retains the character, scale, and feel of a traditional village center. The history of Dublin and Washington Township are closely intertwined. Washington Township is in the extreme northwest corner of Franklin County, with the Scioto River, flanked by high bluffs, running from north to south along the east- ern edge of the township. Fertile farmland abounds throughout the township. Even before Ohio became a state in 1803, land was purchased in the area that was to become the Village of Dublin. Peter and Benjamin Sells came from Huntingdon County, Pennsylvania, to purchase land for their father, three brothers, and them- selves. The 400 acres purchased for their brother John were located on the high west bank of the Scioto where Old Dublin now stands. The brothers also purchased land north and south of the original village boundaries. The settlement of Dublin started slowly, with John Sells and his family settling on his land in 1808 and his establishment of the first tavern in the area in 1808 or 1809. Sells began to survey lots to establish a town by 1810 and conferred the honor of naming the new town upon his surveyor, John Shields.. Shields named the future vil- m lage after his birthplace, Dublin, Ireland. By 1818, Sells advertised 200 to~~nl lots for sale in the Columbus newspaper. I-Ie listed the excellent building stone, clay for brick and pottery, and an offer of three years' credit as inducements to purchase lots in the new town. Settlement continued slowly as the community gained residences, a gristmill, a distillery, sawmills and other businesses that served the local population and the farmers from the surrounding area. As evidence of Dublin's permanence as a settlement, a post office was established in 1820. As the community and the township grew, better transportation became a necessity. Lacking a railroad, which spurred development in many Ohio communities in the 19th century, Dublin was dependent on its system of roads. The need for a bridge to span the Scioto River became critical for Dublin so that it could be physically con- nected to Worthington to the east and Columbus to the south. The first bridge in 1840 was a wooden covered bridge. It was later replaced with a steel span bridge in 1880, and the present Works Progress Administration (WPA) concrete arch bridge was completed in 1935. An effort was made in 1855 to incorporate the village and establish a local govern- ment, but the idea was rejected. The issue was revisited in 1881, and in September the Village of Dublin was incorporated. With local government, public improve- ments became possible. Among those undertaken in the late 19th and early 20th centuries were the installation of gas street lamps in 1888, followed by carbide lights 4 Old Dublin -Past and Present (Photo 1) Dating from ,_,i_. y' about 1848 to 1850, this building once stood at the southwest corner of Bridge and High streets in what is today Old Dublin. The multi-paned windows and beveled siding were typical of the period; the roof was either wood or slate shingles. The sign I over the corner door advertises "Oysters." a (Photo 2) This view dates from about 1890 and ` ' shows atwo-story struc- ture built as an addition to the south end of the ~ building at the southwest corner of Bridge and High ~ streets. Dublin's post office was in the right ~ half of the first floor, while an agency of The ~ ~ Mansfield Buggy Co. ~ ~ occupied the left half. I ' r (Photo 3) One of ~a Dublin's relatively few ' y k `r ~I commercial structures r ~ ~ 4~~,,~~~'"~}'' ~ built in a traditional tom- menial form this it - bu d mg was at the northeast _ corner of Bridge and High streets. The photo dates from the 1880s. Note the _ extra tall four-pane tom- ~ menial display windows with wood bulkheads, i, and the abundance of street furniture. ' j - _ _ - - _ _ _ _ _ City of Dublin, Ohio 5 II in 1907 and finally electric lights in 1920. By the early 20th century, the local econ- I! omy was largely based on agriculture and quarrying, and Dublin businesses were largely dependent on the local population. Dublin maintained a relatively stable population, with very little growth in popula- " tion during the first seven decades of the 20th century. This changed abruptly in the early 1970s with the construction of Interstate 270 around Columbus and the devel- opment of Muirfield Golf Club and Muirfield Village by golf champion Jack Nicklaus. This innovative planned community was located about four miles north of the village core. During the last three decades, the City has grown to fill in the spaces between the historic center of Dublin and Muirfield Village, as well as expanding to the south, east and west. The current boundaries of Dublin encompass 21 square miles. In spite of the tremendous growth that has taken place in recent years, the physical form of Old Dublin is distinctive and clearly reflects the early history of the com- munity. Acomparison of the historic maps from 1857 and 1872 shows very little change in the size and layout of the village. In fact, the form of the village at that tune is still very much in evidence in Old Dublin today. The major north-south road (High Street, also known as SR745) runs parallel to the river on a high bluff, with another parallel road (Riverview Street) running along the river. The main intersec- tion is High and Bridge Streets, as it was historically, and the bridge crossing the Scioto still connects east and west Dublin. Dublin residents and public officials have long appreciated the special character of Old Dublin. Much of Old Dublin, along with individual properties and stone walls - throughout Washington Township, was listed in the National Register of Historic Places in 1979 based on both architectural and historic significance. The City of Dublin took steps to protect and preserve the historic core of the community as well as other historic sites throughout the community in 1970 through the establishment of the Architectural Review Board. Credit for the preservation of Old Dublin's spe- cial character must also be given to the stewardship of generations of Dublin prop- erty owners who have maintained and improved the buildings and their physical environment. Today, Old Dublin forms the historic heart of the community. It continues to be a thriving mixed-use neighborhood, with residences concentrated along Riverview " and Franklin Streets and commercial, institutional, and residential uses intermin- gled along High and Bridge Streets. The Dublin Vision for the 21st Century recog- nizes Old Dublin as a special place which "...graciously welcomes both residents and visitors to a wlique blend of historic preservation and modern vitality..." It also contains specific recommendations to ensure Old Dublin's long term vitality. ~ 6 Old Dublin -Past and Present (Photo 4) A view from about 1878 showing the original 1840 Scioto River bridge being dismantled. The high hill in the back- ground and the ice-break- ing angle on the upstream side of the channel pier indicate that this view looks east from what is today Old Dublin. (Photo 5) Looking west into Dublin from about ~f ~.y:~, the center of the 1880 4; ~ steel bridge that replaced the 1840 wood covered bridge. This photo was made on March 24, 1935, the day before work began on the bridge that still crosses the Scioto today. . t ~r ' *r• - 6,. ew City of Dublin, Ohio 7 nk (Photo 6) This 1947 aerial photo shows how little Dublin had changed in the preceding 75 years. North is at the top of the picture. The 1935 bridge carrying Bridge Street over the river is clearly visi- ble, as is the recently-built Franklin Street, the light-colored stripe through the farm fields at the left side of the photo. At this time only one house had been built on Franklin. - _ ' _ - _ _ - a- 1 8 Old Dublin -Past an res t r. " t \'.'i~~ ~ 111.1 ,f,r.~ /3i rB err i~J l1 1~ \ \l sr, ro~+ t rt~11111 . s_ 1 ~ Sr~oo7 Q SS,IIayr~° ~ = 111`. 1 -i \ Q iJ3' ~ . J1sx r f ~B`ro~. F i!I ~ ~ . ~ 1,~+i e 1. q rxyy ~~,77 .j~l,f 1 ~ 1I ~ ~ ~ dS.$i ri! it 1\ 1 ~ v l ~ a+~+ r lc Any t„~ ~ r; d N~ 'J9 dT~%i ~ ~ t~ 1 1)'' X.d'eZl~ tl,~ ~ ~ 'EUVI~,j !-~6~cr7t:nps-Y 1 I;+ , ~ 11111 qi~ ir, rrf ~ N: id7 ~ i 1~1 S_ II A 1 Dr.b:.l L P~~I R r ~ II 1 I ~ ;i _11uitZ~rt9.~G~ .G}cIb a /.t. ~ _ '+I~~ I \r• A$d o u- u.4~.r7c~.J uiRC I~il 1 ' ]folk Tarr ~ s cool S/r nc o I'1i11 , + _ 7 y Jlv.Err y III + ~ ' 1 d 6( ,r r a( /1( 1 w,t/karr/7~ o! ~ ~ ~ 1 I D. 1l~tj~C d't~ ~ .C /rnw +'1'+ ~ Ll~rr R ~ ~ i~1,~i1' (Photo 7) By 1857, as shown on this atlas J~ ~ i~ 1~ l kti II map of Dublin, the village had largely ~ ~ 11 ~ I~ ~I~ assumed the form it would keep for more ~ ~ ,IX ('.rr6ri,r ~ ,I~~ ~ ' than a century. L ~ 1~,. ~ 1~' I I~ Source: John Graham Map of Franklin Co. ~ !U .1 ~ J I Philadelphia: R.C. Foote Jr, 1857 ~ I ~ ~ _ O I. ' h , ~~i~ ~~s Dublin, Ohio 9 ,,;yM mf. ~ rn. r. 1 ' .q!/fin/ I 1 .i t/„ I3'ctrlrrnyr!on 7on•itslri.(~ - \ ' • I 6 I f.- ,z AfS l7rn 1 m ~ ,r ~ rt ~,I ~,rlll - ! ~ Dry _ 1f7 dfim = • ~ '1 i ~ w mn~r . 1 ,cr - ~ l~r~~ ';fir i j j ,,r ] t r ii. JI r /1~.rhi~n ~ ~,I runt lYri /tl - ~ r. e 9 t 1 ' i ij~ nn ° F ~'~ok a vr*]IF7r y~--~ a_J~''r t ~ i r, y r~. ` ~ T77 ~ ~ T. Tid/ . lT'r ¦ i z • , ?J. i f ~ ' ~ ~..5. An I ,9 i ` //r, fti'mu /t 9SJtir I t,~,~ _ ~ i \~i1'.\ F.'. .U /'i/inrl' . , 'R..th~y ~I,. ' ~ 1 - ~ - - - /rr.r »m ~D~F'.TI` I h'~L!'itrn \~'„~~,i l~ I ~r'r74.' ~ - l i; ~ItlYrlt'ar; /nrr~i/~ 1'/nntr• ~ I 11111 ~ ~ - ` .4 V? tjJ~ L rn M Or'd ~ _ rY I \ \ \ j (7, ilin jjr»!c1ar~'/- `.~~rrlr I = ~ I ~ll~ ~ ` ~I 1 II~~'' F,Nt i ~;I I . I - - ~ ' I (Photo 8) The 1872 county atlas showed ~ ~ ~ ~ ~ j , . ~ some further develo ment of Dublin, but the ~ ,i `.'.I I village had not changed significantly from its ~~'z~ ' ~ layout in 1857. oP ~(rf I 11(''~''•(~/II Source: Caldwell's Atlas of Franklin Co. & City T-~°~'n. ~111'~~1}~} of Columbus, OH ~ - ~~~/i I Columbus: 1.A. Caldwell & H. T. Gould, 1872 / = ~~~~'''~"I r ~ 'F ~ , S. ~ _ ° wa K 'v. y ~ ~n ~ ! 1 r s., a F ~ n~ k cY' ti - f~v~a-'. 4, z _ ~ t ~ - A:: _ _ ~ Old Dublin- ~t ~ _ ~ A - ~ Uni ue Environment ~ ~~g / t _ ~ ~ x F ' a'3~-'+r L t t _ t< ~rz - ~ Y ; ~~1yy f i Lr { ~ .T;-h °F3~ _ ~fig. ,r~,~e _ y~ 4 F _ _ 4 re - ~ oy Y t.5, L ~ ~ LT.c'Y' 1 Sys `t y~~ '1`'~' 1t. "c ~ry ~ ~ ~ Y ~ ,r' 1 r _ .c ',~'.~'ry' `5 _ ' s' f r~r-y w'LLC 'r ;"T~~ a s "'1~~..~ .~A'Y ~y"~"'~r~' e, _ t- ~ .+--'fit < *'k. y4 S., t. c 'G••"~. f Y ~ +t,~ r a ~ ~ '{.~~~q3~r gHl~Ps+`. 4` N J 4 ~ _ 4.._ ut ~ c,.er~ ,:vim ~,¢T ~F.a~:. " rv ~ "c c s~ a ~ _ Y`t a ~ tea. rye ! d'tx'e,~ ~fi ~ L~K*~ ~`~''fi ~.F ai } 'tom y i- - 5 t `+-ra ~ it ; d s w ~ ~ti S+o4'?~' `~+kr `'T'- i~ ; r 'ia -x. 'tom ca~..C.~+ y'~~T3s~ k ~3' d,__ ~-..~'r., 5~Y Qc..~r'x wf 4.n. S ti w"~ xx~r ~ ~ ,,~"'tfi'.Y '"'3y~C,~ 7~j!~„``i'~^/* 4~r_ wie °wt ~^a'.~L'~t '~r`C SiY`~ e~`aYN Y?Jfi~YRw 1x'4'9.aa~ `~~K ~ 'YrE ~`a'ry3t~a-~`jT sK°"~2,f r~rtR'JS'r ~.~-'~S- _ t ? _ s3 tr; ° ~,.,~.~F.'^,~' e F2.~~a 4v~~ 's`~' .-a "yr`'4~~' '3'~R~ 'fir t6v`Y~h _ v v t ~ ~ Kx x T _ _ $ 1 J City of Dublin, Ohio 11 I i ld Dublin has a unique historic character. Perhaps because the com- j munity experienced such gradual growth until the late 20th century, much of what was built in the 19th century still defines the physical environment today. Other important factors, however, contribute to ~ the physical character of the area. The most dramatic feature is the ~ topography of the site. John Sells picked a prime site for the settlement of a town, since it was on the high west bank of the Scioto River, protected from flooding. The change in elevation between Riverview Street and High Street is considerable, with ~ a further dramatic drop to the river itself. This change of elevation leads to steeply sloping yards behind the buildings on the east side of High Street, and a varied topography providing vistas of the river and its valley. i Another factor which shaped the character of Old Dublin was the ready availability of desirable building materials -dense woods, clay, and limestone. The limestone, ' known as Columbus Limestone, is highly fossilized, which gives it a rough texture ~ that is distinctive when used either in its natural state or as cut and finished build- ( + ing stone. The extensive use of limestone in the construction of dry-laid low stone - 1 walls, foundations, stoops, and entire buildings distinguishes Old Dublin fi-om any l other central Ohio community. Much of the stone construction dates from the early ' ~ 19th century and has survived intact, a testament to the stone's permanence as a t ~ construction material. r Brick walls and wood siding also appear extensively throughout Old Dublin build- ings; brick is used as a paving material as well. Wood siding appears in a number of forms, including various kinds of horizontal, vertical, and shaped shingle siding. ' Wood is also used for fencing, porches, and decorative ornamentation on buildings. - Perhaps the most definable characteristic of Old Dublin is its intimate, small village scale. The buildings are located close together, along the sidewalk, and range from one to two-and-one-half stories in height. Nearly all of the buildings have a residen- ' tial quality, in contrast to the centers of marry other historic Ohio communities that _ have a continuous streetscape of commercial buildings with storefronts, cornices, and shared party walls. The spaces between the buildings offer owners and tenants opportunities to create small gardens, seating areas, and open space. Mature street . trees also contribute to the character of awell-established community. 1 The architecture of Old Dublin spans a period of nearly two centuries. Some of the buildings possess characteristics of specific architectural styles; however, the vast majority are vernacular in character. Although many of the same building forms can be found elsewhere in central Ohio, the combination of building materials, physical setting and spatial relationships among the buildings make Old Dublin unique. 12 Old Dublin - A Unique Environment (Photo 9) One of Dublin's distinctive features is its dry- t~~~~tr'T~ laid stone walls, built from locally-quarried Columbus ~ ~ r Limestone. This example is at the south end of South High Street. - - ~b r i i . ~ (Photo 10) Columbus Limestone V commonly was used not only for ~ `w stone walls, but also for founda- • lions, lintels and sills at doors and windows, and architectural trim..ln ~ some cases, as here at 16 North ~ ~ High Street, entire Dublin buildings . were built of the local stone. ~ ~ - I - , t.` i (Photo 11) Stone also could be found in items of street furniture such as this 19th century step- , ' block, which was used for board- ,"~"'i ~ ing a carriage or climbing onto a i horse. w I ' . i 11 r SI, J' e. ` , iiifr' I - k.. i City of Dublin, Ohio 13 - - (Photo 12, left) Ohio's high-clay soil has yielded abun- dant raw material for brick buildings since very early in ~ the 19th century. Brick structures are not as common in Old Dublin as in other historic districts in central Ohio, but the building at 119 South High Street is a particular- i ly well preserved example. ~ ~ ~ , t I A ~ y; (Photo 13) Brick is popular as a paving material for sidewalks in Old Dublin. It adds color and texture to the streetscape and requires relatively little maintenance. (Photos 14 and 15) Wood archi- tectural elements in Old Dublin include horizontal siding and ~ shaped shingles, as well as orna- J J J~ mental porches. These examples J J 3 are at 75 and 138 South High ~~~~-~..-r-'_'-'1```. Street. '4 'a ~ ~ ~r -i - ~ - - _ - 14 Old Dublin - A Unique Environment Old Dublin Building Types I-House The I-House, which was an extremely common vernacular house form throughout the Midwest, is characterized by its two-story height, either a gabled or hipped roofline, and single room front-to-back depth. These buildings are typically three, u° four, or five bays wide and in Dublin can be found in stone, brick, and fra?ne. A number of these buildings are among the oldest in Dublin, including those at 6 South High Street (1832), 18 South High Street (1840), 37 South Riverview Street (1833) 83 South Riverview Street (1824), and 109 South Riverview Street (1824). Variety among these buildings exists primarily in the treatment of entrances -soiree have simple entrances with paneled wooden doors, while others have more elabo- rate treatments such as the brick house at 109 South Riverview Street, which has a Federal entrance with a simple transom and six-over-six windows; and the stone res- idence at 37 South Riverview Street, with its Greek Revival entrance with transom, sidelights, and paneled recess. Over time, these buildings sometimes acquired one- and two-story additions, frequently constructed in wood frame. ~ (Photo 16, left) One example of the I-House form is ' III located at 6 South High Street and is in commercial use. ~l ~ , a x . _ _ _ -3' t ~ I C ..er- _ (Photo 17, above) This three-bay house r ' at 37 South Riverview Street is an excel- lent example of both an early I-House ' t and of local limestone construction. Note the large quoins that add structural sta- ff = bifity at the corners. (Photo 18) I-Houses often were built as I five-bay structures. This brick example at 109 South Riverview Street dates from 1824 and is a very early example of the ~ I-House form. It had direct roots in the Colonial architecture of 18th century New England. - - - _ , City of Dublin, Ohio 15 f____ Story-and-a-Half Cottage Examples of these buildings, which generally date from the 1820s to 1850s, appear ~I in wood frame, brick, and stone. The stone examples are the most distinctive, as they do not appear anywhere else in quantity in Franklin County. Typical features of this form in Dublin include gabled rooflines with standing seam metal roofs and multi-paned double-hung windows (some six-over-six and two-over-two window sash are still visible on older buildings). The doorways vary from simple wood pan- Bled doors to more elaborate examples such at the those at 63 South High Street, which has a handsome Greek Revival entrance with transom, sidelights and detailed woodwork; and 63 South Riverview Street, which has unusual wood siding cut to resemble stone. ~ ~ ~ ;y ~ (Photo 19) Old Dublin has sever- m , ~ ~1 s ~,1~ ~k~~~; ~ i al examples of the Story-and-a- °f ra f~ Half Cottage. The one at 63 ~ ~ ~ ~ South High Street is unusual ~ ~a~: because of its stone construction. 1 _ _ _ - 16 Old Dublin - A Unique Environment Gabled Ell The Gabled Ell form began to appear in the post-Civil War era and was common throw bout the late 19th _ g century. As the name implies, Gabled EII houses are irreg ular in plan, with a right angle where the wing and the main body of the house meet, j and an intersecting gable roofline. The houses are usually constructed in wood frame or brick and can be one, two, or t\vo-and-a-half stories in height The entrance ~ is frequently located in the wing, and decorative porches are a common feature. Examples in Dublin exhibit some late 19th century stylistic characteristics such as the Italianate projecting bay on the building at 35 South High Street; the Italianate round-arched windows on the brick building at 167 South High Street; and aone- and-a-half story version at ll9 South High Street. I (Photo 20) An excellent example of the ',-T.,. Gabled EII is at 119 South High Street. '`c w4 The gable is a dominant design feature, and the entrance doors are tucked back ~ f s ~ ~,y` ~ "'111 under the porch that occupies the ell. ~R ~ ~ ~ . ~ ~ I R. ~ (Photo 21) At 167 South High Street is - I a Gabled EII house larger in scale than ; others in Old Dublin. This building's , character is enhanced by architectural ~,"'1 elements such as the projecting bay on ,r~ the south, round-arched windows, a • cross gable in the wing, and a high , stone foundation. i i - !I - _...----1'-- City of Dublin, Ohio 17 Bungalow The Bungalow gained popularity during the early years of the 20th century. In Dublin, the examples of this house form are modest one or one-and-a-half-story frame residences with gabled rooflines, dominant front porches, and a generally restrained, unornamented design. " s: (Photo 22) This Bungalow is at 17 i ~ ~ ° North Riverview Street. Its simple { ~ ter" ~ design, low roof pitch, and prominent s''-`~' V.y ~ - porch all are classic elements of this t ~ _ _ building type. - - Ranch Dating from the post-World War II era, the Ranch house became an extremely pop- ular house form in the 1950-1970 period. These houses are interspersed among his- toric buildings along Riverview and High Streets and are clustered on Franklin Street. Characterized by a single-story form, low horizontal profile, and shallow- . pitched gable or hipped roofline, these houses typically feature attached garages, minimal porches, and large picture windows, and are faced in brick, ~~ood, stone and stucco. Because of the topography in Old Dublin, some Ranch houses have lower levels that are above ground level at the rear. Other Ranch houses, especially along Franklin Street, have greater setbacks from the street than is typical in Old Dublin. (Photo 23) The Ranch house at 126 Franklin Street took advantage of its site to gain a second level at the rear ~ ~ j while still maintaining its one-story form at the front. The brick banding and corner windows added some varia- ~ ® tion to the design- - - - - ~ 18 Old Dublin - A Unique Environment ~ Commercial i The commercial architecture of Old Dublin is unusual because it consists primarily of separate buildings with 19th century residential forms (although in many cases they have always contained a commercial use); most other Ohio communities have a continuous streetscape of buildings. This is partially due to the age of the build- ' ings in the commercial area of High Street, since many of the structures predate the ~ j mid-19th century Italianate period when many downtown areas throughout Ohio were constructed. In addition, early inns and taverns were modeled after residential buildings, and Dublin has two early examples at 6 South High Street (1832) and j 105-109 South High Street (1842). Other buildings originally had residential uses and vvere converted to coin~nercial uses over the years. The large commercial store- it front window is relatively rare in Old Dublin, although there are a few. One exam- ple of a building with a traditional "commercial" character is the single story false- ~I front frame building at 32 South High Street, where large storefront windows dom- inate the facade. Another is the building at 50-52 South High Street, which has the form of an I-House with storefronts added at a later date. (Photo 24) The former tavern at 105- 109 South High Street is an early com- i menial structure in Old Dublin. It was "j built in a form derived from residential ~ architecture rather than a commercial form more typical of Ohio downtown areas. u ' ~ (Photo 25) At 32 South High Street is ~ k~ - ~ one of the few historic commercial- form buildings in Old Dublin. It is a one-story building and has a typical ~ ` arrangement of a center entrance flanked by large display windows. A ~ ' high false front gives the building a j more commanding presence along the streetscape. w Rn. N. - - s. Fs 1 City of Dublin, Ohio 19 Barns Although they were probably more numerous in the past, a few well-preserved barns still exist at the southern edge of Old Dublin. One is located on South High Street at the intersection of Waterford Drive; the other is located on South Riverview Street at the edge of the former quarry. Although they differ in form (the. one on South High is a bank barn with entrances at two different levels), they are both at least two stories in height with gabled rooflines. One features horizontal and the other vertical siding but both have very small window openings and traditional barn doors. These barns are physical reminders of the strong agricultural links to the history of Dublin and Washington Township. i, '"~y'4: (Photo 26) The barn at Waterford and South High Street links Old Dublin to ~ its agricultural past. The high stone foundation and weathered siding of the barn blend with the open field and ~ dry-laid wall to add to the character of the south end of the historic district. ~i L i,? ~ i w (Photo 27) At the south end of Riverview Street is a barn of more recent date than the one on South l High Street. This example rests on a K ° ceramic block foundation and has hori- zontal rather than vertical siding. i I i i I i z 20 Old Dublin A Unique Environment i ~ Garages and Outbuildings A number of older garages and outbuildings have survived in the rear yards of Old Dublin properties. In many cases, these buildings are accessible from the alleys that run between the streets of Old Dublin. Carriage houses are rare but garages area common sight Among the most common are fi-ame, gable-roofed garages with either horizontal siding or vertical plank siding (similar to that on the barn located on South High Street). Outbuildings exist as both free-standing structures and those that have been incorporated into the main building over time. These outbuildings may have originally been used as kitchens, workshops, storage or garden sheds. Although clearly secondary structures, they contribute to the character of the back yards and alleys in Old Dublin. , il%i (Photo 28) Old Dublin's alleys are . ' - enlivened by a wide variety of out- ~ = ~ ~ ~ i r i buildings of varying ages. Most, like this example at the rear of 83 South Riverview Street, are of frame con- - struction. _ : _ t ~ , .Y.. , _ rk (Photo 29) Often a row of outbuild- ings will create a secondary , streetscape along one of Old Dublin's alleys. These structures are an exam- - ple and are located along North Blacksmith Lane between High and .y _ ~ Riverview. ~ , . - - _ _ - aw One-of-a_kind Buildings Not all buildings fill within the building types described previously. Some are unique in Dublin and stand out Ior their level of detail or creative use of materials. One such building is located at 22 North IIigh Street and draws upon the Queen Anne style, from the late 19th century, for its design. It uses decorative detail char- acteristic of this style on the porch, around the windows, and in the paneled areas ~ beneath the roofline. City of Dublin, Ohio 21 Another example is the two-and-a-half story stone and frame building located at 75 South High Street. It appears to have been asingle-story stone building that was expanded in the late 19th century. The combination of horizontal and decorative shingle siding, shaped architraves around the window openings, and the carved front porch are all features popular during the late 19th century. The Gothic Revival style Dublin Community Church (1845) is the only historic church building still used for its original purpose in the heart of Old Dublin. Its steeply-pitched gable roof and pointed-arch openings are characteristics of this I style. it (Photo 30) One of Dublin's I! unique buildings is this Queen ~ Anne style cottage at 22 North High Street. The style is usually associated with large, rambling - houses, but this modestly- _ scaled example has all the ` style's spotting features: a ~ _ ~ ~ complex roof form, an irregular _ plan, a variety of siding materi- ' _ als, and a high level of orna- ~ - ~ ~ mentation. -T-- - ~ X'=- _ ~ s T f y 1 = r y ~YY~ F f~ r ,1 ~ - °n ~ 3 s t?ti,~ ~ ~ ~ l - 1 ~ T.