A PATTERN BOOK for SYRACUSE NEIGHBORHOODS ∫

A Guide for Building and Renovating Syracuse Houses

CITY OF SYRACUSE To Residents of Syracuse

Th e Syracuse Pattern Book is a planning tool containing design guidelines to assist home owners, builders and developers plan and design new homes in keeping with the traditional neighborhoods of Syracuse.

Th is Syracuse Pattern Book has surveyed (3) “pilot” neighborhoods, of the more than 25 city neighborhoods, to identify the predominant visual patterns of Architectural style, street character and building materials, and identiﬁ es which are most appropriate for a particular neighborhood.

Th e Syracuse Pattern Book will set design guidelines for improving the appropriateness of new “inﬁ ll” homes being added within the diﬀ erent neighborhoods in our city. Th ese Design Guidelines will help to reestablish neighborhoods of consistent character.

Design guidelines from the Syracuse Pattern Book recommendations are being used in creating several new homes being built by Home Headquarters for the Kennedy Street area of the Brighton Neighborhood for the 2009 building season. New homes in this same area are also being developed by the Syracuse Model Neighborhood Corporation (SMNC) and Jubilee Homes.

Th e Syracuse Pattern Book will contain new historical analysis and maps of the primary growth of our city residential neighborhoods over the past century and a half. Th e analysis of the existing housing stock in the (3) “pilot” neighborhoods will set the 1’ 6” 1’ method for similar Design Guidelines to be used in all city neighborhoods.

Th e Syracuse Pattern Book builds on signiﬁ cant planning work done by the SUNY ESF Urban Design Studio, which is referenced in this Pattern Book and available in the Housing Component of the Syracuse Comprehensive Plan. 7’ 8” 7’ I hope you will ﬁ nd this a most useful resource in planning for the future of our city neighborhoods.

10” 3’ 4” 10” Matthew J. Driscoll Mayor

SYRACUSE PATTERN BOOK Purpose of the Patternbook Table of Contents

Th e city of Syracuse has grown to include 26+/- indi- Introduction Sections vidual neighborhoods with distinct identities, from Tipperary Hill to Sedgwick to Westcott, many with a How to Use the Pattern Book A rich Architectural History dating back to 1848 when the community known as the Village of Salina became Overview of City Neighborhoods B the City of Syracuse. Housing styles from the late nineteenth century dominate many of the city neighbor- Syracuse Neighborhoods C 1 hoods, while several like the Valley and Meadowbrook Southwest/Brighton C-1 areas clearly exhibit mid to later twentieth century housing styles, with diﬀ erent neighborhood patterns and Skunk City C-9 street layouts. Older neighborhoods developed before and after 1900 have examples of housing styles ordered Near Northeast C-13 from the Sears Catalogue which were mass produced as popular styles, while there are also individual exam- Architectural Patterns D ples of custom designed homes, unique masterpieces of D-4 grand architectural style. For this Pattern Book, three Victorian Style “pilot” neighborhoods have been surveyed as the basis D-12 for future neighborhood studies throughout the city. American Four Square Arts & Crafts Style D-20 Home Headquarters Inc, as a provider of housing proj- 23 ects and funding, in conjunction with the City of Syra- Classical Revival D-28 cuse, commissioned this “Pattern Book for Syracuse Neighborhoods” to provide a reference resource for Landscape Patterns E home owners, individual builders and project developers as they plan to build, expand or repair their houses Rehabilitation Guidelines F and preserve their neighborhoods. From remodeling a front door, adding a wing to your house, or for building Appendix G a new house, you will be able to ﬁ nd the appropriate G-2 patterns to help guide you and your architect through Glossary the design process in ways that are consistent with the G-10 traditional neighborhoods of Syracuse. Credits

Urban Design Center of Syracuse, Inc. Syracuse, New York 2009 45

Drawings in the Syracuse Pattern Book are for illustative purposes only and not to be used for as construction documents. A professional archi- 1. Eave Detail 2. Porch Section 3. Syracuse Victorian Elevation 4. Victorian Massing 5. Victorian Massing with Porches tect or engineer should be consulted for any residential reconstruction.

SYRACUSE PATTERN BOOK

A Guide for Building and Renovating Syracuse Houses ∫

HOW TO USE THE PATTERN BOOK

∫ Section A SECTION How To Use the To begin, this Syracuse Pattern Book is organized to provide you, A as homeowner, builder or Architect, with the steps needed to se- Syracuse Pattern Book lect and plan for an addition, renovation or even a new house. The information in the following sections is derived from the predominant physical patterns present in the Syracuse city neighbor- STEP 2 hoods, having developed over the past 175+ years of city growth. Identifying Your House Style – Existing or New Following these steps will help you select an appropriate house style as the ﬁ rst step of your project. Th is same Section C also contains detailed survey information of the existing house styles. Th ere is an “Age of Housing” map showing when the diﬀ erent neighborhoods and housing STEP 1 styles were developed. Study the predominant style of houses Finding Your Neighborhood in your particular neighborhood.

Go to the “Syracuse Neighborhoods”, Section C of this Pat- From the analysis in the three pilot neighborhoods, four ini- tern Book, and fi nd the neighborhood where your project is tial Syracuse house styles are identifi ed. Th e basic elements to be built. Th is fi rst edition of the Syracuse Pattern Book of these styles are identifi ed to better understand their im-

V VA V L VA NAT N I VA V CT C ANCH V R V C I

V I L C N V C NAT I LO N VI C

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L other neighborhoods throughout the city. VICT the site decisions including locations for the house, driveway, front and side yards, garage and porch; and second, the house Th ere are many diff erent neighborhood street and housing style decisions including house and roof shape, windows and patterns throughout the city. Notice how diff erent neighbor- doors, siding and porches. With your choice of architectural hood patterns create unique neighborhood character. Read style made under step 2, proceed to that style under Section about the landscape and building setbacks required between D. Review Section D, “Architectural Patterns” for a better un- the buildings and where the garages are located. Begin to derstanding of these components of the Architectural “Style” understand the diff erent components that need to be deter- and Section E for appropriate “Landscape Patterns.” mined in your project. How to Use the Syracuse Pattern Book

SYRACUSE PATTERN BOOK A 2 STEP 4 Appropriate MATERIALS & POSSIBILITIES will be listed Planning for Additions or Renovations to aid in selecting the best fi nishes for renovations, additions or new projects. For appropriate additions review Section D, “Massing and Composition” for the style of your existing house, Go to Sec- Th e placement, materials and style of the GARAGE will be tion F and review the “Rehabilitation Guidelines” dealing discussed, as well as the driveway location. PORCHES and with the appropriate methods and materials for the proper CHIMNEYS are distinctive features diff erentiating Architec- care of the original neighborhood houses of Syracuse. Th is tural Styles. Th ese will be illustrated and appropriate details section describes how renovate a period house appropriately, recommended in this section. how to do an addition that fi ts the character and style of the original house, and how to repair or, if needed, replace origi- Th e last page of each section discussing an individual Archi- nal materials, windows and doors. tectural Style will be a GALLERY OF EXAMPLES with typical photos of that style and character.

STEP 5 STEP 6 Understanding Architectural Styles Material Manufacturers References Section D “Architectural Styles” will take you through four Please review the list of material manufacturers or items such of the most predominant Architectural House Styles from the as doors, windows, columns, and moldings. Keyed to the ap- neighborhoods of Syracuse. propriate architectural style, the list can serve as a reference or resource when searching for the appropriate building supplies Each individual style section will provide a BRIEF HISTO- from local sources. RY and overview of its style. Th e MASSING & COMOPSI- TION of each style will be reviewed. Diagrams will illustrate these topics. Roof types are an important component of this STEP 7 overall composition. Other Resources Available in Appendix Th e WINDOW & DOOR selection will be a critical part Please review the list of local sources and references for ad- of each style house. Certain shapes, proportions and patterns ditional help on products, materials, etc. of window & doors used are unique to a particular style of house, and inappropriate to others.

How to Use the Syracuse Pattern Book

SYRACUSE PATTERN BOOK A 3

A Guide for Building and Renovating Syracuse Houses ∫

OVERVIEW OF CITY NEIGHBORHOODS

∫ Section B SECTION B Syracuse Neighborhoods City Neighborhoods

Th e City of Syracuse has as many as 26 distinct local neighborhoods inclusive of downtown. Neighborhoods like Strathmore, University Hill, Eastwood and many others have a character all their own and that character stems from the housing types to the pattern of streets which make up these areas. Th ese boundaries have been drawn and labeled as shown on the overall map to the left. Th ese are used by the city’s Department of Community Development. Part of the importance of overall city patterns of the built environment is to understand how local neighborhoods obtained their unique sense of place and their distinct identity. Each neighborhood has qualities and aspects of physical form that make it recognizable from nearby neighborhoods. For new construction to ﬁ t into this neighborhood identity and strengthen the sense of place which deﬁ nes a particular neighborhood then, one must understand the pattern of the environment and its components. Th is Pattern Book is meant to assist the homeowner, builder or property owner to know the unique character of a neighborhood and blend those patterns into the design of new construction.

As you read through the various chapters of this Pattern Book we will use the names of neighborhoods as shown on the map at the left – a roadmap if you will to guide the reader through the various areas and architectural surveys. Since this book only covers three areas as a pilot it is the intent that in the future more neighborhoods will be surveyed and included as future chapters of this book.

Th e method of analysis used in this Pattern Book may be applied to neighborhoods throughout the city.

Syracuse Neighborhoods

SYRACUSE PATTERN BOOK B 2 Neighborhood Origins

As mentioned in the previous section, the City of Syracuse has as many as 26 distinct local neighborhoods. However the names used today and even some of the boundaries are not reﬂ ective of the true identities of some of these neighborhoods. For example you will not ﬁ nd the name of Tipperary Hill on a map of city neighborhoods yet it remains a distinct area with its own character and history rich in cultural identity. If we are to have a more complete understanding of the physical patterns which have shaped our city then looking at the true boundaries and identities of local neighborhoods is es- sential. Th e map at the left begins to trace this information from a variety of sources. Since the Pattern Book at this point is covering only three pilot areas, our survey of the traditional boundaries is limited to those three. We hope to include other areas in future sections of the Pattern Book.

You will see names of neighborhood areas which have been erased from current usage such as Danforth and names still vibrant with meaning like Tipperary Hill.

As you read through the various chapters of this Pattern Book we will try to give you more information about the true boundaries and character as derived from history and from a physical survey.

Syracuse Neighborhoods

SYRACUSE PATTERN BOOK B 3 Syracuse Land Use

Th e evolution of the current Land Use map of Syracuse, typical of most 18th & 19th century American cities, was formed around important transportation corridors, the Erie Canal followed by the Rail Road, which stimulated the adjacent development of commercial properties. Small individual neighborhoods developed around these growing business centers, with clusters of houses for both workers and business owners. Eventually, as the city grew, the older houses near the center were replaced with a growing downtown business core. Th e late 1800’s saw rapid growth of the neighborhoods, as we know them today. Each of these neighborhoods had it’s own small commercial center providing for their own residents, with pedestrian access to most basic services. Th e later half of the 1900’s has seen the loss of these neighborhood based commercial centers. Yet the land use patterns are still present from these previous eras.

LEGEND Land Use

Single Family Residential (24,345 properties) Automotive / Mini-Mars (288)

Two Family Residential (7,474) Transportation / Utility Sites (95)

Three Family Residential (878) Manufacturing / Warehouse Sites

Multi-Family Residential (1,483) Religious Facilities (178)

Institutional Housing (10) Community Service Facilities (34)

Vacant Residential Land (2,420) Educational / Library Facilities (108)

Vacant Commercial / Industrial Land (986) Cultural / Recreational Facilities (12)

Ofﬁ ce Buildings (277) Parking Garages and Lots (465)

Health Facilities / Hospitals (27) Parks/Cemeteries (128)

Entertainment / Indoor Athletics (39) Outdoor Athletics (17)

General Commercial (438) Land Under Water (2)

Retail / Residential (1,252) Missing Data (319)

Retail (136)

Syracuse Neighborhoods Syracuse Neighborhoods

SYRACUSE PATTERN BOOK B 4 Age of Housing

A unique development for this study has created this “Age of Hous- ing” map by translating the dates building permits were issued and mapping them in 20-year increments. Th is map, in a larger format in the appendix, shows older housing at the center of the city and the newer housing, in the progressive darker greens and blues, forming the newer neighborhoods to the city boundaries. On a larger scale, the older houses, generally in lighter greens, are frequently clustered adjacent to the older neighborhood commercial centers. (map developed by SOCPA & Urban Design Center of Syracuse)

Over these years the popular Architectural styles of these rapidly growing neighborhoods changed as well. Th e chart on the following pages illustrates a “Time Line of Syracuse Styles” which has established the character of our neighborhoods.

AGE of HOUSING

1820 or Earlier 1901 - 1920

1821 - 1840 1921 - 1940

1841 - 1860 1941 - 1960

1861 - 1880 1961 - 1980

1881 - 1900 1981 - 2005

Syracuse Neighborhoods Syracuse Neighborhoods

SYRACUSE PATTERN BOOK B 5 1800 Syracuse Neighborhoods Timeline of Syracuse Styles

1810 FEDERAL STYLE FEDERAL

FEDERAL STYLE 1820

Many Architectural styles have evolved over the years since the City of Syracuse

1830 was incorporated in 1848. From the early Federal Style of the ﬁ rst half of the 1800’s, practical and permanent of material and design, to the ornate designs GREEK REVIVAL NATIONAL STYLE 1840 of the Victorian era of the later half of the 1800’s, these housing styles kept in tune with the social norms of the GREEK REVIVAL day. Th e most prestigious homes were of classical designs, well established in 1850

NATIONAL STYLE NATIONAL 1800 Europe, and documented in the pattern or stylebooks of the day. GOTHIC REVIVAL ITALIANATE GOTHIC REVIVAL ITALIANATE Th e origin and examples for this “Time- 1860 line of Syracuse Styles” are based on the 2005 ESF School of Landscape Archi- tecture Urban Design Studio “Syracuse Housing Styles” report delivered to the 1870 City of Syracuse as an Appendix to the Syracuse Comprehensive Plan. Th e original illustrations from that report re-

STICK STYLE SECOND EMPIRE garding housing styles and street block SECOND EMPIRE STICK STYLE 1880 patterns are included in the Appendix of this Pattern Book, p. G6 – G9.

