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Home My WebLink Aboutagenda.hpc.20030108 ASPEN HISTORIC PRESERVATION COMMISSION January 8, 2003 CITY COUNCIL CHAMBERS 130 S. GALENA ASPEN, COLORADO NOON - SITE VISITS - None 5:00 I. Roll call II. Approval of minutes - April 24, 2002 and December 11, 2002 HI. Public Comments IV. Commission member comments V. Disclosure of conflict of interest (actual and apparen0 VI. Project Monitoring - Need monitors for 12~5 W. Hopkins, 640 N. Third, 216 E. Hallam VII.Staff comments: Certificates of No Negative Effect ;issued - (Next resolution will be #1) VIII. OLD BUSINESS A. 334 W. Hallam St. - Conceptual - Application withdrawn B. 533 W. Francis - Final Review - Public Hearing /~v.~p"Z~.~-- IX. NEW BUSINESS A. 101 Meadows Road, Unit 10, Minor Review, Public Hearing f~/~c3 ?~ / B. Resolution approving procedures for designation of properties to the "Aspen Inventory of Historic Landmark Sites and Structures" X. WORKSESSIONS A. None XI. ADJOURN . * -.1 ASPEN HISTORIC PRESERVATION COMMISSION January 8,2003 CITY COUNCIL CHAMBERS 130 S. GALENA ASPEN, COLORADO NOON - SITE VISITS - None 5:00 I. Roll call II. Approval of minutes - April 24,2002 and December 11, 2002 III. Public Comments IV. Commission member comments V. Disclosure of conflict of interest (actual and apparent) VI. Project Monitoring - Need monitors for 1~5 W. Hopkins, 640 N. Third, 216 E. Hallam VII. Staff comments: Certificates of No Negative Effect issued - (Next resolution will be #1) VIII. OLD BUSINESS A. 334 W. Hallam St. - Conceptual - Application withdrawn B. 533 W. Francis - Final Review - Public Hearing /435 IX. NEW BUSINESS A. 101 Meadows Road, Unit 10, Minor Review, Public Hearing Rved W / B. Resolution approving procedures for designation of properties to the "Aspen Inventory of Historic Landmark Sites and Structures" X. WORKSESSIONS 'A. None XI. ADJOURN . P1 PROJECT MONITORING 6 4 0 / 41.-d Rally Dupps 302 E. Hopkins 110 W. Main (Hotel Aspen) 232 W. Main (Christmas Inn), with Teresa 501 W. Main Street (Christiania Lodge) 118 E. Cooper (Little Red Ski Haus) 110 E. Bleeker Jeffrey Halferty 428 E. Hyman (former Sportstalker Store) 213 W. Bleeker (Schelling) 101 E. Hallam (Gorman), with Neill 216 E. Hallam (Frost/Auger), with Mike 735 W. Bleeker (Marcus), with Teresa 922 W. Hallam Neill Hirst 434 E. Main (Hills) 409 E. Hyman (New York Pizza building) 205 S. Third 101 E. Hallam (Gorman), with jeffrey 635 W. Bleeker Mike Hoffman 950 Matchless Drive (Becker) 216 E. Hallam (Frost/Auger), with Jeffrey 513 W. Smuggler (Harman) 633 W. Main (Dart) - 920 W. Hallam (Guthrie) Teresa Melville 232 W. Main (Christmas Inn), with Rally 323 W. Hallam (Rispoli) 513 W. Bleeker 735 W. Bleeker (Marcus), with Jeffrey 515 Gillespie (Bone) Valerie Alexander .il' b A llulÂ« Derek Skalko 1 6 6- Lu - /J 0-no Ka P2 533 WEST FRANCIS ST. EXHIBIT - \ /- y. O 1 PUBLIC NOTICE j 1 DATE 1/8/63 [ TIME 5:0091 ~ - PLACE CrY HALL F- PURPOSE -PiNALDEVELOBMELC APFROVAL; PELOCATDNF -- +ADD rrDN lD 7111 Ak/57=Rr~ Moosa. 'I *Xfâ„¢ %-A- 00 ~70' *0~0 u~ - .6, , 4462,1-* 1 pqj- i N.# 7 1 - IL .4 - %. iÂ· .... .. 1 . ATTACHMENT 7 AFFIDAVIT OF PUBLIC NOTICE REQUIRED BY SECTION 26.304.060 (E), ASPEN LAND USE CODE ADDRESS OF PROPERTY: 6 33 4) . E r*4.Mca S , Aspen, CO SCHEDULED PUBLIC HEARING DATE: Er-l u *r F , 200-3 STATE OF COLORADO ) ) SS. County of Pitkin ) . I, 61Â¥6 70~'ntÂ» (name, please print) being or representing an Applicant to the City o f Aspen, Colorado, hereby personally certify that I have complied with the public notice requirements of Section 26.304.060 (E) of the Aspen Land Use Code in the following manner: V Publication of notice: By the publication in the legal notice section of an official paper or a paper of general circulation in the City of Aspen at least fifteen (15) days prior to the public hearing. A copy of the publication is attached hereto. 1 Posting of notice: By posting of notice, which form was obtained from the Community Development Department, which was made of suitable, waterproof materials, which was not less than twenty-two (22) inches wide and twenty-six (26) inches high, and which was composed of letters not less than one inch in height. Said notice was posted at least fifteen (15) days prior to the public hearing and was continuously visible from the Â·22-[lay of UbcelesÂ«- , 20001, to and including the date and time of the public hearing. A photograph of the posted notice (sign) is attached hereto. v/'' Mailing of notice. By the mailing of a notice obtained from the Community Development Department, which contains the information described in Section 26.304.060(E)(2) of the Aspen Land Use Code. At least fifteen (15) days prior to the public hearing, notice was hand delivered or mailed by first class postage prepaid U.S. mail to any federal agency, state, county, municipal government, school, service district or other governmental or quasi-governmental agency that owns property within three hundred (300) feet of the property subject to the development application. The names and addresses of property owners shall be those on the current tax records of Pitkin County as they appeared no more than sixty (60) days prior to the date of the public hearing. A copy of the owners and governmental agencies so noticed is attached hereto. (continued on next page) .% Rezoning or text amendment. Whenever the official zoning district map is in any way to be changed or amended incidental to or as part of a general revision of this Title, or whenever the text of this Title is to be amended, whether such revision be made by repeal of this Title and enactment of a new land use regulation, or otherwise, the requirement of an accurate survey map or other sufficient legal description of, and the notice to and listing of names and addresses of owners of real property in the area of the proposed change shall be waived. However, the proposed zoning map has been available for public inspection in the planning agency during all business hours for fifteen (15) days prior to the public hearing on such amendments. C J ' SignafT ~ 9-*-- The foregoing "Affidavit of Notice" was acknowledged before me this )>yAlay of(~~~~Â©~(-~, , 2002, by Pti â‚¬ 7-U- r R ee'- '4188.re,Â» tf %.Â·Â·~ ...0 M WITNESS MY HAND AND OFFICIAL SEAL 10 M 14-(. 4*& 1 My,edi~mission expires: 55/ / Â£~7(jaoo i/' \e....9 ..'. O / 01 . a -~ ........ Notary Public 0 ATTACHMENTS: COPY OF THE PUBLICATION PHOTOGRAPH OF THE POSTED NOTICE (SIGN) LIST OF THE OWNERS AND GOVERNMENTAL AGENCIES NOTICED BY MAIL PUBLIC NOTICE RE: 533 W. FRANCIS STREET- MAJOR DEVELOPMENT (FINAL) NOTICE IS HEREBY GIVEN that a public hearing will be held on Wednesday, January 8, 2003 at a meeting to begin at 5:00 p.m. before the Aspen Historic Preservation Commission, Council Chambers, City Hall, 130 S. Galena St., Aspen, to consider an application submitted by Dave Gibson requesting approval for Major Development (Final), The property is located at 533 W. Francis Street, Lots A-C, Block 28, City and Townsite of Aspen. The existing Victorian house has been given approval to be relocated westward, and a new addition is proposed for it. Final details of the design for the addition are being reviewed. For further information, contact Amy Guthrie at the Aspen/Pitkin County Community Development Department, 130 S. Galena St., Aspe'n, CO (970) 920-5096, amyg@ci.aspen.co.us. s/Rally Dupps. Chair Aspen Historic Preservation Commission Published in the Aspen Times on December 21,2002 City of Aspen Account Page 1 of 3 Mailing List For Public Notice 533 W. Francis January 8,2003 Meeting 318 Fourth Street LTD Aspen GK LLC C/O Buster Feldom P.O. Box 640 P.O. Box 445 Aspen, CO 81612 Houston, TX 77001 Aspen Historical Society Berliner.Arthur S. 620 Bleeker St C/O Walden Aspen, CO 81611 750 Battery St #700 San Francisco, CA 94111 Blaich Robert I. & Janet S. 319 N. Fourth St Aspen, CO Bauer, Walter F. Family Trust 15935 Valley Vista Daly Thomas J. & Judith J. Encino, CA 91436 1590 Homestake Dr Aspen, CO 81611 Crown, Patricia Eggleston, Robert H. Jr. 222 N. Lasalle St 434 W. Hallam Ste 800/JXC Aspen,CO 81611 Chicago, IL 60601 Glenn, Sally Rae Blank, Robert S. & Nancy L. 504 W. Hallam Avenue C/O Whitcomb Partners Aspen, CO 81611 110 W. 51st Room 4310 New York, NY 10020 Hall, Charles L. P.O. Box 1819 Doremus Family LP Aspen, CO 81612 85 Glen Garry Dr. Aspen, CO 81611 Hunt, Roger H. P.O. Box 3944 Dikeou, Lucy Sharp Aspen, CO 81611 25 Polo Club Cir Denver, CO 80209 Joy, William N. Gell-Mann/Murdock Pms LLP P.O. Box 23 500 W. Francis Aspen, CO 81612 Aspen, CO 81611 Page 2 of 3 Key, R. Brill & Elizabeth R. Emerson Ltd 506 W. Hallam St C/O Sweeney Aspen, CO 81611 2704 15th Avenue Carmel, CA 93923 609 Corporation West Smuggler Lot Split LLC A Colorado Corporation C/O Leonard Weinglass P.O. Box 1819 P.O. Box 11509 Aspen, CO 81612 Aspen, CO 81612 Haisfield, Tracey E. Gold, Richard 434 W. Hallam St 300 St Pierre Rd Aspen, CO 81611 Los Angeles, CA 90024 Henry, Kristen Harman, Andrew J. 525 W. Hallam St 513 W. Smuggler Aspen, CO 81611-1246 Aspen, CO 81611 Israel, Charles B. Iglehart, James P. 522 W. Francis 610 W. Hallam St Aspen, CO 81611 Aspen, CO 81611 Kafrissen, Arthur & Carol F. Kasch, Jeffery C. 485 City Hall 68 Ronan Rd Philadelphia, PA 19107 Fort Sheridan, IL 60010-2065 Koval, Barbara Trste Koval, Barbara Trust C/O North of Nell 621 W. Francis St Aspen, CO 81611 Aspen, CO 81611 Martin, James R. QPRT McCausland, Linda Trust Co of Knoxville Trste P.O. Box 1584 620 Market St, #300 Aspen, CO 81612 Knoxville, TN 37902 McGill, Donald R. Oxley, John C. 11800 Old Katy Road Attn: Barbara Walker Houston, TX 77079 1437 S. Boulder Ave., #1475 Tulsa, OK 74119 Shafroth, Diana H. Trust Shafroth, John F. 3901 E. Belleview Avenue 3901 E. Belleview Ave. Littleton, CO 80121 Littleton, CO 80121 Page 3 of 3 Verleger, Philip K. & Margaret B Dikeou, Lucy Sharp 15 Torrey Pines Lane 17930 30th St., Suite 235 Newport Beach, CA 92660 Boulder, CO 80301 Werlin, Laura B. Wilke, John H. & Bonnie K. Trste C/O Walden 626 W. Francis 750 Battery St, #700 Aspen, CO 81611 San Francisco, CA 94705 Ware, Nina Coulter Rosenberg, Phillip I. 34 Clermont Lane 68 Ronan Road St. Louis, MO 63124 Fort Sheridan, IL 60010-2065 Sugar Mountain Trust Oxley, Debby M. C/O Wien & Malkin LLP 1300 Williams Tower I 60 E. 42nd Street Tulsa, OK 74103 New York, NY 10165 Mullen, Michel Pacific Development Group, LLC 8411 Preston Road C/O Christopher Hewett #730 LB 2 P.O. Box 2577 Dallas, TX 75225 Rancho Santa Fe, CA 92067 Silverman, Jack E. Vicenzi, George A. Trust 612 W. Francis Street P.O. Box 2238 Aspen, CO 81611 Aspen, CO 81612 Gardner, John Alston Stapleton Family LLLP 4060 Peachtree Rd. 1350 Mountain View Drive Suite D-327 Aspen, CO 81611 Atlanta, GA 30319 EXHIBIT GIBion VA k R- 0, 4 ARCHITFCTS IIC )â‚¬' 6 1" dru. bAR- Tor 4 t=rroul , 583. W, FRAJOG *r. [-71 >4 X h." h4 =Ct 134 wqrsâ‚¬s. \ 1 41 0 1 4 \11 4 11 1 7 Iii 111 1 L j 4' 1 4 --- t STEEL F=ENCE 42." 1/8/63 - a MEMORANDUM TO: Aspen Historic Preservation Commission THRU: Joyce Ohlson, Deputy Planning Director FROM: Amy Guthrie, Historic Preservation Officer Katie Ertmer, Historic Preservation Intern RE: 533 W. Francis Street- Major Development (Final) - Public Hearing DATE: January 8,2003 SUMMARY: HPC granted conceptual review, partial demolition, temporary-relocation, variances, and a 500 square foot FAR bonus for 533 W. Francis at its regular meeting on November 13, 2002. The board also recommended that Council grant a historic landmark lot split for the site, which they did on December 16,2002. The subject property is listed on the "Aspen Inventory of Historic Landmark Sites and Structures" and contains a Victorian house. The applicant proposes to rehabilitate the historic house, to move it onto a new basement, and to build an addition. APPLICANT: David Gibson, represented by Haas Land Planning, LLC. PARCEL ID: 2735-124-25-001. ADDRESS: 533 W. Francis St., Lots A-C, Block 28, City and Townsite of Aspen, Colorado. ZONING: It-6 (Medium Density Residential). CURRENT LAND USE: 9,000 sq. ft. lot, single family residence. SIGNIFICANT DEVELOPMENT (FINAL) No approval for any development in the "H," Historic Overlay District, or involving historic landmarks shall be granted unless the Historic Preservation Commission finds that all of the following standards (Section 26.415.010.C.5, from the Land Use Code at the time of application) are met: a. The proposed development is compatible in general design, scale, site plan, massing and volume with designated historic structures located on the parcel and with development on adjacent parcels when the subject site is in an "H," Historic Overlay District, or is adjacent to an historic landmark. For historic 1 P3 landmarks where proposed development would extend into front yard, side yard and rear yard setbacks, extend into the minimum distance between . buildings on the lot, exceed the allowedfloor area by up to five hundred (500) square feet, or exceed the allowed site covered by up to five (5) percent, HPC may grant necessary variances after making a finding that such variation is more compatible in character with the historic landmark and the neighborhood than would be development in accord with dimensional requirements. In no event shall variations pursuant to this Section exceed those variations allowed under Section 26.520.040(B)(2), for detached accessory dwelling units, and Staff Finding: The applicant proposes to preserve the historic structure and make a one story addition to it, which is a benefit to the neighborhood and the community. All of the remaining development potential for the site will be allocated to a new residence, to be designed and placed on Lot 2, after HPC approval, at some time in the future. At conceptual review, HPC awarded a 500 square foot FAR bonus, along with variances to the sideyard, combined sideyard, and combined front and rear yard setbacks. There were no conditions to restudy any aspects of the design. This memo will discuss only those guidelines within the "City of Aspen Historic Preservation Design Guidelines" which staff finds are not currently met by the proposal. Final review deals primarily with details such as the landscape plan, lighting, selection of new materials, and technical issues surrounding the preservation of existing materials. All representations made by the applicant indicate that their intention is to complete the restoration of the historic home on this property in a manner that is consistent with the guidelines. As noted at the last HPC meeting, the project is outstanding in the extent to which it preserves the miner' s cottage and its features completely intact, and makes a modestly sized addition. The remaining concerns held by staff are as follows. Fencing The drawings include a design for a fence that is to separate the two new lots from each other. The fence is 4' high at the front and rear of the lot, and 6 feet high in the center to provide privacy. The fence meets the City's height restrictions, however Staff has a concern with the design of the 4' section that is at the front of the property. In this location, a "stockade" fence, where there is no space between the vertical boards, is out of character with what would have appeared historically on the property. Not only should the height be low in this area, but the fence should address the transparency issue discussed under guideline 1.3 and the sense of openness desired under guideline 1.5. 1.3 A new replacement fence should have a "transparent" quality allowing views into the yard from the street. o A fence that defines a front yard is usually low to the ground and "transparent" in nature. 2 P4 o 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 yards 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. Contemporary interpretations of traditional fences should be compatible with the historic context. 1.5 A side yard fence which extends between two homes should be set back from the street-facing facade. o This setback should be significant enough to provide a sense of open space between homes. It is not clear what the fence height is to be as it returns to the house along the edge of the east lightwell, but it should ideally be held to 4' in this area (spaced pickets would not be necessary), so that the windows running down that side of the house are not totally obscured from view. Fences are generally an element which can be approved by staff, but HPC direction on the proposed design is needed. Landscape With regard to the landscape plan, Staff has some concerns about the planting pattern and proposed plant materials being in context with the historic structure. In particular, the curving bed along the walkways, and introduction of junipers around the foundation of the historic house, are likely not consistent with a landscape that would have existed during the period of significance. Although the gardens on the west side are related to the addition more so than the old house, Staff has concerns with the addition of boulders (which are proposed to be located on City right-of-way and would require a permit), and the curving design ofthe sidewalk. The guidelines state: 1.9 Maintain the established progression of public-to-private spaces when considering a rehabilitation project. o 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 'tprivate" spaces beyond. o 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. o 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. 1.13 Revisions or additions to the landscape should be consistent with the historic context of the site. 3 P5 00 0 o Select plant and tree material according to its mature size, to allow for the long-term impact of mature growth. o Reserve the use of exotic plants to small areas for accent. o Do not cover grassy arbas with gravel, rock or paving materials. 1.14 Additions to the landscape that could interfere with historic structures are inappropriate. o Do not plant climbing ivy or trees too close to a building. New trees should be no closer than the mature canopy size. o Do not locate plants or trees in locations that will obscure significant architectural features or block views to the building. o It is not appropriate to plant a hedge row that will block views into the yard. Landscape Lighting Bollard lights are indicated along the entry paths, some extending onto City property. These lights may be unobtrusive around the addition, but Staff finds them to be an uncharacteristic light source at the front of the house and recommends they be eliminated from the plan. Guideline 1.15 speaks generally to the issue. 1.15 Minimize the visual impacts of site lighting. o 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. Lightwells A relatively large lightwell is proposed along the east side of the historic house, surrounded by a railing. Staff finds that a railing in this location is intrusive and a grate would be preferable. (Another lightwell on the east side of the addition is not objectionable to Staff.) 9.7 A lightwell may be used to permit light into below-grade living space. In general, a lightwell is prohibited on a wall that faces a street (per the Residential Design Standards). The size of a lightwell should be minimized. A lightwell that is used as a walkout space may be used only in limited situations and will be considered on a case-by-case basis. If a walkout space is feasible, it should be surrounded by a simple fence or rail. Materials Staffs final concern is one that was briefly mentioned at the conceptual hearing, related to the similarity between the addition and the historic house. It is desirable that the two elements be related and compatible, but they should each be of their own time. That has 4 P6 00 0 been accomplished in a subtle way in the proposed design, but could be emphasized more in the choice of exterior materials and detailing. This can be resolved through working with the Staff and monitor. The possibility of removing the cupola on the addition, which may mimic the historic chimney and in some way detract from it, should be discussed by the applicant and HPC. The guideline in question is: 10.4 Design a new addition to be recognized as a product of its own time. o An addition should be made distinguishable from the historic building, while also remaining visually compatible with these earlier features. o 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. RECOMMENDATION: Staff recommends the HPC approve the Major Development Review (Final) for 533 W. Francis Street, Lots A-C, Block 28, City and Townsite of Aspen, Colorado, with the following conditions: 1. The HPC has approved a 500 square foot FAR bonus, a 4'west sideyard setback variance, a 2.5' east sideyard setback variance, a 6.5' combined sideyard setback variance, and a 15' combined front and rear yard setback variance. 2. Restudy the design ofthe 4' fence at the northeast corner of Lot 1, for approval by staff. 3. Restudy the landscape plan for approval by Staff and monitor. This should include minimizing the curving character of the planting beds, making the west sidewalk straight, eliminating junipers as a plant material around the base of the old house, eliminating the boulder on the west, and eliminating the bollard lights in front of the old house. No work can be done in the City right-of-way without a permit being issued by the Engineering Department. 4. Install a grate, rather than a railing on the northeast lightwell. 5. Remove the cupola on the addition and study more ways to distinguish this element as new construction, for approval by Staff and monitor. 6. A structural report demonstrating that the buildings can be moved and/or information about how the house will be stabilized from the housemover must be submitted with the building permit application. 