Historic Preservation Rehabilitation & Design Guidelines

HISTORIC PRESERVATION REHABILITATION AND DESIGN GUIDELINES Gainesville, Florida

Supplement to Land Development Code Section 30-112

1 City of Gainesville State of Florida Community Development Department Department of State D. Henrichs, Historic Preservation Planner Bureau of Historic Preservation Comprehensive Planning Division Vicki Cole, Grants and Education Section 306 NE 6th Avenue, Bldg. B R.A. Gray Building Station 11 PO Box 490 500 South Bronough Street Gainesville, Florida 32602-0490 Tallahassee, Florida 32399-0250 tel. 352.334.5022 tel 800.847.PAST fax 352.334.2282 http://dhr.dos.state.fl.us/bhp

University of Florida Research and Education Center for Architectural Preservation William L. Tilson, Professor, Co-Director School of Architecture College of Design, Construction and Planning 331 ARCH PO Box 115701 University of Florida Gainesville, Florida 32611-5701 tel 352.392.4836

Peter E. Prugh, Associate Professor, Director School of Architecture College of Design, Construction and Planning 331 ARCH PO Box 115701 University of Florida Gainesville, Florida 32611-5701 tel 352.392.0205

2 “ Preserve, Protect, Enhance and Support the Historic, Archaeo- logical and Cultural Resources within the City of Gainesville.”

3 CONTENTS

CONTENTS CONTENTS

PREFACE 1

INTRODUCTION 5 Rehabilitation: A Practical Approach to Preservation Summary of Secretary of the Interior’s Standards for Rehabilitation Maintenance and Rehabilitation of Historic Properties Guidelines for Rehabilitating Historic Properties Alteration/Additions to Historic Buildings Using the Guidelines for Planning a Preservation Project

HISTORIC CONTEXT 15 History of the City of Gainesville Northeast Residential Historic District Southeast Residential Historic District Pleasant Street Historic District University Heights Historic Districts - North and South

REHABILITATION GUIDELINES 79 Overview Structure of the Guidelines Authority to Review Certificate of Appropriateness Design Standards and Their Interpretation Setting Additions to Existing Buildings Roofs and Roof Surface Foundations Windows, Shutters and Awnings Entries, Porches and Balconies Doors and Entrances Exterior Fabric Painting, Texture and Color Auxiliary Structures Porte Cocheres and Garages Landscape Structures Fences and Garden Walls Sidewalks and Walkways Interior Space, Features and Finishes CONTENTS

Mechanical Systems Sidewalks and Walkways Handicap Accessibility Relocating Buildings Demolition

DESIGN GUIDELINES FOR NEW CONSTRUCTION

Northeast, Southeast, & Pleasant Street Historic Districts 163 Maintaining the Historic Character of the Districts Defining the Criteria Rhythm of the Street Setbacks Height Roof Forms Rhythm of Entrances & Porches Walls of Continuity Scale of Building Directional Expression Proportion of the Front Facade Proportion & Rhythm of Openings Rhythm of Solids to Voids Detail and Materials

University Heights Historic Districts - North and South 181 Maintaining the Historic Character of the Districts Defining the Criteria Rhythm of the Street Setbacks Height Roof Forms Rhythm: Entrances & Porches Walls of Continuity Scale of the Building Directional Expression Proportion of Front Facade Proportion & Rhythm of Openings Rhythm of Solids to Voids Detail and Materials CONTENTS

GLOSSARY 191

BIBLIOGRAPHY 197

APPENDIX 1: FLORIDA’S ARCHITECTURAL PERIODS 205 Colonial Period Territorial Period Statehood Period Civil War & Reconstruction Period Post-Reconstruction Period Turn-of-the-Century WWI Period Florida Boom Period Depression & New Deal Period

APPENDIX 2: ARCHITECTURAL STYLES 215 Frame Vernacular Shotgun Shingle Commercial Greek Revival Queen Anne Gothic Revival Colonial Revival Classical Revival Mediterranean Influence Mission Italian Renaissance Tudor Art Modern Masonry Vernacular Second Empire Beaux Arts Monterey Prairie Bungalow French Eclectic

APPENDIX 3: MATERIALS 243 PREFACE

PREFACE

1 PREFACE

Section Cover: Partial map of Alachua County published in 1883.

Brick residence on Northeast Boulevard in the Northeast Historic District.

2 PREFACE

PREFACE The goal of the Historic Preservation Tallahassee. Analytical drawings are To prepare this revised version of the Thomas Sputo, and George Tedford, along Rehabilitation and Design Guidelines for found at the introduction of each district Preservation Guidelines, the City of with the College Park/University Heights the City of Gainesville is to provide advice that break the general term “character” into Gainesville, Department of Community Redevelopment Advisory Board and the and assistance to city officials, building categories of urban order, architectural Development, under the direction of D. Fifth Avenue/Pleasant Street professionals and property owners for the typology, details, materials and Henrichs, enlisted the services of the Redevelopment Advisory Board purpose of maintaining, rehabilitating, and construction. Research and Education Center for contributed significantly to the evolution preserving historic buildings, structures, The Historic Preservation Architectural Preservation (RECAP) at the of this document. objects, and appurtenances within the his- Rehabilitation and Design Guidelines University of Florida School of In addition to the State of Florida Site toric districts of Gainesville or individually establish a uniform structure for organizing Architecture. The principal investigators Files, Ben Pickard and the members of listed properties on the local or national guidelines while accommodating the of the project were Co-directors of the Historic Gainesville, Inc., offered great register. The Guidelines also recommend unique character of individual districts. Center, Peter E. Prugh, AIA, APA, support with the historical context section strategies for the design of new construc- The continuity of the historic preservation Associate Professor and William L. Tilson. of this document. The information tion that maintain the building pattern of guidelines promotes more uniform The project manager was Kathleen contained in this section could not have the districts, are compatible with the exist- application of the guidelines in different McGuinness who was assisted by Graduate been completed without a strong reliance ing district character and contribute posi- settings throughout the city and assists Research Assistants Charles L. Hailey and on the many years of detailed research into tively to their evolving character and pro- in many ways the community of property Bing Hu and field research and Graduate Gainesville’s architectural and social tect existing contributing structures. The owners, developers, community boards Research Assistants Angie Brown, Gary history prepared by this group. Their guidelines are a single comprehensive and city officials. Gorman, Ellen Holden and Jenny Wolfe “Historic Alachua County and Old document that also employs specific lan- In addition to the Preservation and conducted studies. The project was Gainesville: A Tour Guide to the Past,” is guage to protect the unique historical and Conservation Manual, (City of supported by the combined efforts of the highly recommended reading for all those cultural fabric of each district. Gainesville, Department of Community State of Florida and the City of Gainesville who are responsible for owning, To establish a firm logic for specific Development), these guidelines utilize the through the State of Florida Division of maintaining or developing property in the recommendations, the contextual history structure and content of the Model Historical Resources. historic districts. and character defining elements of each Guidelines for Design Review (State of This document was made possible The residents of the Northeast historic district is analyzed in an illustrated Florida (1998). The Model Design through the significant input of many local Residential Historic District, Southeast narrative. For example, the history of each Guidelines for Design Review was used to groups and individuals who have been Gainesville Historic District, Pleasant Street district is visualized using Sanborn organize the content of the Gainesville instrumental in the movement to preserve Historic District and the University Heights Insurance maps, aerial images and oral guidelines thereby aligning it with the Gainesville’s historic neighborhoods. The Historic Districts who provided insight, history accounts where official public guidelines currently in place or being Gainesville Historic Preservation Board personal histories of properties and helpful records are not available. The guidelines developed in other Florida historic members, Patrice Boyes, Dennis Egan, comments on the effectiveness of the make use of historic photographs found communities. This alignment streamlines Joan Gowen, Mary Honeycutt, Tim guidelines are to be commended, for from Gainesville sources complemented by state and federal compliance processes Hoskinson, Apryl Howell, Sandra Lamme, ultimately, the long term preservation of selections from the State of Florida while foregrounding the unique Richard MacMaster, Jim Mallard, Jeanna these districts is literally in their hands. Photographic Collection and the State requirements of Gainesville’s historic Mastrodicasa, Antonio Prieto, Jay Reeves, Archives, Florida Department of State, districts.

3 INTRODUCTION

4 INTRODUCTION

INTRODUCTION

5 INTRODUCTION

Section Cover: Lithograph of Gainesville, 1884.

Native fieldstone “Chert” House University Heights South District

6 INTRODUCTION A Practical Approach

REHABILITATION: A PRACTICAL APPROACH TO PRESERVATION

The Rehabilitation and Design Guide- The reasons for using the Secretary of of historic properties. This frame of refer- Southeast and Pleasant Street Historic Dis- lines are a tool to ensure the preservation the Interior’s Standards are numerous. The ence serves as an aid to analyzing what is tricts. The second part of this section out- of architectural resources through mea- first and most important is consistency. significant about a building or district. It lines the design criteria for the University sures that are consistent and cost-effective. Rehabilitation projects in Florida receiv- consists of a succinct overview of Florida Heights Historic Districts. The Design The guidelines help coordinate applicable ing federal or state funding or tax credits architecture, describing periods of con- Guidelines are not prescriptive but do offer city, state, and federal guidelines to avoid already must observe the standards. Fur- struction, characteristics of historic dis- numerous specific applications of the cri- or minimize administrative overlap and thermore, property owners seeking a his- tricts, common building types and archi- teria through photographs and drawings needless duplication. The guidelines cover toric preservation property tax exemption tectural styles, significant materials and that illustrate the concept of compatibility. both new construction and rehabilitation, under Section 196.1997, Florida Statutes, interiors. This section also analyzes the The final components of the guidelines which is the process of repairing or alter- must also comply with them. A consistent elements that contribute to the character include a glossary of terms, bibliography, ing a historic property while retaining its set of standards will result in savings of of the historic districts using text drawings appendices, and an index. Numerous illus- significant features. A practical approach time and money and permit avoidance of and photographs. trations, composed of photographs and to preservation, rehabilitation is a com- administrative overlap and conflicting The second major section, Rehabilita- drawings, complement the text. promise between remodeling, which has regulations. tion Guidelines, forms the core of the no sensitivity to the historic features of a A second important reason for using the guidelines. This section provides rehabili- building, and restoration, which is a more Secretary of the Interior’s Standards is pre- tation guidelines for appropriate treat- accurate but costly approach to repair, cedent. The Standards have been success- ments of historic buildings. It outlines ap- replacement, and maintenance. fully applied for many years and have re- propriate treatments for additions, doors The Secretary of the Interior’s Stan- sulted in a number of case studies, pub- and entrances, exterior materials, founda- dards for Rehabilitation serve as the basis lished in “Interpreting the Secretary of the tions and infill, mechanical systems, for the Guidelines. The intent of the Stan- Interior’s Standards for Rehabilitation.” porches, roofs and roof surfaces, setting dards is to encourage the retention and These case studies are available from the and historic landscapes and windows. It preservation of historic buildings as ex- Architectural Preservation Services Section also contains recommendations on the ap- pressed in their architectural design, ma- of the Bureau of Historic Preservation and propriate treatment of historic interiors, terials, and workmanship. The result of any provide an excellent source of information handicap accessibility, relocation of historic project reviewed under the Standards for local review boards, preservation archi- buildings and demolition. should be the preservation of a building’s tects, preservation planners, owners of his- The third section, Design Guidelines historic materials and distinguishing char- toric properties, and others undertaking for New Construction, outlines specific Bungalow residences on SE 7th Street in the acter. Important characteristics of a build- modifications to historic buildings. design criteria that must be considered in Southeast District. ing include its overall shape, materials, The guidelines contain three major sec- the design of any new construction pro- craftsmanship, decorative details, interior tions. The first section, Historic Context, posed for the historic districts. The first spaces and features, and its site and envi- offers a frame of reference for individuals part of this section outlines the design cri- ronment. undertaking or reviewing the rehabilitation teria for new construction in the Northeast,

The Preservation and Conservation Manual City of Gainesville, Department of Community Development as amended through February 1998.

7 INTRODUCTION

Restoration and rehabilitation project in the Southeast District.

8 INTRODUCTION Secretary of Interior Standards

SUMMARY OF THE SECRETARY OF THE INTERIOR’S STANDARDS FOR REHABILITATION

The Secretary of the Interior has 5. Distinctive features, finishes and con- 9. New additions, exterior alterations or re- adopted a set of standards for rehabilita- struction techniques or examples of lated new construction shall not destroy tion of historic structures under federal pro- craftsmanship that characterize a his- historic materials that characterize the grams, including the tax incentive program toric property shall be preserved. property. The new work shall be differ- for rehabilitation. The following standards entiated from the old and shall be com- are general principles that the Department 6. Deteriorated historic features shall be patible with the massing, size, scale and of the Interior recommends for consider- repaired rather than replaced. Where the architectural features to protect the his- ation in the planning stage of rehabilita- severity of deterioration requires re- toric integrity of the property and its tion. placement of a distinctive feature, the environment. new feature shall match the old in de- 1. A property shall be used for its historic sign, color, texture and other visual quali- 10.New additions and adjacent or related purpose or be placed in a new use that ties and, where possible, materials. Re- new construction shall be undertaken Rehabilitation of a garage apartment in the University Heights North District requires minimal change to the defining placement of missing features shall be in such a manner that, if removed in the characteristics of the building and its substantiated by documentary, physi- future, the essential form and integrity site and environment. cal or pictorial evidence. of the historic property and its environment would be unimpaired. 2. The historic character of a property shall 7. Chemical or physical treatments, such be retained and preserved. The removal as sandblasting, that cause damage to of historic materials or alteration of fea- historic materials shall not be used. The tures and spaces that characterize a surface cleaning of structures, if appro- property shall be avoided. priate, shall be undertaken using the gentlest means possible. 3. Each property shall be recognized as a physical record of its time, place and 8. Significant archaeological resources af- use. Changes that create a false sense fected by a project shall be protected of historical development, such as add- and preserved. If such resources must Restoration work done in the Northeast District. ing conjectural features or architectural be disturbed, mitigation measures shall elements from other buildings, shall not be undertaken. be undertaken.

4. Most properties change over time; those changes that have acquired historic significance in their own right shall be retained and preserved.