1890

RICHARDSONIAN ROMANESQUE QUEEN ANNE STYLE 1900 QUEEN ANNE STYLE

RICHARDSONIAN ROMANESQUE B 6 1910

1920 PRARIE STYLE

AL ENGLISH COLONIAL DUTCH COLONIAL SPANISH COLONIAL SPANISH MISSION TUDOR REVIVAL

1930 ENGLISH COLONIAL REVIVAL ENGLISH COLONIAL REVIVAL DUTCH COLONIAL REVIVAL COLONIAL SPANISH MISSION SPANISH TUDOR REVIV CRAFTSMAN STYLE RENAISSANCE ITALIAN FRENCH ECLECTIC MODERNISITC

1940

TRADITIONAL PRARIE STYLE CRAFTSMAN ITALIAN RENAISSANCE FRENCH ECLECTIC MODERNISTIC MINIMAL 1950

Th e period from 1880-1940 saw rapid development of the city. Over that same period, and with advancements in tech- 1960 nology, many new and more luxurious MINIMAL TRADITION house styles were oﬀ ered to the growing number of new consumers. Th is period saw a housing “boom” creating the city 1970 neighborhoods we see today, oﬀ ering a growing variety of popular American house styles to the cities growing popu- SPLIT LEVEL SPLIT SHED lation. 1980 SPLIT LEVEL SHED

1990

2000

RANCH CONTEMPORARY STYLE INTERNATIONAL RANCH CONTEMPORARY INTERNATIONAL

Syracuse Neighborhoods

SYRACUSE PATTERN BOOK Scource: SUNY ESF Faculty of Landscape Architecture Urban Design Studio 2005: “Syracuse Housing Style” B 7

A Guide for Building and Renovating Syracuse Houses ∫

SYRACUSE NEIGHBORHOODS

∫ Section c Southwest/Brighton Syracuse Neighborhoods SECTION C Neighborhood

Th e Southwest neighborhood is situated directly south of the downtown core and was formed around the primary southern routes into the city, South Salina Street and Cortland Ave. Th is includes the SouthEast Gateway Neighborhood, a development area surrounding a large portion vacant land and former commercial center, fronting on South Salina Street. Th is neighborhood was a part of the original Vil- lage of Syracuse incorporated in 1825.

Th e Brighton neighborhood, primarily residential in scale, is immediately south of the Southwest neighborhood. Th e Kennedy Street area is a small-scaled component of the larger Brighton neighborhood. Th is area ﬁ nds its origins from the Village of Danforth and was annexed to the City of Syracuse in 1886.

Southwest/Brighton (Kennedy Street)

SYRACUSE PATTERN BOOK : Syracuse Neighborhoods C 2 Southwest Neighborhood Origins

Th e early development of the Southwest neighborhood is tied to the history of the former village of Danforth. In 1874 this area just south of the city boundary experienced rapid growth. Quoting Dwight C. Bruce’s Onondaga Centennial’, 1896: “…It was in… (1874) that steps were taken for the organization of a village over the southern boundary of the city. During the preceding ten years, the territory south of Castle Street had been rapidly built up by an excellent class of dwellings, chieﬂ y owned by their occupants. A number of the more prominent of these citizens conceived the plan of forming a separate village corporation, mainly for the purpose of securing better and more convenient school advantages, better streets, and better ﬁ re protection...”

Fine residences built along the Kennedy Street area and the nearby commercial structures built on South Salina Street became the ‘Core’ of the new Village of Danforth. Th e Village drew its name from Asa Danforth an early pioneer of Onondaga County. After only a few years a petition was circulated for the City of Syracuse to annex this area of Danforth and with an act of the State Legislature authorization to join the two was passed in 1887.

Th e majority of housing built during this time gave Village of Dan- forth its character, as can be seen by the surviving housing stock in the architectural survey to follow. Th is origin is retained and sur- vives in the names like Th e Danforth School, eTh Danforth Baptist Church, and the Danforth Park.

Southwest/Brighton (Kennedy Street)

SYRACUSE PATTERN BOOK : Syracuse Neighborhoods C 3 Southwest Neighborhood Age of Housing

Th is residential area of the city saw spreading growth after the development of grand homes along West Onondaga Street, which became known as one of the “grandest” streets in the city by the 1870’s. Th e adjacent neighborhoods saw primary development from the 1860’s through the 1880’s. Many of the areas left white on this map had houses built before building permit application records were being kept. Not surprisingly, the lots closest to the center of the city were occupied by the smaller and less substantial houses in the ﬁ rst half of the 1800’s. As the city center grew into a successful business center, these residential properties gave way to more dense West Onondaga St. business use. Th e older homes can also typically be found along the older roads leading into the city.

Th e lightest green properties represent houses constructed between 1880-1900. Th e bright green indicates houses built from 1900-1920. Th e blue-green color shows houses built from 1920- through the 1940’s. Large blocks of properties saw residential development within a short period of time as indicated by the many adjacent properties of the same color.

Th e dark blue areas show the most recent residential construction in

South Ave. South Midland Ave. Midland Lincoln Ave. Lincoln Tallman St. the city, indicating a typical pattern of the late 1980’-1990’s of dete- riorating older housing stock replacing the previous original homes built 100 or so years earlier.

Bellevue Ave.

C 4

Sterling Ave.

Rich Ave. Rich

Palmar Ave. Palmar Coolidge Ave. Coolidge

Cheney St.

AGE of HOUSING

Cortland Ave. 1820 or Earlier 1901 - 1920

1921 - 1940 Midland Ave. 1821 - 1840

Onondaga Ave. 1841 - 1860 1941 - 1960

1861 - 1880 1961 - 1980

1881 - 1900 1981 - 2005

Syracuse Neighborhoods

South Ave.

W. Colvin St.

Southwest/Brighton

SYRACUSE PATTERN BOOK : Syracuse Neighborhoods C 5 Southwest Neighborhood Architectural Styles

Th e map shown at the left is of the Southwest neighborhood architectural home style information as gathered in a ‘windshield level survey.’ Th ese styles are described in such guides Unnamed Street as “Field Guide to American Houses” by McAlester and the Slocum Ave “Th e Abrams Guide to American House Styles” by William Congress Ave FS Morgan. Please remember that this is not a deﬁ nitive labeling F Te mp le S of the speciﬁ c house style but is a tentative assignment. Th e intent was to gather information on the styles for a particular V V street and determine what styles were the dominant pattern V V FS on a block by block basis as the next block map called “Style GR Te mpIF le St

IF IF GR King Dominance” will show. G O IF Kellogg St V V St DR V V FS IF SB GR N IF IF IF IF CC IF Holland St IF V Sheridan Dr V GR V IF GR GR IF I GR IF GR IF V GR V V IF I V IF V GR IF IF V GR IF V St IF White V V V IF IF IF V IF GR I F IF IF V V IF V IF V V I V F V IF I Midland Ave I IF F IF F

IF Lincoln Ave F I IF V IF

IF V IF IF IF

V IF V I IF F I IF F GR

V V V IF V V V IF IF IF V V IF V GR IF IF IF V Tremont St

V IF V

V V Ta ll ma n S t V I IF IF V GR FS V V I V V V

V V V IF V V N FS Daisy St IF AC IF V IF IF FS V SC V V FS V IF V IF FS V FS V S DR V F V V V V V V FS FS V V V IF V FS IF FS V FS V V V V IF FS V IF AC FS FS SouthAve V V S V Clover St V V F V FS V V IF V GR R IF V V V V FS GR IF FS FS F V V I V V V IF V IF V FS V O IF IF FS V V IF V V IF V IF S C

FS F GR A FS FS PalmerAve

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o Bellevue Ave St on FS s IF IF V V

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FS F GR A FS FS Palmer

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Onondaga Ave V FS

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FS FS FS V GR St Hudson N FS V V V IF V V CC Chester St V V GR V V FS N IF AC IF N V AC Arts and Crafts IF Infill FS IF V N CC N IF FS V V IF V N FS DR FS IF IF AC GR N CC I V AC St Huron Cape Cod Italianate FS FS V AC V FS V V FS N FS V St Rich N N N V IF V V C Colonial N National FS GR N V IF N FS AC V

V V FS FS Ave Coolidge AC N CT R FS N N Contemporary Ranch FS N N GR FS V N N IF V Sterling Ave V DR Dutch Revival SB Salt Box IF IF IF

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F IF V AC F FS SC V V Four Square Spanish Colonial GR V IF V nonda V IF IF FS V FS FS V FS FS V IF FS V FS IF IF V W Castle St FC French Colonial T Tudor GR N IF V V FS N V FS FS IF IF FS N GO FS N Hovey St Gothic Revival Vacant Lot g AC IF V AC GR V N V Ballard Ave a Ter R G AC FS FS V V GR Greek Revival V Victorian FS IF N N V V Dearborn Pl C FS N FS FS V FS FS FS FS FS V FS FS V C V V C V Marginal St FS FS C N GR

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Southwest/Brighton

SYRACUSE PATTERN BOOK : Syracuse Neighborhoods C 7 Southwest Neighborhood Style Dominance

Th e map below and the chart shown at the right is of the Southwest neighborhood showing the domi- 1 Victorian (5) 36% nant architecture of its home styles. Select the block where your house or lot is located to see which are Four Square (3) 21% the dominant architectural styles. For new inﬁ ll housing to blend into the neighborhood this chart will 2 Victorian (6) 27% show the dominant styles. With the selected architectural style in hand your next step is to go to the Four Square (4) 18% 3 Four Square (6) 60% Architectural Pattern section and the particular style page. Greek Revival (3) 30% 4 Four Square (6) 50% Colonial (3) 25% Victorian (2) 17% 5 Four Square (9) 36% Arts and Crafts (5) 20% Colonial (5) 20% 6 Four Square (8) 36% W Arts and Crafts (4) 18% Victorian (4) 18% 7 Four Square (6) 27% Victorian (4) 18% 8 Victorian (6) 23% 30 31 Four Square (5) 19% Midland Ave Colonial (3) 12% Greek Revival (3) 12% 9 Victorian (9) 39% Four Square (8) 35% 17 Arts and Crafts (3) 13% Lincoln Ave 10 Victorian (6) 38%

W Onondaga St National (4) 25% Four Square (2) 13% 27 11 National (8) 26% Four Square (8) 26% 16 Victorian (4) 13% 15 12 Victorian (10) 37% Four Square (7) 26% 13 Four Square (7) 26% Victorian (5) 19% 14 Victorian (12) 46% 14 28 Four Square (5) 19% 18 26 29 15 Victorian (8) 67% 13 Four Square (1) 8% 12Palmer Ave 16 Victorian (5) 25% South Ave 1 2 17 Victorian (8) 21% Hudson St Italianate (1) 3%

Coolidge A 23 Bellevue Ave C 8 v 19 n

St lidge Ave 23 Bellevue Ave 18 Victorian (6) 67% 19 19 Four Square (24) 63% Arts and Crafts (2) 5% 20 Victorian (10) 36% Four Square (4) 14% 20 25 Arts and Crafts (3) 11% 3 10 National (3) 11%

Onondaga Ave Onondaga 9 7 Rich St 24 21 Victorian (6) 30% 22 National (3) 15% 22 Victorian (9) 30% Sterling Ave Federal (1) 3% 23 Victorian (5) 17% Four Square (4) 13% 24 National (7) 26% Hovey St W Castle St 21 Federal (1) 4% 6 8 11 Four Square (1) 4% 4 Victorian (1) 4% 25 National (5) 21% Victorian (3) 13% Marginal St 26 Victorian (8) 35% Hudson St Cheney St Federal (4) 17% 27 Victorian (8) 28% 5 28 NA (-) ---% Cortland Ave 29 Victorian (9) 41% 36 30 Victorian (10) 30% 34 35 Federal (6) 18% 31 Victorian (8) 28% Federal (6) 21% 32 Victorian (4) 19% Crescent Ave Four Square (3) 14% 37 W Kennedy St Dutch Revival (2) 10% 33 Victorian (6) 8% National (5) 6% 34 Victorian (3) 33% 35 Victorian (5) 20% Kirk Ave 36 Victorian (10) 38% Federal (4) 15% Four Square (4) 15% 37 Victorian (5) 11% Arts and Crafts (4) 9% Four Square (3) 7%

Southwest/Brighton

SYRACUSE PATTERN BOOK : Syracuse Neighborhoods C 9 Brighton Neighborhood Age of Housing

Th is neighborhood is substantially an intact example of one of the early housing developments in the near south side of the city. Th ese houses were built primarily in the late 1800’s with this neighborhood being completed essentially by the 1930’s. W. Castle St. Again, the white areas in either older houses than these or properties without records of original building permits.

AGE of HOUSING

1820 or Earlier 1901 - 1920

1821 - 1840 1921 - 1940 Furman St. S. State St. 1841 - 1860 1941 - 1960 E. Kennedy St. 1861 - 1880 1961 - 1980 S. Salina Ave. 1881 - 1900 1981 - 2005

Landon Ave. Syracuse Neighborhoods W. Kennedy St.

Kirk Ave.

McLennan Ave

Southwest/Kennedy Street

SYRACUSE PATTERN BOOK : Syracuse Neighborhoods C 10 Brighton Neighborhood Architectural Styles (Kennedy St.)