7. The applicant will provide HPC staff and monitor with a plan for how the housemover proposes to lift the building, for review prior to submittal of a building permit. The approach chosen, whether it be to move the house with its original floor system, or without, must be demonstrated to result in the removal of the least amount of historic exterior materials, and the least damage to the building possible. 5 Pl 8. A bond or letter of credit in the amount of $30,000 to insure the safe relocation of the structures must be submitted with the building permit application. 9. A relocation plan detailing how and where the buildings will be stored and protected during construction must be submitted with the building permit application. 10. The applicant must submit a preservation plan with the building permit indicating what original materials appear to still exist on the structure, and what treatments will be used to retain them. HPC staff and monitor will conduct a meeting with the contractor and architect at the site to determine how much can be salvaged, and where replacement will be necessary. 11. The existing historic chimney will be carefully dismantled prior to relocation and reassembled to maintain its original exterior appearance. 12. HPC staff and monitor must approve the type and location of all exterior lighting fixtures by reviewing a plan prior to wiring, purchasing, or installing the fixtures. 13. Information on all venting locations and meter locations not described in the approved drawings shall be provided for review and approval by staff and monitor when the information is available. 14. Submit a demolition plan, as part of the building permit plan set, indicating exactly what areas of the existing house are to be removed as part of the renovation. 15. No elements are to be added to the historic house that did not previously exist. No existing exterior materials other than what has been specifically approved herein may be removed without the approval of staff and monitor. 16. There shall be no deviations from the exterior elevations as approved without first being reviewed and approved by HPC staff and monitor. 17. The conditions of approval will be required to be printed on the cover sheet of the building permit plan set and all other prints made for the purpose of construction. 18. The applicant shall be required to provide the contractor with copies of the HPC resolution applicable to this project. The contractor must submit a letter addressed to HPC staff as part of the building permit application indicating that all conditions of approval are known and understood and must meet with the Historic Preservation Officer prior to applying for the building permit. 19. The General Contractor and/or Superintendent shall be required to obtain a specialty license in historic preservation prior to receiving a building permit. RECOMMENDED MOTION "I move to adopt Resolution # , Series of 2003, finding that the review standards and design guidelines have been met." Exhibits: A. Staff memo dated January 8,2003 B. Application 6 P8 RESOLUTION OF THE ASPEN HISTORIC PRESERVATION COMMISSION (HPC) APPROVING AN APPLICATION FOR MAJOR DEVELOPMENT (FINAL), FOR THE PROPERTY LOCATED AT 533 W. FRANCIS STREET, LOTS A-C, BLOCK 28, CITY AND TOWNSITE OF ASPEN, COLORADO RESOLUTION NO. 2, SERIES OF 2003 PARCEL ID: 2735-124-25-001 WHEREAS, the applicant, David Gibson, represented by Haas Land Planning, LLC, has requested approval for Major Development (Final) Review for the property located at 533 W Bleeker Street, Lots A-C, Block 28, City and Townsite of Aspen, Colorado. The property is listed on the "Aspen Inventory of Historic Landmark Sites and Structures;" and WHEREAS, Section 26.415.070 of the Municipal Code states that "no building or structure shall be erected, constructed, enlarged, altered, repaired, relocated or improved involving a designated historic property or district until plans or sufficient information have been submitted to the Community Development Director and approved in accordance with the procedures established for their review; and WHEREAS, for Major Development Review, the HPC must review the application, a staff analysis report and the evidence presented at a hearing to determine the project's conformance with the City of Aspen Historic Preservation Design Guidelines per Section 26.415.070.D.3.b.2 and 3 of the Municipal Code and other applicable Code Sections. 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; and WHEREAS, Amy Guthrie and Katie Ertmer, in their staff report dated January 8, 2003, , performed an analysis of the application based on the standards, developed findings based on the applicable review criteria, and recommended that the project be approved with conditions; and WHEREAS, at their regular meeting on January 8,2003, the Historic Preservation Commission considered the application, found the application was consistent with the applicable sections of the Municipal Code, and approved the application with conditions by a vote of_ to _. NOW, THEREFORE, BE IT RESOLVED: HPC approves the application For Major Development (Final) for the property located at 533 W. Francis Street, Lots A-C, block 28, City and Townsite of Aspen, Colorado with the following conditions 1. The HPC has approved a 500 square foot FAR bonus, a 4'west sideyard setback variance, a 2.5' east sideyard setback variance, a 6.5' combined sideyard setback variance, and a 15' combined front and rear yard setback variance, bT 1 6.4 /*4-Fo,U-, 2. Restudy the design of the'~' fence at the northeast corner of Lot 1, for approval by staff. /1~UÂ·â‚¬$20 \117 / P9 3. Restudy the landscape plan for approval by Staff and monitor. This should include minimizing the curving character of the planting beds, making the west sidewalk straight, eliminating junipers as a plant material around the base of the old house, eliminating the boulder on the west, and eliminating the bollard lights in front of the old house. No work can be done in the City right-of-way without a permit being issued by the Engineering Department. 4. Install a grate, rather than a railing on the northeast lightwell. 5. Remove the cupola on the addition and study more ways to distinguish this element as new construction, for approval by Staff and monitor. 6. A structural report demonstrating that the buildings can be moved and/or information about how the house will be stabilized from the housemover must be submitted with the building permit application. 7. The applicant will provide HPC staff and monitor with a plan for how the housemover proposes to lift the building, for review prior to submittal of a building permit. The approach chosen, whether it be to move the house with its original floor system, or without, must be demonstrated to result in the removal of the least amount of historic exterior materials, and the least damage to the building possible. 8. A bond or letter of credit in the amount of $30,000 to insure the safe relocation of the structures must be submitted with the building permit application. 9. A relocation plan detailing how and where the buildings will be stored and protected during construction must be submitted with the building permit application. 10. The applicant must submit a preservation plan with the building permit indicating what original materials appear to still exist on the structure, and what treatments will be used to retain them. HPC staff and monitor will conduct a meeting with the contractor and architect at the site to determine how much can be salvaged, and where replacement will be necessary. 11. The existing historic chimney will be carefully dismantled prior to relocation and reassembled to maintain its original exterior appearance. 12. HPC staff and monitor must approve the type and location of all exterior lighting fixtures by reviewing a plan prior to wiring, purchasing, or installing the fixtures. 13. Information on all venting locations and meter locations not described in the approved drawings shall be provided for review and approval by staff and monitor when the information is available. 14. Submit a demolition plan, as part of the building permit plan set, indicating exactly what areas of the existing house are to be removed as part of the renovation. 15. No elements are to be added to the historic house that did not previously exist. No existing exterior materials other than what has been specifically approved herein may be removed without the approval of staff and monitor. 16. There shall be no deviations from the exterior elevations as approved without first being reviewed and approved by HPC staff and monitor. 17. The conditions of approval will be required to be printed on the cover sheet of the building permit plan set and all other prints made for the purpose of construction. 18. The applicant shall be required to provide the contractor with copies o f the HPC resolution applicable to this project. The contractor must submit a letter addressed to HPC staff as part of the building permit application indicating that all conditions of P10 approval are known and understood and must meet with the Historic Preservation Officer prior to applying for the building permit. 19. The General Contractor and/or Superintendent shall be required to obtain a specialty license in historic preservation prior to receiving a building permit. APPROVED BY THE COMMISSION at its regular meeting on the 8th day of January, 2003. Approved as to Form: David Hoefer, Assistant City Attorney Approved as to content: HISTORIC PRESERVATION COMMISSION Rally Dupps, Chair ATTEST: Kathy Strickland, Chief Deputy Clerk Pll HAAS LAND PLANNING, LLC December 16, 2002 Mrs. Amy Guthrie and Ms. Katie Ertmer Aspen Historic Preservation Planner 130 South Galena Street Aspen, CO 81611 RE: 533 West Francis Street Final Major Development Application Dear Amy and Katie: Please consider this letter and the accompanying plan sets to constitute the Final Major Development application for the 533 West Francis Street property (the Project), legally described as Lots A-C, Block 28, City and Townsite of Aspen. As you are aware Conceptual approval of the subject project was unanimously granted by the Historic Preservation Commission (HPC) on November 13, 2002. No changes have been made to the plans approved at the Conceptual level. The Final development plans are completely consistent with all representations made during, and conform to all conditions of approval stipulated in, the Conceptual approval. As is customary with Final HPC applications, the accompanying plan sets depict the types of major exterior building materials proposed for use on the various portions of the structure. Samples of materials will be presented at the hearing. This application is divided into three sections: first, the foregoing introduction; second, a narrative description of the proposed plans; and finally, the review standards applicable to the Final review are individually addressed. While the applicant has attempted to address all relevant provisions of the Code, and to provide sufficient information to enable a thorough evaluation of the application, questions may arise which require additional information and/ or clarification. Upon request, Haas Land Planning, LLC, will provide such additional information as may be required iii the course of the review. Â· 201 N. MILL STREET, SUITE 108â€¢ ASPEN, COLORADOÂ·81611 Â· Â· PHONE: (970) 925-7819 â€¢ FAX: (970) 925-7395 Â· P12 The Guidelines include fourteen chapters of standards for: Streetscape and Lot Features (Chapter 1); Rehabilitation of Historic Structures (Chapters 2- 10), including historic building materials, windows, doors, porches, architectural details, roofs, secondary structures, building relocation and foundations, and building additions; New Construction (Chapters 11-13); and, General Guidelines (Chapter 14). Rather than going through the Guidelines one-by-one, the applicant believes citing a few comments made iii Amy Guthrie's and Katie Ertmer's memorandum of Novernber 13, 2002 to the HPC (the last public hearing for the project's Conceptual Review, On-Site Relocation, Floor Area Bonus and Variance approvals) will more than suffice in demonstrating that the proposed development is fully consistent with the Guidelines. â€¢ "The applicant Ims done an excellent [emphasis added] job in addressing concerns brought ./brth at the [preceding] HPC meeting. The applicant has reduced the addition to one story that is compatible with the size and height Of the historic structure. The [formerly] bulky appearance of the addition has been reduced significantly and divided more into modules than the previous proposal. The addition no longer intrudes into the west setback beyond the proposed [and since approved] location Of the historic structure. The applicant has also retained the 'semi-historic' addition at the rear of the house so that it maintains thefbotprint represented on the 1904 Sanborne map." â€¢ " Staff finds that the proposed changes have addressed concerns regarding size, scale, and massing, as well as the concerns about the visual impacts Of the addition. Staffinds that the project is... compatible with the historic structure and has been redesigned in a manner worthy of the FAR bonus, and that bonus criteria a, b, c. d, e, and f are met." For ease of reference, the cited bonus criteria met by the project are as follows, with emphasis placed on criterion "a": The design of the project meets all applicable design guidelines; and The historic building is the key element of the property and the addition is incorporated in a manner that maintains the visual integrity of the historic building; and/or c. The work restores the existing portion of the building to its historic appearance; andUor d. The new construction is reflective of the proportional patterns found in the historic building'sform, materials or openings; and/or e. The construction materials are of the highest quality; and/or 533 West Francis Street Final Major Development Application Page 4 P15 *R f An appropriate transition defines the old and new portions of the building Staff and the HPC found the project to be consistent with all applicable design guidelines in recommending and granting Conceptual approval. The proposal has not changed at all from that approved at the Conceptual level. The Guidelines have not been amended since then either. Therefore, the Final Major Development application remains consistent with the Guidelines. Iii summary, the proposed development is, without question, an outstanding historic preservation effort. Once built, the City and the HPC will be able to cite this project as a quintessential example of how one can successfully work with staff and the Commission to achieve an addition to a historic structure while forwarding all goals of historic preservation. We hope the information and responses provided herein prove helpful in your review, and we look forward to working with you toward approving this worthy application. If you should have any questions or desire any additional information, please do not hesitate to contact me. Yours truly, Haas Land Planning, LLC Mitch Haas, AICP Owner/ Principal cc: David Gibson, Architect/ Owner Attch./ c: My Documents/City Applications/Gibson Final Application 533 West Francis Street Final Major Development Application Page 5 P16 AFFIDAVIT OF PUBLIC NOTICE 11 Ek&_ 1 REQUIRED BY SECTION 26.304.060 (E), ASPEN LAND USE CODI ADDRESS OF PROPERTY: 1 0 1 Mul>,1 r, jÂ« 9 , Aspen, CO SCHEDULED PUBLIC HEARING DATE: 10. 3 , 2001 STATE OF COLORADO ) ) SS. County of Pitkin ) I, 6449 /4/Ued[ (name, please print) being or representing an Applicant to the City of Aspen, Colorado, hereby personally certify that I have complied with the public notice requirements of Section 26.304.060 (IE) of the Aspen Land Use Code in the following manner: Publication of notice: By the publication in the legal notice section of an official paper or a paper of general circulation in the City ofAspen at least fifteen (15) days prior to the public hearing. A copy of the publication is attached hereto. ~ Posting of notice: By posting of notice, which form was obtained from the Community Development Department, which was made of suitable, waterproofmaterials, which was not less than twenty-two (22) inches wide and twenty-six (26) inches high, and which was composed of letters not less than one inch in height. Said notice was posted in a conspicuous place on the subject property at least fifte,g (15) days ~rior to the public hearing and was continuously visible from the10 day of V.*cen tar , 200 Z , to and including the date and time of the public hearing. A photograph oftheposted notice (sign) is attached hereto. Mailing ofnotice. By the mailing of a notice obtained from the Community Development Department, which contains the information described in Section 26.304.060(E)(2) of the Aspen Land Use Code. At least fifteen (15) days prior to the public hearing, notice was hand delivered or mailed by first class, postage prepaid U.S. mail to all owners of property within three hundred (300) feet of the property subject to the development application, and, at least fifteen (15) days prior to the public hearing, notice was hand delivered or mailed by first class postage prepaid U.S. mail to any federal agency, state, county, municipal government, school, service district or other governmental or quasi-governmental agency that owns property within three hundred (300) feet of the property subject to the development application. The names and addresses of property owners shall be those on the current tax records of Pitkin County as they appeared no more than sixty (60) days prior to the date of the public hearing. A copy of the owners and governmental agencies so noticed is attached hereto. (continued on next page) PUBLIC NOTICE DATE 24 5 TIME_10 er . PLACE diff__Hat ' PURPOSE HI5TOKIC IKE SERV#70* *LA/0[ DEVELofai<An REVIE -- PEct egl-0 91'RE 4 1/ * YU \ Rezoning or text amendment. Whenever the official zoning district map is in any way to be changed or amended incidental to or as part of a general revision of this Title, or whenever the text of this Title is to be amended, whether such revision be made by repeal of this Title and enactment of a new land use regulation, or otherwise, the requirement of an accurate survey map or other sufficient legal description of, and the notice to and listing of names and addresses of owners of real property in the area of the proposed change shall be waived. However, the proposed zoning map has been available for public inspection in the planning agency during all business hours for fifteen (15) days prior to the public hearing on such amendments. 3*ree The foregoing "Affidavit ofNotice" was acknowledged before me this 8.tbday of Jan uar~ , 2001 by Kathlene H. Sohwoerer WITNESS MY HAND AND OFFICIAL SEAL My commission expires: q, iq. 2006 Hist * .%.inw Mall/1 jAARXQA mai Em N(bthry Public .. OF COL MyCommission E*res 9/19/2006 ATTACHMENTS: COPY OF THE PUBLICATION PHOTOGRAPH OF THE POSTED NOTICE (SIGN) LIST OF THE OWNERS AND GOVERNMENTAL AGENCIES NOTICED BY MAIL THE PROPOSAL The historic residence will be relocated within Lot 1 of the approved Gibson Historic Landmark Lot Split and an addition will be made to its rear. Lot 1 has an area of 4,200 square feet, located on the corner of West Francis and Fifth Streets. As part of the lot split approval, Lot 1 has been given a development potential not to exceed 2,010 square feet of floor area, inclusive of an already awarded 500 square foot floor area bonus. Once relocated on the site, the applicant will complete an entirely one story addition to the rear of the structure. The footprint of the historic shed additions at the back of the miner's cottage will be retained. The shed additions will be creatively remodeled to serve as a low and subservient one-story connecting element between the pitched-roofed miner's cottage and the pitched- roofed addition. Iii order to provide additional living space and a proper and stable foundation, a basement space will be constructed below the miner's cottage and shed additions prior to relocation. With the exception of the relocation (approximately twelve feet west and three and one-half feet north), there are no other proposed alterations to the features of the designated structure. The historic structure will undergo restoration in accordance with the recommendations of the City of Aspen Historic Preservation Design Guidelines. The street-facing orientations of the historic structure and its porch- covered entryway will be maintained. Both street-facing facades will remain entirely intact and be restored. The shed roof connecting elements will provide a clear distinction between the miner's cottage and the new construction. All proportions are being maintained and honored, as are fenestration patterns. An entry from the Fifth Street side will be provided on the addition, and garage access will be obtained from the alley at the rear. REVIEW REQUIREMENTS This application has been prepared pursuant to Section 26.415.070(D)(4) of the Land Use Code. The review and decision on the issuance of a Certificate of Appropriateness for Major Development shall begin with a determination by the Community Development Director that the proposed project constitutes a Major Development. This decision has been made with respect to the subject proposal as evidenced by the Conceptual approval. 