- (Photo 31) The building at 75 South High Street has a blend of masonry and . frame construction that gives it a unique character. Like other residential-form buildings in the historic district, this structure has been creatively adapted to a commercial use. (Photo 32) The Dublin Community Church remains a landmark in modern Dublin. Its Gothic Revival style and its open setting make it a suitable anchor for the west side of the Old Dublin Historic District. 22 Old Dublin - A Unique Environment Contemporary Buildings Old Dublin is a dynamic and changing area, as evidenced by the amount of recent construction within the area. The architecture of buildings constructed within the j last 30 years varies in scale,_ materials and architectural detailing. A number of newer individual commercial buildings have been scattered along both North and South High Street. While their one- to two-story scale and their setbacks ~ tend to be fairly consistent with the historic patterns of development in Old Dublin, variations in form and materials identify them as more modern structm-es. For example, they tend to have more shallow-pitched rooflines; several have contempo- I', nary horizontal ribbon or single pane vertical windows; and the exterior materials include vertical wood siding, artificial siding, or concrete block, which are not typi- cal of the historic buildings in the area. Two examples of larger scale commercial developments, located at 55 South High and 100 North High Street, share some common characteristics. They are both two stories in height, set back from the street to allow for on-site parking in front, and feature stone an d stucco exteriors. The Dublin Branch of the Columbus Metropolitan Library, located at 75 North High Street, is a large single-story structure which also utilizes limestone on its exte- rior. It is set fairly close to the road with parking located to the side and rear of the building. New homes have also been constructed within Old Dublin, with the majority locat- ed along South Riverview Street. They reflect the current trend toward two-story homes rather than the earlier Ranch homes built several decades ago. These hous- es generally maintain the traditional setbacks and the residential character of the neighborhood where they are located. I (Photo 33) Contemporary ~ ' commercial archi- ;r ~ L` , tecture in Old Dublin is represent- ~ ~ ~ - a I ed by the large structure at 55 ~ South High Street. The building's nar- row end faces the ww ti-" street and its park- ~ ~ ing lot is set back from the street I - - - - a - - - - - - - _ r City of Dublin, Ohio 23 (Photo 34) i The Dublin Branch of the Columbus Metropolitan Library has a contemporary . design but employs tra- ditional materials such ' _ g _ ' as the light-colored ' f _ = f limestone typical of Old Dublin. ~ • ~ ~ ~ `ttr L• ~I (Photo 35) _ • ' : , { Contemporary ~ homes in Old ' ' lin h this Dub suc as X ~ _ example along ` South Riverview a Street, generally have maintained _ the traditional set- back and have taken advantage of ~ existing trees as part of their overall design. . t.~ i --y- - _ _ - 24 Old Dublin - A Unique Environment - Environmental Features _ Both natural and man-made environmental features play a prominent role in defin- ~ ing the character of Old Dublin. The most significant of these features is the Scioto I River. It forms the eastern boundary of the district; provides a "greenway" corridor linking the areas north and south of the bridge; and establishes a strong physical and visual connection to the community's early history. Wooded ravines (Indian Run on the north and Cosgray Ditch on the south) form natural boundaries for the Old Dublin area. These ravines also reinforce the impor- tance of the physical connection of Old Dublin to the Scioto River. i Also located at the southern end of Old Dublin is the site of the former stone guar- ry. This quarry, located adjacent to the Scioto River, played an important role in the I physical development of Dublin and Washington Township as evidenced by the extensive use of limestone for building purposes. Unlike any other historic central Ohio community, Dublin possesses an abundant number of low, dry-laid stone walls. Many probably date from the early 19th centu- ry, although even more recent examples contribute to the character of the area. These walls are one of the most significant and distinctive historic elements in the ~ community's physical environment. The area possesses a very strong sense of place. The combination of its largely ver- nacular architecture; intimate village scale with spaces between the buildings; vari- r ations in landfonns and topography; and patterns of streets, alleys, sidewalks, paving materials, stone walls, mature street trees, and other environmental features create a visually interesting environment worth protecting and preserving. (Photo 36) The Scioto River forms a strong eastern boundary for the Old Dublin Historic District. Public ~r walks and pavilions connect the district with the river and its deep ravine. F' t`: 19? 1' !a! _ /M M,. City of Dublin, Ohio 25 (Photo 37) At the south end of today's Old Dublin, traces of I the former stone quarry I can still be seen. Much i of the district's building ~i, stone came from here. (Photos 38 and 39) Dublin's readily-available limestone found its way into the area's distinc- tive stone walls. These photos show a historic wall, distinguished by its top row of vertical stones, and a more recent wall, which uses a variety of stone in addition to limestone. s 1 - \ , ..ate 26 Old Dublin - A Unique Environment (Photo 40) Old Dublin is marked by distinctive stone ~ pavilions at all four entrances to the historic district. These identify the district as a place of special character. ' I M;~ z. <,.,'a- i ~ (Photo 41) Modestly- sized buildings, an inti- _ ~ mate sense of scale, and ' ? a combination of varied ~ ~ ~ ~ ~ , !I architecture and an invit- ^ ~ ~ ` - ing, tree-shaded ~ streetscape all contribute to Old Dublin's appeal. - ~ ' v. ~ ~F ~ i t I I , i ~ , } - _ _ ~ _ _ 4 City of Dublin, Ohio 27 Historic Buildings Outside Old Dublin There are a number of historic buildings that are located outside the bowidaries of Old Dublin but are still protected by the Architectural Review Board. They are indi- vidual structures scattered throughout Washington Township and a number of them have been incorporated into the City of Dublin. Examples of these properties include the stone four-bay I-house located at 5707 Dublin Road, and the mid-19th ~ century Italianate brick Coffman House at 6659 Coffman Road. i (Photo 42) The James Davis House, a little south of the historic district at 5707 Dublin Road, is one of the •j- i properties outside Old t . a Dublin that receives r.~~. Architectural Review t~ f d; Board protection. I 1 3 ;s~ 'i • r i, (Photo 43) The Coffman House at 6659 Coffman Road, home of the Dublin - Historical Society, also is a designated historic property. h y 1 ~r~.~ ~~r~~r~n ~ ~ - ~ ; Preservation Philoso h and , 't; p y , The Secreta of the Interior's ~ ~~~`~~"k= 1~\ • • • ` ~ J Standards for Rehablhtatlon ~ a _ :a:.. ~ / 1 i 1~ ~ ~ ~ ~ ~ r ~ ~ ~ . ~ 9 a ~ . _ ~ . _ ~ ~ / + s ~ t4°9" + n. _ _ , ; ~ _ 6 ~ ;S i ` _ . ~r_, ~ ? 1 ~ 3~ ~ ~ ~ ~ ~ / INN,. _ _ } r.~ - :j ~ ~ ~ s ~ ~`Qt City of Dublin, Ohio 29 z ~ he National Park Service, the division of the U.S. Department of the Interior where federal historic preservation programs are housed, has published ten standards for rehabilitation projects involving historic buildings. The standards were created by professional staff members at the National Park Service, based on extensive research into reha- bilitation techniques, products, and philosophies. The standards guide both federal projects and those undertaken at the state and local levels, by public and private building owners, and they outline appropriate treatments and rehabilitation tech- niques for buildings of any age or type. The goal of the standards is to encourage rehabilitation of historic buildings in a way that makes them modern and functional while still retaining their essential historic character. The Secretary of the Interior's Standards are based on a two-part rehabilitation phi- losophy: 1) retention of original or historic building materials to the greatest extent possible; and 2) avoiding the creation of a false "historic" appearance. To achieve these two goals, the National Park Service, and most state and local preservation agencies and organizations, discourage removal of existing historic building ele- ments unless they are so deteriorated that they cannot economically be repaired; and they discourage the installation of non-original decorative elements or salvaged historic architectural elements from other buildings. Historic building interiors are considered as important as exteriors and as worthy of sensitive treatment. The basis of this preservation philosophy is that preservation has both real and intan- gible benefits, primarily the increased economic value and the higher quality of life that come with careful preservation of historic structures and their original charac- ter and materials. There are several economic incentives and technical considerations that can help greatly in retaining both interior and exterior historic building materials. One of the most important is the Historic Rehabilitation Tax Credit (see the appendix for more information). The economic impact of the Credit often can make it feasible to retain historic building materials that might otherwise be removed and replaced. Technical considerations favoring retention of historic materials include modern treatments such as epoxy consolidants that restore stability and structm-al strength to moisture- or insect-damaged wood elements; and Article 34 of the Ohio Basic Building Code (see the appendix for more information), which provides an alternative means for older buildings to meet modern life-safety codes by taking advantage of the often high levels of safety inherent in historic building materials and designs. 30 Preservation Philosophy and Standards for Rehabilitation In reviewing proposed work, the Architectural Review Board of the City of Dublin uses the Criteria for Evaluation in Section 153.170 of the Dublin Planning and Zoning Code. The Old Dublin guidelines in this book use the Secretary of the Interior's Standards for Rehabilitation as a foundation, and these are consistent with the review criteria under the Dublin Planning and Zoning Code. I:ecp the standards in mind while reading through the guidelines and planning a rehal»litation project. ~ ~ Like the Secretary's Standards and the Planning and Zoning Code, the guidelines have been published with the goal of protecting and enhancing Old Dublin's unique historic character. The Architectural Review Board does not review interior alter- I ations but, consistent with current practice and philosophy, it encourages the reten- ~ tion of historic interior features. ~ The standards pertain to historic buildings of all materials, construction types, and ~ sizes, and they are concerned with both the exteriors and the interiors of historic buildings. The standards also encompass related landscape features and the build- ing's site and environment as well as attached, adjacent or related new construction. Compliance with the standards is mandatory for projects using the 20 percent Historic Rehabilitation Tax Credit (see appendix), but they are useful for anyone interested in preserving a building's character during rehabilitation. It is important to remember that variations from the standards can be acceptable, but only when it is shown that there are compelling technical, financial, or pro- grammatic reasons for the variation. One such reason might be a lack of skilled con- tractors to do difficult restoration work; another might be extensive deterioration that makes repair of existing windows significantly more expensive than replacing them. ` The Secretary of the Interior's Standards for Rehabilitation 1. A property shall be used for its historic purpose or be placed in a new use that requires minimal change to the defining characteristics of the building and its site and environment. 2. The historic character of a property shall be retained and preserved. The removal of historic materials or alteration of features and spaces that charac- terize aproperty 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, I shall not be undertaken. i ~ 4. Most properties change over time; those changes that have acquired historic ~ I significance in their own right shall be retained and preserved. - - - - i - _ - City of Dublin, Ohio 31 i 5. Distinctive features, finishes, and construction techniques or examples of craftsmanship that characterize a 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 docwnentary, physical, or pictorial evidence. 7. Chemical or plrysical treatments, such as sandblasting, that cause damage to ' historic materials shall not be used. The surf ice 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 prop- erty and its environment. ` ~ 10. New additions and adjacent or related new construction shall be undertaken in such a manner that if removed in the future, the essential form and integri- ty of the historic property and its environment would be unimpaired. ' ~ What does this mean in practical terms? In general, it means retaining sound older ` building materials, ornamentation, and details; and avoiding changes that cause ` ' removal or alteration of such elements. When such features are deteriorated, it means replacing them with new ones as close to the originals as possible, preferably in the same materials. It means making changes in a sensitive way -constructing additions that do not overwhelm the original building and that are clearly secondary to it; avoiding gratuitous removal of trim and details, especially during roofing or sid- e ing projects; and resisting the temptation to "early-up" a building by applying false - historical details or giving it a character it never had. In cleaning historic masonry, the goal should be to find an effective cleaning method that uses the least amount of water, detergent, or chemicals that will get the job done. The standards also, how- ever, recognize that buildings need modern plumbing, heating, wiring, and air con- ditioning. Such work is entirely acceptable, though it should be done in a way that is unobtrusive and does not cause loss of important historic building materials. y, 4 r 4 C.. " r w u ~ ,<a ,tiy q_~ "''k ~`f `t-~"'~~5 #~~ri Q3 - ~ y, y -s 3,; -f rj a~,fi Preservation Rehabihtatlon ~r }r ~ s , , { x ~ ~ ~ i ~i ~ and New Con r ~ 4~ Y~'~= st uctlon ~ Y ~_F 4 ~ .a a S ~ w ~u~ ~ ~ Guidelines 4 ~ Y 1 $ 4 . -v ~ r t ' T~ K3l ~ L 'r }~'It,*- a- ~"s 'til h~ F.1`~~ ~ s, _ F ~S~ ? s ~ 'K'IT ` ` u c i ~T~q, j,~ -b ~r ..,~~'`a 7~ ~ ~f }r.• t Y ~ f 2ti~ Y- - ~4 )k h " M~ -Y ~`I of f°l"~~ 1, -:~k-i>p~~~w-{r e,y ~c ~i`~ ~t " ~ ~F Z vd' q~ 4,'~'~ k : ~"s ~~'~eC.vt~"Y~- '-y "C T -t ~y-'tf s'a r L .1 N b i~' +~W MwS-`}" i v ~T.S 3 - r 'k'~" mot, t . - ~ ~ti 4 " ~ y~h~ C ~ - s _ ~.5. y~ t{_ ; x -}.y~.a ~'~iK ~ rC-~,``- +-:c r -~`s..~ ~'4 f -3~f, ~ -.z:R- ~ Fes- 3- -~,.,~a y'.~;)).n~ L13 4l # 3 i ~ ~ X h~i ~S~YS j :TS G~'ia rty - e. a t x Sfi ~ x s - !r. x w rc -y L~ -t ,~FiE' ~ti`i+ "?c r~ `~saZ t"~> Y~ t - - r.- ...r8 $ -3~.~c "F. y 3r-r ~ ~-~u^2o- _ ~ - a ~f ~ i 'k~.a~_.i"'k1"S'~~~~ Y ~ ° ,a v -may ~ ~~t;.~.-~-~,.s xr ~ r;. ^ s'T'~~ ~~,ce~ w'. Asa- ~$~,R { - a` ~r-c ~ F aY xa~ ir., ,i t ac's". ~4~'x'~i"s'r~ 'T'~.'. ~ Zx` g'{fir - ,'raq~ r~ +s c 4~ > r ~ a c9 Asti. ~ ~ S t yx`~4 rr C~vc ~ ~ Xk r ^i '6fi°"-cn£,,~- o ~ n.dc t,I' 4r - _ ,~,~Y -dr yam, ~.xr 2~ r ~ ~q, ! -mod _ 4 ~ x~ ~ ~ J, mss, ~s'. y3. -t - [ 2sw m +~r - y^ ~ r. rte; s zi+ F ~ m~ ~a:~ } ~ ~Y ~ ~ y " w sC~~yyl~t+ ¢ ~ ~ ~`-fie'. ~2 ~ ~n - ~ ~ - c~ iY..T_,YfLi -r*~6~. > 'L~ .~YC ~.aLkrv~.: ~ £a~ ~ ~ pY ~ 4 T ~,g 'r`te}? Z.. ~l"~'l 4 ~ n ^r ~ z°i,~,. `~.r~i- r~•J.ar. ~ a---,..~ '~`,~~p ~ > v -mss. +~it ~v, ti ~ " ~ .+ti ~~y~ ~~x Ley ~f as < ~-'~i"~4~ f~~' ~ s ~ " `3 - - City of Dublin, Ohio 33 Foundations II Old Dublin building foundations ranged from rubble stone, which were built of pieces of stone simply picked up and carried to the building site; to cut stone, which was quarried and shaped, usually by hand; to rock-faced concrete block; brick; and poured concrete. Regardless of material, the purpose of each foundation was the same: to carry the weight of the building down into the soil and to spread that weight it out so it did not exceed the bearing capacity of the soil. Builders were careful to set the footings of foundations below the frost line to help ensure that walls would stay plumb and that different parts of a building would not ~I settle at different rates, or that they would not be heaved and cracked by freezing soil. ~ On some buildings, the foundations rose only slightly above ground level and often were concealed by the building's siding. On others, higher foundations became part of the building's visual character. I As planning goes forward for maintenance or rehabilitation of a building, the fol- . lowing rules of thumb will help the foundation continue to do its job. Recommendations 1. Watch for areas where abuild-up of soil, old plantings, or paving materials may I~~ have created a slope that lets rain or meltwater flow toward the foundation rather than away from it. If there is such a condition, re-slope the soil or paving materi- al so there is a positive slope away from the foundation. 2. Be sure that downspouts are either connected into underground drain lines or that they empty onto splashblocks that carry water away from the building. If the building has underground downspout drains, be sure that both the downspouts and the drains are clear and free-flowing. If they leak or are plugged up, they can concentrate water around the foundation to the extent that the soil liquifies and loses its bearing capacity, possibly resulting in settling or cracking of the founda- tion. 3. Avoid piling mulch, firewood, or other materials against foundation walls, and be i sure that vines and plantings don't grow on or too close to the foundation. All of these can cause moisture retention in the foundation wall. A space of at least a foot from plantings or other materials will help provide air circulation to keep the foundation wall dry. 4. Avoid cutting openings in foundation walls to create basement windows or doors. If such openings are necessary, get good advice from an engineer or other pro- fessional about how to do this work without weakening the foundation. - - - 34 Preservation, Rehabilitation, and New Construction Guidelines 5. Avoid painting or stuccoing the exterior of a foundation. Doing so can signifi- cantly change the appearance and character of your building, and these treat- ments can trap moisture behind them, possibly causing deterioration of the foun- lotion material. Previously-painted or -stuccoed foundations, however, should be kept that way, as long as they do not show evidence of moisture retention. I (Photo 44) At 29 Kam„--!`..-~„'"-" i,,. + ~ 'E" South High Street, the _ ~ _ "`'-J ~ r foundation is built of `"'rte roughly-finished local ;,,;,a:- stone. The top course is ~ called the water table. It r"°''~~ ^ r;'~ , has a sloping top and it ,a } • ~ %'i projects from the wall ,F., - , to keep dripping water ` away from the founda- ' tion. w (Photo 45) The house at 167 South High i ~ Street has crock-faced s stone foundation with a smooth-finished water table. In this building ~ the high foundation is _s= purposely used as part of the architectural design. , oa eye k - _ - r City of Dublin, Ohio 35 - J ~ ~r1"'- (Photo 46) A rock- I .r. ' ~ 1. .rj faced concrete block i i 4 I I j , foundation supports the 3 ' ~ s + I . house at 53 North l~ ~ ~ ~ ` ; j Riverview Street. This z~,=. ~~~;1,f material was used to " simulate the cut stone that was common in ear- ~ lier buildings. Note the repetitive pattern in the surface of the blocks. I i I - 'M ,y~ (Photo 47) The house at 63 South High iii Street has downspouts and splashblocks prop- II erly employed to ensure that as little water as possible gets into the foundation. i (Photo 48) Also at 63 South High Street, ~ ~ placement of foundation plantings away from I ' the wall helps ensure adequate air circulation to ~ .c ` i ~ avoid moisture accumulation in the foundation ` and lower building wall. ~ , ~ s, _ 1~, , ; , r fi: f 1: i i a - _ - _ I - i - - - 36 Preservation, Rehabilitation, and New Construction Guidelines Exterior Mate><-ials Exterior building materials on historic buildings in Old Dublin include traditional materials such as brick, stone, and wood. The great range in age of the buildings in the district has resulted in an equally great range in building materials. Most of the older buildings in the district have retained their original exterior mate- rials. In some cases, original wood siding has been replaced with compatible new wood siding that has faithfully duplicated the appearance of the original. There is relatively little use of inappropriate replacement materials such as vinyl or alu- ~ninum siding. Older wood siding is found most commonly as beveled siding, but it appears in other forms such as shiplap, shingle, and board-and-batten. At 63 South Riverview Street, historic wood siding was finished to look like cut stone blocks. Brick and stone are the most common types of masonry in Old Dublin, and there are some historically-stuccoed surfaces as well. These buildings, like those of frame construction, have retained their exterior materials largely intact, and they general- ly have avoided damage from abrasive cleaning or improper tuckpointing. I ~ Newer buildings (generally built after World War II) reflect the designs and mate- rials of their tune. Concrete block, stucco, and various types of wood and other sid- ing have been widely used, and generally these buildings fit into the streetscape very well in terms of the color, texture, and detail of their exterior materials. (Photo 49) The building t ni- at 18 South High Street ' N " ~ r ~ ~ ~ ; ~ combines two types of , ~ ~ , ` masonry construction: V' y .~,1 random ashlar stone on , - r ~ ; ; i _ ter:, the first floor and brick ~ ' " ~ on the second. w,, I I City of Dublin, Ohio 37 (Photo 50) Shaped shingles and flush shiplap siding are two types of wood siding at ~ 75 South High Street. J=~ ~ They give the building y~~~ wall a distinctive tex- ` ture. . ~ JJ1f J ? J f ~~1~ J , J~ - - _ (Photo 51) Unique in Old Dublin, the house at 63 South Riverview Street has horizontal wood siding scored to resem- ble stone blocks. This was a common technique in early architecture (George Washington's Mount Vernon has the same treatment), with sand often added to the paint to impart astone-like tex- tore. _ f ~ ~ ~ T ,~.f ff ' ~ / ;.