Th e map shown at the left provides architectural home style information for the area around Kennedy St. in the Brighton neighborhood. Th ese styles are interpreted as best as our team could accom- plish through a “windshield survey” and referencing such guides as “Field Guide to American Houses” by McAlester, or the “Th e Abrams Guide to American House Styles” by William Morgan. Th is is not a deﬁ nitive labeling of the speciﬁ c house style but is a tentative assignment where the intent was to gather information Legend on the styles for a particular street and determine what styles were the dominant pattern. Th e next page will show this on a block by AC Arts and Crafts block basis. CC Cape Cod C Colonial

CT Contemporary DR Dutch Revival FS Four Square

FC French Colonial GO Gothic Revival GR Greek Revival IF Infill I Italianate N National R Ranch SB Salt Box SC Spanish Colonial

T Tudor Vacant Lot

V Victorian Southwest/Kennedy Street

SYRACUSE PATTERN BOOK : Syracuse Neighborhoods C 11 Brighton Neighborhood Architectural Styles (Kennedy St.)

Th e chart shown at the left is of Brighton Neighborhood. It shows t tle S the dominant architecture of its home styles around Kennedy St. WCas Select the block where your house or lot is located to see which are the dominant architectural styles. For new inﬁ ll housing to blend into the neighborhood then this chart will show the dominant styles. With the selected architectural style in hand your next step FurmanSt is to go to the Architectural Pattern section and the particular style page.

Midland Ave 1

dySt nne WKe 5

2 SSalinaSt 4 3 6

Landon Ave 1 Victorian d yS (13) 35% 7 Victorian (15) 56% 7 E Kenne Italianate (6) 16% Four Square (9) 33% 10 Federal (4) 11% 8 Four Square (5) 56% 2 Victorian (4) 33% Victorian (1) 11% SStateSt Ave Four Square (1) 8% EBord Arts and Crafts (1) 11% McLennan 3 Dutch Revival (3) 18% 9 Victorian (19) 51% Ave rk 8 9 11 Victorian (3) 18% Four Square (14) 38% 4 Victorian Ba (5) 50% 10 Victorian (9) 50% 5 Victorian ker Ave (5) 38% 11 Victorian (5) 56% Argyle Ter e nAv Federal (1) 8% Borde Four Square (2) 22% W 6 Victorian (10) 59% Arts and Crafts (2) 12% Ave Southwest/Kennedy Street

SYRACUSE PATTERN BOOK : Syracuse Neighborhoods C 12 Syracuse Neighborhoods Skunk City

Th e neighborhood, proudly known as Skunk City by its residents, lies directly west of the downtown core and just to the north of the Strathmore neighborhood. Th e Skunk City neighborhood has for a number of years been known by this name, and before 1886 was a rural part of the Village of Geddes. Together with Geddes it was annexed into the City of Syracuse in that year.

Th e neighborhood boundaries are Geddes St. on the east, Grand Ave. and Burnet Park on the north, and West Onondaga St. on the south. Harbor Brook Reten- tion area is to the west. It is reported that the neighborhood takes its name for the unusually high number of skunks that roamed the area at night.

A large portion of the neighborhood is dominated by commercial land uses but the remaining district is residential stock.

Skunk City

SYRACUSE PATTERN BOOK : Syracuse Neighborhoods C 13 Skunk City Neighborhood Origins

Th e early development of the neighborhood area called Skunk city by Syracuse Community Development is tied to the history of a Town known as Geddes. As you can see from the snapshot map to the left, the age of housing tends toward the 1890s, 1900s and 1920’s (seen by the density of greens and blues) to when most of the housing in Skunk City was built.

Th e housing tends to be lower to middle income and single family to two family types. Skunk City is nearby to Burnet Park and the Rosemond Giﬀ ord Zoo, which aﬀ ords an opportunity for green space and recreation that few other neighborhoods enjoy.

AGE of HOUSING

1820 or Earlier 1901 - 1920

1821 - 1840 1921 - 1940

1841 - 1860 1941 - 1960

1861 - 1880 1961 - 1980

1881 - 1900 1981 - 2005

Syracuse Neighborhoods Skunk City

SYRACUSE PATTERN BOOK : Syracuse Neighborhoods C 14 Skunk City: Architectural Styles Legend Th e map shown at the left is of the Skunk City AC Arts and Crafts VI V CT VICT ICT V N VI I Neighborhood architectural home style informa- C A C FED T T T CC N nSt L Cape Cod VIC NA to NAT n V t T V FO Fe T IC F NL I C N ED tion as gathered in a ‘windshield level survey.’ T U VI T L

R V C VIC es S ICT T

VI C T Colonial Bu VI rn AL T et Park C C Dr C T VICT

T OT A Th ese styles are described in such guides as “Field

E T AC L N VIC

V AC A

VICT LO SGedd TN

V T

V CT V

D VI E Contemporary ICT S. Geddes St.

AC I V

CT L P

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IT L C CT A I

F CT Guide to American Houses” by McAlester and VAC

TA I VICT O Ca In CAPE V Inf VICT T

fill N I N FED V CT N V LOT V i UR VAC l FO A V A I l V I V A I d C DR CT T VI C I T ICT L AC V V N T Dutch Revival I CT V NAT VICT VAC L T T C OT IC N I T NA V NL elSt well I I the “Th e Abrams Guide to American House N Depa C I nf ICT V C C

nf F T L

Infill F l

T L l Infill i T T ED L E

i T L F i l VIC NAT N TNL l l ICT V O l E D nf FOUR OT I L D T C T Infill FE VAC LO D VA Infill FED NAT NL VICT Infill CLOT VICT ATNL FS l ICT VA N l V V Four Square Infil Ave ma Infil l NAT N L Styles” by William Morgan. Please remember CL AC N AC ICT Fitch St V A Infill nfill NAT NL Infill RANCH I VICT TN

VA OT NATNL V V VICT L VICT VA NAT N L A ICT I L V NAT Infill Infill NAT N NATNL V CT C

CLO odnStHolden CLO

VA T CT VIC V RA L RA NAT N ICT LO that this is not a deﬁ nitive labeling of the speciﬁ c V NAT NAT LOT FC VICT I ll NL French Colonial Infi NCH C CT RA A CLO LOT Infill VICT VAC

NCH NCH CT T VI itch St C F T CT AT N L T N He

T VICT NL Infill VIC NL NL VI E FE NAT VA D FED CAP FE T Infill LOT VICT VICT rr VAC FED D NL Infill FOU R FED NAT house style but is a tentative assignment. Th e in- NATNL ANCH im GO Infil l FOU R R AC Gothic Revival FOUR FED NAT NL VICT

NL St an FOUR NAT VICT FED VAC LOT VICT AC nd Ave NAT NL VICT VICT a FOUR AC VAC LOT tent was to gather information on the styles for a Gr Infill FOUR VICT NATNL FED NATNL GR Greek Revival FED AC Infill FED NL AC VAC LOT VICT NAT NATNL DUTCH FED VICT VICT NL FED COLN Infill NAT AC NATNL VA particular street and determine what styles were

V V NATNL VICT V V l A VI Infil V V C I A V I C NL C NAT A C NL V V I NAT C C V I Infill C NCH T C L RA V T IF A C I V T I C Infill NATNL L L T O TN V C ICT NA I L T V N VICT C CT I OT L T I CT OT T T

V AT C Infill COLN VI N OT A L

V NA V I A T

A NA C OT C AT C

I V N the dominant pattern on a block by block basis as I C FED C CO C V C T T

I TNL L F

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N ED L I Italianate LN Hartson St R RA V VICT

F V

V Lydell C N V shown on the next page. E I F V C I

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AT CL FE

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National FE

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AT I AT A C CT V I AT C C V I F C

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FE N V

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V D V Elli D V V D VI NL VIC NAT I o I T U CT IC I CLO U t CT VA UT tS C VAC LOT t C t S VAC TC Elliot t T VI

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Skunk City

SYRACUSE PATTERN BOOK : Syracuse Neighborhoods C 15 Skunk City: Style Dominance

1 Arts and Crafts (2) 18% 19 Victorian (20) 20% St sena

Four Square (2) 18% Federal Davis St (2) 6% 2 Victorian (8) 53% 20 Victorian (9) 36%

St Ca Fenton St wl Stdwell Arts and Crafts (5) 33% National (4) 16% des 25 Colonial (2) 13% 21 NA (-) ---% 26 Bar SGed 22 rett St H 3 Four Square (5) 29% Victorian (4) 44%

e 28 rrima Arts and Crafts (4) 24% 23 Federal (3) 30%

30 n Victorian (3) 18% National (3) 30% S Delaw t 24

odnStHolden Fitch St 24 4 Four Square (10) 40% are Victorian Sabine St (3) 30% 20 S 33 Victorian (5) 20% t Cape Cod (3) 30% D 27 5 25 ep Victorian (16) 62% 23 Cape Cod (3) 75% eSt laA alma 29 rac Victorian (1) 25% National (4) 15%G dAve

31 Ly an Fit Gr chSt 32 dell 6 26 ve 22 21 Victorian (14) 52% Victorian (4) 67% St 8 Four Square (9) 33% 27 Victorian (9) 29% 7 Victorian (15) 60% Arts and Crafts (9) 29% Hartson St Four Square (5) 20% National (8) 26% P 19 8 utna 28 Italianate (2) 25% 18 Victorian mSt (14) 58% 17 Dutch Revival (2) 8% 29 Federal (7) 25% 9 Victorian (18) 58% Victorian (6) 21% Rowland S t National (7) 23% National (6) 21% 13 12 10 National (7) 37% 30 Victorian (5) 71% 16 VictorianRowl (4) 21% 31 National (12) 50% and St 11 National (7) 37% Federal (6) 25%

Elliott S Victorian (4)iott S2t 1% Victorian (3) 13% ElliottSt Ell 9 t12 Victorian (12) 40% 32 Victorian (10) 38% 15 14 11 10 National (7) 23% Four Square (6) 23% 15 Four Square (6) 20% Federal (3) 12%

13 Victorian (11) 38% 33D NA (- ) ---%

lyStdley Four SquareW Onond aga St(8) 28% National (6) 21% Ho 8 ef 14 Victorian (7) 54%

e St ler 7 Art t h 19 Federal (2) 15% 6 St ur Velasko R d

K 15

andac Victorian (8) 62% dley S

5 DutBr ch Revival (3) 23%

S 16 National (7) 54% Bellevue Ter t 1 2 Victorian (5) 38%Hubbell Ave Bellevue A ve Sti C 17 lairmo n NationaR l (4) 44%

Wol r A ard 3 o

be Mar 18 Du c Victorian (9) 29% n

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Ave an Arts and Crafts (8) 26%

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i Page Ave

d t Av National (7) 23%

e Av GrantAve

r Federal (4) 13%

e Will Ave RuskinAve

Th e chart shown above is of the Skunk City neighborhood showing the dominant architecture of its home styles. Select the block where your house or lot is located to see which are the dominant architectural styles. For new inﬁ ll housing to blend into the neighborhood then this chart will show the dominant styles. With the selected architectural style in hand your next step is to go to the Architectural Pattern Skunk City section and the particular style page.

SYRACUSE PATTERN BOOK : Syracuse Neighborhoods C 16 Syracuse Neighborhoods Near Northeast Neighborhood

Th e neighborhood area called ‘Near Northeast’ by Syracuse Commu- nity Development is a large district just to the north of the downtown core. It is actually made up of pieces many diff erent neighborhoods and grouped under this artifi cial heading of ‘Near Northeast’. Th ese other neighborhoods – Hawley-Green Street Historic District, a piece of Lin- coln Hill Neighborhood, a part of the Prospect Hill area, and a piece of the Sedgwick-James Street Historic District have their own identity and so it is diffi cult to generalize any characteristics of the Near Northeast neighborhood. A page later on in this section covers a little more of the background and history of these multiple neighborhood pieces.

Near Northeast

SYRACUSE PATTERN BOOK : Syracuse Neighborhoods C 17 Near Northeast Neighborhood Origins

Th e ‘Near Northeast’ is made up of pieces of many diﬀ erent neighborhoods. Th e core of this neighborhood is James Street and in the early and late nineteenth century many mansions were built there. Today only a few mansions remain with alternate uses such as the Century Club, the Corinthian Club and the Greek Revival house, now used as an apartment building.

Near Northeast Neighborhood: AGE of HOUSING Age of Housing

1820 or Earlier 1901 - 1920 Th e map shown at the left is an interesting survey of the age of the residential parcels in this neighborhood. Most of the housing 1821 - 1840 1921 - 1940 stock was built in the latter part of the nineteenth and early part 1841 - 1860 1941 - 1960 of the twentieth century. You will note the large swath of ‘white’ parcels on both sides of James street which in terms of land use is 1861 - 1880 1961 - 1980 classiﬁ ed as commercial with only a few house structures remain- 1881 - 1900 1981 - 2005 ing from its heyday of a high end residential area. Th ese same surviving structures are now utilized for other purposes. Near Northeast Syracuse Neighborhoods

SYRACUSE PATTERN BOOK : Syracuse Neighborhoods C 18 Near Northeast: Architectural Styles

Th e map shown at the left is of the Near Northeast Neighborhood architectural home style information as gathered in a ‘windshield level survey.’ Th ese styles are described in such guides as “Field Guide to American Houses” by McAlester and the “Th e Abrams Guide to American House Styles” by Wil- liam Morgan. Please remember that this is not a deﬁ nitive labeling of the speciﬁ c house style but is a tentative assignment. Th e intent was to gather information on the styles for a particular street and determine what styles were the dominant pattern on a block by block basis as the next page will show.

James St.