533 West Francis Street Final Major Development Application Page 2 P13 The procedures for the review of Major Development projects include a two-step process requiring approval by the HPC of a Conceptual Development Plan (this has been done), and then a Final Development Plan. When a Major Development project involves additional City Land Use approvals, the Community Development Director may consolidate or modify the review process accordingly, pursuant to Section 26.304.060 (B). Such consolidation was done during the Conceptual review stage, which included approvals for a historic landmark lot split, variances, a floor area bonus, and on-site relocation. All required Final Major Development app lication materials are provided herein. The procedures for the review of Final Development Plans for Major Development projects are as follows: 1. The Community Development Director shall review the application materials submitted for Conceptual or Final Development Plan approval. If they are determined to be complete, the applicant will be notified in writing of this and a public hearing before the HPC shall be scheduled. Notice of the hearing shall be provided pursuant to Section 26.304.060(E)(3) (a),(b), and (c) 2. Staff shall review the submittal material and prepare a report that analyzes the project's conformance with the design guidelines and other applicable Land Use Code Sections. This report will be 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. 3. 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. If the application is approved, the HPC shall issue a Certificate of Appropriateness and the Community Development Director shall issue a Development Order. 4. A resolution of the HPC action shall be forwarded to the City Council in accordance with Section 26.415.130 and no permit will be issued for construction on the project until the thirty (30) day "call up" period by City Council has expired. 5. Before an application for a building permit can be submitted, a final set of plans reflecting any and all required changes by the HPC or City Council must be on file with the City. Any conditions of approval or outstanding issues which must be addressed in the field or at a later time shall be noted on the plans. Based on the foregoing language, it appears the only applicable review standard for Final Review of a Major Development project is a determination of consistency with the City of Aspen Historic Preservation Design Guidelines (hereinafter "the Guidelines"). Accordingly, the following portion of this application demonstrates consistency with the Guidelines. 533 West Francis Street Final Major Development Application Page 3 P14 .. 0 4 60 0 @ 4 0 6 0 4 , 61 Bio-[1- A R C HIT F C T LILL_ R p.0, 1Â·2- 17Â· DL r--7 7-7 4- + t--i ' 1 1 . e , %- MOF . . belt)14 ~1 ' i ill \34 * ! fl#Â«COF -1, ./. 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One new unit is on the southern end of the row; and two are at the northern end. The entire group is listed on the "Aspen Inventory of Historic Landmark Sites and Structures," and therefore any alterations to them must receive HPC approval and must comply with the "City of Aspen Historic Preservation Design Guidelines" and Aspen Municipal Code. In July of 2002, HPC reviewed an application to enclose a streetfacing deck on one of the new units and denied the application, at staff s recommendation, finding it did not meet the guidelines. There was discussion with the applicant that suggested that locating the addition on the back of the unit would be more desirable. While the application before HPC at this time is actually for one of the other new townhomes, it follows the advice given by the board in July. The unit is expanded towards the rear. No variances are requested. APPLICANT: Luciano and Giancarla Berti, represented by Holmbeck Construction and Gibson Archtects. PARCEL ID: 2735-122-39-011. ADDRESS: 101 Meadows Road, Unit 1-0 of the Trustee Town homes At-the-Aspen Meadows, A Condominium, City ofAspen, Pitkin County Colorado. ZONING: Aspen Meadows SPA. MINOR DEVELOPMENT The procedure Â·for a Minor Development Review 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 1 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. If the application is approved, the HPC shall issue a Certificate of Appropriateness and the Community Development Director shall issue a Development Order. The HPC decision shall be final unless appealed by the applicant or a landowner within three hundred (300) feet of the subject property in accordance with the procedures set forth in Chapter 26.316. The proposal is to enclose a 163 square foot upper level patio on the rear of Unit 10, with materials to match the existing construction. The reason that an addition to enclose the streetfacing deck on one of the new units was denied recently was that it was felt to deteriorate the relationship among the front facades that had been successfully created in 1996. Staff finds that the problem has been resolved in total by moving the addition to the back and recommends that HPC approve this project. RECOMMENDATION: Staff recommends that Minor Development be approved for 101 Meadows Road, Unit 10 of the Trustee Town homes At-the-Aspen Meadows, A Condominium, City of Aspen, Pitkin County Colorado, with the following conditions: 1. There shall be no deviations from the exterior elevations as approved without first being reviewed and approved by HPC staff and monitor. 2. This condition of approval will be required to be printed on the cover sheet of the - building permit plan set and all other prints made for the purpose of construction. RECOMMENDED MOTION: "I move to approve Resolution #1, Series of 2003." Exhibits: Resolution #1, Series of 2003 A. Staff memo dated January 8,2003 B. Application 2 P18 RESOLUTION OF THE ASPEN HISTORIC PRESERVATION COMMISSION APPROVING AN APPLICATION FOR MINOR DEVELOPMENT FOR 101 MEADOWS ROAD, UNIT 10 OF THE TRUSTEE TOWNHOMES AT-THE- ASPEN-MEADOWS, A CONDOMINIUM, CITY OF ASPEN, COLORADO RESOLUTION NO. 1, SERIES OF 2003 Parcel ID #: 2735-122-39-011 WHEREAS, the applicants, Luciano and Giancarla Berti, represented by Holmbeck Construction and Gibson Architects, have requested Minor Development approval for an addition at 101 Meadows Road, Unit 10 of the Trustee Town homes At-the-Aspen Meadows, A Condominium, City of Aspen, Colorado; and WHEREAS, Section 26.415.070 of the Aspen Municipal Code states that no building or structure shall be erected, constructed, enlarged, altered, repaired, relocated or improved involving a designated historic property or district until plans or sufficient information have been submitted to the Community Development Director and approved in accordance with the procedures established for their review. An application for a building permit cannot be submitted without a Development Order; and WHEREAS, the procedure for a Minor Development Review 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 reviews 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; and WHEREAS, Amy Guthrie in her staff report dated January 8, 2003 performed an analysis of the application based on the standards, and recommended the application be approved with conditions; and WHEREAS, at a regular meeting held on- January 8, 2003, the Historic Preservation Commission considered the application, found the application to meet the standards and granted approval with conditions by a vote of_ to _. THEREFORE, BE IT RESOLVED: P19 That the HPC approves Minor Development for 101 Meadows Road, Unit 10 of the Trustee Town homes At-the-Aspen Meadows, A Condominium, City of Aspen, Colorado with the following conditions: 1. There shall be no deviations from the exterior elevations as approved without first being reviewed and approved by HPC staff and monitor. 2. This condition of approval will be required to be printed on the cover sheet of the building permit plan set and all other prints made for the purpose of construction. APPROVED BY THE COMMISSION at its regular meeting on the 8th day of January, 2003. Approved as to Form: David Hoefer, Assistant City Attorney Approved as to Content: HISTORIC PRESERVATION COMMISSION Rally Dupps, Chair ATTEST: Kathy Strickland, Chief Deputy Clerk P20 Land Use Application THE CITY OF ASPEN PROJECT: Name: ~40 QULLOCU.ja Location: 101 M ad#*) & 1710<.St.4 U AblaUL Câ‚¬> Tru,14â‚¬ e -townhe#eS U,31 f{ 1 0 f (Indicate street address, lot & block number or metes and bounds description of property) APPLICANT: Name: ZLI CA*-0 5 67* /9 dah,AL 2)24,+7~ Address: (01 M (Act 0705 T-rbelt--u- led.- AST'LU_ CO phone #: 544 - 023 3 Fax#: E-mail: REPRESENTATIVE: Nmet LiholseÂ£1 1-61 mbeek -Pres Flotmbeck C,On st-Luch An' rIL Address: 111 N all@+ Ca./Uo oy~ da k , CO 61*23 Phone #: 'lea- 580 3 Fax#: 96Â»-5744 E-mail: ho/mheck: @Soplis. re ~PE OF APPLICArION: (please check all that apply): Historic Designation El Relocation (temporary, on or off-site) Certificate ofNo Negative Effect U Demolition (total demolition) Certificate ofAppropriateness El Historic Landmark Lot Split -Minor Historic Development -Major Historic Development -Conceptual-Historic Development -Final Historic Development -Substantial Amendment EXISTING CONDITIONS: (description of existing buildings, uses, previous approvals, etc.) E><rs-637 14,x<,#w, -toujn kloyne ovdk unenr/ne,A,Jeck - PROPOSAL: (description ofproposed buildings, uses, modifications, etc.) En cloge. deck Â¢ 165 5Â©. SicÂ¢ i U- Vertie e 1 c e-Licljr 66(~ are (a P 1) 91-:un L hÂ·14+r_h- â‚¬ *C<;Flto r â‚¬604Â¥1 - art*,Ike#u.na--0 Jt4-1.e 4,spk.-1+ 56 12~89 12) Â»~a,ft.A aw.Tace,0~Â¢~. P21 00008000 <E Â£37 MEMORANDUM TO: Aspen Historic Preservation Commission FROM: Amy Guthrie, Historic Preservation Officer RE: Designation of properties to the "Aspen Inventory of Historic Landmark Sites and Structures" DATE: January 8,2003 Attached is a proposed resolution for HPC to formally adopt the tools we have been developing to assist in the determination of historic significance. In addition, we have laid out a specific process for the application of the "Integrity Assessment" scoring sheets and the distribution of the scores to affected property owners. Staff has tried to incorporate the feedback given by HPC at the December 11, 2002 meeting into the resolution, but adjustments can be made ifneeded. At a November 18, 2002 joint worksession with City Council, staff and HPC were given a deadline of January 15th to complete this process, so that the program can move forward with making determinations as to properties which should be retained, added, or de-listed from the "Aspen Inventory of Historic Landmark Sites and Structures." Staff intends to begin the notification process shortly, and hold hearings starting in the Spring. P23 RESOLUTION OF THE ASPEN HISTORIC PRESERVATION COMMISSION ESTABLISHING SUPPLEMENTARY MATERIALS, AND A PROCESS FOR THEIR USE, RELEVANT TO THE APPLICATION OF THE CRITERIA FOR DESIGNATION OF HISTORIC PROPERTIES, SECTION 26.415.030.B.1 AND 2 OF THE ASPEN MUNICIPAL CODE RESOLUTION NO. , SERIES OF 2003 WHEREAS, Section 26.415.030.B.4 of the Aspen Municipal Code states that the HPC shall adopt, maintain, and make available to the public guidelines, score sheets, and other devices to apply the criteria for the designation of historic properties set forth in Section 26.415.030.B.1 and 2 to potentially eligible buildings, sites, structures, or objects, or collections thereof; and WHEREAS, the HPC and City Council met in a joint worksession on November 18, 2002 to discuss the tools that had been developed and were proposed for use by the Community Development Department and HPC per the above named section; and WHEREAS, the HPC held a worksession at their regular meeting on December 11, 2002 to further refine the process for using these tools, which are the subject of this resolution; and WHEREAS, at their regular public meeting held on January 8, 2003, the Historic Preservation Commission approved this resolution by vote of to THEREFORE, BE IT RESOLVED: That the HPC hereby establishes the following documents (available at the Community Development Department) as among those relevant to the evaluation of properties for historic designation: 1. Historic context papers that have been developed by the Community Development Department, titled "Aspen's 20th Century Architecture: Chalet Style Buildings," "Aspen's 20th Century Architecture: Rustic Style Buildings," and "Aspen's 20& Century Architecture: Modemism." 2. National Register Bulletin 15, "How to Apply the National Register Criteria for Evaluation; U.S. Department of the Interior, pages 12-20. 3. Integrity Assessment scoring sheets that have been developed for 19th Century Miner's Cottages, 19th Century High Style Residences, 19th Century Commercial Buildings, Chalet Buildings, Rustic Buildings, Wrightian Buildings, and Modernist Buildings; and P24 That. with regard to the Integrity Assessment scoring sheets. the HPC establishes the following pr ocess: Step 1: The Historic Preservation Officer will visit each site that is currently listed on the Aspen Inventory of Historic Landmark Sites and Structures in order to apply the appropriate "Integrity Assessment Form" for the purpose of determining a score. Step 2: The Historic Preservation Program has recently transitioned from a long standing system wherein some properties were officially designated "landmarks" and others were simply referred to as being "inventoried." For any property that was individually designated a landmark by Council ordinance at some time in the past. the score recorded by staff will simply be placed in the property files located in the Community Development Department. These properties will not generally be considered for removal from the Inventory because specific findings were made in the past as to their significance, and it is likely that variances or other benefits have been awarded, therefore making de-listing inappropriate. Step 3: The owners of all properties that were not previously designated as laiidmarks under the old system will be provided with a letter from the Historic Preservation Officer explaining the designation criteria. scoring system, and a copy of the inventory form for their property. The owners will be given an opportunity to apply for de-listing from the Inventory if they so desire. Step 4: 1-1PC will hold individual public hearings and conduct site visits to any properties where de-listing has been requested. The board will be presented with the staff recommended score, along with all other information available about the history of the property that is relevant to the designation criteria, and will make a recommendation to City Council. City Council will either retain the property on the inventory or adopt an ordinance removing it. Step 5: Community Development Department staff will prepare a basic analysis of any properties associated with the 19~11 or 20tll centuries that would be recommended for consideration as a new listing on the Inventory. The analysis will include a site visit by the Historic Preservation Officer, who will prepare a score using the appropriate "Integrity Assessment Form." The property owner. HPC, or City Council would then be asked to eiidorse the preparation of a formal application for review i f tliere appears to be merit to the site. (Staff does not have the authority to file an application on their own.) Step 6: HPC will hold individual public hearings and site visits to the properties discussed in Step 5, will be presented with the staff recommended score, along with all other information available about the history of the property that is relevant to the designation criteria. and will make recommendations to City Council. City Council will either adopt ordinances designating the properties, or reject them for designation. P25 ASPEN'S 208 CENTURY ARCHITECTURE: CHALET STYLE BUILDINGS When the bottom fell out of the silver mining industry in 1893, Aspenites considered resuscitating the economy by capitalizing on the town's inherent beauty in an effort to attract tourists to the valley. However, it was not until almost 40 years later, at a time when skiing as a recreational sport was beginning to take hold in the United States, that Aspen found its true calling. Tom Flynn, Billy Fiske, and Ted Ryan were among the first to acknowledge Aspen's potential as a premier ski resort and were the principal investors in the Highland Bavarian Lodge, a Chalet Style structure built in the Castle Creek Valley in 1936. The development of the Highland Bavarian Lodge was the first attempt to emulate European resorts, a trend that would continue forever thirty years (well into the 1 960's) as the town tried to prove its legitimacy to tourists, and compete with famous destinations such as St. Mortiz and Chamonix. The idea of creating a ski area in the United States that mimicked the look and character of European resorts was being discussed by another town at the time as well. Sun Valley, the first destination ski resort in North America, was the brainchild of Averell Hai-riman, who sought to imitate Swiss and Austrian villages. The Challenger Ski Lodge, built at Sun Valley in 1937, was also modeled after the European Chalet Style. Architect Gilbert Stanley was asked to design "something like a Tyrolean village."1 Using the imagery of the Alps was considered by some to be important to the success of the new resorts, in effect, subtly suggesting that America's slopes could rival Europe's. Harriman was disappointed with Stanley's initial design, so he then asked Hollywood art director Ernst Fegte to design a Tyrolean faâ„¢le. The resulting building was painted to resemble a cluster of chalets, and was later used as the set for Claudette Colbert's movie Swiss Ski Adventure? The development of the Highland Bavarian Lodge in Aspen was not unlike the ~t ~ ~~,2*Â·h -aÂ· "*Ei~'~ example in Sun Valley, albeit on a much .~'â€ž.,0+ .d:-t.Â·---Â«- tri*i~ smaller scale, and without the Idaho resort's ~31'.A = 26~---1 immediate success The earliest tourism promotions for Aspen appealed to one's sense of adventure and the ruggedness of the Rocky Mountains-boasting of hunting, fishing and TTg -,â€ž____â€žg--, seclusion. However, the Lodge's brochure, .- ~ ~ .._4--â€ž44 penned by humorist Robert Benchley in 1936, --A- /Il 8 JI -~:. took on more international flair and stated, il.MI~ Ii,*,I-*#Illl "Aspen, Colorado is a place where you can indulge in winter sports without having to get a Highland Bavarian Lodge, built in 1936 passport, wrestle with the Atlantic, stop in Paris at the expense of your health, and come all the i Wendolyn Spence Holland, Sun Valley: An Extraordinary History, 230. 2 Holland, 230. 1 P26 way back again."3 Benchley's brochure for the lodge went on to say '~ou can have just as good a time falling down there as you can on any of the European slopes." Benchley also assured potential clients that the snow in America was as good as any place in Europe. The lodge itself consisted of a dining room and living room heated by a big fireplace, and two double-decker bunkrooms that could accommodate sixteen people.5 The building was nestled in a picturesque setting and designed by architect Gordon Kauffman. Jimmy Bodrero, an artist from the Disney Studios, created the decorative motif. (Involvement of individuals from the movie industry with the design elements in both Sun Valley and Aspen suggested the importance, from the outset, of creating a specific European-like mountain "scene" in these emerging ski towns.) The effort to create a ski area around the Highland Bavarian drew to Aspen the first of the European ski specialists who saw striking similarities in terrain to the Alps. Andre Roch, a Swiss avalanche expert, and Dr. Gunther Langes, an Italian, were hired to spend a year exploring the Aspen area to determine the best location for skiing. The Highland Bavarian Lodge investors sought legitimacy for their project by consulting with the well known Europeans. Roch asserted that the mountains immediately surrounding the town were insuffi cient, and he and Langes eventually settled on the upper Castle Creek Valley, where the ghost town o f Ashcroft is located, and Mt. Hayden rises above the valley. Roch envisioned Ashcroft's transformation into a Swiss village. Historian Anne Gilbert writes, "Andre Roch had found the perfect place to develop a ski resort. He knew that the Americans in the 1930's were interested in skiing and they would pay to ski at a resort reminiscent of the Alps."6 The personal records of Ted Ryan included a plan for a Swiss-style village, and series of trams to shuttle skiers up to the top of the surrounding mountains. But the dream of the Swiss village at Ashcroft died with the onset of World War II, and with the death of Billy Fiske, who was killed in action. It was revived for a short time after the War- the vision changed to a new, Hollywood inspired "Wild West" village- but plans were eventually scrapped altogether. The focus of ski resort development in the Roaring Fork Valley shifted, instead, from Castle Creek to Aspen Mountain, where the first "Boat Tow" had been built in 1937 (modeled after those used at Kitzbuhl, Austria), and where Roch had laid out Aspen's first ski run. Europe's stylistic influence on America's destination resorts went beyond physical layout and design of the buildings, however. Along with technical authorities such as Roch, American resorts recruited top ski instructors from Europe in the 1 930's and 1940's, which, given the political turmoil of Europe, proved less than difficult. In fact, all of Sun Valley's first instructors were Austrian, and wore Tyrolean uniforms. th Many of the same ski instructors later joined the 10 Mountain Division, an elite mountaineering division of the United States Army, which led to their discovery of Aspen on weekend leaves from the training base at Camp Hale (near Leadville). After the war, many veterans returned to the area, among them Friedl Pfeifer, a talented and well-known skier from 3 Robert Benchley, "How to Aspen," 1936. 4 Benchley 6 Anne GUbert, Re-creation Through Recreation: Aspen Skiing from ] 870 to 1970,11. 6 Gilbert, 22. 