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Home My WebLink Aboutagenda.hpc.19910925 *2.4 3 - AGENDA HISTORIC PRESERVATION COMMITTEE September 25, 1991 REGULAR MEETING SECOND FLOOR MEETING ROOM 5:00 I. Roll call and approval of tember 11, 1991 minutes. Cft't-Â» &0 - II. Committee Member & Staff Comments A. HPC Application Feesl~-181Â©1 - III. OLD BUSINESS 5:10 A. Vested Rights, Reso. #11 - 620 W. Hallam Public Hearing 66 K)-120/Lc IV. NEW BUSINESS A. NONE r,1 â‚¬ c o , +~j OU 31 Ju , c Q _ Lit ) , rl ZQOiÂ«3 = 5:20 V. COMMUNICATIONS A. Worksession: Recommended topics and schedule for HPC worksessions/technical training B. Project Monitoring: - Project and subcommittee assignments attached 6:00 VII. ADJOURN 1/ MEMORANDUM To: Aspen Historic Preservation Committee From: Roxanne Eflin, Historic Preservation Officer Re: Vested Rights Resolution 011, Series of 1991: 620 W. Hallam, Public Hearing Date: September 25, 1991 APPLICANT: David and Marie Zimman SUMMARY: Attached is the Resolution granting Vested Rights for the Final Development approval for 620 W. Hallam, which the HPC recently granted. Vested rights approval for three years is allowed by Colorado State Statute; it protects site-specific development plans from changes in land use regulations (prior to issuance of a building permit) that might otherwise impact the proposed project. RECOMMENDATION: The Planning Office recommends that the HPC approve Resolution #11, Series of 1991, granting Vested Rights approval for three years for the site specific development plan with conditions, located at 620 W. Hallam. memo.hpc.620wh.vr MEMORANDUM To: Aspen HPC From: Roxanne Eflin, HPO Re: Topics and recommended schedule for future worksessions Date: September 25, 1991 Introduction: Per your request at the last HPC meeting, I have listed a number of topics for your consideration to discuss and debate at future worksessions. This is the opportunity te take advantage of this slow time in case load, and hold those brainstorm sessions to reach consensus on some issues and perhaps develop policy on others. Current projects: You are involved with the following preservation planning projects, that need to come to a close: Inventory update Historic Property owners computerized mailing list Revised HP Element of the Aspen Area Community Plan Our CLG grant for FY '91-92 is for two projects/products: a) One day HP technical training session (here) with Nore Winter, Winter and Company b) Ski museum planning assistance - a pass through grant to the Aspen Historical Society - requiring staff's direct involvement ----------------------------------------------------------------- Recommend Worksession Topics: Review Authority: Code amendments, revise development standards Expanded review/approval authority over entire inventory Streamlined review - revised application forms CC/HPC joint worksession Proof of financing requirements Design: Review/revise/add to Guidelines Material preservation / application of new materials Allowable FAR vs. appropriate mass, scale (additions) PZ/HPC worksession: design standards for GMQS Technical Training: Commitment to attend conferences, seminars Areas training needed in most (i.e. reading plans) CC/PZ/HPC joint session with HPC presenting issues Heritage Education: Role of the HPC in community awareness School programs Sponsored events: Preservation Week, conferences More PR, more press (articles written by members, brochures reprinted, greeting cards, etc.) Closer working relationship with AHS, Board liaison Long Range Planning: Aspen Area Community Plan CC Historic District / mall expansion Trolleys? Cross-town shuttle? Transportation? Entrances into town CLG grant projects General philosophic issues: What should the focus be? Preservation only? New design? Hold a much stronger line with historic? More emphasis on the historic, less on the new? What really makes an addition compatible? Modern architecture within our community? Are relocations acceptable? HP Program profile in community: keep same, enhance, decrease? The endangered "miner' s cottage": have we gone too far with "partial demolition" and additions? MORE incentives? Additional topics: RECOMMENDED SCHEDULE: Three hours, twice a month, is the minimum time we should be spending together, discussing these issues and training ourselves on how to do our jobs better. I recommend that we schedule every regular meeting through the end of the year to 8:00 p.m., get business out of the way first, them immediately roll into a worksession. That gives you six more meetings this year. You should prioritize the issues, and I Will schedule them accordingly. Please let me know what materials you need to make the most of these worksessions. memo.hpc.worksession.topics RESOLUTION NO. 11 (Series of 1991) - A RESOLUTION OF THE ASPEN HISTORIC PRESERVATION COMMITTEE VESTING THE SITE SPECIFIC FINAL DEVELOPMENT PLAN FOR 620 WEST HALLAM STREET WHEREAS, David Zimman and Marie Zimman have submitted Final Development plans to the Aspen Historic Preservation Committee for approval of the site specific development plan at 620 West Hallam Street, described as the easterly 1/2 of Lot N, all of Lot 0, and the Westerly 7.5 feet of Lot P, Block 22, City and Townsite of Aspen, Colorado; and WHEREAS, the Aspen Historic Preservation Committee finds that the Final Development proposal constitutes the site specific development plan for the property, and; WHEREAS, the applicant has requested that the development rights for said property, as defined and approved by the Aspen Historic Preservation Committee with conditions in the site specific development plans, be vested pursuant to Section 6-207 of the Aspen Municipal Code; and WHEREAS, the Aspen Historic Preservation Committee desires to vest development rights in the 620 West Hallam Street site specific development plans with conditions pursuant to Section 6-207 of the Municipal Code of the City of Aspen for a period of three (3) years from the effective date hereof. NOW, THEREFORE, BE IT RESOLVED BY THE ASPEN HISTORIC PRESERVATION COMMITTEE OF THE CITY OF ASPEN, COLORADO: Resolution No. 91- Page 2 Section 1 The Aspen Historic Preservation Committee of the City of Aspen, as a consequence of its approval of the site specific development plan, and pursuant to Section 6-207 of the Municipal Code of the City of Aspen, Colorado, hereby vests development rights in 620 West Hallam Street, described as the Easterly 1/2 of Lot N, All of Lot O, and the Westerly 7.5 feet of Lot P, Block 22, City and Townsite of Aspen, Colorado, for a period of three (3) years from the effective date hereof. Any changes to the Final Development plans as approved by the HPC shall be submitted for review and approval (prior to the issuance of a building permit or change order). Failure to abide by any of the terms and conditions attendant to this approval shall result in the forfeiture of said vested property rights. Section 2 The approval granted hereby shall be subject to all rights of referendum and judicial review; except that the period of time permitted by law for the exercise of such rights shall not begin to run until the date of publication of this resolution following its adoption. Section 3 Zoning that is not part of the site specific development plans approved hereby shall not result in the creation of a vested 2 Resolution No. 91- Page 3 property right. Section 4 Nothing in this approval shall exempt the site specific development plan from subsequent reviews and approvals required by this approval of the general rules, regulations and ordinances of the City of Aspen provided that such reviews and approvals are not inconsistent with this approval. Section 5 The establishment of a vested property right shall. not preclude the application of ordinances or regulations which are general in nature and are applicable to all property subject to land use regulations by the City of Aspen including, but not limited to, building, fire, plumbing, electrical and mechanical codes. In this regard, as a condition of this site specific development approval, the applicants shall abide by any and all such building, fire, plumbing, electrical and mechanical codes, unless an exemption therefrom is granted in writing. Section 6 If any section, subsection, sentence, clause, phrase or portion of this resolution is for any reason held invalid or unconstitutional in a court of competent jurisdiction, such portion shall be deemed a separate, distinct and independent provision and 3 Resolution No. 91- Page 4 shall not affect the validity of the remaining portions thereof. Section 7 Nothing in this resolution shall be construed to affect any right, duty or liability under any ordinance in effect prior to the effective date of this resolution, and the same shall be continued and concluded under such prior ordinances. APPROVED by the Aspen Historic Preservation Committee at its regular meeting on September 25, 1991. By William J. Poss, Chairman Aspen Historic Preservation Committee ATTEST: Kathy Strickland, Assistant City Clerk hpcreso.620wh 4 r- 1. 2 1" 3 0 L u r MEMORANDUM To: Aspen Historic Preservation Committee CC: Aspen City Council Amy Margerum, Planning Director From: Roxanne Eflin, Historic Preservation Officer Re: 1991 Statewide Preservation Conference, report Date: September 25, 1991 Attached is a copy of this year's conference program, and some additional handouts from a few of the sessions. The conference, held September 13-15 in Manitou Springs, was hosted by that city's HPC. Conferencees represented all corners of the state, and although attendance was down from last year, participants left pleased with what they had learned. The conference focused on both Heritage Tourism and HPC/CLG technical training, and included a mobile workshop to Cripple Creek. Four members of the Aspen HPC registered, intending to go, however, only one member, Martha Madsen, was actually able to attend. Staff served as Conference Chair, and was elected President of Colorado Preservation, Inc. at the annual meeting held on Saturday during the conference. / HISTORIC \ MMITOU At the foot of Pikes Peak Incorporated under the September 13, 1991 laws of the State Of (4)1(,raric) juhÂ· 8.1876 Conference Participants: Manitou Springs is pleased to welcome you to the 1991 Colorado Preservation, Inc. Conference, "Building Alliances. " This community's history as a resort and tourist destination goes back to the 1870's. Since that time we have undergone many changes to meet the needs and desires of our visitors and residents. Although many people believe that Manitou Springs enjoyed its zenith in the 1890's, we believe that we are enjoying a resurgence in the 1990's. We have worked together to restore some of our historic and architectural alliances within our community and fostered a grassroots spirit of volunteerism that has enabled us to move forward when many believed we could not. While you are here to attend the con ference we invite you to explore Manitou Springs and see for yourself what alliances have done for our community. The Mineral Springs Foundation has restored many of the famous natural mineral springs. The Mansions Park Corporation has begun, behind City Hall, the renovation of the Mansions Park Pavilion into a Senior Citizens Center. The Historic Preservation Commission has rescued the Town Clock from disrepair and given it a new life. Over the past several years, the City has undertaken the restoration of the Wheeler Spring, the restoration of the Cog Engine and use of historic building materials in Memorial Park, adjacent to City Hall, and has taken over the operation of the Town Trolleys which are more successful than ever before. Looking to the future, the Manitou Springs Playpark Committee is on the verge of constructing a state of the art playground. All of these projects are worthy and there are many that go unmentioned, but none of them are as important as the alliances we have built and the spirit of community we have achieved. Welcome to Manitou Springs! Enjoy your stay and we hope the alliance we buLM, with you will be lasting. 1 ' 06cerwil, #1 ju rizi 2/tgbher Daly Mavot / - Li Office of Mavor and C ity Clerk â€¢ 606 Manitou Aventic â€¢ Manitou Springs, Colorado 80829 â€¢ (719) 68,5-5481 â€¢ FAX (719) 685-1015 General Statistics MANITOU SPRINGS Cog Railway & Manitou Incline ition: 4535 Iron Springs 0* ion: 6412 ulmate: Similar to Colorado Springs Housing Price Range: $50,000-$200,000 General Area Description: A small , 11- = 1 \\ C town atmosphere with home settings in -,- - \\ rugged foothills terrain. 