HomeMy WebLinkAboutagenda.hpc.20091028ASPEN HISTORIC PRESERVATION COMMISSION
OCTOBER 28, 2009
5:00 P.M. REGULAR MEETING
COUNCIL CHAMBERS
130 S. GALENA
ASPEN, COLORADO
SITE VISITS: None
I. Roll call
I. Approval of minutes
IL Public Comments `
III. Commission member comments
IV. Disclosure of conflict of interest (actual and apparent)
V. Project Monitoring:
VI. Staff comments: Certificate of No Negative Effect issued
(Next resolution will be #19)
VIL OLD BUSINESS
A. None
VIII. NEW BUSINESS -PUBLIC HEARING
A. 630 East Hyman Avenue -Landmark, Conceptual HPC
and Commercial Design Review, Ord48 negotiation (1 hour)
IX. WORK SESSIONS
A. Historic Preservation Guidelines - Streetscape and Lot
Features/Historic Development Patterns and Landscape
Design (1 hour)
B. Update Historic Preservation Commission on proposed new
recycling containers for downtown (20 minutes)
X. 7:30 p.m. Adjourn
Provide proof of legal notice (affidavit of notice for PH)
Staff presentation ,
Applicant presentation
Board questions and clarifications
Public comments (close public comment portion of hearing)
Chairperson identified the issues to be discussed
Applicant rebuttal (comments)
Motion
No meeting of the HPC shall be called to order without a quorum consisting
of at least four (4) members being present. No meeting at which less than a
quorum shall be present shall conduct any business other than to continue
the agenda items to a date certain. All actions shall require the concurring
vote of a simple majority, but in no event less than three (3) concurring votes
of the members of the commission then present and voting.
~A
MEMORANDUM
TO: Aspen Historic Preservation Commission
FROM: Amy Guthrie, Historic Preservation Officer
RE: 630 E.. Hyman Avenue- Historic Landmazk Designation, HPC Major
Development (Conceptual), Commercial Design Review (Conceptual), Ordinance
#48 Negotiation- Public Hearing
Clctnher
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SUMMARY: 630 E. Hyman Avenue
is a modern commercial building
constructed beginning in 1969. It is
identified on Ordinance #48, Series of
2007 as a "potential historic
Owners of property on Ordinance #48
have a few options if they wish to
proceed with work. They can request
staff or HPC approval for their '
immediate plans without actually
agreeing to designation, they can _
volunteer for designation based on a ~~; -
package of incentives negotiated with "'-
City Council, or they can pass on designation and accept a 90 delay period for the processing of'a'
permit to alter or demolish the building. The owners of 630 E. Hyman Avenue aze willing. to
negotiate for designation.
HPC discussed this property, and the owners' redevelopment goals of worksessions in July and
August, 2009. The proposal is to repair and refinish exterior woodwork, replace all windows,
reconfigure the primary staircase, add a third ftoor residential unit, and improve the interior
courtyazd, which becomes an enclosed azea.
At the worksessions, HPC indicated that examples of the Modem azchitecture, particulazly this
example are worthy of preservation. HPC members provided feedback on the proposed
alterations, which resulted in the applicant making amendments to preserve the azchitectural
integrity of the existing building.
On November 23`d Council will hold First Reading of an Ordinance to establish incentives, if
any, that that they will commit to the property owner to achieve voluntary designation. The City
is not able to landmazk any properties listed on Ordinance #48 without the owner's consent.
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The project does not increase development rights beyond what could be achieved through
- existing code processes, however, Council negotiation could assure the applicant the entitlements
and configuration they aze seeking. Assuming that the City is successful in negotiating landmazk
designation of this site, the applicant will return for Final HPC design review at a future date.
STAFF RECOMMENDATION: Staff appreciates the applicant's willingness to voluntarily
designate this building. , We find the criteria aze met for Historic Designation, HPC Major
Development (Conceptual), and Commercial Design Review (Conceptual): We support Council
granting incentives that aze requested under Ordinance #48.
APPLICANT: 630 E. Hyman LLC, represented by Haas Land Planning, LLC and Rowland +
Broughton Architects.
PARCEL ID: 2737-182-12-007.
ADDRESS: 630 E. Hyman Avenue, Lots R and S, Block 99, City and Townsite of Aspen,
Colorado. -
ZONING: C-I, Commercial.
HISTORIC DESIGNATION
26.415.030.B. Criteria. To be eligible for designation. on the Aspen Inventory of Historic
Landmazk Sites and Structures, an individual building, site, structure or object or a collection of
buildings, sites, structures or objects must have a demonstrated quality of significance. The
significance of 20~' century properties like 219 S. Third Street is evaluated. according to the
following criteria:
A property or district is deemed significant as a representation of Aspen's 20th Century
history, was constructed in whole or in part more than thirty (30) yeazs prior to the yeaz in
which the application for designation is being made, possesses sufficient integrity of location,
setting, design, materials, workmanship and association and is related to one (1) or more of
the following:
a. An event, pattern or trend that has made a significant contribution to local, state, regional
or national history,
b. People whose specific contribution to local, state, regional or national history is deemed
important and the specific contribution is identified and documented, or
c. A physical design that embodies the distinctive chazacteristics of a type, period or method
of construction or represents the technical or aesthetic achievements of a recognized designer,
craftsman or design philosophy that is deemed important.
Staff Finding: 630 E. Hyman was built beginning in 1969, commissioned by Jack and Gesine
Crandall, and designed by Tom Benton.
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Tom Benton was the subject of an exhibit presented by the Aspen Historical Society in 2007, and
is the topic of an upcoming book sponsored by George Stranahan, including associated website
that includes the full collection of his work. From www.bentonbook.com:
Thomas Whelan Benton was born Nov. 16, 1930 in Oakland,
California. Benton attended Glendale High school and Glendale
Junior College before joining the Armed Forces and serving in the
Korean War. After the conflict, he studied at the University of
Southern California, where he earned a degree in architecture. In
the years following his graduation,. Benton designed and built a
number of buildings in Southern California.
In his early years, Benton visited Colorado a number of times and
was continually drawn to the area. In 1963, Benton designed and built a building at 521 E.
Hyman in downtown Aspen that would become his home, art studio, and gallery. Benton
became involved in local politics and his gallery soon became the central meeting place for
local intellectuals, artists, and activists. He shifted his focus from architecture to graphic art
and design in the mid-sixties, creating political posters for the Aspen Liberation Front, a
loose-knit group of local activists. From the beginning of his career, Benton was especially
drawn to the impact of symbols and text, working in tandem in his political works to convey
his message.
According to Pitkin County Sheriff Bob Braudis, "Benton was heavily intellectual and
understood the threat that speculators were to our environment before anyone else.
Throughout his career Tom remained steadfastly loyal to rock solid values and committed to
sending his political message through his art. "
During the late 1960s, Benton met Hunter Thompson. His friendship and collaboration with
Thompson spanned more than four decades and created or inspired some of Benson's most
recognized works. The 1970 "hunter s. tompson for sheriff' campaign poster included a
two-thumbed f:st and peyote button for his run for Sheriff of Pitkin County. This work also
inspired the famous "Gonzo Fist" logo Benton designed with fellow artist Paul Pascarella.
Benton also created the original cover for Thompson's "Fear and Loathing on the Campaign
Trail" and collaborated with Thompson on a series of Aspen Wall Posters that featured
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artwork by Benton on one side, and literature by Thompson on the other. On the political
front, he went on to create campaign posters for over 30 candidates including Gary Hart,
George McGovern, and Willie Brown. Tom also created numerous "cause" posters for local
benefits, non profts, and charitable causes.
Benton's artwork continued to evolve throughout his career from political posters to.abstract
silkscreen prints, monoprints, and oil paintings. His iconic works, composed of complex,
layered images of bold colors, text and symbols, mesmerized his subjects. Benton drew upon
his early career as an architect, the influence of his time is SE Asia; and from artists such as
Mark Rothko and Katsushika Hokusai, Paul Jenkins, and Morris Lewis. His artwork always
remained original and grew in size throughout his career, creating prints over 3'X 3' and oil
paintings measuring 5'X 5'.
"My interest in art is for the organic and poetic. 1 have great respect for oriental art and do
not deny its influence in my work In a sense, I'm a rake painter. Raku is a way of
approaching art. It's a spontaneous, intuitive sense. You learn to take advantage of what's
happening to your work while it's happening. There's a lot of emotion and intuitive feeling
involved to the paint that you almost know when something is going to happen, and
afterwards, you say, I'm not surprised. "
In the 1980's and 90's, Benton worked part time as a jailer for the Pitkin County Sheriffs
Department and continued to create artwork until he died from lymphoma on Apri127, 2007.
Benton was the featured artist in a retrospective at the Aspen Historical Society in 2007.
Perhaps the most remarkable thing about Thomas W. Benton was his fiercely independent
nature, and the enigmatic nature of the man and his work. Though known internationally,
Benton was best-known and most-loved by the regular people. He was prodigiously
productive, and certainly a man considered by peers and collaborators alike as equal parts
dreamer and doer. He was known for creating everything he needed--from his art supplies to
his furniture to his home and art studio--and often his tools and accessories were as
captivating as his works on display. Said friend Jay Cowan, " he could have gotten rich
designing buildings, furniture, accessories, almost anything, probably, but he wanted to
produce art and he did. "
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Credits to Jay Cowan, Michael Cleverly, Chris Beck
Benton was not specifically profiled in the City's paper "ASPEN'S 20~ CENTURY
ARCHITECTURE:MODERNISM,".however he was an influential participant in this movement
as it played out in Aspen from approximately 1945 to 1975. Benton's work as a graphic artist in
the community became more prolific than his architectural practice. Staff is only awaze of two
downtown buildings; 630 E. Hyman and Bentoh's heavily altered studio one block to the west,
that remain of his work: There aze examples of resideritial buildings located in the County.
The subject building is unaltered to our knowledge, except perhaps the addition of some
windows on the reaz fapade. It scores 99 out of 100 points on the Integrity scoring form. We
find that the all of the criteria for designation; a, b, and c, aze met.
MAJOR DEVELOPMENT (CONCEPTUAL)
The procedure for a Major Development Review, at the Conceptual level, is as follows: Staff
reviews the submittal materials and prepares a report that analyzes the project's conformance
with the design guidelines and other applicable Land Use Code Sections. This report is
transmitted to the HPC with ,relevant information on the proposed project and a
recommendation to continue, approve, disapprove or approve with conditions and the reasons
for the recommendation. The HPC will review the application,'the staff analysis report and the
evidence presented at the hearing to determine the project's conformance with the City of
Aspen Historic Preservation Design Guidelines. The HPC may approve, disapprove, approve
with conditions, or continue the application to obtain additional information necessary to
make a decision to approve or deny.
Major Development, is atwo-step process requiring approval by the HPC of a Conceptual
Development Plan, and then a Final Development Plan: Approval of a Conceptual
Development Plan shall be binding upon HPC in regards to the location and form of the
envelope of the structure(s) andleF--addition(s) as depicted in the Conceptual Plan application
including its height; scale, massing and proportions. No changes will be made to this aspect of
the proposed development by the HPC as part of their review of the Final Development Plan
unless agreed to by the applicant
Staff Response: Conceptual review focuses on the height, scale, massing and proportions of a
proposal. A list of the relevant design guidelines is attached as "Exhibit A."
The noteworthy aspects of the proposal at the Conceptual level aze the rooftop addition, and the
reconfiguration of the entry/staircase into the building.
HPC discussed the entry at some length during the worksessions. Typically the boazd does not
support moving such a primary feature of the building. In this case, the entry point irito the
courtyazd remains intact, but the staircase will be relocated. The existing stair does not meet fire
code, and adapting it creates other impacts, including enclosing it with a new corridor that would
jut out in front of the building. HPC indicated support for the reconfiguration as proposed. Staff
does request that for Final review, the alterations to the ground floor storefronts on Hyman
Avenue be restudied to retain the two "spiderweb" panels that currently flank the stair.
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With regard to the rooftop addition, staff finds that it has been reduced in size and pulled in from
the edge of the building successfully since'the first worksession. Although materials are topics
for Final review, the choice of wood, in an appazently darker tone than the rest of the building,
works well in the renderings. The rooftop. addition is cleazly a new element, but the Benton
building is not overwhelmed by it and the height is sympathetic to adjacent buildings. Staff has
some concerns that the railing, aligned with the siding on the main building, may compete with
the historic resource. The location of this railing should be discussed and reviewed in greater
detail at Final.
The rooftop addition is clearly a necessary. component of the project from the applicant's
perspective. They are seeking HPC support in order to move . forwazd with designation.
Although Staff is hesitant to address other issues that are typically reserved for Final, we believe
it is important at this time to alert the applicant to our position on window alterations. First, we
will recommend that all replacement windows on the original building be wood to match the
existing.. In addition, we recommend that all dimensions, number of panes, etc. be matched to
the existing conditions to the greatest extent possible. We do not debate replacement of the
existing units because we do not believe that they have any special artistic qualities, but we don't
support changing the original ,design. The one exception is on the reaz of the building. The
existing windows don't appear to be original, and we would ask for the new units to be consistent
with the rest of the facades.
Staff does not object to the one window proposed to be added on Spring. Street. The overall
effect of limited openings within the upper floor surface is maintained.
COMMERCIAL DESIGN REVIEW
Commercial Design Review Standards applicable to this project aze attached as "Exhibit., B."
Staff finds that few guidelines are relevant to this project, which is a renovation rather than new
construction. A primary concern of the guidelines is modulation of. height. Staff finds. that the
increased height in this case. is mitigated by pulling in from the roof edges and maintaining a
reasonableplate height. HPC should note that there is a Victorian home to the north of this, site.
It is an anomaly within the neighborhood, however impacts should still be considered.
ORDINANCE #48 NEGOTIATION
The application includes requests for benefits that will incentivize voluntary designation of the
property. The applicant requests that these benefits be awarded within the 90 day negotiation
period (ending January Sa'.)
First, it is requested that Growth Management exemption be granted in a timely manner for the
right to add one residential unit. This is an existing (and valuable) benefit for landmazks.
Exemption will be granted by the Community Development Drrector. -The property owner will
not have to provide affordable housing mitigation for this unit.
The negotiations include two requests which .staff believes aze moot. First, a new_Code
interpretation has been rendered that will exempt this application from the Subdivision review
process. In the past, Subdivision has been required whenever 1 or more residential units aze
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created in a mixed use building. Through the new interpretation, the first unit will be exempt.
This will apply to 630 E. Hyman.
The second request which requires no action relates to allocation of FAR. The building. is under
the allowable FAR and will remain so with the proposed addition. It does present some non-
conformities however. The City has recently amended FAR allowances for mixed use buildings
in a way that caps the maximum size of commercial space, residential- space, and other defined
uses. The total FAR limits aze unchanged, but the way the squaze footage is used withiri the
building has become restricted. 630 E. Hyman is currently. over the cap for amount of space
devoted to commercial tenants. The extent to which it is over will be reduced by this application
(due to reconfiguration of spaces,) but it still won't comply with current standazds. The applicant
has asked for relief. Staff finds no action is necessary since the non-conforming situation is not
being made worse.
Another cap which concerns the applicant is the 2,000 squaze foot limit on residential units.
Property owners can exceed that cap by 500 squaze feet by purchasing and landing a Transferable
Development Right. The applicant is requesting Council allow the residential unit to be 2,500
square feet in size without a TDR. This incentive does require Council negotiation and action.
The last request relates to two building features that currently encroach off of private property
and on to the City owned right of way along Spring Street. The features aze a column and a set
of stairs. Revocable encroachment licenses have been granted in the past. The applicant would
like the City to provide permanent easements. This request requires further review by the
Engineering Dept. and City Attorney's office.
The HPC may:
• approve the application,
• approve the application with conditions,
• disapprove the application, or
• continue the application to a date certain to obtain additional information necessary
to make a decision to approve or deny.
RECOMMENDATION: Staff recommends HPC support Council approval of Historic
Landmazk Designatiori and Ordinance #48 negotiations, in particulaz increasing the residential
unit size cap by 500 square feet. Staff recommends that HPC grant Major Development
(Conceptual), Commercial Design Review(Conceptual) as proposed.
Exhibits:
A. Relevant HPC Design Guidelines
B. Relevant Commercial Design standazds
C: ASPEN'S 20rn CENTURY ARCHITECTURE:MODERNISM
D. Integrity Scoring Sheet
E. Application
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"Exhibit A: Relevant HPC Design Guidelines for 630 E. Hyman ,Conceptual Review"
3.2 Preserve the position, number and arrangement of historic windows in a building
wall "
^ Enclosing a historic window opening in a key chazacter-defining facade is inappropriate, as is
adding a new window opening. This is especially important on primary facades where the
historic ratio of solid-to-void is achazacter-defining feature.
^ Greater flexibility in installing new windows may be considered on rear walls.
^ Do not reduce an original opening to accommodate a smaller window or door or increase it to
receive a lazger window on primary facades.
3.3 Preserve the historic ratio of window openings to solid wall on a facade.
^ Significantly increasing the amount of glass on achazacter-defining facade will negatively
affect the integrity of a structure.
3.4 Match a replacement window to the original in its design.
^ If the original is double-hung, then the replacement window should also be double-hung, or
at a minimum, appeaz to be so. Match. the replacement also in the number and position of
glass panes.
^ Matching-the original design is particulazly important on key character-defining facades.
3.5 In a replacement window, use materials that appear similar to the original.
^ Using the same material as the original is preferred, especially op chazacter-defining facades...
However, a substitute material may be considered if the appeazance of the window
components will match those of the original in dimension, profile and finish.
3.6 Preserve the size and proportion of a historic window opening.
^ Reducing an original opening to accommodate a smaller window or increasing it to receive a
lazger window is inappropriate.
^ Consider reopening and restoring an original window opening where altered.
3.7 Match, as closely as possible, the profile of the sash and its components to that of the
original window.
^ A historic window often has a complex profile. Within the window's casing, the sash steps
back to the plane of the glazing (glass) in several increments. These increments, which
individually only measure in .eighths or quarters of inches, aze important details. They
distinguish the actual window from the surrounding plane of the wall.
4.1 Preserve historically significant doors.
^ Maintain features important to the character of a historic doorway. These may include the
door, door frame, screen door, threshold, glass panes, paneling, hazdwaze, detailing, transoms
and flanking sidelights.
^ Do not change the position and function of original front doors and primary entrances.
^ If a secondary entrance must be sealed shut, any work that is done must be reversible so that
the door can be used at a later time, if necessary. Also, keep the door in place, in its historic.
position.
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^ If the secondary entrance is sealed shut, the original entrance on the primary facade must
remain operable.
4.2 Maintain the original size of a door and its opening.
^ Altering its size and shape is inappropriate. It should not be widened or raised in height.
10.3 Design a new addition such that one's ability to interpret the historic character of the
primary building is maintained.
^ Anew addition that creates an appearance inconsistent with the historic chazacter of the
primary building is inappropriate.
^ An addition that seeks to imply an eazlier period than that of the primary building also is
inappropriate.
^ An addition that seeks to imply an inaccurate variation of the primazy building's historic style
should be avoided.
^ An addition that covers historically significant features is inappropriate.
10.4 Design a new addition to be recognized as a product of its own time.
^ An addition should be made distinguishable from the historic building, while also remaining
visually compatible with these eazlier features.
^ A change in setbacks of the addition from the historic building, a subtle change in material or
a differentiation between historic, and more current styles aze all techniques that may be
considered to help define a change from old to new construction.
10.12 When constructing a rooftop addition, keep the mass and scale subordinate to that
of a historic building.
^ An addition should not overhang the lower floors of a historic building in the front or on the
side.
^ Dormers should be subordinate to the overall roof mass and should be in scale with historic
ones on similaz historic structures.
^ Dormers should be located below the primary structure's ridgeline, usually by at least one
foot.
10.13 Set a rooftop addition back from the front of the building.
^ This will help preserve the original profile of the historically significant building as seen
from the street.
10.14 The roof form and slope of a new addition should be in character with the historic
building.
^ If the roof of the historic building is symmetrically proportioned, the roof of the addition
should be similaz.
^ Eave lines on the addition should be similaz to those of the historic building or structure.
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!'n.nrnominl !')rnrnrter Area
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Ciry of Aspen
A method of achieving height aariation within a single building is
to step the building along the primary facade.