~y~ I'~~~ ! ; 1 ' I~'/ ! .y r Y. ' Sf- v'' 38 Preservation, Rehabilitation, and New Construction Guidelines (Drawing 1) Traditional Wood Siding Types P BEVELED SIDING SHIPLAP (DROP) SIDING - - w p, a, r i x, i» i City of Dublin, Ohio 39 FLUSH SHIPLAP SIDING i I I - ~ i SHINGLES I i I i i BOARD-AND-BATTEN SIDING I i \ I I - - - 40 Preservation, Rehabilitation, and New Construction Guidelines Recommendations Wood Siding 1. Existing historic wood siding should be retained and repaired as required. K ~ Whether in the form of beveled siding, shingles, board-and-batten, or plain flush siding, these traditional types of wood siding give Old Dublin buildings a textw-e and level of detail that is an important part of the district's character. Most such siding is painted to weatherproof the siding, and painted surfaces should be kept well-painted. 2. If paint consistently blisters or peels off wood siding, look for sources of moisture such as leaking gutters or downspouts; leaking supply or drain pipes on the rote- rior; wall insulation with a faulty or non-existent vapor barrier; or ground mois- ture rising into the siding. Any such conditions should be corrected and the sid- ing allowed to dry out before painting again. I 3. It is the policy of the Architectural Review Board that, when siding is used on a building, wood is the only approved siding material. Repairs to damaged existing siding should be done with new wood that exactly matches the appearance of the existing. Historic wood siding should never be covered over, nor should it be removed and replaced with another material such as vinyl or aluminum siding. i Doing so is inappropriate because it significantly alters one of the most important character-defining features of a frame building, its exterior surface. " ~ 4. Only wood siding should be used on new buildings, additions to existing build- ings, or new garages and outbuildings. The siding should be used in one of its tra- j ditional forms: shingle, board-and-batten, shiplap, or beveled siding. i + II (Photo 52) In addition to new horizontal sid- ing, the building at 56 North High Street has two types of shaped shingles, another tech- nique for giving abuild- ;l1 i ing a unique look and texture. i I~ ~ 3 ~ ,x.: , . i a City of Dublin, Ohio 41 ~ t.z ~ ~ (Photo 53) ~ At 182 South High Street, new construc- ''t lion with wood shin- - ~ gles is consistent with the traditional kinds ~ of wood siding used ~ ~ ~ in Old Dublin. i' as ~ ~ `i ' a (Photo 54) < r* ~ ~ The recently-built r it . n'! ~ rear win at 6 South ' x`t` High Street has an ~'f`~ ~ ~ exterior of horizontal " " wood siding. Though ~ ti a modern material, it ~ fits well into the ~ character of Old Dublin. -z- - ,r~r. 42 Preservation, Rehabilitation, and New Construction Guidelines (Drawing 2) WOOD SIDING REf'AIiZ TECHNIQUES - g. i 5TEP1 REPAIR MINOR CRACKS AND HOLES WITH WOOD PUTTY OR CAULKING COMPOUND O -o o REPLACE DAMAGED SECTION OF BOARD STEP 2 MAKE VERTICAL CUTS WITH BACKSAW GUT NAILS WITH A HACKSAW ~'d? ~ EASE BOARD FORWARD ADJACENT TO DAMAGED AREA WITH WOOD WEDGES City of Dublin, Ohio 43 STEP 3 CUT REMAINING WOOD WITH A SHARP WOOD CHISEL REMOVE DAMAGED I ~ SECTION OF BOARD I i ~ ~ . ~ - - i I i ~I i - - -r- STEP 4 ATTACH NEW BOARD WITH GALVANIZED FINISHING NAILS DRIVEN AT AN UPWARD ANGLE THEN TAP NEW BOARD INTO PLACE USING WOOD BLOCK AND a.- ~ ~ MALLET. ~ - TAP UNTIL NAILS ARE ~ ~ ~ J ~ ~ UNDERNEATH BOARD ABOVE STEP 5 ' NEW BOARD IN PLACE, WITH NAILS PROTECTED BY BOARD ABOVE -.J < r`> _ ~ / ~ ;t ~ ~ it y... a~r x ~ ~ `4 i - 44 Preservation, Rehabilitation, and New Construction Guidelines I Recommendations Masonry 1. Historic brick and stone should not be cleaned unless it can be shown that the soil on the masonry surface is actually causing damage or moisture retention. A darkened, weathered appearance is a natural consequence of aging, and money spent on masonry cleaning can usually be better used elsewhere. 2. If the decision is made 'to clean a masonry building, use the gentlest effective means. Hand-scrubbing with a natural bristle brush and plain water may be effec- tive. There are also gentle detergents that can do the job if plain water does not. For more stubborn dirt, chemical cleaners can be helpful, but they (or any other cleaning method) should be tested in an inconspicuous area before cleaning pro- ceeds. Regardless of cleaning method, avoid any application or wash pressures over ~ 300 pounds per square inch, to avoid abrasive damage to the masonry. Whatever cleaning method is chosen, have it tested and the work done by a competent con- . tractor with experience in testing and cleaning for historic buildings. ~ 3. Avoid sealers such as silicone, or any treatment intended to "waterproof ' the ' masonry. The absorption and evaporation of moisture during varying weather conditions is natural for a masonry wall, and waterproofing treatments can inter- fere vvith this process and cause moisture to get trapped inside a wall. 4. Masonry which has been painted in the past should remain painted, since "`m removal of paint can be difficult and damaging. However, walls that have not , been painted in the past should remain unpainted. 5. Pointing of masonry should be done in a way that duplicates the color, texture, ~ joint tooling, and physical composition of the building's historic pointing. Avoid high-cement mortar (more than about 1/2 part of cement, by volume), since it ~ can create a rigid framework that can cause cracking and spalling of the soft brick , and limestone typical of Old Dublin. Some prepared mortars have about a 1:1 ratio of cement and lime, but this generally creates too hard a mortar for older masonry and should be avoided. 6. The re-pointing mortar should consist, by volume, of one part lime, three to five parts sand, and as little Portland cement as is needed to make a durable mortar -but no more than 1/2 part, as noted above. This should create a sufficiently "soft" mortar for typical Old Dublin masonry. Tooling or finishing of mortar joints should Match the original tooling as closely as possible. Be especially carefiil that historically recessed mortar joints remain recessed, and that flush joints are truly flush, without excess mortar smeared on the surf ices of the bricks or stone. 7. IIistorically, stuccoed surfaces should remain stuccoed. Removal of stucco usual- ly is not recommended, since it is difficult to do so without damaging the under- lying masonry. In addition, masonry walls, especially brick, often were chipped and gouged to enable the stucco to adhere, and removal of stucco reveals this damage. Application of stucco is not appropriate for a wall which has not been previously shaccoed, since this significantly alters the character of the wall. - - r~ City of Dublin, Ohio 45 (Drawing 3) MASONiZY IZE-p01NTING - PROPER RE-POINTING TECHNIQUE } . fir. ~ Y r~,rV W~~~c~ 'i 'r5 a ORIGINAL MORTAR JOINT ~ ),~h ~ 4[~~',~' ;J ~ ~ 'i h r A1`~. - Y ~ WEATHERED OR FAILED MORTAR JOINT x ~ ~ ~ ~ W~ JOINT RAKED T01"DEPTH BY HAND ~ ' II y JOINT FILLED WITH FRESH MORTAR ~ ,•~~a 4 . ~ ~ 'i JOINTWITH FINISHED TOOLING i f _ ,r GNl1~-~ a a; ~t. IMPROPER RE-POINTING TECHNIQUES 3 ii f ~ ~ i ~ i j' /,i-.. CORRECT MORTAR JOINT ~ JOINT RAKED OUT T00 SHALLOW, ~ ~ ~ OVER-FILLED WITH NEW MORTAR ~ t 1 POWER-RAKED JOINT, /F~~v*" r } b ADJACENT BRICKS DAMAGED ~ w. INADEQUATE RAKING, M~ T00 LITTLE MORTAR ~ r INCORRECT TOOLING, MORTAR SMEARED ' ON ADJACENT MASONRY -~b ~ ~ ~ ~ .r - _ reservation, Rehabilitation, and New Construction Guidelines Recommendations Contemporary Materials 1. Contemporary materials should be used only in traditional ways in Old Dublin. Wood, for example, should be employed in traditional forms of wood siding such as beveled siding, board-and-batten, and wood shingles. Avoid incompatible con- temporary types of wood siding such as rough-sawn, diagonal, plywood panel sid- . ing, or other clearly modern types. Also avoid contemporary materials that simu- late but are not the same as traditional materials; these include various products % intended to look like wood siding, shingles, or other traditional materials. i 2. Similarly, use traditional forms of masonry, even though most masonry walls today ~ are veneer on block or frame walls and are not traditional bearing walls. Of the ' various contemporary masonry materials, brick tends to have the most appropri- ate appearance for building walls; stone tends to be most appropriate for founda- tions, and sometimes for chimneys. Stuccoed surfaces sometimes were used his- torically on flat walls, but this was a fairly rare treatment and should generally be avoided today unless repair is being done on, or an addition is being made to, a historically-stuccoed wall. Foundations should not be coated with any stucco materials or treatments, nor should stucco or a similar material be used to simu- late stone foundation walls. I 3. Consider preparing samples of new exterior materials prior to selecting them for j a building. This will provide an opportunity to verify that they achieve the desired effect and that they are compatible with the area's historic materials. I , Commercial Building Storefronts Most commercial buildings in Old Dublin were built in residential forms, and true commercial buildings are not very numerous. Some do exist, however, and they are an important part of the streetscape. k Commercial buildings had some common characteristics, most notably their store- fronts. From about the mid-19th century until well into the 20th, commercial store- fronts took a fairly consistent form that included a bulkhead, or low wall, at street level, with display windows above it. These windows evolved along with glass-mak- ing technology, changing from multi-paned designs earlier in the 19th century to , single large pieces of plate glass later. The purpose of storefront windows was both to display goods and to admit natural light to the interior. In the typical late 19th or early 20th century storefront, a transom was placed above the display windows. A transom is an additional narrow window with the pmhose of admitting even more natural light. Toward the middle of the 20th centwy, storefront designs often elim- mated either the bulkhead or the transom or both, resulting in a storefront that was M. almost entirely a display window. Most storefronts fi-om this period had much plain- - - i - - _ City of Dublin, Ohio 47 er designs than earlier ones, employing simple rectangular window and door open- ` ings in flat walls, without much, if any, decoration or trim. Doorways on commercial storefronts from any period were sometimes centered but could also be off-center; and they could be flush or recessed. Commercial building doors usually had glazing in the upper half, or sometimes the whole door was glazed. Recommendations 1. Retain historic storefront materials such as bulkheads, display windows, tran- sours, and trim. If these elements are damaged or deteriorated, they should be duplicated in replacement materials as close to the originals as possible. 2. Avoid removing or downsizing storefront display windows. These are important streetscape elements that provide a visual connection between the street and the interiors of buildings; removal or downsizing these windows creates a "blank wall" that adversely affects the streetscape's character. If a business does not need dis- ' play windows and desires a level of privacy, blinds, drapes, or screens should be considered. These can do the job without requiring permanent changes to store- front windows. 3. Avoid applying trim or ornamentation that a commercial storefront would not have originally had. In general, older storefronts had more details and trim than more recent ones, and this difference in design should be respected. Similarly, "theme" restorations such as Colonial or Bavarian should be avoided, since they impose a character the storefront never had. 4. Avoid materials such as diagonal wood siding, all-brick storefronts, vinyl or alu- minum siding, mansards, and fixed metal canopies. These would not have been used historically on commercial buildings. See the guidelines for awnings if these are being considered for a storefront. (Photo 55) One of the few traditional k-- ~ commercial store- fronts in Old Dublin is ~ at 32 South High Street. Each display window has a tran- - F~' sour, as does the entrance door. Beveled siding is used x below the display windows instead of a paneled bulkhead. - - 48 Preservation, Rehabilitation, and New Construction Guidelines y s'.N °,.:r,_ } ~ j St w„ a ~ lA~ (Photo 56) This new commercial storefront at 50 South High Street was designed in a traditional pat- a ~ tern: a recessed entry, large display windows, and a paneled bulkhead below the display windows. i (Photo 57) At 35 South High Street, a small auxiliary structure was added to the original house to j accommodate a commercial use. As was typical for commercial structures, the addition was placed at the edge of the sidewalk. - i Commercial Use of Residential Buildin s g Old Dublin is unusual because such a large percentage of its buildings are residen- i tial in form but are used for commercial purposes. Some of these buildings were originally built for commercial uses such as taverns, while others are recent conver- sions of former houses. In much of Old Dublin, the district has retained aresiden- tial and small-town scale and character because the commercial conversions have ~ not resulted in major changes to residential structures. i j It is likely that some buildings still in residential use could be converted to com- mercial uses in the future; or that owners of residential buildings currently in com- mercial uses will want to make improvements to their buildings. If either of these should happen, it is important that the buildings' residential character be retained, since this character is such an important part of what makes Old Dublin visually attractive and desirable as a place to live and work. Recommendations 1. Avoid alterations to windows and doors on residential buildings used for com- mercial purposes. Retain existing residential-scale windows and doors. Old Dublin has many examples of residential-style windows that have been success- II fully used as commercial display windows. 2. Be sure that commercial signage is in scale with a building and that it uses a design and materials compatible with the building's design. Refer to the sign i City of Dublin, Ohio 49 guidelines for further suggestions, and the appendix for the Old Dublin Sign Guidelines. 3. Use signs as the primary means of indicating that a building has a commercial use. Avoid using incompatible colors (see the color guidelines) or applied materials to draw attention to the commercial use. ~ I 4. Any additions to buildings to accommodate growing businesses should respect the character and scale of the original building. Refer to the guidelines on addi- tions for a discussion of design considerations. 5. Think carefully about the location and size of mechanical systems. Rooftop equip- ment and ventilation hoods should be located as unobtrusively as possible. ~i Where feasible, try to locate such equipment somewhere else on the site instead of on the building. I!, I R~+ (Photos 58 and 59) Biddie's - Coach House at 76 South High r Street and Donato's Pizza at 6 South High Street are residential- form buildings adapted to com- menial uses. In both cases, the commercial conversions required minimal alteration, and the resi- dential character of each building still is readily apparent. ~~.+a, } ' ~ ~ ~f - / ~q I 1 (Photo 60, above) This origi- nal window at 76 South High Street is residential in design and proportion, but it serves well as a display window for the commercial use in the building. 50 Preservation, Rehabilitation, and New Construction Guidelines ' Doors and Entrances ~ Because they were built over a long period of time, Old Dublin's buildings have ' many different kinds of doors and entrances. They include deeply recessed paneled doors, without glazing but with simple transoms, found in some of the earliest hous- - ~I es; ornate paneled and glazed doors from the late 19th and early 20th centuries, often with full sidelights and transoms; simple glazed or unglazed wood doors and ' plain entrances in early 20th century vernacular houses; and solid or hollow-core wood doors typical of mid-20th century Ranch houses. Doors and entrances often are major architectural elements because they are a focal point in the design of a building -the point at which one enters and leaves. Some architectural styles, such as the Federal style, treat doors and entrances very plain- ly, with little or no ornamentation or anything else to draw attention. Other styles, ~I especially later in the Victorian period, drew attention to doors and entrances ~ through use of carved and paneled wood doors; sidelights and transoms, sometimes with frosted or colored glass; and entrance ornamentation such as columns, pilasters, brackets, and other elements. This focus of attention on doors and li entrances continued through the Colonial Revival style period in the early 20th cen- tury. From that point on, however, doors and entrances became much more simple in both residential and commercial buildings. In the period after World War II, 'i doors commonly had little or no glazing, and entrances were little more than unor- namented rectangular openings. u s ~ ~ a ~i ~t: t - (Photo 61, left) By the late 19th century, glazing in entrance doors had become common. In addi- tion doors themselves were much more ornate than in the past and had become design elements in themselves. The tight dimensions of this entrance at 22 North High Street made it impossible to use sidelights, but there is just enough room for a narrow transom above the door. (Photo 62, right) This entrance dates from around the middle of the 19th century and is typical of that period. The entire entrance is more heavily ornamented and is much more prominent than earlier ones. The door still is without glazing; it is flanked by sidelights and surmounted by a transom. The wood storm door is an early 20th century element that blends well with the earlier components. - - City of Dublin, Ohio 51 Whatever the era of a building, the original design intent of both primary and sec- ondary doors and entrances should be respected. Recommendations ~ 1. Avoid removing historic doors or entrance eleme~its. Major alteration of original doors and entrances should not be made, since such work can significantly change a building's character. This is true for both primary and secondary entrances. Deteriorated or damaged elements should be replaced with new ones that match the originals as closely as possible. ~ 2. If interior alterations make an existing entrance redundant, do not remove the door and entrance. This could cause a major change in a building's character. A more appropriate approach is to leave the door and entrance intact on the exte- rior while covering it over with drywall or other material on the interior. 3. Avoid treatments that attempt to "dress up" a door or entrance or give it a char- acter it never had. Applied ornamentation, window glazing using stained or pat- terned glass or creating amulti-paned effect, and salvaged older doors of inap- ~ propriate design all can change the character of a building. 4. Retain any surviving historic stone doors; these typically were made of wood and had one or two areas of glazing which sometimes could be removed and replaced j with screens during the swnmer. Such doors usually are either original to a build- I ing or were designed to be compatible with the building's architecture. When installing new storm doors, select ones of simple design and made of wood, if pos- ~ Bible. The most appropriate design is one with afull-height glass section that er- ~ P I~ mits viewing the main door. Avoid storm doors with decorative features such as scalloped window edges, strap hinges, or "crossbuck" designs. Choose a color I compatible with historically appropriate colors already on the building. ~ s. (Photo 63) The house at 109 South Riverview Street has a traditional early I 19th century entrance and door. There is a small transom without sidelights; the six- ~ panel door has no _ glazing; and the entrance trim is paneled and is deeply recessed to accommodate the ~ thickness of the brick wall cF, t _ I 52 Preservation, Rehabilitation, and New Construction Guidelines _ _ _ _ _ (Drawing 4) Ai'I'1ZOp1ZIATE D001Z STYLES WOOD PANEL DOO1Z5 TRANSOM (GLASS) ~ #T4 .iih' PATTERN OF STORM/SCREEN DOOR REPEATS PATTERN OF DOOR STORM/SCREEN DOOR SIX PANEL DOOR FOUR PANEL DOOR CKAFTSMAN STYLE DOOSZ STORM/SCREEN DOOR ALIGNS WITH FRONT DOOR - - _ ~ ~4 ~ w d _ ~u A l'i: r s t'!f~'"~J rtrj t~ _Sf. }I t ~ i WOOD DOOR STORM/SCREEN DOOR _ _ City of Dublin, Ohio 53 GLASS DOOtZS TRANSOM (GLASS) k PATTERN OF STORM/SCREEN DOOR - ~ REPEATS PATTERN OF DOOR - it . R IM FULL-LIGHT DOOR STORM/SCREEN DOOR HALF-LIGHT DOOR k< - _ _ _ - - - _ _ 54 Preservation, Rehabilitation, and New Construction Guidelines Porches Porches were important features on many Old Dublin houses. They did not become common architectural elements witil about the mid-19th century, and since then they have played both ornamental and practical roles. Some porches were very simple, consisting of just a stoop and a handrail at the fi-ont entrance, sometimes with a roof or canopy and sometimes not. These could date from any period and in Old Dublin can be found on some of the oldest and some of the most recent houses. III From the mid-19th century until well into the 20th, porches often were major archi- tectural elements that could be considerably more ornamented and decorative than the house itself. Lathe-turned and saw-cut colmnns, panels, brackets and other ele- ments became common on many porches. In the 20th century, from about 1915 on, porches generally were simplified and j more integrated into the design of the house. In this period, simple square or - taperedcolumns became common, as did simple paneled handrails or handrails with balusters and rails. It was common to find such porches built onto older houses that 1 orches had been removed ~ either did not have porches originally or where ongma p and replaced. In some cases, 20th century porches were recessed under the slope of the roof or into the mass of the house, thus making the porch much more an integral part of the house's design rather than an added-on feature. This form of porch was particularly common on Bungalow and Craftsman style houses. Recommendations 1. Retain original porch elements as much as possible; try to duplicate them in kind if they are damaged, deteriorated, or missing. Avoid removing original elements such as turned columns, decorative elements, or tongue-and-groove ceilings. Wrought or cast iron supports should not be used to replace original porch columns unless such iron elements were part of the original design; the same is true for wrought iron railings. 2. Because many porches project out from the wall of a house and are very exposed to the weather, watch for signs of deterioration due to moisture: streaking or staining; mildew or dry rot; and moss growth or peeling paint. Be sure there are no gaps or leaks in the flashing at the point where the porch roof abuts the house wall; and watch for overflowing gutters or leaking downspouts that might spill water onto porch elements or into the porch's foundation. 3. Avoid enclosing porches to create permanent interior space. This alters the open character a porch is intended to have and effectively moves the building wall for- ward from its original plane. Such work also often results in loss of or damage to decorative porch elements which are an important part of a house's architectural character. See the guidelines on additions when adding space to a building. _ _ - City of Dublin, Ohio 55 4. If a porch is to be added where one is missing or where there has not been a porch in the past, use a simple, contemporary design. Observe the characteristics ~ of original porches on similar buildings -height, materials, roof slope, width - I and use these to develop a design. Avoid ornamentation such as spindles and j scrollwork unless they were traditionally used on the porches of similar buildings. I i (Photo 64) The ornamental porches on the building at 75 ~ - ia:_..._ Y_ - _ South High Street are impor- ~ tant design elements. The porch design, here visible on ' the rear wing porch, includes shaped columns and scrollcut t ornamentation. Porches like this became common from the mid-19th century on. !t ~ - ~ J. (Photo 65) Modest late 19th ~ ,1 ~ _ P •Y x century houses with little deco- ~ ' rative treatment often had , ornamental porches that added a focal point and imparted a sense of distinction. This home ~~.1 at 55 South Riverview Street is ~r a`4w, a good example. It has only small amounts of scrollcut trim but sports lathe-turned columns and spindles. It is important to retain features such as porches as part of a building's character. - (Photo 66) Early 20th century porches generally were simpler . r in design than those of the late 19th century, but they still _ ~ were important design ele- ments that added character - - and visual interest to the hous- ` es they adorned. The porch at - _ ' 45 North High Street is an ~ example; the house is very - ~ unassuming but has a strong presence along the streetscape l because of its front porch. f7:,,~ ~ ;.