2 P27 St. Anton, Austria. Pfeifer had run the Tyrolean influenced ski school at Sun Valley prior to the War, but moved to Aspen at the end of the War to help create a resort in the area that reminded him most o f home. In his memoirs, Nice Goin': Mv Life on Skis, P feifer recalls his first impression of Aspen: "The mountain peaks looming over the town made me feel like I was returning to St. Anton."7 -- f =- 1 The Aspen Skiing Corporation, which ' P feifer co-founded in 1946 with Walter Paepke, --Â«; differed fundamentally in its design philosophy from Sun Valley, primarily due to the direction of + -w==:q=g:T~ Chicago industrialist Walter Paepcke, and artist *C- g E--1 /*- _ Herbert Bayer, who was the architect of many of : Â· 24 E-'t,~, - - the first Ski Company's first buildings. The 111 f ; 21 Bauhaus style favored by these men did not lend !- : itself to the design of chalets. Nevertheless, W-jÂ»t Ezr:9., 1. ,/' J 4 t- Pfeifer's association with Aspen helped to give it an international flair, which attracted a number of Elli's of Aspen Europeans to move here after the war. Several of these individuals, including ...4, ..â€žc... , Â·, m. Â· . Â· Fred and Elli Iselin, opened small businesses in M:Â»t, 41' 11. , 11 01' town and applied the Chalet influences . ; Â· efial:1453*LF :.6.1*I.awl. -< '1.- - ; . reminiscent of their hometowns to their buildings. Businesses such as Epicure, served -4 --~?4.3-9. 02 K...All .6 Vdke. up European pastries. Elli's of Aspen sold fine . I . tw= :"ry.,#.1 ~ VA - . 9 European ski clothing, located in a Victorian . -~4' -2491 L -di=dA sophisticated ski town. Elli's faGade was .11,~ decorated with ski figures and edelweiss, again 1,11.6~ n... reinforcing the Tyrolean influence in Aspen. @R lillellilBp~ell~=T,~ 1.- Similarly, according to a 1954 Aspen Times , .Â·:,1.1,1*~.,;t"iâ€¢i'Â·Â·ER;~*(~L2'~,~~ 11:i~ it article, The Little Nell Cafe, a modest log cabin located slope side on Aspen Mountain, was The Prospector Lodge, 301 E. Hyman decorated with a coat of arms representing the Avenue, built in 1947,since demolished and states of Switzerland.8 The owner, a Swiss replaced immigrant, was honoring his homeland with the designs on the exterior fagde. Additionally, of course, lodges were the building type that employed the Chalet style most commonly, and even residents who were not recently immigrated from Europe incorporated the style into their properties. 7 Friedl Pfeifer, Mv Life on Skis, 111. 8Aspen Times, January 14, 1954,4. 3 P28 Comparisons to European ski resorts were also riat evident in advertising. Sun Valley's brochures boasted of ... -I:,flr. Austrian ski instructors and appealed to elite visitors who ' 9 *:9=ism,#60 traveled both by train and plane. The Aspen Chamber of *A9&~23*2~M-41***AP,#TRZE# -vi= Commerce's advertising throughout the 1950's and *40~ 1960's had this character as well. In a brochure - **2~ promoting lodging and accommodations, the Norway Â·.j-~ Lodge notes "the intimacy and charm of an old world inn, G.'; =: (%'El#-i 01 i-01~j~#~%1~~~ - - =2--- at Aspen's No. 1 chairlift."' In the same brochure the tifwint- i *~6093 Skiers Chalet and Steak House and Edelweiss also 4.':.4Â«.zi 0-:92. .p,&ZI~J'. emphasize their "chalet" accommodations. In a multi- i -Â·.Â·Â·i-:11 9'2.7- 4 4.Â·'.1. -9~1?-#--42...:LI.1 .5--~ :.. DJ Â·,-Â·Â·+. 'A N page pamphlet, entitled "Aspen, Wonderful Ski Town," .,752Â¥,Â·'F. ro, created The Norway Lodge, built in 1954 ]-~ f'kt Â· 92.~9.~.t '.1- j.. 3;.t:>- 4.~4 .'t. . . by the Chamber, there are several passages that emphasize Aspen as an international resort Â¥26 4 with a European flavor. "In fact," the brochure states on the opening page, "Aspen knows few rivals. No European resort today can advertise a larger, more elaborate, more 4 ; * 3~ <. luxurious ski village right at the foot of the - A t :, - -' *'-: ' :- T :.*-~'~'-';: ~*..2~2 J~~~ ~i.~~ue~.si,ng AspSee~~sralnigph~l~e~, t~ater~roc~huer~ claims, "It has been said that Aspen's Skier's Chalet, 710 S. Aspen Street, built reputation as a ski-and-fun town rivals, indeed in 1955 overshadows, that of the most celebrated European ski resorts. â€ž11 Perhaps "Aspen, Wonderful Ski Town" best summarized Aspen's 4/ . g t. 4 4 1950's international design character: "Modern Aspen is a study in I architectural contrasts, ranging from Swiss baroque to contemporary â€ž12 Promoting Aspen's varied architectural styles further #Et)*I/WIIII,~, emphasizes the importance and influence of the Chalet style in our ~ :3.1. town's history. Unlike Vail (which created a later Hollywood "scene" as ~====- Â·,~ :~i,~ a Tyrolean village) the early Western American ski resort towns like Sun .Tr Valley and Aspen were an eclectic mix of Chalets, Rustic Style --=- buildings, and Victorian structures from the 19th and early 20th century mining and ranching days. Fortunately for Aspen, Chalet Style Mountain Chalet, built in J 958 buildings from the post-War period still exist today. The lodges, 9"Lodging and Accommodations" brochure, Written Material File: Tourism 1950s and 1960s, HeritageAspen Archives. 1'Aspen, Fondeditl Ski Town, Pamphlet, Written Material File: Tourism 1950s and 1960s, HeritageAspen Archives. 11Aspen, Wonderful Ski Town, 12 12Aspen, Wondedid Ski Town, 21 4 P29 many of which still personify European warmth and hospitality, exemplify the social and architectural history o f the community as it began developing into an international ski resort. Who knew that in 1936, the Highland Bavarian Lodge, the only structure built in Aspen in the wake of the Silver Crash in 1893, would influence a design period in which an imported style would take hold? Aspen's post-War Chalet Style , ./--1--~V %-7#1//LIBBEW"/I'll////Ill/'/ lodges included The Prospector (built in 1947, and Xllii .Â· ' - -4 Â·"2 A~ since demolished), the Norway Lodge (1954), Skier's ; Chalet (1955), the Holland House (1956), and ./.~ff.~%4 .1/G.'--4/.'/AMÂ¥-IL~i-L.~ Chalet style, but unfortunately, was demolished before M#Willittis).Mimin#/471Â£/44:'Ck'/12'll"/5&,ill/:Milwwli the style could be recognized as an important part of . .... , 114... our heritage. Classic examples of the style built as r,3.** Â© .. - *p.rAY*'~~All-ll~ residences well into the 1960's, also still remain. 25%10374;Â·Â·Â·~,Â· Â·4,aÂ·9.*4.... fi *AdHt tihf:4Â»94,1*1:2*/IZE,9 *...4.-4.-I.../*442-bul-- 949 W. Smuggler Street, built in 1946 Eligibility Considerations There are specific physical features that a property must possess in order for it to refiect the significance of the historic context. The characteristics of the Chalet Style, whose origins in Europe date from the 1700's, include: moderately shallow roof pitches, horizontal design elements, prominent wood balconies with cut-out railings, and decorative bargeboard trim. Delicate painted details are sometimes found on the bargeboards, and on wall surfaces. Sometimes the buildings will have applied half timbering. The best of Aspen's remaining examples of this important style exemplify these classic features. Paint color also plays an important role . ' in this style. Typically, the body of the building 7 atiI is dark brown, and trim is painted in a light r1795*R%::3~*i66*= t,3-_ir< 34 ,Â»:~y.Â¥,Â£:t' color, or the reverse; white walls with dark ErÂ· -0.- ,,- stained or painted trim. Primary exterior 014 -, - ~. . .d'~439 , - 44*%11 -- , Â· I. 4.-4-- .. t..P . . . materials are stucco and wood. 4 A To be eligible for historic designation, a =A ' -1 . chalet style building in Aspen should exhibit the . hilifi/":illi 34 .9/7/B Â¢ 1 4/ IMIF .1 1 , following distinctive characteristics: .. , Â· A large singular roof form, generally low in *-0 - slope, with the ridge running along the short '-9* '~ fp~,~..~ 1.c:*ALÂ·-,-,.~pui,Â·*a..5 - dimension of the structure. This roof usually - 4- 4 & N .63*~Â· covers the entire structure without interruption. - 406K144@ 4,Â· VÂ¥~4.2.- ,$-16 - -05-'-=-6~21' 2~25~*242.- The cave of the roof usually comes down to a low plate height at the upper level of the Cresta Haus, East Cooper Avenue, since altered 5 P30 structure. In some residential structures, the upper level only exists under the roof structure with no side walls. Deep overhangs with the structure of the roof expressed on the underside, eaves and rakes decorated with cutouts and fretwork bargeboards. The peak is generally highlighted by a larger decorative element hanging downward. The footprint o f the building is usually rectangular with few deviations from that geometry as the structures go up. Continuous porches running the circumference of the structure, or at least the length of the primary side. Â· Decorative elements, usually two dimensional, such as balustrades of vertical boards spaced apart having cutouts providing both a positive and negative shape. Shapes are generally hearts, edelweiss, snowflakes, or other decorative themes from nature. The structures usually sit on a white stucco base, up to the second floor. This base may have vertical or battered walls. Openings in this area are generally minimal, with wood lintels. Above the stucco base, vertical siding extends to the roof line. The edge ofthe siding against the stucco base is usually decorative as well. Vertically staggering the siding creates a scalloped edge. At times, the floor structure extends through the wall with decorative ends engaging the stucco. Windows are generally horizontally proportioned and are used sparingly. They are sliders or casements, with a center mullion. Shutters and flower boxes are used to decorate the window openings. These elements have similar detailing to the balustrades. â€¢ Colors are restricted to the white of the stucco base, the dark brown o f the wood walls, eaves, balustrades, etc. Bright colors are used sparingly to accent the eaves and balustrades and other decorative elements. Murals and painted decorative details are sometimes found on the stucco surface. The period of historic significance for this style, which is a term used to define the time span during which the style gained architectural, historical, or geographical importance, can be defined as approximately 1946 to the mid 1960's. After that, the connection to the character- defining features described seems to break down. The decoration is toned down considerably, and the upper floors are not clad in wood siding. Similarly, the examples o f chalet structures that have been built recently, which are relatively few in number, employ a more eclectic combination of details and architectural features inconsistent with the earlier examples discussed in this paper. 6 P31 , I / . d Â»7 da.: 420 ,Â¥ - 4-44~4~.9Â¥r ?5 "0*2?,Â»p" ar:- *rt,j:rÂ·' + 2 4-'Â·-*. ... 1. 11 . 2 ' 6,1. 7.- ~,2. t.... :. 2 68 I Base of Aspen Mountain egj..P.tb 30- W 2 4 RE p ~lliT,Fir, IEA ~ 9 1 , ~'*2Â·*Iant '4% 172.,.. Â·Â·4'.4 1 4 " f.,3 1 1 r-.a-* 21â‚¬111Yclue 1 I "Le. Â«G. 7 -~ -. :11:1 Guido's Restaurant 7 P32 2, b r 04 r< k-~.â€¢* ~' ~~ ~ r. '. 1 ~.. 1. 1.-4/.- r. 7 %'t,k'~1?.~11*~ti~.mip,*44462,& .ft-%4%~Â»73227 :t:, 9..~ Â·~~. -3.Â·Â·Â·* ./ ~ ~'' L .5:,9;. Â·... Â· ' ~. + - L .0/J -. - , 4.. Th ..# _ 2.tÂ·. 2 0 41' '!4..6- .11. . . R,4 I 46- â€¢I :- 1:. , 4/,52/1/.alf :9. .'#ir= f?9 Illilly 1,/ ' -$. t' .224'x 1,//. VI'll'Nith# 6Â»1*' , â‚¬N ..ly 1,0 , 41. r , '4 - *.. â‚¬.4 + . .Y- ..t'.Â¥11**r.~,Dvs.' ' 'V ... . ;'rl j.}41-,1.. ~2 > .,f': t?. P.Z 4 â‚¬ P . .. 4" TIM. ,& i , -. L ' 1%.': S: . I. 1 7>44 A. 1494 . Â¥â€¢mL =Ij'ilili . .i- 1 -41 a. t 1 11 - -a-=. - ... I Mt.*F=**&4**FFÂ·:. D:Â· Â·< Â·~5,< ,> ~ 4043 905*Â·. 4444'i;247- .f''PÂ©90;RMAÂ¥?**4#-Ar ' f *&-9W 9 10Â·Â». <':b-/AblÂ·W,â€¢C.Â· -'v.<Â·.306.9'.4'le.$Â»0-G'>'6Â·:tÂ·Â· Â·'. ~,'.2.py' ~F ' 49Â¢4166>.14:Etti:-6*43*a:~2 =.~,.44~~~,~-,~~: r--flj:447.Aâ€žfi',Fl 9 r ../ + sk#~ .li.E d*ibir;/.44<m~--tdiwthlikl#Afr' f. ....:# *Â·474<94'~3:,;;â€¢Â·rl**tril ...'. BIBLIOGRAPHY Aspen Times, January 14, 1954. "Aspen, Wonderful Ski Town." Pamphlet. Written Material File: Tourism 1950s and 1960s, HeritageAspen. Benchley, Robert. "How to Aspen." Pamphlet. Written Material File: Skiing: Aspen, History, HeritageAspen. Gilbert, Anne M. Re-Creation Through Recreation: Aspen Skiing From 1870 to 1970. 1995. Aspen Historical Society, Aspen, Colorado. Holland, Wendolyn Spence. Sun Valley: An Extraordinarv Historv. San Francisco: Palace Press International, 1998. "Lodging and Accommodations." Brochure. Written Material File: Tourism 1950s and 1960s, HeritageAspen. National Register o f Historic Places, Multiple Property Documentation Form, Historic Resources of Aspen (MRA) (amemdment), "Ski Development Resources of Aspen," Roxanne Eflin, 1989. P feifer, Friedl and Morton Lund. Nice Goin': My Life on Skis. Missoula: Pictorial Histories Publishing Inc., 1993. 9 P34 ASPEN'S 20TH CENTURY ARCHITECTURE: RUSTIC STYLE BUILDINGS The Rustic Style of architecture was symbolic of early 20th century attitudes that embraced not only the mythology of the "hardy outdoor li fe of American pioneers"l in the western United States, but also, to an extent, the larger dream of Manifest Destiny. There was embedded within the style a desire to live up to the spirit of adventure and rugged detenninism of those who had ventured West. Though heavily steeped in western legend, the Rustic Style's roots actually lay in the simple pioneer cabin, and in the vacation homes of the Adirondack Mountains which were built in the late 1800's. As early as 1916, however, with the founding of the National Park Service, the style became a cornerstone of the NPS's belief that "buildings should blend in with their natural surroundings"2 and that "natural settings could influence architecture."3 The majority of entryways, information centers, and guest lodges that were built in the Parks throughout the country in the first decades of the 20th century were log and stone buildings constructed in what came to be known as the "National Parks Service Rustic" style. "The high point in the development of this 'rustic' design ethic occurred in the late twenties and spread throughout the nation during the work-relief programs of the Depression:'4 D. Hand-in-hand with the growth of the National . Parks Service was the development of resort areas --: r.z. 4 -:. ,. .~*1.1~ throughout the Rocky Mountain States, and Rustic Style buildings, which ranged in size from small cabins to substantial lodges, were constructed in c . Colorado starting in 1905.5 Early examples of the ~ buildings can be found in burgeoning tourism and = 94=91 -- 2 L, 42 ~Â· ~Â·~-4-,~26114#&$~~- . .1< vacation spots such as Grand Lake, Thomasville, .. Woodland and Estes Parks. Rustic style Grand Lake Lodge, built in 1925 "represented an early 2001 century movement in .illill ~ 1 Â¥~24,9 American architecture . . . It was picturesque, t~ 4 . j 1.-de: 9 21 3--XE=~gR romantic architecture that recalled the American In Aspen, Colorado, Rustic Style cabins used as . + lodges and residences, began to be built in the 1930's, though the tourism industry was still in its - - I. & 2Â·r =-. b infancy. The Waterman Cabins, built in 1937, and .I --4-4 ...,- .' 7 --- 0- -2.5 -1-91 Once located at the corner of 7th and Hallam Streets, g.= â€¢c--2.-:i......:..2 :a2La.1.-* - I- 21*.~2UU=it have since been demolished, but were one of Aspen's Sumers Lodge, a vacation home in Glenwood first group of small tourist cottages. The Swiss Springs, built in 1935 Chalets (now L'Auberge, and suffering from the 1 Carley. Rachel, "Cabin Fever: Rustic Style Comes Home" 2 Rocky Mountain National Park, Home Page, Historic Buildings 3 Kaiser, Harvey H., Landmarks in the Landscape, 17 4 Harrison, Laura Soulliere, Architecture in the Parks, National Historic Landmark Theme Study, 1 5 Colorado Historical Society Home Page 6 Throop, E. Gail, "Rustic Architecture: Period Design in the Columbia River Gorge" 1 P35 "chalet" misnomer- as they are, indeed, in the rustic style) are located at 435 W. Main Street, and were built during roughly the same period. Prescient, and perhaps with a nod to the automobile's growing influence in American society, a motor court configuration at the Chalets allowed guests to drive right up to the individual units. Single family residences in Aspen employed the Rustic Style as well. . I ,/ E-- 1 41. Â»4't . 2 U,k - 4 ' I '' 1 M .1 -S - 6. 1 4 21 .. Â· . Elgl 17:'ll - $ 74 e 300 W. Main Street, residence built in Swiss Chalets, 435 W. Main Street, built circa 1944. 1970'r Also in the 1930's, a WPA sponsored structure that was used as a bell tower was constructed at the present location of the town fire J .04=RF,Upet..0 station on East Hopkins Avenue. It fell under the supervision of 5.5.,Â£.4. ~.1,3.f:~. Ik... 1. ks<, Â· r:236'47'.~ the National Park Service, who managed the WPA program and the .,1-15' *~43iV?-2 design of all its projects. The Park Service's architectural j..~ ~ i..~410 philosophy was summarized at the time in a volume entitled "Park --*(v'::~'*4<2 and Recreation Structures,"which stated that, -'2:rl'*Im#18*11U . Â· f[3}ME4-.31-L "Successfully handled, (rustic) is a style which, through the use of native materials in proper scale, and through the avoidance of rigid, straight lines, and oversophistication, .Â· gives the feeling of having been executed by pioneer -tÂ·----Â·..:Q;~Â»~Â·--Â·2'":9Â·Â·~" -c j., craftsmen with limited hand tools. It thus achieves sympathy WPA Bell tower, built in the with natural surroundings and with the past."7 1930's and shown here after its relocation to Paepcke After the Second World War, looking to the past- and in . Park in 1954. It was particular, the American past- was the result of a nation turning reconstructed in 1990. inwards, and away from foreign battlefields. The romance and heightened idealization of the West, and the appeal of the rugged individualist's lifestyle, was evidenced by the popularity of television shows like "The Lone Ranger"and "Davy Crockett", and further, by the proliferation of Western movies (many of which were produced as a result of the McCarthy Era effect on post-war Hollywood productions). The American public acculturized the West's ideals, and the Rustic Style even found its way into children's toys like "Lincoln Logs." 7 Harrison, 8 2 P36 1 I -//-/ I '7 The American landscape was transformed in the 1940's. The unparalleled growth and prosperity of the United States (spurred on in part by the GI Bill), and the "baby boom" that began- and didn't slow down- until the late 1960's, brought with it success, comfort, and a blossoming middle class. Americans were enjoying greater financial freedom, along with increased leisure time, and they were looking for adventure. They looked West. Falling gasoline prices, the construction of cross-country highway systems, and a young, flourishing automotive industry (by-products of the post-war economic climate), "gave greater numbers of people the means to travel, and previously inaccessible places were more easily reached."8 Vacationing and tourism became the hallmark of the American lifestyle, and the West held a particular interest for a people with newfound freedom, and the desire for adventure. "To Americans the West is their refuge, the home of the 'last best place:" Vacation homes, hunting lodges, dude ranches, and tourist-related facilities began to increase in number after the War, many built in the Rustic Style, which was perfect for the "frontier spirit"10 of the new American tourist. Aspen was the ideal destination for the "new American tounst." Purple mountains majesty aside, it had a growing reputation as a ski town- a sport that was gaining increasing popularity. And as people ventured out west to vacation in the late 1940's and early 1950's, they were looking for what so many had sought before them: the spirit of adventure, romance, and ruggedness. Yet what Aspen offered, even then, was so much more. It became an "archetype for the beginning of tourism in the post-World War II American West."11 The effort to create a cultural and artistic haven, and year-round resort town that offered "good opportunities for combining work, play, and culture, â€ž12 only added to the town's uniqueness, as a "post-war consumer culture and the nation-wide growth of tourism, combined with the beginning of the ski industry, meant that people no longer had to belong to an elite club or live in a mountain town in order to ski. â€ž13 2r Rustic Style buildings continued to be constructed in town during this period, i re including Deep Powder Lodge (circa late ; :- z~-Aycl '- -,"; i Â· 1.20BM I 1940's/early 1950's), at 410 S. Aspen e ,:Â·m,;M.2 94.91' , .Â£1 0._* . . Street, and The Hickory House (initially 4 11Â· -~f /Â·14.:- .f k>ti.f'-Ir ., 0 christened The Silver Chicken) at 735 W. 1 - .4 - r. ... ,/rum - . Main Street, which was built in 1950. At C %, : Riel ' 1/ r Â· 28 . A. - 1 1 . Â¥ 4 the time, itwas one ofthe few restaurants -*' - --. r: 2:;5 :~4-- -Â·. h '. Â», .r . 44. operating in town, and the original sign, ~ located on the west side of the building, L - reads "restaurant," and is lettered to look 5-31777&22- -2.-.-: -Â· ...:+ like logs, harmonizing the theme of the Efsbr=. 