9 INTRODUCTION Maintenance and Rehabilitation

MAINTENANCE AND REHABILITATION OF HISTORIC PROPERTIES

There are a variety of approaches to re- of termites and other wood boring pests, produced. Conjectural reconstruction is pairing or altering a historic building and protecting a property from vandalism, ad- not a recommended approach and conflicts other historic properties. These approaches dressing structural problems, and other with contemporary preservation standards. should be understood before planning, un- work that will prevent further deterioration. dertaking, or reviewing repair or alteration Rehabilitation of such properties. They are defined below. Restoration Rehabilitation is a practical approach Restoration is accurately recovering the to historic preservation. It is the process of Remodeling form and detail of a building and its setting repairing or altering a historic building for Remodeling consists of an approach in as it appeared at a specific time in the past. an efficient contemporary use while retain- which repairs or alterations are undertaken Restoration often requires the removal of ing its historic features. Rehabilitation rep- with little or no regard for the overall de- later work or the replacement of missing resents a compromise between remodeling, sign and individual features of the historic earlier work. Restoration is the most accu- which has no sensitivity to the historic fea- Reconstruction is recommended only when there building. During the course of remodeling, rate and expensive means of preserving a tures of a building, and restoration, which is adequate historical, pictorial or physical the historic character of a building is usu- building. Because of the cost, restoration is a more accurate but costly approach to documentation so that a building or feature can ally lost or diminished. Remodeling is not a is generally employed only on landmark be adequately reproduced. repair, replacement, and maintenance. recommended approach and frequently will buildings of exceptional significance. Res- Rehabilitation includes structural re- result in rejection of a certification of ap- toration entails detailed research into the pairs, repairing roofs and exterior finishes, propriateness, disapproval from state and history, development, and physical form of painting, and upgrading mechanical sys- federal regulatory authorities, and denial a building, skilled craftsmanship, and at- tems. It frequently involves changes in use. of financial benefits such as tax credits, tention to detail. The original use is gener- These changes may result in physical al- grants, and ad valorem tax exemptions. ally maintained or interpreted, as in the case terations, such as additions, expanded park- of a house museum. ing, and measures to comply with contem- Stabilization porary health and safety code requirements. Stabilization, usually the first step in Reconstruction Sensitive rehabilitation results in changes preserving a historic building, is undertaken Reconstruction entails reproducing, by that do not negatively impact the historic to reestablish the weathertight and struc- new construction, the exact form and detail character of a building and its setting. tural integrity of buildings, particularly of a vanished building or part of a building, those that are unsafe or deteriorated. It is a to its appearance during a specific time in temporary measure designed to allow re- its history. Reconstruction is recommended habilitation or restoration in the future. Sta- only when there is adequate historical, pic- bilization measures include repairing or torial or physical documentation so that a covering roofs and windows so that rain building or feature can be adequately re- cannot penetrate the interior, extermination A well-maintained historic house in the University Heights North District

10 INTRODUCTION Guidelines for Rehabilitation

GUIDELINES FOR REHABILITATING HISTORIC PROPERTIES

The guidelines which follow are ori- Identify, Retain, and Preserve piecing-in, splicing, consolidating, or oth- ented toward rehabilitation of historic build- The first step—identifying, retaining, erwise reinforcing or upgrading the mate- ings and other historic properties. They es- and preserving the form and detailing of rial according to recognized preservation sentially draw upon the Secretary of the architectural materials and feature—is ba- methods. Repair also includes the limited Interior’s Standards for Rehabilitation. Over sic to the sensitive treatment of all historic replacement in kind or with a compatible the past several decades the Secretary of buildings. The guidelines which follow rec- substitute material of extensively deterio- the Interior’s Standards have become the ommend measures to accomplish this goal rated or missing parts of features when authoritative guidelines for rehabilitation while avoiding actions which will cause the there are surviving prototypes. Although in the United States. The Standards were removal of features that form the historic using the same kind of materials is always initially used in reviewing projects funded character of a building. the preferred option, substitute materials by the now defunct Historic Preservation are acceptable if the form and design as Fund grant-in-aid program. Subsequently, Protect and Maintain well as the substitute materials themselves Avoid removal of features that form the historic they were used by authorities in preserv- Protection generally involves the least convey the visual appearance of the re- character of a building. Repair if possible, or ing historic properties under federal con- degree of intervention and precedes other maining parts of the feature and finish. replace if necessary. trol and reviewing projects falling under work. Protective measures include the main- federal compliance review. Presently, many tenance of historical materials through treat- Replace state officials and local design review ments such as rust removal, caulking, lim- Replacement is appropriate when an boards both in Florida and nationally em- ited paint removal, re-application of pro- entire character-defining feature is not repa- ploy the Standards as the basis for reha- tective coatings, and cyclical cleaning of rable. If the essential form and detailing are bilitation guidelines. They have been used roof gutter systems; or stabilization through still evident so that the physical evidence in Florida for over twenty years in review- prevention of water infiltration, installation can be used to re-establish the feature as ing projects involving federal investment of fencing, protective plywood, alarm sys- an integral part of the rehabilitation project, tax credits and state and federal grants. tems and other measures. Although a his- then its replacement is appropriate. Like the The Standards suggest a series of steps toric building will usually require more ex- guidance for repair, the preferred option is to rehabilitation, beginning with the least tensive work, an overall evaluation of its always replacement of the entire feature intrusive treatments. The steps in sequence physical condition should begin at this with the same material. Because this ap- are as follows: level. proach may not always be technically or economically feasible, provisions are made Repair to consider the use of a compatible substi- Repairs are warranted when required by tute material. the physical condition of character-defining materials and features. Repair of historic material begins with the least degree Repairs are warranted when required by the of intervention possible, such as patching, physical condition of character-defining materials and features.

11 INTRODUCTION Alteration/Additions

ALTERATION/ADDITIONS TO HISTORIC BUILDINGS

Design for Missing Historic Features is compatible with the remaining character- toric features of a building or other fea- A new feature is appropriate when an defining features of the historic building. tures of the environment or building site entire interior or exterior feature is missing. The new design should always take into that are intrusive and, therefore, detract Under these circumstances, the original fea- account the size, scale, and material of the from the overall historic character. ture no longer plays a role in physically historic building itself and, most impor- The construction of an exterior addi- defining the historic character of the build- tantly, should be clearly differentiated so tion to a historic building may seem to be ing unless it can be accurately recovered that a false historical appearance is not cre- essential for new use. The guidelines em- in form and detailing through the process ated. phasize, however, that such new additions of carefully documenting the historical ap- The final step involves alterations and should be avoided, if possible, and con- pearance. Where an important architectural additions. Some exterior and interior alter- sidered only after it is determined that those feature is missing, its recovery is always ations to a historic building are generally needs cannot be met by altering second- Where an important architectural feature is missing, its recovery is always recommended. recommended in the guidelines as the pre- needed to assure its continued use. It is, ary, non character-defining interior spaces. ferred course of action. Thus, if adequate however, important that such alterations If, after a thorough evaluation of interior historical, pictorial, and physical documen- do not radically change, obscure, or de- solutions, an exterior addition is still judged tation exists so that the feature may be ac- stroy character-defining spaces, materials, to be the only viable alternative, it should curately reproduced, and if it is desirable features, or finishes. Alterations may in- be designed to be clearly differentiated from to re-establish the feature as part of the clude providing additional parking space the historic building and constructed so building’s historical appearance, then de- on an existing historic building site; cut- that the character-defining features are not signing and constructing a new feature ting new entrances or windows on second- radically changed, obscured, damaged, or based on such information is appropriate. ary elevations; and installing an entirely destroyed. However, a second acceptable option for new mechanical system. Alterations may the replacement feature is a new design that include the selective removal of non-his-

Repair also includes the limited replacement in kind or with a compatible substitute material of extensively deteriorated or missing parts of features when there are surviving prototypes.

12 INTRODUCTION Using the Guidelines

USING THE GUIDELINES FOR PLANNING A PRESERVATION PROJECT

Planning is critical to a successful pres- The final phase of planning a project ervation project and should proceed in a should integrate the evaluation of the logical series of steps. The first step con- building’s condition with the evaluation of sists of an evaluation of the condition and the architectural character of the building. functional obsolescence of a building. This Structural repairs, upgrading of mechani- will be done independent of the guidelines. cal systems, energy retrofitting, and renewal Each component of a building should be of exterior and interior features and finishes thoroughly evaluated, beginning with the should be evaluated within the context of foundation, exterior walls, roof, doors and the architectural guidelines to determine windows, mechanical systems, and inte- their appropriateness. Rehabilitation project on SW 2nd Avenue. rior. This frequently takes the form of a con- Once a plan has been developed and ditions report, usually prepared by an ar- submitted as a request for a Certificate of chitect or building contractor. Appropriateness and the application re- Once the work to be done has been iden- quirements have been met, reviewers may tified, the architectural character of the consult the guidelines to ensure that sig- building should be evaluated. The National nificant features of the property under re- Park Service suggests a three-step ap- view have been properly evaluated and will proach to this process. First, observe the be properly treated during the course of building from afar to ascertain its shape, rehabilitation. pattern of window and door openings, primary and secondary roof features, and projections such as porches, trim and setting. Next, move close to the building to identify its color, texture, and finishes. Finally, proceed to the interior of the building and identify its individually important and related spaces, features, and surface finishes and materials. The guidelines can assist this process by providing information about significant periods, stylistic details, property types, materials, and interior features.

Rehabilitation project on SW 2nd Avenue.

13 HISTORIC CONTEXT City of Gainesville

14 HISTORIC CONTEXT City of Gainesville

HISTORIC CONTEXT

15 HISTORIC CONTEXT City of Gainesville

This map of Alachua County was drawn by Carl Webber of New York and Gainesville, and included in his book “Eden of the South,” published in 1883.

Section Cover: Gainesville Sanborn Insurance Map, 1922.

Lithograph of the county Seat of Gainesville, 1884.

The City was named in honor of General Edmund Pedleton Gaines. Original Plat Map of Gainesville, 1854.

16 HISTORIC CONTEXT City of Gainesville

HISTORY OF THE CITY OF GAINESVILLE

Gainesville was voted a new town and Seminole Indian War broke out in 1835. The rounding communities. The town had the Alachua County Seat on September 6, fighting continued until 1842. grown to 269 residents of the 140,000 in 1853. Prior to this, the Alachua County The site of the new city was once a Florida itself. It was not until after the Civil Seat was Newnansville, a small town near Timucuan Indian Village consisting of War and Reconstruction that Gainesville present day City of Alachua. combined plots of land over one hundred would experience a building boom. With the introduction of the railroad, and three and one quarter acres. After sixteen years of statehood, Florida the east and west portions of the state were The land was purchased from Major withdrew from the Union in 1861. Over linked, connecting two port cities, Fernan- Bailey on January 24, 1854 and the estate 15,000 Floridians fought for the Confed- dina on the Atlantic Ocean and Cedar Key of Nehemiah Brush on November 27, eracy while 1290 joined the Union forces. on the Gulf of Mexico. The rail line, how- 1856. On February 15, 1864, a skirmish with Fed- Gainesville’s early lumber industry, circa 1900’s. ever, bypassed the County Seat. The resi- The original town was bounded on the eral and Confederate troops took place in dents received approval from the State of north by present day Fifth Avenue, on the Gainesville. On August 17, 1864, a Civil Florida for a county wide election to east by the Sweetwater Branch, on the War battle had also taken place here. Over change the location of the County Seat by south by Second Place and on the west by 300 Union troops that occupied the town creating a new city closer to where the rail- Second Street. The 103.25 acre plat was were attacked by the Florida Cavalry under road was planned to intersect the County. laid out in a grid pattern and designed with the command of Captain Jonathan J. The City was named in honor of Gen- four intersecting ninty-foot thoroughfares, Dickison and driven from the town. In eral Edmund Pedleton Gaines who served which formed the courthouse square in the 1865, the war between the States had in the war of 1812 and later commanded center of the city. Thirty-foot streets formed ended. Slavery was abolished and Florida U.S. Troops during the Seminole Wars in the boundaries and forty-five-foot streets was under military rule. (Hildreth) Florida (Hussain). were used elsewhere on the grid.3 These By 1873, Gainesville became one of the The City of Gainesville was officially paired, ninety-foot thoroughfares divided largest cotton shipping stations in the state founded in 1854, and incorporated on April the city into four quadrants. and the south. With fourteen cotton gins in 14, 1869. In 1856, the city had erected a two-story operation, local growers supplied the raw The land was initially part of the wood frame courthouse. The building acted material. The H.F. Dutton Company was Arredondo Spanish Land Grant made by as a focal point for growth as several busi- the local industry leader. An employee of the Spanish King to Don Fernando de la nesses, retail establishments, offices and the company, a machinist named James Maza Arredondo on December 22, 1817. hotels soon surrounded the courthouse Doig, constructed the cotton gin locally. The Arredondo Grant encompassed what square and the area became the new busi- Between 1881-1883, the population had is now Alachua County and required settle- ness center for the city. grown to over 2,000 with the increase in ment of the area by 200 inhabitants within The railroad was completed in 1860 and shipping and industry. Additional rail lines a specified time frame in order to retain passed directly through Gainesville. Busi- were built to service Gainesville and it soon the land. And thus, the land had been sub- ness developed with this new link between became a rail center. Farming and Citrus divided and sold. The Indians resisted in the east and the west and Gainesville be- added to the local economy. turning over their land and the Second came a central shipping point for the sur- Artist’s rendering of battle in Gainesville, 1864.

1. Comprehensive Plan, City of Gainesville Historic and Architectural Development, 1991. 2. Florida Master Site Files, Southeast Historic District . Florida Division of Historic Resources. Tallahassee, Florida. 3. Florida Master Site Files, Northeast Historic District,. Florida Division of Historic Resources. Tallahassee, Florida.

17 HISTORIC CONTEXT City of Gainesville

In 1884, a series of fires had destroyed Even with the completion of the railing the fate of many other small railroad the central business district and courthouse. road, Gainesville did not experience a towns that atrophied as redundant and un- Many of the buildings were rebuilt in brick. building surge until after the Civil War and profitable lines of the national railroad net- A new brick courthouse was built in 1885 Reconstruction. work were eliminated. The first of these and replaced the original wood frame build- By 1890, Gainesville had grown to 2,790 was the passing by the State legislature of ing. The clock from the brick courthouse residents, and by 1900 the U.S. Census the Buckman Act in 1905, which created remains today in a new location and tower announced that the population had grown the University of Florida in Gainesville. downtown. to 3,633. As the economic base broadened, The City of Gainesville was chosen as the Between 1890 and 1914, the Gainesville the increased number and prosperity of the site for the University of Florida and built economy was broadened by the phosphate city’s inhabitants began to be reflected in of land donated by Major William R. Tho- and lumber industry. The H.F. Dutton Com- the built environment of the surrounding mas. The University in many ways replaced pany remained the industry leader locally. neighborhoods. the slowing industry in the city with many The president of H.F. Dutton Phosphate The majority of the residences were beneficial economical and educational began construction of a shingle style home found in an area north of the courthouse spin-offs to the community. The industry in the northeast in 1906. H.F. Dutton died square, largely owing to the fact that the economy was replaced with education. The three years later and his unfinished home original town plat was laid out with thirty- University contains several historic Colle- was purchased by Major William R. Tho- eight blocks to the north of the square and giate Gothic structures and is designated Gainesville Sanborn Insurance Map, Central mas. The home was converted into a luxury only fourteen to the south. as a separate historic district. Business District 1928. hotel, known as Hotel Thomas, with the In the first two decades of the twenti- The second was the establishment of addition of a new wing in 1926-28. eth century, two decisions by the State of an asylum for the care and protection of Florida prevented Gainesville from suffer- the mentally ill and handicapped, now

First Alachua County Courthouse, circa 1856-1884. Southeast 1st Avenue, late 19th century. Franklin Street, Gainesville, Florida. Alachua Avenue, Gainesville, Florida .