~R - - - 56 Preservation, Rehabilitation, and New Construction Guidelines Windows Windows are important elements in a building's design, and different architectural styles have placed varying emphasis on them. This variation can be seen in Old Dublin, where there is great variety in windows because of the great range of age in the district's architecture. Window design in part reflected changes in glass-making technology (see the sec- ~ tion on storefront windows). Houses in the Federal style, for example, used multi- paned windows in designs such as 6-over-6 or 9-over-9 because glassmakers at the time (before 1850) could make only small pieces of glass suitable for window use. As the technology of glass evolved, large panes could be made, so later styles such as the Italianate and Queen Anne styles (from the 1850s to the end of the 19th cen- tury) employed windows with 1-over-1 or 2-over-2 design. Late in the 19th century, large single panes became available, and these often were used in Queen Anne style ~ , , houses. Early 20th century styles often had amulti-paned upper sash and asingle- pane lower, and styles such as the Colonial Revival went back to traditional multiple panes in both sash. Virtually all of these traditional windows were double-hung: two ` separate window sash sliding in parallel tracks. The upper sash was placed outside v of the lovt~er sash, and they overlapped at the meeting rail, which provided a weath- er seal. ' Sometimes older buildings received new window sash, usually because the originals had deteriorated beyond repair. The new window sash usually were designed to fit into existing frames. For this reason, Federal style houses, for example, could occa- sionally be found with 1-over-1 or 2-over-2 sash, or early Italianate houses might be ; updated with 1-over-1 sash, replacing original 2-over-2 or 4-over-4 windows. Ornamentation or trim around the windows varied with style, too, but usually was left in place during window replacement. Victorian-era buildings, from about the 1850s until the turn of the 20th century, usually had the most ornate window trim, which took the form of carved stone lintels and sills; stone, cast iron, or sheet metal hoodmolds; and sometimes full window frames of wood, stone, or sheet metal, which projected from the face of the building. Much simpler and less ornamented trim was used before the Victorian period and in the early 20th century. Recommendations 1. Retain and repair existing original or older windows. Because they are so numer- ous and so-highly visible, the windows are a major part of a building's character. i Keeping them is one of the most important ways to protect that character. Even non-original windows may be of sufficient age and design quality to warrant their retention. Repair should be in kind, duplicating the material and design of the original pieces. The historic glass that survives in many old sash is an important element in a building's character. Retain historic glass and protect it carefully when v;~indows are being repaired. City of Dublin, Ohio 57 2. If windows are extensively deteriorated, replacement may be justified. Only the deteriorated windows should be replaced; avoid removing any that are still repairable. Replacement windows should duplicate the appearance of the origi- ~ nals as closely as possible in number of panes, dimensions of sash members, and 'I profile of sash members and muntins. Use the same material, usually wood, as was used in the original windows; avoid vinyl- and aluminum-clad wood replace- ment windows. The new windows should simulate the operating characteristics of ~ _ the originals. If the originals, for example, were double-hung, the new «dndows should look the same, even if only the lower sash opens. 3. Use real through-the-glass muntins; not sandwiched, applied, or snap-in artificial muntins. ~ 4. Avoid enlarging or downsizing window openings to accommodate stock replace- I~I ment window sizes. Window manufacturers are more numerous and more skilled ~ than in the past and should be able to make windows to fit the openings. ~ 5. To increase energy efficiency of existing windows, consider interior or exterior storm windows. These should be either a single pane or, if they have an upper and a lower pane, the division between the two should be at the meeting rails of the original windows. Some windows may already have historic storm sash, and these should be repaired and retained. 6. If window sash no longer contain historic glass, consider re-glazing existing sash ` with insulated glass units. This is not possible in every case, but often the sash frame and muntins are thick enough to accommodate insulated glass, which can w. be as thin as 3/8 of an inch. Use only clear glass. 7. For new buildings or new additions to existing buildings, use wood ~~~indows, I especially when they are located close to a sidewalk or other public way. In less conspicuous locations, wood windows clad in vinyl or aluminum are acceptable, but all-alumimm~ or all-vinyl windows are not. (Photo 67) Window sash often were shaped to fit the ' ~ _ opening in the wall, as in this example at 29 South High Street. The two-over-two window has an arched upper sash and a rectangular lower one. I y l ~ a ~ 4 _ _ ' ' S8 Preservation, Rehabilitation, and New Construction Guidelines (Photo 68) This simple historic window is at 76 South ` High Street and is an excellent example of mid-to-late I~ 19th century window design. The distinct offset between - the upper and lower two-over-two sash indicates that ~ the sash are double-hung -each can slide up and down in its own track. i i i , I~~ 4 i` s_ c (Photo 69) Windows are extremely important compo- j vents of a building's design. In the building at 54 South High Street, the windows are especially impor- I taut because of the building's modest scale and its location right at the edge of the sidewalk. This six- il over-two double-hung sash window is a hybrid of ear- lier and later 19th century window types. j ' ~ I; (Photo 70) As the 20th century pro- ;~r~--_. lip gressed, window-makers moved away - - - ~ _ from traditional designs and tried new approaches. This corner window, located on a postwar house on . Franklin Street, is a modern wrap- around design. It also has vertically hinged panels that open for ventila- tion, an ancient window design known as a casement - _ _ _ - _ - _ _ r_ City of Dublin, Ohio 59 r - (Photo 71) This window, in a dormer at 182 South High Street, is a good example of an appropriate new 4 ~ window. It has true muntins, it employs traditional 19th century proportions, and it has operable sash of appro- priate profile and thickness. ~ r . _ I ~ (Photo 72) Traditional wood storm windows usually ' e were designed for compatibility with the buildings on which they were installed. This example at 63 South High Street is a good illustration. Note how it fits snugly in the opening, and how the cross piece of the storm ' window falls at the meeting rails of the upper and lower t sash of the window. ~7 s ? s ~ - _ ~ _ _ _ _ 60 Preservation, Rehabilitation, and New Construction Guidelines__ _ _ u (Drawing 5) DOUBLE-GLAZING AN OLD WOOD WINDOW L I STEP 1 ~ ~ 1 irlrE~lo~ ~ i EXTERIOR / . EXISTING, SINGLE GLAZED WOOD WINDOW SASH STEP 2 , ~ REMOVE SINGLE- ~ PANE GLASS I ROUT OUT WOOD SASH TO ACCOMMODATE '~j. ~ 2 PANELS OF GLASS. REPLACE WOOD cC: ~ BEAD IF NECESSARY ,1NTEP.IOK r J EXTERIOR ~ ;~.=i i f``/~ ~ ci~i ~ ~ / I STET' 3 REMOVE EXTERIOR INTEF'JOP GLAZING BEAD EXTERIOR ~ J j INSTALL DOUBLE GLAZING / NEW GLAZING BEAD'~~ I ~I I --_I--- _ _ _ _ City of Dublin, Ohio. 61 (Drawing 6) WOOD WINDOW IZENOYATION ' REPAIRABLE WOOD WINDOW CRACKED, CHIPPED PAINT BROKEN GLASS CAN BE REPLACED, CAN BE SCRAPED, SANDED ` SOME WOOD WINDOWS CAN BE AND REPAINTED DOUBLE-GLAZED ~ { ~ ( BROKEN STOPS CAN BE a REPAIRED OR REPLACED ~ i I er SEPARATED SASH JOINTS ~ CAN BE GLUED & REPAIRED GLAZING BEAD CAN BE REPLACED WITH NEW GLAZING PUTTY e WOOD WINDOW BEYOND REPAIR WOOD SASH HAS SOFT SPOTS, PARTICULARLY ~ ' AT JOINTS r 1_ ~ ~i. DRY ROT HAS "EATEN INTO" THICKNESS OF SASH 62 Preservation, Rehabilitation, and New Construction Guidelines (Drawing 7) COMPONENTS OF A TRADITIONAL DOUBLE-HUNG WINDOW INTERIOR PLASTER STRUCTURAL WALL INTERIOR WOOD TRIM WOOD STRUCTURAL LINTEL STOPS MASONRY LINTEL • n f L UPPER SASH ~~TF '~~t; r~. MEETING RAILS ' \ y / t LOWER SASH r w WOOD BRICK MOLD 1~ 2 #x .f , ~~w EXTERIOR WOOD SILL ~ t.:y;;~, 4 * I.~ n~ INTERIOR WOOD SILL { EXTERIOR MASONRY SILL i ~I i - _ _ _ - _ - - City of Dublin, Ohio 63 Canopies and Awnings Awnings traditionally were used for two purposes: at window openings on houses to keep down the interior heat in the swnmer; and on commercial storefronts to pro- vide both shade and weather protection for the storefront and for people walking along the sidewalk. Upper floor windows on commercial buildings, too, often used a awnings for shade. Awnings typically were made of canvas or similar heavy fabric and were mounted on metal pipe frames. Both residential and commercial store- front awnings usually could be rolled up or retracted. Canopies were attached to buildings to provide similar protection from sun and weather, but they were permanent and were fixed in place (awnings often were removed entirely during cold weather, especially on houses). Some canopies were original elements, particularly on houses, where they sometimes were used to steel- ter an open stoop. Recommendations 1. For residential or commercial buildings in Old Dublin, fabric awnings are an - appropriate treatment, but they should have a matte rather than a glossy surface. Avoid fixed, permanent canopies unless it can be shown through research that a building had one in the past and that the canopy design was compatible with the original character of the building and the district. 2. Each window or door should have its own awning, rather than a single full-width awning covering an entire facade. Pl (Photo 73) The building at 22 North High Street has a M good example of an appropriate contemporary awning. I Note how it provides shade while concealing as little of '`pM the window as possible, and how it is sized to fit only the window opening. r ~ 'll c' ;~.y ,.~a AT. ~ ~ ~P' -_I-_- - _ _ - ~ 1!F x 64 Preservation, Rehabilitation, and New Construction Guidelines 3. Use a traditional flat, sloping awning. Avoid rounded or "bullnose" awnings, except at round-headed window openings, where the rounded awning shape is appropriate. 4. Awning color is important. Manufacturers can provide durable, long-lasting fab- ric for awnings in a wide range of colors. Make awning color(s) compatible with historically appropriate colors used on the building, but avoid overly ornate pat- terns and too many colors. A simple pattern using no more than two colors is usu- ally the most appropriate. I (Photo 74) The contemporary ~f;~" II storefront at 52 South High ,,r°" Street is shaded by a commer- cial-style awning of appropriate ~ ~ l shape, size, and scale. It covers ~ the entrance and display win- ~ _ doves but not the entire build- ing facade. I IInn L ; o. F~ ~ , I (Photo 75) Arched awnings i are a traditional shape appro- ' ~ priate for side or rear ~ _ L entrances, as in this example ~ on South High Street. For ~ entrances along the sidewalk, ~ however, only flat, sloping awnings should be used. y , ' I - I I , • - - j I~' i - City of Dublin, Ohio 65 Roofs, Gutters, and Downspouts The roof, gutters, and downspouts are an integrated system designed to collect and remove water from a building as quickly as possible. In addition to this practical pur- pose, these elements are highly visible and thus are important components of a build- ing's visual character. Old Dublin roof materials vary, but standing seam metal and asphalt shingle roofs are most common. Standing seam metal roofs are extremely durable and have been in use in Ohio since before the Civil War. Some metal roofs in Old Dublin probably are replacements of earlier materials such as wood shingles or even slate, but standing seam ' roofs have a long tradition in the district. Asphalt shingles, and those of similar materi- als such as fiberglass, usually are a modern replacement of an earlier material, except on more recent buildings, where they may be original. Patterned slate is a common roofing type in Ohio from the mid-19th century on, but it is rare in Old Dublin. Wood shingle roofs were a common early type of roof, but because of fairly rapid deteriora- tion most were replaced long ago. Examples in Old Dublin are of fairly recent date. Most Old Dublin buildings have gutters to catch water as it flows off the edge of the roof. Gutters typically appear in two designs: half-round, where the gutter forms a semi-circular trough suspended on straps or wires that run under the roofing material; or "ogee" gutters with a flat back and an-S-curve front profile, usually attached by long ~ nails to a vertical fascia board below the edge of the roof. Gutters usually are made of either painted galvanized metal or aluminum with afactory-applied paint finish. Downspouts are usually round or rectangular in cross-section and drain directly out of the bottoms of the gutters. They usually are attached to the wall of the building, and at ground level they drain either into underground drain lines or onto splashblocks which direct the water away from the building. Dormers and skylights are common building elements that create interruptions in the ' roof surface. When properly built and maintained, these elements are usually problem- . free. They can, however, catch leaves and branches and create a debris pile that retains moisture, and they require flashing to provide a moisture seal where they penetrate the roof. Flashing, which usually is made of sheet metal, is part of the roof at dormers and skylights and also at chimneys. It extends from the vertical wall of the projecting ele- ment down to and under the roofing material to provide a waterproof seal. Valleys, where different roof angles meet, usually are lined with flashing under the roofing material. ~ All~arts of this water removal system must be in good condition or they cannot do their job. Get in the habit of inspecting the various parts on a regular basis. It is not neces- sary to climb gladder - a look at them from the ground or the attic, especi<~lly when it is actu<illy raining, can provide some quick clues about possible problems. Water I should drain quickly from the roof; there should be no open joints or loose pieces in any flashing; all the water should be collected by the gutters; and the water should drain out of the gutters through the downspouts. 66 Preservation, Rehabilitation, and New Construction Guidelines Recommendations it 1. Watch for possible roof problems. Are there any bulges or dips in the roof? Older roofs often have some of these simply from age, but such areas can cause open joints in metal roofing or can lift shingles to the extent that water gets in; they bear special watching. Interior stains around chimneys, dormers, and skylights usually indicate a flashing problem. 2. Repair and retain existing traditional roofs such as standing seam metal or pat- terned slate. These have a long history of use in Old Dublin and are an important part of the district's character. New standing seam roofing materials are available, and they do a good job of matching the design and character of old roofs. Traditionally, metal roofs were painted to avoid rust, with red and black the most common colors, although green also was used. I~, 3. In re-roofing a building that currently has asphalt shingles, keeping it simple is usually the best choice. Avoid staggered-butt or other shingle patterns that try to create an older look. A medium gray color generally is appropriate for asphalt _ shingles on an older building. For newer buildings originally roofed with asphalt shingles, use medium gray replacements unless the original color is known. (Photo 76) The standing seam 'rti metal roof at 83 South Riverview Street is typical of .,.F numerous similar roofs in Old Dublin. This type of roof has a long history on all kinds of `t # buildings. ~ b k r (Photo 77) Though less com- e mon than other roof materials - in Old Dublin, original pat- terned slate can still be found. It adds measurably to the char- acter of a building and to the visual quality of the historic dis- trict. This example is at 35 South High Street. City of Dublin, Ohio 67 4. Keep an eye on the gutters, too. Are they catching the water pouring off the roof, or is water overshooting the gutters or dripping down behind them? Are the gut- . ters overflowing at any point? This could be caused by accumulated plant debris, or by a sag or low spot where the gutter supports have failed. Have the gutters twisted or bent due to a heavy load of snow or ice? ~ i 5. Watch for signs of peeling paint, stains, or moss growth near downspouts. This could indicate an obstructed downspout where water leaks out through a joint, M or one with an open seam due to freezing of accumulated debris inside. j G. If the downspouts don't drain into underground lines or onto a splashblock, be ~ sure there is an extra "elbow" at the outlet, directed away from the building's foundation. This will help prevent moisture from soaking down into the founda- tion or up into exterior wall materials. 7. When replacing gutters or downspouts, duplicate the existing as closely as possi- ble. If a building does not have gutters and downspouts and is to have them installed, choose a design and color compatible with the design and color of the building. (Photo 78) Although repair ` and retention of historic roof materials is strongly preferred ' for historic buildings, asphalt shingles are appropriate for ' new construction. When his- toric roofs are beyond repair, l asphalt and similar shingles ` { ~ can be suitable replacements, as on this house at 106 South High Street. i p.,,~. (Photo 79) The building at 167 South High Street has an intact traditional system for catching and removing water: a pitched roof in good repair; gutters along all the eaves; and x downspouts to carry the water from the gutters. Gutters and downspouts must be carefully sized to handle the amount of water the roof collects. In addition, downspout elbows such as the one shown, which is necessary so the n~~ downspout can be attached to the building wall, can fill with leaves and debris and should be watched for trouble. r, 68 Preservation, Rehabilitation, and New Construction Guidelines (Drawing 8) GUTTEf~ TYPES HALF-ROUND GUTTEK OGEE GUTTER _ - ~ity of Dublin, Ohio 69 Outbuildings ~ i Outbuildings in Old Dublin include garages, sheds, and barns. Traditionally used for ~ storage and other secondary functions, they have long been important elements of the alleys and the rear ends of lots in the district. Varying in age from quite old to fairly recent, Old Dublin's outbuildings contribute to the area's character as part of the streetscape. Care of existing outbuildings and construction of new ones are important considerations. Outbuildings traditionally were of frame construction and modest in scale. Sometimes they were designed with architectural features similar to those on the houses they accompanied, but more often they were independent structures with t- their own designs. Common exterior materials included wood shingles, beveled sid- ing, and board-and-batten or flush siding. The barns in old Dublin are rare reminders of the community's rural heritage and are worthy of special efforts to ensure that they and their open settings are preserved. (Photo 80) Old Dublin's out- buildings vary widely in size and function. This example, _ located at 37 North Riverview ~ Street, was built to house vehi- cles. Note its lean-to rear wing and standing seam metal roof. M (Photo 81) Behind 181 South High Street is this unusual out- building, probably built as a 1 ~ " chicken coop. fts exposed 'j rafters, double-pitch roof, and numerous windows give it a "u; , strong character. N . ti j } ~;q i,. _ 70 Preservation, Rehabilitation, and New Construction Guidelines Recommendations 1. Make every effort to retain and repair original outbuildings such as garages, sheds, outhouses, and barns. These structures add variety and character to Old Dublin, and their loss would affect the district's character. 2. When outbuildings need repair or replacement of deteriorated elements, use new materials that match the old as closely as possible. Avoid modern materials that are incompatible with the original designs of these structures. i 3. Newly-constructed outbuildings should use design cues from older nearby struc- tures. This means using forms, massing, roof shape, roof pitch and height, mate- rials, window and door types, and detailing similar to those found on nearby his- tonic or traditional outbuildings. The goal should be to create a new building com- patible in appearance with those already in the district. New Construction Successful design of new buildings in an existing context requires a lot of creativity, and the most successful designs are contemporary in character. However, they take important design cues from what exists around them. i Old Dublin's unique character has already been noted; it is a blend of buildings, spaces, landscaping, street patterns, and other elements that has grown over time and is not duplicated anywhere else. New buildings in the district should be ~ designed to fit into this strong existing context. The most appropriate designs for I new buildings take account of the context and make an effort to respect it and fit in ~ visually. This should not be interpreted to mean that new buildings should try to look old or should assume a historic character they never had. It also does not mean that j there is no room for contemporary design or creativity. Old Dublin has several buildings of recent date that are integrated successfully into the character of the dis- ~ trict_ ' The following standards can help guide the process of design for new construction, but it is important to remember that each project is different. The Architectural Review Board is required to review all new construction proposals in Old Dublin for compatibility with the existing historic setting. All applicants for new construction approval should be prepared to show that they have taken account of the New II, Construction Standards during the design process. I I City of Dublin, Ohio 71 (Drawing 9) w NEW CONSTRUCTION PORCH ROOF HEIGHT ~ ALIGNS WITH THOSE OF ADJACENT HOUSES PROPERTY LINES ` ~ n. EAVE/HEIGHTALIGNS WITH AD,y,4CENT HOUSES' EAVES i ti. EXISTING HOUSE SETBACK FOLLOWS STREET WETBACK NEW HOUSE IS BROKEN UP INTO SIMILAR SIZE PIECES ~ C Fx/S ~ ~ ~ Tjt,G w/~Tyy~USF B NEW HOUSE EXISTING ° SF S F ~ C SETBACK /D TB9~'fs FQ~ -4 D 9~S yOUSFwp/Ty't'G B EXISTING HOUSE ~ F~SQ~glS ~ ~ EXISTING HOUSE SFTS/B Nc F~/ T ,q IS BROKEN UP INTO B,y F S /,yG, SMALLER PIECES c'YS ~/OTH OUSE _ ~ - - 72 Preservation, Rehabilitation, and New Construction Guidelines_ New Construction Standards 1. Placement and orientation on the lot: Old Dublin buildings typically are free-standing but closely spaced along the street. Some buildings along the east side of South High Street have shared or abutting walls typical of more tradition- al downtown commercial areas, but the free-standing structures are more com- mon. Appropriate placement and orientation for a new structure will vary with location, but the design should resemble the placement and orientation of adja- cent structures. The design should also follow the same setback as other build- ings, which also varies with location. 2. Scale and proportion: Scale refers to the size of a building in relation to that of a person. Old Dublin is distinctive in part because of its unusually intimate scale: nearly every building has a small, pedestrian scale that is inviting to people. ~ Proportion is the relationship between a building facade's width and its height, and it has an impact upon the building's sense of scale - a building with strongly vertical proportions will impart a different feel from one with a lower profile. Any , new construction should be designed with a sense of scale appropriate to that of I Old Dublin, with proportions carefully controlled. The most appropriate approach is to study existing buildings in the district and to try to achieve similar proportions and sense of scale. This may, for example, require designing a build- ] ing in a series of smaller masses rather than a single large form. 3. Height: Buildings in Old Dublin do not exceed two stories in height at the street grade, and many are only a single story. In designing a new building, observe typ- ical nearby building heights; try to use a similar height, but in any case don't exceed ttvo stories. 4. Materials, textures, and colors: New buildings should use traditional Old Dublin materials (see the guidelines on exterior materials) such as wood, brick, and stone. This will help ensure that new buildings have an appearance and a visual texture compatible with what already exists. Color, too, should be selected according to traditional color use (see the guidelines on color) and also should be compatible with the color(s) of the new building's materials. 