Lodi St. Legend

AC Arts and Crafts IF Infill CC Cape Cod I Italianate C Colonial N National

CT Contemporary R Ranch DR Dutch Revival SB Salt Box FS Four Square SC Spanish Colonia

FC French Colonial T Tudor GO Gothic Revival Vacant Lot GR Greek Revival V Victorian

Near Northeast

SYRACUSE PATTERN BOOK : Syracuse Neighborhoods C 19 Near Northeast: Style Dominance

Th e chart at left shows the block number and the chart shown on the next page shows the Near Northeast neighborhood dominant Architecture home styles. Select the block where your house or lot is located to see which are the dominant architectural styles. For new inﬁ ll housing to blend into the neighborhood this chart will show the dominant styles by block. Th en with the Lodi St. selected architectural style in James St. hand the next step is to go to the Architectural Pattern section and the particular style page in Section D.

Near Northeast

SYRACUSE PATTERN BOOK : Syracuse Neighborhoods C 20 Th is chart shows the dominant styles of each block. Near Northeast

SYRACUSE PATTERN BOOK : Syracuse Neighborhoods C 21

A Guide for Building and Renovating Syracuse Houses ∫

ARCHITECTURAL PATTERNS

∫ Section d Introduction to SECTION D Architectural Patterns

Th e information in this section is intended to help the owner and the builder understand the key elements that contribute to the character or “style” of a house. Guidelines are provided to aid in the renovations and additions to historic homes. Suggestions are also made about how to improve existing post-war houses (by applying an appropriate architectural style to an addition.)

Th is section begins with an overview of the several predominant architectural styles, or “vocabularies” found in Syracuse. Following that, individual sections for each style identify the typical charac- Victorian teristics and elements of a house from general massing and window and door compositions to eave and porch details. Th ese are described in both graphic and written form outlining the architectural character of a Syracuse house.

If you own a traditional Syracuse house built before the Second World War, refer to the Rehabilitation Guideline sections as well as the appropriate style section for your renovation or addition. Th ese pages contain basic rules that can help you and your builder preserve and enhance the original character of your house. If you are building a new house within one of the traditional Syracuse Four-Square neighborhoods, new house plans can be adapted to reﬂ ect one of these traditional styles. Refer to the Pattern section and choose a style that is appropriate for your new neighborhood.

Appropriate modiﬁ cations to houses that may not be one of the traditional Syracuse styles in this Pattern Book can be informed here with appropriate components providing examples of ways to provide both additional living space (through the addition of front porches, front or side wing, or even second stories) and an architectural style that builds upon your existing house’s style are shown. Lastly, a discussion of garage types, access, and location on the Arts and Crafts / Bungalow house lot is provided for those considering this type of addition.

SYRACUSE PATTERN BOOK : Architectural Patterns D 2 Side Yard Alley Zone Alley Lot and Site Parameters

Apron Main Site Width Side Wings Typically 40 feet or less. Typically 1 or 1 ½ stories in height, on either or both sides of the main Front Yard Setback body of the house. Side wings Zone Private Generally 20-30 feet as required generally should be set back from Side Yard Side Yard

Side Yard Zone Side Yard by Zoning, except where noted by the corner of the front facade of Side Street Side Street speciﬁ c neighborhood or district the main body of the house by a design guidelines. distance equal to, or greater than, one-quarter the width of the side- Front Yard Zone Side and Rear Yard Setback wall. Side wings must be within all Zone

Public Front Yard Public Sidewalk Minimum setback for all struc- setback requirements. tures for side & rear yards is 4 feet. Main Street Main Street Larger properties may require rear Porches yard setbacks of 15-25 feet. Th e front face of the porch structure, not the roof overhang, must

+ 40’ y 40’ 20’ 40’ 40’ 20’ 40’ y Side Yard Setback Setbacks on Corner Lots be on the “Front Yard Setback” line Th e side yard set back on a corner or the “Build To” line. Th e porch lot site generally requires the same may not extend into the Front Yard setback dimension as the next ad- Setback. jacent property. Th is maintains a consistent setback along the side Garages Open lot street. Th ese setbacks may vary but Should be placed either 4 feet from

120’ Property Line are consistent within each neigh- the side and rear property lines, borhood context. and 15-25 feet for larger properties

Face of House Line as prescribed by City Zoning. Lots House “Build To” Line/ Setback or “Build to Line” with driveway access from the street x Set Back Line and Porch Extent line Th e Syracuse Zoning Ordinance should have garages placed behind Zone Public Property Line identiﬁ es the “Setback Line” as the the front facade of the Main Body “building line’, also known as the of the house. Garage doors facing Extended Lot Narrow Lot Typical Lot Wide Lot Corner Lot “Build To” Line. Th is established streets shouldn’t be wider than 9 the building line for any construc- feet. In the case of alleys, not com- Most traditional lot dimensions in the City of Syracuse range between Zoning Ordinance tion or structure including porches mon in Syracuse, garage doors fac- 30 and 40 feet wide by 120 to 160 feet deep. Larger lots in upscaled Please consult the Zoning Ordinance of the City of Syracuse for spe- and garages. ing an alley may be wider and are districts can be from 50 to 100 feet wide or more. Th ese patterns vary ciﬁ c building requirements, available at best oriented perpendicular to the from neighborhood to neighborhood throughout the city, but are www.syracuse.ny.us/zoningOrdinanceListing.asp alley to reduce visibility. consistent within each. or City Hall.

SYRACUSE PATTERN BOOK : Architectural Patterns D 3 Victorian Style

Th e Victorian era extended over more than a 50 year period, coin- ciding with the later half of the 1800’s and Queen Victoria’s reign, and saw many individual styles generalized as the Victorian Style. Th ese included styles such as Queen Anne, Eastlake, Stick Style, Painted Ladies, High Victorian Italianate, High Victorian Goth- ic, Brownstones, Richardsonian Romanesque, and Chateauesque or French Renaissance. Syracuse experienced more development in the late Victorian Period.

“Th e late Victorian era (ca. 1880 - 1900) was a period of transition for American domestic architecture. Housing constructed during this twenty year period – especially for the middle and upper- middle classes – displayed a greater massiveness than previous eras, complexity of form, and asymmetry of parts, combined with cleaner architectural lines, and the near absence of frilly ironwork and sawn-wood ornamentation. Interior spaces tended toward greater ﬂ uidity, with communal living areas often less rigidly partitioned than those of mid- or early-Victorian houses. While the late-Victorian house incorporated architectural features and elements from many styles – French, Italian, Gothic, etc. – it did so more gracefully and harmoniously and with a greater unity of concept.” From “Turn of the Century houses, Cottages and Villas” by R.W. Shoppell & Frances A. Davis. Reprinted by Dover in 1984.

Th e Syracuse varieties of the Victorian styles include a modest Victorian house that evolved from the previous Gothic Cottage Style with, most commonly, the addition of a two-story octagonal bay window tower. Th e more ornate Queen Anne and Stick Styles were common variations in the growing neighborhoods during this Victorian period as well. Th ese typiﬁ ed the local Victorian Style and became a predominate housing style. Although the larger upscale residences were still custom designed by Architects, many house builders in the rapidly developing neighborhoods of the city were using more modest and practical versions of this popular style than those associated with upper class wealth and culture. Victorian Style

SYRACUSE PATTERN BOOK : Architectural Patterns D 4 Massing & Composition

FACADE PROPORTIONS Mass refers to the physical size two-ﬁ fths that of the main and bulk of a structure. Mass- body. Th is massing typically 1/3 1/3 1/3 2/5 3/5 3/5 2/5 ing includes the height, width, accommodates a one-story depth and the composition of continuous porch with a shed the regular forms associated or hipped roof. with the various styles. COMBINATIONS NARROW FRONT Complex forms and larger liv- Victorian houses with a narrow ing spaces may be created by 24’-32’ 34’-42’ 24’-32’ front are rectangular volumes combining side wings and/or with a roof pitch ranging from rear wings with the main body. 8” to 12” in 12” for the main Gabled or arched dormers may TYPICAL VICTORIAN MASSING body. Porches are typically be added to introduce light into added on the front as either a half-story and attic spaces. Th e

Broad Front full front porch or as a portico architectural character of the over the front door. attached parts should match that of the main body. BROAD FRONT Victorian broad front houses FACADE COMPOSITION are a combination of rectangu- Victorian facade composition lar volumes with a roof pitch is characterized by a symmetri- ranging from 8” to 12” in 12” cal and balanced placement of TYPICAL VICTORIAN ADDITIONS for the main body. Porches are doors and windows. Individual typically added on the corner double-hung windows are the of the massing as single story most common type. Front covered entries. doors are generally located in the corner of narrow houses L-SHAPE and at the center of wide hous- Victorian “L” shape houses es. Bay windows may be one or have a narrow, gable-end wing two stories tall. Broad Front; with a 9” in 12” gable facing Street Name the street. Th e width of the ga- Narrow Front L-Shape Broad Front ble facing the street is typically

Victorian Style

SYRACUSE PATTERN BOOK : Architectural Patterns D 5 Windows

STANDARD WINDOWS DORMER WINDOW TYP. DETAIL STANDARD WINDOWS drip cap trim 12 Windows are typically vertical in proportion and have a 2 over 2 or 4 over 8

2” 4 muntin patterns. Panes are always taller than they are wide. Some houses 6” 6” 1’ 2” 1’ may have windows with rounded upper sashes. Standard windows are dou-

) ble hung. ) oor oor oor 6’ 6” 6’ 5’ 2” 5’ 5’ 10” 5’

2nd fl Windows on Syracuse Victorian houses are vertical in proportion, such as 6’ 2” 2nd fl 6’ ( 6’ 2” 1st fl 6’ (

2” two-and four-panel panes. Windows also have a 6-inch trim with a simple backhand proﬁ le. Victorian window trims carry a decorative crown and cap above and may feature an ornate hood. 2’ 8” 3’ 0” 4” 2’ 4” 4” Th e use of shutters adjacent to single windows is encouraged. If shutters are installed, they must be operable, and sized and mounted to cover the drip cap or ﬂ ashing adjacent window.

1’ 6” 1’ SPECIAL WINDOWS Victorian houses feature accent windows including round top windows, dormers, and box and angled bay windows. Bay windows must project a

6’ 6” 6’ minimum of 8” from the main structure. Bay windows have a continuous base to the ground, and two story bays are common. Paired or bay windows are also used in front of the three massing types. Two narrow, paired vertical windows are often used together as a special window. 1’ 0” 1’ A 3’ 0” 3’

12” 2’ 6” 1’ 4” A 8’ 4” A A BOX BAY WINDOW DOUBLE &TRIPLE WINDOW SETS

Victorian Style

SYRACUSE PATTERN BOOK : Architectural Patterns D 6 Doors

Bullseye Corner Glass or Glass or with transom Door Trim Wood Panel Wood Panel Doors on Syracuse Victorian houses are vertical in proportion, such as two- Option Option and four-panel doors. Th e maximum width of a pair of double doors is 5 feet for doors that are at least 8 feet tall, and 4 feet for shorter pairs of double 2’ 0” 2’ doors.Doors also have a 6-inch trim with a simple backhand proﬁ le. Victo- rian door trims carry a decorative crown and cap above.

Th e use of shutters adjacent to single, fully glazed doors is encouraged. If shutters are installed, they must be operable, and sized and mounted to 7’ 0” 7’

7’ 0” 7’ cover the adjacent door. 7’ 0” 7’ 7’ 0” 7’

2’ 8” 2’ 8” 2’ 8” 8” 3’ 0” 8” 2’ 0” 2’ 2’ 8” 2’ 6’ 8” 6’ 8’ 0” 8’ 6’ 8” 6’

6” 3’ 4” 6” 8” 4’ 0” 8” 1’ 3” 2’ 8” 1’ 3” Victorian Style

SYRACUSE PATTERN BOOK : Architectural Patterns D 7 Materials & Possibilities

Roofi ng Doors •Metal, narrow standing seam •Painted or stained wood or of 5-V panels (painted); aesthetic equivalent. •Wood shingles/shakes; Di- mensioned architectural grade Railings asphalt or fi berglass shingles •Straight or turned wood bal- •Slate or synthetic slate; Roof usters; Decorative black metal penetrations and fl at skylights for stair rails. may be placed on a roof not facing a public thoroughfare Shutters with houses, maximum of two •Operable wood to match skylights per roof plane. opening, with appropriate hardware. Cladding/Siding •Smooth, horizontal bevel or Porch Ceilings lap wood or fi ber-cement sid- •Plaster; wood Beaded-profi le, ing, 4 to 6 inches wide with tongue and groove or paneled 5/4 by 6 inch boards.

Corner Boards Soffi ts •corners were fi nished both •Smooth composition, tongue with and without corner and groove, or fi ber-cement boards boards.

Board and Batten siding Gutters and Downspouts 12 12 •not appropriate for the Victo- •Half round gutters, round or 8-12 8-12 rian Style rectangular smooth downspouts. Foundations, Piers & Chim- neys Fences and Garden Walls •Brick, stone or stucco on •Wood picket, black metal, block. brick, stucco on block, or combination. 6” •No chainlink fences 8” Windows •Wood or aluminum clad with traditional proﬁ les, minimum Lighting 12”-16” 3/4 inch wide projecting exte- •Pendant carriage lamp, porch rior muntins. or wall mounted. 1’ 0” 1’ 6” Victorian Style

SYRACUSE PATTERN BOOK : Architectural Patterns D 8 Porches

PORCH SECTION PORCH COLUMN TYPES PORCH EAVE DETAILS PORCH ROOFS & EAVES COLUMNS AND RAILINGS Porches on Victorian houses Column types include turned can be one or two stories tall columns from 8-inch-square with fl at, shed, or shallow stock, 8-inch-square posts, and hipped roofs. Full porches may 8- to 10-inch-diameter Doric be integrated under the house’s and Ionic columns. First fl oor ” 8 main roof. Shed or hip porches columns are 9- to 10-feet tall, have a 3 on 12 to 4 on 12 pitch. while second fl oor columns Exposed rafter tails are typically are 8- to 9- feet tall. Turned 2x8 and occur 14 to 16 inches or square balusters are spaced on center. Entablatures are gen- no more than 4 inches apart. 14” to 20” erally classically proportioned Porch bays should be vertically and detailed. proportioned. Flat cut ornamental balusters are also used, Ionic or PORCH LOCATION with square or turned columns. Doric order 8” square, EQ 12” Full front porches are encour- Square pattern lattice is used as chamfered aged on Syracuse Victorian infi ll between piers at the foun- 8” - 10” dia. corner houses. Porches can be used dation. to wrap the corner of a house, or fi ll in the void created by an BRACKETS L-shaped plan. Th e minimum Brackets range from simple porch depth is 8 feet. designs cut from boards, to

RAILING DETAILS more elaborate turned wood or jigsaw-cut openwork. Brack- 3 1/2” 2 1/2” ets are a minimum of 2 inches thick. Archway bracketing can 2 1/2” 3 1/4” be used to form portals over key entry locations.