1-2 .XWST '-1 Twin Springs , 1 Ute Chief Springs Manitou Springs is one of the nation's A ,~5= i _ largest National Historic Districts. i,Z Developed in the 1800's as a mountain --4 LU- 0 0 O /09 0/ spa, today Manitou Springs retains its historic architecture and rich heritage. The name "Manitou" is the Indian Stratton Springs , ., 1, word for "Great Spirit" and stems from li - the city's rich Indian culture. The legend is the Ute Indian tribes from the moun- Cheyenne Springs - 2<0 V tains met Arapahoe and other plains tribes here in peace to worship their "Manitou" bubbling forth in the mineral Soda Springs Wheele springs. The legend continues that the 0 0---/' Springs Indian god "Manitou" breathed into the waters to create the natural efferves- Shoshone /1 n r. <94 , 0 - U 27 cence of the springs. There are 26 butÂ» Springs ....0.4 ' " g mineral springs throughout the // 8 ~Â© -Navajo SpringS = 16 L.:. anitou Springs is a year round at- traction offering Victorian-era castles 041 r..... I and mansions and a large variety of arts ,<7\ Al / and crafts. Though many tourists visit ./ Manitou it is not one of the so-called , "tourist traps." Far more than being in- 2/ 1 terested in merely the tourist dollar, the &/ citizens and government of Manitou are 22 HISTORIC -- *~n 11 1, dedicated to creating and maintaining a town of charm, amusement and historical value to share with both visitors and per- manent residents alike. -â€ž, 15 9-9 4 SpmÂ»41 The warmest month is July with an average mean temperature of 70.1. The c cool summers are due to the altitude and lilli ~i:b/di, low humidity. The coldest month is C- (.Fil illiwill/1Mtgr January with an average mean tempera- ~11...11 liMV 00\,0 \ -IC--_11*-~ ture of 28.60. Mild winters are due to the shelter of the steep-sloped valley. The co i~b ~ At the foot of Pikes Peak annual average humidity ranges from a 0 low of 38% to a high of 68%. Annual average precipitation (water equivalent) is 15.73 inches. The annual average days n O42ojen Minute Springs of sunshine is 250. Housing choices range from (Please respect private property by ated Victorian structures to smaller viewing the spring sites from galows and cottages to the more public ways.) recently established custom home neigh- borhoods of Crystal Hills, Rockledge and Garden of the Gods Village. 1991 COLORADO PRESERVATION, INC. ANNUAL CONFERENCE "BUILDING ALLIANCES" Fridav. September 13 HERITAGE TOURISM 9:15 - 9:45 Registration- Packet pick-up, juice, cofree, rolls 9:45 - 10:00 Opening Remarks - Sally Pearce, President CPI Katherine Kane, Chair CWAM Welcome - Jean Garrity, Manitou Springs HPC Christopher Daly, Manitou Springs Mayor 10:00 - 12:00 "HOW YOUR COMMUNITY CAN BENEFIT FROM HERITAGE TOURISM" Moderator: Sally Pearce, President CPI Panelists: Dennis Van Patter, Public Relations Manager, Colorado Tourism Board Karrom Boonsue, Ross Consulting Jon Schler, Colorado Initiatives Program, UCD Barbara Pahl, Director, National Trust for Historic Preservation, Mountain/Plains Region Sally Pearce, President of CPI, will serve as moderator for the session. Each speaker will have approximately 20 minutes to make his/her presentation. Dennis Van Patter, of the Colorado Tourism Board, will start the session with a presentation on "Tourism 101" - a basic discussion of the tourism industry in generaL He will cover what the Colorado Tourism Board does to promote the State, what the Longwoods Study indicated about heritage tourism (and the lack thereof in Colorado), and most importantly, what local historical societies, museum administrators, planning officials, and members of historic preservation commissions need to know about promoting their historic sites (what type of brochures work, what key information should be included in them, what tour operators expect, types of research to identify who the visitors are, etc.). Karrom Boonsue, a representative of Ross Consulting in Denver, will discuss the economic benefits of heritage/historical tourism on the local market. He will cover the before/after economic comparisons of national markets, impacts of Colorado heritage and historical tourism and a brief look at developing a marketing budget and cooperation as the key to a marketing program. Jon Schler will follow with a presentation on what Colorado is currently doing to promote heritage tourism. He will deal specifically with whatthe western slope communities that he works with are doing to implement various aspects of a heritage toutism program. PAGE: 1 Finally, Barbara Pahl of the National Trust for Historic Preservation will conclude the session with a discussion of the Trust's heritage tourism initiative, what they've learned so far in their pilot states and how we can learn from their experience The moderator will hold questions until the end of the panel presentations and allow approximately 30 minutes for questions and a general group discussion about the next steps needed to move towards establishing a heritage tourism program In Colorado. 12:00 - 1:15 LUNCH - Keynote Speaker: Katherine Ann Slick, Chair, Board of Advisors,National Trust for Historic Preservation 1:30 - 2:30 RESOURCES FOR IMPLEMENTING A HERITAGE TOURISM PROGRAM Moderator: Roxanne Eflin, CPI Panelists: Ed Weeks, Manitou Springs Chamber of Commerce Ken Francis, Southwest Colorado Travel Region, Durango Carol Pasternak, Aspen Chamber Resort Association Much of the responsibility of tourism management falls on the shoulders of the local Chambers of Commerce. The panelists in this session are professionals in the industry of community promotion and tourism development. Three different perspectives on implementation strategies for heritage tourism will be presented with ample time reserved at the end for questions from the audience. 2:30 - 2:45 BREAK HERITAGE TRAVEL :45 - 3:30 THE COLORADO SCENIC AND HISTORIC BYWAYS PROGRAM Sally Pearce, Program Coordinator, Colorado Department of Transportation This presentation will focus on the Colorado Scenic and Historic Byways Program. Beginning with a discussion of the background and events that led to the creation of the program, the presentation will also cover the development of the criteria and the nominations process. A slide presentation will highlight the eight designated scenic and historic byways. The five new byways which have been ncommended for designation will also be featured. The presentation will conclude with a discussion of the future plans of the program and the benefits designation brings to the local communities on the byways. If time allows, the national video entitled "Scenic Bvwavs: A New American Outdoors Lener" will be presented. 3:30 - 4:15 MANAGING A HISTORIC HOUSE MUSEUM Jim DeMersman, Director, Molly Brown House Managing a historic house museum isn't all gingerbread and crum teas, as Jim DeMersman, Director of the Molly Brown House will present. The combined art of building preservation, collection, interpretation, public programming, marketing, staff and volunteer management, Board of Director politics and financing makes house museum management challenging to say the leastl Time will be reserved for a question and answer period following Jim's presentation. PAGE: 2 4:15 - 5:00 HISTORIC SITE MANAGEMENT, BOGGSVILLE Phil Petersen, Pioneer Historical Society of Bent County Phil Petersen is the part-time administrator for the Boggsville Revitalization Committee of the Pioneer Historical Society of Bent County. Phil will give an overview of the Boggsville Project, its reconstruction and preservation. He will discuss how a small group manages the historic projed at a grass roots level. He will take the viewer through a unique preservation process in saving the 1866 Boggs house from decay. He will discuss Boggsville's importance as a new boost to the area's economy through the development of tourism. 5:00 - 6:00 DISCOVER MANITOU SPRINGS - self guided walking and shopping tour. 6:30 - 9:30 COLORADO PRESERVATION, INC. HONOR AWARDS Dinner - The Briarburst Minor Inn (cash bar) PAGE: 3 Saturday. September 14 :00 - 8: 15 Registration - packet pick-up,juice, coffee, rolls 8:15 - 8:45 "STATE OF THE STATE" HISTORIC PRESERVATION IN COLORADO Jim Hartmann, State Historic Preservation Officer, Colorado Historical Society TRACK 1 -"MAKING PRESERVATION HAPPEN" The "Making Preservation Happen" track is designed to offer assistance to both preservation advocates and professionals. Being informed and educated are important fadori that effect our efrorts to support preservation/restoration locally and statewide. The CPI Annual Conference is an educational and motivational resource that attempts to meet the rapidly changing needs of preservationists involved in the movement on many levels. The presenters are professionals in their particular fields and encourage your participation during each session. Time will be allotted for questions and comments. Please leave vour completed survey/assessment form a the door as vou leave. 8:45 - 9:15 EFFECTIVE LOBBYING Betty Chronic, National Trust Advisor, Colorado Mona Ferrugia, Colorado Lobbying Coordinator, Preservation Action Bill Koerner, Manitou Springs City Councilman This session will describe how to lobby efTectively at the local, state and federal levels from the point of view of the lobbying priervationist and the omcial being lobbied. On the local level, Bill Koerner, Manitou Springs Councilman, will discuss effective lobbying methods from the point of view of the elected omcial being lobbied. At a state level, Betty Chronic, National Trust Advisor, will discuss our state-wide preservation strategy for influencing legislation through contact with our representatives and senators and maintaining a preservation presence at the State Capitol. At the national level, Mona Ferrugia, Preservation Action board member, will share with us Preservation Action's lobbying strategy with Congress and the Executive Branch regarding issues and funding. A short question and answer period follows the presentations. 9:15-10:00 EXPANDING YOUR ROLE Moderator: Jean Garrity, Chair, Manitou Springs HPC Panelists: Carol Tunner, City of Ft Colling Judith Trent, Diredor, Historic Boulder Whether you are a preservation professional or a volunteer it is necessary to go beyond current expectations and defined roles to promote preservation in your community. Preservation needs imagination, innovation and hard work to grow and prosper. Today more than ever it is important to go farther than expected, take on projects and develop coalitions that make preservation a positive forre. This panel will focus on role expansion as seen from the PAGE: 4 perspective of a city preservation specialist, the dinctor of a nonprofit preservation organization and a volunteer member of a prrservation commission. Carol Tunner, Historic Preservation Specialist for the City of Fort Collins and Restoration Chairman/Fundraising Chairman/ Incorporating Board Member of Ft Collins Municipal Railroad will present "Dealing with Controversy - Putting Preservation on the Line," which discusses issues and projects that an important enough to stretch your limits for. Judith Trent, Director of Historic Boulder will present "Building Community Support for Preservation," describing how Historic Boulder has grown and changed in its 20 years. Jean Garrity, Chairperson of the Manitou Springs Historic Preservation Commission will present "Going Beyond Design Review," which deals with expanding the scope of preservation commissiors to promote preservation in your community. 10:00 - 10:15 BREAK 10:15 - 12:00 THE ART OF GRANTS AND MOTIVATING AND MANAGING VOLUNTEERS Kay Heninger, CHS Grants Adminiâ€¢trator Carol Bruce, Public Programs Coordinator, Colorado Springs Pioneers Museum Kay Heninger previously served as consultant for the Junior and Community Institute in Washington, D.C. and Vice President of Development Services at Des Moines Area Community College. Kay will cover "Fun,ling Sources and Grant Writing." Carol Bruce will cover what motivates people to become volunteers, what volunteers need to "get" from their service, and how to ensure that your volunteers are receiving the feedback that keeps them volunteering. A question and answer period will follow both speakers. 12:00 - 1:00 LUNCH - ANNUAL CPI MEMBERSHIP MEETING/ELECTION OF CPI BOARD OF DIRECTORS AND"ROUND TABLE" DISCUSSIONS 1:00 - 3:00 GAMBLING AND PRESERVATION "CAN GAMBLING AND PRESERVATION CO-EXIST?" Moderator: Lane Ittelson, CHS CLG Coordinator Panelists: Barbara Cole, Planning Consultant, Cole and Associates John Feinberg, Boulder Community Research Collaborative Barbara Pahl, NTHP This panel discussion will focus on the variety of issues currently facing Central City, Blackhawk and Cripple Creek, three National Landmark Historic Districts, and how these communities are preparing for change. On October 1, gaming will begin in all three communities. Some view this as a welcome stimulant to a depressed local economy, others view gaming as a potential threat to the historic character of a small town, due to the development and social impacts it brings PAGE: 5 Session moderator Lane Ittelson will introduce the panelists, and allow each 15 minutes to present opening statements before opening up the panel for general discussion. Ample time has been reserved for audience participation. 