5. Massing, form, and roof shapes: Massing refers to how the basic shapes of buildings fit together. Most Old Dublin buildings have fairly simple massing, gen- erally plain rectangular shapes used either singly or as intersecting blocks. Some buildings from the later Victorian period have more complex massing consisting of multiple overlapping blocks. Appropriate: new building designs should use massing similar to that in adjacent and nearby buildings. Form grows out of mass- ing and refers to the kinds of massing typical of various architectural styles or building types. Federal style buildings, for example, are almost always rectangu- lar in form, while gabled ell structures have an L shape. Form can be affected by later additions. As with massing, new buildings should employ forms typical of Old Dublin and appropriate to the building site. Roof shapes in Old Dublin are primarily in a gabled form, with an equal slope to either side of a central ridge. Cross gables, intersecting gables, and shed roofs provide variety, and there are i City of Dublin, Ohio 73 ' - - ~ some examples of a modified gable known as a hipped roof. New building designs should employ roof shapes such as these. 6. Rhythm of openings: In any architectural style or building type, door and win- ~ dow openings have certain patterns. The spacing of these openings in a building wall is known as rhythm. Note that both symmetrical and asymmetrical buildings can have similar rhythms of openings. Old llublin has a variety of rhythms due to the age range of its architecture. Designs for new buildings should employ rhythms of openings similar to those in adjacent and nearby buildings. ! 7. Window-to-Wall Ratio: This refers to the amount of window surface in relation to the amount of wall surface in the facade of a building. It varies with abuild- ing's age, style, construction type, and use. For example, Federal style stone hous- N es have a low window-to-wall ratio because stone construction requires massive walls with small openings, and window glass was relatively scarce and expensive in the Federal period. ~ k. In the later Victorian period, by contrast, frame construction and readily-available large panes of glass meant that buildings could have a much higher window-to- ! ~ wall ratio. j i Commercial buildings, because they typically had large display windows, usually had the highest window-to-wall ratio of any building type or style. In planning i new construction in Old Dublin, it is important to observe typical window-to-wall ~ ratios for the form, style, or type of building being planned. i Additions If permitted by the Zoning Code and by lot size and shape, a building addition can j ~..E~. provide needed extra space for a home or business. Because an addition can have a significant impact upon the character and appearance of an existing building and upon the Old Dublin district, the design must be developed carefully and should take account of the following considerations. I Recommendations • 1. Materials should be traditional ones used in Old Dublin for historic building addi- tions. The new materials do not have to match those in the original building - a frame addition with beveled siding is appropriate for a brick building, for exam- j ple. Avoid materials that are not typically from the mid-19th to the early 20th cen- j tury, such as concrete block, rough-sawn siding, or logs. Brick, stucco, and beveled siding or board-and-batten all might be appropriate, depending upon the material in the original building. Although stone was a historic building material, it typically was not used for additions and should be avoided. - _ - _ _ - 74 Preservation, Rehabilitation, and New Construction Gui e mes _ 2. An addition should be subordinate to the original building. It should be obvious which is the original building and which is the addition. The most common way to do this is to keep the addition smaller in scale -its height and roofline should be below those of the original building, and the windows should be somewhat I smaller than the original building's windows. 3. An addition should be located toward the rear of the original building, keeping i ~ the appearance of the original as unchanged as possible. If space needs or of con- e ditions require that the addition be placed farther forward, keep the facade of the addition set back from the original facade. Provide a break or reveal between the original building and the addition so it is apparent that they are two separate structures. ~I 4. Avoid trying to duplicate the original building's architecture and design in the addition. The addition should take its major design cues -form, massing, roof shape, window proportions and spacing, door types, and level and kind of orna- ~i mentation -from the original building, but it should be a simplified contempo- rary structure. Consider simplification of or slight variations from design ele- ~i menu in the original building. This will help avoid the creation of a false " lis- toric" look for the addition. ~I 5. Roofline additions such as dormers, skylights, or penthouses should be avoided in Old Dublin. The close spacing and modest scale of most of the buildings can mean that these kinds of additions result in so much change that a building's char- to lace them re essential t 'ins a is adversel affected. If such addit o ry P acter y ' ibili is minimal. S li hts should toward the rear or along a rear slope where vis ty ky g be flat and low in profile. (Photo 82) The rear wing at ~ 76 South High Street is a good - illustration of how additions ~ ~ . ~ ~ - should be designed. The wing ~ ~ _ _ is placed along the rear eleva- tion; it is built of traditional I materials; and it is clearly sec- . ondary to the main structure. II _ _ _ _ City of Dublin, Ohio 75 (Drawing 10) RECOMMENDED ADDITIONS i ADDITION IS LOCATED AT THE REAR OF THE HOUSE j GABLE ROOF ADDITION IS SHORTER AND FOOTPRINT IS SMALLER MATCHES MAIN THAN MAIN HOUSE ROOFS SHED ROOF IS DIFFERENT THAN ROOFS ON MAIN HOUSE r~~ ~~~4 WALLS OF ADDITION ARE SET BACK FROM WALLS OF MAIN HOUSE _ ~ ADDITION IS LOCATED AT THE SIDE, TOWARDS THE ADDITION IS LOCATED AT THE REAR OF THE HOUSE w REAR OF THE HOUSE ADDITION IS SHORTERAND FOOTPRINT IS SMALLERTHAN MAIN HOUSE u I s~ ~ F ti .REAR u_ • 4; ' 4,N REAR %~~L' w . ~ rrr _~r., FRONT ~ ~ l~ y%~r> -r~` FRONT w~ WALLS OF ADDITION ARE SET BACK ADDITION IS SET BACK FROM THE'FRONT FROM WALLS OF MAIN HOUSE - - _ :u 76 Preservation, Rehabilitation, and New Construction Guidelines Site Considerations While the architecture is of prime importance in a historic district such as Old Dublin, building sites and how they are treated are also play a significant role. Among the reasons Old Dublin is such a pleasant area and has so much character are its well-maintained tree canopy and its excellent landscaping. These work together with other site elements such as natural landforms, street furniture, tradi- tional stone walls, and open lawn areas to create the district's sense of high quality. I, I, Recommendations 1. Landscaping and gardens: The City of Dublin has a Landscape Code covering ' landscaping for properties used for commercial purposes. Refer to this code before planning any commercial site landscaping. Also, think of landscaping as an important part of a building's site. A small amount of landscaping can have a pos- . itive impact, as is easy to see currently in Old Dublin. A small, well-executed and I -maintained landscaping area sometimes can have a much greater impact than a large one and is the more appropriate choice for the relatively small lots and open areas of Old Dublin. Plant materials should be traditional species found in the mid-19th to the early 20th centuries. See the appendix for soiree suggestions. 2. Fences and walls: The City of Dublin also has a Fence Code, which should be reviewed before any planning for fence construction goes forward. Fences and walls were traditionally used as boundary markers and for security or privacy and are appropriate for Old Dublin, as long as they are done in designs and materials I appropriate for the district. Consider using traditional fence and wall types. These might include low stone walls in the traditional, distinctive Dublin design; low picket fences, iron fences or, in back yard areas, board fences with straight or "dog-eared" top edges, and even rows of trees and shrubs. Avoid non-traditional materials such as concrete or "cyclone" fencing and avoid non-traditional wood ~ fencing designs like basket-weave, shadow-box, or stockade fences. Always use paint or an opaque stain on wood fencing, rather than leaving it natural. If pres- sure-treated lumber is used for structural elements, wait six months to one year before painting or staining. Avoid fences that are more than four feet high for side and rear yards. I . 3. Parking: Close spacing of buildings and lack of land in the heart of Old Dublin mean that parking lots cannot be easily created. In areas of the district where con- e ditions will permit creation of parking, though, consider placing parking at the ~ rear of the-site, or as far back along the side as possible. Avoid putting parking or ~ curb cuts in front of a building at the sidewalk. Try to reach parking from a side street or an alley rather than from the main street, and be sure that businesses identify the availability of public parking. The Zoning Code requires the screen- ! ing of parking with landscaping such as a low hedge; check the Code for specif- ic requirements. ,I I _ _ _ _ - - - - City of Dublin, Ohio 77 - 4. Decks and patios: Decks and patios should be limited to the rear of buildings in Old Dublin. Decks should be built of wood and kept low to the ground and covered with either paint or an opaque stain to match the color of the building or its trim. Patios may be constructed of concrete or brick. 5. Sidewalks and street furniture: Old Dublin has a pleasant system of sidewalks made of both brick and poured concrete, and well-designed items of street fur- niture such as benches, waste receptacles, planters, and street lights. Lack of space has dictated fairly narrow sidewalks, but this makes them compatible with ~ the scale of the buildings. The task facing Old Dublin is not so much planning for more of these elements as it is caring for what already exists and being sure that any replacements of existing elements are at least as compatible as the originals. Sidewalks should not be widened, and the current range of street furniture should be retained to the greatest extent possible. Few if any additional items should be added to the streetscape, because doing so could soon result in too ' many elements and too "busy" a look and feel, which is not appropriate. Outdoor displays fall in this category, too. They should be temporary in nature and appro- priate in size and design. To ensure that outdoor displays meet requirements, I check with the Planning Division of the City of Dublin, refer to the Zoning Code, and refer to the signage guidelines on page 84. ~ I (Photo 83) A careful combi- nation of site elements - side- , walks, stone walls, lawn areas, and plantings -has created an inviting and attractive environ- ment in Old Dublin. ~f ~I ~ ~ (Photo 84) Low stone retain- .,w ing walls can accommodate the grade changes found in Old Dublin. This example at 35 South High Street has created elevated planting beds on . either side of the entrance walk. rp ew _ 78 Preservation, Rehabilitation, and New Construction Guidelines (Photo 85) A snake fence, I ~ ~ ~ " ~ ~ ~ ~ traditionally used in rural areas, is reminiscent of Dublin's agri- ~ ~ s~~ ` ' cultural past. It is at the south ' end of the historic district at ' Waterford and South High. I i , c: r, II 'Ys'~ir I , ~ ~ , , ~ bj 9. _ ~ Vie'. ~ ° dr': ~ (Photos 86 and 87) The com- r ` menial property at 94 North High Street and the Columbus f ~ , Metropolitan Library branch ' y ' across the street both have j made effective use of landscap- ~ ~ ~ ing to screen large parking lots. i Deep setbacks and vegetative screening are very effective. r ~ i - • i ' ~ , _ `mow - Win.: ;f '~':y _ I! - _ _ _ I _ _ City of Dublin, Ohio 79 I i .-r 1 ":L iC a ,'1t~; Y. l~~ ~f ~ s,,. '!1' .fit ~ . y,.;, x z~r r~ f 't f (Photo 88) The color, pattern, and tex- (Photo 89) Historic elements of ture of the brick sidewalks in Old street furniture like this dated hitching Dublin add significantly to the character post should be retained as part of Old of the historic district. Dublin's streetscape. t ~ " ` ~ (Photo 90) Traditional fence ~ ,~r= types, such as this wrought , iron example at 91 South High Street, are appropriate for Old Dublin. This fence is of recent date but is compatible with the district in its materials, size, placement, and design. (Photo 91) Simple elements of street furniture, such as this bench at 58 South High Street, " make Old Dublin a pleasant and inviting place for pedestri- ans. . u~ _ ~ - .-~-y, t---, 80 Preservation, Rehabilitation, and New Construction Guidelines. Access for People with Disabilities The Americans with Disabilities Act (ADA) is a civil rights act meant, in part, to ensure that disabled people enjoy, as much as possible, the same access to buildings as people without disabilities. Both existing buildings and new structures are required to comply with ADA by removing architectural barriers to disabled people. Titles II and III of the act address physical accessibility requirements of publicly- owned facilities (such as schools or a city hall) and privately-owned facilities which are open to the public (such as stores, restaurants and some offices). i i ~ Title V, Section 41.7 of the act specifically addresses "Accessible Buildings: Historic ~,I Preservation." It provides some flexibility in meeting accessibility requirements I where such requirements would threaten or destroy the historic significance of the building in question. II Provisions of ADA apply even if an existing building is not undergoing a complete ~I rehabilitation. The need to comply with ADA already exists and is not triggered by a decision to rehabilitate. If in doubt about the applicability of ADA, or about the historic preservation provisions, contact a qualified architect with ADA compliance ~ experience. i Recommendations 1. Ramps or lifts sometimes are needed to provide the disabled access to a building, and these facilities can have a significant visual impact on the building. The location, design, and materials of such facilities are important. Whenever possible, these ele- ments should be located at side entrances to minimize impact on the main facade. The design of ramps and handrails should be simple and contemporary and should not try to mimic any existing handrails. Materials should be the same as or similar to those used in the building itself. Avoid non-traditional materials such as unpainted treated wood. Also avoid solid masonry walls, which can make a ramp much more visually prominent than it needs to be. Consider using a ramp of earth rather than one of wood or metal; it is sometimes easier to integrate an earth ramp into the site's landscaping. 2. If providing access to a building's front entrance is only a matter of overcoming a few inches' difference between sidewalk and entrance, consider re-doing a portion of the sidewalk so that it is sloped upward to overcome the height difference. In such a case, a handrail may not even be necessary. 4. Many materials and designs are available to help make a building accessible. For ramps, concrete usually provides the smoothest and most durable surface. Wood ramps can also be used but may require good design and more maintenance to avoid deterioration. Metal or wood railings both will work well, though wood handrails need regular maintenance so they do not weather and produce splinters. Designs City of Dublin, Ohio 81 must, of course, comply with ADA standards, but should also be kept as simple and unobtrusive as possible. 5. Consider use of a lift rather than a ramp, in some cases. Experience has shown that when the height to be overcome exceeds about three to three-and-a-half feet, ramps and lifts tend to cost about the same. A lift can be especially useful when space for a ramp is limited, or when the visual impact of a ramp would be too great. t (Photo 92) This crosswalk has a lowered curb and a band of brick pavers with projections that serve as tactile warning devices. Modest steps such as this can make Old Dublin more accessible for those with dis- abilities. 4. / ~ „r ,r ~ , ~4 ;~"''y 1~; 'S.~ ~ ':r (Photo 93) This ramp at 53 i ~ ~ North High Street illustrates u `;'a . how accessibility can be provid- ~ ~ ed even on a primary elevation. ~ ~ ' ` The vegetative screening and modest handrail result in mini- ' ~ ~ mal impact on the building's ~ character. , - I i - - - - - _ - a. i ~ro I ~ w~ r 82 Preservation, Rehabilitation, and New Construction Guidelines - i (Drawing 11) ACCESSIBILITY \ WARPED SLAB (FOR LEVEL CHANGES OF 6 INCHES OR LESS) STEPS COULD BE RETAINED AT THIS SIDE IF DESIRED \ ~q ~ij~ MINIMUM 5 ~S~tr ~ FOOTSQUARE b tv~~~3 ~r ~ ~ ~ PAD REQUIRED ~ ~K, . ~ ~ / AT DOOR k'fiy^` / ` ! ~ ~ , ~ F 1 MAXIMUM 61NCH LEVEL ~°9~~ ~ CHANGE (NO HANDRAIL F ` ~,r `#riw,-~ REQUIRED) ~ y , 'r~ +c q ~ S"`t z i ~I,f ~ ;:r. MAX. SLOPE:1 INCH RISE IN 12 INCHES OF LENGTH (8.333%) PORCH LIFT PORCH FLOOR GUT OUT TO AGGOMMODATE LIFT =gin , RETAIN RAILING, COLUMNS & SKIRT TO CONCEAL LIFT FROM FRONT OF STRUCTURE i ~ I ~ NEW PORCH LIFT I _ _ _ _ _ _ Cit of Dublin, Ohio 83 - _ - Y - - SLOPED WALK NEW WALK SLOPED FROM SIDEWALK TO PORCH C~ 1 FOOT RISE IN 20 FEET i ~ OF LENGTH (5% SLOPE) MAXIMUM \ K NO HANDRAIL REQUIRED ~ L;. ~ EXISTING STAIRS " ~;!`I ~ EXISTING WALK ti w, t~ t - - 84 Preservation, Rehabilitation, and New Construction Guidelines ~,y Signage Because Old Dublin is a f urly small area of modest scale and closely-spaced buildings, commercial Signage cup have a significant impact upon the district's character. The quality of designs and materials in commercial Signage are of prime importance. The City of Dublin's Sign Code governs such signage, and signs are also addressed in Section 153.183 of the ordinance establishing the Architectural Review Board. In addition, see the Old Dublin Sign Guidelines in the appendix for specific require- ' ments. The discussion and recommendations below will help guide signage design. Old Dublin, which developed over a long period from the early 19th century on, gen- erally did not have signage typical of a traditional downtown commercial district. The district had, for example, few commercial structures with large display windows or signboard areas above the windows, so large signboards or signs painted on glass were relatively uncommon. More typical were wall or projecting signs, small in scale, usu- ally painted directly on the building or on wooden signboards that could be attached to the building. These could be mounted flush on the building wall, but they also could be suspended out over the sidewalk, perpendicular to the building. I ~ Signage of this type persisted into the early 20th century, when electric lights broad- . j ened the visibility of signs: they could be seen after dark, and lights drew attention to signs that might otherwise~be overlooked. ~ In many signs developed from the 1940s through today, the lighting and the sign are ' indistinguishable. Plastics have permitted great flexibility, with the result that many commercial signs have grown ever larger in competition with adjacent signs, and inte- rior-lighted signs have become the most common type. Fortunately such signs have never significantly taken hold in Old Dublin, and the great majority of the district's signs are of traditional early- and mid-19th century design -wall signs, window signs, I and some post signs. Barber poles are among the most modern -not to mention most recognizable -signs in Old Dublin. Si na e of a size, scale, and desi compatible with Old Dublin's character is critical g g to maintaining the district's high visual quality. When considering replacement of existing or installation of new signage, look closely at some of the well-done signs in the district. The key to successful signage is to encourage diversity and creativity while ,I maintaining visual harmony through careful use of sign design, materials, size, color, and placement. As signs change with changes in building use, there is an opportunity to evaluate existing signage for modification. Appropriate signage takes its cues from j the historic character of the buildings and the streets but still effectively communi- Cates the image and the message of the particular business. The followingtypes of permanent signs, and methods of employing them, are appro- priate for Old Dublin: a. Wall signs: These are among the oldest type of signage, usually made of wood ~~.s separate panels and mounted flush against the building wall This type rem~uns popular today and is appropriate for Old Dublin. The best signs usually are the sim- plest, ones which avoid ornate ornamentation and lettering. _ City of Dublin, Ohio 85 ~~~~~i~ ! ~ ~ ~t (Photos 94 and 95) These projecting signs are modest in scale and have materials and designs appropriate to the buildings on which they are mounted. For both pedestrians and motorists, this type I of sign provides excellent business identification. b. rrojecHng signs: Traditionally used in a pedestrian environment such as Old Dublin, projecting signs are intended to make it easy for people on the sidewalk to ~ find a business. Usually mounted perpendicular to the building wall, these signs generally consist of a mounting bracket and a signboard which hangs from the bracket. For best visibility, projecting signs should be hung above head height, but not more than eight or nine feet above the sidewalk. The signs and supporting brackets should be simple in design and should avoid ornate details and lettering. c. Window signs: Another still-popular early form of signage, the window sign is ~ applied directly to glass, usually as individual letters. The sign is applied on the inside, to protect it from weathering and damage. The most popular window signs ,I are painted on or applied as decals; opaque wood signboards or other types of signs that obscure the window are not appropriate. Window signs usually are done in light colors -white and gold are typical - in order to have enough contrast to stand out against the glass. d. Awning signs: These are painted directly onto the fabric awnings that shelter many storefronts, on the hanging valance at the awning's edge. This type of sign works best when done in a single light color -usually white -that stands out against the color of the awning fabric, and when designs and lettering are kept simple and plain. e. Sandwich board signs: Usually hinged at the top, these self-supportingtwo-panel signs are placed on the sidewalk to draw attention to a business. Most sandwich board signs are painted wood; some are made in a "chalkboard" design that permits ~I changing of sign text. These signs, and the merchandise displays that often accom- pany them, should be temporary in nature, should be used during business hours only, should not impede traffic, and should be as small as possible. Confer with the Planning Division of the City of Dublin before placing any sandwich board signs or merchandise displays. Recommendations ! 1. Good quality designs with simple graphics and simple messages are encouraged. Although common geometric forms, such as a rectangle, square, circle or oval, are encouraged, other signage shapes may also be appropriate. Letter sizes and styles should be easily readable. Use of one letter size and one type style is best. Avoid painting signs directly on building walls. - 86 - - - - - 2. Choose sign materials that complement the architectural character of the district. ' Wood can be painted or carved; metal can be shaped, painted or polished; and can- vas can be used for awnings. Wood signs should be painted; natural wood in signs should be avoided as it was not traditionally used and would not be appropriate to the area's architectural character. Plastic is also discouraged as a signage material as it is incompatible with historic building materials. 3. New signage should always be pedestrian in scale. This means that the signage relates more to the sidewalk than it does to the street and is intended for viewing by people who are walking rather than driving. ~ 4. Temporary signs are sometimes necessary to announce sales or special events. Such signs must receive a permit from the City of Dublin's Division of Planning before installation. The signs should be kept small, time on display should be limited, and signs must be placed so they do not block the view of drivers on the street. 