4. vy:JI'l-Â·13227733*ZA structure down to the last rustic detail. Deep Powder Lodge, 410 S. Aspen Street, built circa inte 1940'R/enrh, 199.04 8 Rothman, Hal K., Devil's Bargains - Tourism in the Twentieth-Century American West, 202 9 Rothman, 14 10 carley 11 Rothman, 207 12 Rothman , 213 13 Gilbert, Anne M., Re-Creation through Recreation: Aspen Skiing from 1870 to 1970, 46 3 P37 There was no shortage of young male labor during the period these buildings were constructed, and the materials were readily available locally. Small cabins could be erected during a summer, readying them for the new American tourist seeking the "Western adventure." Between 1940 and 1959, the number of full-time residents in Aspen increased by 1000, and "by 1959 at least 200 part-time residents joined the year-round crowd."14 As Aspen's amenities began to attract a larger, more infiuential and wealthy group of second homeowners (including some of Hollywood's brightest stars), the city began to transform itself into a premiere, year round resort, and many people "chose to move to or build vacation homes in Aspen."15 For some, a second home built in the Rustic Style was a natural choice, and things were moving fast: "A gala opening of the lifts and reopening of the Jerome was held in January, 1947, and people poured in from all over the country. A boom was on, and every tax title was gone at the court house. If you wanted a lot or a house in Aspen, you could no longer step around to the county commissioners and make an offer of a hundred dollars or so on some abandoned property. You went to a swank new real estate office and paid through the teeth, several thousand dollars. Aspen had been bought up in a twinkling, and by a strange assortment of people- artists, writers, and movie actors who wanted to get away from city life, wealthy sportsmen who wanted a fishing and hunting lodge, mid-westerners who wanted a summer mountain cottage, eastern couples who wanted to try their hand at ranching, and ski cranks who wanted to start a business, any sort of business, to be close to Aspen's slopes. â€ž16 In part, as demand and mechanization quickly #-i#.44,4.Vi Q ~....4~ began to replace the handmade in many aspects of E/FFQEf29*'Aewi-4~Â¢z _ ~ American life, log cabin kits that could be ordered by Ilillogillimililiwilli'ivififtÂ£12##Ed,ill//1/:lililillill catalog, delivered by train or truck, and then ~644&026~ assembled on site gained in popularity. The kits were . I ./.11 another version of mail order houses that were ~~ 3 j popular during the depression era, largely due to their als 1 4 -4 affordability. Following the lead of Sears, Roebuck, / / EY-r--1-Â©60* , & Co. and Montgomery Ward (who sold hundreds of M#Â£43#--. .. ,56*sm=--.1 thousands of homes during the Depression), other t~C.â€¢kle.- .......4 Â·- 46*4<11 Â·:42-*-*--#*.t'24-' -Â· companies began selling different styles ofkit houses, including Pan Abode (established in 1952), a 211 West Hopkins Street ,a Pan abode built in manufacturer that specialized in log cabins. After 1956 1950, Rustic Style buildings in Aspen were more commonly machine-made kit log structures than hand-built, but they still reflected the same American West iconography. Materials in these later buildings simulated log construction and referenced the particular visual details of the original log structures. Examples of kit log structures built as second homes during this period are found at 211 W. Hopkins and 765 Meadows. The kits were also used for quick-to- build housing to fill the growing needs of the ski resort workforce, many of whom could not 14 Rothman, 223 15 Gilbert, 72 16 Bancroft, Carolyn, Famous Aspen 4 P38 qualify for traditional mortgages, due to the part time nature of their jobs, and therefore relied on affordable construction methods. Eligibility Considerations There are specific physical features that a property must possess in order for it to reflect the significance of the historic context. Typical characteristics of the Rustic Style are "log construction, stone foundation, small paned windows, overhanging roof, stone chimney, and battered walls."17 To be eligible for historic designation, Aspen's examples of Rustic Style architecture should have the following distinctive characteristics: e Hand built structures that are constructed out of locally available materials, usually log; stone may be incorporated at the base, or in the form o f a fireplace and chimney. Later examples include machine cut logs. e The buildings are usually single story, with a low-pitched gable roof. True log construction with overlapping log ends, coped and stacked. Logs may be dressed and flattened for stacking or may be in rough form. Chinking infills the irregularities between the logs either way. Machine made buildings mimic these details, though without the chinking. Window openings are spare and usually horizontally proportioned, wood trim is used to finish out the window openings. Building plans are simple rectangular forms, with smaller additive elements. The roof springs from the log wall, and gable ends are often infilled with standard framing. This may be a small triangle or a second level of living space. The emphasis is on hand-made materials and the details stem from the use o f the materials, otherwise the detail and decoration is minimal. Though Pan Abode structures are still being manufactured today, which poses a greater challenge in determining the end date for the Rustic Style period, changes in the type of accommodations and facilities that were desired for both tourists and homeowners began to evidence themselves in Aspen in the early 1970's. As land became more valuable, the era of the small vacation cabin came to an end, and custom-built homes were far more common, as were condominiums. Aspen's 1973 Growth Management plan, a reaction to the magnitude of change and development that the town was experiencing, recognized the need to preserve the quality of life that many felt Aspen was losing due to its popularity. Second homes began displacing permanent residents, and in fact, the City passed a controversial ordinance in order to stem the loss of resident-occupied housing. Concurrently, modest lodges were being replaced with higher-end accomodations. These trends were noted again in 1986, when, according to the 1993 Aspen Area Community Plant it was found that the number of second homes had significantly increased, and that the size of these second homes was particularly large compared to traditional residences in the city. The shifts in Aspen's development pattern suggest that it would be 17 Colorado Historical Society Home Page, Guide to Colorado Architecture 18 Aspen Area Community Plan, 1993 5 P39 appropriate to establish the end of the period of historic significance, which is a term used to define the time span during which the style gained architectural, historical, or geographical importance, for simple, small scale, Rustic Style buildings as roughly 1970. With regard to Pan Abode structures, of which there is a relatively large collection remaining in town, a finding of historic significance must go beyond the basic characteristics of the building as an example of a kit house, and demonstrate a connection between a specific structure and the local story of vacation home construction and ski industry related housing. 6 P40 . -re..I Deep Powder Lodge %Â£.reÂ·... ,+44*'717Â»â€¢,# . 1 ~42 *1641 A. '- 4 r 9 9 11 .Ul 1 1 1~:9Â£,24=53.3*1Â·-' - ~~ 01 C~= Cm. C.,1- tr . , .. The Castle Creek Cabins/Waterman Cabins, once located at 7*h and Hallam Streets /4/WaiLL#/Mt ,Â· ig. .4 7/YAM:<k ~;4 . 1/ :t>Yet)244 It 11 6- .2-7... e - 2 9*-- Sunset Cabins, once located near 7~z and Main Streets 7 P41 Bibliography Aspen Area Community Plan, 1993, Aspen, Colorado Bancroft, Carolyn, Famous Aspen. Carley, Rachel, "Cabin Fever: Rustic Style comes Home" September 1998, www.uniquerustique.com/history Colorado Historical Society Home Page, Guide to Colorado Architecture, www.coloraohistory- oahp.org/guides Directory o f Colorado State Register Properties, www.coloradohistory-oahp.org/publications Gilbert, Anne M. Re-Creation through Recreation: Aspen Skiing from 1870 to 1970, 1995. Aspen Historical Society, Aspen, Colorado Harrison, Laura Soullitre, Architecture in the Parks: A National Historic Landmark Theme Study, National Park Service, Department o f the Interior, November 1986 http://www.cr. nps. gov/history/online_books/harrison Kaiser, Harvey H., Landmarks in the Landscape, California: Chronicle Books, 1997. Rocky Mountain National Park, Home Page, Historic Buildings http://www.nps.gov/romo/resources/history/historic.html Rothman, Hal K., Devil's Bargains - Tourism in the Twentieth-Century American West. Kansas: University ofKansas Press, 1998. Throop, E. Gail, "Rustic Architecture: Period Design in the Columbia River Gorge", 1995. CRM Volume 18, Number 5, http://crm.cr.nps.gov/archive/18-5/18-5-4.pdf. 8 P42 ASPEN'S 20 TH CENTURY ARCHITECTURE: MODERNISM The Modernist Movement Modemism as a style of architecture describes the works that were produced beginning in the 20th century as a result of a clear 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 modern technologies were employed in ways that reflected much of the preference for decoration and organic design that had preceded the 20th century, for instance in the Arts and Crafts Style of the 1 920'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 search for a new architectural vocabulary. The streamlined and austere became more relevant. "Functionalism" and "Rationalism" were terms used to describe architectural philosophies related to this period. "Modern building codes had replaced rules of thumb."1 "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. Corners 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 corners-obsolete. There would be no applied ornament anywhere, inside or out...A house was a machine made for living Le Corbusier provocatively declared in 1923 in his Towards a New Architecture, which has proved the most influential book on architecture in this (the 20th) century."2 Modernism in Aspen The period between the Silver Crash in 1893 and the end of .- Calli 4 World War II saw little new construction in Aspen. This changed .. * 1.i*~0 43,46 when interest began to grow in developing a major ski resort, and , . 1 when Walter Paepcke envisioned the town as the ideal setting for a rt MÂ¥\1 1Â·4 -* community of intellect, cultural institutions, and pristine natural . 46.Vi environment. As a result of this renaissance taking place, many L.j . Walter Paencke I Robert Frankeberger, and James Garrison, "From Rustic Romanticism to Modernism, and Beyond: Architectural Resources in the National Parks," Forum Journal. The Journal o f the National Trust for Historic Preservation Summer 2002, p. 16. 2 Spiro Kostof, A History of Architecture: Settings and Rituals, (New York:Oxford University Press, 1985), p. 701. le>. 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 largest influence on Aspen, Fritz Benedict and Herbert Bayer, are 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, **MI~ ~ 4-1 d. 1995- Aspen, Colorado) was the first trained architect to arrive ijji*,i:id'- in Aspen at the end of World War II. Benedict had earned a li /=Â·.4,- Bachelor's Degree and Master's Degree in Landscape lity- Architecture at the University o f Wisconsin before being invited Wt'] I #7 1 to Frank Lloyd Wright's school, Taliesen, in Spring Green, .71/ i~ 1 Wisconsin in 1938. Initially, Benedict's role at Taliesen was as _~~ l-X..2 j b.i head gardener, but his interest in Wright's philosophy of the ~ W#-1 - = integration of architecture and landscape led him to study design ~ V~ at both Taliesen and Taliesen West in Phoenix, Arizona for the ~ next three years. Fritz Benedict 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 1 Gth 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 1 0th Mountain Division until the end of the war in 1945. He returned to Aspen and purchased a ranch at the top of Red 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 there wasn't much to do in the way o f design."3 This situation changed for good after 1946, when noted artist Herbert Bayer arrived in Aspen with 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 architects 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, clearly 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 3 Adele Dusenbury, "When the Architect Arrived After the War," The Aspen Times July 31, ] 975, p. 1-B. P44 earth shelter design. He experimented with car-free village design, sod roofed structures, and solar buildings. His master work, the :11~~Â¥E7-*:-<m'~77'MMN~ ./ Edmundson Waterfall house, which was Â· .- ..1 , strongly related to Frank Lloyd Wright' s j* Fallingwater, exhibited many of these qualities ..'* d Y : 3 k and all of the central characteristics of I. *2 .14% 'Na.=44424491 Wrightian design, including a low pitched roof, -WS *: 21/ strong horizontal emphasis of the structure, and the use of mitred windows at building corners. 44 - - A ./, 4/lifil The most important of Benedict's works may r.-4 best be defined by the examples that clearly .-2 ~Â¢ 0 1--47-3 , -~7---ii represent Wrightian ideas, or where innovation was key. Waterfall House, on Castle Creek Road, Pitkin County, 1960 Benedict's earliest 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 j- center of Paepcke's facilities. Other known works ~ by Benedict include the cabin at 835 W. Main ~~~ Avenue (1950, since demolished), the Copper Kettle (1954, 845 Meadows Road), Bank of Aspen -/,r r (1956, 119 S. Mill Street), 625 and 615 Gillespie L.- 4-Â·9 1 Avenue (1957), the original Pitkin County Library L;.-0.=.~ (1960, 120 E. Main Street), the Aspen Alps (1963, 835 W. Main Street. 1947 777 Ute Avenue- the first luxury condominiums in the Rocky Mountains), the Bidwell Building, (1965, 434 E. Cooper Avenue), Aspen Square (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.4 . - . . M ... - ' 1. ..2 4%4 r r. S. -- . 2~.2 ... 434 E. Cooper Avenue, 1965 The Copper Kettle, 1954 4 Mary Eshbaugh Hayes. Dedication plague on "The Benedict Suite," Little Nell Hotel, Aspen, Colorado. P45 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 o f 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 profession receive 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 vernacular."5 He was given the Greg Mace Award 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. In 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 Maynard, 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 community ravaged by mining, trapped in poverty- yet willing to follow the dreamers."6 Similarly, the Aspen 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 Aspen with a rare vision in the traumatic wake of World War II, Benedict was one of the fathers of modern Aspen, a man whose architecture not only helped shape the city aesthetic, but whose personal commitment to the original dream of a special 'Aspen Ideal' made him the guarantor of the city's very soul."7 Local resident and fellow student of Taliesen, Charles Paterson stated, "Whatever he was building was one jump ahead "8 Aside from his architectural contributions, Benedict influenced the Aspen environment in several other ways. Benedict and his wife donated more than 250 acres o f land within Pitkin County for open space. He was the father of the 1 0th Mountain Hut system (established in 1980), and served as the first chairman o f Aspen' s Planning and Zoning Commission, developing height and density controls for the City, open space preservation, a City parks 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 years. 5 Joanne Ditmer, The Denver Post, as reprinted in the program for the Fritz Benedict Memorial Service. 6 Robert A. Maynard, Remarks given at Fritz Benedict's Memorial Service. 7 Mary Eshbaugh Hayes, "Fritz Benedict, 1914-1995: The Passing of a Local Legend," The Aspen Times July 15 and 16, 1995, cover page. 8 Charles Paterson, Remarks given at Fritz Benedict's Memorial Service. P46 HERBERT BAYER Herbert Bayer (b. 1900- Austria, d. 1985- Santa Barbara, California) was an artist of many disciplines. He apprenticed with architects in his native country Austria, and in Germany, starting at the age of 18. In 1921 he entered the most reknowned art and design school of the 20th century, the Bauhaus in Weimar, Germany. The Bauhaus, which existed from 1919 to 1933, was begun in a spirit of social reform and 2Â»7 represented a rejection of many design ideas that - C" tty.y preceded it. "From skyscrapers to doorknobs, . Â·r.. 0, modern design was born, really, at the Bauhaus. The IA- ft ideas of the Bauhaus shaped whole cities, changed ~ 64. 1 architecture, modified the nafure of furniture design ... //I * and transformed the essential implements of daily ~4Ii life" 9 Bayer was named the head of the typography workshop at the Bauhaus in 1925 and was ultimately Herbert Bayer one of three masters named by director Walter Gropius, the other two masters being the gifted Josef Albers and 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 Modern 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 ofthe 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 architecture in Colorado, without examination. He had no formal training 79 0 in the discipline, so he generally worked '-, ": * in association with another firm, particularly -7,6*4 --- Â¥7:W*--vi- 14,~ with Fritz Benedict. The Sundeck on Aspen 72~ Mountain (1946, since demolished) was the first e r- Â·Â· of his designs that was ever built. At the g ~ Institute, Bayer designed the Seminar Building The Sundeck. 1946 and it's sgraffito mural (1952, the first building on the grounds), Aspen Meadows Guest Chalets (1954, since demolished and 9 Beth Dunlop, "Bauhaus' Influence Exceeds It's Life," The Denver Post April 20, 1986. P47 16 - .i: I. reconstructed), Central Building (1954), the ~ Health Center (1955), Grass Mound (1955 2- *40/~A,1 i which pre-dates the "earthwork" movemeni [~1~ ~52'~' Ti, in landscape design by 10 years and was one P -4+- f ,-'.Cpx ---~'~- -1 4 1 -11 1 -1, .,f o f the first F. E- 1 -1.7,44-4 ,=4 M/1/M~/RF~///I IJ 6 environmental sculptures in the country), the r,-f F, 0 , A â€¢-$ 1~ Ellif~: SEÂ£~9~4~ Paepcke Memorial Building (1962), the ~ **~ Institute for Theoretical Physics Building (1962, since demolished), Concert Tent Aspen Institute Seminar Building, 1952 (1964, removed in 2000), and Anderson Park (c. 1970.) Bayer also led the design for the Ii&T <.,FMBM .2 rehabilitation of the Wheeler Opera House 4 (1950-1960), designed two personal residences k on Red Mountain (1950 and 1959), and other 12**2,~ homes in Aspen, including those still in IIl1 existence at 240 Lake Avenue (1957) and 311 ..liz~guill-:: North Street (1963). - Aspen Meadows Health Center, 1955 r t + 41 7 The period during which most of IlA ~ 1.2.41Â¢?.k......211,71....â€ž*- Bayer's architecture was designed is confined Ing#h.M . Â· 1 Fii:*t *91*gui 'EN'ii- to 1946-1965. Important characteristics of his ~ buildings were simplicity and the use of basic --- ~ geometrical shapes and pared down forms. He was heavily influenced by Bauhaus and The Marble 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 1 -1,1 Â¥ lie .*AMPSWEd/i human environment and that art should be incorporated into ~11~ all areas 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 vzMIHINitivi as "Beyer 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 Bayer paint scheme Park (442 W. Bleeker) and a bold paint scheme that once existed on the Hotel Jerome will also be remembered. P48 / Bayer spent 28 years 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 Aspen's most world-famous resident."10 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 Barbara for health reasons in 1975 and died there ten years later, the last surviving Bauhaus master. Notable among Bayer's many achievements include his credits in 75-9112= 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. â€ž11 Much of modern print design reflects his ideas. He was the inventor of photomontage. Bayer created the "World Geo-Graphic Atlas" in 1953, 61*4., 22 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 are represented in the collections of at least 40 museums. He spent six decades of his life working as a painter, photographer, typographer, architect, 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, near Broadway in Denver. Bayer founded the International Design Con ference 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 years 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 billboards. ARCHITECTS OF NOTE Charles Paterson was born Karl Schanzer in Austria in 1929. His mother died in his youth, and his father fied Austria, taking Charles 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. 11 Joanne Ditmer, "Schlosser Gallery Host to Major Bayer Show/Sale," The Denver Post October 1,1997, p. l OG. r 1â‚¬111~ ~, 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 war and was eventually reunited with his children in New York City, after they immigrated. In New York City, Charles "Charlie" 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 a one-room cabin in 1949 out of leftover lumber. Paterson returned to New York from 1950-1951 to continue his studies, then moved back to Aspen 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 running 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 architecture, 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 property. Â·:Â·~ ' few buildings, among them his own business, Although Paterson has designed relatively -4.- Â· 22..--:'Â·*,2 -'.j.''l,Â·t,,+'~,f'Â· structures atthe Christiania Lodge, and aresidence I 1, I i E '1 & in Basalt, the Boomerang is his master work, tâ€¢'*' exhibiting strong influences of Wrightian I. 42 - ' eli architecture. 