Height varied between two and three stories, with the three story
portion at the rear of the lat.
Height Variation
Variation in height should occur where the site is
lazger than two traditional lot widths, in order to
reduce overall scale of the building. A variation
in facade height, often in conjunction with setting
back an upper floor, maybe required.
1.22 Building fagade height shall be varied
from the facade height of adjacent buildings of
the same number of stories by a minimum of 2
feet.
• If an existing structure is three stories and
3S ft. tall for example, then adjacent new
infill may be three stories; but must vary in
facade height by a m;n;mum of 2 ft.
1.23 Anew building or addition should reflect
the range and variation inbuildingheight of the
Commercial Area.
• Refer to the zone district regulations to
determine the maximum height on .the
subject property.
Am;n;mum9ft.floortoceilingheightistobe
maintained on second stories and higher.
• Additional height, as permitted in the zone
district, maybe added for one or more of the
following reasons:
- Inordertoachieveatleastatwo-footvariafion
in height with an adjacent building.
- The primary function of the building is
civic (i.e. the building is a Museum, Civic
Building, Performance Hall, Fire station,
etc.) '
- Some portion of the property is affected by
a height restriction due to its proximity to a
historic resource, or location within a View
Plane, therefore relief in another azea may
be appropriate.
- To benefit the livability of Affordable
Housing units.
- To make a demonstrable (to be verified by
the Building Department) contribution to
the building's overall energy efficiency,
for instance by providing improved day-
lighting.
Height varied behoeen two and three stories, with the three story _
portion at the front of the lot. -
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Ciry of Aspen
1.24 Heightvariationshouldbeachievedusing
one or more of the following:
• Vary thebuildingheightinacmrdancewith
traditional lot width.
• Set back the upper floor to vary the building
facade profile(s) and the roof forms across
the width and the depth of the building.
• Vary the facade (or pazapet) heights at the
front.
• Step down the reaz of the building towazds
the alley, in conjunction with other design
standazds and guidelines.
Height Variation for Larger Sites
Buildings within the commercial center and
historic core of Aspen represent the traditional lot
widths of the city (30 ft.), either in building width
or the horizontal and vertical design articulation of
the street facade. This pattern should be expressed
in the Commercial Area. New development
occupying a .site of more than one traditional
lot width should~be designed to integrate with
the scale created by narrower existing buildings.
The azchitectural rhythm of eazlier street facades
should also be reflected in new development to
retain and enhance the human scale and chazacter
of the center of the city.
1.25 On sites comprising more than two
traditional lot widths, the facade height shall
be varied to reflect traditional lot width.
• The facade height shall be varied to reflect
traditional lot width.
• Height should be varied every 60 ft.
minimum and preferably every 30 ft. of
lineaz frontage in keeping with traditional
lot widths and development patterns.
• No more than two consecutive 30 ft. facade
modules may be three stories tall, within an
Corwnercial Character Area
Bur7dings on sites larger than taro traditional lot widths should be
designed to reflect the traditional scale of deaelopment.
individual building..
• A reaz portion of a third module may rise
to three stories, if the front is set back a
m;r,;mum of 40 feet from the street facade.
(e.g. at a minimum, the front 40 feet maybe
no more than two stories in height.)
Height aaried between two and three stories.
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Height aaried between one and two stories, in the center of a
three-lot building.
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ASPEN'S 20TH CENTURY ARCHITECTURE:
MODERNISM
The Modernist Movement
Modernism as a style of azchitectur describes the works that were produced
beginning; in the 20`" century as a result of a cleaz philosophical shift in design practices
and attitudes; and incredible changes in building technology. The roots of this style can
be attributed' in great part to the Industrial Revolution, which led to dramatic social
changes, and an inclination to react against all that had come before.. In addition there
was a new abundance of raw materials, including bricks, timber, and glass; and stronger
materials, particularly metals, which allowed structural innovations.
Initially, the modem technologies were employed in ways that reflected much of
the preference for decoration and organic design that had preceded the 20s' century, for
instance in the Arts and Crafts Style of the 1920's and the influential designs of Frank
Lloyd Wright.;. As the century progressed, however, the demands of the automobile, and
the need for buildings to serve uses previously unknown, such as airports, led to the
seazch for a new architectural vocabulary. The streamlined and austere became more
relevant. "Functionalism" and "Rationalism" were terms used to describe azchitectural
philosophies related to this period. "Modern building codes had replaced rules of
thumb."~
"Architecture was seen primarily as volume and not mass. So the stress was on the
continuous, unmodulated wall surface- long ribbon windows without frames, cut right
into the wall plane, horizontally or vertically. disposed; flush joints; flat roofs. Comers
were not made prominent. Technically, the argument went, materials like steel and
reinforced concrete had rendered conventional construction- and with it cornices, pitched
roofs, and emphatic comers-obsolete. -There would be no applied ornament anywhere,
inside or out...A house was a machine made for living Le Corbusier. provocatively
declazed in 1923 in his Towazds a New Architecture, which has proved the most
influential book on azchitectur in this (the 20u') century."Z
Modernism in Aspen -
The period between the Silver Crash in 1893 and the end of
World War II saw little new construction in Aspen. This changed
when interest began to grow in developing a major ski resort, and
when Walter Paepcke envisioned the town as the ideal setting for a
community of intellect, cultural institutions, and pristine natural
environment. As a result of this renaissance taking place, many
Robert Frankeberger, and James Garrison, "From Rustic Romanticism to Modernism, and Beyond:
Architectural Resources in the National Pazks," Forum Journal. The Journal of the National Trust for
Historic Preservation Summer 2002, p. 16.
2 Spiro Kostof, A History of Architecture• Settines and Rituals. (New York:Oxfotd University Press, 1985),
p. 701.
Walter PaeDCke
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important architects were drawn to .live and work here- and left an imprint of the
philosophies of the modernist period on the town: The two masters who had the lazgest
influence on Aspen, Fritz Benedict and Herbert Bayer, aze discussed at length in this
paper, along with a number of others who completed notable works here.
FRITZ BENEDICT
Frederic "Fritz" Benedict (b. 1914- Medford, Wisconsin,
d. 1995- Aspen, Colorado) was the first trained azchitect to arrive
in Aspen at the end of World War II. Benedict had earned a
Bachelor's Degree 'and Master's Degree in Landscape
Architecture at the University of Wisconsin before being invited
to Frank Lloyd Wright's school, Taliesen, in Spring Green,
Wisconsin in 1938. Initially, Benedict's role at Taliesen was as
head gazdener, but. his interest in Wrights philosophy of the
integration of azchitecture and landscape led him to study design
at both Taliesen and Taliesen West in Phoenix, Arizona for the
next three yeazs.
Benedict; an avid skier, first visited Aspen as a participant in the. National. Skiing
Championships held here in 1941, apparently told of the charms of the town by Frank
Mechau, an artist whom he met at Taliesen and who resided in Redstone, Colorado. In
1942, Benedict was drafted to serve with. the l0a' Mountain. Division troops, an elite
group of skiers who trained at Camp Hale, north of Leadville, Colorado. On weekends,
the soldiers would often travel to Aspen for recreational skiing.
Benedict saw active duty in Italy and served with the 10`" Mountain Division until
the end of the war in 1945 He returned to Aspen and purchased a ranch at the top of$ed
Mountain, focusing on operating the property as his livelihood for some time. According
to Benedict, "The place (Aspen) was so dead and was. starting to be a resort so slowly that
,~3
there wasn't much to do in the way of design.
This situation changed for good after 1946, when noted artist Herbert Bayer
arrived. in Aspen'vvith Walter Paepcke, and the duo's plans for the town brought more
people and a new'period of construction. Through Herbert Bayer, Fritz met. his future
wife, Fabienne, the sister of Bayer's wife Joella. Fabi persuaded Fritz to quit ranching
and pursue architecture, which he did after being awarded a license under a grandfather
clause that allowed azchitects to be licensed based on experience, rather than on testing.
Benedict was known for setting buildings into the landscape in an unobtrusive and
harmonious way, cleazly derived from his landscape architecture education and the
influence of Frank Lloyd Wright. He placed a high priority on creating an intimate
relationship between a house and its garden. Benedict was a pioneer of passive solar and
'Adele Dusenbury, "When the Architect Arrived After the Waz," The Asoen Times July 31, 1975,
p. l-B.
P14
earth shelter design. He experimented with caz-free village design, sod roofed
and solaz buildings. His master work, the
Edmondson .Waterfall house, which was -'~ ~
strongly related to Frank Lloyd Wright's
Fallingwater, exhibited many of these qualities
and all of the central chazacteristics of
Wrightian design, including a low pitched roof,
strong horizontal emphasis of the. structure, and
the use of mitred windows at building corners.
The most important of Benedict's works may `~
best be defined by the examples that cleazly
represent Wrightian ideas, or where innovation
was key: Waterfall House, on Castle. Creek
Road, Pitkin Counry,1960
Benedict's eazliest projects in Aspen were
residences. In collaboration with his brother-in-
law, Herbert. Bayer, he also helped to design the
buildings of the Aspen Institute, the intellectual
center of Paepcke's facilities. Other known works
by Benedict' include the cabin at 835 W. Main
Street (1947), the John P. Matquand studio on Lake
Avenue (1950, since demolished), the Copper
Kettle (1954, 845 Meadows Road), Bank of Aspen.
(1956, 119 S. Mill Street), 625 and 615 Gillespie
Avenue (1957), the original Pitkin County Library
(1960, 120 E. Main Street), the Aspen Alps (1963;
777 Ute Avenue- the -first luxury' condominiums in
the Rocky Mountains), the Bidwell Building, (1965, 434 E. Cooper Avenue), Aspen
Squaze (1969, 617 E. Cooper Avenue), The Gant (1972, 610 S. West End Street), the
Benedict Building (1976, 1280 Ute Avenue), the Aspen Club Townhouses (1976, Crystal
Lake Road), and Pitkin County Bank (1978, 534 E. Hyman Avenue) In total, Benedict
designed and renovated over 200 homes and buildings in Aspen and Snowmass a
The Copper Kettle, 1954
"Mary Eshbaugh Hayes. Dedication plaque on "The Benedict Suite," Little Nell Hotel, Aspen, Colorado.
434 E. Cooper Avenue, 1965
P15
Benedict's works in: Pitkin County, outside of Aspen's city limits, include two personal
residences,. the'- Waterfall house (1960, since demolished), the Aspen Music School
campus,: and the Aspen. Highlands base lodge (since demolished). Benedict also did the
master plan for Snowmass (1967), Vail (1962) and Breckenridge (1971.)
Fritz Benedict was inducted into the College of Fellows of the American Institute
of Architects in .1985, by. election of his peers. This is a lifetime honor bestowed on
registered. architects-who have made. outstanding contributions to the profession, and only
5% of the professioriYeceive this honor. The nomination submitted stated that "Frederic
`Fritz' Benedict left a legendary influence on design and construction in the Rocky
Mountain West...(creating) classics of the mountain vetnaculaz."s He was given the
Greg Mace Awazd in 1987 for epitomizing the spirit of the Aspen community, was
inducted into the Aspen Hall of Fame in 1988 and the Colorado Ski Hall of Fame in
1995, and was given the "Welton Anderson" award for his contribution to Aspen's built
environment. by the Aspen Historic Preservation Commission in 1993. Im all cases
Benedict.was recognized for being a pioneer of Aspen's rebirth as a resort community.
Many quotes from his memorial service in 1995 attest to the community's respect for his
role in Aspen's history. Bob Maynazd, former president of the Aspen Skiing Company
stated "Aspen was fortunate fifty years ago to be wakened from her sleep by visionaries.
The trio of Benedict,=Bayer, and Paepcke. combined dreams and hope and reality uniquely
to restore a commutity ravaged by mining, trapped in poverty- yet willing to,follow the
dreamers."b Similazly, the Asperr Times stated at his death, "Along with the late Walter
and Elizabeth Paepcke and his Bauhaus trained brother-in-law Herbert Bayer; all of
whom came to Asperi with. a raze vision in the traumatic wake of World War II, Benedict
was one of the fathers of modern Aspen, a man whose azchitecture not only lielped shape
the city aesthetic, but whose personal commitment to the original dream of a special
`Aspen Ideal' made him the guazantor of the city's very soul."~ Local resident and fellow
student of Taliesen, Chazles Paterson stated, "Whatever he was building was one jump
ahead.,'s
Aside .from his . azchitectural contributions, Benedict influenced the Aspen
environment in several other ways. Benedict and his wife donated more than 250 acres
of land within Pitkin County for open space. He was the father of the 10~' Mountain Hut
system (established in 1980), and served as the first chairman of Aspen's Planning and
Zoning Commission, developing height and density controls for the City, open space
preservation, a City pazks system, a sign code, and a ban on billboards. He played a
significant role. in the founding of the Aspen Institute, and the International Design
Conference:- He served on the board of the Music Associates of Aspen for 35 year`s.
5 Joanne Ditmer, The Denver Post, as reprinted in the program for the Fritz Benedict Memorial Service.
s Robert A. Maynard, Remarks given at Fritz Benedict's Memorial Service.
' Mary Eshbaugh Hayes, "Fritz Benedict, 1914-1995: The Passing of a Local Legend," The Asnen Times
July 15 and 16, 1995, cover page.
Chazles Paterson, Remarks given at Fritz Benedict's Memorial Service.
P16
HERBERT BAYER
Herbert Bayer (b. 1900- Austria, d:1985- Santa Bazbaza, California) was an artist
of many disciplines. He apprenticed with azchitects in his native country Austria, and in
Germany; _starting. aY the age of 18. In 1921 he entered the most reknowned art and
design school of the 20a' century; the Bauhaus in Weimaz, Germany.
The Bauhaus, which existed from 1919. to
~' ' 1933, was begun in a spirit of social reform and
fl represented a rejection of many design ideas that
~' ~~:, ` prt~ceded it.. "From skyscrapers to doorknobs,
' modem design was born, really, at the Bauhaus. The
ideas of the Bauhaus shaped whole cities, changed
architecture, modified the nature of furniture design
and- transformed the essential. implements of daily
life." 9 Bayer was named the head of the typography
` ~- ~-. .~~,~; , : ~ workshop at the Bauhaus in 1925 and was ultimately
FlerberCBdyer one.:: of three masters named by director Walter
Gropius, the other two masters being the gifted Josef
Albers arid~ Marcel Breuer. In 1928; Bayer left the school and established his own studio
in Berlin, then becoming the art director for Vogue magazine.
As Nazism gained strength in Germany, Bayer fled the country and immigrated to
New York City in 1938.' There, he had his first show with the Museum of Modem Art,
and began to work as art director for corporations and ad agencies. By 1946, all of his
work was for Walter Paepcke at the Container Corporation of America and Robert O.
Anderson at the Atlantic Richfield Corporation, both of whom had an interest in Aspen
and the establishment of the Aspen Institute.
Walter Paepcke brought Herbert Bayer to Aspen in 1946 to serve as the design
consultant for. the Institute, a role in which he served until 1976. Bayer was offered the
chance to design a planned environment, where the goal was total visual integration.
On April 1, 1960, Bayer received a
license to practice azchitecture in Colorado,
without examination. He had no formal training
in the discipline, so he generally worked,.
in association with another: firm, particulazly
with Fritz Benedict. The Sundeck on Aspen
Mountain (1946, since demolished) was the first
of his designs that was ever built.: , At the
Institute, Bayer designed the Seminaz Building
and it's sgraffito mural (1952, the first building
Guest Chalets (1954, since demolished and
Beth Dunlop, "Bauhaus' Influence Exceeds It's Life," The Denver Post April 20, 1986.
;,~ --- -
~`'
• ~ ~ The Sundeck, 1946
on the grounds), Aspen Meadows
P17
reconstructed), Central Building (1954), the
Health Center (1955), Grass Mound (1955,
which pre-dates the "earthwork" movement
in landscape'design by 10 years and was one
of the first'
environmental sculptures in the country), the
Marble Sculpture Gazden (1955), Walter
Paepcke Memorial Building (1962),' the-
Institute for Theoretical Physics Building
(1962, since demolished), Concert Tent
(1964, removed in 2000), and Anderson
Pazk (c. 1970.) Bayer also led the design for t
rehabilitation of the Wheeler Opera Hoti
(1950-1960), designed two personal resident
on Red Moutitain (1950 and 1959), and otl
homes in Aspen, including those still
existence at 240 Lake Avenue (1957) and 3
North Street (1963).
The period during which most of
Bayer's architecture was designed is confined
to 1946-1965. Important characteristics of his
buildings were simplicity acid the use of basic
geometrical shapes and pazed down forms. He
was heavily influenced by Bauhaus and
The Mar61e Sculpture Garden, 1955, International- Style 'principles. Color was an
important component to some of his work, and
he often used primary red, blue and yellow graphics.
Bayer believed in the concept of designing the total
human environment and that art should be incorporated into
all azeas of life. He drew logos and posters for the Aspen
Skiing Company, and even designed signs for-small Aspen
businesses. He provided the paint color schemes for certain
Victorians that Paepcke's Aspen Company decided` should
be saved in the 1940's. A strong blue color, known locally
as "Bayer Blue" was one of his selections and can still be
seen on the former Elli's building (101 S. Mill) and other
locations in town: His choice of a bright pink for Pioneer
Pazk (442 W. Bleeker) and a bold paint scheme that once
existed on the Hotel Jerome will also be remembered.
Aspen Meadows Health Center, 1955
Bayer paint scheme
P18
Bayer spent 28 yeazs living in Aspen and was one of the first artists to make his
home here. A Rocky Mountain News article from 1955 stated "Even in competition with
millionaire tycoons, best-selling novelists, and top-ranking musicians, Herbert Bayer is
„io
Aspen's most world-famous resident. During his years in Aspen, he resided at times at
234 W. Francis, a Victorian home in the West End, in an apartment in a, downtown
commercial building, 501 E. Cooper Avenue, and in his home on Red Mountain. Bayer
moved to Santa Bazbaza for health reasons in 1975 and died there ten yeazs later, the last
surviving Bauhaus master.
Notable among Bayer's many achievements include his credits in "° =~''~"
typography.. He designed the "universal" type font in 1925 and was ~
credited with "liberating typography and design in advertising and
creating the very look of advertising we take for granted today. Much
of modern. print design .reflects his ideas. He -was the inventor of
photomontage. Bayer created the- "World Geo-Graphic Atlas" in 1953,
which was described as one of the most beautiful books ever printed in
this country by the. Atlantic Monthly and the greatest world atlas ever. poster; 1946
made in the United States by Publisher's Weekly.
Bayer created the famed "Great Ideas of Western Man" advertisement series for
the Container Corporation of America and had more than 50 one-man exhibitions. of his
artistic works. His paintings aze represented in the collections of at least 40 museums.
He spent six decades of his life working as a painter, photographer, typographer,
azchitect, sculptor, designer of graphics, exhibitions, and landscapes. His last work was
the 85 foot tall, yellow articulated wall sculpture at the Denver Design Center, which can
be viewed from I-25, neaz Broadway in Denver.
Bayer founded the International Design Conference in Aspen in 1950 and was
named a Trustee of the Aspen Institute for Humanistic Studies in 1953. He was the Chair
of the City and County Zoning Committee for five yeazs and was very concerned with the
issues of sprawl. Bayer promoted increased density in. town, put the original. tree
protection ordinance in place, and helped institute the ban on billboazds.
ARCHITECTS OF NOTE
Charles Paterson was born Kazl Schanzer in Austria in 1929. His mother died in
his youth; and his father fled Austria, taking Chazles and his sister when Hitler invaded in
1938. They traveled .first to Czechoslovakia and then to France. Once there it was
decided that the only way to get the two children out of Europe entirely was to allow
10 Robert L. Perkin, "Aspen Reborn: Herbert Bayer Changing the Town's Face," The Rocky Mountain
News September 27, 1955.
~~ Joanne Ditmer, "Schlosser Gallery Host to Major Bayer Show/Sale," The Denver Post October 1, 1997,
p. 1 OG.
P19
them to be adopted by a family in Australia, whom Mr. Schanzer knew through business
connections. Relocated to that country in 1940, the children took on the family's name;
Paterson. Their father fought in the waz and was eventually reunited with his children in
New York City, after they immigrated.