3:00 - 3:15 BREAK 3:15 - 4:30 MINERAL SPRINGS WALKING TOUR Conducted by the Manitou Springs Mineral Springs Foundation TRACK 2 - HPC/CLG TRAINING The HPC/CLG Training track is designed to offer technical assistance and support to members of Historic Preservation and Landmark Commission, Design Review Boards, and planning staff. Education and training are important aspects to maintaining Certified Local Government (CLG) status. The CPI Annual Conference has served as a training resource tomeet the educational component requirement in order to comply with State CLG criteria. The presenters are professionals in their particular fields and encourage your participation during each session. Time will be allotted for questions and comments. Please leave vour completed survev/assessment form a the door as vou leave. 8:45-9:15 DEFINING YOUR ROLE Lane Ittelson, CHS CLG Coordinator and Preservation Planner Your quasi-judicial role as a member of an historic preservation commission ts an important one to understand. Making findings, applying standards and guidelines, and dealing with difncult applicants are just a few of the aspects that require special skill, when serving on an HPC. Specific conditions placed on an approval by an HPC may not be fully understood or adhered to by the applicant when work begins and often decisions are made on projects that could easily be overturned in a court of law. Lane Ittelson will discuss your role on the HFC, and leave time at the end for a question and answer period. 9:15 - 10:00 DESIGN GUIDELINES Nore Winter, Winter & Company In tandem with clearly written Development Review Standards are the Design Guidelines, the backbone of all project reviews within the context of historic preservation. CPI is pleased to present Nore Winter, whose firm, Winter and Company, based in Boulder, has worked in numerous large and small communities nationwide for years in areas of design guideline development, preservation planning and community character enhancement Nore is a board member of the National Alliance of Preservation Commissions and has many years' experience in training CLG's and Landmark Commissions in the art ofeuective design nview. 10:00 - 10:15 BREAK PAGE: 6 10:15-12:00 STATE TAX CREDIT WORKSHOP Lane Ittelson, CHS CLG Coordinator James Stratis, CHS Restoration Specialist Effective the past January 1, Colorado has become the 4th state in the country to offer income tax credits for the rehabilitation of qualified properties 50 years or older. This direct incentive was designed to stimulate historic preservat?on at the grassroots level. It is the only legislation of its kind that directly involves Certified Local Governments in the project review and process approval process, and CPI served an important advocacy role in its adoption. Lane will summarize the program, and explain how CLG's are involved in the review process. James will review the Secretary of the Interior Standards for Rehabilitation using the National Park Service slide presentation. It is necessary to fully understand the Standards in their application to project approvals. General information on the State Tax Credit Program will be available at the conference. Time will be reserved for questions. 12:00 - 1:00 LUNCH - ANNUAL CPI MEMBERSHIP MEETING/ELECTION OF CPI BOARD OF DIRECTORS AND"ROUND TABLE" DISCUSSIONS 1:00 - 2:00 COLOR AND THE LOCAL ORDINANCE James Martin, The Color People Bob Mattatal, Breckenridge City Planner Color is a fascinating topic that generally comes up in conversations among historic property owners and aficionados. Though many historic preservation commissions have no review authority over paint color, most have a say in colors selected for mRjor building materials, and at least an advisory role over paint color. Some HPC's have review authority over "paint" as a material, though not its "color". Two perspectives on "color" constitute this session. James Martin, owner of The Color People, a Denver based architectural color consulting company, will present a slide lecture showing exterior color choices in historic residential and commercial applications The importance of analyzing neighborhood context before selecting exterior colors will be discussed. James has been creating exterior color designs for buildings since 1979, and teaches seminars on New Colors for Old Buildings. Breckenridge City Planner, Bob Mattatal, will follow with a discussion on how that city has approached "the color quandary" through legislating appropriate color by ordinance. Bob will discuss how the city arrived at the need for the ordinance, and how the Muncell color system was used as a basis to quantify color characteristics. 2:00 - 3:00 PRESERVATION PLANNING AND THE LOCAL ORDINANCE Moderator: Lance McDonald, Planner, Telluride Panelists: Jennifer Moulton, Director, Historic Denver Roxanne Eflin, Historic Preservation Officer, Aspen Three different perspectives on preservation planning will be presented in this panel, focusing on the value of incentives and character to achieve community-based preservation goals. PAGE: 7 Telluride continues to review the design of all development within the city for compatibility to its historic resourres. They have Just completed the Comprehensive Design Guidelines Rewrite, a project that began in 198& Both Telluride and Aspen have experienced intense development pressurts, creating numerous impact issues zoning has not yet addressed, such as inappropriate mass and scale outside historic districts. Historic Denver has recently contracted with Hammer, Siler and George, a consulting firm, to analyze the Denver preservation ordinance and others around the country. Jennifer will discuss the state of preservation in Denver, and the importance of incorporating incentives into this major city's pmservation program. Aspen is currently in the process of developing the Aspen Area Community Plan, using the Community Character Analysts Technique. This ties historic preservation and traditional development patterns, scale and "sense of place" into their master plan for the future. Copies of Aspen's preservation provisions, and a list of their preservation incentives will be available. 3:00 - 3:15 BREAK 3:15 - 5:30 DESIGN JAM SESSION Facilitator: Allyn Feinberg, Boulder Landmarks Commission Each year, conference participants are invited to share projects currently (or recently) under review in their community. The open format encourages ideas and suggestions that have been found to be helpful in providing alternatives looks at a project's compatibility or appropriateness HPC members from different communities have an opportunity to see what other HPC's are struggling with! The Session is highly educational and often rousing! 6:30 - 9:30 PROGRESSIVE DINNER AND HISTORIC HOMES TOUR Transportation provided. PAGE: 8 Sundav, September 15 60 - 8:15 HISTORY ON THE JOG - GUIDE: BILL KOERNER, CPI 8:15 - 10:00 CPI NEW MEMBER BREAKFAST Share your pirservation efforts and meet new friends in the field. 10:00 - 4:00 MOBILE WORKSHOP TO CRIPPLE CREEK Guides: Brian Levine, Cripple Creek historian and writer Dave Barber, Cripple Creek planning consultant CPI is pleased to present an on-site study of the famous Landmark Historic District, preparing for the development impacts ofgambling. Participants will provide their own transportation to Cripple Creek (one hour drive west on Highway 24 from Manitou Springs), and meet at the west entrance of the Cripple Creek Museum (top of Bennett Avenue) at 11:00. The walking tour will focus on Bennett Avenue, Cripple Creek's "Main Street", and a portion of the adjacent residential neighborhood. We'11 lunch as a group in town, and discuss the number of issues facing the landmark district. Bring your camera and money for lunch! OR 10:30 - 12:30 COLORADO SPRINGS HISTORIC NORTH END DISTRICT WALKING TOUR Guide: Dean Ibsen, CPI Participants should meet at the Worner Center (student union) at the Worner Center, 902 N. Cascade Avenue (NW corner of Cascade and Cache la Poudre). Look for the black panther statues just north of the Worner Center. Parking is on-street or in the lot at the SE corner of Cascade and Cache la Poudra The tour will end up where it starts. PAGE: 9 1991 Conference Assessment We welcome your comments on this year's Statewide Preservation Conference. Please let us know what you liked, areas in which we could improve, and topics that interest you for future conferences. Please leave this at the back ofthe room when you leave, or mail to: Colorado Preservation, Inc., P.O. Box 843, Denver, CO 80201. How did you hear about the conference? Days attended: Special events attended: Sessions/Discussion found useful and why: tprovements were needed in these areas and why: Topics/speakers for future conferences: Your profession: Are you a member of CPI? Optional: Name: Mailing Address: Phones (work and home): PAGE: 10 9/12/91 STATUS REPORT ON THE COLORADO STATE REHABILITATION TAX CREDIT 18 applications recieved to date (includes C.L.G. totals) total rehabilitation cost: $ 5,541,839. total qualified cost: $ 3,959,589. 20% of t.q. cost $ 791,917. tax credits (7) work summaries/ state reviewed projects: 91-0001 J.L. Streit House q.c. $14,850. 1. porch restoration 2. electric wiring 3. furnace 4. foundation 91-0002 301 Eureka St. q.c. $73,450. 1. interior trim 8. ext. trim 2. repl. fixtures 9. int. paint 3. light fixtures 10. ext. paint 4. wall covering 11. kit. cab. 5. flooring 12. roof 6. tile 13. fireplace 7. carpet 14. humidifier 91-0003 Kelly Mansion q.c. $85,900. 1. exterior trim 7. windows 2. roof 8. bathroom 3. flooring 9. plumbing 4. int. wall finish 10. trompe l'oeil 5. elec. 11. kitchen 6. light fixtures 12. D.R. hutch 91-0004 Garbe House q.c. $71,046. 1. sitework/conc. 5. doors/windows 2. masonry 6. finishes 3. carpentry 7. mechanical 4. thermal/moisture 8. electrical 91-0005 William Church House q.c. $31,500. 1. int. walls & 6. landscape ceilings 7. stair railing 2. floors 8. foundation 3. roofing 9. front & side porches 4. int. trim 10. ext. finish 5. cabinetry 91-0006 Eugene Rourke House q.c. S 116,700. 1. roof 7. demolition Design Review Training for Colorado Preservation, Inc. September, 1991 Presented by Winter & Company 775 Poplar Avenue Boulder, Colorado 80304 303-440-8445 (The following materials are adapted from training handbooks developed by Winter & Company for the Slates of South Carotina and Hawai'i> Nor@ V. Winter Nor@ Winter is based in Boulder, Colorado and consultants in urban design and historic preservation nationwide, specializing in communities with special amenities, distinctive natural settings and historic resources. He assists governments in developing policies to establish town identity, enhance neighborhood character and protect community heritage. Services include development standards, design review training, and urban design plans. Design guidelines clients include the Rocky Mountain resort towns of Park City, Utah, Jackson, Wyoming, Crested Butte and Telluride, Colorado. Other guidelines projects include Biltmore Village, North Carolina and Galveston, Texas. He recently developed a city-wide pedestrian and bicycle system for Aspen, Colorado, as well as a downtown plan for Flagstaff, Arizona and contributed to a cultural and livability plan for Steamboat Springs. Design review training has been provided for a wide range of special locations, including the counties of Hawai'i and the City of Boston. He also assisted the City of Atlanta in developing their new preservation standards. Winter is currently producing an urban design plan and development guidelines for the Breckenridge, Colorado. He holds a Bachelor's degree in architecture from Tulane University and a Masters in Architecture and urban design from UCLA. Winter & Company â€¢ 775 Poplar Avenue, Boulder, Colorado 80304 â€¢ 303-440-8445 NEW ISSUES IN DESIGN REVIEW Colorado Preservation, Inc. Annual Conference Manitou Springs, September 14, 1991 Introduction Design review is now well established throughout the country as a means of managing the character of change. Its use in historic districts is extensive and it is also well established in downtown revitalization programs. We are also seeing increasing use in non-historic areas as well. Design review is not a static concept. Communities continue to experiment with new applications and to refine techniques. Others are testing new hybrid approaches to regulating design. Here are three tips on how to enhance the effectiveness of design review in your community: 1. Develop user-friendly guidelines that are custom-tailored to your needs. 2. Apply the guidelines in an orderly review process. 3. Be willing to negotiate to improve the quality of designs presented for your review. 1. Develop user-friendly guidelines that are custom-tailored to your needs. Guidelines should be based on the local context. Note that there may be different "character areas" within a single historic district that require their K own standards. The board should actively participate in developing the standards, although this can be painful and require additional hours of commitment. The guidelines should be easy to understand and should find a balance between being short enough to be usable and yet provide adequate detail about design policies. 