5. Colors for signs on or associated with historic buildings should be chosen for com- patibility with the age, architecture and colors of the buildings. Signs should be .readily visible but should avoid incompatible colors such as "hot pink" or "day- glow." All "fluorescent" colors are prohibited. Accent colors or corporate identity colors or logos can be used with restraint, but such colors should not dominate a sign, and logos should be kept as small and unobtrusive as possible. The color scheme on a sign should be simple, with a maximum of three colors on a single sign. 6. If signs are to be illuminated, lighting should be provided externally. Modern inter- nally-lit signs are not appropriate for Old Dublin. Lighting for signs should be of a traditional type such as shaded "gooseneck" fixtures or similar simple, plain incan- descent or fluorescent lights that shine only on the sign. 7. In addition to conforming to the Old ' i Dublin Sign Guidelines, signs should be ~ proportionate to the size of the building where they are installed. They should not appear to dominate smaller struc ~ 3E i 'I I i tures, and doors and windows should not ~ ~ j be obscured by signs. The street address ' and the building name, if any, should be included on signs. ~v (Photo 96) This hanging sign is placed parallel to the street and sidewalk and is an appropriate way ~ ~ ~ of identifying businesses, especially those in build- s I ings with porches. Use of such signs avoids having E . , to mount signs on building walls or in windows. '~1/'.: y Note how the ornate sign is profiled to fit the his- ~'-R toric ornamentation of the porch. ~Yl YS _ t T ll~ `~~FF~ (Photo 97) For buildings set back from the side- walk, an appropriate type of projecting sign is a small post sign mounted in the yard. Such a sign is ` traditional and is easy to build and maintain, and it _ 'i brings the business identification out to the side- walk's edge where it is easily noticed. _ I _ - - -r-- City of Dublin, Ohio 87 Building Color °F Because they are such a major design element, the colors of a building -whether the natural colors of building materials or applied colors of paint or stun -are an impor- tant consideration with impact upon the building's overall character. Though the choice of colors is largely a matter of personal preference, some colors are more appropriate than others, depending upon a building's age, style, and setting. In Old Dublin, the Architectural Review Board has adopted a policy of flexibility that gives building and business owners considerable freedom in color selection. The ARB seeks to avoid use of colors inappropriate for the architecture of Old Dublin and provides a series of color palettes to assist applicants in choosing appropriate colors for buildings. Old Dublin today has a wide range of colors, all of which work well together in the context of the varied designs and ages of the district's architecture. ~v Historically, color use varied with the time period. Early- and mid-19th century build- ings often were painted white, but fairly bright colors such as red, blue, yellow, dark green and even orange were used, sometimes as body colors for buildings and some- times as trim. After about 1860, typical colors included greens, reds, oranges, browns, and olives that were fairly dark and rich. The body color was usually lighter, with trim painted in darker compatible colors; sometimes the opposite was true. Color patterns were simple, usually with only two different colors used on a building. In the years between about 1880 and 1900, when architectural designs became more complex and included more ornamental elements, the use of color followed suit. Three colors combined on a single building became more common, and there was a re-introduction of lighter colors such as pale yellow or light green that had seen less use during the 1870-1880 period; when combined with darker colors, this created a more varied visual effect that complemented the generally more complex building designs. Blues and greys saw some use as trim colors but generally were not used as body colors. After about 1900, architectural design entered a period of reaction to the heavy, ornate compositions of the late 19th century; architects sought simpler, plainer designs and turned to the classical forms and ornamentation of the past. In the Colonial Revival and other styles of this period, colors tended to be lighter and cooler, including creams, yellows, grays, and white. In many cases in Old Dublin the colors of unpainted brick or stone walls are the base colors, and trim colors should be selected to be compatible with them. In general, on buildings witl? dark red brick walls, darker trim colors such as maroon or dark green are appropriate, while for lighter tan or buff-colored brick, and for stone of similar color, consider yellow, cream, or white trim colors. On more recent buildings of con- i Crete block or other materials, follow these same rules of thumb, depending on the basic wall material color. ~ I i Recommendations 1. Consider choosing colors based on research into a building's original paint colors. Using scrapers, sandpaper, and paint re~~over, chip or scrape down through paint _ _ - - - _ f 88 Preservation, Rehabilitation, and New Construction Guidelines _ _ _ layers to expose earlier colors. Always observe safety precautions such as wearing safety eyewear and protection from paint remover fumes; it may be preferable to have a qualified contractor do this work. Once historic paint layers are exposed, match current color chips to them to make a color selection. If original colors can't be discovered or are unacceptable, then consider alternate colors chosen according to the time-period guidelines above. The ARB strongly encourages that paint col- ors be selected from one of the many historical color palettes various paint compa- nies have developed. These are available at most paint stores. 2. Paint only surfaces that Have been painted before. Stone surfaces were seldom painted originally; brick surfaces sometimes were but usually were not. Poor weath- er resistance or damage to a wall were the usual reasons for painting brick, though sometimes it was just to change the building's look. In general, do not paint brick, stone, or concrete that has not been painted before. If it has been painted, consid- er re-painting rather than removing the old paint, because this can be difficult, expensive, and it can damage the masonry. _ 3. Avoid using too many colors on a building. Late 19th century buildings should have a maximum of three different colors (the body color and two trim colors); those from earlier and later periods should have no more than two. Consider using light and dark shades of the same color when choosing body and trim colors. Demolition Considerations Because it is an irreversible act, full or partial demolition of any structure in Old Dublin must be carefully considered, both by building owners and the Architectural Review Board, before any decision is made. A decision on whether demolition is appropriate has to consider several factors: • Is the proposed demolition full or partial? • What is the age of the structure being demolished? • What is the level of integrity of the structure being demolished? • What is the impact of the demolition on the character of the Old Dublin district? ' • What are the plans for the site following demolition? • Is the proposed replacement structure's design appropriate for the character of Old Dublin? Does it follow the design guidelines? In cases where an applicant applies for ARB approval to demolish a structure within Old Dublin, the ARB may grant the demolition if at least two of the following condi- ` tions prevail: a. The strncture contains no features of architectural and historic significance to the character of the district. _ _ City of Dublin, Ohio 89 b. There exists no reasonable economic use for the structure as it exists or as it might be restored, and there exists no feasible and prudent alternative to demolition. c. Deterioration has progressed to the point where it is not economically feasible to restore the structure. Demolition by neglect is not allowed. The City of Dublin has a property maintenance code, and failure to comply with the code will not create a justification for demolition. Property owners can be cited for failure to maintain a building in accordance with the ~ ~ code. Re~nernber that both ARB approval and a demolition permit are needed before dem- i olition can proceed. Recommendations 1. In general, demolition of buildings built prior to World War II should be avoided. These tend to be the buildings that contribute the most to the district's character. Note, however, that it may be desirable to keep a newer building from being demolished, depending on what is proposed to replace it 2. Applicants for demolition should be prepared to explain and to document the financial and technical reasons why it is not feasible to accomplish their goals while retaining the existing building. 3. Because of age or design, some building additions may have achieved significance in their own right and maybe nearly as important as an original building. Removal of such elements might adversely affect the building's character, and this should be taken into account when demolition is proposed. ~ 4. Demolition to create parking lots should be avoided. Loss of buildings would per- r., manently alter the character of the entire district. j 5. Demolition to combine lots for larger developments should also be avoided. Ahall- I~~ mark of Old Dublin is its small-scale buildings on closely-spaced sites. Assembly of land for large lots and construction of large buildings, especially involving demob- tion of existing structures, is not appropriate. 6. When full or partial demolition of an existing structure is proposed, the applicant should be prepared to present detailed plans for the replacement building. ' Demolition may not proceed until the Architectural Review Board is satisfied that the proposed new structure conforms to the design guidelines and is appropriate for the character of the Old Dublin district. H 7. Even after demolition begins, if it becomes apparent that a building is of special character (such as a previously unknown log building), call the City of Dublin, Division of Planning as soon as possible. A demolition is approved based on the assumptions in an application and a change in facts such as this constitutes a rea- son to reconsider approval of the demolition. 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' ~~*-,,.y r 'v'~.~ _ >w,~ sir x ti > ~ r ~'v y. S M r Z.s 5 ..s ) k. ~ s ~ Y ?'d c ~r.Kra ~ t" Y- sF> i""a ~t y K ~ ~s, jF x ~L nx y Y ' ~ - , Cit of Dublin, Ohio 91_~ Y ¦ I I ~r. I Id Dublin has a distinctive character that makes it an attractive place 'i to live, work and visit. In recognition of Old Dublin's special sense of place, the Dublin Village Council took action in 1970 to establish the ~ ~ Dublin Architectural Review Board. Its purpose is to promote the educational, cultural and economic well-being of the community ~I through the preservation and maintenance of the Architectural Review District and i historic sites listed in the Ohio Historic Inventory throughout the community as tan- gible reminders of Dublin's rich history. The Architectural Review Board is made up i ~ of Dublin residents and includes both residential and commercial property owners and a business owner, as well as people with expertise in Dublin history, architec- tural design and historic preservation. Board members are appointed by City ~ Council and serve as volunteers. They receive administrative support from the City of Dublin Planning Division. Before you begin any projects that change the appearance of the site or exterior of existing buildings or involve new construction or demolition within the Architectural Review District or any individual property listed in the Ohio Historic Inventory, the plans must be reviewed and approved by the Architectural Review Board. These guidelines are designed to help you understand the design review process and how the Architectural Review Board evaluates proposals. By reading the guidelines and using them as you plan your project, you can help the process of design review work smoothly for everyone involved. ~ ~ w Design Review Process 1. A recommended first step in planning a construction project is for you to become more familiar with the design review process. You can begin by contacting the ' ~.r City of Dublin Planning Division office at 5800 Shier-Rings Road (614-761-6550) ~ to obtain a copy of the design guidelines, along with the schedule of upcoming meetings and deadlines, and an application form. Staff is also available to answer questions regarding your project. If you are not sure whether or not your prop- ~ - erty is in the Architectural Review District or listed in the Ohio Historic Inventory, the staff can verify this information. All Architectural Review Board meetings are open to the public. They are gener- ally held on the fourth Wednesday of each month. When holidays intervene, ~ meetings are moved to the third Wednesday or another specified date. ~ Attendance at one of these meetings prior to submission of an application can be helpful in giving you an idea of what to expect when your application is reviewed. w - - - - - 92 Working With the Dublin Architectural Review Board Many people want to know what types of projects must obtain approval from the Architectural Review Board. If you are planning any of the following, you will need to obtain Architectural Review Board approval: • Any changes to the exterior of an existing structure, including change of paint color, window or door replacement, roof replacement, gutters and downspouts, and porch repairs, or construction that changes the appearance of a building; • Additions to existing buildings; • Construction of new buildings, including garages and other garden structures; • Landscaping (residential properties exempted) or other site changes, including fencing, driveways, and parking; • Installation of new signs or changes to existing signage. If you are planning interior improvements only with nothing visible from the exterior, or doing routine maintenance or repairs that do not change the appear- an~e of the building, the design review process is not required. If you are still unsure about your project, then contact the Dublin Planning Division for assis- tance. 2. Using these guidelines as you plan your project will help ensure that you are pro- tecting and preserving the historic character of your building as well that of the Architectural Review District as a whole. These guidelines will be used by the Architectural Review Board when it considers your application, so please read them carefully. 3. Plan in advance so that you allow enough tune to submit your Architectural Review Board application. Before submitting your application, a meeting with a Planning staff member is highly recommended. Applications are due by 5:00 p.m. on the first working day of the month, although they may be submitted earlier. You must submit a completed application form. Complete only the sections that apply to your project. Please note one notarized original and seven copies of the application form i, should be submitted. The application form also asks for multiple copies of spe- cific information as well. Samples of all materials (color chips, photos, plans, or brochures of product information) are also required. You must supply a list of all neighboring property owners within 150 feet of the perimeter of the property. Read the form very carefully to make sure that you have included all the required information and materials. If you have any questions about the form, contact the ' Dublin Planning Division for assistance. 4. It is extremely important that you or your designated representative attend the Architectural Review Board meeting. The Architectural Review Board has the ~ option to dismiss an application when the applicant is not present and the Board determines that it is unable to make a decision without the owner's presence. If ~I you are unable to attend, please include the name of your designated represen- tative in your application. I _ - i City of Dublin, Ohio 93 j - - a 5. At the Architectural Review Board meeting, each application is introduced by the Chair, and the staff makes a recommendation to the Board. You or your repre- • sentative will be given an opportunity for a short presentation and may be asked questions by Board members. The Chair will also request comments or questions from the audience. Following discussion by the Board, and any additional com- ments, the Board will take up a motion on the application. ~ The Board has three options: it can approve an application as presented or wit ~ modifications; it can deny the application; or it can table the application for ~ review at the next meeting. In most cases, the application is approved as pre- sented or with minor modifications. More complicated projects such as new I ; development take more than one meeting to approve. Two reviews are necessary if your project involves one or more of the following: • new construction of 3,500 square feet or more of gross floor area; • an addition that will increase the building to 3,500 square feet or more; • moving, removing or replacing major architectural elements of a building with ~~i 3,500 square feet or more. If the application is approved, a Board Order in letter form will be sent to you, 'clearly describing the nature of the approved work. A copy of this letter is also sent to the Division of Building Standards, if pertinent. All Board Orders are valid for one year after the date issued, at which point the approval lapses if the prot- ect has not gone forward. If the application is denied because it is not consistent with these design guide- lines, written reasons for the denial will be mailed to you. You will also be informed that you have the right to appeal the decision to the Board of Zoning Appeals within 20 days after the Architectural Review Board's decision. A new application may be submitted within 60 days of the denial only if a substantial change is made to the plans for the proposed project or the surrounding area. In all cases, the Architectural Review Board is required to reach a decision and issue a Board Order within GO days after the filing of the application, and the Board makes every effort to expedite reviews. G. Once you receive your Board Order approving your project, you must check with the City to see if any additional permits are necessary for the project to move for- ward. Please remember that in most cases a building or sign permit must also be issued by the City prior to any work beginning. These permits will not be issued without Architectmral Review Board approval. 7. If you consider any changes after you receive your Board Order, you need to con- tact the Planning Division for another review by the Architectural Review Board before commencing work on the changes. In some cases, a special meeting may be scheduled so that a project is not delayed. 94 Working With the Dublin Architectural Review Board _ Examples of Graphic Submission Materials First Floor Plan E E U ; D ~ n • C t i , A .I yy rt ' x. r* Second Floor Plan E E D D ( :i _ A l ~ ~ 8 A ~D n ^;v~= Site Plan - - - - - - ~ ~ _ _ _ I ~ , „ , , w ~I , I: pi .E m a s' ~I~T_ ~ ~ ~ ~ - it ~ - ~~I i P~ ~ ~ ~ ~ - ~ i = 0~' o I ~ i I ,I I 1i I ~ , ~ ~ --i • o _ ~ i ( - ~ ~ CITY OF DUBLIN I r City of Dublin, Ohio 95 _ ____r..__ _ _ _ an scape an _ ~ a / ± I ~ . III i i L r- } 1 I h~ I __l.._ _ _ _ _ _ - _ . L~_ _ _ ~aT .c_, J~ .e,__ u. ~ B Elevations ® ll NairH FI_EVATIDN © - ~ IA B C IE c ~i Q a, 8dS Y3 '~fJ7I ~i -a~--+"~rQ e o ~ ~ ~ I /l 1afTH ELEVATIGN W.- V _ E D C ~u g~ 4 ® ? rl EAST F IA D E J ~ e • _ e~f / e+~ *a - T St -.r J 4 ~ ~ : t ` _Y ; t r .r r ~.3' y~t,Y ~ 'GKrS 3 4 r _ ~;t 7 4. ~ t .S '',y. y ~ ~ ry Y h i r. d > a. Y , ~ ky,~`~-s ~-<r q. 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Baluster: Vertical member, usually of wood, which supports the railing of a porch ~ or the handrail of a stairway. Balustrade: Railing or parapet consisting of a handrail on balusters; sometimes also includes a bottom rail. Bargeboard: Aboard, often decoratively carved or cut out, which hangs from the projecting edge of a roof at the gable. ~ Bay: 1) A spatial structural unit of a building facade; 2) A structure protruding ~ out from a wall. Bulkhead: In commercial buildings, the area below the display windows, at the sidewalk level. Board-and-Batten: A type of wood siding that consists of a wide vertical boards ~ with narrow strips (battens) concealing the joints between the boards. Bracket: A projecting member, often decorative, which supports an overhanging ~ element such as a cornice. Casement: A type of window with side hinges and a sash that swings outward. Clapboard: Large wood boards which taper slightly (they are a type of beveled ~ siding) so they overlap and lie flat; applied horizontally on buildings of frame con- struction. Column: A post found on storefronts, porches, and balconies; may be fluted or rr smooth. Corbel: A bracket form produced by courses of wood or masonry which extend , in successive stages from the wall surface. Cornerboard: Aboard used to cover the exposed ends of wood siding to give a finished appearance and make the building watertight. i Cornice: The projecting uppermost portion of a wall, often treated in a decora- ~ ~ tive manner with brackets. ~ ~ ' Cresting: Highly ornamental trim, usually cast and/or wrought iron, which is ' attached to a roof ridge, a wall, or a canopy. Dentil: One of a row of small blocks used as part of a decoration in a frieze or cornice. Dormer: A structural extension of a building's roof, intended to provide light and headroom in an attic space; usually contains a window or windows on its vertical face. Y. - _ _ - - , - w 1 - _ 98 Appendix -Glossary of Terms - - - Double-Hung: A window with two balanced sashes, with one sliding over the other vertically to open. Drip Edge: A projection at the lower edge of a vertical surface with an undercut edge to drip rainwater away from the building. Dry Rot: A fungus infection which destroys the structural strength of wood. Contrary to its name, excessive moisture creates the right conditions for its gro~~~th. Eaves: The lower portion of the sloping surface of a roof, especially the part that overhangs the building's wall. Facade: The "face" of the building; usually refers to the main side of the build- ing, though it can be applied to all sides. Fascia: A flat horizontal wooden member used as a facing at the ends of roof rafters or in the cornice area. Flashing: Flat metal or other material that is used to keep water from penetrat- ing the joint between different surfaces and materials such as around the chimney on a roof. Flush Siding: A type of horizontal wood siding where the individual boards fit closely together, which creates a flat appearance with a barely visible joint between the boards. Frieze: Long narrow panel on a wall, used chiefly for decoration, found just below the point where the wall surface meets the building's roof. Gable: The "end" as opposed to the "side" of a building. The most common , gable is triangular in shape, consisting of the area of wall defined by the sloping roof. A gambrel or double-pitch roof forms anon-triangular gable. ; Glazing: Glass fitted into windows or doors. Hoodmold: Decorative, projecting element placed over a window; may extend do~~m the sides of a window as well as surrounding the top. Hipped Roolline: A roof formed by four angled roof surfaces. In-Kind: Replacement of one element of a building with the another of the same material, design, size, and appearance. ~ , Lintel: Horizontal structural element at the top of a window or door; in masonry walls, may be of wood, stone or metal. Mullion: A wooden vertical piece that divides window sash, doors or panels set close together in a series. Muntin: The wooden pieces that make up the small subdivisions in a multi- paned glass window. Parapet: The portion of an exterior wall which rises entirely above the roof, usu- ally in the form of a low retaining wall; the parapet may be shaped or stepped. City of Dublin, Ohio 99 ~ Pediment: The triangular f ice of a roof gable; o?