In New York City, Charles "Chazlie" Paterson started engineering school, but he
had an interest in skiing and was disappointed with the conditions in the area. He moved
west in -1949, stopping in Denver. There, he worked for the Denver and Rio Grande
Railroad and skied on weekends. On one ski trip, Paterson met someone who had. been to
Aspen, and decided to hitchhike there a week later. After finding a job as a bellhop at the
Hotel Jerome, he decided to stay.
Within a month of his arrival in Aspen, Charlie Paterson bought- three lots on
West Hopkins Avenue, shortly followed by another three that comprised a full half a
block between Fifth and Sixth Streets. There he built cone-room cabin in 1949 out o'f
leftover lumber. - '
Paterson returned to New York from 1950-1951 to continue his studies, then
moved back to Asper and began expanding the cabin. In 1952, he leased a Victorian
house that had been operating under the name "Holiday House," and his father came to
town to help out.. This experience got Paterson interested in n,nning his own lodge; and
led to more construction on the Hopkins Avenue property. In 1956, he added three units
and opened the Boomerang. Convinced by Fritz Benedict to study azchitecture, Paterson
left again to spend three years at Taliesen East in Wisconsin, under Frank Lloyd Wright's
instruction, during which time he drew some of the plans for the Boomerang Lodge as it
is known today.
-The lodge's lounge, 12 more rooms, and a pool were added in 1960. The noted
underwater window, which allows guests in the lounge to look into the pool, was featured
in Life Magazine in the 1960's. In 1965 and 1970 other expansions took place on the
Although Paterson has designed relatively
few buildings, among them. his own business,
structures at the Christiania Lodge, and a residence
in Basalt, the Boomerang is his master work,
exhibiting strong influences of Wrightian
azchitecture. Paterson designed, helped to build,
and financed the structure, and is -still its host and
manager today. It has been described as
"...timeless, ageless" and "...almost futuristic."tz
Other contributions to local organizations
made by Paterson include being a member of the
"Scott Dial, "The Boomerang Lodge: The Lodge That Chazlie Built, and Built, and Built," Destination
Maeazine.
Boomerang Lodge
_.___
P20
Boazd of the Music Associates of Aspen for 20 years, Chairman of the Aspen Hall of
Fame for 2 years and of the Aspen Boazd of Adjustment for. 20 years and counting. He
has also served on the Aspen Chamber Resort Association Boazd of Directors. Paterson
worked for the Aspen Skiing Company as an instructor from 1952 to 1969.
Eleanor "Ellie" Briclcham graduated -from the University of Colorado's School
of Architecture. Construction was a family business, so Brickham's motivation to be a
designer began as a child. She moved to Aspen in 1951, attracted by the skiing, but once
there, found herself the only. female architect in town.
_'Eazly in her cazeer, Brickham worked in Fritz Benedict's office and collaborated
on projects with both Benedict and Bayer, participating in the work going on at the Aspen
Institute. During her time' in that office, and later
with..her own firm, she designed a number of , ,
residences and commercial structures in .town,
including houses for several Music Festival artists
in Aspen. Grove, the Strandberg Residence (1973,..
433 W. Bleeker Street), and the Patricia Moore
Building (1969, 610 E. Hyman Avenue.) Within
Pitkin County, Brickham designed numerous
homes in Starwood, on Red Mountain, and in
Pitkin Green. Her works total at least 50 ..~
buildings in the Aspen azea. 433 W.' Bleeker Street, 1973
Brickham's designs have been chazacterized by spare, simple forms and. detailing,
and she has an interest in passive solaz techniques. Still practicing today, B3 ickham's
projects focus on an "impeccable sense of proportion and feeling of lightness.
Victor Lundy designed a second home for
his family in Aspen, which they have occupied at
300 Lake Avenue since 1972. Like Benedict,
Lundy is a Fellow in the American Institute of
Architects: He received his degree in azchitecture
from Harvazd, studying with. former Bauhaus
director Walter Gropius and Bauhaus master Mazcel
Breuer and was later awarded two prestigious
traveling scholarships by the Boston Society of
Architects and Harvazd University.
300 Lake Avenue. 1972
Lundy has been in practice, most recently in Texas,. since 1951. and.. has designed
many notable government, commercial, office, and educational buildings throughout the
world. He has received a Federal Design Achievement awazd, the highest honor in
design given by the National Endowment for the Arts.
"Bill Rollins, "Briclcham: Simplicity, Lightness, and a Sense of Proportion," The Asnen Times.
P21
Robin Molnv (b.1928- Cleveland, d. 1997- Aspen) apprenticed at Taliesen in the
1950's. In Aspen, he served on the Planning and Zoning Commission and was the
designer of Aspen's downtown pedestrian malls. He also designed several notable
commercial buildings, including the Hearthstone House (1967, 134 E. Hyman Avenue)
and the 720 E. Hyman Avenue building (1976) along with azea residences.
Well known architect Harry Weese also
contributed a building to Aspen in the- Given Institute
(1973, 100 E. Francis Street). Weese, of Harry Weese
and Associates, Chicago, was an internationally known
azchitect responsible for a number of significant projects
throughout the United States, including major historic
preservation projects in the Chicago area, and the design
of the Washington, D.C. subway system. A graduate of
MIT, he studied with famed azchitect Eliel Saazinen at
b ' k A dem in Michigan and then joined
Francis Street. 1973
Cran roo ca y ,
Skidmore, Owing,.; and Merrill for a short time, In-1947. he opened his own office.
Weese was recruited by the Paepcke's, who donated theland where the Given is located,
to design the building.
Eligibility Considerations
There aze specific physical features that a property must possess. in order for it to
reflect the significance of the historic context. Aspen's examples of modernist buildings
should exhibit the following distinctive chazacteristics if influenced by Wrightian design
principles:
• Low horizontal proportions, flat roofs or low pitched hip roofs.
• Deep roof overhangs create broad shadow lines across the facade. Glazing is usually
concentrated in these areas.
• Horizontal emphasis on the composition of the wall planes accentuates the floating
effect of the~roof form.
• Materials aze,usually natural and hand worked; such as rough sawn wood timbers and
brick.. Brick is generally, used as a base material, wall. infill or in an anchoring
fireplace element.. Wood structural systems tend more towazd heavy timber or post
and beam than typical stud framing.
• Structural members and construction methods aze usually expressed in the building.
For example; load-bearing columns may be expressed inside and out, the wall plane is
then created by an infill of glass or brick.
• Roof structure is often expressed below the roof sheathing
• Glass is used as an infill material which expresses a void or a structural system; or it is
used to accentuate the surface of a wall through pattern or repetition:
• There is typically no trim which isolates the glazing from the wall plane. Window
openings aze trimmed out to match adjacent structural members in a wood context.
Brick openings tend to be deeply set with no trim other than the brick return.
P22
Structures aze related to the environment through battered foundation walls,
cantilevered floors and/or. porches, cleaz azeas of glazing which create .visual
connections to the outside and the inside, and the effect of the roof plane hovering
over the ground.
Decoration comes out of the detailing of the primary materials and the construction
techniques. No applied decorative elements aze used..
Color is usually related to the natural colors of materials for the majority of the
structure; natural brick, dazk stained wood, and white stucco. Accent colors aze used
minimally, and to accentuate the horizontal lines of the structure.
Aspen's examples of modernist buildings should exhibit the following distinctive
characteristics if influenced by Bauhaus or International Style design principles:
• Simple geometric forms, both in plan and elevation
• Flat roofs, usually single story, otherwise proportions aze long and low, horizontal
lines aze emphasized.
• Asymmetrical arrangement of elements.
• Windows are treated as slots in the wall surface, either vertically or horizontally.
Window divisions were made based on the expression of the overall idea of the .
building.
• Detailing is reduced to composition of elements instead of decorative effects. No
decorative elements aze used.
• Design is focused on rationality, reduction, and composition. It is meant to sepazate
itself from style and sentimentality.
• Materials aze generally manufactured and standazdized. The "hand" is removed from
the visual outcome of construction. Surfaces aze smooth with minimal or no detail at
window jambs, grade, and at the roof edge.
• Entry is generally marked by a void in the wall, a cantilever screen element, or other
architectural clue that directs the person into the composition.
• Buildings aze connected to nature through the use of courtyards, wall elements that
extend into the landscape, and azeas of glazing that allow a visual connection to the
natural environment. This style relies on the contrast between the machine made
structure and the natural landscape to heighten the experience of both elements.
• Schemes aze monochromatic, using neutral colors, generally grays. Secondary color
is used to reinforce a formal idea. In this case color, or lack there of, is significant to
the reading of the azchitectural idea.
Although modernism has likely changed the course of azchitecture forever, it is
possible to set a date when the style in its purest form began to wane: azound the mid
1960's nationally, and into the eazly 1970's in Aspen. At this point, there was a growing
unease with some ways the Modern Movement had reshaped cities and resulted in
"towers and slab blocks"14 followed by a move away from the design principals that had
guided the mid-century. The period of historic significance for buildings of this style in
14 Kostof, p. 743.
P23
Aspen, a term used to define the time span during which the style gained architectural,
historical, or geographical importance, is 1945 until approximately 1975.
Aspen has been fortunate to have drawn the talents of the great minds in many
professional fields since the and of World Waz IL' The azchitects described above had
made important contributions to Aspen's built environment that continue to influence its
character today. While there are numerous towns in Colorado that have retained some of
the chazacter of their 19a' century mining heritage, few or none aze also enriched by such
an excellent collection of modernist buildings as exist here.
__
P24
Bibliography
Chanzit, Gwen F. "Herbert Bayer and Aspen," Exhibition Notes, Adelson
Galle /Pae cke Buildin As en Institute As en Colorado December 1999-
December 2000.
Cohen, Arthur Allen. Herbert Bayer- Limited Edition• The Complete Works. MIT Press,
1984.
Dial, Scott. "The Boomerang Lodge: The Lodge that Chazlie Built, and Built, and Built,"
Destination Magazine.
Ditmer, Joanne. "Schlosser Gallery Host to Major Bayer Show/Sale:' The Denver Post.
October 1, 1997.
Dunlop, Beth. "Bauhaus' Influence Exceeds Its Life," The Denver Post Apri120, 1986.
Dusenbury, Adele. "When the Architect Arrived After the Waz," The Aspen Times July
31, 1975.
Frankeberger, Robert and James Garrison. "From Rustic Romanticism to Modernism,
and Beyond: Architectural Resources in the National Pazks," Forum Journal. The
Journal of the National Trust for Historic Preservation Summer 2002.
"Fritz Benedict." Retrieved from http•//www vailsoft com/museum/index.html, the
Colorado Ski Museum and Ski Hall of Fame website.
"Fritz Benedict Honored by Peer Group of Architects." The Aspen Times June 20, 1985.
Fritz Benedict Memorial Service Program, July 25, 1995.
"Harry (Mohr) Weese.° Retrieved from www.artnet.com.
Hayes, Mary Eshbaugh. "Bendict's House in the Hill," The Aspen Times Mazch 11,
1982.
Hayes, Mary Eshbaugh. Dedication plaque on "The Benedict Suite," Little Nell Hotel,
Aspen, Colorado.
Hayes, Mary Eshbaugh. "Fritz Benedict, 1914-1995, The Passing of a Local Legend,"
The Aspen Times July 15 and 16, 1995.
Kostof, Spiro. A History of Architecture• Settings and Rituals. New York: Oxford
University Press, 1985.
P25
Laverty, Rob. "50 Years of Benedict: A Forefather of Modem Aspen Looks At What Has
Been Wrought," Hi¢h Country Real Estate, Aspen Daily News February 6-12, 1999.
"Noted Designer Herbert Bayer Dies." The Aspen Times October 3, 1985.
Perkin, Robert L. "Aspen Reborn: Herbert Bayer Changing the Town's Face," Rocky
Mountain News September 27, 1955.
Rolliiis, Bill. "Brickham: Simplicity, Lightness, and a Sense of Proportion," The Aspen
Times December 22, 1977.
"Transitions: Robin Molny Changed Aspen- and Made His Friends Laugh," Aspen
Times, January 10-11, 1998. '
Urquhart, Janet. "Histor~ Richochets Through the Boomerang," The Aspen Times
November 16~' and 17` , 1996.
P26
INTEGRITY ASSESSMENT- MODERNIST
Integrity is the ability of a property to convey its sigriiftcance.
• LOCATION Location is the place where the historic property was constructed
or the place where the historic event occurred.
5 -The structure is in its original location.
3 -The structure has. been moved within the original site but still maintains
the original alignment and proximity to the street.
0 -The structure has been moved to a location that is dissimilaz to its original
site.
TOTAL POINTS (maximum of 5) = 5 points. The structure is in its original
location.
• DESIGN Design is the combination of elements that create the form, plan,
space, structure, and style of a property.
BUILDING FORM
10 -The original plan form, based on authenticating documentation, is still
intact.
6 -The plan form has been altered, but the addition would meet the design
guidelines.
0 -Alterations and/or additions to the building are such that the original form
of the structure is obscured.
Staff Response: 10 points - no change to building form.
ROOF FORM
10 -The original roof form is unaltered.
6 -Additions have been made that alter roof form that would meet the
current design guidelines.
0 -Alterations to the roof have been made that obscure its original form.
Staff Response: l Opoints -original roof form remains unaltered.
SCALE
5 -The original scale and proportions of the building are intact.
3 -The building has been expanded but the scale of the original portion is
intact and the addition would meet the design guidelines.
0 -The scale of the building has been negatively affected by additions or
alterations.
Staff Response: Spoints -. scale and proportions are intact.
P27
SOLIDNOID PATTERN
10 -The original pattern of glazing and exterior materials is intact. ,
6 -The original pattern of glazing and exterior materials has been altered
but in a manner that would meet the design guidelines.
0- The original pattern of glazing and exterior materials is altered:
Staff Response: 9points - a few windows were added to the reaz fagade. The
primary facades aze unchanged.
CI-IARACTER-DEFINING FEATURES
10 -The horizontal or geometric form, minimalist detailing and features that
relate the building to its environment are intact.
6 -There aze minor alterations to the horizontal or geometric form,
minimalist detailing and features that relate the building to its
environment -
0 -There have been major alterations to the horizontal or geometric form,
minimalist detailing and features that relate the building to its
environment.
Staff Response: 10 points -the character-defining features and details aze intact.
TOTAL POINTS (maximum of 45) = 44 points.
• SETTING Setting is the physical environment of a historic property.
5- The physical surroundings aze similaz to that found when the structure was
originally constructed.
3-There are minor modifications to the physical surroundings but the changes
conform to the design guidelines.
0- The physical surroundings detract from the historic chazacter of the
building.
TOTAL POINTS (maximum of 5) = 5 points. The physical setting of the
building is similar to that found when originally constructed.
• MATERIALS Materials are the physical elements that were combined or
deposited during a particular period of time and in a particular pattern or
configuration to form a historic property.
EXTERIOR SURFACES
15-The original combination of exterior wall materials and glazing are intact.
10-There have been minor alterations to the original exterior wall materials
and glazing made in a manner that conform to the design guidelines.
P28
5- There have been major changes to the original combination of exterior
wall materials and glazing.
0- All exterior wall materials and glazing has been replaced.
Staff Response: 15 points - T'he original material and glazing combination are
intact.
DOORS AND WINDOWS
10-All or most of the original door and window units aze intact.
5 -Some of the original door and window units have been replaced but the
new units would meet the design guidelines.
0 -Most of the original door and window units have been replaced with units
that would not meet design guidelines.
Staff Response: 10 points -all of the doors and windows appeaz to be original.
TOTAL POINTS (maximum of 25) = 25 points.
WORKMANSHIP Workmanship is the physical evidence of the crafts of a
particular culture or people during any given period in history or prehistory.
COMPOSITION
15 -The structural composition that distinguishes the stylistic category of
Modernism is intact. Detailing is reduced to composition of elements
instead of decorative effects. No decorative elements aze used. Design is
focused on rationality, reduction, and composition. It is meant to separate
itself from style and sentimentality. Materials aze generally manufactured
and standazdized. The "hand" is removed from the visual outcome of
construction. Surfaces aze smooth with minimal or no detail at window
jambs, grade, and at the roof edge.
10-There have been some alterations to the structural composition that
would meet the design guidelines
0 -There have been some alterations to the structural composition that
would not meet the design guidelines
Staff Response: 15 points -the building cleazly expresses Modem ideals.
FINISHES & COLOR SCHEME
5 -The neutral or monochromatic color scheme and finishes that define the
stylistic category of Modernism is intact.
3 -There have been minor alterations to the neutral or monochromatic color
scheme and finishes that define the stylistic category of Modemism.
P29
0- There have been significant alterations to the neutral or monochromatic
color scheme and finishes that define the stylistic category of Modernism.
Staff Response: Spoints -the original color palette and finishes are intact.
TOTAL POINTS (maximum of 20) = 20 points.
The Crandall Building is almost completely unaltered and as such scored 99 points.
MAXIMUM NUMBER OF POINTS=100
MINIMUM THRESHOLD FOR DESIGNATION= 75 POINTS
Note: Each area of the integrity analysis includes a description of the circumstances
that might be found and a point assignment. However the reviewer may choose
another number within the point range. to more accurately reflect the specific
property.
limitable
Page 1 of 3
Aspen loses influential artist
Hunter poster among his most memorable works
JOHN COLSON
ASPEN, CO COLOR4D0,
ASPEN -Tom Benton, a local artist whose images helped to define Aspen's
tempestuous political and social upheavals starting in the late 1960s, died around
7:30 a.m. Friday at St. Anthony's North Hospital in Denver after a brief battle with
cancer. He was 76.
One of Aspen's best-known local artists, Benton had a wide circle of friends,
including Hunter S. Thompson, with whom Benton collaborated artistically and
politically.
Wften Thompson ran for sheriff of Pitkin County in 1970, Benton turned out a poster
that remains one of his most sought-after works -the double-thumbed fist clutching
a peyote button, co-created with Thompson and artist Paul Pascarella.
And his most recent work has included a highly popular poster for the current holder
of that same office, Sheriff Bob Braudis, close friend of both Benton and Thompson.
'Tom, as far as I`m concerned, is one of the images of old Aspen, one of the reasons
I've stayed here," said photographer Bob Krueger, who has known the Bentons for
decades.
Born Thomas Whelan Benton in Oakland, Calif., on Nov. 16, 1930, he said often that
he spent a part of his childhood in an orphanage there. By the time he was about 10
years old, according to his son, Brian Benton, he had relocated to an unincorporated
area outside Los Angeles called La Crescents.
After graduating from high school in suburban Los Angeles, he attended Glendale
Junior College for a short time before enlisting in the U.S. Navy in the fate 1940s and
shipping out to sea. He served aboard ship during the Korean War, but never saw
direct fighting.
With his discharge from the Navy around 1953, and the GI Bill paying his tuition, he enrolled in the architecture
school at the University of Southern California. He graduated with a degree and went to work for an
architectural firm for a Number of years. He met and married his first wife, Betty, and they had two children
while living in California -Brian and Michelle.
According to Brian Benton, he designed several buildings in Northern California that were built and can be seen
today.
But, Brian recalled, his father's passion was to become a working artist, and following a visit on a ski trip, he
decided Aspen was where he should be. In 1963, Brian Benton recalled, his father moved to Aspen on his own,
bought a lot on Hyman Avenue for $3,000 and began building himself a studio and gallery at 521 E. Hyman Ave.,
the building that for years was O'Leary's bar and later Zoe's, and now is the home of the Guerilla Gallery. The
family followed him the next year.
While pursuing his artistic passions, his son remembered, he also continued to dabble in architecture, designing
The Patio Building in the center of town as well as homes for local doctor Jack Crandall and movie star Jill St.
John.
Printable
Page 2 of 3 P 31
But it was his silk-screening work that made him a local legend, as he began cranking out political posters, some
for such nationally known figures as Hunter Thompson and U.S. Sen. George McGovern (D-South Dakota) fn his
1972 presidential bid. He also began turning out The Aspen Wallposters, again in collaboration with Hunter
Thompson, locally famous bits of history that carried political screeds from Thompson on one side and startling
Benton images on the other.
And along the way, he developed an ever broadening circle of friends, such as Pitkin County Sheriff Bob Braudis
and Woody Creek rancher George Stranahan.