1 1/2” Sq.

2” turned 2 1/2” 3”

3 1/2” 4” Victorian Style

SYRACUSE PATTERN BOOK : Architectural Patterns D 9 Victorian Detached Garage

Th e Victorian era saw the transition from horse & buggy to automobile modes of transportation. Many of the larger and older Victorian homes typically had a simple barn or the more upscale carriage house behind the main house. Th ese were often a story and a half or two story structures, the second ﬂ oor for either hay storage or as an apartment for caretakers or staﬀ . Th us the early Victorian garages were converted barns and carriage houses. Th e later Victorian homes continued to build barn-like garages.

Typically these would be designed to complement the main house, but to a simpliﬁ ed degree. One-story garages still looked like horses could be housed in them, with barn like pairs of tall hinged and paneled doors, with windows in the upper portion of the doors. Th e colors and roof soﬃ t brackets were modest versions of the decorative detailing of the main house. Roof slope and materials matched the main house.

Narrow and Corner Lots Th ese garage structures were commonly placed at the back of the deep lots, with an 8’ – 9’ narrow driveway to one side of the house. Corner lots allowed for the garage access from the side street. Th is garage setback should allow for a 16’-18’ driveway apron between the garage and the property line (see pg D-3, middle illustraton). Modern garages attached to the main house are not appropriate for the Victorian style, unless designed as an attached barn-like structure of the same period.

Victorian Style

SYRACUSE PATTERN BOOK : Architectural Patterns D 10 Syracuse Victorian Style Gallery

SYRACUSE PATTERN BOOK : Architectural Patterns D 11 American Four Square

Th is popular house style extended from the 1890’s through the 1930’s, providing practical and simple spaces at an aff ordable price. Th e 2+ story style off ered fl oors divided into quarters with low-pitched, hipped roof and broad overhangs. A large hipped central dormer was a typical roof feature with a full width front porch.

A simple style, possibly a combination of the previous Italianate “box” design with Prairie and Bungalow style, low pitched roof lines. Th e Foursquare adapted well to diﬀ erent locations around the country, and was built of the local material including wood, brick, stone and stucco, and in later years of rusticated block.

Large simple windows were common. Columns, trim and ﬁ nishes included many popular styles of the day including Colonial Re- vival, Italian Renaissance, Classical Revival and Arts and Crafts bungalow.

American Four Square

SYRACUSE PATTERN BOOK : Architectural Patterns D 12 Massing & Composition

FACADE PROPORTIONS Th e physical composition of the Four Square house design 1/3 1/3 1/3 2/5 1/5 2/5 1/2 1/2 was a very simple compact box or cube shape. Th e body of the house had four fl at sides with a low sloping roof, typically pyramidal, hipped roof, and a broad overhang. Th e roof would typically have 4 small dormers, one on each side of the roof. Th e modest house would have a prominent roof dormer at the front of the house. Th e designs were modest and gained their strength from this economy of design. Th e style could 24’-32’ 24’-32’ 24’-32’ be either a small or large-scale house. Walls were fl at aff ord- ing a maximum amount of usable interior space. Th e window composition was also simple, with two or three windows TYPICAL FOUR SQUARE MASSING symmetrically spaced on each fl oor. Th e characteristic Four Standard Front with Porch Square had a broad front porch facing the street, with the special materials of the porch, wood or brick columns and boxed beams, being the design character of the house.

Th e Four Square house often had clapboard siding on the fi rst fl oor capped with a belt course trim and then shingles for the walls of the second fl oor.

TYPICAL FOUR SQUARE ADDITIONS

Standard Front with Porch

Standard Front Offset Facade Side Offset

American Four Square

SYRACUSE PATTERN BOOK : Architectural Patterns D 13 STANDARD WINDOWS DORMER WINDOW TYP. DETAIL Windows

6” Th e windows in a Four Square style house were simple in shape, double hung windows, typically wider and shorter 3’ 6” 3’ 5’ 2” 5’ than on older style houses. Windows were located symmetrically on each façade of the house with two windows per fl oor, sometimes three. A larger living room window on the fi rst fl oor, under front porch was the common variation.

6” 3’ 0” 6” 6” 2’ 4” 6” 1 1/2” Windows were also used in pairs to increase the access to light and air. Th ese pairs of windows were then located symmetrically on the façade of the house giving the typical Four Square appearance.

As the Four Square style often incorporated elements of the Prairie and Arts & Crafts styles, windows and doors were

1’ 6” 1’ detailed with vertical muntins in the top window sash with full glazing in the lower sash. Doors were detailed to match the window style of each particular house. Th e dormer win- 5’ 8” 5’ dows on the roof were smaller and shorter in proportion than 4” 1’ 2” 4” 1’ 2” 4” 1’ 2” 4” the main windows of the house. A central dormer window TRIPLE WINDOW SETS on the front of the house might have an arched top or other distinctive design.

6” 3’ 4” 6” 3’ 4” 6” C

STANDARD DOUBLE WINDOW

A BA

American Four Square

SYRACUSE PATTERN BOOK : Architectural Patterns D 14 Glass or Glass or with transom Doors Wood Panel Wood Panel Option Option

2’ 0” 2’ Th e front door detail was the focus of this simple house style. Without ornate detail, the front door was a strong symmetrical composition with sidelights, and in larger houses, with transom windows above. Th e front entrance would be ﬂ anked with a pair of columns and a canopy or located prominently under the wide front porch of the house. Detailing of the 7’ 0” 7’ 6’ 8” 6’ 6’ 8” 6’ trim would be bold in scale but simple in form. Door panels were vertical, with simple and large window glazing.

3’ 0” 3’ 0” 8” 3’ 0” 1’ 6” 1’ 2’ 9” 2’ 6’ 8” 6’ 7’ 8” 7’ 7’ 8” 7’

8” 6’ 4” 8” 10” 3’ 4” 10” 1’ 6” 3’ 2” 1’ 6”

American Four Square

SYRACUSE PATTERN BOOK : Architectural Patterns D 15 Materials & Possibilities

Th e smaller Four Square style house exterior walls were of wood shingles or clapboard siding. Th e siding was painted a single color with the trim typically painted white. Th e early hipped roofs were of natural cedar shingles, followed by the more common three-tab asphalt shingles.

More elaborate Four Square houses included brick for the fi rst fl oor with shingles for the upper fl oor siding. Cement stucco was also used for the walls of the house and provided a very tight enclosure compared to wood shingles and siding.

Wood trim boards were wide and ﬂ at with simple brick mold trim. Roof overhangs often had regularly spaced rafter tail ex- tensions. Roof cornice brackets were bold and often grouped in pairs at the corners of the roof overhang of the house. Roof brackets were used as distinctive features of the house, cut in custom proﬁ les to add a unique character to each home. 12 12 9 7 A bay window projection for a dining room or living room was common. 6” 6” 12”-16”

1’-9” 2’ 0”

American Four Square

SYRACUSE PATTERN BOOK : Architectural Patterns D 16 Porches

Th e simplicity of the Four Square house, also known as a “box” or “cube” house, was enhanced with a signiﬁ cant front PORCH SECTION PORCH COLUMN TYPES porch that gave the opportunity for adding a design element to this popular American house style. Th e porch, also simple in construction was usually the full width of the front of the house. With a wide span and a low pitch roof this porch gave the house the character of the Prairie School and Crafts- man style homes also popular in the ﬁ rst twenty years of the 1900’s.

Wide stairs were also a common feature of the Four Square style porch. Porch columns were also simple, wood or brick, and numbered two, three or four columns evenly spaced across the full width of the house. Often the dramatic full width span of the porch was supported at the ends with pairs of columns, and sometimes with three square corner columns at each end of the porch. Th is aﬀ orded a “modern” wide view from the porch seating area. Th ree quarter or two third height columns were placed on stone piers or porch low walls to give the further illusion of a broad sweeping open porch space.

American Four Square

SYRACUSE PATTERN BOOK : Architectural Patterns D 17 Garages

AMERICAN FOUR SQUARE DETACHED GARAGES

Th e American Four Square Style home became a very popular choice for it’s economy of design and cost. Th ese houses were simple in plan and form. And when garages were built with a new house, the design was matching in kind. As an economical model home, many of the garages were typically single car garages, small and compact. Th e materials and form of the garage would follow those of the prarie house style. Most early garage doors were a pair of swinging doors with windows in the upper 1/3 of the doors. Th e modern overhead garage doors of the 50’s and 60’s has changed the look of older garages with the poor proportion of the door design. Overhead doors are available today to replicate the look of original gate type doors and should be used to complement the design. Th is option greatly enhances the appropriate character of the Four Square garage.

Garages were placed at the back of deep and narrow lots, to provide as large a back yard as possible. Corner lots aﬀ orded side street access to the garage. In this conﬁ guration the garage which was turned toward the side street but still set back from the street enough to allow a car space between the garage and the pedestrian sidewalk.

Th e Four Square garage had a low pitch, hipped rooﬂ ine to match the house, with trim and wall materials matching the house style, character and colors.

American Four Square

SYRACUSE PATTERN BOOK : Architectural Patterns D 18 American Four Square Style Gallery

SYRACUSE PATTERN BOOK : Architectural Patterns D 19 Arts and Crafts Style

Th e late nineteenth and early twentieth century saw a surge in American handmade arts and crafts. Th is new national pride in home grown tastes saw manifestations in wonder- ful items coming from local studios like Tiﬀ any’s Stained& Art Glass, Adelaide Alsop-Robineau’s Keramic studios, the Moravian Pottery & Tile Works with their Mercer Tiles and of course Gustav Stickley’s Craftsman Shop.

Th e Arts and Crafts style house [c.1900 – 1930], also called bungalow house, grew out of a desire for a return to the working man’s roots and a simpler way of life. Typically these homes were one and one half stories with low sloping gabled roofs and often a major dormer crowning the front slope which overhung a full broad porch and entryway with piers of brick or stone. Wood shingles or wood clapboards were the dominant cladding and exposed rafter boards and brackets made the house appear rustic in nature. Windows were often paired to economize on framing but also to bring more light to the interiors.

Th ese Arts and Crafts style homes, cabins and cottages were planned with open interior spaces, abundant natural lighting, sleeping lofts, screened porches and timeless craftsman style detailing.

Arts and Crafts or bungalow home plans were designed for entertaining and socializing and featured large, functional kitchens and eating areas with high ceilings and an airy feel. Th ese home plans feature family-friendly eating areas adjacent to the kitchen, a formal dining area, or both. Many kitchens opened onto a large family room with a ﬁ replace or onto a rear patio overlooking a private garden area or pool beyond. Decorative columns, wood beams, stepped ceilings and nooks, placed strategically through the house plan, were some other features found often in this style of home. Arts & Crafts Style

SYRACUSE PATTERN BOOK : Architectural Patterns D 20 Massing & Composition

BROAD FRONT WITH INTE- for oversized ground fl oor windows. GRAL PORCH Entrance doors are most often under FACADE PROPORTIONS Rectangular one-and-one-half-story porches and off center. 1/4 1/2 1/4 volume with a 6 on 12 to 8 on 12 roof pitch. Th e integral porch is set under EAVES occupiable interior space, made possi- Deep eaves are a dominant character- ble by a dormer and high knee wall on istic of the Arts & Crafts style. Th ere the second fl oor. Integral front porches are two types of eaves in the style: range from half to the full length of • Boxed eave with fl at soffi t and shal- the front façade. Symmetrically placed low profi le brackets 6 inches wide and gabled or shed dormers have a 3 on 12 24 inches on center. roof pitch. • Exposed 2 x 8 inch shaped rafter tail, 24'—32' 16 to 24 inches on center, the most NARROW FRONT common eave. Often hipped, gables TYPICAL ARTS AND CRAFTS MASSING Rectangular volume with a 6 on 12 feature a vergeboard. to 8 on 12 roof pitch and gable facing the street. Symmetrically or asym- Eave profi les have an 8 to 12 inch frieze metrically placed front and / or shed board either touching or no more than roofed porches are common and either 8 inches above the window head trim. one-or-two-story. An inset one-story Th e houses may have a Victorian-era porch may also run the full width of character achieved by using Classical- the house. order columns on the porch and broad, Broad Front Narrow Front fl at boxed eaves with shallow brackets

TYPICAL ARTS AND CRAFTS ADDITIONS MASSING COMBINATIONS on the house and porch. Complex forms and larger living spaces may be created by combing side and WALL /or rear wings with the main body. Th e fi rst fl oor of the Arts & Crafts Gabled or shed dormers may be added house is typically set three feet above to introduce light into half-story and the fi nished grade. For one-story attic spaces. Th e architectural charac- houses, the minimum fl oor-to-ceiling ter of the attached parts should match height is 9 feet. For two-story houses, that of the main body. the minimum fl oor-to-ceiling height is 9 feet for the fi rst fl oor and 8 feet for

Broad Front Narrow Front FACADE COMPOSITION the second fl oor. Arts and Crafts façade composition is characterized by an asymmetrical Window head heights should be 7 feet yet balanced placement of doors and to 8 feet above the fl oor for fi rst fl oor windows. Typically, windows occur windows, and 7 feet for second fl oor Arts & Crafts Style in pairs and multiples, or as sidelights windows.