Comprehensive Plan, City of Gainesville Historic and Architectural Development, 1991. Florida Master Site Files, Southeast Historic District . Florida Division of Historic Resources. Tallahassee, Florida. Florida Master Site Files, Northeast Historic District,. Florida Division of Historic Resources. Tallahassee, Florida.

18 HISTORIC CONTEXT City of Gainesville

called Tacachale. The growth of the city tial areas to the north, east, and west and hoods until it was discontinued as a public and its two major institutions took place acted as the western terminus to commer- school and now serves as the administra- along parallel lines. By 1950, the popula- cial development along University Avenue. tion offices for the Alachua County School tion of Gainesville had grown to 26,861, With the growth and expansion of the Uni- District. while the student body had reached 3,216. versity, the housing demand rapidly in- The automobile was a major factor in The number of patients at Tacachale had creased during the 1920s. Neighborhoods the transformation of the physical structure increased to over 1,000, requiring a wide developed surrounding the University and of Gainesville. Between 1930 and 1950, variety of professional staff and support expanded to the west. Many more historic the number of cars in the city increased services. buildings are scattered throughout the sur- from approximately 5,000 to over 14,000 Of the two state-supported institutions, rounding areas. bringing a great demand for road paving the University of Florida had the most dra- Gainesville’s economic prosperity con- and automobile related services. By 1930, matic effect of the physical appearance of tinued well into the 1920s boosted by its a number of businesses associated with the the city. Located on University Avenue, growing prosperity. In response to the ex- automobile had occupied buildings around approximately twenty blocks west of the pansion of both the growing residential Courthouse Square and along University Courthouse Square, the new facility for neighborhoods in the southeast and north- Avenue. These included automobile deal- higher education stimulated the physical east, a 12-room public school was built on ers, gas stations, and tire and parts suppli- and political expansion of the city. In 1907, East University Avenue. The Mediterra- ers. The paving of University Avenue as Gainesville Sanborn Insurance Map, 1928, showing the corporate limits of Gainesville were nean Revival style building was expanded the principal link between the university the central business district. increased from its approximately 103 acres in the 1930s and later renamed Kirby-Smith and town provided for further commercial to 5.5 square miles. In addition, the uni- Elementary School in 1940. It served as an development along the thoroughfare. The versity spurred the growth of new residen- anchor for both the residential neighbor- continued expansion of businesses in the

Public and High School, Gainesville, Florida.. East Florida Seminary, Gainesville, Florida. Central Business District, University Avenue. Gainesville’s Original Post Office Building.

19 HISTORIC CONTEXT City of Gainesville

twelve-block area around the courthouse the area. Various neighborhoods saw de- Hippodrome State Theatre, and the caused a dramatic decrease in the number cline as rental properties were neglected. Matheson House as well as the five his- of residences in the immediate downtown toric districts, Northeast Residential His- area. By 1945, only twelve residences were Historic Preservation toric District, Southeast Residential Historic left in the immediate vicinity of the court- A great attempt has been made to sta- District, the Pleasant Street Historic Dis- house. bilize and even reinvigorate these declin- trict, and the University Heights Historic The automobile also made possible the ing areas during the past twenty years by Districts - North and South. development of new suburban subdivi- promoting interest in the preservation and The City furthered preservation efforts sions, primarily to the north and west of rehabilitation of historic structures. by funding a historic preservation survey the city. Between 1914 and 1950, approxi- The historic preservation program of though ERLA Associates and The History mately seventy subdivisions were platted, the City largely came about as a result of Group, Inc. A survey of historic and cul- Central Business District, 2nd Avenue. primarily to the north and west of the city. the neighborhood preservation effort of the tural resources was conducted by ERLA Part of the growth, which occurred in the “duck pond area” during the 70s. The area Associates and The History Group, Inc., 1920’s, was the result of the Florida Land is now referred to as the Northeast Resi- during the summer of 1980. It included an Boom. However, Gainesville did not par- dential Historic District. These residents, examination of above ground and under- ticipate to the extent of such cities as Mi- along with Historic Gainesville, Inc. spear- ground resources by professionals in ar- ami, Palm Beach, or St. Petersburg, which headed the preservation movement for the cheology, history and architectural history. were more attractive as tourist and winter City of Gainesville. Volunteers from Historic Gainesville, Inc. vacation centers. A few subdivisions were The City of Gainesville, with the help of worked along with the City staff members developed—Hibiscus Park, Highland Historic Gainesville, Inc., made the first in assisting with the survey. This two- Heights, and East Highland to name sev- substantial commitment to historic preser- phased survey covered the entire City but eral, but many others never went beyond vation in April 1974 with the purchase and concentrated on residential areas as the the planning and promotion stages. renovation of the 1920 era Hotel Thomas. specific focus. To ensure that no potential The post-World War II era showed dra- The Thomas Center and Gardens, as it is sites were excluded, the architectural sur- matic growth in Gainesville. The city’s now known, houses City of Gainesville vey followed the criteria of the Florida State population in 1950 was approximately administration offices and is also utilized Historic Preservation Office and the Na- 37,000; and in the late 1980’s it climbed to for special cultural events and programs. tional Register of Historic Places. Survey- over 90,000. This increase had brought The Thomas Center and Gardens act as an ors proceeded from a windshield survey to about a rapid growth in the development anchor to the Northeast Residential His- an intensive block-by-block, site-by-site of suburban housing and a decentralization toric District which branches north from approach. Data for over one thousand sites of commercial activities that has resulted University Avenue and East of Main Street. was recorded on Florida Site File inventory in the deterioration of the older commer- Several other local preservation efforts forms, with accompanying photographs cial and residential areas of the city. The have resulted in listings on the National and was submitted to the State Archives. 1960s also brought about a decline due to Register of Historic Places. These include Nine areas were identified as potential his- the increased rental properties throughout the Old Post Office, known locally as the

20 HISTORIC CONTEXT City of Gainesville

toric districts in accordance with the City’s nine citizen members appointed by the City Continuous efforts by preservationists The area parks and greenspaces have goals for neighborhood conservation. Commission for staggered three-year terms. and planners in the community have at- also been given great attention in revital- As a result of the survey of historical The responsibilities of the Board are to re- tempted to reconcile the twin needs of ization such as those improvements to the and cultural resources, the City of Gaines- view and recommend historic and cultural progress and preservation so as to strike a Sweetwater Branch area in the Southeast ville completed the creation of 1,773 resources for listing on the Local Register balance between a desire to hold onto the District and planned improvements and Florida Site Files. This data also assisted of Historic Places and to approve or deny physical remnants of the older, railroad- renovation of the Duckpond in the North- the City in placing sites on both the Local petitions for Certificates of Appropriate- oriented market town and the reconstruc- east District. Register and National Register of Historic ness. Since 1985, the City has staffed the tion of the central core of Gainesville to The City has also focused attention on Places. These sites came to include the Historic Preservation Board with a historic serve the demands of the ever-expanding redevelopment of the areas near the Uni- Northeast Residential Historic District, the preservation planner to act as staff liaison. University of Florida, the city and county versity of Florida campus, trying to bal- Southeast Residential Historic District and Since the adoption of the Historic Pres- governments, and to attract new commer- ance new development with sensitivity to the Pleasant Street Historic District. ervation/Conservation Ordinance, the City cial and professional enterprises. the historic character of the campus-related An archeological survey summarized Commission has adopted two additional In response to this effort, many of the areas. patterns in previously identified sites ordinances sponsored by the Historic Pres- rehabilitated historic homes throughout In October 2000, a University Heights within the City. The report, including ervation Board. The Demolition Delay Or- Gainesville have been converted to com- Special Area Plan was adopted for the thirty-five archeological sites, was submit- dinance, adopted in 1988, provides that mercial use as professional offices, bed and neighborhoods east of the university to ted to the City and the Florida Department permits to demolish structures which have breakfasts and even museums, such as the promote new development near the cam- of State, Division of Historical Resources a Florida Site File or are 45 years of age or Matheson House and the Medical Society pus. That was followed in January 2002 by on September 30, 1980. older not be issued until 90 days from the Museum. Several significant landmarks the designation of two historic districts, In response to the survey results, it was date of the permit application. The Bed and have received community support in their the University Heights Historic Districts - also recommended that the city adopt a his- Breakfast Ordinance, adopted the follow- restoration efforts such as the Bethel Gas North & South, which straddle University toric preservation ordinance for protection ing year, provides for the conversion of Station, Florida Theater, Star Garage, the Avenue and share many of the University of historic buildings and districts. On single-family dwellings listed on the Local Seagle Building and American Legion Heights neighborhoods with the Special March 28, 1983, the City Commission Register of Historic Places into bed and Buildings. Area Plan. adopted the Historic Preservation/Conser- breakfast establishments. Downtown Gainesville has continued vation Ordinance for the City of Gaines- The Community Redevelopment to grow and develop as a professional and ville. The Ordinance provides a means for Agency was established in 1981. The pur- government center with a revitalized fo- the identification and protection of historic pose was to initiate projects of public im- cus in most recent years. The area has re- and cultural resources in the City that are portance and to alleviate urban blight ceived many new buildings such as Union worthy of public recognition and preser- within a specific area. CRA projects in- Street Station, a new library, and a new vation for the benefit of future generations. clude streetscapes, new buildings, parking courthouse complex. In addition, the purpose of the Ordinance lots and garages, neighborhood parks, side- was to create the Historic Preservation walks and street plantings. Board and to establish the Local Register of Historic Places. This board consists of

Historic Preservation Data and Analysis Report, City of Gainesville, 1991-2001, Comprehensive Plan, The Department of Community Development, Comprehensive Planning Section, November 1991.

21 HISTORIC CONTEXT City of Gainesville

University Heights Historic 4 District-North

Northeast Residential Historic Southeast Residential Historic Pleasant Street Historic University Heights Historic 1 District 2 District 3 District 5 District-South Local Register Local Register Local Register Local Register

This district is one of the oldest and best- This district has its origins in the 1854 in- This district contains the oldest African These districts, separated by University preserved residential areas in Gainesville. corporation of the city and has encom- American residential area in Gainesville. Avenue, have an outstanding collection of The district has embraced eight subdivi- passed seven additional subdivisions. The This area has remained a religious, educa- buildings and structures of nationally rec- sions along with the original Gainesville 23-block area seats over 96 contributing tional and social center for the African ognized styles of the 1920’s and 1940’s. Section. Over 290 historic buildings are lo- structures. The area is comprised of several American community for over a century. Particularly noteworthy are the districts’ cated within the 63-block area and reflect homes of significant styles such as Queen African Americans built many of the 255 Colonial Revival, Tudor Revival and Crafts- the architectural styles prevalent in Florida Anne and period revival styles dating from contributing structures during the post- man architecture. The Craftsman influences from the 1870’s through the 1930’s. the 1920’s including several Bungalows. Civil War era. are pronounced and some of the best examples of this style in Gainesville.

The City Commission approved the Northeast The City Commission approved the Southeast The City Commission approved the Pleasant Street The City Commission approved the University Residential Historic District on July 8, 1985. (Refer Historic District on March 13, 1989. (Refer to Historic District on February 18, 1991. (Refer Heights Historic Districts on January 14, 2002. to 241ZON-84PB and Ordinance #3141.) 157ZON-88PB and Ordinance #3701.) to76ZON-90PB and Ordinance #3701.) (Refer to 32ZON-01PB and Ordinance 001026 for north district & 33ZON-01PB and Ordinance 001027 for south district.)

22 HISTORIC CONTEXT City of Gainesville

Historic Districts NE 13th Ave City of Gainesville, Florida Historic Districts 1. Northeast Residential Historic District 2. Southeast Residential Historic District

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24 HISTORIC CONTEXT Northeast Residential Historic District

NORTHEAST RESIDENTIAL HISTORIC DISTRICT

25 HISTORIC CONTEXT Northeast Residential Historic District

Historic Districts NE 13th Ave City of Gainesville, Florida

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26 HISTORIC CONTEXT Northeast Residential Historic District

NORTHEAST RESIDENTIAL HISTORIC DISTRICT The Northeast District encompasses residential growth patterns of Florida cit- counts of Gainesville, the 1884 Bird’s Eye approximately 80 blocks with well over ies in the late 19th and early 20th centuries. View of Gainesville. The houses located 200 historic buildings. The Northeast Resi- The district has also been an area where at 804 N.E. 3rd Avenue and 107 N.E. 8th dential District is one of the oldest resi- several persons important in the Street have characteristics associated with dential neighborhoods in Gainesville hav- community’s development established their the Queen Anne Style. Two Italianate style ing survived from the 1870’s to present day. residences. houses, also visible on the 1884 map, are The houses located within this area repre- One of the two oldest sections of the the James Doig House (1882) at 708 East sent a spectrum of architectural styles and district is the northeast quadrant of Origi- University Avenue and the W.L. Seigler clearly reflect the area’s continuing evolu- nal Gainesville, platted in 1854, delineated House. James Doig, a Scotsman, came to 2 tion as an important historic residential by NE 5th Avenue, Sweetwater Branch, N.E. Gainesville in the 1850’s and in 1882 es- neighborhood. The district also has an im- 1st Street and East University Avenue. Of tablished an iron foundry which handled portant spatial quality resulting from sev- the 24 extant structures built before 1900, the repairing of steam engines and boilers .3 eral planned green spaces located within 19 are located within this portion of the and the manufacturing of iron goods. its boundaries. district. Construction of these buildings Economic prosperity continued well occurred primarily during the 1880s. Re- into the first decade of the 20th century with History and Development of the flecting the popular style of the period, a the establishment of the phosphate indus- Northeast Historic District large number of these homes were built in try in Alachua County. Two residences in The Northeast Residential Historic Dis- the Queen Anne style. The residences at the district, constructed during the 1900s Sanborn Insurance Map of Gainesville’s Northeast trict contains a large concentration and 215, 216 and 306 N.E. 3rd Street are prime housed executive members of the Dutton District, 1928. evolution of period homes. The buildings, examples. Phosphate Company, one of the largest which reflect architectural styles prevalent The early growth of Gainesville was producers in the state prior to World War in Florida during the 1880’s through the limited until the completion of the Florida I.4 The structure at 306 N.E. 6th Avenue was 1 1920’s, and the public green spaces depict Railroad in 1859. Prosperity was curtailed begun by Charles W. Chase, a president of the development of Gainesville between throughout the 1860s and 1870s by the the Company, in 1906. Chase died in 1909 these years. The northeast quadrant of the Civil War and Reconstruction. With the before his house was complete. The un- city has incorporated nine former subdivi- establishment of several industries such as furnished house was acquired by William sions: Original Gainesville, Home Invest- the citrus, fertilizer, phosphate and iron Reubin Thomas who completed it the fol- ment Company Addition, Robertson’s Ad- foundry, the 1880s brought Gainesville out lowing year. Thomas was instrumental in dition, Sun-Kist Addition, Doig and of an economic slump. bringing the University of Florida and the Robertson’s Addition, Highlands, J.W. The eastern portion of the district con- Chautauqua to Gainesville. He also served Phifer Estate and W.B. Phifer Property, tains a secondary concentration of pre-20th as the Mayor of the city for several years Highland Terrace and Highland Heights. century structures. Located in the areas of and as a Florida State Senator for four years. The development of these subdivisions and the subdivisions of Robertson’s Addition In the mid-1920s, Thomas saw a need for a the incorporation of these areas into and Doig and Robertson’s Addition, these resort hotel in the city and converted his Early Main Street (presently known as N.E. 1st Gainesville’s city limits reflects typical houses are seen on one of our earliest ac- house into Hotel Thomas. The Hotel be- Street) c.19--.