"It was open house up there," Stranahan recalled of Benton's studio. "Tom'd be up there screening his prints, his
kids'd be all around and everybody was welcome."
Speaking from New Orleans, where he was attending a celebration of the life of another late friend, CBS news
man and former Woody Creek resident Ed Bradley, Braudis recalled that Benton was on the "oral examination
board" convened by Pitkin County Sheriff Dick Kienast when Braudis first applied for a job with the sheriffs office
in 1976.
"He asked me two questions," Braudis remembered, "what I thought of burglary ... and what I thought about
marijuana." Braudis responded that "burglary was a dangerous crime because it might turn violent if somebody
was at home," and that "marijuana should be legalized."
"He told me, 'Don't ever let anyone burglarize my marijuana,"' Braudis continued, and Braudis got the job.
Living the life of a struggling Aspen artist took a toll on Benton's family affairs, starting with a divorce in 1977
that forced him to sell his gallery/studio as part of the settlement.
He then embarked on life as a roaming artist, establishing himself in studios around Aspen and the. upper valley,
and remarrying twice, in the mid•1980s to the fate Katie Smith, and in 1991 to Marci Griffin; who said their 16
anniversary is today.
Besides his posters, he would produce other forms of screened and painted art, including large, multipiece works
that require considerable display space but have been prized by certain art collectors.
By 1989, as he has said more than once, he was in need of a regular paycheck, and Braudis hired him as a jail
deputy, where he worked full time, off and on, until 2003.
Long-time jail supervisor Billy Tomb, who worked with Benton for years, called him."a great fellow, an icon of
the town, a character in his own right" and a jailer who "wouldn't take guff from anyone ... a great, feisty old
man."
But his love of art continued and, in the mid 1990s, he quit the jail and tried his hand at painting, a move he told
The Aspen Times he had always wanted to make.
A one-man show at the Barney Wycoff Gallery in Aspen was well received, but financial gains did not follow, and
by 1996 he was back at work at the jail, where he worked until finally retiring in 2003.
But, as he told Aspen Times arts editor Stewart Oksenhorn in a feature story Sept. 1, 1995, 'The reward isn't
what you get at the end. It's doing it. That's the pain and that's the pleasure. For my intellect, it takes every
goddamn bit of energy I can muster."
He continue to produce prints, using a makeshift studio on Stranahan's property and selling his works through the
Woody Creek Art Studio, until he was diagnosed with advanced lymphoma about two months ago. He was
hospitalized in early February and after a week at Aspen Valley Hospital was transferred to Denver.
His family had made plans this week to bring Benton back to Aspen once it became clear that treatments were
not effective, and an ambulance serit to retrieve him was en route when he died, apparently of pneumonia
related to the cancer, according to Tomb.
Benton is survived by his children, Brian Benton and Michelle (Bremer) Benton; two grandchildren, Natalie and
Emily Bremer; his wife, Marci; and uncounted friends and acquaintances.
~~itable
Page 3~of 3
Benton's remains were to be cremated in Denver and a memorial service in Aspen is planned at a date and place
to be announced.
John Colson's a-mail address is icolsonC~aspentimes.com
http: / /www. aspentimes. com/apps/pbcs.dll/ articletAlD=/20070428/ NEWS/ 1 D4280091 /0/ FRONTPAGE&templa[e=prin[art
HAAS LA~i~ PLAI~I~iil`IC, LLC
20 l N. MILL STREET, SUITE 1 08 -ASPEN, CO 8 i 61 1 - (970) 925-781 9 - MHAAS@soPR[S.NET
The Aspen Historic Tnru: Amy Guthrie Date: October 6, 2009
Preservation Sara Adams
Commission (HPC)
& City Council
Subject: Crandall Building/630 E. Hyman Avenue Landmark Designation and
Associated Ordinance No. 48 (series of 2007) 90-Day Negotiations, and
('~ncentual Maior Development & Commercial Design Review
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Introduction & Background:
The subject property address is 630 E. Hyman Avenue and it is legally described as Lots
R, and S, Block 99, City and Townsite of Aspen. The 630 E Hyman LLC (the applicant) owns
the Crandall Building/630 E. Hyman Avenue, which is located at the northwest corner of Hyman
Avenue and Spring Street. The property is situated within the Commercial (C-1) Zone District,
one block east of the Commercial Core (CC). The Vicinity Map below shows the property's
general location relative to the surrounding area.
Section 26.415.025 of the City of Aspen Land Use Code (the Code) identifies a List of
Potential Historic Resources (the "List"), "to prevent the loss of buildings, sites, structures, or
objects... that may have historical, architectural, archaeological, engineering and cultural
importance, and to limit the detrimental effect of development or demolition of these potential
resources... " The properties identified in Exhibit A of Ordinance No. 48, Series of 2007,
constitute the "List," which includes 630 E. Hyman (the Crandall Building). Owners of
-1-
properties on the List may not undertake any alterations, and no building permits or land use
applications for alterations, demolition, or other similar development activity that substantially
alters the potential Historic Resource may be accepted by the Community Development
Department except as permitted in Code Section 26.415.025E. Said Code Section provides for a
ninety-day (90) negotiation period for properties on the "List" and this period may be extended
an additional thirty (30) days by Resolution of the City Council. The filing and acceptance of
this application triggers the start of the 90-day period for the Crandall Building at 630 E. Hyman
Avenue.
The applicant intends to complete a remodel and add a third floor addition to the Crandall
Building. This application is seeking Conceptual Major Development and Commercial Design
Review approvals from the Historic Preservation Commission (HPC) as permitted by Section
26.412.030 of the Code, which states that, "when development or a portion thereof is
located... on a property that is or is under consideration... to be listed on the Inventory of
Historic Landmark Sites and Structures, the commercial design review shall be subject to review
by the HPC. " Therefore, even if not landmark designated at the end of the 90-day period,
Conceptual Commercial Design Review shall still be carried out by and under the purview of the
HPC.
The applicant is interested in having the Crandall Building added to the Inventory of
Historic Landmark Sites and Structures (the "Inventory") provided that the HPC finds that the
submitted plans for the remodel of the building are consistent with such status. Therefore, if the
applicant is allowed to proceed with the proposed redevelopment plans, this application also
seeks Landmark Designation, Ordinance 48 Incentives, and HPC Conceptual approvals of a
Major Development and Commercial Design Review.
The applicant has already had two (2) work sessions with the HPC and several meetings
with staff concerning the proposed development. The originally redesigned building involved an
extensive renovation of the building, as well as the addition of the third floor. Subsequent to the
work sessions and meetings, the applicant has revised the plans in order to address the concerns
of the HPC and staff and is now proposing a very modest, scaled-back remodel to the existing
exterior along with the third floor addition.
The Crandall Building has two stories above grade and a basement level, and sits on a
6,000 square foot corner lot. The existing building features horizontal redwood siding on the
second level and cedar siding on the ground level where there are concentric rectangular
patterns, giving the appearance of spider webbing. In addition to these areas of concentric cedar
siding, the street level features CMU (concrete block) columns and storefront windows. One of
the defining characteristics of this building is its circular openings, one in the middle of the
second floor on the Hyman Avenue side, and three more that are windows on second floor of the
Spring Street side. The main entry to this building is on Hyman Avenue, where one enters into a
courtyard that is open to the sky above. There are currently no windows on the second level
facing Hyman Avenue, only the one circular opening at the top of the covered but exterior stair
landing.
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The original design that was first shown to the HPC involved maintaining the form of the
building and adding a third floor with afree-mazket residential unit, an outdoor deck, and a
commercial/office space. On the second floor, the original design added a wall of windows on
the Hyman Avenue side of the building, including a window where the circulaz opening now
exists. The basic exterior look of the second floor on the Hyman Avenue side was going to be
maintained by replacing the redwood siding with horizontal louvers to cover most of the second
story, except for the circular window. The ground level on the Hyman Avenue side of the
building featured new storefront windows and doors in place of the concentric rectangular
pattern and the open courtyazd. The Spring Street side of the building would have maintained
the three circulaz windows on the second floor, while the concentric rectangulaz pattern of the
existing siding on the street level would have been replaced by a set of new storefront windows.
The originally proposed renovation on the Spring Street side also envisioned replacing the
existing siding with the horizontal louvers over some of the new windows on the street level, as
well as most of the second floor. The CMU columns on both the Hyman Avenue and Spring
Street sides were proposed to be maintained and would have been visible as the horizontal
louvers stop just shy at either side of the CMiJ column.
During the HPC work sessions, comments were made indicating that this design, while
quite pleasing, would change too much of the building's integrity to be considered consistent
with the standazds for Landmazk status. As a result, the newly designed proposal involves very
little change to the overall appeazance of the existing building while adding the third floor
residential unit (See "Project Description," below).
Existin¢ Conditions:
The Crandall Building at 630 East Hyman Avenue was built in 1969 and was designed by
Tom Benton, a local azchitect/artist. It is a two-story, plus basement building on a 6,000 squaze
foot lot at the corner of E. Hyman Avenue and South Spring Street. The existing building covers
virtually the entire lot, except for a four (4) foot setback on the Hyman Avenue side and a two
(2) foot setback off of the alley. As previously mentioned, this building features horizontal
redwood siding on the second level with cedar siding on the ground level that, in places, has
been applied to form concentric rectangular patterns giving the appearance of spider webbing;
this pattern is much more prevalent on the Spring Street side of the building. The street level
features CMU columns and storefront windows. On the Spring Street side, these columns rise to
the second level, and almost to the roof. One of the defining chazacteristics of this building is its
circulaz openings, one in the middle of the second floor on the Hyman Avenue side, and three
more on second floor of the Spring Street side. The main entry to this building is on Hyman
Avenue, where one enters into a courtyazd that is open to the sky above. There aze covered, but
exterior and steep wooden steps that lead to the second level above, as well as the basement level
below. There aze currently no windows facing Hyman Avenue on the second level, but only the
lone circulaz opening at the top of the exterior, covered stairs.
The building has commercial tenants on the sub-grade level, at street level, and on the
second floor. The current net leasable azea is 3,420sf on the sub-grade level, 2,797sf on the
street level, and 3,744sf on the upper level, for a total of 9,961 sf of net leasable area. Included
within the second floor net leasable area is a 603sf unit that is believed to have been previously
-3-
used for residential purposes but currently has a commercial tenant (Mania Salon). The total
floor azea of the existing structure, including non-unit spaces, is 12,306sf (and FAR of 2.051:1),
while current codes establish an allowable commercial floor azea limit of only 9,OOOsf (1.5:1).
The allowable free-mazket residential floor azea is 3,OOOsf (0.5:1), which may be increased to
0.75:1 if affordable housing equal to 100% of the free-mazket floor area is developed on the
same pazcel. The overall/cumulative FAR limit for the subject property is 2.5:1, or 15,000
squaze feet of floor area.
Proiect Descriation:
The applicant is seeking Conceptual Commercial Design Review (CCDR), as well as
Landmazk Designation and Conceptual approval of a Major Development provided that the
proposed plans are considered to be consistent with the criteria for landmazk status. That is, if
Landmazk Designation is for whatever reason found to preclude approval of the proposed
remodel and addition, then the applicant will not so designate the property/structure.
Nevertheless, it is felt that the proposed plans present an addition and remodel that maintain the
structure's historic integrity and aze fully consistent with the continuation of Landmark
designation status/appropriateness.
Chapter 26.412 of the Code provides the rules regazding Commercial Design Review in
Aspen. In June of 2007, the City of Aspen adopted the Commercial, Lodging and Historic
District Design Objectives and Guidelines. This document sets forth design review criteria,
standazds and guidelines that are used in making determinations of appropriateness relative to
proposed development, and it is organized to address the different design contexts that exist in
the City of Aspen. These distinct settings aze defined as "Character Areas," and the proposed
development is located in the Commercial Character Area.
Section 26.415.030 of the Code provides the criteria that must be met in order to be
eligible for designation to the Aspen Inventory of Historic Landmark Sites and Structures (the
Inventory). Further, all applications for Conceptual approval of a Major Development project
must receive a determination of consistency with the City of Aspen Historic Preservation Design
Guidelines (the "HP Guidelines") to be approved. If the subject property is granted Landmazk
Designation, the proposed remodel and addition must, in tum, receive Conceptual Major
Development approval. Since this property is seeking Landmazk status, Conceptual approval of
the proposed design requires a finding of consistency with Chapters 1-10 of the HP Guidelines,
as well as the General Design Guidelines of Chapter 14.
The proposed renovation envisions maintaining the overall appeazance of the existing
building while adding a third floor which is set more than 22 feet back from the Hyman Avenue
fagade (in addition to the building's 4 foot setback from the right-of--way), over 11 feet back
from the Spring Street frontage, and over 4 feet from the alley side of the building (except for the
back stair tower). The third floor contains one free-market residential unit and an outdoor deck
with a glass railing. Although the third floor addition will enclose the courtyard below, the
courtyazd feel to the building will be maintained while providing a safer, more practical, and
more easily maintained environment. The indoor "courtyard" will be amply lit and landscaped
to give it the feel of an outdoor space. With a maximum height of just 32', the proposal is a full
-4-
4' below the "by-right" height limit and 8' below the potential maximum height allowed in the
zone district. The proposed third story on the Patio Building is only 4'-8" taller than the
adjacent, two-story Tamarawood Building (where L'Hostaria is located).
Access to the third floor for disabled persons is required by building codes which also
require an elevator and an overrun. The overrun has been cleverly and creatively disguised in a
non-ornamental fashion but to give the appearance of a cylindrical rooftop cistern that might
have existed historically, although it will be clad in metal to match the soffit and fascia of the
rooftop addition. The exterior materials of this functional design element will avoid its being
confused as historic while serving to compliment the historic azchitectural features of the CMiJ
columns and the round fenestration patterns. Furthermore, the elevator ovemm will fall well
below the established by-right height limit ofthirty-six feet.
Besides the third floor addition, the exterior of the building will look virtually the same as
the original building. All of the existing siding on the Spring Street side of the building,
including the concentric patterns, and all of the siding on the second level of the Hyman Avenue
side of the building will be retained to the extent practicable. This siding will be sandblasted and
refinished with a stain of slightly lighter color, but where replacement proves necessary, such
will be done in kind. The three circular windows on the Spring Street side, as well as all of the
CMU columns, are also being retained. The only changes proposed for the exterior of the
building, besides the third floor addition, aze the following: the addition of one window on the
second floor of the Spring Street side; a new window at the circulaz opening on the second floor
of the Hyman Avenue side; new storefront windows and doors on the street level of the Hyman
Avenue side of the building; new windows and garage doors on the alley-facing side; and new
doors where the open courtyard entrance currently exists on Hyman Avenue. It is also the
applicant's intention to improve/replace the existing street tree plantings with the appropriate
species and spacing to be determined in accordance with the desires of the Pazks Department.
Please refer to the submitted plan sets for cleaz details with respect to the design of the
proposed development.
Desienation of Historic Properties
As mentioned eazlier in this application, Section 26.415.025 of the City of Aspen Land
Use Code (the Code) identifies a List of Potential Historic Resources (the "List"), "to prevent the
loss of buildings, sites, structures, or objects... that may have historical, architectural,
archaeological, engineering and cultural importance, and to limit the detrimental effect of
development or demolition of these potential resources... " The properties identified in Exhibit
A of Ordinance No. 48, Series of 2007 constitute the "List," which includes 630 E. Hyman (the
Crandall Building). Owners of properties on the List may not undertake any alterations, and no
building permits or land use applications for alterations, demolition, or other similar
development activity that substantially alters the potential Historic Resource may be accepted by
the Community Development Department except as permitted in Section 26.415.025E of the
Code. Said Code section provides fora 90-day negotiation period for properties on the "List" to
discuss incentives that may be granted to a property owner in exchange for designation to the
Inventory.
-5-
Ordinance 48 states that within the 90-day negotiation period, `the Community
Development Director shall offer to meet with the property owner to discuss the City s Historic
Preservation Program and development and other benefits that the property may be eligible to
receive upon designation as a Historic Landmark "(Emphasis added.)
Furthermore, the Ordinance allows for the City Council to negotiate directly with the
property owner or to direct the Community Development Director or other City staff as
necessary to negotiate with the property owner to reach a mutually acceptable agreement for
the preservation of the Resource. An owner who consents to designation may concurrently
submit any proposed redevelopment plans to be reviewed according to Chapter 26.415 of the
Code.
Ordinance 48 was adopted to address the negative impacts that the loss of landmazk
eligible buildings would have on the health, peace, safety, and general well being of the residents
and visitors of Aspen, and the diminishment of Aspen's unique azchitectural character, livability,
and attractiveness as a destination. The applicant truly appreciates the importance of preserving
historic properties in Aspen and as such seeks to have the Crandall Building granted landmazk
status and formally added to the Inventory.
Ordinance 48 envisions a "mutually acceptable agreement" and "other benefits" when a
property owner is pursuing Landmazk status for their property. In exchange for the voluntary
historic preservation and permanent landmazk designation of this property, the "other benefits"
that the applicant is seeking aze as follows:
INCENTIVE #1:
During the 90-day negotiation period, the applicant would like to be granted Growth
Management and Subdivision approvals necessary for entitling the project so that when the 90
days have passed the only approvals that would still need to be obtained would be Final HPC
Review for Major Development and Commercial Design Review.
a. Pursuant to Section 26.470.060 of the Code, the Community Development Director
(CDD) has the ability to approve, approve with conditions, or deny certain Growth
Management applications. Subsection (4) thereto allows for the approval of a minor
enlazgement of a Historic Landmark for commercial, lodge or mixed-use development as
long as certain criteria are met, namely that: (a) if the development increases either floor
azea or net leasable space, but not both, no employee mitigation is required; and (c) no
more than one free-mazket residence is created. This proposal seeks to increase FAR by
only 245 squaze feet but will decrease the net. leasable azea by 339 square feet, and only
one free-market residence is proposed. Therefore, this proposed minor enlazgement of a
Historic Landmazk clearly satisfies the objective criteria for Administrative GMQS
approval under Section 26.470.060(4) of the Code, and the applicant hereby requests that
Council direct the CDD to approve this Growth Management application as part of the
90-day negotiation.
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b. The procedures for review of a subdivision request involve obtaining a recommendation
from the Planning and Zoning Commission (P&Z) before proceeding to City Council for
a fmal decision. As part of the incentives/benefits for agreeing to Landmark designation,
the applicant would like to have City Council approve the Subdivision request as part of
the 90-day negotiation and without fast receiving a recommendation from the P&Z.
Since the Crandall Building is already condominiumized (Book 13 at Pages 86-87), it is
not cleaz whether this development actually requires Subdivision approval, as opposed to
a mere amendment of the existing condominium plat. Nevertheless, this development
complies with the review standazds enumerated in Section 26.480.050 of the Code, as
provided below:
A. General Reguiremettts
1. The proposed subdivision shall be consistent with the Aspen Area Comprehensive
Plan.
This review standazd requires only that the proposed subdivision be consistent with the
AACP. In the cun•ent case, subdivision approval may not even be necessary but to the extent
that it is deemed required, it is only to enable the re-configuration of the internal spaces and
interior unit boundaries of existing condominium units by amending an existing condominium
plat. The AACP is silent with respect to how ownership interests in property should be divided.
As previously mentioned, the Crandall Building is already condominiumized. All that is needed
is an amendment to the condominium plat.
Nevertheless, the AACP seeks to limit growth while encouraging infill development,
minimize dependence on the automobile, promote historic preservation, and maintain economic
sustainability, all of which represent tenets at the heart of this proposal. The proposal falls well
within established growth limits while be centrally located in the Infill azea and within easy
walking distance of public transit, shopping and all services. One of the central goals of this
project is providing locally owned and operated businesses with the opportunity to own their
space at a rate similar to what they would normally be paying in rent and, thereby, provide these
businesses with a greatly improved opportunity at economic sustainability. Cleazly, the goals of
historic preservation would be forwazded with the applicant's willingness to have the property
designated to the Inventory.
2. The proposed subdivision shall be consistent with the character of existing land uses
in the area.