2. Apply the guidelines in an orderly review process. Consider the review critique as an information-handling problem. Monitor the flow of conversation to catch any points of misunderstanding. Give the applicant adequate opportunity to present a convincing argument and respond with clear comments. Close the session with clear instructions about the applicant's next steps. 3. Be willing to negotiate to improve the quality of designs presented for your review. Be willing to help the applicant find a solution. bok for win-win situations, where the board and the applicant are pleased with the results of the review process. Acknowledge the efforts of others, including other board members as well as the applicant, even when you may disagree with them. Avoid personal conflicts by separating the problem from the person. Copyright Â© 1991, Nord V. Winter APPLYING GUIDELINES MAKING JUDGMENTS IN THE REVIEW PROCESS: USING GUIDELINES TO MAKE SOUND DECISIONS Everyone wants a smooth review process, as brief as possible, and with the minimum amount of cost to all parties, but how do review board members decide if a proposed design is appro- priate? How do applicants know if they have received a fair decision, and how can appli- cants improve their chances of receiving approval? Managing the review system diligently, and in particular conducting the review session in an organized manner, will help to answer these questions. Three key factors influence the quality of design review judgments: 1. The clarity of the desif guidelines, 2. The operating style of the review board, and 3. A clear and consistent review procedure. CLARITY OF DESIGN GUIDELINES Design guidelines should be easily understood by laymen, and provide useful ideas for design solutions that may be appropriate in the district. They should be based on local characteristics and local goals. The guidelines should be organized in a logical sequence that follows the typical design process. They must be specific enough to provide clear guidance. All too often, the guidelines are too vague. They should be specific, but not restrictiYC. BOARD OPERATING STYLE The operating style should be with a positive attitude, with a sense of purpose that the Board is providing a community service. Review board members should remember that many applicants do not understand the process, and they will need a clear definition of the steps in the review process and its purpose. It is important to recognize that the purpose of the meeting is to make a decision, to make it in a timely manner, and then to state the outcome clearly. Discussion must be welcomed with courtesy, and with the objective in mind that the information presented will help the Board in making a decision. The operaung style for the meeting also must convey a willingness to negotiate, but always within the context of the guidelines. It is important to focus on the big issues, not to become bogged down with petty details that may not have a significant impact on the character of the district, or that will not be noticed in a few years. CPI Conference Copyright Â© 1991, Norch V. Winter Page 1 APPLYING GUIDELINES Judgments should be based on the guidelines. and not personal biases. This means that reviewers must distinguish between a design concept they personally dislike, as a matter of personal taste, but which meets the guidelines, and one that is objectively inappropriate because it clearly violates the established guidelines. Remember that the guidelines represent a consensus of residents, professionals, and political leaders and that the board's role is to administer them, not to draft new standards on the spot. CONSISTENT REVIEW PROCEDURES A good review procedure contains more than an agenda of applications to be heard: It includes steps that facilitate an orderly sequence of information exchange. THE REVIEW SEQUENCE Try this sequence of events for an effective review meeting: BEFORE THE MEETING: A. Check to see that notices have been sent and applications have been properly adver- tised. B. Check to see that documentation for the application is adequate. Use a printed applica- tion form designed to meet the Board's review process. (See the model form). C. If applications for alterations are to be heard, determine if the structure(s) are desig- nated as "contributing" or "non-contributing" or which designation of historic significance applies. D. Be certain that the proposed change requires review: That it will be visible from a public way, that it is not routine maintenance, or in some other manner exempt from review. E. Check that minutes of the previous meeting are available and/or have been distributed. F. Confirm that the meeting room is in order. Always meet in a spaces that accommo- dates the board, the applicant, and the public comfortably. (See the diagram of a recom- mended room layout that follows). Confirm that tape recording equipment and slide projec- tom will be available. G. Confirm that a quorum will be achieved. H. Confirm that all board members have visited all r-2 --les in question. Your credibility is undermined if you ask about the character or specific location of the site during the meet- ing. CPI Conference Copyright Â© 1991, Nord V. Winter Page 2 â€¢Jll/â€¢1414 APPLYING GUIDELINES AT THE REVIEW MEETING: 1. Introduce the Review Board and the review process to the audience. Remember that many people attending the meeting don't know who you are! Explain the sequence of events: That each project will have a fprmal presentation by the applicant; then the public will have an opportunity to comment. A critique by the Board will follow, and finally a decision will be made. Be certain that the role of the chairman, the Board members and their staff are understood. 2. Explain the purpose of the review to the applicants: That is to assure that the proposal is compatible with the objectives of the City's preservation and design policies. To deter- mine its compatibility, the projects will be reviewed using a standard set of guidelines. Note that this is just one step in the City's review of projects, and that planning review and design review issues are often intertwined. 3. Call cases according to the published agenda. If deviations are required, announce this at the beginning of the meeting. Check for conflicts of interest and record of information. 4. Introduce the applicant and his proiect. Identify the location of the project preferably on a map visible to all). Make it known if any preliminary reviews or consultations have occurred on this project, but do not present the content or recommendations of those reviews at this point. Note which level of review this will be, and what the expectations are of the outcome of the meeting: Is it a conceptual discussion, with the applicant receiving direction for more work? Or is final approval requested? 5. Check to see that the documentation of the proposal is complete. If important draw- ings, models, or photographs are missing that are essential for the committee to make a determination, cut the review short, before getting into design criticism Reviewing an incomplete application is a waste of everyone's time. It may also be a disservice to an appli- cant if a proposal is denied, simply because it is misunderstood. Theoretically, a check for documentation has already occurred at town hall, and the check at the meeting is simply a formality, to note for the record that all is in order. It may be simply that a piece of their submittal has been left at the planning department. If for some reason a project has made it on to the agenda without enough information to give it a fair review, consider moving it to a discussion in a working session. so the applicant can receive some benefit from the meeting. 6. Listen to the presentation by the owner and his representatives. This provides them with an opportunity to describe their objectives, and to show the intended design. Encourage them to point out how their proposal meets the design guidelines in the process of their presentation. CPI Conference Copyright Â© 1991, Nord V. Winter Page 3 APPLYING GUIDELINES 7. Ask for clarification of any content in the presentation. Withhold criticisms at this stage. First determine that everyone understands what has been presented. Are there terms that may be confusing? Ask questions about what the drawings mean, if necessary. Is the context also understood? Is the scale of the project understood? Do not be embarrassed if technical information is not clear. It is your responsibility to be certain that you understand what has been presented. 8. Ask for comments from planning staff. They should have reviewed the project in advance with the applicant. Staff comments may be restricted to their identifying the specific issues that this application raises and noting which guidelines bear scrutiny. On the other hand, staff may also be asked to voice their recommendation about the appropriateness of the design as proposed. 9. Next, ask for comments from the audience. Ask that their discussion be limited to the project at hand, and its relationship to adopted standards of the community. If there are large numbers of people wishing to speak, ask if one person can act as a spokesperson to make the presentation, and then ask other audience members to indicate if they support the position. Watch for repetition in comments from the audience, and cut short presentations that appear to reiterate previous testimony. Record the name and address of speakers. 10. Ask for statements from other public agencies, such as the State Historic Preservation Office. 11. Next, the Board should critique the design. Use simple, clear language. Be specific about what you like as well as what you dislike. Even if you approve the design, you want to give a clear message to future applicants and to future Board members about how you reached your decision, in the event that they too face similar issues. Again, watch for repeti- tion, and ask for summaries where people share the same feelings. When reviewing the design, follow the guidelines. Use a checklist to see that you covered all the items, then ask for discussion of any items that are in question. Allow open discussion, but monitor the content to avoid unnecessary repetition. Also refer to the SPECIAL RE- VIEW QUESTIONS listed later in this text. When all the points have been made and people are repeating earlier comments, that is a good indication it is time to terminate the critique. Keep the discussion on track, and avoid "red herrings," tangential issues that may be emotionally charged, but have no direct bearing on the appropriateness of the design in terms of the guidelines. 12. Allow the applicant to respond to the comments at this point. If criticisms have been raised, allow the applicant to defend the design as proposed, or allow him to indicate if he will consider modifications. CPI Conference Copyright Â© 1991, Nor6 V. Winter Page 4 APPLYING GUIDELINES 13. When the discussion seems to be over, the Chair should summarize the arguments pro and con and then ask these questions: * Have enough of the guidelines been reasonably met to merit approval? You have two choices for an answer: "Yes," or "No." ' * Which guidelines give vou the basis for making this decision? An approval or a disapproval should be based on the guidelines, and you should be able to identify the critical ones. 12. If you can answer those two questions, you are ready for a vote! There are four op- tions for a motion: a. Approval as submitted b. Approval with conditions for alterations to the submittal c. Denial as submitted d. Continue for additional information (A continuation is often an indication that someone did not check ahead of time to see that all information that would be needed would be available at the meeting. There are times, how- ever, when new information or questions arise in the review meeting that require investiga- tion. In some communities, ability to continue a case may be limited by a time restriction for review written into the ordinance itself.) The motion should be short and clear. The motion should include a reference to the guide- lines, that the project be approved or disapproved because it meets, or does not meet, the standards adequately. Secure a second to the motion. Conduct formal discussion. Then vote. The vote should be taken by a show of hands and the voting should be recorded. If the vote is for option B, "Approval with conditions for alterations to the submittal," the items to be revised should be listed, and a deadline for resubmittal should be set. 13. Once you have voted, summarize the outcome clearly for the applicant. Remember, you aren't finished until you have a summary. Don't let the applicant leave without his understanding what you have decided, and what his next steps are. Give the applicant a written note of the outcome at the meeting if possible; if not, announce that formal written notice will be forthcoming. 