1. Hildreth, History of Gainesville,p.17. 2.United States Bureau of the Census, 1850 and 1860 Census of Florida, Alachua County, Florida State Library, Tallahassee, Florida. 3.. Ross A. Smith, Florida State Gazetteer and Business Directory (Charleston, S.C.: Southern Directory and Publishing Company, 1884), p. 203 as cited in Farhat Hussain, Gainesville, Florida: A Geographic Study of a City in Transition (Ph.D. dissertation, University of Florida, 1959), p. 74. 4. New Orleans, Southern Industry, 1 August 1903 as cited in Hildreth Gainesville, p. 15. 27 HISTORIC CONTEXT Northeast Residential Historic District

came a social center for Gainesville in the ment Company’s Addition to the City of such as Queen Anne, Colonial Revival, and late 1920s and remained so until it closed Gainesville, contains 29 residences built be- period bungalows. in 1968.1 tween 1910 and 1920 and reflects the archi- By 1907, the entire area comprising the Another personality associated with the tectural styles of the era. A variety of Colo- District had been incorporated in the city phosphate company, and later the military, nial Revival houses were constructed dur- limits and new construction after 1910 was purchased property in the present-day dis- ing early 1910 on N.E. 6th and 7th Streets. scattered throughout the area. Even though trict. Albert H. Blanding bought a house at A movement in the early 1900s to con- two new subdivisions had been platted, The 306 N.E. 3rd Street in 1901. Blanding was solidate eight higher education facilities in Home Investment Company’s Addition in employed as the mine superintendent and the State of Florida into two State universi- 1902 and the Robertson Addition in 1906, assistant manager for the Dutton Phosphate ties resulted in the passage of the Buckman little new construction was undertaken in Company from 1896 to 1910.2 Blanding Bill in 1905. Having already established the these new subdivisions until after 1910. The Duck Pond and Northeast Boulevard in was mustered into the U.S. Army as briga- East Florida Seminary within city limits and In 1917, W.R. Thomas had his prop- Northeast District. dier general in 1917 and was appointed within the district boundary, Gainesville erty platted into the Sun-Kist Subdivision.10 Major General of the U.S. National Guard was chosen to become the site for the Uni- The area was defined by N.E. 2nd Street, in 1924..3 versity of Florida. The East Florida Semi- N.E. 9th Avenue, N.E. 6th Street and N.E. As a result of the population increase, nary Classroom and Administration build- 6th Avenue. Although several buildings the city constructed the Gainesville Graded ing (later named Epworth Hall by the First were present before this date, most of the and High School in 1900. This 12-room United Methodist Church at 419 N.E. 1st houses were constructed during the 1920s brick public school was located in the Street), served the university until 1911 and reflected the popular styles that had northeast quadrant.4 In 1912, a second when it was purchased from the State. 8 reached the area such as the Mediterranean building was added in order to accommo- The Seminary Parade grounds east of the Revival and Prairie styles. date the increasing number of students. 5 building were dedicated by the city as the Other large landholdings were subdi- 9 The Richards House, built in 1895 in Northeast In 1939, these two buildings were con- first municipal park in 1911. Presently vided within the city in the 1920s. The Doig District. nected. The school, named Kirby-Smith El- known as Roper Park, the area remains one and Robertson’s Subdivision was platted ementary School in 19406 is now the ad- of Gainesville’s earliest historic green in 1920 and contains some of the oldest ministrative offices for the Alachua County spaces. buildings in the district. Although most of Public School District. The building was Growth of the City continued steadily these were constructed during the 1910s, restored in recent years. through the early 1900s. A second subdi- some of the others represent the pre-1900 In 1902, a subdivision was created in vision, Robertson’s Addition, was officially era. The James Doig House and the W.L. the area presently defined by the platted in 1906. The area was defined by Seigler House, which are found on the 1884 Sweetwater Branch and Northeast Boule- East University Avenue, N.E. 8th Street, Bird’s Eye View of Gainesville, are examples vard, Northeast 5th Avenue, Northeast 7th N.E. 3rd Avenue and N.E. 9th Street. Many from the pre-1900 era. Street and Northeast 2nd Avenue. 7 This of the buildings represent examples of the In 1922, the Highland Realty and Invest- The Blanding House, built in 1899 in Northeast subdivision, known as the Home Invest- architectural styles prevalent in the district ment Company was established by M. District.

1. Werndli, Philip, “History of Hotel Thomas” (Unpublished paper, University of Florida, 1973), P.K. Library of History, Gainesville, Florida. 2. Who’s Who in America, Volume 23, 1944-45 (Chicago: A.N. Marquis Company, 1944), p. 179. 3. Who’s Who in American History, The Military (Chicago: A.N. Marquis Company, 1975), p. 52 4.Sheet, William N.Bi-ennial Report of the Superintendent of Public Instruction of the State of Florida for the Two Years Ending June 30, 1903 (Tallahassee, 1903), pp. 283-84 as cited in Hildreth, Gainesville, P. 15. 28 HISTORIC CONTEXT Northeast Residential Historic District

Tucker, J.H. Parrish and J.S. Phifer. The com- Physical Character of the Northeast and wood shingles and turned post balus- pany purchased property in the northeast Residential Historic District Buildings trade and frieze; 304 N.E. 4th Avenue with quadrant of Gainesville for investment and The buildings found in the district its irregular massing; and the Klein-Graham development purposes. They began ac- range from wood frame vernacular con- House at 417 N.E. 4th Avenue with its ir- quiring and replatting the Sun-Kist subdi- struction to well-defined representative regular massing and variety of exterior fab- vision between N.E. 6th Avenue and N.E. examples of styles as Queen Anne, Gothic rics such as wood shingle, horizontal sid- 9th Avenue and renaming it the Highlands. Revival, Shingle, Bungalow, Colonial Re- ing and concrete block, represent the The planned area featured a 100 ft. wide vival, Classical Revival, Greek Rrevival, Queen Anne style which was prominent in private park which included sections of the Italianate, Mediterranean Influence, Tudor, Florida during that period. Other houses Sweetwater Branch. The park is located Mission Style, French Eclectic, Montery reflecting the Queen Anne style can be seen between two 25-foot right-of-ways on its Style and Prairie Style. in the original Gainesville portion of the The Gracy House, built in 1906, is one of the finest east and west sides. Highland Realty then district such as the Bowman House at 406 examples of Colonial Revival style residences in purchased the J.W. Phifer Estate and W.B. Height N.E. University Avenue, the McCollum- Northeast District. Phifer Property (platted 1923) and renamed The residential buildings range in Palmer House at 206 N.E. 3rd Avenue and the subdivision “Highland Terrace.” An height from one to three stories. The insti- the H.L. Phifer House at 420 N.E. 5th Street. additional acquisition in 1925 included the tutional, civic and religious buildings Significant construction occurred in the Highland Heights Subdivision. The section within the district range in height from one district between 1900 and WWI. Between between N.E. 9th Avenue and N.E. 10th story to three stories, however, the scales 1900 and 1910, houses were mainly con- Avenue was developed in 1929 by the and proportions of these buildings vary. structed in the Original Gainesville plat Highlands Realty and Investment Com- section and reflect the transition from pany. As a result of the economic boom of Plan Queen Anne style to the Colonial Revival the 1920s in Florida, a significant amount Plan shapes vary as do the number of style. For example, the structure at 529 of new construction in the District oc- bays on the main façade, owing to the as- N.E. 1st Street has irregular massing, a va- curred. Growth in the Highlands subdivi- sortment of architectural styles represented. riety of exterior fabrics with Classical de- sions was considerably influenced by the tailing of a boxed cornice and a verandah interest in the Highlands Realty and Invest- Architectural Styles with ionic columns. ment Company. The Highlands subdivision The concentration of houses built be- The Colonial Revival Style reigned as became popular sections for the upper in- tween 1875 and 1900 can be seen along the preferred style of the day. In the Home come families of Gainesville and remained N.E. 3rd Street and N.E. 4th Avenue. Struc- Investment Addition, the Padget Apart- an exclusive residential neighborhood in tures such as the Bodiford House and its ments at 424 N.E. 6th Street and the resi- the City throughout the 1930’s. mirror image, the Richards House with dence at 406 N.E. 6th Street were notewor- their irregular massing, verandahs with thy examples of the style. The Padget Apart- pavilions, and turned post balustrade and ments exhibits a slightly projecting central frieze on the porch; the Blanding House pavilion and Palladian windows flanked by The Far-Adkins House, built in 1924 in Northeast with its variety of fabrics of drop siding bay windows while the residence at 424 District.

5. Gainesville Daily Sun, 7 January1912. 6. Florida Master Site File, Kirby-Smith School, Florida. Florida Division of Archives, History and Records Management, Tallahassee, Florida). 7. Alachua County, Florida, Plat Book A, p.59, Alachua County Courthouse, Gainesville, Florida. 8. First Methodist Church, A Century of Methodism in Gainesville. Gainesville: First Methodist Church, 1957, p.39. 9. Gainesville Daily Sun, 7 May 1913. 10. Alachua County, Florida, Pat Book A-1, p.119. 29 HISTORIC CONTEXT Northeast Residential Historic District

exhibits a rectangular plan and a main en- Although not officially zoned as a “resi- in 1972. Their efforts were focused on trance with transom sash and sidelights. dential” area until 19322, the houses built saving the neighborhood’s historic homes One of the earliest Bungalows in the within the district remain primarily single and contributing buildings from further de- district is located at 834 East University family residences as they were originally terioration and threat. Led by Sam Gowan, Avenue and exhibits a broad gable end fac- designed. In more recent decades many these advocates for preservation set forth ing the street and stone surfaced battered have been converted to multi-family or to protect Gainesville’s architectural and columns. Several other bungalows in the commercial use as apartments or profes- cultural fabric. area were constructed throughout the sional offices. Today, commercial use is With a combined effort of community 1920s. limited in the district, primarily in the ar- support and endorsement from the City The Thomas Center continues to serve the community One example of the Tudor Revival Style eas to the south, along University Avenue Commissioners, HGI secured an option to with civic and social events in the Northeast District. can be seen at 535 N.E. 9th Avenue which and to the west of the district, along N.E. 1st lease the old hotel. The preservation efforts exhibits the use of half-timbering and brick. Street. of HGI continued and the Hotel Thomas Another moderate version of the style em- New construction within the district and its grounds were soon listed on the phasizing form is located at 425 N.E. 10th ended by 1939. After World War II, many National Register of Historic Places in Avenue. historic buildings near the downtown area 1973. The following year the City of Development in the Highlands subdi- were demolished and replaced by banks, Gainesville purchased the property and vision reflected the architectural styles office buildings and parking lots. Two his- their planned five year restoration project popular during this period such as Bunga- toric residences located in the area, the began. Today, the Thomas Center and Gar- low, Mediterranean Revival, Prairie and Baird and Stringfellow homes, were de- dens continues to serve as administration Colonial Revival styles. Stylistic examples molished. offices for the City of Gainesville as well of the Colonial Revival, Prairie, Mediter- As the downtown area grew with the as a cultural center for all of Gainesville. ranean Revival and Bungalows along N.E. construction of many government build- With the collective efforts of the North- Boulevard adjacent to the Duck Pond re- ings, the northeast neighborhood felt east residents, Historic Gainesville, Inc., the flect this diversity. J.H. Parrish, one of threatened by the expansion. Many of the City of Gainesville continued with histori- Highland Realty’s founders, built a Colo- larger residences located along N.E. 1st cal research, building surveys and preser- nial Revival house at 224 N.E. 10th Avenue Street, a direct link to the courthouse, were vation studies. The Distrist was listed on in 19291. This house was later leased by converted into professional offices. the National Register of Historic Places on the University of Florida and served as its The closing of Hotel Thomas in 1968 February 19, 1980. The City of Gainesville presidents residence from 1930 to 1948. brought on an even larger problem for the approved the Northeast Residential His- Both John J. Tigert and J. Hillis Miller, the neighborhood. Concerned with the en- toric District on July 8, 1985. third and fourth presidents, respectively, croaching commercial development and Successful renovation projects in- lived in the house. Other examples of Co- the possible loss or destruction of a sig- creased property values throughout the lonial Revival houses include 505 N.E. 6th nificant landmark building, the Northeast district. Avenue and 708 N.E. Boulevard. citizens formed Historic Gainesville, Inc.,

1. Sanborn Map Company, Insurance Maps of Gainesville (New York: Sanborn Map Company, 1928); R.F. Maguire to M.M. Parrish, 30 April 1930, J.J. Tigert Papers, University of Florida Archives, Gainesville, Florida. 2. McVoy, Edgar C. “A Sociological Study of Gainesville, Florida” Master’s Thesis, University of Florida, 1937, p. 64

30 HISTORIC CONTEXT Northeast Residential Historic District

The Northeast Residential Historic Dis- trict continues to fight the threat of non- residential use within it’s boundaries. To- day, commercial use within the district is limited. It can be seen primarily in the areas to the south along University Avenue and to the west of the district along N.E. 1st Street.

Northeast Historic District Expansion The District expanded in 1997 to include an additional 22 structures on 13 blocks to the north of N.E.10th Avenue and two blocks to the east of the District extending the boundary beyond N.E. 7th Street. The Northeast Gainesville Residential District expansion area is significant for the concentration of buildings, which reflect architectural styles prevalent in Florida from the 1920’s to the early 1950’s. It in- corporates the Highland Heights and Elliot and L. Engles subdivisions, of which portions of both have already been included in the original Northeast Residential Dis- trict and the Long and Jarvis Subdivision. The development of these subdivisions and the incorporation of these areas into Gainesville’s city limits reflects typical suburban residential growth patterns of Florida cities in the middle of the Twenti- eth Century. As a result of the economic boom of the 1920s in Gainesville and Florida generally, a significant amount of the new con- Map of Gainesville’s Expanded Northeast District.