- a gable which is used in porch- es, or as decoration over windows, doors, and dormers. Pilaster: A flat pier which is attached to the surface of the wall and has a slight projection; the pier may be given a base and cap, and may be smooth or fluted. ~ ~ Portico: An entrance porch, usually supported by columns and sheltering only the entry. Return: The continuation of a projection or cornice in a different direction, usu- ' ally around a corner at a right angle. Rock-faced: A rough-cut finish on a piece of stone or a manufactured product such as concrete block or ceramic tile. Sash: The framework of the window that supports the glass. Sash may be fixed, sliding, hinged or pivoted. Sill: The framing member that forms the lower part of a window or door opening. ~ Segmental Arch: A type of circular arch which does not extend on the sides to a full half circle; often found at the tops of windows. Setback: The' distance between the front of a land parcel and the facade of a building. Sheathing: Asub-surface material, usually wood, which covers exterior walls or roofs before application of siding or roofing materials. Shiplap Siding: Horizontal wood siding that has both top and bottom edges fin- ished to form aclose-fitting joint and the appearance of a narrow recessed band between two flat boards. Sidelight: A glass panel, usually of multiple panes, to either side of a door; often used in conjunction with a transom. Soffit: A flat wood member used as a finished undersurface for any overhead exposed part of a building, such as a cornice. Commonly found on the underside of the eaves. Spalling: Damage resulting in the removal of part of the surface of stone, brick or similar material. k. Splashblock: Apiece of stone or clay material with a channel in it, which when placed on the ground wider a downspout carries water away from the foundation. Stoop: An entrance platform with a few steps leading to it, frequently made of stone. Transom: A glass panel, either fixed or moveable, which is placed over a door or window to provide additional natural light to the interior of the building. Used on both residential and commercial buildings. Vernacular: Architecture that draws more on traditional forms and functional- ism, rather than on design principles or ornamentation of high-style architecture. i _ _ 100 Appendix -Sources of Information and Assistance Sources of Information and Assistance Organizations Information about Dublin's history is available from several local sources, includ- j ing the Dublin Historical Society and the Dublin Branch of the Columbus Metropolitan Library. Dublin Historical Socie ty Fletcher Coffman House 5300 Emerald Parkway Dublin, Ohio 43017 Dublin Branch Columbus Metropolitan Library I 75 North High Street Dublin, Ohio 43017 (614)645-2170 I For assistance on historic preservation matters generally, you may contact Ohio's I official state preservation agency, which is a division of the Ohio Historical Society. Ohio Historic Preservation Office j 567 East Hudson Street j Columbus, Ohio 43211-1030 (614) 297-2470 At the national level, the National Trust for Historic Preservation is anon-profit preservation organization that conducts conferences and has published numerous books and pamphlets about preservation issues. The Trust's publications on tax incentives and the economic aspects of preserving old buildings are especially helpful. National Trust for Historic Preservation 1785 Massachusetts Avenue, NW Washington, D.C. 20036 (202) 673-4000 . or National Trust for Historic Preservation Midwest Regional Office 53 West Jackson Boulevard, Suite 350 Chicago, IL 60604 (312) 939-5547 _ City of Dublin, Ohio 101 For information about downtown and commercial district revitalization, Downtown Ohio, Inc. manages Ohio's Main Street program, offers educational ~ and training programs for those involved with downtown revitalization, and pro- vides technical assistance to communities as they plan for the future. Downtown Ohio, Inc. 61 Jefferson Avenue Columbus, Ohio 43215 (614)224-5410 i Websites There are thousands of Websites dealing with historic preservation topics. A few that may be of interest to Dublin's historic property owners, architects, contrac- tors, and members of the Dublin Architectural Review Board, are the following: a• www.dublin.oh.us Website for the City of Dublin, Ohio. ~ www.ag.ohio-state.edu/~bai-n/historic.htm An order form' on this site makes it possible to order any or all of the 41 Preservation Brief titles (listed in selected reading material in this appendix) from the Ohio Historic Preservation Office. www.ohiohistory.org/resource/histpres/ ~ This Website includes information about the Ohio Historic Preservation Office, the National Register program and a list of National Register properties in Ohio. www.preservenet.cornell.edu/preserve.html This Website contains information about conferences, educational programs and an extensive list of links to other preservation Websites- www2.cr. nps.gov/tps/briefs All of the 41 Preservation Briefs are available online at this site and can be printed in text form. www2.cr.nps.gov/freepubs.html This National Park Service site provides a list of free Heritage Preservation Services publications that can be ordered online. www2cr.nps.gov/ This site is about the Heritage Preservation Services offered by the National Park ~ Service, including information about programs such as the Investment Tax Credit for the Rehabilitation of Historic Buildings; training and conferences; preservation legislation; and a preservation bookstore- It also has an interactive class on the use ~ of the Secretary of the Interior's Standards for Rehabilitation of Historic Buildings designed for use by historic building owners, architects, contractors, developers, ~~I and members of design review boards. i ~ I i - 102 Appendix -Sources of Information and Assistance Publications Several excellent publications -books, magazines, and pamphlets -are available to assist you in understanding the technology of older buildings and in learning about appropriate repair and rehabilitation treatments and techniques. These include the ~ follo~~~ing: Caring for Your Old Hoi~ise: A Guide for Owners and Residents b~ Judith Kitchen For ordering information contact: Preser~~ation Press John Wiley & Sons, Inc. Professional, Reference and Trade Group 605 Third Avenue New fork, NY 10158 Old Building Owners Manual by Judith Kitchen ~I Available for purchase: Ohio Historical Center Gift Shop 1982 Velma Avenue Columbus, Ohio 43211 (614) 297-2357 I i, ~ These publications offer useful guidance for planning repairs, restoration, or reha- bilitation of older buildings. Techniques and principles can be applied to both commercial and residential structures. These and other publications may be used on a reference (non-circulating) basis at the Ohio Historic Preservation Office. The Old-House Journal. 2 Main Street Gloucester, MA 01930 (800) 234-3797 This is a monthly magazine oriented toward the do-it-yourself owner of an old building. Each issue contains several hands-on articles about appropriate repair, restoration, and rehabilitation techniques for buildings of all historical eras. Traditional Building. 69A Seventh Avenue Brooklyn, NY 11217 (718)G3G-0788 Published by the founder of The Old-House Journal (the two publications are now um-elated), this periodical is technically oriented and is a great help in finding sup- pliers and specialists in the field of old building preservation. Preservation Briefs are technical pamphlets produced by the National Park _ _ - . City of Dublin, Ohio 103 Service. There are currently 41 titles available, although new ones are being added every year. These briefs are available online at www2.cr.nps.gov/tps/briefs/presb- hom.htm or by filling out an order form prepared by the Ohio Historic Preservation Office and available at:www.ag.ohio-state.edu/~barn/histoi-ic.hhn or by calling the office at (614) 297-2470. Currently available Preservation Briefs are listed below. 1. The Cleaning and Waterproof Coating of Rlasonry Buildings 2. Repointing Mortar Joints in Historic Brick Buildings 3. Conserving Energy in Historic Buildings 4. Roofing for Historic Buildings 5. The Preservation of Adobe Buildings I G. Dangers of Abrasive Cleaning to Historic Buildings 7. The Preservation of Historic Glazed Architectural Terra-Cotta 8. Aluminum and Vinyl Siding on Historic Buildings 9. The Repair of Historic Wooden Windows 10. Exterior Paint Problems on Historic woodwork w 11. Rehabilitating Historic Storefronts ~ 12. The Preservation of Historic Pigmented Stnietural Glass I (Vitrolite and Carrara Glass) 13. The Repair and Thermal Upgrading of Historic Steel Windows 14. Neu: Exterior Additions to Historic Buildings: Preservation Concerns 15. Preservation of Historic Concrete: Problems and General Approaches i 16. The Use of Substitute Materials on Historic Building Exteriors ' 17. Architectural Character: Identifying the Visual Aspects of Historic Buildings I as an Aid to Preserving Tlzeir Character 18. Rehabilitating Interiors in Historic Buildings i 19. The Repair and Replacement of Historic wooden Shingle Roofs 20. The Preservation of Historic Barns 21. Repairing Historic Flat Plaster -walls and Ceilings 22- The Preservation and Repair of Historic Stucco 23. Preserving Historic Ornamental Plaster 24. Heating, Ventilating and Cooling Historic Buildings 25. The Preservation of Historic Signs ~I ~G. The Preservation and Repair of Historic Log Buildings ~ I I I 104 Appendix -Sources of Information and Assistance - _ - - - - 27. The Maintenance and Repair of Architectural Cast Iron li 28. Painting Historic Interiors 29. The Repair, Replacement, and Maintenance of Historic Slate Roofs j 30. The Preservation and Repair of Historic Cla y Tile Roofs 31. Mothballing Historic Buildings 32. Making Historic Properties Accessible 33. The Preservation and Repair of Historic Stained and Leaded Glass Windows ~I, 34. Applied Decoration for Interiors: Preservation of Historic Composition Ornament 35. Understanding Old Buildings: The Process of Architectural Investigation 36. Protecting Cultural Landscapes: Planning, Treatment and Management of Historic Landscapes 37. Appropriate Methods for Reducing Lead-Paint Hazards in Historic Housing 38. Removing Graffiti from Historic Masonry 39. Holding the Line: Controlling Unwanted Moisture in Historic Buildings 40. Preserving Historic Ceramic Tile Floors 41. Seismic Retrofit of Historic Buildings: Keeping Preservation in the Forefront City of Dublin, Ohio 105 The Historic Rehabilitation Tax Credit ~ Federal tax legislation in 1981 and 1986 created a Historic Tax Credit to encour- i~ age investment in historic structures. The credit is available for historic buildings ~ listed in the National Register of Historic Places, either individually or as part of a registered historic district. To use the credit, a building must be "income-produc- I, ing" -used for industrial, commercial, office, or residential rental purposes; the rehabilitation must be "substantial" -that is, the rehabilitation must cost at least the adjusted basis of the property or $5,000, whichever is greater; and the rehabili- tation work must be certified as complying with the Secretary of the Interior's Standards for Rehabilitation. The Historic Tax Credit has been a major investment incentive for nearly two decades and has resulted in the rehabilitation of tens of thousands of historic prop- ~I erties. The several billion dollars invested in these properties have revitalized many neighborhoods, commercial districts, and entire communities. The Historic Tax Credit is a credit of 20% of the cost of a building's rehabilitation and is taken as a credit against federal income taxes owed by the building's owner. Because a tax credit is a dollar-for dollar reduction of tax liability, the effect of the Historic Tax Credit is the same as a 20% discount on the cost of rehabilitation. The acquisition cost of a building cannot be counted as part of the amount on which the credit is taken, nor may the cost of additions or enlargements to build- ings. When rehabilitation is complete, the depreciable basis of the property must be reduced by the amount of the credit. To ensure that rehabilitation projects meet the required standards, each project must be "certified" as appropriate to the historic character of the building. There is a two-step application process in which a proposed rehabilitation is reviewed first by the staff of each state's Historic Preservation Office, and then by staff at the National Park Service in Washington, D.C. Applicants are encouraged to ' apply for certification well in advance of beginning any rehabilitation work. Because building owners' tax situations can vary, anyone considering the Historic Tax Credit should consult his or her tax adviser before proceeding. City of Dublin planning staff can put building owners in touch with appropriate staff members at the Ohio Historic Preservation Office for information about the certification process and application procedures. a i ~ 106 Appendix -The National Register of Historic Places The National Register of Historic Places I- The National Register of Historic Places is the official list of historic properties i recognized by the federal government as worthy of preservation for their local, state, or national significance in American history, architecture, archaeology, engi- neering, or culture. Overseen by the National Park Service of the U. S. Department of the Interior, the program is part of a national policy to coordinate and support public and private efforts to identify, evaluate and protect our cultural and natural resources. The National Register is maintained by the Secretary of the I Interior under provisions of the National Historic Preservation Act of 1966. Criteria for Evaluation The quality of significance in American history, architecture, archaeology, and cul- ture is present in districts, sites, buildings, structures, and objects that possess - - integrity of location, design, setting, materials, workmanship, feeling and associa- tion, and: • that are associated with events that have made a significant contribution to the broad patterns of our history; or • that are associated with the lives of persons significant in our past; or that embody the distinctive characteristics of a type, period, or method of con- ; struction, or that represent the work of a master, or that possess high artistic values, or that represent a significant and distinguishable entity whose compo- vents may lack individual distinction; or • that have yielded or are likely to yield, information important~to history or pre- history. Ordinarily cemeteries, birthplaces or graves of historical figures, properties owned by religious institutions or used for religious purposes, structures that have been moved from their original locations, reconstructed historic buildings, properties primarily commemorative in nature, and properties that have achieved significance within the past 50 years are not considered eligible for the National Register, unless they are integral parts of districts that do meet the criteria, or are of excep- tional architectural or historical significance. What National Register Listing Does The listing of abuilding, site, or district on the National Register of Historic Places accords it a certain prestige, which can raise the property owner=s and com- munity's awareness and pride. Income-producing (depreciable) properties which are listed on the National Register individually or as part of a historic district may be aided by federal tax incentives which allow fora 20% investment t<ix credit for certified rehabilitation. City of Dublin, Ohio 107 j _ Listing on the National Register pro~~ides a measure of protection from demolition or other negative impact by federally funded or licensed projects, by allowing the Advisory Council on Historic Preservation to comment on the effect of such prop- ~ erties. Listing on the National Register qualifies property owners to apply for federal grants for historic preservation when funds are available (currently no funds are available). ~ ! i National Register listing is frequently a prerequisite for funding applications for i restoration work through various private, non-profit organizations, such as the National Trust for Historic Preservation, or some federal programs. - What National Register Listing Does Not Do National Register listing does not prevent the owner of a listed property from remodeling, repairing, altering, or even demolishing it, unless federal funds are involved. In the case of a federal project, listing does not provide assurance that the project cannot harm the property; it only assures a review to evaluate ways to mitigate adverse effects. National Register listing does not obligate an owner to make any repairs or improvements to the property, or to open the property to the public. If you are interested in nominating a property to the National Register of Historic Places, contact the Ohio Historic Preservation Office, 567 East Hudson Street, ' Columbus, Ohio 43211-1030, (614) 297-2470. The information contained in this summary was drawn from the National Register Fact Sheet prepared by the Ohio Historic Preservation Office. ' W,> - _ 108 Appendix -Summary of Article 34, Ohio Basic Building Code Summary of Article 34, Ohio Basic Building Code It is not uncommon to encounter problems with the building code when rehabili- tating ahistoric building. The Ohio Basic Building Code recognizes that historic j buildings can be made safe even though they may have difficulty meeting the let- ter of the code. Therefore, a special section of the code -Section 3408 -has been enacted. Also referred to as Article 34, this section of the code gives the owners of historic properties the opportunity to evaluate the safety of the rehabilitated build- ing based on the inherent safety features frequently found in historic buildings. ~ Article 34 divides the elements of a building into parameters, including height, area, compartmentation, tenant and dwelling separations, corridor walls, vertical openings, HVAC systems, automatic fire detection, fire alarm system, smoke con- . trol, means of egress, capacity and number, dead ends (corridors), maximum travel _ distance to an exit, elevator control, emergency lighting, mixed-use group separa- tions, sprinklers, and specific occupancy areas. Each of these parameters is evalu- ated for fire safety, general safety, and means of egress. A numerical value is applied to each (either positive or negative) and if the total reaches a minimum number established by the code, the building is considered to meet the building code provision. This evaluation process demonstrates that a building can be safe without meeting every requirement of a building code written for new buildings. Use of Article 34 has saved owners of historic buildings substantial costs while also protecting the character and integrity of the buildings. Architects who have experi- ence working with historic buildings should be knowledgeable about Article 34 and be able to assist property owners in the evaluation. The information in this summary was drawn from an article by Mariangela Pfister, Ohio Historic Preservation Office, which appeared in the ApriUMay 1999 issue of Echoes, published by the Ohio Historical Society. I;~ ~i i . I i ~w I City of Dublin, Ohio 109 Old Dublin Sign Guidelines Section 1 -Purpose: i The guidelines have been adopted by the Architectural Review Board pursuant to Sections 153.170 through 153.187 of the City of Dublin Zoning Code for the pur- pose of preserving the Early American character of the CCC and CB Districts of Old Dublin. These guidelines are not meant to replace but to supplement the II regulations of Chapter 153.150 through 153.164, all of which shall apply to signs in ~ Old Dublin as modified by these guidelines. Section 2 -Number: i No business or use shall display more than one sign; however, any business or use ~ with a second entrance opening onto a parking area to the rear of the business I may request a second sign identifying the rear entrance, provided that the second sign is not visible from the public right-of--way which fronts the building. In addi- tion, signs exempted in Section 153.157 may be displayed provided they conform to Section 5 of these guidelines. i Section 3 -Size and Height: I!, The size and height of signs shall conform to the following table: Maximum Area Minimum Height Maximum Height Wall Signs 6 sq. ft. 4 ft. 12 ft. Ground Signs 6 sq. ft. none 8 ft. Projecting Signs 6 sq. ft. 8 ft. 12 ft ~n Window Signs 10% of window none top of second area up to a floor window maximum of 4 ' sq. ft. Note: Maximum area shall include the frame but shall not include the supporting structure. See Sec. 153.158. Window signs shall be limited to ground floor or first floor windows only, - unless the use is located in the second floor of a building and this use has no first floor occupancy. (Revised 3/28/90) , Section 4 -Illumination: No sign shall be illuminated from within or behind. Illumination shall be by floodlights properly shielded as specified in Section 153.158. _ 4_ _ 110 Appendix -Old Dublin Siqn Guidelines ~ Section 5 -Design: Section 5.01 -General Principles: I All signs must in their design and appearance complement the nineteenth century I Early American character of the district. They may do so by inco~horating design features characteristic of signs of tl~e 1 SOOs (i.e., Federal, Victorian, or turn-of-the- century periods). Signs which give a predominantly contemporary impression in conflict with the Early American character of the district shall not be permitted. i Section 5.02 -Material: Signs may be of any material but must give the illusion of natural or painted wood, ~ tin or iron. Window signs painted directly on the glass are also acceptable. i Section 5.03 -Shapes: No sign shall be in the shape of a product or logo. Early American shapes, includ- ' ing features like a broken pediment, are preferred. i Section 5.04 -Color: No sign shall display more than three colors (i.e., two colors in addition to the nat- I Ural background). Only earth tones and demonstrable Early American colors shall be used on signs. Sign colors shall be coordinated with the colors of the building to ~~hich they refer. Black and white are considered colors. 'i - ! Section 5.05 -Lettering: Lettering shall be in traditional nineteenth century letter styles. Section 5.06 -Logos and Illustrations: Logos or illustrations are permissible provided that (a) they conform in color and design to these guidelines, and (b) their presence is compatible with the Early American character of the sign. The general acceptance of a widely recognized logo is, in itself, not sufficient justification for inclusion in a sign in this district. Section 6 -Prohibited Signs: In accordance with Section 153.154, the following signs or similar de~~ices are pro- hibited: BannBrs, pennants, streamers, spinners, bench signs, portable signs, mobile placards, marquee-type signs with changeable message, flashing or blinking signs, and animated signs or signs with moving or moveable parts. Signs on vend- ing machines, trash bins, or other devices serving any premises shall be screened fi-om view from any public right-of-way. } City of Dublin Ohio 111 f Section 7 -Multiple-Occupant Buildings on Premises:. i For buildings or premises occupied by two (2) or more occupants or uses, a total sign plan must be submitted by the owner of the building or premises before a sign I permit will be issued to any occupant or tenant This plan must include scale drawings of the building and premises to show the size and location of all signs and identification features (entrance signs, arrows, etc.) that may in the future be requested by any occupant or tenant. Content, material, and design need not be included at this stage. Upon approval by j the Architectural Review Board, this plan will remain on file for use in considers- tion of sign applications by tenants of the site. No signage will be approved for any tenant that does not conform in size and location to the approved sign plan. Care should be taken to anticipate signage needs of all future tenants. Revision in the original sign plan may be approved by the Architectural Review Board, but these revisions may be restricted by signs already approved or may I require the removal or modification of existing signs. I Section 8 -Administration: Prior to the erection of any sign, except as otherwise noted, a permit shall be secured from the administrative officer. In applying for such permit, the applicant shall submit to the Architectural Review Board: (1) a scale drawing or drawings of the proposed sign showing materials, colors, let- II' ter styles. (2) a plot showing the proposed location of the sign in relation to adjacent build- ings. Upon approval of application by the Architectural Review Board, a permit may be obtained from the administrative officer. A fee schedule is available at .~•r? the Division of Planning, City of Dublin. Section 9 -Temporary Signs: A temporary sign, consistent with the spirit of these guidelines, can be displayed only if an application is on file with the Architectural Review Board of the City of Dublin and is awaiting action by the Architectural Review Board. Section 10 -Penalties: In accordance with Section 152.230, penalties may be assessed for violation or assistance in violation of any provision of the City of Dublin Sign Ordinance, or any other zoning ordinance. Mere are some of the approved fonts that can be used on signs in Old Dublin. For infrn-u~ation on others contact the Dublin Planning Department. - - 112 Appendix -Old Dublin Sign Guidelines _ _ _ _ Approved Sign Lettering Styles SERIF I~ ABCDEFGHIJKLMOPQRSTUVWXYZ~ECE~11234567890 abcdefghijklmnopgrstuvwxyzaeaee DOMINANTE ABCDEFGHIJKLMNOPQR.ST'UVWXYZ 1234567890 • abcdefghijklmnopgrstuvwxyz ~ GARAMONT ABCDEFGHIJKLMNOPQRSTUVWXYZ 123467890 abcdefghij klmnopgrstuvwxyz GARAMONT SEMIBOLD ~ ABCDEFGHIJKLMNOPQRSTUVWXYZ 1234567890 abcdef ghljklmnopgrstuvwxyz SOUVENIR BOLD ~ ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopgrstuvwxyz 1234567890 SOUVENIR DEMIBOLD I' ABCDEFGHIJKLMNOPQRSTLI~?