This review standard requires only that the proposed subdivision be consistent with the
character of existing land uses in the azea. Again, subdivision approval might be required in the
current case only to enable the amendment of the existing condominium map to reconfigure the
units and to add one free-mazket residence. Maintaining the existing condominium regime, with
amendments to internal unit boundaries and the addition of a free-mazket residence aze both
consistent with the chazacter of existing land uses in the azea, as the predominance of properties
in the immediate vicinity (including the subject property) contain a mix of retail, office and
residential uses and/or aze condominiumized.
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The project is consistent with the chazacter of existing land uses in the azea, as evidenced
by the fact that it is consistent with the height, setback and other dimensional limitations of the
C-1 Zone District and the requirements of the Commercial Design Standazds. For example, as
stated in the "Purpose" of the C-1 Zone District (Section 26.710.150(A) of the Code, "A
transition between the commercial core and the surrounding residential neighborhoods has been
implemented [emphasis added] through a slight reduction in allowable floor area as compared
to the Commercial Core, the ability to occupy the Ground Floor with offices, and a separate
Chapter in the Commercial Design Guidelines." Therefore, the required "transition" has been
implemented and, in turn, provides for consistency with the character of existing land uses in the
azea. The proposed third story on the Patio Building is only 4'-8" taller than the adjacent, two-
story Tamazawood Building (where L'Hostaria is located).
3. The proposed subdivision shall not adversely affect the future development of
surrounding areas.
Amending the existing condominium map to reconfigure internal unit boundaries and
adding one free-market residence will have no affect whatsoever on the future development of
surrounding areas since the building is already condominiumized. As explained above, the
project is consistent with the C-1 zoning and is, therefore, successfully implementing the
prescribed transition between the commercial core and the surrounding residential
neighborhoods. With a maximum height of just 32', the proposal is a full 4' below the "by-
right" height limit and 8' below the potential maximum height allowed in the zone district.
4. The proposed subdivision shall be in compliance with all applicable requirements of
this Title.
As provided throughout this application, the proposed subdivision is in compliance with
all applicable requirements of the Code.
B. Suitability of land for subdivision
1. Land suitability. The proposed subdivision shall not be located on land
unsuitable for development because of flooding, drainage, rock or soil creep,
mudflow, rockslide, avalanche or snowslide, steep topography or any other
natural hazard or other condition that will be harmful to the health, safety, or
welfare of the residents in the proposed subdivision.
The land on which the proposed subdivision is to take place is already developed, has
been in place since 1969, is surrounded by developed properties and is already subdivided. The
existing development and that of surrounding properties aze not and have not been subject to
geologic or other environmental hazards. The proposed subdivision will not be harmful in any
way to the health, safety, or welfare of its future residents or tenants.
2. Spatial pattern efficient The proposed subdivision shall not be designed to create
spatial patterns that cause inefficiencies, duplication or premature extension of
public facilities and unnecessary public costs.
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The proposed subdivision to sepazate ownership interests within the mixed use building
and the addition of a free-mazket residence will require neither an extension of public facilities
nor incurrence of unnecessary public costs. No inefficiencies, duplication or premature
extension of public facilities will occur as the property and surrounding azea aze akeady
developed and served by public facilities and services. The cost of any necessary utility
extensions or upgrades will be borne by the applicant. Dividing the project into different,
sepazate ownership interests than currently exist will have no affect on the efficiency of spatial
patterns.
C. Improvements. The improvements set forth at Chapter 26.580 shall be provided for
the proposed subdivision. These standards may be varied by special review (See
Chapter 26.430) if the following [omitted] conditions are met:
The proposed subdivision will comply with the improvements set forth in Chapter
26.580. The improvements will also comply with the design standazds contained in said
Chapter. In the event that any variances from the engineering design standazds become
necessary due to unforeseen circumstances, special review approval will then be sought.
If required, the applicant will enter into a Subdivision Improvements Agreement (SIA)
with the City binding the subdivision to any conditions placed on the development order; this
would be done within 180 days of Final HPC approval. Since the actual land will not be
subdivided, an amended condominium plat will replace the requirement for a subdivision plat
and it will be recorded upon substantial completion of construction but prior to issuance of a
Certificate of Occupancy. All required elements of any required SIA will be provided for review
by the Community Development Director, the City Engineer, and the City Attorney.
D. Affordable housing.
A subdivision which is comprised of new dwelling units must provide affordable housing
in compliance with the requirements of Chapter 26.470, GMQS. However, as previously
explained, this development is a minor enlargement of a Historic Landmazk for commercial,
lodge, or mixed-use development. Under Section 26.470.060(4)(a) of the Code, which governs
minor enlazgements of historic landmazks for mixed-use development, no employee mitigation is
required if the development increases either floor azea or net leasable space, but not both. This
proposed development will increase floor azea while decreasing net leasable area and, as such, is
not required to provide employee housing mitigation.
E. School land dedication.
This section of the subdivision regulations requires the dedication of land or the payment
of an in-lieu fee for each new residential unit in a subdivision. As the property in question is
already developed as a condominium, is in the C-1 District, and contains only 6,000 squaze feet
of ground, the dedication of land would not be appropriate. The in-lieu fee structure is currently
flawed inasmuch as it would unfairly penalize the applicant for owning land in the C-1 zone as
opposed to somewhere less desirable such as the fringes of the City. Additionally, the
preservation of this historical resource is already providing educational value to the community,
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and is not expected to generate any new students or school-related impacts. Finally, it can be
azgued that a residential unit already existed on this property so this "subdivision" is not creating
any additional residential units. As one of the incentives to Landmazk this building, the
applicant requests a waiver of the cash-in-lieu payment for the one residential unit that will be
created.
INCENTIVE #2:
The next incentive requested is approval of the proposed commercial floor area in
excess of what is allowed under the Code. The remodel will actually decrease the amount by
which the building is non-conforming with regazd to commercial FAR. The allowable
commercial FAR for this building is 9,000 square feet. Currently there aze 12,306 square feet of
commercial FAR, or 3,306 square feet in excess of what is allowed. After the remodel there will
only be 27 squaze feet of excess commercial FAR and over 2,000 squaze feet of that total is non-
unit space. If approved, this incentive will allow for a total of 9,027 squaze feet of commercial
floor azea, which equates to a commercial FAR of 1.505:1.
INCENTIVE #3:
The applicant seeks approval of the residential floor area in excess of that which is
permitted in the C-1 Zone District and an increase in the allowable size of the unit from the
2,000 squaze foot maximum to 2,500 squaze feet. The maximum FAR for free-market multi-
family housing in the C-1 zone is established as 0.5:1, which equates to 3,000 squaze feet on the
subject property. This proposal seeks 3,524 squaze feet of residential floor azea, however 832 of
these squaze feet is allocated to non-unit spaces on all three floors (circulation, corridors, etc.)
but which count toward the total residential floor area. The proposal exceeds the free-mazket
multi-family housing FAR limit by only 524 total squaze feet, all of which and then some is
consumed in non-unit spaces that will serve the commercial uses as well. Rather than seeking a
500 squaze foot FAR bonus from the HPC for this exemplary preservation effort to lazgely do
away with the modest overage, the applicant is simply asking the City Council to enable the
requested FAR through the 90-day negotiation process associated with Ordinance 48. In
fairness, it must be recognized that the project, as a whole, includes approximately 2,700 squaze
feet less floor azea than is allowed on the property.
Similazly, the applicant also seeks to enable realization of the maximum multi-family
residential dwelling unit size of 2,500 squaze feet without having to purchase a TDR. The
maximum allowable dwelling unit size is set as 2,000 squaze feet but can be increased to 2,500
squaze feet through the purchase/use of a single TDR. Therefore, the applicant requests that
Council exercise its authority under Ordinance 48 and grant an exemption from the requirement
to buy a TDR to achieve a 2,500 squaze foot unit size.
To understand the modesty of this request, consider that this proposal is approximately
2,700 squaze feet below the allowable cumulative FAR for the property and, as such, could be
entitled to remove ten (10) TDR for sale on the open mazket. However, the applicant is not
seeking any approvals at this time to harvest TDR off of the property. Instead, the applicant is
merely seeking to have a 2,500 net livable square foot unit without the need to use/purchase any
TDR and to have a total free-market multi-family housing FAR of 3,524 squaze feet (0.588:1
FAR as opposed to 0.5:1) enabled through this Ordinance 48 negotiation process.
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INCENTIVE #4:
The applicant maintains two (2) revocable right-of--way encroachment license agreements
for the property. One of the licenses (Book 426 at Page 527) allows the CMU columns integral
to the building and its azchitecture to encroach upon the Spring Street right-of--way. The second
license (Book 316 at Page 242) allows the steps providing access to the existing loading dock
azea to project into the Spring Street right-of--way. The proposed plans envision the preservation
of both of these encroaching features. Given the landmark status to be bestowed upon the
building and the resulting permanence of its features thereafter, the applicant requests that the
City replace these revocable licenses with the grant of easements allowing the encroachments for
the life of the improvements.
The above-requested incentives are, of course, contingent on the property being officially
found worthy of historic landmark designation. The designation of properties to the Aspen
Inventory of Historic Landmazk Sites and Structures (the Inventory) is governed by Section
26.415.030 of the Code. In order to be eligible for designation, an individual building, site,
structure, or object, or a collection of buildings, sites, structures, or objects must have a
demonstrated quality of significance. Section 26.415.030(B)(2) of the Code states that,
A property or district is deemed significant as a representation of Aspen's 20`~
Century, was constructed in whole or in part more than thirty (30) years prior to
the year in which the application for designation is being made, possesses
suj~cient integrity of location, setting, design, materials, workmanship and
association and is related to one or more of the following:
a. An event, pattern or trend that has made a significant contribution to local,
state, regional, or national history,
b. People whose specific contribution to local, state, regional or national history
is deemed important and the specific contribution is identified or documented,
or
c. A physical design that embodies the distinctive characteristics of a type,
period or method of construction or represents the technical or aesthetic
achievements of a recognized designer, craftsmen or design philosophy that is
deemed important.
The Crandall Building was designed by Aspen Architect/Artist Tom Benton in 1969
(more than 30 yeazs ago). It resides in its original location, and the materials and design remain
relatively unaltered from its original date of constnuction. Benton, along with Charles Patterson
and Robin Molny, are considered to be part of the "second wave" of modern azchitects in Aspen.
These architects designed buildings that were rooted in and about Aspen. Their azchitecture was
a product of, and in harmony with the environment rather than imported from somewhere else.
According to an opinion letter written by former Aspen City Councilman Jack Johnson, the Patio
Building "allowed Benton to express how he was more interested in a building's interior where
people actually live and work than in the facades of structures... " "The Modern architectural
expression was actually a classical expression. " "This building presents a pared down simple
exterior and bursts with life and expression on the inside. " Mr. Johnson considers this building
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to be Benton's "most significant work" and "architecturally the most sophisticated building in
Aspen. "
Johnson explains that the classical references express structure through the exterior
columns/pilaster, the simple geometric shapes, the symmetry and the recessed portico entry. Mr.
Johnson's opinion letter goes on to describe the progression up the stairs to the second level as a
classical sequence that gradually reveals the view of Aspen Mountain through the circulaz
opening. Johnson further describes this building as "an architecture of experience --- one must
inhabit and occupy it to understand it.. "Johnson believes that the play between light and dazk,
and the layering of space evidence Benton's talent. The details in this structure are made of
humble materials, but playfully and artfully used to express Benton's azchitectural ideas.
Since this building was constructed more than thirty (30) yeazs ago and is a
representation of the aesthetic achievements of Tom Benton, a recognized azchitect from the
Modern Era of Aspen architecture, this building is worthy of and should be granted Landmark
status. Moreover, the proposed remodel is consistent with Benton's design and "vision," as.well
as with the entire aesthetic of the building. The remodel will keep the four (4) circulaz openings
and CMU columns that are considered to be the chazacter defining elements of the building, and
will retain almost all of the existing siding. Additionally, the interior feel of the courtyazd will
be maintained while giving the building a much needed update that better suits the mountain
climate. The remodeUaddition that is herein proposed is consistent with Landmark Designation
and an exemplary preservation effort.
HPC Coneeatual Design Standards:
Once landmazk designated, Chapters 1 through 10 of the Historic Preservation Design
Guidelines (the HP Guidelines) are applicable to the proposed development as they refer to the
renovation of Historic Structures. Chapter I1 provides guidelines for new buildings and
additions on residential Landmazk Properties; Chapter 12 is concerned with design in the Main
Street Historic District; Chapter 13 concerns designs in the Commercial Core Historic District;
therefore, none of these Chapters (11-13) apply to this proposal. The project has been designed
to be generally consistent with the guidelines of Chapter 14, but specific consistency with these
requirements will be demonstrated as part of the HPC Final review.
The HP Guidelines state that not every guideline will apply to each project and that some
balancing of the guidelines must occur on a case-by-case basis. The HPC will determine that a
sufficient number of the relevant guidelines have been adequately met in order to approve a
project proposal. These statements imply a level of negotiation inasmuch as detenninations must
be made as to which guidelines aze most relevant and most important in balancing between
potentially conflicting concerns; this necessity for give-and-take is further amplified in the case
of 90-day Ordinance 48 negotiations.
Per the HP Guidelines and the language of the Code, HPC Conceptual Review focuses on
the height, scale, massing and proportions of a proposal. Accordingly, the guidelines addressing
treatment and preservation of materials, lighting, fenestration, fences, and the like will be more
specifically addressed at Final HPC Review.
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Chapter One of the HP Guidelines relates to streetscapes and lot features and is lazgely
inapplicable to this proposed development. That is, Sections 1.1 through 1.8 concern fences and
retaining walls, Sections 1.10 through 1.14 relate to private yazds, and Section 1.15 addresses
site lighting; none of these sections aze applicable as no fences, retaining walls or private yards
exist on the subject property and site lighting is more appropriately addressed during Final
Review. Likewise, Sections 1.16 and 1.17 are not applicable as no historically significant
landscape designs or irrigation ditches exist on the property. The only applicable guideline from
Chapter One (1.9 Walkways) is addressed below.
Walkways
1.9 Maintain the established progression ofpublic-to-private spaces when
considering a rehabilitation project.
• This includes a sequence of experiences, beginning with the 'public" sidewalk, proceeding
along a "semi public" walkway, to a "semi private" porch or entry feature and ending in the
'private"spaces beyond.
• Provide a walkway running perpendicular from the street to the front entry. Meandering
walkways are discouraged, except where it is needed to avoid a tree.
• Use paving materials that are similar to those used historically for the building style. Concrete,
wood or sandstone may be appropriate for certain building styles.
The established progression of public to private space will be maintained. The public
sidewalk will connect to a straight and perpendiculaz semi-public walkway leading to the entry
of the building. This will lead to the semi-public interior courtyazd and end in private
commercial and residential spaces. The existing site wall along the Hyman Avenue sidewalk
serves to define the progression of public-to-private spaces and will be preserved as a historic
element of the property and building design.
The relevant guidelines from Chapters 2 through 10, as well as those from Chapter 14,
are outlined below in italicized text and each is followed by a response demonstrating
compliance and/or consistency therewith, as applicable.
2.1 Preserve original building materials.
2.2 Protect wood features from deterioration.
2.3 Plan repainting carefully.
2.9 Brick or stone that was not painted historically should not be painted
2.5 Repair deteriorated primary building materials by patching, piecing-in, consolidating or
otherwise reinforcing the material.
2.6 Maintain masonry walls in good condition.
2.7 Match the original material in composition, scale and finish when replacing materials on
primary surfaces.
2.8 Do not use synthetic materials as replacements for primary building materials.
Original building materials will be preserved to the extent practicable. The CMLJ
columns are being retained, as are the circulaz openings, almost all of the siding, and the
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foundation of the building. As appropriate, this standazd will be more fully addressed at Final
HPC Review.
2.9 Covering original building materials with new materials is inappropriate.
• Regardless of their character, new materials obscure the original, historically significant
material. For example, virryl siding, alumittum siding and new stucco are inappropriate on
historic buildings. Other imitation materials that are designed to look like wood or masonry
siding, but that are fabricated from other materials, are also inappropriate.
• If a property already has anon-historic building material covering the original, it is not
appropriate to add another layer of new material, which would further obscure the original.
• Any material that covers historic materials will also trap moisture between the two layers. This
may cause accelerated deterioration to the historic material which will go unnoticed.
Most of the original redwood siding on the upper level and cedaz siding on the lower
level of this building will be maintained while the overall aesthetic will be enhanced in a manner
consistent with the original design intent. The CMU columns, circulaz openings, and the
building foundation will also be maintained. Original materials will not be covered with new
materials.
2.10 Consider removing later covering materials that have not achieved historic significance.
• Once the non-historic siding is removed, repair the original, underlying material.
Almost all of the original siding will be retained, while the overall aesthetic will be
enhanced in a manner consistent with the original design intent. There are no known "covering
materials" on the property, much less any that have achieved historic significance.
3.1 Preserve the functional and decorative features of a historic window.
3.2 Preserve the position, number and arrangement of historic windows in a building wall.
3.3 Preserve the historic ratio of window openings to solid wall on a facade.
3.4 Match a replacement window to the original in its design.
3.5 In a replacement window, use materials that appear similar to the originaG
3.6 Preserve the size and proportion of a historic window opening.
3.7 Match, as closely as possible, the profile of the sash and its components to that of the
original window
3.8 Use a storm window to enhance energy conservation rather than to replace a hrstoric
window.
Although this standazd will be more specifically addressed at the time of Final HPC
Review, the size and proportion of the circulaz openings on the second level are being preserved
while the shape and size of the one on the Hyman Avenue side will be maintained although it
will become a functional window. Only one window will be added to the second floor on the
Spring Street side, while some new storefront windows will be added to the Hyman Avenue side
to enhance the pedestrian experience. New windows will also be added to the second floor on
the alley side of the building. The new windows have been located and modestly sized so as to
maintain the historic proportions and solid-to-void ratios while providing much needed natural
light into the office spaces within.
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4.1 Preserve hrstorically significant doors.
4.2 Maintain the original size of a door and its opening.
4.3 When a historic door is damaged, repair it and maintain its general historic appearance.
4.47f a new screen door is used, it should be in character with the primary dooms
4.5 When replacing a door, use a design that has an appearance similar to the original door or
a door associated with the style of the house.
4.6 If energy conservation and heat loss are concerns, consider using a storm door instead of
replacing a historic entry door.
Although this standazd will be more specifically addressed at the time of Final HPC
Review, it is the applicant's intention to replace the primary open-aired entrance with a set of
doors. The new doors aze set back into the end of the open-aired entrance so as to maintain its
historic appearance while providing a more climate-appropriate solution that will comply with
the City's energy codes. There aze no historically significant doors on the building.
Treatment of Porches
5.1 Preserve an original porch.
5.2 Avoid removing or covering historic materials and details on. a porch.
5.3 Avoid enclosing a historic front porch.
5.4 The use of a porch on a residential building in a single family context rs strongly
encouraged
Porch Replacement
5.5 if porch replacement is necessary, reconstruct it to match the original in form and detail.
There aze no porches on the existing building and none aze proposed for the renovation.
Treatment of Architectural Features
6.1 Preserve significant architectural features.
6.2 When disassembly of a historic element is necessary for its restoration, use methods that
minimize damage to the original material.
6.3 Remove only the portion of the detail that is deteriorated and must be replaced
6.4 Repair or replacement of missing or deteriorated features should be based on original
designs.
6.5 Do not guess at "historic" designs for replacement parts.
6.6 Replacement of missing elements may be included in repair activities.
As previously mentioned, the applicant intends to preserve the circulaz openings, the
CMiJ columns, most of the existing siding, and the footprint of the building. As such, consistent
with this guideline, preservation of the building's significant architecture features is proposed.
Treatment of Roofs
7.l Preserve the original form of a roof.
• Do not alter the angle ofa historic roof. Instead, maintain the perceived line and orientation of
the roof as seen from the street.
• Retain and repair roof detailing.
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The original form of the roof is flat and will be maintained. The third floor addition will
also have aloes-profile, flat roof consistent with the historic form of the structure.
7.2 Preserve the original eave depth.
• The. shadows created by traditional overhangs contribute to one's perception of the building's
historic scale and therefore, these overhangs should be preserved.
There aze no eaves on the original roof but the portions of the second floor overhanging
the ground level (sat the front and reaz) will be maintained. _
7.3 Minimize the visual impacts of skylights and other rooftop devices.
• Flat skylights that are flush with the roof plane may be considered only in an obscure location
on a historic structure. Locating a skylight or a solar panel on a front roof plane is not allowed.