31 HISTORIC CONTEXT Northeast Residential Historic District

struction in the district occurred. Growth tremendous variation of styles within the the lawn into a front lawn and a private in the Highlands subdivisions was consid- survey area ranging from the bungalow to garden to the rear. erably influenced by the interest of the period revival and finally, ranch. Peter This new type of suburban dwelling did Highlands Realty and Investment Com- Rowe, in Making the Middle Landscape, not find its way into the lower cost hous- pany. Development in the 1920s reflected has declared these three housing forms as ing market until after World War I. This the architectural styles popular during the the quintessential architectural styles for increase was due to continued growth of period—the bungalow, Mediterranean Re- 20th century suburbanizing America. suburban lot sizes which proceeded at an vival, Prairie and the continuing influence The open plan of the period revival accelerated pace as the automobile came of the Colonial Revival. houses became the norm in the higher qual- into general use. Like the other early 20th Century sub- ity dwellings built in the newly developed The majority of the structures in the divisions within the Northeast Residential suburbs between the city core and the coun- expansion area are single family dwellings. District such as Highlands and Highland tryside. In these new suburbs lot sizes were Some multi-family dwellings exist due to Terrace, the expansion area reflects more much larger than in older residential dis- change of use in the larger historic homes. standardized subdividing practice with tricts where restrictions on frontage had most lots platted and dimensions of hitherto permitted at best a square house 50’x100’. Larger lots are simply 1.5 or 2 whose long axis was at right angles to the times as wide as the standard. Unlike the streets with most of the rooms facing the tract development that followed the Sec- windows of the neighbors. On the larger ond World War, the Highlands Realty and sites it was possible to place the long axis Investment Company sold the lots without of the house parallel to the street, dividing building speculative housing. Conse- quently, lot owners provided their own architectural designs which accounts for a

City of Gainesville, NERHD Expansion Summary1997. Peter Rowe, Making a Middle Landscape (MIT Press, cambridge: MA:1991):46) (Lane, Johnathan. “The Period House in the Nineteen-Twenties”, Journal of the Society of Architectural Historians XX (March 1961): 172.

32 HISTORIC CONTEXT Northeast Residential Historic District

Recent Preservation Efforts

In June 2001, the State of Florida’s Bu- reau of Historic Preservation approved plans for the Duck Pond Renovation Project. After years of reviewing landscape details and proposals, the City of Gainesville initiated the renovation project and neared completion in January 2006.

33 HISTORIC CONTEXT Northeast Residential Historic District

NORTHEAST RESIDENTIAL HISTORIC DISTRICT CHARACTERISTICS Layout An additional green space, which ex- Street Edge The district is laid out in a grid pattern ists adjacent to the district boundary, is Building placement and density creates that grew from the original Gainesville plat Northeast Park which borders on the north a continuous edge to each primary street of 1854. Several additions were made ex- side of N.E. 12th Avenue. The grid is also or avenue. Northeast 1st Street has devel- tending the district in each direction such altered by the Kirby-Smith School, which oped as a major thoroughfare for the com- as the Home Investment Company’s Addi- occupies a 2-block area to the south of the mercial businesses that occupy the west- tion north of University Avenue (1910), district. ern portion of the district. Two other major Highlands Addition (1922), as well as High- thoroughfares bisect the district at 8th Av- land Terrace and Highland Heights. Blocks enue and 10th Avenue and a secondary east The grid runs mostly uniform through- The blocks within the District are ap- west thoroughfare at 7th Street. The Duck Pond runs north to south over a nine-block out the district with an interruption created proximately the same size and are defined A few medians bisect streets in the dis- area and is flanked by Northeast Boulevard. by the Sweetwater Branch and the water by the north-south streets and the east- trict at N.E. 1st and N.E. 3rd Avenue and N.E. retention pond known as the “Duck Pond.” west avenues. The 1997 District expansion 8th Avenue. In 1884, the median along North- This runs north to south over a nine-block area exhibits the standardized subdividing east 1st Street was limited to one block be- area bisecting the District. This linear green pattern of the early 20th century with lot tween the courthouse-square and N.E. 1st space was originally platted as a private sizes of 50’x100’. The larger lots are gener- Avenue. This median was subsequently park for the residents of the Highlands Sub- ally 1.5 to 2 times these dimensions. extended by 7 blocks and exists today from divisions. N.E. 1st Avenue to N.E. 8th Avenue. Another In addition to the Duck Pond, several Density landscaped median on N.E. 3rd Avenue be- green spaces exist in the district and, al- The density of the Northeast district tween N.E. 7th Street and N.E. 9th Street is in though they break its grid pattern, they pro- varies with the range in lot and building the Southeast section of the district. Addi- vide a sense of continuity since the district size. Lot sizes within each block are irregu- tional smaller medians have been placed itself is heavily landscaped with trees and lar and vary considerably. The area is highly recently along N.E. 8th Avenue. well maintained yards. The two major pub- occupied and few vacant lots exist. lic parks within the district are the Thomas Landscape Center’s Gardens and Roper Park which are Setbacks Live Oaks were planted along the right both to the west of the district. Roper Park, Setbacks are mostly uniform through- of ways sometime between 1854 and 1884..2 a one-block area, was the original parade out the district ranging from 10-15 feet from Today, these historic trees are protected grounds for the East Florida Seminary. In the front property line and running uniform under the Tree Ordinance. Landscaped me- 1911, it was dedicated to the City for use as along each block. The minimal range in set- dians bordered the courthouse square and a public park. 1 back variation is shown in the map number extended several blocks in each direction showing existing block sizes, lot layouts along the paired thoroughfares. Several and building footprints. A pattern is evi- historic live oaks still exist throughout the dent within each block. district as landmark trees.

1. Gainesville Daily Sun, 7 May 1913. 2. Alachua County, Florida, Minutes of the County Commission, September 6, 1854 as cited in C.H. Hildreth, A History of Gainesville, Florida (Ph.D. dissertation, University of Florida, 1954), p.12; Stoner, j. “Bird’s Eye View of Gainesville, Alachua County, Florida,” (Madison, Wisconsin: J. Stoner, 1884).

34 HISTORIC CONTEXT Northeast Residential Historic District

Sanborn Insurance Map of Gainesville’s Northeast District, 1928, depicting early block sizes.

Map of Gainesville’s Northeast Residential Historic District showing overall block patterns and lot sizes.

Sanborn Insurance Map of Gainesville’s Northeast District, 1928.

35 HISTORIC CONTEXT Northeast Residential Historic District

Setting Lot size and density of development

• Entrances facing all primary streets. • Lot size and density of development: Lot sizes within each block are irregular • Major Cultural and Civic Centers: and vary considerably. Early 20th cen- Thomas Center and Gardens, Thelma tury lot sizes of 50’x100’. The larger lots Bolton Center. are generally 1.5 to 2 times these dimensions. Medium Density. • Greenspaces: Duck Pond, Thomas Cen- ter and Gardens, Roper Park and the • Block patterns: Commercial: 300 feet in greenspace of the Kirby-Smith Center. length on east and west and 400-600 feet on north and south ends. Residential: • Street scape features sidewalks, tree rectangular 300 feet in length on east lined streets, 8th Avenue, concrete curb- and west and 300 feet on north and ing, medians and wood fences and south ends. stonewalls. • Use of buildings: Primarily single family • Subdivision layout of rectangular lots residential; Minimal Commercial and and blocks flanking the boulevard (some Mixed-Use in select areas of University Map of Gainesville’s Northeast Residential Historic irregular lot layouts) developed early in Avenue and S.E. 1st Street. District showing street and block patterns. Gainesville (Engle) plats. • Patterns of vacant lots and open spaces: • Facade lines, front and side setbacks: Minimal vacant lots. detached residences with broad front setbacks and minimal side setbacks. • Lot coverage: Varies.

36 HISTORIC CONTEXT Northeast Residential Historic District

Characteristics of Buildings • Materials: Varies. Wood frame, brick, 4” concrete masonry, chert rock, stucco. • Height: Primarily single story. Range of 1-3. • Windows: Primarily wood frame, double hung sash in 6/6, 2/2, or 1/1 light pat- • Width and number of bays or vertical tern. divisions: Varies to style of residence. • Repetitive features: porches and de- • Types: Primarily residential; commercial tached outbuildings. and mixed use in select areas. • Decoration: Commercial: varies on style • Predominant architectural styles and of building. Religious: brick corbeling, design influences: Variable, major ex- stained glass. Residential: wood mill- amples include: Queen Anne, Frame Ver- work such as brackets, fretwork. nacular, Tudor, Bungalow, Classical Re- vival, Colonial Revival, Monterey, Medi- terranean, Mission, Prairie. Axonometric study of building form along Sanborn Insurance Map of Gainesville’s Northeast residential street in Northeast District. District, 1928, depicting early block sizes. • Massing or overall form: Varies considerably depending on style and scale of building.

• Orientation: Both compass orientation and horizontal or vertical orientation.

• Foundations: Primarily residential elevated wood frame on brick piers.

• Roofs: primary and secondary roof structures: gable, hip, combination, mansard, flat with parapet. Pitch: varies on style of residence.

37 HISTORIC CONTEXT Southeast Residential Historic District

38 HISTORIC CONTEXT Southeast Residential Historic District

SOUTHEAST RESIDENTIAL HISTORIC DISTRICT

39 HISTORIC CONTEXT Southeast Residential Historic District

NE 2ND AVENUE Historic Districts NE 13th Ave City of Gainesville, Florida

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40 HISTORIC CONTEXT Southeast Residential Historic District

SOUTHEAST RESIDENTIAL HISTORIC DISTRICT

The Southeast Historic District lies area prior to the 1880s. Few two-story frame House, characterize the tenement farmer’s south of the present Northeast Historic Dis- buildings were surrounded by fruit trees houses that existed in the area in support trict and directly east of Downtown Gaines- as seen on the early 1884 map. In addition, of the early agricultural landscape. ville. Having its origins in the 1854 incor- small clusters of houses were being built The Central Business District grew in poration of the city, the Southeast Historic on or near the present University Avenue the 1880s and 1890s with the establishment District is one of the oldest residential com- as far east as Waldo Road, and more dense of Gainesville as a market center, and the munities of Gainesville. The area was a sig- settlement taking place between Main growth of its fertilizer, phosphate, iron and nificant cultural and historic home for the Street and Sweetwater Branch. lumber industries. The southeast district working and professional citizens who es- The oldest house within the district is developed for two prime reasons, economic tablished the local businesses and indus- the Matheson House, located at 528 S.E. 1st expansion and agricultural decline. As the tries of Gainesville’s nineteenth century rail- Avenue. The Matheson House was built Central Business District grew, the South- road community and early twentieth cen- in 1867 for James Douglas Matheson, a east residential section was pushed east- Gainesville developed as a small railroad tury university town. The district is com- prominent local merchant and was occu- ward beyond the earlier geographic bound- community, c.19--. posed of compatible one and two-story resi- pied by his family through the twentieth ary of Sweetwater Branch and a suburban dences reflecting prevailing architectural century. Chris Matheson, a twentieth cen- residential section became established. styles interpreted in local materials and tury resident of the home, served as Mayor Further incentive to develop Southeast methods of construction. of Gainesville from 1910-1918. Like the ear- Gainesville was supplied when the areas liest houses in this area, the Matheson citrus crops were destroyed by freezing History and Development of the House was surrounded by orange groves. weather in the winters of 1886, 1894-95 Southeast District The main house was also flanked by a few and 1899.2 No attempt was made to replant The Southeast District evolved as one outbuildings. 1 The house exhibits details the groves, and with the growth of the town, of the original mid-nineteenth century found in Florida’s early nineteenth century the area was more valuable as residential quadrants established by the original plantation houses with gable dormers, col- property. Gainesville town plan, and its earliest his- umned and shed-roof verandah, trabeated As the economic base of Gainesville tory is related to the first growth of the sidelights framing the entrance and a raised broadened, the increased population and town. During the early development of the brick pier foundation. Unique for its gam- prosperity of the city’s inhabitants began town, the southeast area was largely brel roof and shingle style details, the struc- to be reflected in the built environment of planted with orange groves and this citrus ture stands as the sole survivor of earliest the Southeast Gainesville area. The large industry continued through the 1880s. This period of development. The residence was frame houses of prominent citizens began is verified from the promotional booklet, enlarged sometime prior to the turn of the to appear along the south side of Univer- Eden of the South, published in 1883 as century. The building was listed in the Na- sity Avenue and Southeast 7th Street. These well as denoted on the Bird’s Eye View of tional Register of Historic Places in 1973. two primary streets continue to be the most Gainesville, which was drawn in 1884.1 How- Several small framed cottages, which are architecturally significant streets in the dis- ever, some buildings were erected in the located in proximity to the Matheson trict. Among the notable houses in the dis- Matheson House is one of the oldest existing buildings in the Southeast District, c.19--.

1. Stoner, J. Bird’s Eye View of Gainesville, Alachua County, Florida. Beck and Pauli, Litho. Madison, WI: Stoner, 1884. 2. Hildreth, Charles H. and Merlin Cox. A History of Gainesville, Florida, 1854-1979. Gainesville: Alachua County Historical Society, 1981, p.4.

41 HISTORIC CONTEXT Southeast Residential Historic District

trict, which date from that time are the Baird In 1877, ‘Ropers Addition,’ a 17-block Boundary Southeast Historic District House at 309 S.E. 7th Street, the T.J. area, was platted between S.E. 2nd Avenue The boundaries of the Southeast His- Swearington House at 202 S.E. 7th Street, and 5th Street.4 Kings Addition was platted toric District are justified by the distribu- and the Enwall House at 200 S.E. 7th Street. in 1893, largely as a result of the freeze of tion and age of the historic buildings in the The early agricultural lands and houses 1886, which destroyed the area’s citrus neighborhood and by the early subdivision were owned by a variety of well-known groves, and pushed development eastward plats which inspired construction in the Gainesville settlers. An early developer in along University Avenue to S.E. 9th Street. area. the area was J.H.Roper. He owned signifi- The E.A. King Estate, recorded in 1906, was The irregularity of the boundary re- cant farmland in and near Gainesville, and bounded by S.E. 7th Street, S.E. 9th Street, flects the relatively small and uncoordinated as president of the Seminary Board of Edu- East University Avenue and S.E. 1st Av- amount of construction that took place cation1, he was instrumental in the found- enue. The land was built upon as early as between 1885 and 1930, as well as the num- Southeast District, c.19--. ing of schools. J.B. Dell was another land- 1884. ber of non-contributing structures to the owner in this area and his family had been Despite the rural nature of the South- east and south. In addition, there were ar- in the Alachua county region since the sec- east during the nineteenth century, it was eas of historically vacant land along the ond quarter of the nineteenth century. Oth- in 1893 that the present area was incorpo- south and east adjacent to the Sweetwater ers who either settled in or owned land in rated into the city limits as far east as S.E. Branch. the early 1880 and 1890s, were drug store 9th Street. The district is bound on the north by owners, prominent lawyers, U.S. Land Of- In 1906 the Evans Addition and East University Avenue, a major thorough- fice officials, developers and farmers. Some Crawford Addition were recorded. Several fare, which visually, physically, and histori- family names, which go back to early de- Bungalow and Period Revival houses cally separates the neighborhood from the velopment, are the Vidals, Finleys, Barnes mixed with pyramid roof and Queen Anne residential area to the north of University and Bauknights. L.P. Dennis, a carpetbag- cottages were built on the Nichol’s Estate Avenue, in particular the Northeast Historic ger politician, also owned land in the Roper plat between S.E. 7th Street and Sweetwater District. The Sweetwater Branch defines Addition.2 Branch, which was recorded in 1914. No the west boundary of the district which once other significant additions were made to the marked the original city limits of Gaines- Development of the Southeast Historic area until 1922 with the platting of the ville and whose green space visually sepa- District Eastview Subdivision which provided the rates the district from the central business The Southeast Historic District is com- remaining lots south of S.E. 4th Avenue, district. The railroad right-of-way, now de- posed of several small subdivisions and de- which were used primarily for the construc- fined as the “Rails to Trails” defines the velopments rather than being the result of tion of bungalows. Recorded in 1924, southern boundary and the east boundary a single plat. Bailey’s Addition extended Robertson’s Addition received a denser is selectively defined by the non-contrib- the grid and quadrant system established concentration of Bungalow and Period uting structures erected after the period of by the original town plan of Gainesville in Revival houses along S.E. 6th Street and significance. 1854 east of Sweetwater Branch in 1875.3 S.E. 2nd Place.