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. â€ž12 Boomerang Lodge Other contributions to local organizations made by Paterson include being a member of the 12 Scott Dial, "The Boomerang Lodge: The Lodge That Charlie Built, and Built, and Built," Destination Magazine. P50 Board of the Music Associates of Aspen for 20 years, Chairman of the Aspen Hall of Fame for 2 years and of the Aspen Board of Adjustment for 20 years and counting. He has also served on the Aspen Chamber Resort Association Board of Directors. Paterson worked for the Aspen Skiing Company as an instructor from 1952 to 1969. Eleanor "Ellie" Brickham 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. Early in her career, 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 *1 /'. ./.tri D."M.2//1 with her own firm, she designed a number of F -4*Â·4/1/.r//M"&311- residences and commercial structures in town, r474123-i:12'<t Z. 4 r including houses for several Music Festival artists 1 in Aspen Grove, the Strandberg Residence (1973, r .ILL' 2,1 2 433 W. Bleeker Street), and the Patricia Moore ~ Â·rE ' - SE - 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 area. 433 W. Bleeker Street, 1973 Brickham's designs have been characterized by spare, simple forms and detailing, and she has an interest in passive solar techniques. Still practicing today, Brickham's projects focus on an "impeccable sense ofproportion and feeling of lightness. â€ž13 Victor Lundy designed a second home for $ his family in Aspen, which they have occupied at E't' Â·~ -1 Architects. He received his degree in architecture ~ from Harvard, studying with former Bauhaus director Walter Gropius and Bauhaus master Marcel Brewer and was later awarded two prestigious ~ traveling scholarships by the Boston Society of Architects and Harvard University. 1.m~ 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 award, the highest honor in design given by the National Endowment for the Arts. 13 Bill Rollins, "Brickham: Simplicity, Lightness, and a Sense of Proportion," The Aspen Times. P51 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 area residences. Well known architect Harrv Weese also .R,5496:*. contdbuted a building to Aspen in the Givens Institute s..~ (1973, 100 E. Francis Street). Weese, of Harry Weese and Associates, Chicago, was an internationally known architect responsible foranumber ofsignificant projects . , -LE= t, 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 architect Eliel Saarinen at 1 00 E. Francis Street. 1973 Cranbrook Academy in Michigan, and then joined Skidmore, Owing, and Merrill for a short time. In 1947 he opened his own o ffice. Weese was recruited by the Paepcke's, who donated the land where the Given is located, to design the building. Eligibility Considerations There are specific physical features that a property must possess in order for it to reflect the significance of the historic context. Aspen's examples of modemist buildings should exhibit the following distinctive characteristics if influenced by Wrightian design principles: Low horizontal proportions, fiat roofs or low pitched hip roofs. Deep roof overhangs create broad shadow lines across the fagacle. Glazing is usually concentrated in these areas. Horizontal emphasis on the composition of the wall planes accentuates the floating effect of the roof form. Â· Materials are 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 toward heavy timber or post and beam than typical stud framing. Structural members and construction methods are 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. Roo f structure is often expressed below the roof sheathing â€¢ Glass is used as an infill material which expresses a void or a structural system; or it is used to accentuate the surface o f a wall through pattern or repetition. There is typically no trim which isolates the glazing from the wall plane. Window openings are 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. P52 Structures are related to the environment through battered foundation walls, cantilevered floors and/or- porches, clear areas 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 are used. Color is usually related to the natural colors of materials for the majority of the structure; natural brick, dark stained wood, and white smcco. Accent colors are 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 are long and low, horizontal lines are 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 o f the overall idea of the building. Detailing is reduced to composition of elements instead of decorative effects. No decorative elements are used. Â· Design is focused on rationality, reduction, and composition. It is meant to separate itself from style and sentimentality. Â· Materials are generally manufactured and standardized. The "hand" is removed from the visual outcome of construction. Surfaces are smooth with minimal or no detail at window jambs, grade, and at the roof edge. â€¢ 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. Â· Buildings are connected to nature through the use of courtyards, wall elements that extend into the landscape, and areas 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 ofboth elements. Schemes are 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 architectural idea. Although modemism has likely changed the course of architecture forever, it is possible to set a date when the style in its purest form began to wane: around the mid 1960's nationally, and into the early 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. P53 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 end of World War II. The architects 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 character of their 19th century mining heritage, few or none are also enriched by such an excellent collection ofmodernist buildings as exist here. P54 Bibliography Chanzit, Gwen F. "Herbert Bayer and Aspen," Exhibition Notes, Adelson Gallery/Paepcke Building, Aspen Institute. Aspen, Colorado, December 1999- December 2000. Cohen, Arthur Allen. Herbert Baver- Limited Edition: The Complete Works. MIT Press, 1984. Dial, Scott. "The Boomerang Lodge: The Lodge that Charlie 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 April 20,1986. Dusenbury, Adele. "When the Architect Arrived After the War," The Aspen Times July 31,1975. Frankeberger, Robert and James Garrison. "From Rustic Romanticism to Modernism, and Beyond: Architectural Resources in the National Parks," 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 ofArchitects." 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 March 11, 1982. Hayes, Mary Eshbaugh. Dedication plague 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. P55 Laverty, Rob. "50 Years of Benedict: A Forefather of Modem Aspen Looks At What Has Been Wrought," High 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. Rollins, 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. "History Richochets Through the Boomerang," The Aspen Times November 16th and 17th,1996. P56 CRITERION A: EVENT operties can be eligible for the National Register if they are associated with events that have made a significant ntribution to the broad patterns of our history. UNDERSTANDING Examples of Properties Associated APPLYING CRITERION A: with Events CRITERION A: EVENT Properties associated with specific events: EVENT â€¢ The site of a battle. To be considered for listing under â€¢ The building in which an important TYPES OF EVENTS Criterion A, a property must be as- invention was developed. sociated with one or more events im- â€¢ A factory district where a significant A property can be associated with portant in the defined historic strike occurred. either (or both) of two types of context. Criterion A recognizes events: properties associated with single â€¢ An archeological site at which a â€¢ A specific event marking an im- events, such as the founding of a portant moment in American major new aspect of prehistory was town, or with a pattern of events, discovered, such as the first guidence prehistory or history and repeated activities, or historic trends, of man and extinct Pleistocene such as the gradual rise of a port animals being contemporaneous. â€¢ A pattern of events ora historic city's prominence in trade and com- â€¢ A site where an important facet of trend that made a significant con- merce. The event or trends, how- European exploration occurred. tribution to the development of a ever, must clearly be important community, a State, or the nation. within the associated context settle- Refer to the left for a list o f specific ment, in the case of the town, or examples. Properties associated with a pattern of development of a maritime economy, euents: in the case of the port city. . A trail associated with western ASSOCIATION OF THE oreover, the property must have an migration. PROPERTY WITH THE )ortant association with the event â€¢ A railroad station that served as the EVENTS ustoric trends, and it must retain istoric integrity. Gee Part V: How to focus of a community's transporta- Evaluate a Property Within its Historic tion system and commerce. The property you are evaluating Context.) â€¢ A mill district reflecting the impor- must be documented, through ac- Several steps are involved in deter- tance of textile manufacturing cepted means of historical or ar- mining whether a property is sig- during a given period. cheological research (including oral nificant for its associative values: history), to have existed at the time â€¢ A building used by an important o f the event or pattern o f events and â€¢ Determine the nature and origin local social organization. to have been associated with those of the property, â€¢ A site where prehistoric Natiue events. A property is not eligible if â€¢ Identify the historic context with Americans annually gathered for its associations are speculative. For which it is associated, and seasonally available resources and for archeological sites, well reasoned in- social interaction. ferences drawn from data recovered â€¢ Evaluate the property's history to at the site can be used to establish the determine whether it is as- â€¢ A downtown district representing a association between the site and the sociated with the historic context town's growth as the commercial in any important way. focus of the surrounding agricultural events. area. SIGNIFICANCE OF THE ASSOCIATION Mere association with historic events or trends is not enough, in and of itself, to qualify under Criterion A: the property's specific association must be considered im- portant as well. For example, a build- ing historically in commercial use must be shown to have been sig- nificant in commercial history. P57 44?,3 TR.ADITIONAL CULTURAL "~..{tii,4 4,3*?Atjtolck-~ -3--. :.~ . .. ~~ .i>{:~r j 4Â·4Â·44Â¢?A-' 4 - ... . , :Â·rm:Ful VALUES 44â€ž, ' Vi-~Â»'t: â€¢ Â·Â·Â· %-ig~41 ' Traditional cultural significance is t.<. 65 ; '4Â· Â·Lâ€¢'2'/ 'Â· - Â·Â·' - 43 derived from the role a property ..4&* : :-.0Â·,ASS~'rÂ·:Â· - .pÂ·.,e Â·.:Â· Â· Â·Â·Â· :- .~Â·Â· plays in a community's historically ,"/I/,Il/Â£3*%gte.4*.1 L rooted beliefs, customs, and prac- illlll:'11.diri:...g.'~U,&1.:.,~1. 1.. tices. Properties may have sig- --1....Lnill- nificance under Criterion A if they .9~.~~,49 are associated with events, or series of events, significant to the cultural ~ traditions of a community.Â° Eligible kt-Parky,IÂ»=--/ â€¢ A hilltop associated in oral his- torical accounts with founding - of an Indian tribe or society is eligible. 14:4,9. -vâ€¢ *24.10*--- ut:.- &146 :i{PA..4. t- ~ ~*.441.~W~**4 â€¢ A rural community can be 1-'6'.6~:.2-.df 2~-52-f-*4 4 +2*t~...~. eligible whose organization, ~ISA 4-Â«1-*7 ':2*14''al'.24/:f,&:~~~~~'"3$, buildings, or patterns o f land , ..-~UnkÂ©FtÂ·i:.8.43-7-92~;4Â·i.- ' use reflect the cultural tradi- tions valued by its long-term . residents. :211:EN:#5*4.27'W8/JF*-1/.~ja,Swt..96fri.$532..Ci: eit:,3~ -I.,32&jm.i.l.%621'*ts:26Â£/ â€¢ An urban neighborhood can Criter-ion A - The Old Brulay Plantation, Brownsuille vicinity, Cameron County, Texas. be eligible as the traditional Historically significant for its association with the deâ„¢lopment of agriculture in southeast home of a particular cultural Texas, this complex of 10 brick buildings was constructed by George N. Brulay. a French im- group and as a reflection o f its migrant who introduced commercial sugar production and irrigation to the Rio Grande Valley. beliefs and practices. (Photo by Texas i listoricat Commission). Not Eligible â€¢ A site viewed as sacred by a recently established utopian or religious community does not have traditional cultural value and is not eligible. DFor more information, refer :e National Register Bulletin 38: Guidelines for lituluating and Documenting Traditional Cultural Properties. P58 13 CRITERION B: PERSON rties may be eligible for the National Register if they are associated with the lives of persons significant in our past. UNDERSTANDING . /* I. -:-.vw-/9/34(77+IT/* -- 1.... 4=.c? -,6 92 CE,9 4 :*,1 CRITERION B: 4 :-'Er?*e ' /1 / <P:-'...1-:6724~3- PERSON6 /.*aii'Will. . C'lli.#35 '. ,.1-11",313-% .12 Criterion B applies to properties as- sociated with individuals whose A S /ul//16/=3270qwigp-fi . "..f~.7 1 44 0 U~ 1,14 rm ~ fi riA r.l~*~-*:,~ 7- 90 - aM specific contributions to history can 4'i .,>4 *1, 9//,7/9/2 4.- >22 Uj ~ â€ž1" " - be identified and documented. Per- # . 1 .3 jifir .u=N 0. 9.4 21 8 -= sons "significant in our past" refers .24 ./. 2 =Ii 'All U *Â«14.1,49"I to individuals whose activities are ler I ---- 1, . d...9 0 demonstrably important within a 0*.4~2-4 4*-4_Â£64 *47' 4 * local, State, or national historic con- b * 0.*J~ 5. U ~ f. : text. The criterion is generally ?.6 - ~42, .* : f .Z restricted to those properties that il- . lustrate (rather than commemorate) a person's important achievements. : (The policy regarding commemora- .mit! tive properties, birthplaces, and ~ graves is explained further in Part 71: How to Apply the Criteria Con- rations.) eral steps are involved in deter- g whether a property is sig- cant for its associative values Criterion B - The William Whitney House, Hinsdale, DuPage County, Illinois. This build- under Criterion B. First, determine ing is locally significant for its historical association with William Whitney, the founder of the the importance of the individual. town of Hinsdale, Illinois. Whitney, a citizen of New York State, moved to Illinois,established Second, ascertain the length and na- the town, and while living here between 1870 and 1879 was a prominent local businessman and ture of his/her association with the politician. (Photo by Frederick C. Cue). property under study and identify the other properties associated with the individual. Third, consider the property under Criterion B, as out- lined below. Examples of Properties Associated with Persons Properties associated with a significant person: â€¢ The home Of an important merchant or labor leader. â€¢ The studio of a significant artist. â€¢ The business headquarters of an im- portant industrialist. 6For further information on propernes eligible under Criterion B, refer to National Register Bulletin 32: Guidelines for Evaluating and Documenting Properties Associated with Significant Perions. P59 1 A APPLYING ASSOCIATION WITH THE ASSOCIATION WITH PROPERTY GROUPS CRITERION B: PERSON Properties eligible under Criterion For properties associated with B are usually those associated with a several community leaders or with a person's productiue life, reflecting the prominent family, it is necessary to SIGNIFICANCE OF THE time period when he or she achieved identify specific individuals and to INDIVIDUAL significance. In some instances this explain their significant accomplish- may be the person's home; in other ments. The persons associated with the cases, a person's business, office, property must be individually sig- laboratory, or studio may best repre- nificant within a historic context. A sent his or her contribution. Proper- Eligible property is not eligible if its only jus- ties tha t pre- or post-date an â€¢ A residential district in which tification for significance is that it individual's significant accomplish- a large number of prominent was owned or used by a person who ments are usually not eligible. (See or influential merchants, is a member of an identifiable profes- Comparison to Related Properties, professionals, civic leaders, sion, class, or social or ethnic group. below, for exceptions to this rule.) politicians, etc., lived will be It must be shown that the person The individual's association with eligible under Criterion B if the gained importance wi thin his or her the property must be documented by significance of one or more profession or group. accepted methods of historical or ar- specific individual residents is cheological research, including writ- explicitly justified. ten or oral history. Speculative Eligible associations are not acceptable. For â€¢ A building that served asthe â€¢ The residence of a doctor, a archeological sites, well reasoned in- seat of an important family is mayor, or a merchant is ferences drawn from data recovered eligible under Criterion B if the eligible under Criterion B if the at the site are acceptable. significant accomplishments of person was significant in the one or more individual family field of medicine, politics, or COMPARISON TO members is explicitly justi fied. commerce, respectively. RELATED PROPERTIES Not Eligible Not Eligible â€¢ A residential district in which Each property associated with an â€¢ A property is not eligible important individual should be com- a large number of influential under Criterion B ifit is as- pared to other associated properties persons lived is not eligible sociated with an individual to identify those that best represent under Criterion B if the ac- about whom no scholarly the person's historic contributions. complishments of a specific in- judgement can be made be- The best representatives usually are dividua](s) cannot be cause either research has not documented. If the sig- properties associated with the revealed specific information nificance of the district rests in person's adult or productive life. about the person's activities Properties associated with an the cumulative importance of and their impact, or there is in- individual's formative or later years prominent residents, however, sufficient perspective to deter- may also qualify if it can be then the district might still be mine whether those activites or demonstrated that the person's ac- eligible under Criterion A. contributions were historically tivities during this period were his- Eligibility, in this case, would important. torically significant or if no properties be based on the broad pattern of community development, from the person's productive years through which the neighbor- survive. Length of association is an hood evolved into the primary important factor when assessing residential area for this class of several properties with similar as- citizens. sociations. A community or State may contain â€¢ A building that served as the several properties eligible for associa- seat of an important family tions with the same important per- will not be eligible under son, if each represents a different Criterion B if the significant ac- aspect of the person's productive life. complishments of individual A property can also be eligible i f it family members cannot be has brief but consequential associa- documented. In cases where a tions with an important individual. succession of family members (Such associations are often related to has lived in a house and collec- specific events that occurred at the tively has had a demonstrably property and, therefore, it may also significant impact on the com- be eligible under Criterion A.) munity, as a family, the house is more likely to be significant under Criterion A for associa- tion with a pattern of events. P60 15 ASSOCIATION WITH ASSOCIATION WITH NATIVE AMERICAN SITES LIVING PERSONS ARCHITECTS/ARTISANS The known major villages of in- Properties associated with living Architects, artisans, artists, and en- dividual Native Americans who persons are usually not eligible for in- gineers are often represented by their were important during the contact lusion in the National Register. Sub works, which are eligible under period or later can qualify under ficient time must have elapsed to Criterion C. Their homes and Criterion B. As with all Criterion B assess both the person's field o f en- studios, however, can be eligible for properties, the individual associated deavor and his/her contribution to consideration under Criterion B, be- with the property must have made that field. Generally, the person's ac- cause these usually are the properties some specific important contribution tive participation in the endeavor with which they are most personally to history. Examples include sites sig- must be finished for this historic associated. nificantly associated with Chief perspective to emerge. (See Criteria Joseph and Geronimo.7 Considerations C and G in Part VII: How to Apply the Criteria Considera- lions.) 7For more information. refer to National Register Bulletin 38: Guidelines for Evaluating and Documenting Traditional Cultural Properties, 16 P61 CRITERION C: DESIGN/CONSTRUCTION Properties may be eligible for the National Register if they embody the distinctive characteristics of a type, period, or method o f construction, or that represent the work of a master, or that possess high artistic values, or that repre- sent a significant and distinguishable entity whose components may lack individual distinction. - Part IV: How to Define Categories of tioned within the context of a specific 1 Historic Properties. Throughoutthe bulletin, however, districts are men- k subject, such as an individual Â· Criterion. t 5.... + 2 44 1. 0 1 7,1. / 'A' 1 It /1 , . 1.â‚¬ 4, ' -Â· 44.LE<42459 br I. '. ptbAH. 