• A skylight or solar panel should not interrupt the plane of a historic roof. It should be
positioned below the ridgeline.
This standard was written to address visible sides of pitched roofs on residential
structures while the subject building is commercial in nature and has a flat roof that cannot be
seen from the surrounding streets. Nevertheless, no skylights are proposed for this development.
7.4 A new chimney should be the same scale as those used historically.
7.5 Preserve original chimneys, even if they are made non functional.
The existing building does not have any chimneys and no chimneys aze proposed in the
renovation. Minimum ventilation required by building codes will be through the rooftop, but
these projections are not expected to be visible from the surrounding public ways.
7.6 When planning a rooftop addition, preserve the overall appearance of the original roof.
• An addition should not interrupt the original ridgeline.
• See also: Chapter 10, Guidelines for Building Additions.
Although the third floor addition will be above the original roof, the overall appearance
and lines of the original roof will be preserved. Both the original roof and the proposed third
floor roof aze flat. The third floor is significantly setback from the outer edges of the second
level (more than 22' on the Hyman Avenue side and more than 11' on the Spring Street side) and
there will be a transpazent guardrail azound the inside edge of the original roof.
7.7A new dormer should remain subordinate to the historic roof in scale and character.
• A new dormer should fit within the existing wall plane. It should be lower than the ridgeline
and set in from the eave. It should also be in proportion with the building.
• The mass and scale of a dormer addition must be subordinate to the scale of the historic
building.
There are no dormers on the existing building and none are proposed for the renovation.
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7.8 Preserve original roof materials.
• Avoid removing historic roofing material that is in good condition. When replacement is
necessary, use a material that is similar to the original in both style as well as physical qualities
and use a color that is similar to that seen historically.
• Specialty materials such as tile, slate or concrete should be replaced with a matching material.
This standard was written to address visible roofs on residential structures. While the
design of the existing building is significant, the original roof materials most certainly aze not. It
is a flat roof that cannot be seen from any public ways and its materials aze not historically
significant.
7.9 New or replacement roof materials should convey a scale, color and texture similar to
those used traditionally.
• Replacement materials should be similar to those used historically on comparably styled
buildings.
• If a substitute is used, such as composition shingle, the roof material should be earth tone and
have a matte, non-reflective finish.
• Flashing should be in scale with the roof material.
• If copper flashing is to be used, it should be treated to establish a matte, non-reflective finish.
The replacement roof materials will be earth tone and have a matte, non-reflective finish
but be, clearly, a product of their own time. Again, it will be a flat roof that cannot be seen from
any adjacent public ways.
7.10 If it is to be used, a metal roof should be applied and detailed in a manner that is
compatible and does not detract from the historic appearance ojthe building.
• A metal roof material should have an earth tone and have a matte, non-reflective finish.
• A metal roof with alead-like patina also is an acceptable alternative.
• Seams should be of a low profile.
• A roof assembly with a high profile seam or thick edge is inappropriate.
The new low-profile roof is proposed to be an EPDM Membrane (rubber) roof, and will
have a matte, non-reflective finish. It will not detract from the historic appeazance of the
building. The metal fascia and soffit will compliment the historic CMU columns while clearly
being a product of modern times.
7.11 Avoid using conjectural features on a roof.
• Adding ornamental cresting, for example, where there is no evidence that it existed creates a
false impression of the building's original appearance, and is inappropriate.
There will be no conjectural features on or added to the roof. However, access to the
third floor for disabled persons is required by building codes which, in turn, require an elevator
and an overrun. The overrun has been cleverly and creatively disguised in anon-ornamental
fashion but to give the appearance of a cylindrical rooftop cistern that might have existed
historically, although it will be clad in metal to match the soffit and fascia of the rooftop
addition. The exterior materials of this functional design element will avoid its being confused
-17-
as historic while serving to compliment the historic azchitectural features of the CMU columns
and the round fenestration patterns. Furthermore, the elevator overrun will fall well below the
established by-right height limit of thirty-six feet.
Chapter 8 of the HP Guidelines involves secondary structures. No secondary structures
currently exist on the property and none aze proposed. Chapter 9 discusses building relocation
and new foundations; this building is not being relocated and the original foundation is being
preserved. Next, the guidelines of Chapter 10 aze discussed below.
10.1 Preserve an older addition that has achieved historic significance in its own right
• Such an addition is usually similar in character to the original building in terms of materials,
finishes and design.
10.2 A more recent addition that is not historically significant may be removert
There are no known additions on the property, only the original building, which was built
over two phases. To the extent that any additions have been made, none have achieved historic
significance. The supplied plans indicate any existing elements proposed for removal, but none
that will be removed aze believed to be significant.
10.3 Design a new addition such that one's ability to interpret the historic character of the
primary building is maintained.
• A new addition that creates an appearance inconsistent with the historic character of the
primary building is inappropriate.
• An addition that seeks to imply an earlier period than that of the primary building also is
inappropriate.
• An addition that seeks to imply an inaccurate variation of the primary building's historic style
should be avoided.
• An addition that covers historically significant features is inappropriate.
The third floor addition to this building has been designed to compliment the historic
character of the primary building, but is clearly a product of its own time. No historically
significant features will be covered up by this addition.
10.4 Design a new addition to be recognized as a product of its own time.
• An addition should be made distinguishable from the historic building, while also remaining
visually compatible with these earlier features.
• A change in setbacks of the addition from the historic building, a subtle change in material or a
differentiation between historic, and more current styles are all techniques that may be
considered to help define a change from old to new construction.
The proposed addition is clearly distinguishable from the historic building, but is visually
compatible with the eazlier design. The addition is set back more than 22 feet from the Hyman
Avenue facade, more than 11 feet from the Spring Street fapade and almost 5 feet from the alley
side. The addition uses different but compatible materials from the historic portion of the
building. The third floor addition's modern design will complement, yet be subordinate to, the
-18-
historic first and second levels. The addition will clearly be a product of its own time but will
complement the historic architectural detailing of the building.
I0.5 When planning an addition to a building in a historic district, preserve historic
alignments that may exist on the street
• Some roof lines and porch eaves on historic buildings in the area may align at approximately
the same height. An addition should not be placed in a location where these relationships would
be altered or obscured.
This building is not in a historic district.
10.6 Design an addition to be compatible in size and scale with the main building.
• An addition that is lower than or similar to the height of the primary building is preferred.
10.77E it is necessary to design an addition that is taller than a historic building, set it back
substantially from significant facades and use a "connector" to link it to the historic building.
• A 1-story connector is preferred.
• The connector should be a minimum of 10 feet long behveen the addition and the primary
building.
• The connector also should be proportional to the primary building.
This standazd was written with residential structures in mind and, as such, is difficult to
apply to aflat-roofed structure that consumes virtually its entire lot. A connector element is not
possible and the only way to add to the existing structure is upwazd. This standazd is a prime
example of one where the HP Guidelines statement that not every guideline will apply to each
project and that some balancing of the guidelines must occur on a case-by-case basis must be
applied. Again, determinations must be made as to which guidelines are most relevant and most
important in balancing between potentially conflicting concerns, and this necessity for give-and-
take is further amplified in the subject case where a 90-day Ordinance 48 negotiation is taking
place.
The proposed addition simply adds a third level to the historic building. The addition is
compatible in size and scale with the historic resource as it is smaller, subservient, and
substantially set back from significant facades. Its overall height and profile have been
minimized to ensure the greatest degree of compatibility reasonably possible while enabling an
incentive adequate for the applicant to provide an exemplary preservation effort.
10.8 Place an addition at the rear of a building or set it back from the front to minimize the
visual impact on the historic structure and to allow the original proportions and character to
remain prominent
• Locating an addition at the front of a structure is inappropriate.
• Additional floor area may also be located under the building in a basement which will not alter
the exterior mass of a building.
• Set back an addition from primary facades in order to allow the original proportions and
character to remain prominent. A minimum setback of 10 feet on primary structures is
recommended.
-19-
As previously mentioned, the proposed third floor addition is set back more than 22 feet
from the first two levels of the historic building on the Hyman Avenue side, more than 11 feet on
the Spring Street side, and almost 5 feet of the alley side. These setbacks serve to minnnize the
visual impact of the addition while allowing the original proportions and character of the historic
structure to shine through and remain prominent.
10.9 Roof forms should be similar to those of the historic building.
• Typically, gable, hip and shed roofs are appropriate.
• Flat roofs are generally inappropriate for additions on residential structures with sloped roofs.
The existing building has a flat roof, and the renovated building maintains this roofline
by proposing a similaz flat roof above.
10.10 Design an addition to a historic structure such that it will not destroy or obscure
historically important architectural features.
• For example, loss or alteration of architectural details, cornices and eavelines should be
avoided.
No azchitectural details will be lost, altered or obscured by the third floor addition to this
building. The important architectural features of the circular openings and CMU columns will
be accentuated.
10.11 On a new addition, use exterior materials that are compatible with the historic materials
of the primary building.
• The new materials should be either similar or subordinate to the original materials.
The addition's exterior materials will be compatible with but different from the historic
materials, and will be discussed fiuther during Final HPC Review.
10.12 When constructing a rooftop addition, keep the mass and scale subordinate to that of a
historic building.
• An addition should not overhang the lower floors of a historic building in the front or on the
side.
• Dormers should be subordinate to the overall roof mass and should be in scale with historic
ones on similar historic structures.
• Dormers should be located below the primary structure's ridgeline, usually by ai least one foot.
The proposed rooftop addition is subordinate in mass and scale to the historic building
and it is set back from the lower levels. The addition will not overhang lower floors on any side,
and no dormers aze proposed. Please also refer to previous responses to similar guidelines.
10.13 Set a rooftop addition back from the front of the building.
• This will help preserve the original profile of the historically significant building as seen from
the street.
-20-
As mentioned above, the third floor is proposed to be set back more than 22 feet from the
Hyman Avenue facade, and more than 11 feet from the Spring Street facade. The original profile
of the building as seen from the street will be preserved.
10.14 The roof form and slope of a new addition should be in character with the historic
building.
• If the roof of the historic building is symmetrically proportioned, the roof of the addition should
be similar.
• Eave lines on the addition should be similar to those of the historic building or structure.
The proposed addition envisions a flat roofline similaz to and in character with the
existing roofline.
14.1 These standards should not prevent or inhibit compliance with accessibility laws.
• All new construction should comply completely with the Americans with Disabilities Act
(ADA). Owners of historic properties should comply to the fullest extent possible, while also
preserving the integrity of the character-defining features of their buildings. Special provisions
for historic buildings exist in the law that allow some alternatives in meeting the ADA standards.
14.2 Generally, a solution that rs independent from the historic building and does not alter its
historic characteristics is encouraged.
The existing building does not comply with ADA requirements. The proposed
renovation has an elevator that will be accessible from the front entrance of the building and will
provide for compliance with accessibility laws. None of the chazacter defming features of this
building will be lost or even compromised by the addition of an elevator. Building codes require
elevator access to the third floor, and all elevators must have an overrun. The elevator shaft has
been designed to look less mechanical, and more like a rooftop cistern. The elevator shaft is
tucked into the west side of the property, adjacent to the tallest portions of the building next
door, and will have little visibility from the street.
14.3 Keep color schemes simple.
14.4 Coordinating the entire building in one color scheme is usually more successful than
working with a variety ofpalettes.
14.5 Develop a color scheme for the entire building front that coordinates all the fapade
elements.
Although the HPC does not review the choice of color, there aze guidelines that aze
provided to encourage similaz paint schemes. These guidelines are understood and will be more
fully addressed at the time of Final HPC review.
14.6 Exterior lights should be simple in character and similar in color and intensity to that
used traditionally.
14.7 Minimize the visual impacts of site and architectural lighting.
14.8 Minimize the visual impact of light spill from a building.
-21-
The lighting standazds aze understood by the applicant and will be further addressed at
the time of Final HPC Review.
14.9 Use the gentlest means possible to clean the surface of materials and features.
14.10 Repair deteriorated primary building materials by patching, piecing-in, consolidating or
otherwise reinforcing the material.
14.11 Plan repainting carefully.
14.12 Provide a weather protective finish to wood surfaces.
14.13 Leave natural masonry colors unpainted where feasible.
The existing redwood and cedaz siding that is being preserved will be power washed and
stained with a weather protective finish. To the extent that any of the siding must be replaced, it
will be done in kind. There are no plans to change the CMU columns at this time.
14.14 Minimize the visual impacts of service areas as seen from the street.
• When it is feasible, screen service areas from view, especially those associated with
commercial and multifamily developments.
• This includes locations for trash containers and loading docks.
• Service areas should be accessed off of the alley, if one exists.
The service area for the renovated building will be cleaned up and located off of the
alley, lazgely in its existing location, thereby minimizing any visual impacts from the street.
14.1 S Minimize the visual impacts of mechanical equipment as seen from the public
way.
• Mechanical equipment may only be installed on an alley facade, and only if it does not create a
negative visual impact.
• Mechanical equipment or vents on a roof must be grouped together to minimize their visual
impact. Where rooftop units are visible, provide screening with materials that are compatible
with those of the building itself.
• Screenground-mounted units with fences, stone walls or hedges.
• A window air conditioning unit may only be installed on an alley facade, and only if it does not
create a negative visual impact.
• Use low profile mechanical units on rooJlops so they will not be visible from the street or alley.
Also minimize the visual impacts of utility connections and service boxes. Use smaller satellite
dishes and mount them low to the ground and away from front yards, significant building
facades or highly visible roofplanes.
• Paint telecommunications and mechanical equipment in muted colors that will minimize their
appearance by blending with their backgrounds.
Mechanical equipment will not be seen from the public way and will not create a
negative visual impact.
14.16 Locate standpipes, meters and other service equipment such that they will not damage
historic facade materials.
-22-
• Cutting channels into historic facade materials damages the historic building fabric and is
inappropriate. Do not locate equipment on the front facade.
• If a channel must be cut, either locate it on a secondary facade, or place it low on the wall
No service equipment will be located on the front fagade and none will damage any
historic facade materials.
14.17Design a new driveway in a manner that minimizes its visual impact
14.18 Garages should not dominate the sheet scene.
14.19 Use a paving material that will distinguish the driveway from the street
14.20 Off-street driveways should be removed, iffeasible.
14.21 For existing driveways that cannot be removed, provide tracks to a parking area rather
than paving an entire driveway.
14.22 Driveways leading to parking areas should be located to the side or rear of a primary
structure.
14.23 Parking areas should not be visually obtrusive.
14.24 Large parking areas, especially those for commercial and multifamily uses, should not
be visually obtrusive.
No driveways, garages or pazking areas currently exist on the property. New garage
doors will be added at the northwest corner of the property, off the alley and in the least visible
part of the site.
Signs
14.25 Locate signs to be subordinate to the building design.
14.26 Sign materials should be similar to those used historically.
14.27 Use signs to relate to other buildings on the street and to emphasize architectural
features.
14.28 Pictographic symbols are encouraged on signs.
14.29Illuminate asign such that it complements the overall composition of the site.
These guidelines aze understood by the applicant and will be further addressed at the time
of Final HPC Review. All signs will be located so as to be subordinate to the building design.
Conceutual Commercial Design Review
Commercial, Lodging and Historic District Design Objectives and Guidelines:
The Commercial, Lodging and Historic District Design Objectives and Guidelines (the
"Commercial Guidelines") set forth design review criteria, standazds and guidelines that aze to be
used in making determinations of appropriateness. The Commercial Guidelines aze organized to
address the different design contexts that exist in the City. These distinct settings aze defined as
"Character Areas," within which variations exist among the physical features that define each
azea. The proposed development is located in the Commercial (CI) zone district, one block east
of the Commercial Core.
-23-
Per the Commercial Guidelines, all development projects should achieve the following
design objectives:
• Promote an interconnected circulation system that invites pedestrian use, including a
continuous street and alley system and a respect for the natural topography;
• Promote a system of public places that support activities, including public amenity
spaces, compatible landscaping and paving, and unobtrusive off-street parking; and
• Assure that buildings fit together to create a vibrant street edge that reinforces a sense of
appropriate scale.
According to the Commercial Guidelines: the Commercial Zone District (C-1) forms the
immediate fringe of much of the Commercial Core Historic District (CC); building heights and
materials in this zone vary; storefront design and display is a less dominant chazacteristic in the
Cl zone than in the CC area, diminishing the pedestrian experience in some places; the street
wall is less defined than in the CC; and building facades are sometimes set back or include front
yazd space, which weakens the edge. The purpose of the Commercial (C-1) zone district is
enumerated in Section 26.710.150(A) of the Code as follows: "to provide for the establishment
of mixed-use buildings with commercial uses on the ground floor, opportunities for affordable
and free-market residential density. A transition between the CC and surrounding residential
neighborhoods has been implemented [emphasis added] through a slight reduction in allowable
floor area as compared to the Commercial Core, the ability to occupy the Ground Floor with
offices, and a separate Chapter in the Commercial Design Guidelines. " By complying with the
zone district regulations, the proposal has already succeeded in appropriately transitioning from
the CC to the surrounding residential neighborhood. Moreover, this proposal leaves more than
2,500 square feet of FAR on the table, so to speak, and is well below the "by-right" height limit.
The proposal maintains the interconnected pedestrian circulation system present in the
sidewalks of Hyman Avenue and Spring Street, as well as the associated street and alley systems.
The site is relatively flat topographically, and the proposal does not suggest changing this
condition. The pedestrian experience and systems will be improved by the enhanced building
design and replacement of the inappropriate, fruit-bearing street trees with species and spacing
between plantings that will be determined in consultation with the Parks Department. The
existing site wall separating the building entrance from the sidewalk will be maintained as a
contributing element to the historic resource. While existing street setbacks will not be changed,
storefront windows and entrances will be enhanced and continue to provide room for public
amenities. New off-street parking will be accommodated in gazages to be located at the least
visible part of the property, at the northwest comer of the site and off the alley.
The key design objectives in the C1 district aze as follows:
I. Strengthen the sense of relatedness with the Commercial Core Historic District
Strengthening the definition of the street edge in a manner similar to the Commercial
Core is desired. At the same time, the Commercial Area is a place where more variety in
design is encouraged. Imitating historic styles is not an objective, but re-establishing a
sense of a stronger fundamental framework will enhance the urban qualities of this area
and is a priority.
-24-
2. Maintain a retail orientation.
Greater retail presence at the street edge should be achieved to ensure an enhanced
street vitality and an enriched and more urban definition of the commercial street
frontage.
3. Promote creative, contemporary design.
Designs should seek creative new solutions that convey the community s continuing
interest in exploring innovations. At the same time, the fundamental principles of
traditional design must be respected. This means that each project should strike a
balance in the design variables that are presented in the following pages.
4. Encourage swell-defined street wa1L
The intent is to more clearly establish a strongly defined street wall, but with some
greater variety than in the Commercial Core Historic District since the historic building
edge is not as defined. A stronger street facade definition should be achieved while at the
same time recognizing the value ofpubltc dining and landscaped space.
S. Reflect the variety in building heights seen traditionally.
It is important that a range and variation in building height and scale in the Commercial
Area be recognized in future development. Larger buildings should be varied in height
and reflect original dot widths.
6. Accommodate outdoor public spaces while establishing a clear definition to the
street edge.
Providing space in association with individual buildings remains important, but should
be balanced with much greater building street presence and corner definition.
7. Promote variety in the street level experience.
Display cases, architectural details and landscaping are among the design elements that
should be used.
Given the proposal to preserve and designate the existing structure as a historic landmazk,
there is only so much opportunity to forwazd the goals of these guidelines. That is, the applicant
is not working with a blank slate/vacant lot on which new designs could adhere closely to the
cues suggested in these guidelines. The proposed renovation of the Crandall Building will
maintain the already defined street edge, while its unique and innovative design will enhance the
street vitality. The replacement of a small amount of the cedaz siding on the Hyman Avenue
street level with new storefront windows and doors will create greater retail presence at the street
edge and an enriched and more urban definition of the commercial street frontage in a manner
similaz to the CC. While this renovation maintains much of the original design and its street
setbacks, it infuses innovative contemporary features on the third floor to create an addition that
is compatible but will cleazly be viewed as a product of its own time. The addition will also
create better comer definition, and recognizes the importance of having varied building heights
in the Commercial Area. With its second floor roof height, third floor roof and elevator overrun,
the building itself will present a microcosm of the varied building heights in the zone and on the
-25-
subject block. Furthermore, the third floor addition will add approximately 11'/z feet to the
current structure, and will be only 5 feet or so taller than the adjacent building.