1. Webber, Carl. Eden of the South, 1883. As Reprinted Jesse A. Davis in History of Gainesville, Florida, 1966, p.37. 2. Arnow, George J. Map of Gainesville, C. 1907. 3. Florida Master Site Files, Southeast Historic District. Florida Division of Historic Resources. Tallahassee, Florida. 4. Alachua County, Office of the Clerk of the Circuit Court, Plat Research by Sarah Mcleod. 42 HISTORIC CONTEXT Southeast Residential Historic District

Remnants of the nineteenth century with the industrial development to form ar- The majority of the buildings in the dis- residential pattern extant in the Central chitectural and social barriers to middle and trict are small one-story structures, the Business District are interspersed with upper class residential development. larger residences being found along East commercial intrusions as early as the 1880s University Avenue, S.E. 2nd Avenue and S.E. th and as late as the mid-twentieth century; Physical Character of the Southeast 7 Street. The older buildings are found th nd many of the houses have been converted Historic District Buildings along S.E. 7 Street and also S.E. 2 Av- to commercial use. For these reasons, the The area is associated with the early enue. houses west of the Sweetwater Branch are residential development of the City of seen to contribute more clearly to the physi- Gainesville and is comprised mainly of a Height cal history of the Central Business District group of late 19th and early 20th century The buildings range in height from one than they do to the Southeast residential to three stories, not including the towers houses that reflect the variety of distinct The Livery stable on Southeast 1st Avenue, c.18--. district whose character has always been architectural styles and types popular dur- on the Queen Anne structures and the Sec- residential. They are included in the Cen- ing that period of American history. The ond Empire Baird House. tral Business District and not in the South- buildings found in the district range from east, for although the Southeast is a prod- representative type wood frame vernacu- Plan uct of the Central Business District’s early lar construction to well-defined examples Plan shapes vary as do the number of residential section, its ultimate physical and of styles as Second Empire, Queen Anne, bays on the main façade, owing to the as- historical form is distinct from that cradle. Eastern Stick, Bungalow and Colonial Re- sortment of architectural styles repre- Other adjacent areas have historically vival. The visual and physical character of sented. Most of the residences have affected the district’s growth. The south- the built environment can be tied to those porches or verandahs. In many cases these ern boundary of the district, defined by the historical events that fostered the growth extend the width of the main façade, and in railroad and historic industrial node, de- of the city from its beginnings as a railroad some instances involve the side elevations. veloped around it. Examples of the 1880 oriented marketing center to its later de- Three houses have small gazebos or pavil- railroad located industries were the H.F. velopment as a university town and com- ions on their verandahs and three have two Dutton Cotton Gin, a sawmill and planing mercial and professional services axis for story verandahs or upper galleries. The 1 mill and the Doig & Harris Iron Foundry. North Central Florida. The variety of build- porches and verandahs are supported by Large-scale buildings, such as the Munici- ing types also reflected the financial and columns and posts; the latter both turned pal Light and Water Plant and the Standard social positions of the people that resided and square. The most popular column type Fertilizer Company were in place in the early there and included members of both the in the district is ionic, although variations 2 1920’s. Modest worker’s housing related working and professional classes of the of Tuscan, both round and square, is also to those industries cropped up in Spring community, some of whom were the employed. Hill, in the extreme southeast corner of the founders of the city’s businesses and in- th district below S.E. 8 Avenue and combined dustries.

1. Webber, Carl. Eden of the South, 1883. As Reprinted Jesse A. Davis in History of Gainesville, Florida, 1966, p.3. 2. Sanborn Map Company, Insurance Maps of Gainesville, Florida, (New York: Sanborn Map Company, 1922.

43 HISTORIC CONTEXT Southeast Residential Historic District

Materials Roof Form builders and investors of early Gainesville. Wood frame buildings are the primary The most common roof type is gable or In partnership with his brother, Eberle, construction type for the contributing gable in combination with the hip form. Emmett was founder of Baird Hardware structures throughout the district, however, The Baird House has a Mansard roof and Company, a regional supply center and one there are also contributing structures built the Matheson House has a gambrel. Four of Gainesville’s major commercial suc- of masonry. houses have towers, and the McKenzie cesses for over a century. Emmett Baird The principal exterior siding on wood House has a pyramidal roof with a small was also the president of Standard Crate frame structures is drop siding. The Pound deck surrounded by wrought iron cresting. Company which made wooden boxes for and Matheson Houses are the only large Roof dormers are prevalent but not ubiq- shipping fruit and vegetables brought to residences that feature weatherboard, and uitous throughout the district. Gainesville for distribution. Eberle and Small wood frame cottage with pyramidal roof form several other residences employ narrow Other significant details can be seen on Emmett were also known to operate sev- on S.E. 2nd Place in Southeast District. drop or “novelty” siding. Most of the older various style buildings throughout the dis- eral sawmills in partnership.1 residences have shingles or other wood trict such as ridge finials on tiled roofs, A number of Queen Anne style houses treatments in gables or on towers. knee braces, exposed rafter tails and verti- are located in the Southeast District. One Exterior decorative elements are, for the cal spaced gable breathers. prime example is the T.J. Swearingen most part, executed in wood and include House located at 202 S.E. 7th Street. Origi- primarily the balusters, brackets, drops, and Windows nally built in 1902-1903 for T.J spindle work found on the Queen Anne and Window types are generally wood Swearingen, a lumber and turpentine busi- Second Empire Houses. Even such features frame with 1/1 and 2/2 light patterns. nessman, this house has also been histori- as classical columns, dentilated cornices cally significant as the home of two Gaines- and Palladian windows are represented on Architectural Styles ville mayors and owned by Oliver Austin the Queen Anne and hybrid Queen Anne/ There are six distinct styles that can be an internationally recognized ornithologist. Colonial Revival structures. Minor classi- seen throughout the district. These include At one time the house had also been reno- cal elements are also found on these mall Second Empire, Queen Anne, Eastern vated to accommodate two apartments.2 Georgian colonial Revival buildings. These Stick, Wood Frame Vernacular, Bungalow In addition to the T.J Swearingen House are restricted to the facades of the struc- and Colonial Revival. is another Queen Anne located directly tures and include the main entrance of the The Baird House is one of Gainesville’s across 7th Street, the Enwall House or 1932 brick Colonial Revival American finest examples, if not only example, of the Shands-Enwall House, built in 1903 for the Legion building at 513 East University French Second Empire style. Located at Shands family. The elaborate neoclassical Avenue which has fluted pilasters that sup- 309 S.E. 7th Street this three-story unique style wood details may reflect the early in- port an entablature surmounted by a bro- structure has remained a landmark for the volvement of the Shands family in the lum- ken “swan’s neck” pediment. The house at district. Acquired by Emmett Joseph Baird ber industry. The Shands Teaching Hospi- 523 S.E. 2nd Place exhibits a small entrance and his wife, Mary, in 1900, the house re- tal was named for his son, Senator Shands. The Baird House is one of Gainesville’s finest porch with a plain architrave that is sup- mained in the family until the 1950s. The The Enwall Family later purchased the examples of the French Second Empire style. ported by two thin Tuscan columns. Bairds were well-known businessmen, house in 1921. In 1928, the second floor of

44 HISTORIC CONTEXT Southeast Residential Historic District

the residence was converted into an apart- McKenzie, who was the last resident of the Other Bungalows and period houses ment, for what may constitute one of the house until her death in 1974.1 were built on lots in the 1914 Nichols Es- first single family to multi-family residen- Several of the Wood Frame Vernacular tate Plat, in the vicinity of S.E. 1st Avenue tial conversions in the Southeast district.3 houses in the district were owned and oc- and 7th Street as well as in the 1904 A significant group of Queen Anne style cupied by the Dell Family. A stick style Crawford Addition Plat to the east, the houses in the Southeast District is found house at 220 S.E. 7th Street was the home 1924 Robertson’s Addition and the south- along East University Avenue facing the of Dr. Lassiter whose widow married John ernmost lots of Roper’s Addition. Another southern limit of the Northeast Historic Dell. Across the street, at 221, was another example of the modest sized revival cot- District and relating architecturally and his- large frame Stick Style residence of J.M. tages and bungalows are found in the torically to the northern neighborhood. Dell, a clerk with the U.S. Land Office. The Eastview Plat of 1922. J.H. Parrish and L.M. The Pound House has been renovated into One of Gainesville’s finest and most elabo- Dells lived here in 1905, with their son James Gray, a developer and contractor, built most apartments. rate expressions of the Queen Anne style M. Dell, Jr., a local physician and his chil- of sixteen lots in Eastview by 1928. Nearly is the McKenzie House at 617 East Univer- dren. Mrs. F.A. Dell also occupied a home identical plans, materials and building tech- sity Avenue. The house exhibits intricate at 614 S.E. 2nd Place; a two-story diluted niques were used in the area which today Eastlake details, fanciful massing complete Colonial Revival residence.2 is bounded by S.E. 6th Terrace and 7th Street with turret and pavilioned wraparound ve- Many of the smaller scale houses within between S.E. 4th and 5th Avenues. The randah, The house has been expertly re- the district are also associated with those unique collection of bungalows survive as stored and rehabilitated for commercial use. prominent citizens who lived in the South- an undisturbed collection of Florida’s Boom The house was built in 1895 for the J.E. east District. The Pound Family owned a Era. Most of the houses exhibit French tile Lambeth family and sold to the Perry pair of L-plan, frame cottages with ginger- roofs, often decorated with hip finials. In Colson family in 1903. Since that purchase, bread porch details at 623-627 S.E. 1st Av- addition, many shared the characteristics the house has remained in the hands of the enue. E.C. Pound owned a livery and his of detached garages roofed with French Colson family and its descendants: Bak- son, C. Addison Pound was an owner of tile and equipped with a central steam heaters, Phifers, Pounds and McKenzies, all sig- Baird Hardware.3 Their two-story frame ing plant and were of concrete construc- nificant contributors to the historic devel- house at 108 S.E. 7th Terrace appears on tion. Many Bungalows exhibit two bunga- opment of Gainesville. For example, Perry the 1884 bird’s eye map and is located on low gables. In addition the entrance Colson’s brother, B.R. Colson was founder the corner of S.E. 1st Avenue and 7th Street. porches are relatively large and span prac- of Alachua Abstract Company and built a A.L. Vidal, owner of the Vidal Drug Com- tically the full width of the façades. One two-story neoclassical detailed frame pany, also owned a 1929 Bungalow at 618 building, which stands out today for it’s house at 607 East University Avenue. W.B. S.E. 1st Avenue. He also built a brick house scale and placement, is the former office Phifer, one of the last residents of the at 411 S.E. 7th Street.3 The two pyramid and home of L.M. Gray, a paving contrac- McKenzie House, was a City Commissioner, form hip-roof houses at 611 and 617 S.E. 1st tor, who built the structure at 408 S.E. 7th President of State Bank and operator of Avenue, built prior to 1913 from review of Street. naval stores statewide. The house is iden- the Sanborn maps, were owned and rented The Hodges House was moved from the Central tified by his daughter, Mary Phifer Pound by the Matheson Family. Business District and renovated.

1. Florida Master Site Files, Site File # 8A1482, E.J. Baird House. Florida Division of Historic Resources. Tallahassee, Florida. 2. “Spring Pilgrimage to Visit Gainesville’s Past,” Gainesville Sun, Feb. 22, 1976. 3. Florida Master Site Files, Enwall House 201 S.E.7th Street. Florida Division of Historic Resources. Tallahassee, Florida.

45 HISTORIC CONTEXT Southeast Residential Historic District

Other types of bungalows and period Many of the larger residential structures 1978.1 Although not original to the south- houses built after the 1920s, which were have been modified into multi-family or east district, this Queen Anne style house built throughout the district, are exempli- commercial use. The smaller houses con- conforms to the existing styles and archi- fied in such examples as the small provin- tinue to be rental properties as they have tectural scale of the district. The house cial period Revival house at 210 S.E. 6th been historically. belonged to Dr. J.H. Hodges for forty years Street and the fieldstone house at 608 S.E. For several years, maintenance within and was then passed to the Episcopal 2nd Place. the area suffered for various social and eco- Church. In 1978, threatened by demolition, A notable large scale, high-style Crafts- nomic reasons. the house was purchased for one dollar, by man home stands at 15 S.E. 7th Street, the With the widening of S.E. 2nd Street in Mark and Mary Barrow, leading preserva- The Medlin House built in 1913 in Southeast Medlin House, built in 1913. The massive recent years, the district lost several sig- tionists. The house was moved and reno- District. structure is well noted for the fine details, nificant historic structures. An unfortunate vated, becoming one of the earliest influ- expensive materials, porte cochere and loss resulting from the street improvement ential preservation projects in the city re- detached single car garage at the rear. This in 1973, was the Odd Fellows Home for ceiving both local and national attention.2 may be one of the only 20th Century ex- Orphans and the Aged. This elaborate Vic- In 1986, four houses were moved from amples of the Gustave Stickly inspired style torian structure was one of few, if not the the 300 block of S.E. 2nd Street to the 700 built in the area. The structure underwent only institutional structure in the Southeast; block of East University Avenue and con- restoration and adaptive reuse as profes- the only departure from the strict residen- tinue to await renovation. A building, sional law offices. tial scale located there. which was moved within the district, was The late twentieth century brought new Historical archeological potential can the Broughton–Niblack House that was re- styles to the area. An International Style be seen for existing vacant and disturbed located from 512 East University Avenue house at 212 S.E. 7th Street exhibits altered areas due to municipal improvements along to 115 S.E. 7th Street. traits of the Bauhaus Style with pilotes, pale 2nd Avenue as well as within the In addition to the Matheson House, the color schemes and ribbon windows. Sweetwater Branch area. McKenzie House at 617 East University A number of historic buildings from Avenue is also listed on the National Reg- Recent Preservation Efforts other parts of the city that were threatened ister of Historic Places. In addition to the Although very little development has with demolition have been moved to the national listing, many residences have re- taken place in the neighborhood, that which Southeast Historic District to fill vacant ceived local recognition. These include the has taken place has reinforced the same lots. In 1977 the McCreary House was Fowler House at 805 East University Av- scales and residential use intended for the moved from 205 University Avenue in the enue, the Medlin House, the Pound House, area since it’s origin. Intrusions in the dis- central business district to 815 University the Colson-Hayman House, the Hodges trict are limited to East University Avenue Avenue. The house underwent renovations House, the T.J. Swearington House, and the and a small number of late twentieth cen- as professional offices. Shands-Enwall House. tury houses and small apartment buildings The Hodges House was also moved Today the district expresses rejuvena- in the eastern and southern parts of the dis- from the Central Business District at 116 tion. Many of these significant historic The McKenzie House, c. 191-. trict. N.E. 1st Street to 717 S.E. 2nd Avenue in buildings have undergone intense restora-

1. Florida Master Site Files, Mary McKenzie House. Florida Division of Historic Resources. Tallahassee, Florida. 2. Florida Master Site Files, 200-221 S.E. 7th Street, 614 S.E. 2nd Place. Florida Division of Historic Resources. Tallahassee, Florida. 3. Florida Master Site Files, 623-627 S.E. 1st Avenue. Florida Division of Historic Resources. Tallahassee, Florida.