14. Finally, thank the applicant and citizens for participating in the process. Everyone who participates in the process does so for the benefit of the community, and their efforts should be acknowledged. Remember, it is more important that you treat an applicant fairly than that you give him the answer that he wants. This in the end will be respected. CPI Conferencg Copyright Â© 1991, Nor* V. Winter Page 5 APPLYING GUIDELINES SPECIAL REVIEW QUESTIONS In the process of your critique, consider these questions: 1. What is the context? What is the character of the block and of adjacent buildings? Remember that you are reviewing the impact of a design upon its specific site, and upon its surroundings. 2. How sensitive is this context? If nearby buildings are especially important, or if the project is in a concentration of historic structures, you may be more stringent in applying certain guidelines than you would if the same project wem proposed in another area of town. 3. What is the character of what is proposed? Can you describe the basic elements of the design? 4. What is the anticipated impact of the proposal upon the site and its context? Does it strengthen the design goals for the area, or weaken them? If the design is for a renovation of a building with historic significance, how does the proposed design affect its integrity? 5. Does this design set a precedent for others? If this is a new concept, or a new design problem, it may merit closer inspection. 6. Which are the critical design issues? Depending on the type of design, and its location in the district, certain guidelines will be more important than others. Decide which ones will be most significant in reviewing the proposal before you. 7. How do your guidelines relate to the issues? Which issues are not addressed in the guidelines? If an issue is not addressed in the guidelines, it is for one of three reasons: a. The issue was not intended to be considered in design review. Leave it alone! b. The issue was omitted from the guidelines by oversight. In this case, you should still review the proposal before you based only on the guidelines that you have. If the guide- lines need amending, that should happen at another time, not while an applicant is before you. c. The issue may be improperly described. It may in fact be covered by some other guidelines, with a different description. There may be a legitimate basis for criticism found in some other guideline with some other"key words." Don't, however, try to force a design issue under the jurisdiction of a guideline where it does not in fact fit. Remember, you are interpreting the guidelines. If you disagree with their stated policies, the review session is not the time to assert your opinions about the guidelines themselves--only about the design in relation to the guidelines. CPI Conference Copyright Â© 1991, Nor& V. Winter Page 6 APPLYING GUIDELINES 8. Can the design issues be grouped? Often, discussion will ramble over many topics. Some of these may have common themes. Look for ways to simplify the debate by combin- ing related issues. 9. Are there non-design issues embedded in the review? In many cases, the problem is not a design issue, but in fact a broader conflict over land use, density, or some other zoning policy which the guidelines cannot address or solve. Flag these issues, and either terminate the review, or move back to the design issues. 10. How will the proposed design meet the goals of the district? This is the final, broad question that should be answered. Remember that reviewing a design is not a game, but that the results sh ld contribute to the overall betterment of the Town. SPECIAL PROCEDURAL ISSUES During the course of a review season, these issues may arise. Determine ahead of time how the Board will respond to them. CONFLICT OF INTEREST Whenever the slightest conflict of interest charge arises against a Board member, that person should immediately abstain from voting. If the challenged member believes that the appli- cant is abusing this policy by charging a conflict of interest as a tactic to eliminate an oppos- ing vote, then he should ask for a vote of confidence from the Board. If the majority do not support his remaining active for the project's review, then he should continue to abstain. CONSENT CALENDAR The purpose of the consent calendar is to reduce review time. Items that should be placed on the consent calendar are: â€¢ Minor rehabilitation plans that have been reviewed by staff or a subcommittee of the Board. These might include minor alterations, such as replacing an existing window frame, adding a dormer, or removing asphalt siding and restoring the underlying wood. â€¢ Revisions to proposals already reviewed by the Board. When a proposal has been approved upon the condition that minor revisions are made, those amendments should be reviewed by staff (or a subcommittee of the Board), and placed on the consent calendar for formal approval. In most circumstances, items on a consent calendar are not discussed at the review meeting, and all are voted on all at one time. unless someone wants to discuss one of the items. If this is the case, that item is then pulled off the consent calendar and moved into the old business category. The motion should be something like this: "I move that we adopt the consent calendar as submitted." Or, if an item has been removed from the consent calendar: "I move we adopt the consent calendar as amended." CPI Conference Copyright Â© 1991, Nor6 V. Winter Page 7 APPLYING GUIDELINES REVISIONS TO PROPOSALS AT THE MEETING Permitting the applicants to amend their submittal at the meeting in order to receive approval at that time is a courtesy to be encouraged. It can cut weeks out of a re-submittal process. This needs to be done in an orderly manner, however, and a clear policy about making revisions and notes at the meeting should be available ahead of time, so designers are pre- pared. In general, any revision that requires drawing illustrations, as opposed to simply adding written notes to the plans, should not be made at the meeting. Instead, consider approving the application upon condition that specified revisions be made; then have those revisions checked by staff or a subcommittee. The revised application is then placed on the consent calendar of the next meeting for official approval. AGENDA SCHEDULING Many people have to wait for hours at the review meeting for their item to come up on the agenda. When it is feasible, schedule a break time for a specific hour. Items on the agenda after the break can then be clearly identified. Establish the rule that agenda items for the second half of the meeting will not begin until that hour, thus allowing those applicants to shorten the amount of time they must wait at meetings. If by chance the first half of the meeting goes faster than anticipated and there is extra time before the break, the Board may use this time for a work session or discussion of procedural or guidelines issues. PAPER WORK AT THE MEETING Paper work, such as the signing of certificates of appropriateness and noting of conditions for approval, should occur at two points in the meeting: At the scheduled break, or at the end of the meeting. Otherwise paper work should occur at town hall and be picked up the next day. APPLICATION DEADLINES Finally, all applications must be filed by a single deadline, whether it is a minor renovation change, a major new project, or an amendment to a proposal already reviewed by the Board. If revisions to conditionally approved proposals are to be reviewed by a staff person or subcommittee and then placed on the consent calendar, the deadline may be different from that for totally new applications. This deadline may be standardized, or it may be negotiated at the initial hearing (at which the conditional amendments are specified). Similarly, new applications for minor alterations to existing buildings may also be sched- uled separately, if the applicant has previously met in a pre-ary':--2-1 conference with staff and staff has determined that the proposal is minor in nature and that no major technical review time will be required. At the time of the pre-application conference, the applicant would be given an application form, with the negotiated application deadline written in and initiated by the staff person. Otherwise, all new applications should have the standard appli- cation deadline. CPI Conference Copyright Â© 1991, Norb V. Winter Page 8 "Uny"08 COLOR AND THE LOCAL ORDINANCE ARCHIT - and Color in the Victorian Style You'ue finally purchased your Victorian dream house, and you're standing on your front lawn admiring it. It bas ginger- bread, turrets, and gables, but tbe house is painted plain old white. "Wbat if I painted tbis house to really play up all tbe grec detail?" you tbink. But wbicb colors should you choose? Bright or subdued? Many colors, or just one or two? In answering these questions, you will be deciding between an authentic and a modern Victorian color scheme. J s Martin 1 J fying the authenticity of Vic- , t n colors can be difficult, for the Victorians gloried in eclecticism and never formally defined either - their color schemes Or their archi- 4 40; tecture, as many people assume. Certainly multicolor paint schemes were employed, but with less of a L ' ..., free hand than we're accustomed to today It was rare, for instance, to see dentils-the little toothlike squares often seen on cornices- painted individually in a contrast- ing color. More often, porches, linift/l//I'll ' / Id'.MIJ/..Zi.~ brackets, and windows were high- 209*....&*42 6/"Eff yull'llill lighted, and sunlight and shadow were relied on to accentuate smaller details. One of the reasons for this may have been the slower pace of nineteenth-century life. People sim- -_Wii&-'ir77*5~~ > pty had more time for observation mi,&,s,/Mi $,fi,4:J,7.4:<.a/*FT,VE, and appreciation. A Victorian gen- tleman traveling at 10 miles an hour in n buggy certainly had an oppor- o see the world around him -, 13, tly than a contemporary 11 1 ------- --- driver, traveling down the highway at 70 miles per hour. Perhaps this accounts for our need to accentuate These are two examples of color the tiniest details on our Victorian schemes that are typically Victorian. )peqJGH M [UBM[)3 Aq suotlensnlll 'fECTURE { i . i homes: we can show people driv- ing by rapidly all the beautiful fea- i tures of our Victorians. After I was involved in painting a house on a 11 -0- _ 2 ma Denver thoroughfare I was told, "You know, I've gone by this building for 25 years and never no- tiCed all the detailing!" 1 4 . Colors the Victorians Used 4 It is important to know the Victo- Man aesthetic and keep it in mind even when using nontraditional milifileigiraci1.1FNEZI1*:1IF Victorian colors, for color schemes were an integral part of the archi- tectural concept of Victorian homes. Andrew Jackson Downing, the foremost spokesperson of the 3 E'rrirlill:;ASEEBLEST-- Victorian aesthetic credo, believed . -j ihrtÂ·-LrLE 1 f _. 1~ .;.LLâ‚¬ '43 ~ i--ir-- Lt LP l-i that because a house should fit into a natural setting and relate to its en- vironment, neutral colors should be chosen. He adamantly opposed stark white or high-contrast color -- - - combinations. Colors in the nine- 1 teenth century progressed chrono- 1/IL./1/241all,e zill 11 - 1 4 1-1 , logically from lighter tones such as .,4 tril'C F.A.â€¢16.-i~/.,2 I T' 4 1 U i buff to darker, stronger colors-but 4 these hues remained "natural" -Â· - d.71,1. 4 FLFE --= -1--*-.-~----- i throughout the century. i The call for a natural palette was 1] 1 ;-~~~1'~li~. 2*=1_ $ a bit of a chicken-and-egg syn- , 41 drome, for natural, organic colors 1 2#+El f E j were the only ones available to the ~ *,-6.- 1 1 0 11411,1 Victorians. Paint colorants were r==- largely derived from organic sub- stances such as rocks or plants, and = ~ the brighter, more intense colors ' } were either too expensive to pro- - 1.-/5- ..9/ p'/9/71-14-~ duce or faded so quickly that they .2411 - ': -: ' - were not practical. Given the exu- 1 berant, eclectic nature of Victorian l p , 0 architects, it is not hard to believe i . 6-9 0=1 1 that they would revel in today's pal- i let of 1,700 colors. 55 1-g=Â»t .4-- How Authentic Should You Be? Today's Painted Ladies p In my experience, the insistence The current color revival and in- --14__=DRX . on "authenticity" in Victorian fatuation with restorating Victorian color schemes seems to be primar- architecture can be traced, I believe, ily the concern of historians and to one source: the Painted Lady col- ...'