~WXYZfE~01234567890 ~i abcdefghijklmnopgrstuvwxyz TIMES BOLD ABCDEFGHIJKLMNOPQ Vx:~-'Z~E~ ~I 1234567890 71MES BOLD TITLING i AgCI?EFGHZJgLMNOPQ CEO ~.2346g7890 abcdefghij]clmnopgrstuvwxyzaeoe+~+ VOLTA BOLD ABCDEF'G O CE01234667890 abcdefg;Yii~khnno _ _ - _ _ _ - _ City of Dublin, Ohio 113 ¦ I i SERIF i ABCDEFGHIJKLMNOPQRSTU CE 1234567890 ~ a abcdefghi~klmnopgrstuvwxyzaeoe~ BASKERVILLE SEMIBOLD AHCDEI~'GHIJKLMNOPOP~S'TUVWXYZ 1234567890 abcdefgh~~klmnopgrstuvwxyz j BASKERVILLE A~~B~BCD~DE~7EF~FGH~HI~IJ~JKGKL~I.M~IVIN~NOP~PQR1~ ~ abcdef 1234567890 ghijklmnopgrrstuvHrxyy~iaeoe BOOKMAN ABCDE~'GHIJKLMNOPQRSTUVW~~~ECE01234567890 abcdefghi. jklmnopgrstuvw~~yzaeoeo BULLETIN TYPEWRITER ~ AI3CDEhGH IJKLMNUPQRSTU V~~~~YZ abcc~cfi~,~~ijklmn~~pgrstuv~vx}'z 1234567890 CASLON ANTIQUA MEDIUM ABCDEFG OP 12456?890 abedefghijklmnopgrstuvwxyzaeoe~s µ CLARENDON~~LIGHT ABCDEFGHIJKLMNOP ~0 L234~567890 abcdefgh~jklu><nopgrstuvwxyzaeee0 CLARENDON~BOLD ABCDEFGHIJKLMNOPQRSTU`~X~i~'Z i~;qS~i?gqo abcdefghijklmnopgrstuvwxyz 114 Appendix -Old Dublin Sign Guidelines _ _ --1-...-__-_.- SERIF Americ~i~~a 1' ire?rt~t~ ~ Seri f C ethic Americana Grouch Serif Gothic Dold Ex. Bold American Korinna Souvenir Light Tyiaewriter Bold Amerioan Typewriter Korinna Bold Souvenir Light Italic Bold Oond. American r(~OO ff~fnlW~] Qp N1Q~Qfnld Souvenir Medium Typewriter Lt. American LSC Book Bold Souvenir Medium Typewriter Med. Italic Italic Ancient Egyptian LSC Caslon Bold S5®mer~®aff ®m4U1®ce AStel' LSCC.~slon I.islh; Tiffany Neavy Lubaiin Graph Tiffany Light Aster BOId Medium Caslon Bold i.u ba I i r ~ c~ra i~f 1 TirrAni• biedh?m X-Lilc ~~Si„«N,.s4c~i~,~i~~ Palafino Times Roman Bold Clearface Bold Palatino Bold Trooper Roman Clearface Ex. pt-rpetua gold 7t'ooperRutnun /tulle sera rc. Plc;tllli Roman FAl 1'~A('P Blark ~fie~~ ®tu>tinat~ ABCDEI=~HIJKL~ViNOPQR.~riJ~ ~ abcde~ghijklmnopgrstuvw~zaeoe~c 123456?890 ` WINDSOR City of Dublin, Ohio 115 { w i SANS SERIF Albertus L&C 51ymi~_.: Liteline ~ Annli~ I:xl~ .i I;old I, ~o anuscript daps AnnliPF.xh~nrflold ACltlgl,le OGVe Medlltlll Olive Antique antique ouve Bold Antique Otive Compact Optima ~ Baskerville ®fb ~ngfi~fj Baskerville Old Face Optima ii Berling Berling Bold Berlingltalic Playbill Beton Medium Premer Ll~htli(1~ Sucals Sit Bulletin Typewriter n''~3'~~~~ CII~-1lllil:l"1'1+: Q~r~~~ ~1lisel ROaEO Cooper Blaclt ~,~y~$$'$~~ No. 6 COOper B1QCh uou~ SA~Ls]P1E ~ Caslon Antique Serif Gothic Casio~t 5401ta1i~ Serif Gothic Gold De VL~rye Orryarryeryted Souvenir Bold • Eckmann SchrfFt Souvenir Light Far Fae~e ,~~rla\Tcll.l;or.l~ FCiz Quadrata Universityl2oman 'I R~~~ ~'i~t v c7~a!ltgrap~~a `ATelt Extra Bold ~w 116 Appendix -Old Dublin Sign Guidelines _ DECORATIVE ~pcapulca Light fiEO~LD R~B$ C~1~e~e\a Gorilla Bookman Bold c~uAAy `~IIQQ ~BoQd I; Bookman Bold ®(D (f~ng(igi~ Italic Parisian Callon Antiquc PUltiill Chisel uoras Cooper Black QIIEHTIH Coopsr Biacir ROaEO Italic !]~l~llr3'A 60~D Univer~iLy Iceman ~~rn>Ptttt `ISiI MISCELLANEOUS r. i~Cy~ fff,~ii~ r~`~~a~ ~u ~~xu~la ~ ~~.:~i7f~/O ART SCRIPT a6ccle~~la~~l~r~nofig~olu~urz~~ w COMMERCIAL SCRIPT ttbrdpfg~i~~imnn~l~r~#uuw~~~~m,~ ENGRAVERS OLD ENGLISH ~~~~~i~~~t~~~~~~~~~~~~~~~~1~ 1213 fi(i`?'fi~?ll City of Dublin, Ohio 117 III _ _ - - t Recommended Plants for Landscaping in Old Dublin The following plant species have been researched by the City of Dublin and are appropriate for use in Old Dublin. j ~ Acer sp./Maple (No Red Maple cultivars) ~I w Aesculus hippocastanum/Common Horsechestnut ~I i Asmina triloba/Common Pawpaw i Buxus sp./Boxwood Catalpa bignoniodies/Common Catalpa ~ Celtis occidentalis/Common Hackberry II ~I Cercis canadensis/Redbud + Crataegus sp./ _ Fagus sp./Beg I', Forsythia sp See Rego; amen Fraxinus s~ as anq Tree qed Shr ~ Gymnocla ~Ca ~Sed on qun~ettes 4 i Hamamel. Se N~• ~0-~~8qR 200 Hydrangea sp./Hydrangea BJ Ligustrum sp./Privet ' ~ Liquidambar styraciflua/Sweetgum ' Liriodendron tulipfera/Tuliptree Lonicera sp./Honeysuckle Phiadelphus coronarius/Mockoringe n, Platanus occidentalis/Sycamore Quercus sp./Oak Rhus sp./Sumac Spiraea sp./Spiraea Syringa spJLilac T<ixus sp./Yew Tilia/Linden (No Littleleaf) Viburnum sp./Viburnum 118 Appendix -Old Dublin Sample Architectural Review Board Application { Sam le Architectural Review. Board application I p - - I Page 1 I ARCHITECTURAL REVIEW BOARD APPLICATION ~ (Code Section 153.170) ~ - TO EXPIRE K,~ , ~ . C.ITI' OF DUBLIN a J 5800 Shier-Rings Road ~?r„ - Dublin, Ohio 43016 ' PhonelFDD: 614/761-6550 Fax: 614!767-6566 FOR OFFICE USE ONLY ~ - ~ Amount Received: Application No: ARB Date(s): ARB Action: - NO FEE REQUIRED ~ Receipt No: MIS Fee No: Date Received: Received By: v"` Type of Request - I ~ ~ PLEASE SUBMIT ONE (1) ORIGINAL SIGNED AND NOTARIZED APPLICATION -PLEASE PRINT - - AND SEVEN (7) COPIES OF THE ORIGINAL APPLICATION ~ , +1 ' I. PROPERTY INFORMATION _ TAX ID NO/ Parcel Size: ` I I DISTRICT PARCELNO: (Acres) -~1. ' ~ Property Address: _ I~ Property Location: - Side of SUeeC (N, S, E, W) li NearesUntersection: Distance from Nearest Intersection: N, S, E, W from Nearest Intersection i II. FOR SIGN INSTALLATION: (Please refer to Old Dublin Sign Guidelines) j Describe how design of sign complements the 19th century character of the District: i ~aa- Describe sign illumination, if applicable: ~ III. PLEASE INCLUDE THE FOLLOWING: , ~ 8 SETS OF ACCURATE, DETAILED DRAWING OF SIGN, TO SCALE, SHOWING: a. Location of sign andlype of sign (wall, ground, projecting, or window) b. All dimensions of sign c. Copy layout for each side - ' d. Lettering style - e. Materials to used in fabrication ~ , f. Manutaclurer o(sign ~ COLOR SAMPLES FOR SIGN COLORS. Include manufacturer name and number. Page 1 0(6 Architectural Review Boartl Application ,.C, .__~_____T_ . 1 , - City of Dublin, Ohio 119 { Page 2 `~x ~ l ~ `t ~ IV. FOR REMODELING AND/OR NEW CONSTRUCTION: (Please refer to Old Dublin Alteration, Reconstruction, New Construction Guidelines) ~ ~ ; _ ~ - 't Please check the proposetl work and explain fully in Ne referencetl form section on the following pages. ~ ~ , h ? Painting (Section V) ? Roof ReDlacemenVAdtlition (Section Xq P ' i ~ ? New Construction (Section VI) ? Door ReplacemenVAddition (Section XII) ~ , _ ? Building Addition (Section VII) ? W ntlow ReplacemenVAddition (Section Xllp ~ ~ L~ - ~ - ? Landscaping (Section Vllp ? Gutters and Downspouts (Section XIV) - ? Demolition (Section IX) ? External Mechanical Equipment (Section XV) Aj: r, ~ ? Re-swing (Section X) ? Paving and Parking (Section XVI) - ~ ~ ~ ~ ? Other (Describe) (Section XVII) fu +3 r 1 r W y4 h ~G f K~ - t,; ` V. PAINTING ~ ~t~re 2 ' 2K, 91 Building (Specify Cobr) - f" Trim (Specify Cobr) j g , - O[her (Specify Cobr) r~`" 7 ' Is wlor selection based on paint Cobr research of the building? YES? NO ? ` Explain: r S 4 ' ors- 1 }C~.. 'i+. Y r .vim yr - VI. NEW CONSTRUCTION ~ iA.~ - _ Describe design and explain compatibility with existing architectural styles ~ ky ~s ~i a7`~ t'r`3 F - VII. BUILDING ADDITION i ~ta, .fir ~ Describe design and placement: ~FT~+~ - ~t - ~a x%" . - VIII. LANDSCAPING 1 -v - _ _ Explain . ~ ) Page 2 0/ 6 Architectural Review Board Appbcation ' i ~ I D r ~ i _ ~ /wr• 120 Appendix -Old Dublin Sample Architectural Review Board Application Page 3 . , I i IX. DEMOLITION Describe reasons for demolition f ~ Describe alternatives explored and why they are nol feasible. S~.j ~ 1 _ X. RE-SIDING Describe reasons: - E j ~ Describe materials [o be used: i XI. ROOF REPLACEMENT/ADDITION Explain: i _ l XII. DOOR REPLACEMENTIADDITION i ~ Explain: 1 i I I I gage 3 ~f G Architectural Review eoartl Ap~hcation I f _____-___~__-d _ - - - City of Dublin, Ohio 121 ~r ss Page 4 ` , XIII. WINDOW REPLACEMENT/ADDITION Explain- M ' { ~ ~ XIV. GUTTERS AND DOWNSPOUTS Explain: r j XV. EXTERNAL MECHANICAL EQUIPMENT I :;'..*f,,_ - Explain: I ' ` .Y s;^~ XVI. PAVING AND PARKING n~ r Y 'n`+~. - Explain: ! ~ XVI1. OTHER IMPROVEMENT Explain any work not previously discussed: - - rk Mw Y& Page 4 of 6 Architectural Review Board Application Y _ ~ _ _ _ F j 122 Appendix -Old Dublin Sample Architectural Review Board Application I Page 5 i XVIII. PLEASE INCLUDE THE FOLLOWING: ~ B COPIES OF LEGAL DESCRIPTION: Legal description of the property consists of page(s) PLAN REQUIREMENTS: ~ ~ 8 SETS OF PLANS TO SCALE (NOT GREATER THAN 24" X 36")SHOWING`. _ a General site location map - b. North arrow and bar scale c. Location, size and dimensions of all existing and proposed conditions and structures . (significant natural features, landscaping, structures, additions, decks, access ways, parking) d. Property lines and dimensions of the lot e. Size of the site in acres/square feet - C All setbacks, street centerlines, rights-of-way, easements, and other information related to the site ~ g. Location, number, length, width and surface of all existing and proposed parking spaces !"7 O h. Use of land and location of structures on adjacent properties 1 f 8 SETS OF REDUCED DRAWING(S) (NOT GREATER THAN t 1"X 17") . - O 8 SETS OF DETAILED ELEVATION DRAWINGS TO SCALE SHOWING PROPOSED FLOOR GRADES ~ S ~ SAMPLES OF ALL MATERIALS to be used (color chips, photos. plans or brochure of product information) 1. ~ 8 COPIES OF COUNTY OWNERSHIP MAP: (NOT LESS THAN 8%" X 11"AND NOT MORE THAN 16" X 20") Showing contiguous property owners within 500 (eet from the perimeter of the site. XIX. CONTIGUOUS PROPERTY OWNERS ' List aft neghboring property owners within 750 feet from the perimeter of the property. Such list to be in accordace with the County Auditors current tax list. (Use additional sheets as necessary.) Labels formatted Ior Avery 5160 may be submitted as labels or on a computer disk. - PROPERTY OWNER MAILING ADDRESS CITY/STATE/ZIP CODE (not Mortgage Company or Tax Service) i / ~ i f I I 1 J I -1 i Page 5 of 6 Architectural Review Board Application i - II}- i _ _ r - - City of Dublin, Ohio 123 A~ Page 6 - w XX. PROPERTY OWNER INFORMATION 1 i~ 111 - k.. Current Property Owner(s): Mailing Address: (Street. City, State, Zip Code) Daytime Telephone. Fax. Contact Person', I(diNerenl than property owner(s). 'Please complete the Agent Authorization, Section XXII, below. Mailing Address: (Street, Clty. State, Zip Code) Daytime Telephone: Fax: ~ Which of the above is [he primary contact person? I " - XXI. AUTHORIZATION TO VISIT THE PROPERTY Site visits to the property are necessary by City representabves in order to process [his application. The OwneUApplicant hereby authorizes City - representatives to visit, photograph and post a notice on the property described in this application. XXII. OWNER AUTHORIZATION FOR REPRESENTATIVE If( 1. - I• ,the owner and applicant, hereby authorize - ~ to act as my representative aMagent m all matters pertaining to the processing and approval of this application indutling modifying the project, an 111} - 1 agree to be bound by all representations and agreements made by the designated agent ~ ~ Signature of Current Property Owner: Date: I ' ~ Signature of Current Property Owner: Date: XXII1. APPLICANT'S AFFIDAVIT 1 STATE OF ~ COUNTY OF t I, ,the applicant or theapplicant representative, have real i ' and understand the contents of this application. The information contained in this application, attached exhibits and other information subm¢ted i complete and in all respects true and correct, [o the list of my knowletlge and belief ~ I Signature o/Applicant or Date' AuthonZed Representative: Subscribed and sworn to before me this day of tg ~ Notary Publlc I . r1- I I Rev March I]. 1999 Page 6 of 6 p \pASS\PLAN\FORMS\APPLICAPARB APP i ~ I 4 124 Old Dublin Design Guidelines Notes - - - E F,~ ~ _ _ - , it I _ - - Old Dublin DesiKn Guidelines-Plum Pulene June 27, 200/ IR Recommended Trees for Landscaping Abies balsamea Balsam fir 1696 Abies concolor White fir 1872 Abies fraseri Fraser fir 1811 Acer japonicum Full-moon maple 1864 Acer platanoides Norway maple 1782 Acer platanoides'Columnare' Column maple 1855 Acer pseudoplatanus Planetree maple 1750 Acer saccharum Sugar maple 1753 Araha elate Japanese angelica tree 1830 Aralia spinosa Devil's walking stick 1 ggg Betula rngra River birch 1800 ~ Carpinus betulus European hornbeam 1750 Carpinus caroliniana American hornbeam, ironwood 1800 Carpinus japonica Japanese hornbeam 1 g7g Carpinus orientalis Oriental hornbeam 1739 Carya cordiformis Bitternut hickory lggg +n Carya glabra Pignut or red hickory 1750 Carya laciniosa Shellbark hickory 1800 Carya ousts Shagbark hickory 1 ggg Carya tomentosa Mockernut hickory 1800 Celtis occ~denta6s Hackberry 1636 Cerc~diphyllum tapomcum Katsura tree 1865 Ceres canadensis Eastern redbud 1641 Chaamaecyparis obtuse Hinoki false cypress 1861 Chwnanthus virgimcus Fnnqe tree 1735 Cladrasbs lutes American yellowwood 1812 Corms amomum Sdky dogwood 1658 Corms florida Flowering dogwood 1731 Corms mss Cornelian cherry 1750 Corms mas'Auereo- 'Elegantissima' cornelian cherry 1872 elegantissima' Corylus amencana American filbert 1800 Corylus colurna Turkish filbert 1700 Dispyros virginiana Persimmon 1800 Eucommia ulmoides Hardy rubber tree 1 ggg Fagus grandrfoha American beech 1800 Fagus sylvatica European beech 1750 Fagus sylvatica f. laciniata Cutleaf European beech 1782 Fagus sylvatica f. purpurea Purple beech 1772 Fagus slyvatica'Purpurea Weeping purple beech 1870 M pendula' Fagus sylvatica 'Riversii' Rivers purple beech 1 ggg Fagus sylvatica 'Rohanii' Rohan European beech 1894 Fagus sylvatica 'Tortuosa' 1845 Frankinia alatamba Franklin tree 1770 1 r e? e~ Old Duhlin Design GuiAelines-Plant Palene hole 27. 2001 Fraxinus americana White ash 1724 Fraxinus engustifolia Narrowleaf ash 1800 Fraxinus pennsylvanica Green ash 1824 Fraxinus quadrangulata Blue ash 1823 Ginkgo biloba Maidenhead tree 1784 Gleditsia triacanthos var inermis Thornless common honey locust 1700 ~rmnocladus dioca Kentucky coffee tree 1748 Halesia Carolina Carolina silverbell 1756 Halesia'diptera Two-winged silverbell 1758 Juglans cinerea Butternut 1633 Juglans nigra Black walnut 1686 Junipers virginiana Eastern red cedar 1664 Juniperus virginiana var. glauca Silver red cedar 1850 Juniperus"virginiana var pendula Weeping red cedar 1855 Kalopanax pictus Castor aralia 1865 Koelreuteria paniculata Golden raintree 1763 Larixkaempferi Japanese larch 1861 Liquidambar styraciflua American sweet gum 1681 Lirodendron trulipifera Tulip poplar 1664 Maackia'amurensis' Amurmaackia 1864 Maclura~pomifera Osage orange 1818 Magnolia acuminata Cucumber tree 1736 Magnolia hypoleuca White Bark Magnolia 1865 Magnolia macrophyllla Bigleaf magnolia 1800 Magnolia X soulangiana'Andre 1851 Leroy' Magnolia X soulangiana'Lennei' 1852 Magnolia X soulangiana 'Rustics' 1893 Magnolia X soulangiana 1830 'Speciosa' Magnolia stellata Star magnolia 1862 Magnolia tripetala Umbrella magnolia 1752 Magnolia virginiana Sweetbay magnolia 1688 Malus X atrosanguinea Carmine crab apple 1889 Malus floribunda Japanese flowering crab apple 1862 Malus halliana'Parkmanii' Parkman crab apple 1861 Males X robusta Cherry crab apple 1815 Males spectabilis'Riversii" River's crab apple 1883 Mespilus germanica Showy mespilus 1800 Nyssa sylvatica Sour gum 1750 Ostrya virginiana American hop hornbeam 1690 - Oxydendrum arboreum Sourwood 1747 Parrotia persica Persian parrotia 1840 Phellodendron amurense Amur cork tree 1856 Picea abies Norway spruce 1776 Picea abies 'Clanbrassiliana' Barry spruce 1836 Picea breweriana Brewer spruce 1897 Picea englemannii Engelman space 1862 Picea glauca White or Candian spruce 1700 2 K; Old Dublin Design Guidelines-Plant Pulene pine 27, 2001 Picea omorika Serbian spruce 1gg0 ` Picea orientalis Oriental spruce 1837 Picea pungens Colorado spruce 1862 Pious bungeana Lacebark pine 1846 Pinus flexilis Limber pine 1861 Pious koraiensis Korean pine 1861 Pious mugo var. mugo Mugo pine 1779 Pinus peuce Balkan pine 1863 Pious thunbergii Japanese black pine 1855 Platanus X acenfolia London plane tree 1750 Platanus occidentalis Plane tree 1800 Prunus avium Bird or sweet cherry 1750 ~ Prunus avium 'Plena' Double-flowered mazzard cherry 1878 Prunus maackii Amur chokecherry 1 g7g Prunus serotina Black cherry 1629 Pseudolanz kaempferi Golden larch 1854 P_seudotsuga menziesii Dou las Fir 1827 Pterocarya fraz~mfoha Caucasian wingnut 1782 Pyrus ussuriensis Ussurian pear 1855 Quercus acubssima Sawtooth oak 1862 Quercus.alba White oak 1750 Quercus cerris Turkey oak 1735 Quercus coccinea Scarlet oak 1800 Quercus lyrata Overcup oak 1788 Quercus muehlenbergii Chinkapin 1822 Quercus palustris Swamp oak 1770 Quercus phellos Willow oak 1736 Quercus robur English oak 1750 Quercus rubs Red oak 1800 Robinia pseudoacacia'Aurea' 1864 Robinia pseudoacacia 1871 'Bessoniana' Robinia pseudoacacia 1863 s 'Decaisneana' Robinia pseudoacacia 1874 'Semperflorens' Sassafras albidum Sassafras 1800 Sophora japonica Scholar tree 1747 Stewartia pseudocamellia Japanese stewartia 1874 Styrax lapomcus Japanese snowbell 1862 Styrax obassia Fragrant snowbell 1878 Syringe reticulate Japanese tree lilac 1881 Taxodium distichum Bald cypress 1640 Thujopsis dolabrata Hiba false arborvitae 1861 Tiha amencana Linden 1752 Tilia petiolaris Pendent silver linden 1840 Tilia platyphyllos Bigleaf linden 1800 Tilia tomentosa Silver linden 1800 Tsuga canadensis Canadian hemlock 1 gpp 4 r Old Dublin Design Guidelines-Flora Pufelle J)+ne 27, 2001 Tsuga canadensis 'Macrophylla' 1891 Tsuga canadensis'Sargentii' Sargent weeping hemlock 1870 Tsuga diversifolia Japanese hemlock 1861 Ulmus glabra 'Camperdownii' Camperdown elm, umbrella tree 1800 Ulmus pavifolia Chinese elm 1794 Ulmus procerca English elm 1800 Zelkova serrate 1860 4 Old DuGlin Design Guidelines-Plant Pnlene Jude 27, 2001 Recommended Shrubs for Landscaping in Old Dublin Abies lasiocar a , P - Alpine Fir 1900 !Acer ginnala Amur maple 1860 - Aesculus,parvifoha Bottlebrush buckeye 1785 Aesculus`pav~a'~~- ~ ~ Red buckeye 1711 Amelanchier arborea ^ ~ Juneberry, downy serviceberry 1746 `Amefanchier'laev'is a P ~ "Allegheny serviceberry 1870 Berbers thunbergu Japanese green barberry 1864 ~Buxus semperv~rens ~~~;>~Y Common boxwood 1750 ~Calhcarpa amencana ~°e American beautyberry 1857 ;Calycanthus flondus a~~*z.~Y-~ Common sweetshrub 1800 sCeanothus amencanus; ~ New Jersey tea 1713 Chaenomeles speaosa Common flowering quince 1800 'Chamacypa~is obtusa"Nana .~3 rr Dwarf fernspray cypress 1867 ,Chionanthus vigimcus ~ White fringetree 1736 Clethra alrnfoha -,~z ~ summersweet 1731 ~ Clethra almfoha 'Parnculata ~ ~ Paniculata summersweet 1770 Clethra ba~b~nervis ~ Japanese Clethra 1906 'v~Y-~r-? - Ky .,T ft Clethra tomentos`a ~ * , ~ f'' Woolly summersweet 1731 Corpus alba„~ '^~r ~ ^ Tartarian dogwood 1741 ~ ~ ,Corpusmas Cornelian cherry do wood 1872 Corylus avellana;'Contorta'~c'~~:;:=Harry Lauder's walking stick 1870 Cotmus~coggygna ~~f 'Common smokebush 1656 CoUnus coggygna,Pendylus,~ Weeping smoke tree 1885 Cotmus obovatus~''~~s_ ..3' American smoke tree 1782 Cotoneaster horizontahs ` Rockspray cotoneaster 1880 Cotoneaster lucidus t Hedge cotoneaster 1840 Cryhalanthus ocadentahs ~ Buttonbush 1800 ,Cytisus decumbens " " Prostrate broom 1775 Daphne. genkwa = Lilac daphne 1843 Daphne maze eum February daphne 1800 ~I Deutzia' gracdis ~ Slender Deutzia 1880 ~~r,~ ~ Deutzia scabs., Fuzry deutzia 1822 !Deutzia scabra'Candidiseima Snowflake deutzia 1822 .Deutzia X lemoinei Lemoine deutzia 1891 Dirca palustris ~ _ _ r~ r Leatherwood 1750 Elaeagnus multrflora Cherry elaeagnus 1 g62 Enk~anthus campanulatus _ Red-vein enkianthus 1870 Enkianthus perulafus ~ ~ , White enkianthus 1870 Euonymus alata.: Winged burning bush 1860 Euonymus atropurpurea Wahoo 1756 Euonymus bun eanus Winterberry euonymus 1883 Exochorda racemosa Common pear bush 1848 Forsythia virid~ssima Greenstem forsythia 1845 _ Forsythia X mtermedia~,,-.,. Border forsythia 1875 I Old Dublin Design Guidelines-Plrurt Pulene June 27, 2001 tForsythia X intermedia 't~ensiflora' Densiflora' border forsythia 1888 iForsythia X intermedia 'Vitellma Vitellina' forsythia 1899 'Fothergilla gardenii Dwarf fothergilla 1765 'Genista pilosa Silkyleaf woodwaxen 1789 .Genista tinctoria Woodwaxen 1750 IHamamelis japonica - Japenese witch hazel 1862 Hamamelis mollis Chinese witch hazel 1879 Hamamelis virginiana'~ ~ - Common witch hazel 1736 Nippophae rhamnoides Sea buckthorn 1800 Hydrangea arborescens Smooth hydrangea 1736 'Hydrangea paniculata Peegee hydrangea 1861 Hydrangea paniculata Grandiflora' peegee hydrangea 1862 i'Grandiflora' Hydrangea paniculata'Praecox' ~ Praecox' peegee hydrangea 1893 Hydrangea quercifoha~'-? ~ ~ ©akleaf hydrangea 1803 Hypericum frondosum - Golden St.-John's-wort 1776 Hypericum prolificum Shrubby St.-John's-wort 1800 `Ilex glabra ~ - e:, Inkberry 1759 Ilex opaca American holly 1744 ..Ilex pedunculosa Longstalk holly 1892 'Ilex rugosa Prostrate holly 1895 tllex serrata ~ Finetooth holly 1866 .Ilex verticillata Common winterber 1736 Juniperus chinensis'Pfitzeriana' r Pfitzer juniper 1767 `Juniperus chinensis'SargenUi' Sargent juniper 1892 ~Juniperus scopulorum Rocky Mountain juniper 1836 Juniperus,virginiana'Kosten "~Kosterjuniper 1870 ~Junipe~us virginiana 'Tripartrta ~~L. Fountain red cedar 1867 ~Kerria japonica Japanese kerria 1834 Lavandula angustifolia 'tY English lavender 1800 a tespedeza bicolor Shrub bush clover 1856 Ligustrum amurense `-:"Amur privet 1860 Ligustrum obtusifolium ' Border privet 1860 ~Ligustrum ovalifolium '.California privet 1847 iLindera benzoin - Spicebush 1800 'Lonicera fragrantissirna? Winter honeysuckle 1845 " ;Lonicera tatarica - `Tatarian honeysuckle 1752 Lonicera xylosteum = European fly honeysuckle 1850 Myrca gale Sweet gale 1750 Myrica pensylvanica Northern bayberry 1800 ' Neviusia alabamensis Snow wreath 1860 Paeonia suffruticosa - ~ Tree peony 1800 Parrotiopsis jacquemontiana 1879 Paxistima canbyi Canby paxistima 1880 Philadelphus coronarius Sweet mock orange 1700 Philadelphus X lemoinei 1896 'Avalanche' ;Philadelphus X lemoinei 'Soule 1894 'd`aygent' 2 ~r Old Dublin Design Guidelines-Plmu Pulene Jrene 27, 2001 ~ Philadelphus X lemoinei'Erectus' lggq ~Philadelphus X lemoinei 'Mont 1894 ;Blanc' `Philadelphus X virginalis 'Bouquet 1 gg4 ' ,Blanc' Physocorpus monogynus -Mountain ninebark 1879 ~Physocorpus opulifolius' Ninebark 1800 iPtelea trifoliata . Hop tree water ash 1724 Rhamnus caroliniana Indian cherry 1727 fRibes alpinum _Alpine currant 1700 -gibes odoratum Clove currant 1812 en iRosa X alba White rose 1800 `Rosa X alba "Incarriafa' Cottage rose 1800 Rosa Xharisonii _ Harison's yellow rose 1830 iRosa foetida ~ Austrian brier 1800 `Rosa foetida 'Persians' Yellow Rose 1800 Rosa hugonis Father Hugo rose 1899 'Rosa moyesii Moyes rose 1894 Rosa rubrifolia Redleaf rose 1814 Rosa rugosa ~ ~ Rugosa rose 1845 Rosa spinosissima _ Scotch rose 1800 ~Rosa`virginiana : - ~ "Virginia rose Before 1807 ESalix caprea 'Pendula' Weeping pussywillow 1860 ~piraea bullata ; Crispleaf spirea 1880 rw ISpir'aea X bumalda Bumald spirea 1890 ~piraea X bumalda Anthony 1890 aterer = t$~'iraea X cmerea 'Grefsheim 1884 ~ ,pe . Spraea japonica Japanese spirea 1870 (tSpir'aea japonica 'Atrosanguuiea' Mikado spirea 1870 fSpi~aea prunifolia var. plena Double-flowering bridal wreath 1843 Spiraea_thunbergii Thunberg spirea 1863 Spiraea trilobata Three-lobe spirea 1801 ~iraea X vanhouttei Van Houtte spirea 1866 jStaphylea tnfolia - American bladdernut 1640 ISymphoncarpos albus 'Common snowberry 1812 Symphor•icarpos orbicrilatus Indian currant coralberry 1727 Symplocos paniculata - Sapphire berry 1875 Syringa X chmensis Chinese lilac 1800 Syringa josikaea Hungarian lilac 1830 Syringa pekinensis Pekin lilac 1881 Syringa villosa Late lilac 1802 Syringa vulgaris 'Alphonse 1885 iavallee' Syringa vulgaris '.Belle de Nancy' 1891 ;Syringa vulgaris 'Charles Joly' 1896 `Syringa'vulgaris'Congo' 1896 ,Syringa vulgaris 'Jacques. Callot' 1878 ,Syringa Vulgaris.'Lucie Baltet' , 188g _ Syr~riga'ilgaris'Ludwig Spaeth' ' 1883 3 rr= a w r q June 27, 200! Old DuGliu Design Guidelines'-Plan Palette 1844 ,Syringa vulgaris'Macrostachya' 1879 Syringa vulgaris.'Marie Legraye' 1892 ~ ',Syringa vulgaris 'Mme. F. Morel' 1890 :Syringa vulgaris'Mme. Lemoine' 1886 S rin a vul aris'President Grev 1853 Tamarix parviffora Small-flowered tamarix ~ 1883 +Tamarix ramosissima Five-stamen tamarix 1800 Taxus canadensis Canadian yew ;y S readin Ja anese ew 1853 ~Taxus cus idata 1772 Vaccinium angustifolwm Lowbush blueberry 1765 Vaccinium co mbosum ~ Hi hbush blueber Ma le-leaved viburnum 1800 1Viburnum acerifolium p 1800 Viburnum alnifolium Alder-leaved viburnum Koreans ice viburnum 1812 Viburnum carlesii p 1800 Viburnum dentatum Arrowwood viburnum Linden viburnum 1845 Viburnum dilatatum 1800 'Viburnum lantana Wayfaring tree Sweet viburnum 1800 Viburnum lentago 1800 ..Viburnum opulus European cranberry bush ` Ja anese snowball 1814 .Viburnum plicatum p 1738 'Viburnum prunifolium Blackhaw viburnum 1892 Viburnum sargentii Sargent viburnum Siebold viburnum 1880 Viburnum sieboldii 1800 ~ Viburnum trilobum American cranber bush Old-fashioned weigela 1845 Weigefa florida 1850 .Wei eia middendorffiana Middedorff wei ela ,r ,.s~~ - r 4 ~ ~ , • ~ .,r,~~~~ ~~~1~ ~ h~ti'~ s. ~ -fir rrn , ~'~~~1 Lea ~rn ~g ~ e ~~t` ,~,y 1 v yr l~ f17~ ~ ~ Vii' ~L ~ I1 ~ 1 C 11~~_ 7 R ^ ~ II)~ a i d ~,1 - ~-_-*~-f--~~ ~~t~n ors}[k,7rr ~ ~ ~ ~ ~ S~' q ° 1 . t ~ t~1 'Y is i gn ~ ~ ~ ...T ~r ~ = r-- ~ p ~ • ~S- ~,,tl 7'rJlrr ~ ttr' f~ v, ^ ll ~ • ~ , tbrnu. _'"'Hi~rlr/r;~' '~j ? F:.t1 1 ~s'~ti f'l~trtrl ~ 4 j7. {t*rlc~' ~ -lc~f'ot' ~ ~ P - -~71'r -l ~ 1, - t r~ ~ \ r ~ w <'h - ` E <y. ~ \ ,f i i/ ~ ~ ~ _ _ ~ - ~ 'yam { ..w~ .mow ~ ~ ~ . Y ? 1 `L ~O' r ( ,."`,a ~ r ~ ~ ~ip 7~4 ~ ~r.* ~ S \ tr 4` rt ii n ~ t C ~ ~ -F = S't i r ~ 4.nn1 0.rdwry t~, a 9 ~ ~ ~ t ~t11.~A Ud MS 'r ~i ~3 CITY OF DlBL15 Dublin, Ohio ~ Division of Planning ~ j Printed on recycled paper using soy inks