46 HISTORIC CONTEXT Southeast Residential Historic District

tion efforts. Several projects currently un- derway exhibit the pride and excitement of the residents throughout the district. Ad- ditional Bed and Breakfast establishments have taken interest in the district. A great improvement in the public realm was the recent renovation to the Sweetwater Branch green space which plays a great roll in defining the eastern edge of the district. The creek corridor was cleaned up and a walkway was established The renovation and rehabilitation of this historic linking the district east and west to the ad- buildiding will soon open as Laural Oaks, a new jacent downtown as well as north and south Bed and Breakfast on S.E. 7th Street. along the creek from the most southern part to the Matheson Gardens. Several benches and picnic tables were installed and a play area was established for public use.

Sweetwater Branch in the Southeast District.

1. “Historic House has New Home,” Gainesville Sun, Aug. 6,1978. 2. Barrow, Dr. Mark and Mary. Interviews and Historic Photograph Collection. 1980 and 1986.

47 HISTORIC CONTEXT Southeast Residential Historic District

SOUTHEAST HISTORIC DISTRICT CHARACTERISTICS

Layout Setbacks Street Edge Despite the irregular boundary of the The setbacks are generally uniform Several streets in this district are dis- district, a grid and quadrant block pattern within each given block. continuous often irregular in width and exists. Orientation of structures is generally skewed slightly from the NS-EWgrid. The Development from the original Gaines- facing each primary street. Those lots ad- main thoroughfare of University Avenue ville Plat of 1854 and several plat additions: jacent to S.E. 1st Street reflect the skew and borders the north edge of the district. The Roper’s Addition (1877), Bailey’s Addition few structures have been sited according main cross thoroughfare within the district (1893), King’s Addition (1893), Evan’s Ad- to those lines. Those structures have been is S.E. 7th Street dition (1906), Crawford Addition (1906) sited in a standard manner with north-south Nichol’s Estate (1914) Eastview Subdivi- orientation. Landscape sion (1922) and Robertson’s Addition Vacant lots lower the density of the dis- Landscaped central medians are located Southeast District showing common setbacks. (1924). trict. Historically there have been vacant along S.E. 2nd Avenue. lots to the south and the east boarders of Tree lined sidewalks extend along 7th Blocks the district as well as along the Sweetwater Street to University Avenue. Sidewalks and Block size and street width vary greatly. Branch extension to the west. This is illus- curbing are absent along portions of 6th Lot sizes vary from block to block. trated on the Sanborn map to the right. Street and 6th Terrace.

Density Most structures are single family/ multi family detached buildings. There are minimal outbuildings and auxiliary structures throughout the area.

48 HISTORIC CONTEXT Southeast Residential Historic District

Map of the Southeast District showing blocks.

Sanborn Insurance Map of the Southeast District, 1928.

Sanborn Insurance Map of the Southeast District, 1926.

49 HISTORIC CONTEXT Southeast Residential Historic District

Setting

• Entrances: facing all primary streets.

• Monuments: None.

• Parks and/or Greenspaces: Community Garden, Matheson House and Grounds, Sweetwater Branch.

• Streetscape features: Concrete sidewalks, minimal fence lines at properties, concrete curbing, and no walls.

Map of the Southeast District showing streets. Map of the Southeast District showing density of • Subdivision layout: rectangular lots and structures. blocks flanking the primary streets.

• Facade lines, front and side setbacks: detached residences with mixed front setbacks and minimal side and back setbacks.

50 HISTORIC CONTEXT Southeast Residential Historic District

Lot Size and Density Building Characteristics • Materials: Primarily wood frame

• Lot size and density of development: • Height: number or stories: Primarily • Windows: Primarily wood frame double Variable within district. Low density. single story. Range of 1-2. hung sash in 6/6, 2/2, or 1/1 light pattern. • Block patterns: Varies. • Width: number of bays or vertical divisions: Varies. • Repetitive features: Porches and de- • Patterns of vacant lots and open spaces: tached out buildings. Minimal vacant lots. • Types: Primarily residential; commercial, mixed use. • Decoration: Residential: wood millwork such as brackets, fretwork, spindles. • Predominant architectural styles and design influences: Wood Frame Ver- nacular, Second Empire, Queen Anne, Eastern Stick, Bungalow.

• Massing or overall form: Varies. Single rectangular structures predominate. Sanborn Insurance Map, Southeast District, 1926.

• Orientation: both compass orientation and horizontal or vertical orientation.

• Foundations: Residential: elevated wood frame on brick piers or masonry piers. Commercial: elevated wood frame on brick piers or masonry piers minimal continuous brick or masonry perimeter wall and slab on grade.

• Roof Form: primary and secondary roof structures: gable, hip with standard pitch.

Single rectangular structures predominate.

51 HISTORIC CONTEXT Pleasant Street Historic District

52 HISTORIC CONTEXT Pleasant Street Historic District

PLEASANT STREET HISTORIC DISTRICT

53 HISTORIC CONTEXT Pleasant Street Historic District

NW 8TH AVENUE

Historic Districts NE 13th Ave City of Gainesville, Florida Historic Districts 1. Northeast Residential Historic District 2. Southeast Residential Historic District

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2 5. University Heights Historic District-South

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54 HISTORIC CONTEXT Pleasant Street Historic District

Pleasant Street Historic District

The Pleasant Street Historic District has on the west by NW 5th Street and on the percentage of demolished structures ac- elaborate in plan with outlines of bay win- gained its significance as the oldest Afri- east by NW 1st Street. count for the large number of vacant lots dow and pavilioned veranda elements on can American residential neighborhood in Of the 271 buildings located in this dis- throughout the district. N.W. 2nd and 3rd Avenues. Simple struc- Gainesville. Founded immediately follow- trict, 259 are contributing historic build- tures appear north of N.W. 3rd Avenue. ing the Civil War, the area represented a ings which can be found in two distinct Documentation of Development The 1913 Sanborn Map shows an in- transition in status of African American historic areas of development, identified as Visual evidence and oral history sug- crease in the number of structures through- people in Alachua County from that of zone A and B, which date between 1875 gest that the oldest extant structures in the out the Pleasant Street Neighborhood. Sev- slave laborers supporting a rural plantation and 1935. district date from 1870, however, due to a eral churches appear within the neighbor- economy to one of freedmen seeking to The first area, Zone A, includes all but lack of reliable documentation the accu- hood such as Mt. Pleasant AME Church establish a new existence of economic in- a small enclave in the southeast corner of rate dating of earlier buildings is extremely on N.W. 2nd Street, Bethel AME Church on dependence and cultural self-determination the district. This portion is a historically difficult. Gainesville tax records do not N.W. 1st Street and St. Augustine Episco- in an urban environment. The district dem- African American residential neighbor- precede 1891 and the Pleasant Street area pal Mission School on N.W. 4th Avenue. onstrates the ambiguity and contradictory hood. The second area, Zone B, is a tradi- is not included on the 1884 Beck and Pauli The residential house plans begin to vary social relationship that existed between tionally white neighborhood that devel- Bird’s Eye View of the city. The Sanborn from the simple shotgun and hall and par- African American people and southern oped during the same period in conjunc- Insurance Maps of the neighborhood do lor types to asymmetrical plans typical of whites that allowed close physical prox- tion with the downtown commercial area. not represent this section prior to 1903 and Queen Anne Style. Northwest 4th Avenue imity, with the southern part of the district The district has contained a mixture of preliminary deed searches on several sig- shows a large buildup of structures with being a historically white residential area. low to upper income African American nificant structures have title chains that are few empty lots. Commercial usage becomes The area contains a large number of late residences and structures housing the com- of little assistance in establishing origins indicated on a number of the structures. nineteenth and early twentieth century resi- mercial and service enterprises of the com- of the district’s oldest sections. Plat map The maps which follow, 1922 and 1928, dential structures typical of a modest sized munity. Churches, schools and cultural in- research reveals insight into the develop- show an increase in the bungalow style southern community. Vernacular structures stitutions such as theaters and fraternal ment of the district and minimal indirect evi- plans with tapered porch columns taking predominate throughout the district with a lodges could be found within the district. dence for the construction of specific buildup much of the available space in the neigh- number of buildings also reflecting the re- The district is mostly comprised of one- ings. borhood as well as replacing previous vival and romantic styles of the late nine- and two-story wood frame vernacular resi- The Sanborn maps offer the best tem- plans. In some cases, these details indi- teenth and early twentieth centuries. dences, bungalows, and romantic and re- plate for dating sections of the district. The cated changes to existing plans as the Bun- The Pleasant Street Historic District vival styles from the period. 1897 map identifies the Masonic Hall, a galow style became increasingly popular. consists of 15 city blocks located in the The noncontributing buildings within school and a Baptist Church on currently northwest quadrant of downtown Gaines- the district are one-and two-story build- named N.W. 1st and 2nd Streets. ville directly north and west of ings either erected after the period of sig- The 1903 map identifies the school as Gainesville’s main thoroughfares of Uni- nificance or severely altered. Many of these Union Academy and shows additional versity Avenue and Main Street. The dis- masonry residences and apartments were structures with ells at the rear and porches trict is bounded on the south by N.W. 2nd constructed to replace deteriorated, dam- across the street facades and major ells. The Avenue, on the north by N.W. 8th Avenue, aged and demolished structures. A large structures begin to appear larger and more

1. Florida Master Site Files, Pleasant Street Historic District. Florida Division of Historic Resources. Tallahassee, Florida.

55 HISTORIC CONTEXT Pleasant Street Historic District

History of domestic servant. Any wider share in lation from the plantation to towns and cit- The African Americans who settled in the rights and privileges of citizenship— ies of the South. the Pleasant Street Historic District founded the right to vote and hold public office, to Gainesville in 1860, was a town of 269 their own businesses, churches, schools obtain an education for children at public people, 46 of which were slaves. The area and social and political organizations par- expense, to work as a skilled artisan or in had served as a commercial hub for the allel to and modeled on those institutions the professions, or even to travel and live agricultural products of the surrounding of the white society that attempted to ex- where one pleased—was unthinkable in region. The previous year the railroad, clude them from full and equal participa- the eyes of former masters. which had been under construction since tion as citizens of the community. The as- African Americans were provided some 1855 from Fernandina to Cedar Key Early rail lines in Gainesville. pirations of these pioneer urban African opportunity for self-determination by the reached Gainesville, providing a transpor- Americans in Gainesville and the difficul- military occupation of the former Confed- tation outlet for the Sea Island Cotton that ties they faced in obtaining social and le- erate states by northern troops and the was the mainstay of Alachua County. The gal equality in the postbellum South is re- adoption of new state constitutions, as pro- importance of the rural economy to Gaines- flected, in part, in the character of the built vided by the Reconstruction Acts of the ville is shown by the fact that the fourteen environment of the Pleasant Street District. U.S. Congress. These measures, plus as- slave owners who lived in town also owned The area was home to common laborers sistance by the U.S. Freedman’s Bureau and at least 184 slaves in the county. Slave and domestic servants working for the various northern philanthropic and mis- owners represented eighty-one percent of white citizens as well as where most of the sionary organizations, gave African Ameri- the declared wealth of the community. city’s African American merchants, profes- cans a new mobility and some real control While Gainesville’s racial composition was sionals, teachers and religious and politi- over their destiny. The imposition of “black predominately white (eighty-three per- cal leaders resided. codes” and “Jim Crow” laws after the end cent), it’s economic structure demonstrated The defeat of the Confederacy in the of the Reconstruction Period (1867-1877) characteristics similar to most of the rest Civil War and the resulting emancipation reversed many of the economic and politi- of the South; it was tied directly to rural of the slaves had an enormous impact on cal gains made in that first postbellum de- agriculture and slave labor. southern society. The racial division of la- cade, but the first step on the long road to The town grew rapidly during the bor imposed by slavery was central to the full citizenship had been taken by the Afri- 1860’s, principally due to it’s function as pre-war social structure, but the end of sla- can American populous, and they eagerly an organizational and supply center for the very found southern whites unwilling to seized whatever opportunities for progress southern war effort. The end of the Civil accept the fact that the colored man had that were presented to them. Among the War, however, saw an even more dramatic ceased to be property. A large segment of first dramatic changes to come at the end jump in the population and a radical trans- the white population continued to hold the of the national conflict that brought about formation in it’s racial composition. By 1870, view that African Americans still existed the demise of slavery was a shift in a siz- more than half (fifty-three percent) of specifically to produce cotton, sugar, and able segment of the African American popu- Gainesville’s residence were African Ameri- rice for his “superiors” and to fill the role cans, an increase from the seventeen- per-

1. Florida Master Site Files, Pleasant Street Historic District. Florida Division of Historic Resources. Tallahassee, Florida.

56 HISTORIC CONTEXT Pleasant Street Historic District

cent level of 1860. This large influx of Afri- workforce in 1870 but had increased to Census data and information from the can Americans was part of the geographic thirty percent by 1900. city directories suggests that a fledge of mobility of ex-slaves after the war ended. An examination of the racial division of African Americans commercial class had Throughout the south, African Americans labor reveals that African Americans expe- developed in Gainesville by the end of the moved to urban centers and to areas where rienced the most marked change in their century. The scale of these operations, land was available for the establishment of patterns of employment during the 1870- however, was smaller than those of their farms which they themselves owned. Many 1900 period. In 1870, a large majority white counterparts. The absence of Afri- from South Carolina where drawn to the (eighty-eight percent) of the African Ameri- can American contractors, hotelkeepers, or Alachua area by the promise of land. Thou- can laborers were employed in either manufacturers underscored the fact that sands of others from elsewhere in the south manual or menial positions such as domes- they were unable to undertake capital-in- hoped to escape the social and political tic service, farm labor, or unskilled labor. tensive business efforts. The majority of turmoil of the post-war era in the relatively However, this condition changes dramati- African American workers, therefore, con- unsettled state of Florida. After the initial cally over the next several decades, tinued to be engaged in manual or menial large emigration, the racial composition of whereas, the white divisions of labor for labor, a pattern unchanged since the days Gainesville remained stable until the end of the same period changed only gradually or of slavery. the century. In 1880, the population was not at all. By 1800, African Americans were equally divided between African Americans present in every occupational category in Development of the Pleasant Street and white Americans. The 1900 census re- Gainesville, but less that one in twenty were Neighborhood (Zone A) vealed that whites held a slim majority of professional, managerial, or clerical work- This area was the first place in Gaines- the 3,633 residents of the city. ers, as compared to over half (fifty-two ville where former African American As the city grew and the century waned, percent) of their white counterparts. In slaves settled in large numbers. In 1859, Gainesville slowly made the transition from 1900, when African Americans were most the area was developed and platted into a rural to an urban community as it shifted represented in these areas of the labor pro- large block-sized lots and named Brush’s away from agriculturally oriented employ- file, less than one out of every ten workers Addition. The land was owned by ment. In 1870, one-third of the town’s la- held jobs in these categories. The inability Nehemiah Brush Estate and managed by bor force was directly linked to the agri- of African Americans to penetrate the up- Charles Brush, a Baltimore lawyer and his cultural sector. Only ten percent of the per echelon of the labor structure was ac- sister, Julia VanNess. The Brush and work force was still engaged in such ef- centuated by the fact that most African VanNess families had acquired over 30,000 forts by 1900. The urbanization of the town American professionals were either preach- acres of the Arrendondo Spanish Grant in is demonstrated, in part, by the numbers ers or teachers, positions of high social 1849. This land was set aside expressly to of people classified as professional, mana- prestige within the community, but which accommodate the rapid influx of African gerial, and clerical workers. These sectors required little formal education or economic American settlers whose labor was neces- made up only twenty percent of the capital. sary to the expanding commercial and industrial community. Working through its

1. Florida Master Site Files, Pleasant Street Historic District. Florida Division of Historic Resources. Tallahassee, Florida.