SYRACUSE PATTERN BOOK : Architectural Patterns D 21 Windows

STANDARD WINDOWS STANDARD WINDOWS "

3 Windows are typically vertical

6" in proportion and have muntin patterns of 3 over 1, 4 over 1, 6 over 1 or 9 over 1. Standard loor) loor) windows are double hung. " 2nd F 5’-10” 5’-2” 2nd F 5'-2 (6’-2”

(5’-10” SYRACUSE WINDOWS "

2 Special windows include paired or triple windows, small square 6 '1" 2- " 8" 3'-0" 8" '1 2- 6"" 6" 3'-0" 6" 6" 3'-4" 6" accent windows, and box bay

ACCENT WINDOWS windows supported on wood

brackets. Broad, horizontal

" 8 0"

1 windows divided into several panes occur in dormers and " -2 ' gables. Other dormer windows

-2 ' 6 are grouped together in wide " 6 gable or shed dormers. 6" 2'-4" 6" 2'-4" 6" 2'-4" 6"

6" 3'-0" 8" 3'-0" 6" TRIM DOUBLE &TRIPLE WINDOW SETS Windows and doors have 6 inch straight or tapered ﬂ at

" DORMER WINDOW 8 trim. Arts & Crafts window

4" and door trim carries a simple " -2

' molding and cap above. " 2 -2 ' 6

4" 4'-6" 4" 8" 1

8" 6" 2'-0" 6" 3'-0" 6" 2'-0" 6" 8"

BAY WINDOW

Arts & Crafts Style

SYRACUSE PATTERN BOOK : Architectural Patterns D 22 Doors

DOORS Arts & Crafts doors are often " 7 stained wood with either wood " 8

" plank design or a panel door

1'-5 with the top half glazed. Doors "

5 may have sidelights or transoms in clear or leader glass in Arts & Crafts patterns. " -8 ’ 6 " -8 ' 6

3'-4" 3'-0" " 7 " -8 ' 6

'1 6- " 6" 2'-8" 6" '1 6- " 6"

Arts & Crafts Style

SYRACUSE PATTERN BOOK : Architectural Patterns D 23 Materials & Possibilities

ROOFING RAILINGS • Metal, narrow standing seam of • Straight or turned wood bal- 5-V panels (painted); usters; Decorative black metal • Wood shingles/shakes; Dimen- for stair rails. sioned architectural grade asphalt or fi berglass shingles SHUTTERS • Slate or synthetic slate; Roof • Operable wood to match penetrations and fl at skylights opening, with appropriate may be placed on a roof not fac- hardware. ing a public thoroughfare with houses, maximum of two sky- PORCH CEILINGS lights per roof plane. • Plaster; wood Beaded-profi le, tongue and groove or paneled CLADDING/SIDING boards. • Smooth, horizontal bevel or lap wood or fi ber-cement sid- SOFFITS ing, 4 to 6 inches wide with • Smooth composition, tongue 5/4 by 6 inches. and groove, or fi ber-cement boards. FOUNDATIONS, PIERS & CHIM- 12 NEYS GUTTERS AND DOWNSPOUTS 12 6–8 • Brick, stone or stucco on • Half round gutters, round or 6–8 block. rectangular smooth down- Bracket spouts. 6"–8" Frieze WINDOWS • Wood or aluminum clad with FENCES AND GARDEN WALLS traditional profi les, minimum • Wood picket, black metal, "

8 3/4 inch wide projecting exte- brick, stucco on block, or 8

" rior muntins. combination. 8" "–

6 • No chainlink fences DOORS 18"– 24" 18"– 24" • Painted or stained wood or LIGHTING aesthetic equivalent. • Pendant carriage lamp, porch or wall mounted. Arts & Crafts Style

SYRACUSE PATTERN BOOK : Architectural Patterns D 24 Porches

PORCH ROOFS & EAVES PORCH LOCATION

PORCH EAVE DETAILS RAILING DETAILS 3" Porches can have gable-ends, Porches and porch locations

8" shed roofs or combinations of vary considerably and are used Exposed rafter tail 5½" 3½" the two forms. Hipped porches to create a number of spatial 1½" ¼"

3 are also common. Gable-end eﬀ ects. Porches are broad and 1½" porches are design to express low when present, and can 2" 6" 1½"sq. 6" Bracket ¾"–1¼" sq. structural elements. Shed and wrap the house or ﬁ ll in the 0"

1 hip porches typically have deep void created by an L-shaped " 3 eaves often repeating the same house plan. As in other styles, 3½" 16"-18" 1½" " rafter or eave treatment as the full front porches are encour- 2 16"–18" 8"–10" main house body. Exposed raf- aged. 3½" Section B-BPorch gable section ter tails are either shaped or cut Section A-A Porch eave section plumb. Flat boxed eaves with Minimum suggested porch shallow brackets on the house depth is 8 feet to allow for and porch. porch chairs and other activi-

B ties. For wood deck porches, the gaps between brick piers are inﬁ lled with lattice panels. Solid porches should be faced in brick, or stucco if appropri- A ate. "

B 12"sq. 8"–10"sq.

” 10"–12"sq. -0 ’ " 3/5 5 -0 '

A 6 " -0 ' 4'-0" to 9 8'-0" to 2/5 2'-6" 3'-6"

Paneled Box Paired Tapered Box PARTIAL PORCH ELEVATION BAY PORCH ELEVATION PORCH COLUMN TYPES

Arts & Crafts Style

SYRACUSE PATTERN BOOK : Architectural Patterns D 25 Garages

Th e Arts & Crafts style homes were being built just as the automobile was gaining popularity with the average citizen and cars were no longer the province of the wealthy or ad- venturous. Builders of this house type also constructed some of the ﬁ rst ancillary structures just for the automobile called garages.

Th ese garages typically were one-story and of wood construction. Small windows were a common element because the electric light was not yet a ubiquitous feature for all structures. Th e windows were wooden double hung types matching windows used on the main house and six over one glazing.

Th e garage doors were typically paired in arrangement with small glazed windows as well to allow for maximum light into the interior. Th ese often were small paned and narrow units of 8 x 10 in size. Some of the images to the left show a more modern replacement overhead garage door versus the original paired swing doors.

A clear style match is seen in the exposed rafter tails of the roof which can also be seen on the bungalow house.

Arts & Crafts Style

SYRACUSE PATTERN BOOK : Architectural Patterns D 26 Arts & Crafts Style Gallery

SYRACUSE PATTERN BOOK : Architectural Patterns D 27 Classical Revival

A very strong inﬂ uence emanated from the popular 1893 Worlds’ Columbian Exposition in Chicago. Th e grand designs for the buildings of the Exposition drew on the European Beaux Arts style in vogue at the time. Th e neoclassical forms began to dominate public projects and trickle down to the common house forms. Architectural journals and publications at the time printed these new designs which gained widespread popularity as a response to the Victorian styles which were becoming viewed as stodgy and old fashioned.

In Syracuse local architects like Melvin King, Paul Hueber, Gordon Wright, James Randall and Albert Brockway all took a hand in spreading a revival of this classical inﬂ uence in styles like Georgian Revival, Dutch Colonial Revival, Tudor Revival, English Revival and so forth. Th ese styles enjoyed an appeal in that these were simple in form, clean in detail and perhaps fast to construct.

In keeping with the inﬂ uence of the classical styling, the facades were symmetrical with the entry door centered on the main fa- çade. Th e basic form being a rectangular two-story volume with the long side to the street although sometimes these were turned to the short end to the street on narrow lots. Generally, the attention to detail was still a mainstay and elements like doors and windows were given classic proportions and dimensioning. Windows were typically double-hung in pairs with multiple panes in each sash. Entry doors are sometimes crowned with a broken pediment or simple hood element. Th e more ornamental entrance would include sidelights or a small entry porch. A variety of porch options adorned these styles with most being side or wing porches. Th e Classic Revival style featured enclosed side porches which created a more formal appearance in contrast to the open and informal porches of the Victorian styles. Classical Revival

SYRACUSE PATTERN BOOK : Architectural Patterns D 28 Massing & Composition

FACADE PROPORTIONS Th e Classical Revival style began to appear after the turn of the century as a “grand and formal” style which became popular after 3/8 1/4 3/8 1/3 1/3 1/3 3/81/4 3/8 the Chicago Exhibition of 1893. Th e Neoclassical revival which followed spawned the Classical Revival style house oﬀ ered every- one an elegant home similar to the Great Houses of Europe.

Th e style was based on a simple two story rectangular volume with 32’-40’ 24’-48’ 40’-50’ a gable or hipped roof. Th e house was turned with the broad side to the street, with side-gables, for wider city lots and with the narrow end facing the street, with end-gables, for narrow lots. One story wings and porches were added to complement the main volume of TYPICAL CLASSICAL MASSING the house. One central entry, most typically located on the long side of the house, was featured with either a projecting canopy or a recessed entry alcove. Single and paired columns with Ionic or Broad Front Corinthian capitols columns ﬂ anked this symmetrical façade.

TYPICAL CLASSICAL ADDITIONS

Broad Front;

Broad Front Narrow Front Gambrel

Classical Revival

SYRACUSE PATTERN BOOK : Architectural Patterns D 29 STANDARD WINDOWS Windows 12”-14” Windows in the Classical Revival style were typically vertical in oor oor oor oor

fl proportion. Th e long side of the house had three or fi ve windows on the second fl oor, and repeated on the fi rst fl oor with the main 5’ 2” 5’ 6’ 2” - 1st fl 6’

5’ 6” - 2nd ﬂ 5’ entrance and front door in the center position. 5’ 10” - 1st 5’ 5’ 10” - 2nd ﬂ 5’

Pairs of windows were also commonly used replacing the end windows in the three window composition. A formal house style, the 3’ 0” 3’ 0” 6” 3’ 0” 6” second ﬂ oor center window was often of special design, frequently using a Palladian window featuring a center arched top. Th e door- TYP. DETAIL ACCENT WINDOWS way under this central window often had an arched window over 1” the front door. Similar arched windows were used in the roof or 2”6” other dormer windows. A Palladian window was also used at the 2” stair landing on the opposite side elevation in the center window position.

Window muntin patterns were most commonly 6 over 6, 6 over 1, 6” 3’ 0” 6” 6” 6” 3’ 0” 6” and less commonly 9 over 9 or 6 over 9. Quarter round accent win- 3 1/2” dows were also common ﬂ anking the chimney at the attic level. ANGLED BAY WINDOW Paneled and louvered shutters were common.

Wood sill with apron Brick 6” 6” 5’ 10” 5’ 5’ 10” 5’

6” 2’ 0” 6” 0” 6”3’ 2’ 0” 6” 8” 1’ 6” 3’ 0”

TRIPLE WINDOW 6” 1’

1’ 6” 1’ 6” 4’ 0” Classical Revival

SYRACUSE PATTERN BOOK : Architectural Patterns D 30 Doors

Bullseye Corner Glass Transom and with half-round Door Trim side ltes transom Doors for the Classical Revival were 6 or 8 panel doors, frequently with narrow vertical sidelights to aﬀ ord daylight into the interior 1’ 0” 1’ 8” hallway. Transom windows were common above the front door, 1’ 0” 1’

1’ 4” 1’ and larger houses had both transoms and sidelights. 6”

Th e Classical Revival house and the Colonial style developed variations of this main doorway, and later, front doors without these 6’ 8” 6’

6’ 8” 6’ sidelights and transoms would have glass in the upper portion of 8’ 0” 8’ the paneled door.

Th e front door would be ﬂ anked by columns or pilasters framing this center feature. A peaked or ﬂ at canopy frequently provided shelter at the front door.

3’ 4” 3’ 0” 3’ 0” 12 6 1’ 3” 1’ 4” 4” 1’-4” 1’-4” 6’ 8” 6’ 8’ 6” 8’ 6’ 8” 6’ 6”

3’ 0” 3’ 0” Classical Revival

SYRACUSE PATTERN BOOK : Architectural Patterns D 31 Materials & Possibilities

Primary siding materials included painted wood clapboards, wood shingles and brick, either painted or unpainted. Brick patterns, again reﬂ ecting European tradition included Common, Flemish and English bond. Trim was typically painted 4” wood. Roof cor- nices were painted wood. Masonry houses would have brick or stone arches, ﬂ at arches or lintels and sills at window openings. Foundations were stone, brick, block and stucco veneer.

Chimneys were predominantly brick and became an ornamental feature of the individual house style.

Columns were of the Classical orders, with Ionic and Doric most common.

Roof materials included slate and three-tab asphalt shingles and clay tile.