Outlined below aze the Commercial Chazacter Area's Conceptual Review Design
Guidelines in italicized print, with each followed by a description of the proposal's compliance
and/or consistency therewith, as applicable.
1.1 Orient a primary entrance toward the street
• A building should have a clearly defined primary entrance.
• Providing secondary public entrances to commercial spaces is also encouraged on
larger buildings.
This building is on a 6,000 squaze foot corner lot and will have a clearly defined primary
entrance on Hyman Avenue, recessed from the street edge. There will also be two secondary
public entrances for the two street level commercial spaces on Hyman Avenue, both of which are
currently occupied by Sandy's Office Supply. The office and some commercial uses will be
accessed through secondary entrances reached by internal circulation centered around a
courtyard.
1.2 Maintain the established town grid in all projects.
• The network of streets and alleys should be retained as public circulation space and for
maximum public access.
• Streets and alleys should not be enclosed or closed to public access, and should remain
open to the sky.
All streets and alleys will be retained and will provide maximum public access. No
streets or alleys will be enclosed or in any way closed to public access.
Internal Walkways
1.3 Public walkways and through courts should be designed to create access to additional
commercial space.
• These may be shops that face onto walkways or courtyards.
• See also: Public Amenity Space design guidelines.
There are and will be no public walkways or through courts on the subject property, other
than standazd circulation. This development maintains the courtyazd feel to the building while
enclosing it to provide a safer, more practical, and more easily maintained environment. The
indoor courtyazd will be amply lit and landscaped to give it a feeling of an outdoor space. There
will be additional commercial spaces that will face this courtyard.
1.4 Develop an alley fagade to create visual interest.
• Use varied building setbacks and changes in materials to create interest and reduce perceived
scale.
• Balconies, court yards and decks are also appropriate.
• Providing secondary public entrances is strongly encouraged along alleys. These should be
clearly intended for public use, but subordinate in detail to the primary street-side entrance.
-26-
The proposed design includes an entrance on the alley. This will provide access to the
interior courtyard, the service and loading azeas, and to the back staircase. Materials variation
and usage will be creatively, yet practically employed along the alley side to create visual
interest and reduce the perceived scale of the building. Windows aze also being added on the
alley side to allow penetration of sofl/north light into the building and add to the azchitectural
interest of the fapade. A deck will inhabit the entire second floor roof on the alley side of the
building, except for the azea occupied by the stair tower.
1.5 The visual impacts of structured parking should be minimized The access shall be:
• Located on an alley when feasible or a secondary street, designed with the same attention to detail
and materials as the primary building facade, and integrated into the building design.
1.6 Structured parking should be placed within a 'wrap' of commercial and/or residential uses.
No structured pazking is being proposed for this development, and none currently exists.
One parking space will be added where the loading dock currently resides. The new garage doors
are located at the least visible part of the property, off the alley at its northwest corner.
Public Amenity Space
1.7A street facing amenity space shall meet all of the following requirements:
• Abut the public sidewalk
• Be level with the sidewalk
• Be open to the sky
• Be directly accessible to the public
• Be paved or otherwise landscaped
1.8 A street facing public amenity space shall remain subordinate to the line of building fronts in
the Commercial Area.
• Any public amenity space positioned at the street edge shall respect .the character of the
streetscape and ensure that street corners are well defned, with buildings placed at the sidewalk
edge.
• Sunken spaces, which are associated with some past developments, adversely affect the street
character. Where feasible, these should be replaced with sidewalk level improvements.
1.9 Street facing amenity space shall contain features to promote and enhance its use. These may
include one or more of the following:
• Street furniture • Public art
• Historical/interpretive marker
Given the proposal to preserve and designate the existing structure as a historic landmazk,
there is no opportunity for creation of new/additional public amenity space. Virtually no public
amenity space currently exists, but there will not be a decrease in existing public amenity space as a
result of the proposed remodel and addition.
1.18 Maintain the alignment of facades at the sidewalk's edge.
• Place as much of the facade of the building at the property line as possible.
• A minimum of 60% of the front facade shall be at the property line.
• Locating an entire building front behind the established storefront line is inappropriate.
-27-
1.19 A building may be set back from its side lot lines in accordance with design guidelines
identified in Street & Alley System and Public Amenity Space guidelines.
The existing building and proposed design both place almost the entire fapade at the property
line, except for the four (4) foot setback off of Hyman Avenue and the recessed public entrance on
Hyman Avenue. Since the project proposes only a remodel and addition, as opposed to a
redevelopment, the existing alignment of facades will be maintained.
1.20 Building fagades shall be parallel to the facing street(s) and primary entrances shall be
oriented toward the street
1.21 Orient a new building to be parallel to its lot lines, similar to that of traditional building
orientations.
• The front of a primary structure shall be oriented to the street.
The existing building and the proposed renovation's facades aze pazallel to the streets and
primary entrances are oriented towazd and pazallel with the streets/lot lines.
1.22 Building fapade height shall be varied from the fapade height of adjacent buildings of the
same number of stories by a minimum of 2 feet.
• If an existing structure is three stories and 38 ft. tall for example, then adjacent new infill may be
three stories, but must vary in fapade height by a minimum of 2 ft.
1.23 A new building or addition should reflect the range and variation in building height ojthe
Commercial Area.
• Refer to the zone district regulations to determine the maximum height on the subject property.
• A minimum 9 ft. floor to ceiling height is to be maintained on second stories and higher..
The maximum height in the C1 zone district is established at twenty-eight (28) feet for two-
story elements and thirty-six (36) feet for three-story elements of a building, which may be increased
to forty (40) feet through Commercial Design Review. The proposed three-story building has a
maximum height of only thirty-two (32) feet, and the height to the second story pazapet is 21'-6"
(except for the elevator overrun, which is taller than 32 feet, but still below the 36 foot height limit).
The Tamarawood Building is next door and houses L'Hostaria as a long-time tenant. That
two-story building is approximately 27'-4" in height as measured from the sidewalk to the
predominant roofline. The proposed third story on the Patio Building is only 4'-8" taller than the
two-story Tamarawood Building. As such, the proposed third and second stories both vary from the
height of the adjacent Tamazawood Building by more than the prescribed two (2) feet.
1.24 Height variation should be achieved using one or more of the following:
• Yary the building height in accordance with traditional lot width.
• Set back the upper floor to vary the building fapade profile(s) and the roof forms across the width
and the depth of the building.
• Yary the fafade (or parapet) heights at the front.
• Step down the rear of the building towards the alley, in conjunction with other design standards
and guidelines.
-28-
This proposal envisions a third floor which is setback more than 22 feet from the Hyman
Avenue fagade, more than 11 feet from the Spring Street frontage, and approximately 4'/z feet from
the alley. Only the stair tower on the alley side is flush with the walls of the first and second stories.
The use of different materials for the third floor also assists in reducing the perceived scale of the
building. As previously mentioned, this three-story building will be less than five (5) feet taller than
the adjacent two-story building.
1.25 On sites comprising more than two traditional lot widths, the fagade height shall be varied to
reflect traditional lot width.
• The fagade height shall be varied to reflect traditional lot width.• Height should be varied every 60
ft. minimum and preferably every 30 ft. of linear frontage in keeping with traditional lot widths and
development patterns.
• No more than two consecutive 30 ft. fagade modules may be three stories tall, within an individual
building.
• A rear portion of a third module may rise to three stories, if the front is set back a minimum of 40
feet from the street fagade. (e.g. at a minimum, the front 40 feet may be no more than two stories in
height.)
1.26 Buildings on sites comprising more than two traditional lot widths shall achieve a minimum
of two of the following:
• Variation in height of building modules across the site
• Variation in massing achieved through upper floor setbacks, the roofscape form and variation in
upper floor heights
• Variation in building fagade heights or cornice line
Since this site is comprised of only two traditional lot widths these standazds are not
applicable.
1.27A new building should step down in scale to respect the height, form and scale of a historic
building within its immediate setting.
1.28 New development adjacent to a single story historic building that was originally constructed
for residential use shall not exceed 28 fG in height within 30 ft. of the side property line adjacent
to the historic structure within the same block face.
There is aone-story, historic Victorian residence directly across the alley from the proposed
development. However, these standards are not applicable to the proposed development as the
Victorian is not within the same block face and the side property lines are not adjacent to one
another. Moreover, the one-story Victorian residence is an anomaly in the immediate azea and has
been across the alley from the existing two-story structure for the past 30 years.
-29-
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ICI
MEMORANDUM
TO: Aspen Historic Preservation Commission
FROM: Sara Adams, Historic Preservation Planner
RE: Landscape/Streetscape Chapter 1, Design Guideline Revisions
DATE: October 28, 2009
In 2000, the City adopted the Historic Preservation Design Guidelines currently used by HPC.
In 2003, the Commission began discussing amendments, which have never been taken forwazd
for adoption.
Attached is the current Chapter 1: Streetscape and Lot Features and the proposed revisions to the
Chapter. Please compaze the two and provide feedback on the usability of the document (i.e.
more illustrations) and proposed content (i.e. is it missing a significant topic.) We invited local
landscape architects to provide feedback from a user's perspective.
P2
Slreetscape and Lol Features
Chapter 1
Streetscape and Lot Features
oN
.............................
• Note:
A Right-of-Way permit from the
Engineering Department is required for
modifications within the public right-of-
way, including planting strips, sidewalks
• and irrigation ditches. No tree over 4 inches
in caliper may be removed without a tree
removal permit from the Parks Department.
.............................
Background
The character of historic structures is greatly
influenced by the manner in which their sites are
landscaped and streets are designed. At a block
level, street pavings, trees, lights and other
furnishings combine in streetscapes that are
important considerations in the historic districts.
On individual sites, the arrangement of trees and
shrubbery and the use of fences are important
design elements. In some cases, these features
have historicsignificance;in othets,theirdesigns
are still important because they can affect one's
ability to interpret the historic structures.
The planting strips with shade trees and irrigation
ditches were created in 1882 by the city, and
private property owners were encouraged to
plant their own shade trees.
Key Features of Lots
Planting strips
Planting strips are generally the band of grass
between the curb and the sidewalk, or between
the street and front property line. Be aware that
this is City property, not private property, and
work in this area must be approved. A strip may
contain an irrigation ditch and a row of street trees
if it is wide enough to support the root system.
This coupling of planting strips and street trees
€~
On individual sites, [he arrangement of trees and shrubbery and
the use of fences are important design elements. (Historic photo
courtesy of Aspen Historical Society, date unknown.)
Historic landscape features, including trees, lawns and shrubbery
contribute ro the character of historic properties in Aspen and
should 6e preserved.
P3
provides a rhythm along the block, as well as
shade for pedestrians. This tradition should be
continued. Placing paving materials in the
planting strip should be avoided.
Sidewalks
Generally, sidewalks exist only along Main Street
and in the Commercial Core. These sidewalks,
which were originally boardwalks, are historically
significant elements that contribute to the area's
inviting atmosphere and provide spaces for
walking and personal interaction.
Fences
Originally, wood picket Fences enclosed many
front yards. The vertical slats were-set apart, with
spaces between, and the overall height of the
fence was generally less than three feet. Wrought
iron and wire fences also were used in early
domestic landscapes. Where any of these early
fences survive, they should be preserved. In a
situation where the original fence is missing, a
new fence may be used if it is similar in character
to one seen traditionally.
Retaining walls
Retaining walls were sometimes used on steep
slopes. Some of these walls survive and are
important character-defining features. Whenever
feasible, they should be preserved.
Private yard
While most historic plant materials have been
replaced over time, some specimens do survive.
Common historic plants in Aspen from the
Victorian era include lilacs, sweetpeas and yellow
rose bushes. In some situations, the traditional
planting pattern has been retained even if new
plants have been planted. Mature trees on private
property must be retained unless approved by the
Parks Department for removal.
Site lighting
Traditionally, lighting within a site was minimal.
An occasional garden light was seen, but porch
lights were usually the only exterior illumination.
(For additional information, see the City's
Lighting Standards.)
.~..,..
Mature trees are important elements o(the historic stree[scape.
P4
and LoJ Features
Fences
1.1 Preserve original fences.
• Replace only those portions that are
deteriorated beyond repair. Replacement
elements should match the existing fence.
1.2 Anew replacement fence should use
materials that appear similar to that of the
original.
• Any fence which is visible from a public
right-of-way must be built of wood or
wrought iron. Wire fences also may be
considered.
• A wood picket fence is an appropriate
replacement in most locations. A simple
J wire or metal fence, similar to traditional
"wrought iron," also may be considered.
• Chain link is prohibitedandsolid"stockade"
fences are only allowed in side and rear
yards.
1.3 Anew replacement fence should have a
"transparent" quality allowing views into the
yard from the street.
• A fence that defines a front yard is usually
low to the ground and "transparent" in
nature.
• On residential properties, a fence which is
located forward of the front building facade
may not be taller than 42" from natural
grade. (For additional information, see the
City of Aspen's "Residential Design
Standards".)
• A privacy fence may be used in back yazds
and along alleys, but not Forward of the
front facade of a building.
• Note that using no fencing at all is often the
best approach.
• Contemporaryinterpretationsoftraditional
fences should be compatible with the historic
context.
Original fences, such as this one, should 6e preserved.
Privacy fences maybe used In back yards and along alleys.
P5
Aside yard fence which extends between [wa homes should 6e set
back from the street facade.
1.4 New fence components should be similar
in scale with those seen traditionally.
• Fence columns or piers should be
proportional to the fence segment.
1.5 Aside yard fence which extends between
two homes should be set back from the street-
facing facade.
• This setback should be significant enough
to provide a sense of open space between
homes.
1.6 Replacementornewfencingbetweenside
yards and along the alley should be compatible
with the historic context.
• Aside yard fence is usually. taller than its
front yard counterpart. It also is less
transparent. A side yard fence may reach
heights taller than front yard fences (up to
sixfeet),butshouldincorporatetransparent
elements to minimize the possible visual
impacts.
• Consider staggering the fence boards on
either side of the fence rail. This will give the
appearance of a solid plank fence when seen
head on.
• Also consider using lattice, or other
transparent detailing, on the upperportions
of the fence.
Retaining Walls
1.7 Preserve original retaining walls.
• Replace only those portions. that are
deteriorated beyond repair. Any
replacement materials should match the
original in color, texture, size and finish.
• Painting a historic masonry retaining wall,
or covering it with stucco or other
cementitious coatings, is not allowed.
P6
and Lo!
1.8 Maintain the historic height of a retaining
wall.
• Increasing the height of a wall to create a
privacy screen is inappropriate. If a fence is
needed for security, consider using wrought
iron, similar to those seen historically, that
is mounted on top of the retaining wall.
Walkways
1.9 Maintain the established progression of
public-to-private spaces when considering a
rehabilitation project.
• This includes a sequence of experiences,
beginning with the "public" sidewalk,
proceeding along a "semi-public" walkway,
to a "semi-private" porch or entry feature
and ending in the "private" spaces beyond.
• Provide a walkway running perpendicular
from the street to the front entry. Meandering
walkways are discouraged, except where it
is needed to avoid a tree.
Use paving materials that are similar to
those used historically for [he building style.
Concrete, wood or sandstone may be
appropriate for certain building styles.
Private Yard
1.10 Preserve historic elements of [he yard [o
provide an appropriate context for historic
structures.
• The front yard should be maintained in a
traditional manner, with planting material
and sod, and not covered with paving, for
example.
~~ . ~a
Seml-
6 Private
2~
`~ 5emi-public
.Public
impact in the early years of theprolect. Hlsrorlcallyslgnlficantplantingdesigns,suchasalongthisalley,
~A should 6e preserved.
4'F<;~ ,
+2r
1.11 Preserve andmaintainmaturelandscaping
on site, particularly landmark trees and shrubs.
• Protect established vegetation during
construction to avoid damage. Replacement
of damaged, aged or diseased trees must be
approved by the Parks Department.
• If a tree must be removed as part of the
addition or alteration, replace it with species
of a large enough scale to have a visual
Provide a walkway running perpendicular from the street to the
front entry. -
Maintain [he established progression of public-to-prlvate spaces
when wnsldedng a rehabilitation project.
P7
I
shielded
entry
lamps
low, shielded
deck lamps
low, walkway
lamps
~.
Use shielded lights which direct light onto walking surfaces to
minimize the visual impacts ofsite lighting.
1.12 Preserve and maintain historically
significant planting designs.
• Retaining historic planting beds, landscape
features and walkways is encouraged.
1.13 Revisions or additions to the landscape
should be consistent with the historic context of
the site.
• Select plant and tree material according to
its mature size, to allow for the long-term
impact of mature growth.
• Reserve the use of exotic plants to small
areas for accent.
• Do not cover grassy areas with gravel, rock
or paving materials.
1.14 Additions to the landscape that could
interfere with historic structures are
inappropriate.
• Do not plant climbing ivy or trees too close
to a building. New trees should be no closer
than the mature canopy size.
• Donot locate plants ortrees in locations that
will obscure significant architectural features
or block views to the building.
• It is not appropriate to plant a hedge row
that will block views into the yard.
Site Lighting
1.15 Minimize the visual impacts of site
lighting.
• Site lighting should be shielded to avoid
glare onto adjacent properties. Focus lighting
on walks and entries, rather than up into
trees and onto facade planes.
P8
and Lot Features
streetscape
1.16 Preserve historically significant landscape
designs and features.
• This includes the arrangement of trees,
shrubs, plant beds, irrigation ditches and
sidewalks in the public right-of-way.
1.17 Maintain historic irrigation ditches as an
integral component of the streetscape.
• The character of an irrigation ditch should
be maintained.
It is inappropriate to use an irrigation ditch
as a planting bed, or to fill it with another
material.
Ditches cannot by culverted except where
crossed by a walkway or driveway, and a
culvert must be approved by the Parks
Department.
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Preserve historically sigNficant landscape designs and features
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ditches and sidewalks in the pu611cright-of--way.
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Maintain historic irrigation ditches as an integral component of
the streetscape.
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Chapter 1
Historic Development Patterns and Landscape Design
Policy:
Historic landscapes, landscape elements, and landscape patterns should be preserved.
Additions and/or changes to the landscape should be compatible with the associated
historic resource and the historic context of the neighborhood or district in which the
project is located.
Note:
A Right-of--Way permit is required for modifications within the public right-of--way,
including planting strips, sidewalks and imgation ditches. This permit is issued by the
Engineering Department in consultation with other City agencies. The Municipal Code
includes detailed information about the City's regulations affecting trees on public and
private property.
Background (Insert mineview.doc historic sphoto with an overview of town, somewhere
in here. Caption photo to say that is it a 19` century overview of Aspen.)
The chazacter of historic structures is greatly influenced by both the surrounding
framework of streets and public spaces, the chazacteristics of the specific site and the way
in which the historic resource is situated on the lot. It is therefore important to analyze the
context of a property before developing a strategy for treatment and/or alteration.
Analysis should begin with a study of the overall development pattern of the surrounding
neighborhood or district. The defining and unique chazacteristics of the site need to be
identified and the placement of the historic resource analyzed for its consistency or
deviation from the context of the neighborhood or district. How structures occupy their
site, in terms of alignment, orientation, and spacing creates much of the context of the
neighborhood. This context, along with right-of--way treatment, sidewalks, access,
fences, alley relationship, landscaping and other site features all combine to define
Aspen's historic chazacter.
In some areas of the city, the consistency of site development points to the conclusion
that development of the azea occurred within a distinct time period. Other neighborhoods
lack discernable patterns due to the evolving nature of the built and natural environment.
The HPC's intent is that any project acknowledges the surrounding context and specific
site features and configuration, and uses that information to inform and critique any
proposed site development.
When beginning a project, the applicant should document the existing site conditions,
including existing plant material, natural features, historic artifacts, and configuration of
the site. Neighborhood development patterns including existing and historic street and
alley conditions, setbacks, and alley development, should also be assessed. The proposed
site development should retain historic site features as well and support and enhance the
chazacter of the neighborhood by being consistent with the existing development patterns.