11> P )- 4,1 Â· 9 ri, 114 E .I 9-4 1 /,1 b; *I . LE 3 =04*55 - - bt Â· Richland Plantation, East Feliciana Parish, Louisiana. Properties can qualify under ~ iÂ· Criterion C as examples of high style architecture. Built in the 18305, Richland is a fine ex- ample of a Federal style residence with a Greek Revival style portico. (Photo by Dave Gleason). UNDERSTANDING The first requirement, that proper- 4Â£Â» , 7 -1,5.4 5 ties "embody the distinctive charac- CRITERION C: teristics of a type, period, or method t; / DESIGN/ of construction," refers to the way in C . which a property was conceived, CONSTRUCTION designed, or fabricated by a people Grant Family House, Saco vicinity, York or culture in past periods of history. County, Maine. Properties possessing high "The work of a master" refers to the artistic value meet Critrion C through the ex- This criterion applies to properties technical or aesthetic achievements of pression of aesthetic ideals or preferences. significant for their physical design an architect or craftsman. "High ar- The Grant Family House, a modest Federal or construction, including such ele- sytle residence, is significant for its remarka- tistic values" concerns the expression blv well-Â·preseyÂ·ved stenciled wall decorative ments as architecture, landscape ar- of aesthetic ideals or preferences and treatment in the entry hall and parlor. chitecture, engineering, and artwork. applies to aesthetic achievement. To be eligible under Criterion C, a Painted by an unknown artist ca. 1825, this Resources "that represent a sig- is a fine example of 19th century New property must meet at least one ofthe nificant and distinguishable entity England regional artistic expression. (Photo following requirements: whose components may lack in- by Kirk F. Mohney) â€¢ Embody distinctive charac- dividual distinction" are called "dis- teristics of a type, period, or tricts." In the Criteria for Evaluation method of construction. (as published in the Code of Federal Regulations and reprinted here in Payt â€¢ Represent the work of a master. II), districts are defined within the â€¢ Possess high artistic value. context of Criterion C. Districts, how- ezer. can be considered for eligibility â€¢ Represent a significant and distin- under all the Criteria, ir,dividually or guishable entity whose com- in any combination, as is ap- ponents may lack individual propriate. For this reason, the full distinction. discussion of districts is contained in P62 17 Distinctive Characteristics: "Dis- Type, Period, And Method of Examples of Properties Associated tinctive characteristics" are the physi- Construction: "Type, period, or with Design/Construction cal features or traits that commonly method of construction" refers to the Properties associated with design and recur in individual types, periods, or way certain properties are related to nstruction: methods of construction. To be one another by cultural tradition or A house or commercial building eligible, a property must clearly con- function, by dates of construction or tain enough of those characteristics style, or by choice or availability of representing a significant style of to be considered a true representative materials and technology. architecture. o f a particular type, period, or A structure is eligible as a specimen â€¢ A designed park or garden as- method of construction. of its type or period of construction if sociated with a particular Characteristics can be expressed in it is an important example (within its landscape design philosophy. terms such as form, proportion, struc- context) of building practices of a par- â€¢ A movie theater embodying high ture, plan, style, or materials. They ticular time in history. For properties artistic value in its decorative fea_ can be general, referring to ideas of that represent the variation, evolu- tures. design and construction such as basic tion, or transition of construction plan or form, or they can be specific, types, it must be demonstrated that â€¢ A bridge or dam representing referring to precise ways of combin- the variation, etc., was an important technological advances. ing particular kinds of materials. phase of the architectural develop- ment of the area or community in that it had an impact as evidenced by APPLYING Eligible later buildings. A property is not CRITERION C: â€¢ A building eligible under the eligible, however, simply because it DESIGN/ theme of Gothic Revival ar- has been identified as the only such chitecture must have the distinc- property ever fabricated; it must be CONSTRUCTION tive characteristics that make demonstrated to be signi ficant as well. up the vertical and picturesque qualities of the style, such as DISTINCTIVE pointed gables, steep roof pitch, Eligible CHARACTERISTICS OF board and batten siding, and or- TYPES, PERIODS, AND namental bargeboard and â€¢ A building that has some char- METHODS OF veranda trim. acteristics of the Romanesque Revival style and some charac- CONSTRUCTION â€¢ A late Mississippian village that teristics of the Commercial illustrates the important con- style can quali fy if it illustrates his is the portion of Criterion C cepts in prehistoric community er which most properties are the transition of architectural design and planning will design and the transition itself ble, for it encompasses all ar- qualify. is considered an important ar- c..itectural styles and construction practices. To be eligible under this . A designed historic landscape chitectural development. portion of the Criterion, a property will qualify if it reflects a â€¢ A Hopewellian mound, if it is must clearly illustrate, through "dis- historic trend or school of an important example of tinctive characteristics," the follow- theory and practice, such as the mound building construction ing: City Beautiful Movement, techniques, would qualify as a evidencingdistinguished method or type of construction. â€¢ The pattern of features common design, layout, and the work o f to a particular class of resources, skilled craftsmanship. â€¢ A building which illustrates â€¢ The individuality or variation of the early or the developing Not Eligible features that occurs within the technology of particular struc- class, â€¢ A commercial building with tural systems, such as skeletal some Art Deco detailing is not steel framing, is eligible as an â€¢ The evolution of that class, or eligible under Criterion C if the example of a particular â€¢ The transition between classes of detailing was added merely as method of construction. resources. an afterthought, rather than fully integrated with overall lines and massing typical of the Art Deco style or the transition between that and another style. â€¢ A designed landscape that has had major changes to its his- toric design, vegetation, original boundry, topog- raphy/grading, architectural features, and circulation system will not qualify. P63 18 . 0 . HISTORIC ADAPTATION OFTHEORIGINAL PROPERTY A property can be signi ficant not only for the way it was originally con- structed or crafted, but also for the 9 -- - Â· -4,=-2. .ite wav it was adapted ata later period, . 1 11 11 -P.'j. or for the way it illustrates changing " 11.111911: 1< , 1 DIA,11:+ % D - *42-27-Yfug.Â·of-37 tastes, attitudes, and uses over a pe- 1. I .1 :1Â·11 111Â· f..7. Mod of time. A district is eligible under this s Wips: P-4 941', 1 '41;41~ . 1, ''1.11 " 49.-41'< 2 43/ ...1%18:4 guideline if it illustrates the evolution ... ,â€ž .4.v of historic character of a place over a 1.11 ~4 4~ 1 Darticular span of time. E 24, . - . I ..1. It .i : 0 4 -2411 C Eligible â€¢ A Native American irrigation '244/.4 r 1 system modified for use by Eu- ''+ 1 !)1 ~ - ropeans could be eligible if it i]- 4, 1, --4Â¥ L.ir-, -/ -rt~t , , .4 - 1, lustrates the technology of either or both periods of con- struction. â€¢ An early 19th century farm- house modified in the 188()s Sit}an Falls Dam and Poiwer Plant, Alurphy vicinity, Ada County, idaho. Signi.ficant works with Queen Anne style orna- of criginccring can qualify under Criterion C. Built between 1900-1907 the Swan Falls Dam nientation could be significant and Power Plant across the Snake River 14 one of the calÂ·ly hydroelectric plants in ihc State of Idaho. (Photo by 1-1.L. Hough). for the modification itself, if it represented a local variation or significant trend in building construction or remodelling, was the work of a local master (se Works of a Master below), or refiecled the tastes of an ini- portant person associated with - ==-,-1--2- ~--r-71--.--2#--32--12LZEE=-6-3--4-2-5-aft+L.--=-- Â· the property at the time of its alteration. â€¢ A district enconipassing the commercial development of a imill"/Ill# fi"14&"Wilililill//Illill"limil/REA<Al/ZE,R2 #---12/MI"..1/'258 town between 1820 and 1910, characterized by buildings of various st>des and cras, ca n be - eligible. 4 2 lit - .,1 22-V- ..2 1.:a ..6.1- LZIT=26*AA. ' ..1 -L:=D, .1.- \ - 6 I --- W..â€¢9Â£234>. -4- =tâ€¢11Â·Â·Â·I:- -:b--42.WÂ·-2~1.*61...8Â£ Looney House, Ashuille vicinity, 5:. Clair County, Alabama. Examples of vernacular slyk.s of architecture can qualify under C?Â·1107'lor C. Built ca. 1818, the Looney House is significant as possibly the State' s c Ldes: extant two-story dogtiot type of dwelling. The defining open centcy passage of the dogtrot was a regional building response to :he southeiÂ·n climate. (Photo by Carolyn Scott). P64 19 WORKS OF A MASTER PROPERTIES POSSESSING A Significant and Distinguishable HIGH ARTISTIC VALUES Entity Whose Components May A master is a figure of generally Lack Individual Distinction. This recognized greatness in a field, a portion of Criterion C refers to dis- High artistic values may be ex- known craftsman of consummate pressed in many ways, including tricts. For detailed information on ill, or an anonymous craftsman areas as diverse as community districts turn to pages 5-6. hose work is distinguishable from design or planning, engineering, and others by its characteristic style and sculpture. A property is eligible for quality. The property must express a its high artistic values if it so fully ar- particular phase in the development of the master's career, an aspect of ticulates a particular concept of design that it expresses an aesthetic his or her work, or a particular idea ideal. A property is not eligible, how- or theme in his or her craft. ever, if it does not express aesthetic A property is not eligible as the ideals or design concepts more fully work of a master, however, simply than other properties of its type. because it was designed by a prominent architect. For example, not every building designed by Eligible Frank Lloyd Wright is eligible under this portion of Criterion C, although â€¢ A sculpture in a town square that epitomizes the design prin- it might meet other portions of the ciples of the Art Deco style is Criterion, for instance as a repre- eligible. sentative of the Prairie style. The work of an unidentified â€¢ A building that is a classic ex- craftsman is eligible if it rises above pression of the design theories the level of workmanship of the of the Craftsman Style, such as other properties encompassed by the carefully detailed handwork, is historic context. eligible. â€¢ A landscaped park that syn- thesizes early 20th century principles of landscape ar- chitecture and expresses an aes- thetic ideal of environment can be eligible. â€¢ Properties that are important representatives of the aesthetic values of a cultural group, such as petroglyphs and ground drawings by Native Americans, are eligible. Not Eligible â€¢ A sculpture in a town square that is a typical example of sculpture design during its period would not qualify for high artistic value, although it might be eligible if it were sig- nificant for other reasons. â€¢ A building that is a modest ex- ample (within its historic con- text) of the Craftsman Style of architecture, or a landscaped park that is characteristic of turn-of-the-century landscape design would not qualify for high artistic value. P65 20 INTEGRITY ASSESSMENT- 19 TII CENTURY MINER'S COTTAGE Integrity is the ability o.fa property to convey its significance. â€¢ LOCATION Location is the place ilihere the historic property 11'CLY constructed or the place where the historic event occurred. 5- The structure is iii its original location. 4- The structure has been moved within the original site but still maintains the original alignment and proximity to the street. 3- The structure has been moved to another site, still within the historic Aspen townsite. 0- The structure has been moved to a location which is dissimilar to the original site. TOTAL POINTS (maximum of 5) = â€¢ 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 forni. based on Sanborne maps or other authenticating documentation, is unaltered and there are no recent additions. 8- The structure has been expanded but the original plan form is intact and the addition(s) would meet the design guidelines. 6- The plan form has been more altered. but the addition would meet the design guidelines. 4- The structure has been expanded in a less desirable manner. but if the addition were removed. at least 50% of the buildings original walls would remain. 2- The structure has beeiI expanded and the addition overwhelms the original structure, destroying more than 50% of the building's original walls. 0- Two historic structures have been linked together and the original character of the individual structures is significantly affected. ROOF FORM 10- The original roof form and the original porch roof. if one existed, are unaltered. 8- The original main roof is intact but the porch roof. if one existed, has been altered. 6- Dormers have been added to the structure or additions have been made that alter the roof form, but the changes would meet the design guidelines. 1 P66 2- Alterations to the roof have been made in a less sensitive manner, not in conformance with the design guidelines. 0- Less than 50% of the original roof form remains. SCALE 5- The original one story scale of the building, and its character as a small cottage is intact. 4- The building has been expanded, but the ability to perceive the original size of the 3 or 4 room home, is preserved. 3 - The building has been expanded and the scale o f the original portion is discernible. 0- The scale of the building has been negatively affected by a large addition, whose features do not reflect the scale or proportions of the historic structure. FRONT PORCH 10- The front porch is not enclosed and original decorative woodwork remains, or if there was no porch historically, none has been added. 8- The front porch is enclosed but maintains an open character and some original materials. 6- The front porch is not original, but has been built in an accurate manner, per the design guidelines. 2- The front porch has been enclosed and most original materials are gone. 0- The front porch is completely gone or replaced with a porch which would not meet the design guidelines. DOORS AND WINDOWS 10- The typical door and window pattern on the original house is intact- two doors off the front porch, large double hung windows in gable ends, and tall, narrow double hung windows placed "sparsely" on building walls. 8- Less than 50% of the door and window openings on the original building are new and the original door and window openings are intact. 2- More than 50% of the door and window openings on the original building are new and/or some of the original opening sizes have been altered. 0- Most or all of the original door and window openings have been altered. SIMPLICITY OF DESIGN 5- The overall sense of "modesty" in design and detailing on the original structure is intact. 0- New, non-historic trim and other decoration have been added to the building and have altered its character. TOTAL POINTS (maximum of 50) = 2 P67 â€¢ SETTING Setting is the physical environment Of a historic property. PROXIMITY TO SIMILAR STRUCTURES 5- The structure is one of a set (at least three) of buildings from the same period in the immediate area. 3- The building is part of a neighborhood that has numerous remaining buildings from the same period. 0- The building is an isolated example from the period. HISTORIC LANDSCAPE FEATURES 5- A number of elements of the original landscape are in place, including historic fences, walkways, plant materials and trees, and ditches. 3 - Few or no elements o f the original landscape are present, but the current landscape supports the historic character of the home. 0- The current landscape significantly obscures views of the structure. TOTAL POINTS (maximum of 10) = â€¢ 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 WOODWORK 10- Most of the original woodwork, including clapboard siding, decorative shingles in gable ends, trim, fascia boards, etc. remain. 6- Original siding has been replaced, but trim and other elements remain. 6- Original siding is intact but trim or other elements have been replaced. 0- All exterior materials have been removed and replaced. DOORS AND WINDOWS 10- All or most of the original door and window units are intact. 8- Some window and door units have been replaced, but with generally accurate reconstructions of the originals. 6- Most of the original windows have been replaced, but with generally accurate reconstructions of the originals. 0- Windows and/or doors units have been replaced with inappropriate patterns or styles. TOTAL POINTS (maximum of 20) = P68 Crl â€¢ WORKMANSHIP Workmanship is the physical evidence of the crafts of a particular culture or people during any given period in history or prehistory. DETAILING AND ORNAMENTATION 5- The original detailing is intact. 3- Detailing is discernible such that it contributes to an understanding of its stylistic category. 0- Â· New detailing has been added that confuses the character of the original structure. 0- The detailing is gone. FINISHES 5- All exterior woodwork is painted and masonry unpainted. 4- All exterior woodwork is painted and masonry is painted. 3- Wood surfaces are stained or modern in appearance but masonry is unpainted. 2- Wood surfaces are- stained or modern in appearance and the masonry is painted. TOTAL POINTS (maximum of 10) = â€¢ ASSOCIATION Association is the direct link between an important historic event or person and a historic property. 5- The property would be generally recognizable to a person who lived in Aspen in the 19th century. TOTAL POINTS (maximum of 5) = â€¢ BONUS POINTS UNIQUE EXAMPLE 5-The design of the building is unique or one of a small group among the miner's cottages. (i.e.It has Italianate or Second Empire detailing.) OUTBUILDINGS 5 -There are outbuildings on the property that were built during the same period as the house. MASONRY 5-Original brick chimneys and/or a stone foundation remains. PATINA/CHARACTER 5-The materials have been allowed to acquire the character of age and are obviously weathered. 4 P69 MAXIMUM NUMBER OF POINTS= 100 (and up to 20 bonus points) MINIMUM THRESHOLD FOR DESIGNATION= 50 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 renect the specific property. 5 P70 INTEGRITY ASSESSMENT- 19TH CENTURY HIGH STYLE RESIDENCE Integrity is the ability Of a property to convey its significance. â€¢ 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. 4- The structure has been moved within the original site but still maintains the original alignment and proximity to the street. 3 - The structure has been moved to another site, still within the historic Aspen townsite. 0- The structure has been moved to a location which is dissimilar to the original site. TOTAL POINTS (maximum of 5) = â€¢ 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 Sanborne maps or other authenticating documentation, is unaltered and there are no recent additions. 8- The structure has been expanded but the original plan form is intact and the addition(s) would meet the design guidelines. 6- The plan form has been more altered, but the addition would meet the design guidelines. 4- The structure has been expanded in a less desirable manner, but if the addition were removed, at least 50% of the building's original walls would remain. 2- The structure has been expanded and the addition overwhelms the original structure and has destroyed more than 50% of the building's original walls. 0- Two historic structures * have been linked together and the original character of the individual structures is significantly affected. ROOF FORM 10- The original roof form and the original porch roof, if one existed, are unaltered. 8- The original main roof is intact, but the porch roof, if one existed, has been altered. 6- Dormers have been added to the structure or additions have been made that alter roof form, but the changes would meet the design guidelines. 1 P71 2- Alterations to the roof have been made in a less sensitive manner, not in conformance with the design guidelines. 0- Less than 50% ofthe original roof form remains. SCALE 57-TRI original scale and proportions of the building are intact. 4- The building has been expanded, but the overall impression of it as a l 1/2 or 2 story structure, with a relatively small footprint, is retained. 3- The building has been expanded and the scale of the original portion is discernible. 0- The scale of the building has been negatively affected by a large addition, whose features do not reflect the scale or proportions of the historic structure. FRONT PORCH 10- The front porch is not enclosed and original decorative woodwork remains, or ifthere was no porch historically, none has been added. 8- The front porch is enclosed but maintains an open character and some original materials. 6- The front porch is not original, but has been built in an accurate manner, per the design guidelines. 2- The front porch has been enclosed and most original materials are gone. 0- The front porch is completely gone or replaced with a porch which would not meet the design guidelines. DOORS AND WINDOWS 10- The original door and window pattern is intact. 8- Less than 50% of the doors and windows are new and the original openings are intact. 2- More than 50% of the doors or windows have been added and/or some of the original opening sizes have been altered. 0- Most or all of the original door and window openings have been altered. COMPLEXITY OF DESIGN 5- The overall sense of "elegance" and intricacy in design and detailing is intact. 