*==m..19&.A#, those who don't actually live in Vic- orist movement in San Francisco. torian homes. Most people who The exuberance, brash spirit, and I h .44. ,894 1~224. love Victorian homes enough to live visual artistry of this movement set ~1:121-~~:iz~~~~~~ in and renovate them find actual off a chain reaction across the ...../-~ Victorian colors too dark and dull. country that is still gaining momen- They want to show their homes off tum today. and have them reflect their own A case can be made that the artis- tastes. After all, when you renovate tic precedent of Painted Ladies was a house, the first thing you do is up- more 1960s psychedelia than Victo- date the kitchen and the bath. Why riana, but it cannot be denied that should you live with a historical they captured people's attention. statement of the building and work Victorian color scheme when you Suddenly, the nation's Victorian with the given colors of the brick, wouldn't live with a historical Vic- buildings were transformed from an roof, etc. torian kitchen? urban problem to a treasure trove. Don't be afraid to be individual, but keep it in the context of your People have always changed building styles and colors to Suit neighborhood. If all the houses in "Let your bouse make its your environs are white, you should contemporary tastes, and the Victo- rians were no exception. One book statement without keep your colors light. Similarly, if in my library, Exterior Decoration, getting lost in a mess you are on a large lot, you don't printed in 1885, shows a classic of detail" have the same constraints as if you Cape Cod cottage-white clap- are in a row house. We can extend board with green shutters. The Vic- this idea even further and declare Small, dwindling towns and fortorn that if a house doesn't fit into its en- torian author describes this as urban neighborhoods took on a vironment, its property value will "cold, glaring, and always harsh in new stature. Sixteen thousand Vic- decline. In short, let your house be any surroundings." The next plate torian homes in the San Francisco outstanding without standing out. shows how the Victorians redid this area were lost prior to Michael Lar- This has been an overview of my house: in brown, russet, and dark sen and Elizabeth Pomada's book approach to house color. In future green With a dark brown picket Painted Iodies. Today, the destruc- issues I will discuss other details of fence. Today's owner of this house tion has virtually ceased. might choose yet another color painting your Victorian house: how Unfortunately, the Painted Lady to build a color scheme, how to scheme. movement brought with it a new imagine what that little paint chip problem: these colors don't transfer will look like on your house, and -% well to other locales. They look more. I'm looking forward to shar- , magnificent in beach towns or ski ing some of the secrets of painting a resorts, but on a street in your Victorian house with you. Hope : hometown they tend to look more you'll be with us. like a carnival attraction and disturb ~ie__-_ _E.%1 --*~ the neighborhood. We need to up- James Martin, owner of Tbe Color date a principle of the Victorian aes- People, is a graphic designer and thetic here to say that a house restoration contractor witb a should fit into its environment. strong interest in architectural and Victorian history. He lives in Den- An Alternative Solution ver, where be bas been creating Painting your Victorian doesn't color schemes for homes and com- have to be an either/or decision be- mercial buildings since 1979 tween the school of historical accu- tbrougb bis mail-order service and racy and the school of Painted -in-person consultations. He pre- I.adies. Let your house make its quently conducts seminals on new statement without getting lost in a colors for old buildings, and bis colors as we build a house: first the merous magazines. He can be con- mass of detail. We should build the articles bave been published in nu- body, then the trim, then the differ- tacted at Tbe Color People, 1546 Tbese bouses bad color scbemes de- ent parts. The parts should subli- Williams Street, Suite 201, Denver, signed by Tbe Color People. mate themselves to the major CO 80218; 303-388-8686. Building i ir. Victorian \ N<.944Â·:'911 ~1642Â«,1**~ 1 \7 , i l Col 1 \ 1 %& 1 *\ .. 0= 131 6 1. 7. -1 i /4 4. 3 fif F~=- - SchemÂ»~ 9,"1 *k -1. 19::g~,.. ~~79.1 1,-9.1<4>,71,?r,Ofjib 4, . James R. Martin "I don't even know where to start!" I'm sure you've said this to ~1 2,6â€ž- 6..~g.",l/'/ yourself more than once. The place to start is to decide what you : 1 want. The best way to do this is to note buildings that regularly catch ~ your eye. What is it that you respond to? The colors? The placement? 1 The overall feel? It is also important to note buildings and colors to 1 8- 1 which you respond badly Even my clients who don't know what ~ they like know what they don't like, and this is also an excellent place to start. J PT-xt, think about your own likes in color. What is your interior . is not necessary to use the same colors inside as out, but it is . 19 important to carry over the same tone. If your house is formal inside, - Ul=.-.-=.te.-@... don't make the outside whimsical, 54 Victorian Sampler I ......~........ -I ./ 8 I..... ._I.. ".Il% .1 Li-,1 11,174 '44.1116 \ aiuc JI!Â£1 <clcc. Fir>i, sc:cci .1 bodi loior '1;21: The most important aspect of the one that best goes with your works well with these colors. Re- planning a good color scheme is other colors. member, a dark body makes a balance. It is important for the house look smaller; a light color "wholeness" of the house that if makes it look larger. Usually a mid- you use a color up on the gables, Choosing Colors dle value is best. This accom- you use it on the lower levels of the You already have what you need plished, select a trim color, then house, too. Your eye should be car- to Start building a color scheme, your sash colors, secondary trim ried around by the detailing and You have the given colors of the colors, secondary body colors, color. A visual stop at the top makes house-the brick, stone, roof col- punch colors, etc., in the order of a stronger presentation. Painting ors, or whatever. No color scheme importance they have on your the crown molding on the gable will look great unless it blends with black-and-white drawings. In most . edge a dark color or using a dark these given colors-they will al- cases, you'll want to select your roof color keeps the eye from drift- ways be your point of departure. punch color last. ing ever-upward and sends it back down to see the rest of the house more thoroughly. This will make the house feel grounded and, con- Â£/~-t-*"1 sequently, more substantial. Â¥23 *Â¥ A. RET. 4 How to Start .IiÂ»j 4 Make a line drawing (called an el- t- -- evation) of the front of the building. -- Most design details are here, and \ / ax once you've designed the front, it's / 4 - easy to carry the pattern around to -1 1 --2 - ..-- --~4 the rest of the house. If you can't draw well, take a photo, get it / blown up large (11" x 14"), trace it, . and make copies. Making these drawings will give you a real famil- --#- iarity with your house. ,+ Now try to separate out the main *74 areas: body, trim, window sashes, - - 4 gables, repeating details, etc. Notice --'I--I--- ====4/ what stands out and what your fa- \ vorite parts are. I don't recommend . 43/ ' ~ 11 trying to color your drawings. You ,5/1&././A;..17.& can only get about 35 colors at the E l. 'EETI'll ' * art store, and these must represent - more than 1,700 available paint col- U =4-, i :, 2/. ==. EWWFAIL/LII Â·- 1 d ors: hence, your drawing will al- ways be misleading. I recommend L Ef- coloring your drawing in black- â€ž. 21 -4 .-2 and-white with a lead pencil. Laying out your house in terms of value (the light-to-dark scale of color) will give you a better feeling of balance and detailing. Middle, darker, and lighter values should be placed in different areas in such a way as to flow smoothly After do- ing this, you can select colors whose values correspond to the drawing. For instance, you may .. have several detail areas you feel should be very dark. If you want a color scheme with blue in that area * you can look through the blues for Summer 1989 55 \ Choose your colors from sample When you feel fairly confident of chips of a good brand of paint- your color selection, get quarts of I better paint is truer to matching its your paint colors for a sample. Get ,~ chips. Insist the paint match the your paint mixed at a professional , .1 chips-it's all you have to work paint store where the help is most from! Fold a sheet,of white paper experienced at mixing color and 34 i: around the sample card and cut out where you can get the best advice. 4 a frame the size of the color chip so Check the color samples painted on you can isolate the color you are a separate card against the chip considering from the others on the outside in the shade (artificial light strip. Since colors are affected by changes colors) before leaving. surrounding colors, you will be able Again, don't settle for careless color to see it as true as possible. matching. If formulas must be ad- Select your colors outside under justed, which happens frequently, Now is the time to put up a sam- , an overcast sky, or next best, in make sure the formula is written ple. Find a four- or five-square-foot open shade. You can see colors down. area where all the colors come to- truer in this light and distinguish gether and paint it completely. Take their subtleties since th ere is less ul-..9.. a few days and look at it in every glare and you aren't squinting. Se- light (squint a lot). The farther away lect your body color to go with you stand from the house, the eas- your given colors. Most colors can ~ ier it is to imagine the whole house adjust to fit thÂ¢m. If you are set on a painted. If one color seems to be ~Maa'=y.=R-# green, make sure you use shades of --li'/092"8#Fimimeml:RiNE,twi wrong, change it and put up a new green that work well with your given colors. Now try a variety of ./Ill'll//1/1//:Sillileer'Evm,276.. At this point everyone but your trim colors to find the one that 7 dog will come out of the wood- looks best. Having decided on these work to voice an opinion, but be two, select the rest so that there is a discriminating as to whose com- nice blend. Check your choices as ments you pay heed-few have any you build your color scheme by iso- understanding of the thinking pro- lating them together on both a cess you went through. When you white and a black background and are satisfied, proceed with painting make adjustments if it seems neces- the house. I suggest buying single sary. Finally, hold your color gallons over fives because they are choices up in the sunlight and look easier to tint accurately to the ad- for any hint of the colors changing justed formulas. (such as the warm grey having a vi- i â€¢.4 ' ~ What you are undoubtedly aware olet cast) that you may not have no- of by now is that there is no way to ticed previously. . know exactly what the house will look like before it is done. The truth is, there is always a "great leap of faith." But, if you follow the pro- cess and watch for tendencies of the colors to change (a rose about to turn pink, for instance) you should do well. It's a little scary, but it's a great thrill to find your house making you feel great every time you come home. Best of luck! 1 James Martin is tbe owner of Tbe Color People, a national arcbitectural color con- - sulting company Based in Denver Colo- + rado, Martin offers personal color consulting for homes and commercial buildings tbrougb tbe mail. A free mailer may be obtained by writing Tbe Color Peo pie, 1546 Williams Street, Suite 201, Den- rer, CO 80218; 303-388Â·8686, 56 fur Victorian Sampler Outline for Color Ordinance Presentation by Bob Mattatal, City of Breckenridge I. Introduction (description of Breckenridge and development review context A. Historic District review in conjunction with Planning review due to Performance Zoning. B. Existing code always allowed review of color. II. Describe Problem A. Business trying to gain attention with color more, once signage and merchandise display became restricted. B. Existing review too subjective - color difficult to describe. III. Approach to Ordinance A. Informal Survey: Which paint schemes do people like or dislike? B. How to quantify color characteristics? Munsell Color System! C. Compare list to System to set limits. D. Form ordinance that includes codes, guidelines and general suggestions. E. Intent of ordinance is 90% assistance and 10% restriction. IV. Ordinance Contents A. Chroma maximum limit (vase, trim and accent). B. Survey of existing nonconforming buildings; notification; time limit for repaint. C. Application requirements. D. Guidelines - pictorial glossary with location requirements. E. Suggestions for paint schemes and application. F. Extent of applicability - limits to all structures in town, applications and review only of commercial and structures within Historic District. V. Community Reaction A. Initially thought government too picky. B. Majority of nonconforming structures commercial (25-30 total). C. Applications get numerous. D. Planning Commission want review to be performed by staff. PEOPLE'S ORDINANCE NO. 9 SERIES 1990 AN ORDINANCE AMENDING THE RRECKENRIDGE DEVEI.OPHENT Conf AND THE TOWN OF RRECKENRIDGE HISTORIC nISTRICT GUIDELINES PERTAINING TO~NGS WHEREAS, the Town of Rreckenridge has the power to impose rearn- nable regulations to regulate the aesthetic qualities of the Town; ana WHEREAS, the color of a building or structure is one of the most obvious physical characteristics of such builrling or structure, anrl has a significant impact on the aesthetic character of the Town; and WHEREAS, the