12 6

12 12 7-10 7-10

12 12 2 20-36

4” 8” 10” Frieze 8” Eave 10” Frieze 8” Eave 10” Frieze

1’ to 1’ 6” 1’ 6” to 2’ 1’ 0” to 1’ 6”’ Boxed eave return Deep bracketed boxed eave Gambrel eave return Classical Revival

SYRACUSE PATTERN BOOK : Architectural Patterns D 32 PORCH EAVE DETAILS PORCH COLUMN TYPES Porches 12” 10”

9” diameter Th e primary porch was a one story, some times two story rectangular shape typically located at the narrow end of the main two story house volume. Another porch variation off ered a three bay porch centered on the long façade of the house. A small porch at 12 the front door had a fl at or 5 to 7 on 12 roof pitch, matching the 2 main roof slope proportions. 8” Porch trim and columns were painted wood, with classical detail and profi les. Column orders would match the style used throughout the house design, typically Ionic and Doric orders, as well as EQ 12” Corinthian column capitols. 14” to 20”

3’ 0” 3’ 11” diameter Railings were wood, square or turned, and sometimes Chippen- dale patterns. Th e top rail and railings had Colonial molding and 5” proﬁ les. Railings above ﬂ at roofed porches and entrances would EQ 12” have corner pilasters or end posts above the primary columns of the porch below. Th e railing balusters above the porches would 8”

8” match other balusters on the house or could be detailed in square, 6” diameter “X” crossed or diagonal repetitive patterns. 8” 6’ 0” 6’ 8’ 9” 8’ EQ 12” 14” to 20” 7” diameter 4”

EQ 12” 10” square 2’ 6” 2’ 5” Classical Revival

SYRACUSE PATTERN BOOK : Architectural Patterns D 33 Garages

Th e Classical Revival style was based on formal and symmetrical patterns. Th e garages behind the Classical Revival houses were similar in form, material and detail to the main house. Th e garage front had a classical pediment with a 5 to 7 on 12 roof slope. A pair of doors was typical with windows in the two upper panels of the doors.

Th e garage siding was painted wood clapboard or shingles with painted 4” wood trim.

Garage windows would match the windows of the main house in trim and muntin patterns. Often there would be a small decorative window in the gable end above the garage doors. Again this window would match similar attic windows in the main house.

Classical Revival

SYRACUSE PATTERN BOOK : Architectural Patterns D 34 Syracuse Classical Revival Style Gallery

SYRACUSE PATTERN BOOK : Architectural Patterns D 35

A Guide for Building and Renovating Syracuse Houses ∫

LANDSCAPE PATTERNS

∫ Section E SECTION E Landscape Patterns

FENCING

Several types of fencing are recommended for Syracuse neighborhoods. Th e materials can be wood, metal, stone and even brick. Fences can be located at the front, sides or rear property lines.

Wood fencing includes stockade, ﬂ at top plank or ﬂ at top plank with lattice detail. Curved top fences can be a choice in most areas except the Sedgewick Historic District which does not recommend them. Wood fencing may weather naturally or be stained or painted. Colors should match the same color on the home or blend into the surrounding landscape. Pressure treated lumber is not recommended.

Metal fences can include those shown here. However chain link or woven wire fences are not recommended even in unobtrusive rear yard settings.

PLANTINGS

As an alternative to an actual fence installation, plantings such as low hedges or shrubs can be used. Plantings are eﬀ ective screens but be careful to chose a hedge or shrub type that can be trimmed or shaped. It is important that such shrubs or hedges do not in- trude into the clear space needed for public or private sidewalks.

Landscape Patterns

SYRACUSE PATTERN BOOK E 2 WALLS

Stone or brick fences or walls can enhance a property’s value and Appropriate Front Yard Fences Fences appropriate for rear yards Inappropriate fences if visible from the street appearance. If the home has brick or stone elements then a similar brick or stone should be used for the fence. Th is is particularly imporatant at the front of the property.

SIDEWALKS OR WALKWAYS

Most public sidewalks are made of concrete rectangular units, light broom ﬁ nish, minimum of three feet wide, allowing for con- trol joints to allow for expansion and contraction of the material. Brick pavers or stone pavers have been used for these walkways however they are not recommended for the Sedgewick Historic District.

Private walkways, especially those leading to the front door or entry door of the home have been created with a number of materials including slate and those materials already mentioned. Care should be taken if a handicapped ramp or an inclined walkway [wheelchair accessible] is being installed that the surface is in fact usable by a wheelchair. A property owner or contractor should consult the code guidelines for slope, width or other requirements for compliance.

A cast concrete paver that can imitate stone, brick or weathered concrete can be an alternative walkway material.

Landscape Patterns

SYRACUSE PATTERN BOOK E 3

A Guide for Building and Renovating Syracuse Houses ∫

REHABILITATION GUIDELINES

∫ Section F SECTION F Rehabilitation Guidelines

House renovations can range in size from replacing windows or a new coat of paint to adding a second or third fl oor of living space or a wing to a house. Th ese can provide for more living space and more natural daylight, enhancing the quality and value of a house. Renovations can also harm a house if poorly executed and even the most beautiful house could become an eyesore despite an expensive addition. Similarly, an inexpensive, but well-detailed modifi cation to an existing house could add signifi cant value. Th e key to eff ective renovating lies in understanding the appropriate design elements, massing and appropriate materials that create the architecture of a house. Th is section off ers strategies for designing renovations and additions that can give a house a distinct character related to one of the traditional Syracuse styles.

SCOPE Before starting, determine the scope of your project. Would you like a new look for your house, just need a few repairs, or do you need more living space? By understanding the scope of your desired improvements, you will be able to determine if this is a do-it-yourself repair or if it requires the expertise of a builder or architect. Renovations may include window replacement, a new front door, front porch restoration, roof and gutter replacement, brick repointing and repair, new paint, new siding or the replacement of aged or damaged siding. Larger renovations may include adding box and bay windows, dormers and porches. Additions are generally larger than renovations and may consist of major changes to the house especially in terms of the massing of the house. Addi- tions may include the construction of a wing—typically on the side or rear, the addition of a second or habitable third story, or the construction of an ancillary structure, such as a garage, somewhere on the site. In general, additions should reﬂ ect the architectural style of the main house body. Rehabilitation Guidelines

SYRACUSE PATTERN BOOK : Architectural Patterns F 6 Porch Rehabilitation & Repair

Well maintained porch, Queen Anne Style

Appropriatee enclosure of front porch, Bungalow or Craftsman style Types of Columns, Shaft Con- struction

Arrows indicate direction of water entry and exit.

Rehabilitation Guidelines

SYRACUSE PATTERN BOOK : Architectural Patterns F 7 Porch Repairs

Columns Appropriate for Various Styles

1. Greek Revival

2. Italianate, Second Empire

3 & 4. Gothic Revival

5 & 6. Queen Anne, Stick

7. Colonial Revival, Neo-Classical

8. Classical Revival, Arts and Crafts 8

round square

Parts of a Porch

1. Column

2. Handrail

3. Baluster

4. Newel Post

5. Lattice Skirting

When replacing the rotted end of a column one should alternate the staves for better ﬁ t.

Rehabilitation Guidelines

SYRACUSE PATTERN BOOK : Architectural Patterns F 8 Entries and Doors

ORIGINAL FEATURES Entryways have a ceremonial importance and on older homes they are often the focal point of the facade. Richly decorated, entryways are very individ- ualistic; there is a great deal of variety in the design of details such as hoods, columns, and sidelights and of the doors themselves. Yet, for each style, an entryway type developed. Because the entryway is an integral part of the building’s overall design, it is always best to retain as many of the original features as possible. If this is not pos- Victorian Federal Greek Revival sible, then new details should be simple and similar to the original features in proportion, dimension, and directional emphasis; almost all entryways have a vertical orientation. ENTRY TREATMENT SIZE Th e size of an entryway is directly related to the mass of the building. Removing entryway features often destroys the symmetry and balance of the building’s original design. When seen from the street, the exterior entry will seem small unless it is made to appear original entry: well balanced trim removed, door looks out of larger than a regular interior door. Th is proportion again is the reason for lavishing such RIGHT WRONG attention on entryways by using heavy posts and other decorative elements.

Rehabilitation Guidelines

SYRACUSE PATTERN BOOK : Architectural Patterns F 9 Entries and Doors

YES DOORS When possible, always retain the original door and restore its appearance by reﬁ nishing it. If it is necessary to replace the original, buy a new or used door, in the same style and size. If nothing authentic can be found, choose a solid ﬂ a t - s u r f a c e d m o d e r n d o o r .

Heavy wooden doors are a good in- vestment. If ﬁ tted with weather strip- ping, which is easy to apply, they are Paneled wooden doors or wooden storm doors are appropriate. Doors should be of the original size and should be painted. good insulators. Storm doors should be avoided. Aesthetically, they tend to jar with the inner door which is located only inches away. However, if you feel a storm door is necessary, always try to purchase one which resembles the inner door in general shape, placement and style of the solid area. If you are unsuccessful, choose the plainest design available. Always paint a metal or wooden storm door and its frame in the same color as the main entry door. NO Th ese suggestions also hold for screen doors.

Avoid the door types shown above. Most are highly inappropriate for older buildings.

Rehabilitation Guidelines

SYRACUSE PATTERN BOOK : Architectural Patterns F 10 Windows

WINDOW OPENINGS TYPES OF WINDOWS Windows vary with each style and they Similarly, it is always best to retain establish the building’s character. Th e the original window sash (frame into YES YES elements surrounding the glass - the which the panes are set) and surround- sill, lintel and cap - are expressive fea- ing details. If it becomes necessary to tures which should always be retained. replace a window, the new one should It would be tampering with the basic resemble the original. Although many character of a building if these fram- window types are now commercially ing details are removed or covered with available, we recommend the use of the siding. three types shown. In addition to being Before 1850 After 1850 historically “correct,” these windows Federal/Greek Revival Victorian/Classical Revival Windows have a proportional relation- are practical since they are easy to clean ship to the structure as a whole, and and provide better ventilation. See the blocking them down or fi lling them in illustrations at the left for guidance in Full height and width of original window opening are retained. destroys the rhythm and balance of the choosing window replacements. building’s original design. Windows are block-down for a variety of reasons When selecting replacement windows, NO NO but often the situation can be avoided. wood is always the preferred material. Standard modern sashes frequently do Metal sashes have a thinner profi le and not fi t the tall windows found on older produce a less desirable eff ect than homes. Instead of fi lling in the origi- wood. If aluminum or vinyl windows nal opening, try to fi nd the proper size are used, it is best to avoid natural fi n- sash, or if necessary have it made to or- ishes. A dark permanent fi nish, bronze der. New ceilings often are hung below or black, is preferable. existing window heads. Make every ef- fort to keep the new ceiling above the Window opening is partially closed by blocking down or by addition of air condi- tops of the window openings; if that is tioning unit. Opening looks too small. impossible, the new ceiling should be As a general rule, the seven windows shown above and variations of sloped up at the outside wall to meet- these styles are inappropriate on older buildings ing the top of the window opening. When installing an air conditioner, it is always advisable to place the unit in a side window rather than on the public side of a building. In every case it is advisable to keep the full size of the original window opening. Rehabilitation Guidelines

SYRACUSE PATTERN BOOK : Architectural Patterns F 11 Shutters

SHUTTER SIZE Before the development of storm windows, shutters were used as insulators. YES NO Th ey functioned by closing over the surface of the window they framed. Although shutters are now used simply as ornament, they should still appear

fi gure 1 fi gure 2 to work. To be appropriate on an older house, the shutter should measure the Shutters are used improperly in the full height of a window and half of its Shutters should close to cover three examples shown above and to width. the full window opening. the left. The shutters in fi gure 1 are too small for he window they frame. With a double window arrangement, fi gure While many diff erent styles of shut- 2, it is not strictly appropriate to use shutters. If there is insuffi cient room for ters are commercially available, we fi gure 2 shutters to lie fl at as in fi gure 3, shutters recommend the use of the traditional should not be used. horizontal slat type. Wood is always the preferred material for shutters. Metal and plastic replicas are not recommended but, if used, they should resemble their wood counterparts as closely as possible. SHUTTER TYPES Th e style of a house can help in deter- mining whether shutters are appropri- YES NO ate. In general, they appear on Federal style buildings and are used less frequently on Greek Revival, Italianate, Mansard and Queen Anne structures.

Traditional painted wooden Ranch or aluminum shutters are not appropriate. slatted shutters are always appropriate.

Rehabilitation Guidelines

SYRACUSE PATTERN BOOK : Architectural Patterns F 12 Siding Materials

CORNER TREATMENT It is the small, often handcrafted de- never apparent on a good wooden clap- tailing that chiefl y distinguishes older board. Also when applying synthetic YES NO homes and contributes so highly to siding always follow the direction of their visual appeal. As with window the original material and maintain the clapboard and door features, it is always advisable same spacing between horizontal lines. corner board when remodeling to retain corner and Again, take care to retain trim ele- sill board sill boards. If these details have rotted, ments, especially at corner and sills. replace them with new wooden mem- foundation bers similar in size and dimension. Avoid imitation brick and stone siding Corner board too Corner and sill board Take care when installing siding to re- because they are generally unconvinc- small, no sill board missing tain the full width of the corner and sill ing. While the stones or bricks may ap- boards. Never sacrifi ce these details by pear to be randomly placed on a sam- MATERIALS covering them over completely. ple, when that same material is applied on the building, a pattern is generally Wooden clapboarding is the most detectable and the eff ect is artifi cial YES commonly used siding material. Th e looking. It is safe to assume that un- horizontal wooden strips that overlap less a house was originally covered with one another cast fi ne shadows about shingles, artifi cial ones will look inap- four inches apart. Th e visual eff ect pro- propriate. NO duced by these shadows has not been original clapboards successfully reproduced by other ma- It is not advisable to mix diff erent types terials. It is safe to say that no siding of siding on a building. Th e juxtaposi- material is likely to look better than tion of materials is common on Queen the original clapboarding. However, Anne and Shingle style homes, but vertical siding artifi cial stone grained vinyl although the vinyl and aluminum imi- even on these, unless the mixture of tations do not have the distinctive vi- siding materials is original, one should vinyl or aluminum sual quality of their wooden prototype, not add it. they are acceptable and may require far less maintenance.