0- Detailing has been removed and the building has a "plain" appearance. TOTAL POINTS (maximum of 50)= 2 P72 â€¢ SETTING Setting is the physical environment of a historic property. PROXIMITY TO SIMILAR STRUCTURES 5- The structure is one of a set (at least three) of buildings from the same period in the immediate area. 3 - The building is part o f a neighborhood that has numerous remaining buildings from the same period. 0- The building is an isolated example from the period. HISTORIC LANDSCAPE FEATURES 5- A number of elements of the original landscape are in place, including historic fences, walkways, plant materials and trees, and ditches. 3- Few or no elements of the original landscape are present, but the current landscape supports the historic character of the home. 0- The current landscape significantly obscures views of the structure. TOTAL POINTS (maximum of 10) = â€¢ 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 WOODWORK 10- Most of the original woodwork, including siding, decorative shingles, trim, fascia boards, etc. remain. 6- Original siding has been replaced, but trim and other elements remain. 6- Original siding is intact but trim or other elements have been replaced. 0- All exterior materials have been removed and replaced. DOORS AND WINDOWS 10- All or most of the original door and window units are intact. 8- Some window and door units have been replaced, but with generally accurate reconstructions of the originals. 6- Most of the original windows have been replaced, but with generally accurate reconstructions of the originals. 0- Windows and/or doors units have been replaced with inappropriate patterns or styles. TOTAL POINTS (maximum of 20) = 3 P73 â€¢ WORKMANSHIP Workmanship is the physical evidence of the crafts of a particular culture or people during any given period in history or prehistory DETAILING AND ORNAMENTATION 5- The original detailing is intact. 3- Detailing is discernable such that it contributes to an understanding of its stylistic category. 0- New detailing has been added that confuses the character of the original house or the original detailing is gone. 0- The detailing is gone. , FINISHES 5- All exterior woodwork is painted and masonry unpainted. 4- All exterior woodwork is painted and masonry is painted. 3- Wood surfaces are stained or modern in appearance but masonry is unpainted. 2- Wood surfaces are stained or modern in appearance and the masonry is painted. TOTAL POINTS (maximum of 10) = â€¢ ASSOCIATION Association is the direct link between an important historic event or person and a historic property. 5- The property would be generally recognizable to a person who lived in Aspen in the 19th century. TOTAL POINTS (maximum of 5) = â€¢ BONUS POINTS UNIQUE EXAMPLE 5- The style of the building is unique or one of a small group among the19th century high style homes left in Aspen. (i.e. It is Second Empire, Dutch Revival, or another unusual style.) MASONRY 5- Original brick chimneys and/or stone foundation remains. 5- The structure's primary wall material is masonry. OUTBUILDINGS 5-There are outbuildings on the property that were built during the same period as the house. 4 P74 PATINA/CHARACTER 5- The materials have been allowed to acquire the character of age and are obviously weathered. MAXIMUM NUMBER OF POINTS= 100 (and up to 20 bonus points) MINIMUM THRESHOLD FOR DESIGNATION= 50 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. 5 P75 INTEGRITY ASSESSMENT- 19 TH CENTURY COMMERCIAL Integrity is the ability of a property to convey its significance. â€¢ LOCATION Location is the place where the historic property was constructed or the place where the historic event occurred. 10- The structure is in its original location. 8- The structure has been moved within the original site but still maintains the original alignment and proximity to the street. 5- The structure has been moved to another site, still within the historic Aspen townsite. 0- The structure has been moved to a location which is dissimilar to the original site. TOTAL POINTS (maximum of 10) = â€¢ 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 Sanborne maps or other authenticating documentation, is unaltered and there are no recent additions. 8- The structure has been expanded but the original plan form is intact and the addition(s) would meet the design guidelines. 6- The structure has been expanded in a less desirable manner, but the character of the form of the building from the streetview has been preserved. 0- The structure has been expanded to the detriment of the streetscape elevation. ROOF FORM/CORNICE LINE 10- The original roof form and decorative cornice are unaltered. There is no rooftop addition. 8- The roof form has been altered by a rooftop addition, but the addition would meet the design guidelines. 2- The rooftop addition conflicts with the characteristic roof form of the building. SCALE 37[lie-Briginal scale and proportions of the building are intact. 3- The building has been expanded, but the ability to perceive the original size of the structure is preserved. 1 P76 0- The scale of the building has been negatively affected by a large addition, whose features do not reflect the scale or proportions of the historic structure. STOREFRONT 10- The original storefront and associated features (recessed entry, kickplates, transom windows, etc.) remains. 5- The storefront has been altered, but some original materials remain. 5- The storefront has been accurately reconstructed. 0- The original storefront is completely gone or an inappropriate new storefront has been installed. DOORS AND WINDOWS 10- The original door and window pattern is intact. 8- Less than 50% of the doors and windows are new and the original openings are intact. 4- More than 50% of the doors or windows have been added and/or some of the original opening sizes have been altered. 0- Most or all of the original door and window openings have been altered. TOTAL POINTS (maximum of 45)= â€¢ SETTING Setting is the physical environment of a historic property. PROXIMITY TO SIMILAR STRUCTURES 5- The structure is one of a set (at least three) of buildings from the same period in the immediate area. 3- The building is part of a neighborhood that has numerous remaining buildings from the same period. 0- The building is an isolated example from the period. PATTERNS AMONG SURROUNDING BUILDINGS 5- The building helps to create a continuous pattern of elements with adjacent buildings by aligning or repeating window patterns, cornicelines, etc. TOTAL POINTS (maximum of 10) = 2 P77 â€¢ 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 10- The original primary wall materials remain. 5- The original primary wall materials, if the building is masonry, have been sandblasted. 0- Less than 50% of the original primary wall materials remain. EXTERIOR WOODWORK 5- Most of the original woodwork, including siding, trim, fascia boards, etc. remain. 4- Original siding has been replaced, but trim and other elements remain. 3- Original siding is intact but trim or other elements have been replaced. 0- All exterior woodwork has been removed and replaced. DOORS AND WINDOWS 5- All or most of the original door and window units are intact. 4- Some window and door units have been replaced but with generally accurate reconstructions of the originals. 3- Most of the original windows have been replaced and/or new windows have been added. 0- Windows and/or doors units have been replaced with inappropriate patterns or styles. TOTAL POINTS (maximum of 20) = â€¢ WORKMANSHIP Workmanship is the physical evidence Of the crafts Of a particular culture or people during any given period in history or prehistory. DETAILING AND ORNAMENTATION 5- Original detailing is intact. 3- Detailing is discernable such that it contributes to the understanding of its stylistic category. 0- New detailing has been added that confuse the character of the original building. 0- The detailing is gone. FINISHES 5- All exterior woodwork is painted and masonry unpainted. 4- All exterior woodwork is painted and masonry is painted. 3- Wood surfaces are stained or modern in appearance but masonry is unpainted. 3- Masonry is painted. 3 P78 TOTAL POINTS (maximum of 10) = â€¢ ASSOCIATION Association is the direct link between an important historic event or person and a historic property. 5- The property would be generally recognizable to a person who lived in Aspen in the 19th century. TOTAL POINTS (maximum of 5) = â€¢ BONUS POINTS -UNIQUE EXAMPLE 5- The design of the building is unique or one of a small group among the 19th century commercial buildings (i.e.It is false front or has Italianate or Second Empire detailing.) PATINA/CHARACTER 5- The materials have been allowed to acquire the character of age and are obviously weathered. MAXIMUM NUMBER OF POINTS= 100 (and up to 10 bonus points) MINIMUM THRESHOLD FOR DESIGNATION= 50 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. 4 P79 INTEGRITY ASSESSMENT- CHALET Integrity is the ability of a property to convey its significance. â€¢ 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 dissimilar to its original site. TOTAL POINTS (maximum of 5) â€¢ 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. ROOFFORM 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. 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. DOORS AND WINDOWS 10- The original door and window pattern are intact. 8- Some of the doors and windows are new but the original openings are intact. P80 4- More than 50% ofthe doors or windows have been added and/or the original opening sizes have been altered. 0- Most of the original door and window openings have been altered. EXTERIOR BALCONIES AND WALKWAYS 5- The exterior balconies, walkways and their decorative form are intact. 3- The exterior balconies and walkways have been enclosed but maintain an open character and some original materials. 1- The exterior balconies and walkways have been enclosed or most original materials are gone. 0- Original exterior balconies and walkways are gone. CHARACTER-DEFINING FEATURES 5- The fbrm and features that define the Chalet style are intact. 3 - There are minor alterations to the form and features that define the Chalet style. 1- There have been major alterations to the form and features that define the Chalet style. TOTAL POINTS (maximum of 45) = â€¢ SETTING Setting is the physical environment Of a historic property. 5 - The physical surroundings are similar to that found when the structure was originally constructed. 3-There are minor modifications to the physical surroundings. 0- The physical surroundings detract from the historic character ofthe building. TOTAL POINTS (maximum of 5) = â€¢ 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 the decorative trim materials are intact 10- There have been minor changes to the original combination of exterior wall materials and the decorative trim materials, but the changes have been made in a manner that conforms with the design guidelines. 5- There have been major changes to the original combination of exterior wall materials and the decorative trim materials. 0- All exterior materials have been removed or replaced. P81 DOORS AND WINDOWS 10-All or most of the original doors and windows units are 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. TOTAL POINTS (maximum of 25) = â€¢ WORKMANSHIP Workmanship is the physical evidence Of the crafts of a particular culture or people during any given period in history or prehistory. DETAILING AND ORNAMENTATION 15- Original detailing and ornamentation is intact 10- There have been some alterations or loss ofthe original detailing and alteration. 5-Some detailing is discernible such that it contributes to its understanding its stylistic category FINISHES & COLOR SCHEME 5- '1'he finishes and color scheme that define the Chalet style are intact 3- There have been minor alterations to the finishes and color scheme that define the Chalet style. 2- There have been substantial alterations to the finishes and color scheme that define the Chalet style. TOTAL POINTS (maximum of 20) 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. P82 INTEGRITY ASSESSMENT- WRIGHTIAN Integrity is the ability of a property to convey its significance. â€¢ 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 dissimilar to its original site. TOTAL POINTS (maximum of 5) â€¢ 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. ROOFFORM 10 -The original roof form is unaltered. 6 - Additions have been made that alter roof form that would meet the current design guidelines. The overall horizontal emphasis and wide overhangs have been maintained. 0 - Alterations to the roof have been made that obscure its original form or that detract from its horizontal emphasis. 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. SOLID/VOID 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. P83 0- The original pattern of glazing and exterior materials is altered. CHARACTER-DEFINING FEATURES 10-The horizontal form, relationship to the environment through battered foundation walls, cantilevered floors and/or porches, clear areas of glazing which create visual connections to the outside and the inside, and the effect of the roof plane hovering over the ground are intact. 6 -There are minor alterations to the horizontal form, relationship to the environment through battered foundation walls, cantilevered floors and/or porches, clear areas of glazing which create visual connections to the outside and the inside, and the effect o f the roof plane hovering over the ground. 0 - There have been maj or alterations to the horizontal form and design features that relate the building to its environment. TOTAL POINTS (maximum of 45) = â€¢ SETTING Setting is the physical environment of a historic property. 5- The physical surroundings are similar 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 character of the building. TOTAL POINTS (maximum of 5) = â€¢ 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. 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. DOORS AND WINDOWS 10- All or most of the original door and window units are intact. 5 - Some of the original door and window units have been replaced but the new units would meet the design guidelines. P84 '.* 0 - Most of the original door and window units have been replaced with units that would not meet design guidelines. TOTAL POINTS (maximum of 25) == â€¢ WORKMANSHIP Workmanship is the physical evidence of the crafs of a particular culture or people during any given period in history or prehistory. COMPOSITION 15 - 'Ihe structural compositionÂ·that distinguishes the stylistic category of Wrightian is intact. Materials are 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 toward heavy timber or post and beam than typical stud framing. Structural members and construction methods are 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. 10- There have been some alterations to the structural composition, but the changes would meet the design guidelines. 0 - There have been some alterations to the structural composition, and the changes would not meet the design guidelines. FINISHES & COLOR SCHEME 5 - The natural color scheme and finishes that define the stylistic category of Wrightian is intact. 3 - There have been minor alterations to the natural color scheme and finishes that define the stylistic category of Wrightian. 0- There have been significant alterations to the natural color scheme and finishes that define the stylistic category of Wrightian. TOTAL POINTS (maximum of 20) 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. P85 INTEGRITY ASSESSMENT- MODERNIST Integrity is the ability of a property to convey its significance. â€¢ 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 dissimilar to its original site. TOTAL POINTS (maximum of 5) â€¢ DESIGN Design is the combination of elements that create the form, plan, space, structure, and style of a property. i 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. 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. SCALE 3--Iiâ‚¬ 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. SOLID/VOID 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. P86 CHARACTER-DEFINING FEATURES 10 - The horizontal or geometric form, minimalist detailing and features that relate the building to its environment are intact. 6 - There are minor alterations to the horizontal or geometric form, minimalist detailing and features that relate the building to its environment. 0 - There have been maj or alterations to the horizontal or geometric form, minimalist detailing and features that relate the building to its environment. TOTAL POINTS (maximum of 45) = â€¢ SETTING Setting is the physical environment of a historic property. 5- The physical surroundings are similar 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 character of the building. TOTAL POINTS (maximum of 5) = . 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. 5- There have been maj or changes to the original combination of exterior wall materials and glazing. 0- All exterior wall materials and glazing has been replaced. DOORS AND WINDOWS 10- All or most of the original door and window units are 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. TOTAL POINTS (maximum of 25) = P87 â€¢ WORKMANSHIP Workmanship is the physical evidence of the crafts ofa particular culture or people during any given period in history or prehistory. COMPOSITION 15-The structural composition that distinguishes the stylistic category of Modemism is intact. Detailing is reduced to composition of elements instead of decorative effects. No decorative elements are used. Design is focused on rationality, reduction, and composition. It is meant to separate itself from style and sentimentality. Materials are generally manufactured and standardized. The "hand" is removed from the visual outcome of construction. Surfaces are 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 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 Modernism. 0- There have been significant alterations to the neutral or monochromatic color scheme and finishes that define the stylistic category of Modernism. TOTAL POINTS (maximum of 20) 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. P88 INTEGRITY ASSESSMENT- RUSTIC Integrity is the ability of a property to convey its significance. â€¢ 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 dissimilar to its original site. TOTAL POINTS (maximum of 5) â€¢ 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. 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. SCALE 5 - The original scale and proportions o f 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. DOORS AND WINDOWS 10- The original door and window pattern are intact. 8- Some of the doors and windows are new but the original openings are intact. P89 4- More than 50% of the doors or windows have been added and/or the original opening sizes have been altered. 0- Most of the original door and window openings have been altered. CHARACTER-DEFINING FEATURES/SPARE QUALITY OF THE DESIGN 10-'1 he form and features that define the Rustic style are intact. There is an overall sense of simplicity. Window and door openings and decorative features are spare. 5- There are minor alterations to the form and features that define the Rustic style. 0- There have been major alterations to the form and features that define the Rustic style. TOTAL POINTS (maximum of 45) = â€¢ SETTING Setting is the physical environment Of a historic property. 5- The physical surroundings are similar to that found when the structure was originally constructed. 3-There are minor modifications to the physical surroundings. 0- The physical surroundings detract from the historic character of the building. TOTAL POINTS (maximum of 5) = â€¢ 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-'1'he original exterior wall materials (log, wood siding, and stone) and the decorative trim materials are intact 10- There have been minor changes to the original combination of exterior wall materials and the decorative trim materials, but the changes have been made in a manner that conforms with the design guidelines. 5 - There have been maj or changes to the original combination o f exterior wall materials and the decorative trim materials. 0- All exterior materials have been removed or replaced. DOORS AND WINDOWS 10-All or most of the original doors and windows units are intact. 5- Some of the original door and window units have been replaced but the new units would meet the design guidelines. P90 0- Most ofthe original door and window units have been replaced with units that would not meet design guidelines. TOTAL POINTS (maximum of 25) = . WORKMANSHIP Workmanship is the physical evidence Of the crafts of a particular culture or people during any given period in history or prehistory. DETAILING AND ORNAMENTATION/HAND-BUILT CHARACTER OR IMITATION OF HAND-BUILT CHARACTER 15- The original detailing is intact. The building is built from locally available materials and exhibits evidence of handwork, or is attempting to do so if mass produced. 10- There have been some alterations of loss of the original detailing or handwork character. 5- Detailing is discernible such that it contributes to an understanding of its stylistic category. 0- New detailing has been added that confuses the character of the original structure. 0- The detailing is gone. FINISHES & COLOR SCHEME 5 - The natural finishes and color scheme that define the Rustic style are intact 3 - There have been minor alterations to the natural finishes and color scheme that define the Rustic style. 2- There have been substantial alterations to the natural finishes and color scheme that define the Rustic style. TOTAL POINTS (maximum of 20) 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. P91