colors of the buildings or structures within the. Town are a primary aesthetic consideration: and WHEREAS, the Town Council finds and determines that the adoption of the regulations and requirements contained in this Ordinance will signi- ficantly protect, improve and enhance the aesthetic qualities of the Town of Breckenridge; and WHEREAS, the industry standard for the sustainability of an appli- cation of paint in climatic conditions appropriate to Rreckenridge has heen determined to be four years; NOW, THEREFORE, RE IT ORDAINED BY THE TOWN COUNCIL OF THE TOWN OF BRECKENRIDGE, COLORADO: Section 1. Section 9-1-5 of the Rreckenridge Town Corie, entitled "Definitions", is hereby amended by the inclusion of-FRe TETTowing adrli. ' tional definitions: Chroma. The attribute of color perception that describes the amount of saturation of a hue in terms of degree of departure from the gray of the ' i same value. All grays have zero saturation, ' Color. The visual aspect of objects that may he described in terms nf the attributes of hue, value and chroma. Hue. The attribute of color perception that permits them to he ' classified according to grarlations of the visual spectrum of light or pigment such as red, yellow, green, blue or any intermediate steps between , these. Maintenance. Maintenance consists of upkeep of the painted arear in a state the same as presently exists. Any application of paint on an area exceeding 10 square feet is not considered paint maintenance. Munsell Color Notation. A system of letters or numbers, or both, hy which the col-or-of any opaque object may he specified with respect to Munsell hue, H; Munsell value, V; and Munsell chroma, C, written in the form HV/C. The Munsell color notation of a speciman is obtained hy visual comparison with the Munsell hue, value and chroma scales of the Munsell Book of Color; published by Macheth Division of Kollmorgen Instruments Corporation, 2441 North Calvert Street, Baltimore, MD 21218. Value. The attribute of color perception that describes the grarlation between black and white, shades of gray. Section 2. The definition of "Class C Development" contained in Section 9-1-5 of the Breckenridge Town Corie is hereby amended hy the inchision of the following additional provi-sion: - Any painting of a structure within the Historic District, except for , paint maintenance. 1 Section 3. The definition of "Class D Development" contained in Section 9-1-5 of the Breckenridge Town Code is hereby amended hy the inclusion of , the following additional provision-: -- Any painting of a structure with a commercial or lodging lise out- side of the Historic District in Land Use Districts 3, 4, 5,6,9, , 13, 20, 23, 25, 28, 31, 32, 33, 35 or 39 except for paint maintenance; and by the deletion of the following existing provision: -- Change of color of any structure. Section 4. There is hereby added to Suhparagraph R of Section 9-1-18:3 of the Breckenridge Town Code, entitled "Class C Development Permit Process", a new subsection 5,-whi-Ershall read in its enti rety as follows: 5. A sample paint chip for each color to he used, keyed to the pro- posed location of the color on the building as shown on the p.levation drawings. Section 5. Subparagraph B of Section 9-1-18:4 of the Breckenrirlge Town Code, entitled "Class D Development Permit Process", is hereby amenrieR--so as to read in its entirety as follows: B. Â£ fcation Requirements. The applicant shall file an application, a fee as re4uired by the Town Development Fee Schedule, a short description of the proposal, any materials needed to adequately describe the proposal, including, but not limited to, material samples, paint chip samples for each color proposed, with location keyed to an elevation drawing, three (3) copies of any maps, drawings, or floor plans, or elevations deemed necessary by staff. Section 6. Subparagraph 5(A) of Setion 9-1-19 of the Breckenridge Town Code, entitled "(Absolute) Architectural Compatibility", is hereby amended , so as to read in its entirety as follows: A. General -- Painting. Color choices for all buildings within the Town limits shall he made from those allowed within the range delineated according to the Munsell color notation system from the Munsell Rook of Color on display in the Planning Office. The Munsell system of color notation is broken into three categories: hue, chroma and value. Chroma is the only characteristic with a set limit, which is as follows: Body color is limited to a maximum chroma of 4 (except that if yellow or red is used, hody color is limited to a maximum chroma of 6, trim : color is limited to a maximum chroma of 8 and accent color is limited to a maximum chroma of 10.) Trim color is limited to a maximum chroma of 6. Accent color is limited to a maximum chroma of R, The number of colors used on one structure is limited to three; this does not include specifically appropriate additional colors as listed in the architectural color placement list in the design guidelines for such elements as window sashes, porch floors, ceiling halftimbers, or roof coverings. If three colors are used, the color that covers the most building area is the body, the color covering the second most huilding area is the trim, and the color covering the least building area is the accent color. If two colors are used, the color covering the lesser area is the trim color for purposes of regulating of maximum chroma. If a different value or chroma of the same hue is used, this is con- sidered a separate color. 2 , All exterior elements of a building that are metal, such as flues, flashings, etc., shall he painted a flat, dark color or one that is a com- patible color with the building and not he left nor allowed to become hare metal. The color choices shall he as determined between the staff anri applicant. Exceptions to this policy may occur such as for copper roofs, etc., which rio not require painting. Section 7. General Historic District Guideline Eight (R), "Color", of the Town Of Areckenridge Historic District Guidelines, is hereby amended so as TE-read- in its enti rety as follows: Color. 8) Guideline: The Colors of the buildings should be compatible with the District. A) Modest color schemes are preferred and should he reminiscent of Subtle Victorian-style colors. Develop a color scheme that ties the building elements together. B) Color should he used to enhance the architectural form of the building. The style, material, and detailing of the structure must hp. taken into account. Color should not he used to gain attention, it shnitlrl be clearly subordinate to the architecture of the structure. C) Placement of paint on architectural elements should he as described in the following architectural color placement list. To locate elements in list on building, refer to Pictorial Glossary that follows list. While it is encouraged that modern buildings have modern interpreta- tions of traditional building elements, the guide to what should he painted i as body, trim, or accent should he the same. Awnings - usually canvas, buildings built prior to WWII Mid not have aluminum awnings (can be striped also). Balusters - body color. Balustrades and Rails - trim color. Baraeboards - trim color -- ornaments, moldings or panel inlays -- body cofor. Cast Iron Work - dark green or black. Chimneys - body color if painted. Corners and Pilasters - trim color. Doors - all trim color or door frame, trim color and panels - body color; stained and varnished hardwood; grained doors - technique of ' painting to simulate hardwood grains. . Foundation - darker than any other trim elements, or dark red or hrown. Frieze, Cornice and Brackets - trim color. Raised ornaments on these elements -- body color. (These elements should appear as whole structural elements, not as isolated pieces). Frieze Panels - body color. Gutters and Downspouts - same color as element it is against. Halftimbers - dark red or brown. Hardware - polished original metal surface or black. Masonry buildings - frames and sash same color. Wood frame - frames - trim color, sash darker (usually deep reddish 3 or chocolate brown, dark green, olive or even black). Storm Windows - frame - same as sash. Modillions and Dentals - same trim color as cornice except when hody color is lighter than the trim, then the soffet should he the horly color, the frieze and moldings should he the darker trim color. (This allows the , lighter soffet to reflect light and heighten the shadows cast hy the decorative elements). Porch Roofs - often striped vertically (one of the colors to he same or similar to supports). The stripes heing 4" to 12" in width depending on size of roof. Porches - ceilings - sky blue, floors - gray. Or either hnrly or trim if a middle value, or stained and varnisherl. Exposed ceiling rafters - a combination of body and trim color. Posts (rectangular) - trim color, (round) - body color, red or gilded. Picking out of rings and chamfered corners ok for new buildings. Discourage in historical, aim for all port- ions of one idea the same color. Treat as a column, all one element. Ouoins - left natural if stone, trim color if wood. Roofs - The color range was somew'L . limited to those from the materias available (slate, wooden shingle, wetal or ceramic tile). Slate - appears purple, gray black, blue black, red or green. Wooden shingle - (Unless painted or stained) mellow to brown or gray. Painted - dark red, dark reddish brown or dark olive green. Seamed metal - require painting unless already enameled. Terra cotta tiles - yellow to brownish red. Post Victorian may have ~ ben bright red, green or blue. These were almost always dark colors that contrasted to the base color below. Metal roofing in a shiny metal silver reflective look is inappropriate. Copper roofs should stay unpainted. : If asphalt roof shingles are chosen (discouraged on historic buildings) match colors to above. Sandwich Brackets - outer slices trim color and center slice the body i color. Shutters - dark green; a lighter shade of the hody; two colored, a lighter or darker shade of body and trim for frame and panel or louvers (darker recommended). Storm and Screen Doors - same as main door, Tympanetim - a lighter shade than base color, either same sharie or com- patible. Under Porch Latticework or Grill - framework - trim color, grill - body color. If the grill is over three feet in height, paint both a Mark trim color. If a masonry building, paint the same as foundation or a lighter or darker shade of trim color to provide contrast. Window Grills or Decorative Vents - trim color. Windows - Outlining to define the mass of the building, projecting parts - lighter, receding parts - Marker. Wooden Steps - the risers - trim color, recesserl or decorative panels - body color, treads - the porch floor color. 4 Wooden Trim on Masonry Buildings - sanrl paint (sand aMrlpd for text,irp). For landmark structures in the Historic nistrict, a professional chemical paint analysis of the structure shall he undertaken, by the Town, with per- ' mission of the owner, to determine the colors tised historically. Those used during the period of significance should he duplicated in the present . paint scheme. Refer to Pictorial Glossary. Section 8. Compliance. A. Within one year after the adoption of the ordinance codified in this chapter, the Director shall conduct a survey of the chroma of all paint schemes that require a permit under Sections 2 and 3 of this ordinance to identify those buildings which are not in compliance with this chapter. A letter of notification will he sent to the owners of structures that are i not in compliance. Failure of the Director to notify a pro- perty owner of noncompliance shall not operate to exempt any property owner from meeting the requirements of this chapter. R. Those buildings whose existing paint schemes rio not conform to Section 6 of this chapter shall make appropriate application for a new paint scheme within 48 months of the effective date of this ordinance and have repainted the structure tn bring the building into compliance within this chapter within 54 monthq of the effective date of this ordinance. Section 9. There is hereby added to the Town of Rrpckenririge Historic District Guidelines a new Section VI. - 1, entitled "Suggestions for Guideline Book", which shall rear! in its entirety as follows: SUGGESTIONS For Guideline Rook 1. When choosing colors, examine samples in sunlight, not artificial interior light. Before making a final decision, apply a sample of the colors to the building in area where you can see them altogether. (A gable is a suggested location as the colors can be viewed with the sky as a background). 2. When selecting colors, select the body color first, then choose comple- mentary trim and accent colors for a compatible paint scheme. 