If it is decided to use synthetic clapboard siding, remember that it is imi- asbestos siding wide vinyl or aluminum staggered butt shingle tating wood and should behave accord- shingle ingly. For instance, avoid wood grained siding because the “grained” eﬀ ect is Rehabilitation Guidelines

SYRACUSE PATTERN BOOK : Architectural Patterns F 13

A Guide for Building and Renovating Syracuse Houses ∫

APPENDIX WITH LARGE MAPS

∫ Section G Glossary

Apron: A raised panel below a window sill- Casement: A window sash which swings open Crown Molding: Projecting molding forming Gable L: Describes the massing of a house hav- along its entire length; usually on hinges fi xed the top member of a cornice, door or window ing a hipped roof with a pro¬jecting gable form Architrave: Th e lowest part of an entab¬lature, to the sides. frame. at the front, typically two-thirds the width of the sometimes used by itself. facade. Chimney Cap: Cornice forming a crown¬ing Dentil: One of a band of small, square, tooth- Balustrade: An entire railing system including a termination of a chimney. like blocks forming part of the characteristic or- Gable Roof: A roof having a gable at one or both top rail, balusters, and often a bottom rail. namentation of some classical orders. ends. Classical Architecture: Th e architecture of Hel- Batten: A narrow strip of wood applied to cover lenic Greece and imperial Rome. Doric Order: Th e column and entabla¬ture de- Gambrel Roof: A roof with two slopes of diff er- a joint along the edges of two parallel boards in veloped by the Dorian Greeks, sturdy in propor- ent pitch on either side of the ridge. the same plane. Classical Revival: An architecture move¬ment tion, with a simple cush¬ion capital, a frieze of in the early nineteenth century based on the use triglyphs and metopes, and mutules in the cor- Georgian Colonial: Th e architecture of the Beaded-Profi le Panels: Panels manufac¬tured of Roman and Greek forms. nice. British colonies in North America from 1714 to to resemble traditional bead board. 1776. Colonial Revival: Th e reuse of Georgian and Entablature: In classical architecture, the elabo- Boxed Eave (boxed cornice): A hollow eave en- colonial design in the U.S. in the late nineteenth rated beam member carried by the columns, Half-timbering: A technique of wooden-frame closed by the roofi ng, the soffi t and the building and early twentieth centuries. horizontally divided into archi¬trave, frieze, and construction in which the timber members are wall. cornice. exposed on the outside of the wall. Corbelling: Brickwork projecting suc¬cessively Bricked Eave: Eave condition where the top of more in each course to support or meet a struc- Fascia: Vertical board that terminates a sloped Hipped Roof: A roof which slopes upward from a brick masonry wall is corbelled out to the eave ture above. roof at the eave. all four sides of a building, requiring a hip rafter eliminating the soffi t. at each corner. Corinthian: the slenderest and most ornate of Federal Style: Th e Federal Style reached its Brickmold: Window or door trim, typi¬cally 2 the three Greek orders of archi¬tecture, having zenith in the period 1780 to 1820. It followed Hood: A cover placed above an opening or an inches wide. elaborate capitals with volutes and acanthus leaf Georgian, and is more refi ned with restrained object to shelter it. decoration. ornament and fl at-surfaced walls. Carpenter Gothic: In the nineteenth century Ionic Order: Th e classical order of archi¬tecture U.S., the application of Gothic motifs by arti- Corner Board: A board which is used as trim on Frieze: Th e middle horizontal member of a clas- characterized by its capital with large volutes, a san-builders in wood. the external corner of a wood-frame structure. sical entablature, above the archi¬trave and be- fasciated entablature, con¬tinuous frieze, usu- low the cornice. ally dentils in the cor¬nice, and by its elegant Carriage Porch: A roofed structure over a drive- Cornice: An ornamental molding at the meet- detailing. way at the door to a building, pro¬tecting from ing of the roof and walls; usually consists of bed Gable: Th e vertical triangular portion of the end the weather those entering or leaving a vehicle. molding, soffi t, fascia, and crown molding. of a building having a double-sloping roof, from the level of the cornice or eaves to the ridge of the roof.

SYRACUSE PATTERN BOOK : Appendix G 2 Italianate Style: Th e eclectic form of country- Pediment: In classical architecture, the trian- Shed Dormer: A dormer window whose eave line Verge: Th e edge projecting over the gable of a house design, fashionable in the 1840s and 50s, gular gable end of the roof above the horizontal is parallel to the eave line of the main roof in- roof. Also, the area of planting, lawn or pave- characterized by low-pitched, heavily bracketed cornice. Also, a surface used ornamentally over stead of being gabled. ment between the sidewalk and the curb on a roofs, asym¬metrical informal plan, square tow- doors or windows. street. ers, and often round-arched windows. Shed Roof: A roof shape having only one slop- Pergola: A structure of posts or piers car¬rying ing plane. Vergeboard: An ornamental board hang¬ing Jack Arch: A fl at or straight masonry arch. beams and trelliswork for climbing plants. from the rake, or verge, of a gable roof. Shutter Dog: A pivoting bar for fi xing shutters in Knee wall: Short, vertical wall that closes off the Pilaster: An engaged pier or pillar, often with the open position against a wall. Vernacular Architecture: A mode of building low space created by a sloping ceil¬ing and the capital and base. based on regional forms and materials. fl oor. Side Gable: Describes the massing of a house Porte cochere: A carriage porch. having the gable end (or roof ridgeline) perpen- Vocabulary: A collection of related archi¬tectural Light: A pane of glass, a window or a subdivision dicular to the street. elements, materials or stylistic conventions used of a window. Portico: A porch or covered walk con¬sisting to describe a building or structure. of a roof supported by columns; a colonnaded Simulated Divided Light: Refers to a light in Lintel: A horizontal structural member (such porch. a window sash that is visually sub¬divided by Water Course or Water Table: A board or ma- as a beam) over an opening which carries the applied muntins that simulates a true divided sonry projection fi xed to the foot of a wall to weight of the wall above it. Post-and-beam framing: A type of fram¬ing sash. shoot water away from it. which horizontal members rest on a post as dis- Louver: An assembly of sloping, over¬lapping tinguished from a wall. Skirt Board: A board set horizontally at the bot- Wing: a subsidiary part of a building extending blades or slats designed to admit air and/or light tom of wall cladding. out from the main portion or body. and exclude rain and snow. Queen Anne Style: Eclectic style of domestic architecture of the 1870s and 80s; based on Soffi t: the exposed undersurface of any overhead Mullion and Muntin: Th e vertical and horizon- Elizabethan architecture. It is characterized by component of a building, such as a beam, cor- tal members separating (and often supporting) a blending of Tudor, Gothic, English Renais- nice, lintel, or vault. window, doors, or pan¬els set in series. sance, and Colo¬nial elements. Stile-and-rail: Type of door construction that Ogee Curve: a double curve resembling an S- Rafter Tails: A rafter, bracket, or joist which utilizes a framework of vertical and horizontal shape. projects beyond the side of a build¬ing and sup- members infi lled with panels. ports an overhanging portion of the roof. Oriel Window: In medieval English architec- Roof Pitch: Th e slope of a roof expressed as a ra- Tongue-and-groove: Method of joining materi- ture, a window corbelled out from the wall of tio of its vertical rise to its hori¬zontal rise. als, usually wood, where a tongue or projection an upper story. in one board fi ts the groove of its neighbor. Sash: Any framework of a window. May be mov- Palladian Motif: A door or window open¬ing in able or fi xed; may slide in a verti¬cal plane or Transom: A horizontal bar of wood or stone three parts with a fl at lintel over each side and an pivoted. across a window. Also the window or opening arch over the center. above the transom bar. Glossary

SYRACUSE PATTERN BOOK : Appendix G 3 Manufacturers and Suppliers

WINDOWS PORCH CEILINGS

Caradco http://www.jeld-wen.com/windows/wood/index.cfm Nantucket Beadboard (MRX, EFP –exterior grade, non-vinyl) Marvin http://www.marvin.com/?page=double_hung http://www.beadboard.com/Substrates.html Windsor http://www.windsorwindows.com/ Georgia Paciﬁ c http://www.gp.com/BUILD/product.aspx?pid=1401 Pella http://web.pella.com/products/windowstyles/doublehung/

COLUMNS DOORS Turncraft http://www.turncraft.com/ Simpson http://www.simpsondoor.com/ Hardwood Columns http://www.hardwoodcolumns.com/ Marvin http://www.marvin.com/?page=entrydoors Worthington http://www.worthingtonmillwork.com/ Th erma-Tru http://www.thermatru.com/products/entry/ HBG http://www.hbgcolumns.com/woodcolumns.php Peachtree http://www.peachtreedoor.com/products/entrydoors.asp

SHUTTER & SCREENS SIDING & SHINGLES Kingsland http://www.kingsland-shutters.com/ James Hardie http://www.jameshardie.com/homeowner/products-exterior.shtml Paul Argoe http://www.paulargoescreens.com/ Certainteed http://www.certainteed.com/products/ﬁ ber-cement-siding Cedar Direct http://cedarshinglesdirect.com/ Note: vinyl siding and materials are not recommended for new or renovation projects as this product has long lasting negative impact on human health and the natural environmental. ROOF SHINGLES

Owens Corning http://rooﬁ ng.owenscorning.com/ Certainteed http://www.certainteed.com/products/rooﬁ ng GAF/ELK http://www.gaf.com/General/GAFintro_MAIN.asp

SYRACUSE PATTERN BOOK : Appendix G 4 GARAGE DOORS & HARDWARE These companies offer garage doors and accompanying hardware in styles that reﬂ ect late-19th- and early-20th-century carriage houses, barns, and garages.

DOORS SELECTED HARDWARE

AMARR GARAGE DOORS (NC) INDUSTRIAL DOOR COMPANY ACORN MANUFACTURING (800) 503-DOOR, amarr.com (MN) (888) 798-0199, idcdoors.com Wood, wood composite, (800) 835-0121, Wood, wood composite, steel steel acornmfg.com

ARCHITECTURAL GARAGE JELD-WEN (OR) (800) 535-3936, jeld-wen.com Wood compos- EUROPEAN HARDWARE CO. (800) 975-7089 europeanhardware .net DOOR MFG. (IL) (815) 344-9910 ite, steel woodgaragedoor.com Wood KAYNE & SONS (828) 667- 8868, customforgedhardware MAINE DOOR CO. (ME) (866) 379-4265, mainedoors.com .com CARRIAGE HOUSE DOOR CO. (CA) (866) 890-1776, car- Wood riagedoor.com Wood, steel MONTANA HINGE & HARDWARE (406) 947-2145, MAURER & SHEPHERD JOYNERS (CT) (860) 633-2383, montanahinge.com CLOPAY BUILDING PRODUCTS (OH) (800) 225-6729, clo- msjoyners.com Wood paydoor.com RICHARDS WILCOX RESTORATION HARDWARE NORTHWEST DOOR (WA) (800) 522-2264, nwdusa.com (800) 253-5668, rwhardware.com Wood, steel, aluminum Wood, steel, aluminum SNUG HARBOR HARDWARE DESIGNER DOORS (WI) (800) 637-5427, snugcottagehardware.com (800) 241-0525, designerdoors.com Wood RAYNOR GARAGE DOOR (IL) (815) 288-1431, raynor.com Wood, steel ERLER DESIGN (VA) 434-953-6747 erlerdesign.com Wood REAL CARRIAGE DOOR CO. (WA) (800) 694-5977, realcar- riagedoors.com Wood EVERGREEN CARRIAGE DOORS(WA) (800) 654-0750, ever greencarriagedoors.com Wood RED LAKE CUSTOM DOORS (MN) (712) 269-0331, redlake- customdoors.com Wood GALLENBERG STUDIO (WI) (715) 882-4900, gallenbergstu- dio.com Wood SECTIONS (MN) (877) 707-8810, sections.com Wood, steel

GARAGA (OC) (800) 464-2724, garaga.com Steel, steel with SUMMIT DOOR (CA) (888) SMT-DOOR, summitdoorinc. wood composite, aluminum com Wood, wood composite HAHN’S WOODWORKING CO. (NJ) (908) 793-1415, hahn- swoodworking.com Wood SUNWOOD DOORS (CA) (562) 951-9401, sunwooddoors.com Wood

Manufacturers and Suppliers

SYRACUSE PATTERN BOOK : Appendix G 5

Syracuse Pattern Book : Appendix G 6

Syracuse Pattern Book : Appendix G 7

Syracuse Pattern Book : Appendix G 8

Syracuse Pattern Book : Appendix G 9

Credits

A Guide for Building and Renovating Syracuse Houses Th e City of Syracuse ∫ Mathew Driscoll Mayor Fernando Ortiz Commissioner of Community Development Paul Driscoll Director of Housing

Home Headquarters Kerry Quaglia Executive Director Terri Luckett Project Manager for Pattern Book Paul Driscoll former Project Manager for Pattern Book

Syracuse and Onondaga County Planning Agency (SOCPA) Don Jordan Executive Director Edward Heart Base Map

Urban Design Center of Syracuse, Inc. Dean Biancavilla AIA Co-Director Robert M. Haley Jr., AIA Co-Director Sam Gordon, Planit Inc. Neighborhood Research and Maps Robert Petrie Production Designer

Urban Design Associates based in Pittsburgh, Pennsylvania, are credited with en- ergizing many cities through out the country to reinvest in their communities with the use of Pattern Books. Th e Syracuse Pattern Book has gleaned many of its own qualities from their collective eﬀ orts. Also needing credit for their eﬀ orts is the 2005 Urban Design Studio in the Department of Landscape Architecture at the State University of New York: College of Environmental Sciences and Forestry (SUNY ESF). Th e studio generated the maps and time lines which are reproduced in the appendix which were the source of the Time Line of Syracuse Styles in Sec- tion B. A “thank-you” goes to the residents of Syracuse who continue to invest and believe in the beauty and future of their city.

We wish to also thank Holmes King Kallquist & Assoc. and Ashley McGraw Architects for their respective contributions towards the time of Dean Biancavilla, Robert Haley, and Rob Petrie.

SYRACUSE PATTERN BOOK : Credits November 2009 10 A Guide for Building and Renovating Syracuse Houses ∫