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When a historic structure has been moved from its original location to a different area of
Aspen, characteristics typical of the original context of the historic pazcel should be
duplicated where possible. For example, if a miner's cabin has been moved from the old
townsite to a newer subdivision, the configuration of the new site should reflect an
appropriate setting for a miner's cabin of that era.
In addition to architectural historic resources there are public landscapes that are also
significant cultural and historic resources. Included in these public landscapes, but not
limited to aze: cemeteries, pazks, campuses, public azt, alleys, street right-of--ways, view
corridors, and waterways. These public landscapes aze integral to the historic patterns of
our community and should be preserved.
Policy: Neighborhood or District Patterns (Insert current map of block. Caption to
say that it is an example of current maps that can be obtained from the City's GIS
Department)
Assess the chazacter of the neighborhood by compazing a current map of the
neighborhood with an historic map, such as those created by the Sanbome Fire Insurance
Company. Ascertain whether the azea has remained consistent with the original
development pattern or whether more diverse and incompatible development has
occurred.
Determine how many historic structures aze present and whether or not buildings have
been moved from their. original siting. Consider the size and configuration of the
building lot and how it is affected by either a gridiron or curvilinear. road layout.
Develop an understanding of the surrounding topography and drainage, natural features
and the percentage of open space. (Insert photo of 435 W. Main and caption to say that
some post-war properties were developed in a manner that was auto-oriented, for
instance these lodge units at 435 W. Main Street)
Within the historic townsite, the road layout is a grid pattern running east and west and
north and south, the neighborhoods and structures were organized in an orthogonal
pattern, with building fagades running pazallel to the street and entries facing north or
south. In some cases, Post-Waz buildings within this context were set at an angle on the
lot as a reflection of a different design philosophy. Most recent subdivisions contain
more vaziety in road layout, lot configuration and site plan.
Guideline:
1.1 All projects shall respect the historic development pattern or context of the
block, neighborhood or district.
Locate buildings on sites such that they reinforce the historic pazcel orientation.
Building footprint, height and location should respect the traditional patterns of
the neighborhood.
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Policy: The Public Rieht-of-Way (Insert picture of downtown boardwalk, with Circus
in street, coming from Historical Society. Caption photo to say that it shows downtown
boardwalks on Cooper Avenue.)
The publicly owned right-of--way associated with public streets includes the street, the
strip between the curb and the sidewalk, or from road edge to property line where there is
no sidewalk. There is also a public right-of--way associated with alleys that extends from
property line to property line across the alley. The treatment of the right-of--way can have
a significant effect on neighborhood chazacter.
In the commercial azeas of the city, where there is an urban streetscape condition and a
desire to create a strong relationship between the azchitecture and pedestrian
environment, sidewalks aze a feature within the right-of--way. Originally boazdwalks
existed downtown and along Main Street, or if they may have consisted of sandstone slab
hazd surface walkways, but they have since been replaced with concrete. These
sidewalks provide space for walking, personal interaction, and access to storefront
display windows. An azcade at the sidewalk was a feature of some commercial structures
in the city.
Some residential azeas of town also had boazdwalks or sandstone walkways in the 19`n
century, since the dirt roadways could be difficult for travel on foot. Today there aze
neighborhoods in town, which have been identified as appropriate areas for new concrete
walkways, and others in which they would be intrusive, and the fact that cazs and
pedestrians share the street where there is no sidewalk is an important chazacteristic of
the city.
Aspen's downtown right of ways typically include some street trees, benches, lighting
and other appurtenances, but limited or no grass azea. Residential right-of--ways aze,
historically, softscaped, with grass and tegulazly spaced street trees, sometimes lighting,
but few other amenities. (Insert photo 74.68.262. Caption photo to say that it is a
historic view of Main Street.)
The irrigation ditches sometimes seen in the right-of--ways were created in 1882 by the
City. Private property owners were encouraged to plant shade trees here; typically
cottonwoods. The coupling of irrigation ditches and street trees provided a rhythm along
the block, as well as shade for pedestrians and aze a tradition that should be continued.
Irrigation ditches were, and aze today a functional, utilitarian feature and should not be
obstructed with perennial plantings or boulders. (Photo 74.69.50. Caption photo to say
that it is a historic view of landscape in the public right-of-way).
Guidelines:
1.2 Preserve historically significant and appropriate landscapes within the public
right of way.
• This includes but is not limited to the an•angement and spacing of trees and
irrigation ditches.
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• Maintain the tree-planting strip at a historically appropriate height. Use of hard
surface, elevated planting borders, bushes and berms aze inappropriate here.
• Work with the Pazks Department to select tree species that were used historically
or to select a substitution that has similaz attributes to those species.
• Where original features such as cazriage steps still exist in the right-of--way,
preserve them in place.
• Where sandstone walkways exist they should be preserved and where new
walkways are proposed, the material of the walkway should be consistent with
what historically existed on the site and on the adjacent properties.
Where an azcade, which is part of an historic building, exists over the sidewalk,
that azcade should be preserved.
1.3 Do not add features that have the potential to damage historic landscape
integrity.
Do not add objects in the right-of--way that aze an inaccurate "period" design or,
which aze different in scale or materials that the typical palette of the affected
property.
1.4 Maintain historic ditches as an integral component of the streetscape.
• The chazacter of an irrigation ditch should be maintained.
• It is inappropriate to use an irrigation ditch as a planting bed, or to fill it with
another material.
• Ditches cannot be culverted except where crossed by a walkway or driveway.
Policy: Streets and Allevs
Alleys are an important feature of the historic townsite and have traditionally been used
for utilitarian functions and as a secondary access to structures. In the 19`" century,
agricultural uses, including housing of livestock fronted the alley. Today this is an
appropriate location for cazs, storage, service areas, and in some cases, residential units.
Guideline:
1.5 Preserve the system and character of historic streets and alleys.
• Development, which removes a platted street or alley, is discouraged, while
opening a platted right-of--way, which was abandoned or never graded, may be
encouraged.
• Maintain the chazacter of alleys as clearly secondary access to properties.
Retain and preserve the variety and character found in historic alleys, including
retaining historic ancillary buildings or constructing new. ones.
• Leaving alleys unpaved in residential areas is preferred.
Policy: Site Landscape (General)
Key features of a landscape, to be addressed below, include setbacks, open space, the
artangement.of trees, shrubbery and hedges, species of vegetation, walkways and patios,
site furnishings, site lighting, fences and walls. In some cases, these features aze original
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to the property and have historic significance; in others, their designs aze still important
because they can affect one's ability to interpret the historic structures.
When designing a project a general concern to beaz in mind is that site drainage should be
cazefully considered. Runoff should be planned avoid negative impacts to historic
landscape plantings, structures, and adjacent properties.
Policy: Setbacks, Public and Private Space
In commercial azeas, lot utilization is generally high with little or no setback on any side.
This alignment of structures contributes to a sense of visual continuity on the commercial
street.
By contrast, in residential settings, a "hierachy" of open space exists along the street.
This begins with the public right-of--way. A "semi-public" walkway traditionally runs
perpendiculaz from the street or sidewalk to a porch or entry element, which defines a
"semi private" space. This in turn frames the front door, leading to the "private" space of
the house. Typically, some portion of the reaz yard is "semi-private," and along the alley,
if one exists, it is again "public."
Residential neighborhoods where the buildings were developed at about the same time
typically aze chazacterized by buildings set back a uniform distance from the street.
Some vaziety in front yard setbacks exists, within a relatively narrow range. Open,
unobstructed lawns/grasses were common in some periods, and established a continuous
front yazd azea along the street. (Insert picture of residential neighborhood, coming
from Historical Society. Caption that it is a 19~h century view of the development
pattern in residential neighborhoods.)
Side and rear yazd setback patterns also create distinctive patterns. Sideyazds help to
contribute to the overall open space and rhythm of a neighborhood, while rear yazd
setbacks aze typically fairly minimal.
Guidelines:
1.6 Maintain the historic hierarchy of spaces
• Do not design a project in a manner, which eliminates the semi-public, semi-
private, to private progression.
1.7 Maintain the historic pattern of setbacks and siting of structures.
• Review the historic building orientation and pattern of setbacks in the sun•ounding
azea.
• Develop an understanding of the scale of the subject lot, whether it is long and
narrow or broader, and how the massing of any existing structures are composed
and juxtaposed with the lot's landscape.
1.8 Provide positive space within a project
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Keep in mind that undeveloped land that is "left over" after a building is placed
on a site is usually insufficient to function as positive space.
Policy:
[andscaneJ
For the most part, trees, shrubbery and hedges aze not part of a commercial property,
because the building fills the lot. In some instances, historically residential structures
located downtown or on Main Street that have been adapted to a higher intensity use.
There is a desire that the landscape surrounding these buildings maintain some of the
chazacteristics that would have existed originally on the site. On a few Post World Waz
II commercial properties landscaping within the site was an important design feature.
While most historic plant materials on private property have been replaced over time,
some specimens do survive, particulazly in residential settings. Common residential
planting schemes from the Victorian era in Aspen include arrangements of cottonwood
trees, lilacs, sweet peas, yellow rose bushes and, most commonly, sod or grasses. In later
periods, yazd designs were different; a Rustic Style building, for example, may have a
more "natural" character, with informal plantings of 'native trees, shrubs and flowers.
Refer to historic photos of the site when available.
In some situations, the traditional planting pattern has been retained even if new plants
have been installed. These new plantings should reinforce the historic patterns such as
the established spacing of trees and the continuance of grass or low ground covers. The
replacement of sod/lawn with extensive azeas of hazd surfaces, planting beds or tall
hedges is usually inappropriate.
1.9 Preserve and maintain historically significant landscaping on site, particularly
landmark trees and shrubs.
• Retaining historic planting beds and landscape features is encouraged.
• Protect established vegetation during construction to avoid damage. Removal of
damaged, aged, or diseased trees must be approved by the Parks Department.
• If a significant tree must be removed as part of the addition or alteration, replace it
with the same or similaz species.
• New planting should be species that were used historically or species of similaz
attributes. The planting of invasive species, as identified by Pitkin County is not
allowed.
• The removal ofnon-historic, non-compliant planting schemes is encouraged.
1.10 Preserve historic elements of the yard to provide an appropriate context for
historic structures.
• Where there is a front yazd, and a side yazd on a corner lot, it should be
maintained in a traditional manner, with simple, limited planting material and sod
and/or native grasses.
Do not cover softscape azeas that aze a part of the historic chazacter with hazd
surfacing such as gravel, rock, or other paving materials.
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• Maintain the historic height of groundcovers on the site.
• Where residential structures aze. being adapted to commercial use, proposals to
alter the landscape will be considered on a case-by-case basis.
1.11 Revisions or additio_ ns to the landscape should be consistent with the historic
context of the site.
• The number, size and placement of new planting beds should be consistent with
the historic landscape during the period of significance.
• Consider restoring the original landscape if information is available, including
original plant materials. Consult with the Pazks Department staff as to
appropriate plant materials and planting patterns if the original landscape is not
documented.
• In the case of a historic landmark lot split, cazeful consideration should be given
so as not to overplant either project, or remove all evidence of the landscape
chazacteristics from when the property was whole.
• Reserve the use of exotic plants to small, more private azeas of the lot for accent.
1.12 Additions of plant material to the landscape that could interfere with or block
views of historic structures are inappropriate.
• Do not place plants or trees in locations that will obscure, damage, or block
significant azchitectural features or views to the building.
• Although vines climbing on historic structures have been seen in photos, plant
material that could be damaging to the historic resource is discouraged. New
trees should be no closer than their mature canopy size.
• It is inappropriate to use plant material to create a fence or wall along street facing
lot lines in order to block views into the yazd.
Insert photo 74.100.1220 and l26 E. Bleeker. The caption should read something
like... "This" under 74.100.1220, "Can turn into this." Under 126 E. Bleeker
Policy: Walkways and Patios
Most commercial properties do not contain on-site walkways and patios.
On 19a' century residential properties, access from the public street to private residences
was commonly achieved with a modest walkway. These walkways were typically
narrow in width, made of simple, indigenous materials, and ran perpendiculaz from the
street to the entry or porch.
Front patios, or terraces, were not commonly seen on 19`h century properties. Porches
were quite typical and may have provided a passive recreation azea, or "stoop: '
On certain Post-War properties, walkways may have had a different character. Porches
or terraces may be appropriate to the style of the building; however new patios or terraces
should not create a need for unnecessary changes in elevation on generally flat sites.
(Insert photo 84.31.1 616. Caption that it shows a residential boardwalk and front
walkway in the 19`h century.)
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Guidelines:
1.13 Provide a simple walkway running perpendicular from the street to the front
entry on residential projects.
• Meandering walkways aze discouraged, except where it is needed to avoid a tree
or is typical of the period of significance on the affected site.
• Use paving materials that aze similaz to those used historically for the building
style and, install them in the manner that they would have been used historically.
For instance, set flagstone pavers in sand, rather than in concrete.
• Concrete, wood or sandstone aze appropriate primazy sidewalk materials.
• The width of a new entry sidewalk should generally be 4 feet or less for
residential properties.
• Commercial properties commonly had a broader paved pedestrian environment
and walkway.
Policy: Site furnishin¢s
Site furnishings were not typically seen on Aspen's 19a' century residential properties.
Whatever the construction date of the subject property, it is understood that such
amenities may be desired, but their impacts to the historic resource, structure and
landscape should be kept to a minimum and located in the semi-private and private
spaces of the property. Locating these amenities in front, or public space of the historic
resource is inappropriate.
Guideline:
1.14 Additions of furnishings to the landscape that could interfere with or block
views of historic structures are inappropriate.
• Site furnishings that aze added to the historic property should not degrade the
integrity of the neighborhood patterns, site, or existing historic landscape.
• Do not place hot tubs, satellite dishes, freestanding mechanical equipment, solaz
panels, trash enclosures or similaz objects installed on the ground in locations
where they can be seen from any public right-of--ways or that will obscure,
damage, or block significant azchitectural features or views to the building.
Policy: Landscape Lishtine
Traditionally, outdoor lighting within 19`s century sites was minimal or non-existent.
Based on available historic photographs, even porch lights were not commonly found.
For all property types, landscape lighting should be kept to a minimum. (For additional
information, see the City's Lighting Standards.)
Guidelines:
1.15 Minimize thevisual impacts of landscape lighting.
• If landscape lighting is to be added to a designated property, it should be subtle
and it's placement should be appropriate to the period of significance.
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• The light fixture should be cazefully selected so that it is compatible with the
building, yet recognizable as a product of its own time.
Policy: Fences
Originally, wood picket fences were commonly used to define front yazds on 190' century
properties. These fences provided a subtle delineation of private yazd versus public right-
of-way and were low in height, transpazent in design, and did not create walled off
private azeas. The fence's vertical slats were set apart, with spaces between, and the
overall height of the fence was generally less than three feet. Where any of these eazly
fences survive, they should be preserved.
In many cases, where no fence exists presently, keeping at least the front yazd open is
preferred. When a new fence is to be constructed, it should have the properties stated
above, but be easily recognizable as a product of its own time.
Some Post-waz properties may have original fences that provide less transpazency than
those used in the 19~' century, or have other unique chazacteristics. Fencing on these
properties will be reviewed on a case-by-case basis. (Insert photo of 234 W. Main.
Caption to say that it is a Herbert Baer designed, 1940's era fence that has acquired
significance even though it is on a 19` century property.)
Guidelines:
1.16 Preserve original fences
• Fences, which aze considered part of the historic significance of a site, should not
be moved, removed or inappropriately altered.
• Replace. only those portions of a historic fence that aze deteriorated beyond repair.
Replacement elements should match the existing.
1.17 Replicate a missing historic fence, based on photographic evidence
• When photographic evidence is available to document the appeazance of an
original fence that is now missing, consider replicating the design, using the same
materials.
1.18 No fence is often the most appropriate solution
• Many properties have traditionally been chazacterized by open lawns; therefore
consider having no fence, or reserving fences for back yazds, as the best way to
preserve the chazacter of a property.
1.19 When building an entirely new fence, use materials that are appropriate to the
building type and style.
• The new fence should use materials that were common for similaz houses duririg
the period of significance.
• A wood picket fence is the appropriate solution in most locations. Based on
available historic photographs, it is believed that most 19`" century structures,
. even some of the lazgest homes, had wood fences if any. Ornate metal fences
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should not be added to 19`s century properties in Aspen unless there is
documentation that a fence of that type existed on the affected site historically.
(Insert photo 68.47.1 and caption to say that even this ornate mansion had a
wood fence.)
For 19a' century properties, a modest wire fence, which was commonly used in
Aspen around the rum of the 20~' Century, may also be acceptable because it has
many desirable characteristics including transpazency, a low height, and a simple
design. When this is used, the other components of the fence should be simple,
and the overall impression should be of a fence that is newer construction.
• Chain link is prohibited.
1.20 A new fence should have a "transparent" quality, allowing views into the yard
from the street.
• A fence that defines a front yard should be low to the ground and "transpazent" in
nature.
• On residential properties, a fence which is located forward of the front building
fagade, or which runs along any street facing lot lines, may not be taller than 42"
from natural grade.
• For Post World Waz II properties where a more solid type of fence may have
historic basis, proposals will be reviewed on a case-by-case basis. (Photo 68.47.1)
1.21 New fence components should be similar in scale with those seen traditionally.
• Fence columns. or piers should be proportional to the fence segment.
1.22 Contemporary interpretations of traditional fences should be compatible with
the historic context.
• Anew fence should be simple in chazacter.
• Wood fences must be built as "good neighbor fences," with the structure of the
fence facing inwazds towazds the subject property.
1.23 A privacy fence, (which is any fence taller than 42" in height) should be
designed so that it steps down in height or uses other design techniques to avoid
blocking public views of important features of a designated building.
• Privacy fences aze prohibited along street facing lot lines. If a privacy fence is
desired on a corner lot, it will be reviewed on a case-by-case basis.
• A privacy fence may be used in back yazds and along alleys.
• A privacy fence should incorporate transpazent elements to minimize the possible
visual impacts. Consider staggering the fence boazds on either side of the fence
rail. This will give the appeazance of a solid plank fence when seen head on.
Also consider using lattice, or other transpazent detailing on the upper portions of
the fence.
• A privacy fence should allow the building comers and any important azchitectura]
features that aze visible from the street to continue to be viewed.
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Policy: Retainins Walls and Berms
Stone retaining walls were sometimes used on steep slopes. Some of these walls survive
and are important chazacter-defining features. Whenever feasible, they should be
preserved. The addition of stone or retaining walls on flat sites, or locations where they
were not seen historically, should be avoided.
Berms aze generally not permitted in streetfacing yazds.
Guidelines:
1.24 Preserve original retaining walls
• Replace only those portions that aze deteriorated beyond repair. Any replacement
materials should match the original in color, texture, size and finish.
• Painting a historic masonry retaining wall, or covering it with stucco, or other
cementitious coatings, is not allowed.
1.25 Maintain the historic height of a retaining wall.
• Increasing the height of a retaining wall to create a privacy screen is
inappropriate. If a fence is needed, a design that is appropriate to the style of the
affected building, mounted on top of the wall, will be considered.
1.26 When a new retaining wall is necessary, it's height and visibility should be
minimized.
• Any material used to face the wall will be reviewed on a case-by-case basis and
should be compatible with the palette used on the historic structure, as well as the
natural surroundings.
1.27 Regrading the site in a manner that significantly changes the historic grade, or
requests to add berms within the affected property will be reviewed on a case-by-
case basis.
Policy: Desi¢ned and cultural landscapes
In the case of properties where the landscape itself is a primary reason for the property's
designation (for instance, cemeteries, pazks, campuses, and works of landscape
azchitecture), alterations will be reviewed on a case-by-case basis.
Guideline:
1.28 Preserve these places with few or no alterations.
• It will be particulazly important to avoid adding any conjectural features, which
may not be consistent with the original design intent.
• All additions to these landscapes must be cleazly identifiable as more recent work.
• Preserving the key features of the historic landscape and its overall design intent
will be major objectives.
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(Insert marblegarden.doc and caption to say that it is Herbert Bayer's.... Marble
Garden at the Aspen Institute. Insert Red Butte Cemetery)
12