3. The majority of the historic buildings in Rreckenridge were built during an era of design attitudes known as the Picturesque. The intent was to harmonize with the natural surroundings. As a mountain resort com- munity, this is still appropriate today. Choose colors that copy the tones , offered by nature, especially those in materials of which buildings were built such as soil, rocks, clay, wood and bark, etc. 4. The value of the color should vary to enhance the appearance of the Structure according to the following general statements: a) The value of the color shoulrl relate to the amount of the structure concealed hy foliage versus the amount of structure exposed to view. The value being darker for more exposed wall to light or more concealed wall. b) The value of the color should relate to the size of the structure. The larger the structure, the Marker the value (expresses dignity). The smaller the structure, the lighter the value (expresses cheerfulness). A general recommendation would be that buildings with a footprint of 500 square feet or less be greater than 6 in value, and those with a footprint of over 500 square feet be less than or equal to 6 in value from the Munsell Book of. Color on display in the Planning Office, c) To break up the size of a larger building, it is possible to reduce the impact of a structure by painting each story different shades of the body color, getting lighter as you rise up the building. 5 5. The range of paint colors available in the Victorian era was more limited than today. While not further regulated, it is suggesterl that for contributing rated buildings, they he painted with colors chosen from those depicted in the pamphlet Heritage Colors on display in the Planning office. Appropriate compatible combinations of colors can he found in the. affinity chart within this publication. Accuracy is desired in a restoration, therefore a chemical analysis nf previous paint applications is encouraged to determine what was on the structure historically. Section 10, Except as specifically amended hereby, the Town Corle of - Breckenridge, and the various secondary cortes adopted hy reference therein, shall continue in full force and effect. Section 11. The Town Council hereby finds, determines and declares that it has the power to adopt this Ordinance pursuant to the authority granted to home rule municipalities by Article XX of the Colorado Constitution and the powers contained in the Rreckenridge Town Charter. Section 12. This Ordinance shall he published and become effective as pro- vided by Section 5.9 of the Breckenrirlge Town Charter, INTRODUCED, READ ON FIRST READING, APPROVEn AND ORDERED PUBLISHED TN FULL this 27th day of February, 1990. A Public Hearing on the Ordinanse shall be held at the regular meeting of the Town Council of the Town of Breckenridge, Colorado, on the 10th May of April, 1990, at 7:30 p.m. or ' as soon thereafter as possihle in the Municipal Ruilding of the Town. ATTEST: TOWN OE RRECKENRIDGE 97\*40Â»,4,0 ~13~L- l<E~ Mary Jean~~fek, Towng]+rk Stephen C. West, Mayor This Ordinance was published in full in the Summit County Journal, a newspaper of general circulation within the Town of Rreckenridge, on March 8, 1990. READ, ADOPTED ON SECOND READING AND ORDERED PUBLISHED RY TITLE : this 10th day of April, 1990. A copy of this Ordinance is available for inspection in the office of the Town Clerk. ATTEST: TOWN OF BRECKENRIDGE LAUÂ»AcÂ«lgAL Â«li,-C--bsÂ» Mary JeanCAfel, Town Clet) Stephen C. West, Mayor APPROyLI N 58RM 44* Town (811Â£01Â¢37 Date This Ordinance was published by title, with amendments, in the Summit County Journal, a newspaper of general circulation within the Town of Breckenridge, on April 19, 1990. ATTACHMENTS TO PEOPLE'S ' ORDINANCE NO. 9, SERIES 1990 PICTORIAL GLOSSARY ~ I. First story 1.-3. Body 2. Second story 114 3. Attic 4.-25. Cornice 100 4. Edge of crown mol. 5. Crown / 6. Fascia 49 11 ====1.2 7. Bed mold 8. Denials 9. Frieze 112 10. Panel mold 11. Panel p - 21 . E~- ,, 18 12. Architrave g 43 *| 25 13. Sunken face of sandwich bracket m iPÂ·41 TE50 14. Raised face of sandwich bracker 45 15. Bracket panel -21,41 970 16. Bracker margin 17. Soffit 18.-20. Bargeboard 51 21. Ceiling under eavi ~ - 86 22. Foot pieces .\6-9 1/2: 1-- 7~- --- 23. Gutter face 87 - 24. Gutter brackets --: - ~-~~~~~~54- c- ----85 26. Corner Board --6 25. Gurter cap 46-- ---uet:~ 84 7.-30Â· Water Table 28. Slope 29. Edge 30. Face - E- - -91=E 'Di 90 1.-45. Window Frame or CaÂ· -41 - 2- ing 32. Face = 31 ~C, 51 g ~= 33. Cap fillet - * 34. Cap mold -- - 1,1*- 35. Cap panel 27 I b=========C~ 36. Keystone 111 1 1 1 37. Chamfer 1 .1 - 38. Sill 1 1 41 /1 r : 2&2.32 110 109 Excerpted from VICTORIAN EXTERLOR DECORATION, "How to Paint Your Nineteenth- Cpnturv American Hnurp Ilianrirally". hv Roger W. Flors and flail fackr.y I.linklpr. --Uff- j' 11. - 39. Arron - 4 112 40. Reveal 4 - -=CLA -~ 41. Edge i i L z , i i . ' 6 i 42. Attic window cnr- 9 L..17 43. Anic window sin 9 nice 1.>rf- _L.r__34 Ni &\ 9 mold -=~i 1 33(~\Wl~X:[ l,13 94 mold 44. Attic window cov, \13 1 45. Attic window bas, 32,/ 46. Belt Course LE \218 ./ 47. Beam Ends ~\35 1 Â·4_ 96 37- 48. Artie Belt Course - -=2 -13 49.-50. Tympanum 26 .- M. Win~oZ Trsahnson, Â·20 \99 53. Cut Work cllil_1 38 < . 1 cm 54. Stiles and rails 54.-57. Doors r 39 55. Mold g//000* M d DIL 6-0 -19-1 56. Receding part of 102 panel 57. Proiecting p.tri of f panel 9-L--fli=:nA 11( 1.1 4 58.-59. Shutters (Blinds 65 58. Louvers (shus) - 11==11 sEZZE 59. Frame ~=ms. 79---17 60.-93. Porch 60. BaTustride 1.â€ž,I -9.8 61. Balun=Je b.ne 62. Balustrade r.,il 63. Receding p.tri of baluster og 1~ 57-*., n\1~ 64. Projecting part oÂ· 28 baluster - 55- FA - 72 65. Abacus 66. Capiia! 53<\ . 67. Neck mi,1.1 68. Chamfur 69. Shaft 108 ~1 79 70. Rosette 1.R~ Â£ 0 / 'I,24%Â§lL##~ 71. Plinth 103 |I . //.i' 4%2*=NI'll 72. Plinch mold 0 Nes'19-1 81 73. Rail 104~ 75 ~/1 i p - 5// l~[43~ 74. DaJo 75. Dado p.1 nci 12.9:ZE[.:---123 1_11---' LI/ 1 1- 76. Base 77. Base mold 78. Ornamentai r.,0 79. Ornamenial panel 80. Ornamental cham- ier 81. Bead below steps 82. Panel mold below 113 steps 83. Panel below steps 84. Roof 112 85. Face rafter (barge- 4 board) 86. Gable rail 87. Gable panels 9 88. Plate 89. Cornice balusters 90. Cornice rail 91. Cornice bracket 92. Rails below 93. Panels below 94.-102. Chimney 94. Top of cap 95. Crown mold of cap 96. Fascia of cap 97. Bed mold of cap 98. Frieze of cap 84 99. Architrave 0-i 100. Shaft Â· 101. Panels 102. Base / 1- 103.-108. Fence 51 91 ~ e 103. Post 104. Post chamfer 56 105. Upper rail 106. Lower rail 54 107. Base 108. Pickets (balusters) 69 109.-110. Steps 109. Tread mold 1 1 0. Riser 111 27 110 111. Foundation -r- r 112.-114. Roof \ N I . 1 113. Ridge roll or crestÂ· ./Â· r _ < ing 1 1 114. Iron finials (also f common location for acroterion) 9Â» lili f Whereas the color of a building or structure is one of the most obvious physical characteristics of such building or structure, and has a significant impact on the aesthetic character of the town, and nobody likes to.be told they have bad taste, the regulation of color can be an area of strong emotion to a community. This may be why it is not often done. what is in vogue in the area of color may change from year to year and it is easy enough to repaint, right? Well, in a historic district where design controls and the issue of what is appropriate are more deeply debated, the use of color on buildings can be controlled and not subjectively. The town of Breckenridge, Colorado, a Victorian era mining town in the Rocky Mountains, has recently adopted an ordinance that attempts to reign in would be Picasso's. When there is an economy based en tourism, the need to get the customers' attention is strong. When there are already strong controls on signage and the outdoor display of merchandise, then the use of color to yell a little louder than ones neighbor becomes more pro- nounced, until it becomes a screaming match that often leaves the bounds of good taste behind. While the selection of what color is difficult to debate, the applica- tion by location on the structure, the number of colors, and the intensity of the color can more easily be controlled. To be able to do this, a more fundamental understanding of color is needed. The profession of graphic design and interior design have long been concerned with ways to quantify the description of color to aid in selection. There has been in existence since 1915 a system of color notation developed by A.H. Munsell that has over the years been refined to the point of gaining world wide acceptance to be considered the standard system of color specification by the American Society of Testing and Materials, the American National Standards Institute, as well as similar other national organizations in Britain, Japan, Germany and other countries. The basis for this system is to break color into its three main components; hue, value and chroma. Hue is what the average person thinks of when they think of color, red, blue, green, etc. Value is the variation of light to dark, or level of greyness. The chroma is the saturation or intensity of the hue. This variation is the range from dull grey with a hint of color to the saturated neon electric colors becoming more and more popular today. The Macbeth division of Kollmorgen Instruments Corp. produces the Munsell Book of Color which acts as an excellent system to quantify colors on buildings. It gives numerical and letter designations to the range of color available. We attempted to control the intensity of color by setting an absolute limit on chroma. How this was determined was by consensus of our Planning Commission and Town Council. We first made a list of the problem buildings and of those felt to be appropriate. Not a complete 'nventory, but a representative sampling. We then applied the notation ystem to them and found an acceptable limit. It was interesting that almost all of the nonconforming structures were businesses, not residences, further validating our theory of the need to gain attention. The next step was to deal with other issues of color such as location and number of colors. Being a Victorian era mining historic district gave us a focus to research historical precedents and limit schemes within our district. Of considerable assistance in this area were books by Roger Moss of the Athenaeum of Philadelphia, a research library for Victorian era decoration. The town has for some time made color an area of design review. Additional standards were written to help again remove some of the subjectivity. Examples are that only three colors are allowed on a building; base, trim and accent color. The base determined by being the color covering the most area; trim, the next amount of area covered; and lastly, the accent. A pictorial glossary was included with recommendations of which building elements were historically painted with base, trim or accent color. These were also given different chroma limits such that the base was more muted, the trim a bit more intense, and the accent still more to jump out and accentuate building elements. One area that has received considerable research in the profession of graphic design and was considered in our drafting of these controls, but ultimately deleted, was the area of color combination. Some colors just do not look good together. Agreement on which ones is more difficult to quantify. An analogy that helped relate how color can be used or abused on buildings for us is to imagine make-up on a person. It is most often successful when it is used to enhance the physical features of a person. Once it is applied in a way that it becomes the first thing noticed, the effect becomes distorted and less pleasant. Color on buildings should enhance the architecture. What is considered good architecture will always be debated. In Breckenridge, we hope we have taken a step in the right direction so the issue of good or bad architecture is not clouded by the color. Community Services Collaborative architecture landscape architecture plannins grantsmanship 1315 Broadway Boulder. Colorado 80302 303 442 3601 OUTLINE OF TALK ON GAMING FOR CPI CONFERENCE IN MANITOU SPRINGS, CO SEPTEMBER 13 - 15, 1991 I. HISTORY OF GAMING IN THE US A. Nevada B. Lottery C. Atlantic City D. Deadwood E. Riverboat Gambling F. Others: Montana, Video Lottery G. Tribes H. Colorado II. INTENT OF THE REFERENDUM IN COLORADO A. Revitalize the three communities 1) To bring the city up to standard 2) To create an added draw 3) To preserve the buildings III. DEADWOOD'S GAMING A. Gaming Rules B. Gaming Operator C. The Historic Preservation Fund 1) Revolving Loan Fund 2) Infrastructure 3) Marketing/PR 4) Community Enhancement a) Interpretive Plan b) Museums c) Stream-side Improvement d) Etc. D. How have the buildings faredl 1) HPC 2) Pres. Officer 3) Archaeologist 4) Role of the State 5 ) Effects of kcal Gaming law 6) Design Guidelines 7) HP Master Plan 8) Etc. IV. COLORADO'S GAMING EXPERIENCE A. Central City B. Black Hawk C. Cripple Creek 1) Transportation 2) Parking 3) Infrastructure 4) Community Services 5) Staff 6) Ordinances 7) Gaming Operator 8) Irnpact Model D. State Involvement V. WHAT WILL THE STATEWIDE PRESERVATION EFFORT SEE? A. Possible positive examples of three cities B. Possible negative examples of three cities C. Spill-over to adjacent communities D. Spread of gaming E. Dollars