57 HISTORIC CONTEXT Pleasant Street Historic District

Florida agent, the Brush Estate had small gregated together for protection and mu- Education among African Americans wood frame residences erected in the sub- tual support. They built small houses and was a primary objective of the Freedmen’s division and rented them to the newcom- created social institutions of their own in- Bureau, and Union Academy was estab- ers or, when possible, sold the lots out- cluding churches, schools, businesses and lished in the district in 1865 to provide for right. Many who initially rented property clubs. the education of both adults and children. from the estate eventually purchased the The first settlers in this subdivision The Peabody Fund and later the local property. As early as 1866, African Ameri- were primarily refugees from neighboring Board of Public Instruction gave financial cans were contracting with the Brush Es- plantations who sought work in the nearby support for this institution, one of only two tate to buy lots and even whole blocks in lumber mills and other local industries or Negro high schools in the state. The first this area of Gainesville. Nearly all purchas- for the railroad on which the growing com- teachers came from Newburyport, Massa- Union Academy. ers acquired lots in a contract for deed. merce or post-war Gainesville depended. chusetts in 1865, under the sponsorship of Records of these transactions indicate that The majority of the settlers were day la- the National Freedmen’s Relief Associa- many early purchasers were able to buy borers, draymen, porters or domestic ser- tion of New York, which was organized their land in three to four years. In this way, vants. They were soon joined by skilled or by the American Missionary Association those who probably had little money were semiskilled emigrants, such as tailors, and the Congregational Church. A board able to secure land and build homes. As a blacksmiths, shoemakers and carpenters, of trustees for the school was formed in result of the rapid increase in the African some of whom had received training as 1867 to build a school for African Ameri- American population of Gainesville, by the slaves on self-sustaining plantations. cans. The board included the leading Afri- 1880s more African Americans were build- Many of the newcomers who settled can American property owners and politi- ing houses than whites. into Gainesville were from Georgia and cal leaders of the community. Every town Similar neighborhoods were established South Carolina, particularly Camden, in Florida with African American enclaves in other Florida cities such as the South Carolina. They were members of the experienced the same type of process in Frenchtown Neighborhood in Tallahassee, African Methodist Episcopal Church and developing educational institutions to serve and the La Villa and Brooklyn Subdivisions came to the area to spread the Gospel as the African American community. in Jacksonville and the west side of Ocala. well as to form schools in order to teach By 1868, the wood frame school had In each case, the early areas where Afri- education skills to the freedmen and their 179 students. Union Academy continued can Americans settled was not the result children. Many of these teachers and mis- to be the center of local African American of directed development, but the willing- sionaries received their training from the education growing to an enrollment of over ness of the property owners to rent or sell northern American Missionary Associa- 500 students and serving as a normal this undeveloped land to African Ameri- tion, which had opposed slavery and at- school. It was abandoned in 1925 when a cans. These developments also facilitated tempted to organize schools for African new building, Lincoln High School, was the segregation of African Americans from Americans in the south prior to the Civil constructed outside the district. The Union the white community. As the African War. Academy building became a recreational American population grew larger, they con- center supported by the colored Citizens’ Workers in the Shoe Hospital, C19--.

1. Florida Master Site Files, Pleasant Street Historic District. Florida Division of Historic Resources. Tallahassee, Florida.

58 HISTORIC CONTEXT Pleasant Street Historic District

Alliance. Later the teachers quarters were influence of their former masters. Many ship Baptist Church burned in 1911 and used as a retirement home for African withdrew or were expelled from white was replaced by the present Romanesque Americans until its demolition in the 1960s. churches, where they became unwelcome. Revival style building. The old Bethel The site of the academy remains a land- In 1867, land was purchased in the Pleas- A.M.E. Church was demolished in the mark of African American education in ant Street neighborhood on which to con- 1960s. Gainesville from 1865-1925. struct the Mt. Pleasant African Episcopal The Reconstruction Constitution of Another educational institution in the Methodist Church (now Mt. Pleasant Florida had enfranchised African Ameri- district was the St. Augustine Mission United Methodist Church), which quickly cans and a number were elected to office. School, which was organized as an Epis- became the leading church organization in Several of the early political leaders in copal mission and school in 1893. The the area. Gainesville came from the Pleasant Street school was a private elementary school Mt. Pleasant A.M.E. Church was a so- neighborhood. These included Henry with a tuition of ten cents a week or 50 cial and religious center for the neighbor- Harmon, a state representative, and Tho- cents per month, although some children hood. It was organized under the South mas Gass, a member of the Gainesville City were allowed to attend free. The students Carolina Annual Conference of the North- Council and also a state legislator, Josiah were from homes where the parents wanted ern Methodist Episcopal Church. The first T. Walls, Matthew M. Leavy and the Mar- their children to receive religious training board of trustees consisted of William tin brothers. Caesar Joyner was a city po- Josiah T. Walls family portrait, c. 19--. as part of their formal education. Classes Anderson, Adam Dancy, Shadrach M. liceman during Reconstruction, and his started at about 12 to 15 students and Abednego, Robert McDuffie and Dr. house, 502 N.W. 4th Avenue still stands in reached a peak of 150 with three teachers McDowell. The first building to serve the the historic district. in the 1930s. The teachers were employed congregation was constructed on land ac- The period of 1880-1900 was one of eco- by the Episcopal Diocese of Florida. quired from the Brush estate and was dedi- nomic expansion in Florida and Gainesville. Originally classes for colored children cated on July 16, 1867. That building was During this time, the Pleasant Street area were held in the parish hall or the white destroyed by fire in 1903, and the present became an increasingly important, but more Holy Trinity Episcopal Church on Main masonry, Romanesque Revival style struc- isolated section of the city. African Ameri- Street. When Holy Trinity erected a new ture was completed in 1906. The church cans continued to play influential roles in church in 1907, the old parish hall was boasts the earliest formal African Ameri- local politics until the end of Reconstruc- moved to 405 N.W. 4th Avenue where it can congregation in Gainesville and is one tion (1877), after which the white power served the community until 1944 when it of the oldest church buildings in the city. structure took steps to disenfranchise them was demolished and a new wood frame Several other churches were organized by the imposition of a poll tax and other structure was erected. in the Pleasant Street neighborhood soon measures. Segregation grew as white The establishment of churches after Mt. Pleasant was founded. These in- Southerners regained the upper hand and stemmed from a desire of freedmen to ex- clude the Bethel African Methodist Epis- were assisted by northern newcomers who press their independence and form their copal Church (1877) and the First Friend- were unconcerned with the declining posi- own religious institutions free from the ship Baptist Church (1884). The Friend- tion of African Americans in the commu- Romanesque Revival Friendship Baptist Church in Pleasant Street District.

1. Florida Master Site Files, Pleasant Street Historic District. Florida Division of Historic Resources. Tallahassee, Florida.

59 HISTORIC CONTEXT Pleasant Street Historic District

nity. Nearly every aspect of life became 2nd Street, I.J. Gaines at 713 N.W. 2nd Street ant Street in importance as a center of Afri- segregated, and even formal deed restric- and W.S. Stewman at 500 N.W. 3rd Street. can American culture in Gainesville. tions prevented African Americans from The D.E. White Building at 727 N.W. Most of the houses and structures lo- owning property in certain Florida cities. 2nd Street was built in 1919 and served as cated in the Pleasant Street Historic Dis- Jim Crow laws codified racial separation. the location of the Jones Funeral Home. trict were built in the first thirty years of The result was the establishment of com- D.E. white erected the building and was a this century. Many of these where inhab- pletely separate towns with the larger mu- partner in the mortuary. He and his wife ited by ordinary laborers, but in the segre- nicipal area with every commercial, social, lived above the office. gated society of Gainesville, the area was and religious aspect of life run by and serv- Insurance offices were also located in also where African American merchants, ing the African American residents. the district, including the Afro-American professionals, and community leaders The commercial center of the district Life Insurance Company on N.W. 2nd Street lived. There are many houses still stand- A prime example of a wood frame vernacular was N.W. Fifth Avenue, originally named and the Central Life Insurance Company ing in the district, which were the resi- residence with Queen Anne details in Pleasant Street District. Pleasant Street, with a section of businesses located across the street, all of which have dences of these leaders. J.C. Metts, a local extending north along N.W. 3rd Street. The been demolished. grocery storeowner, built a house in 1891 businesses were generally small enter- By the turn of the century, the neigh- at 730 N.W. 2nd Street. S.H. Henley was a prises, which catered to the overall needs borhood had begun to spread west from merchant and leader in the Friendship Bap- of the residents. In addition to churches downtown nearly to the present University tist Church. His circa 1903 house still there were grocery stores, clothes stores, of Florida Campus, which was founded in stands at 319 N.W. 4th Avenue. Another insurance agencies, business offices, 1905. By 1932, this area had once again residence built by an early pioneer of the doctor’s offices, private schools, theaters, shrunk to a section between N.W. 13th Pleasant Street district, is the George Smith funeral parlors, social halls, billiard halls, Street, N.W. 1st Street, University Avenue House at 321 N.W. 8th Avenue, which was eateries and clubs. The self-sustaining and N.W. 8th Street. New African Ameri- built in 1888. Smith was a merchant who neighborhood also included a building con- can enclaves were also established, such had immigrated from Camden, South Caro- tractor, sawmill and welder. Several of these as Porter’s quarters, which was bounded lina. Two sons of Samuel DeBose, the third buildings remain in the neighborhood and by S.W. 5th Avenue on the north, S.W. 2nd Pastor of the Mt. Pleasant A.M.E. church, outside the current boundaries of the des- Street on the east, Depot Avenue to the were prominent social and church leaders, ignated historic district. south and S.W. 6th and 9th Streets on the both of whom owned property in the dis- Cue’s Grocery once located at 602 N.W. west. While similar to the Pleasant Street trict. George DeBose was a barber and un- 2nd Street was built in 1923 and originally in some ways, Porter’s Quarters is smaller dertaker whose house built in 1903 at 419 known as Malphur’s Grocery. The build- and it’s architecture consists almost exclu- N.W. 4th Avenue, still survives. His brother, ing remains as a landmark of the once com- sively of small wood frame residences of Fletcher also worked in the family funeral mercially active streets in the district. Other the shotgun variety or showing bungalow home and also built a house that same year grocery stores in the area included those influence. The original quarters were plat- at 316 N.W. 4th Avenue, which still stands. owned by the DeBose Family at 701 N.W. ted in 1884, but the area saw little immedi- For many years there were only two 2nd Street, Edward Furgeson at 606 N.W. ate construction and never rivaled Pleas- African American doctors in all of Gaines-

1. Florida Master Site Files, Pleasant Street Historic District. Florida Division of Historic Resources. Tallahassee, Florida.

60 HISTORIC CONTEXT Pleasant Street Historic District

ville. One of these, Dr. A.B. Ayer built a by the white merchants, professional men, American community and is today a busy house at 507 N.W. 2nd Street about 1903 store clerks and office personnel who four lane traffic corridor. To the east and and had his practice near Mt. Pleasant worked in the downtown central business south lie the commercial buildings along Church. Ayer was born in Barnwell, South district. Main Street and University Avenue. Carolina and attended Cookman Institute The commercial core of Gainesville was The specific character of the boundary in Jacksonville, Florida. He graduated from not very large and its character in the late has been determined by location and con- Meharry Medical College in Nashville, Ten- nineteenth and early twentieth centuries tiguity of the structures contributing to the nessee and started to practice in Gaines- was one of mixed business and residential district. Fortunately, this area is quite co- ville in 1901. The other physician was Dr. usage. As the commercial area began to hesive, if rather small. The demolition of J.A. Parker. He was born in Gainesville in spread westward along University Avenue older, deteriorated structures has left some 1877 and attended local schools, including and northward along Main Street, with the vacant areas, and the construction of newer the Union Academy. Like Dr. Ayer, he at- beginning of the twentieth century, the resi- buildings has eroded the edges of the neigh- A proud example of another renovation project in Pleasant Street District is Warrington’s Fine tended Meharry Medical College in Nash- dences were displaced, leaving these thor- borhood somewhat, making for a rather Interiors. ville. He started a practice in Oklahoma in oughfares completely commercial in their ragged boundary line. Still the district has 1902 but moved back to Gainesville in 1906. character. Still, at few points along these preserved its sense of place and its iden- His home has not survived. routes, one can see early houses that have tity as a significant historic neighborhood. Another recognized early doctor in been converted to shops or offices. Resi- Gainesville is Dr. F. Thomas, also known dential neighborhoods, therefore, bordered Physical Character of the Pleasant founder of the Williams Thomas Funeral directly on downtown Gainesville, and the Street Historic District Home, built a home at 110 N.W. 4th Avenue “white” section of the Pleasant Street His- The house forms and styles of the in 1894 and renovated in 1960. toric District was one of these. Areas A and Pleasant Street Historic District are repre- B have no distinct visual boundaries, the sentative of those of many American com- Development of the Pleasant Street segregationist policies of the past and cus- munities affected by the rapid growth of Neighborhood (Zone B) tom being sufficient to create boundaries the nation’s railroads during the 1850 to The southeast corner of the Pleasant between the two sections of the neighbor- 1890 period. Street Historic District contains a number hood. The majority of the residences in both of residences associated with the white zones are wood frame vernacular structures settlement of Gainesville. This area is Boundary of the Pleasant Street Historic that reflect the six distinctive varieties of bounded approximately by N.W. 4th Av- District house shapes that dominated American enue on the north, N.W. 1st Street on the The general area of the Pleasant Street domestic construction for almost the first east, N.W. 2nd Avenue on the south and Historic District is defined mainly by clear, five decades of the twentieth century: gable N.W. 3rd Street on the west. This part of natural boundaries. The western limits are front, gable front and wing, hall and par- the district is located immediately adjacent marked by the railroad right-of-way along lor, I-house, side gable and pyramidal. The to the original commercial section of down- 6th Street. On the north, N.W. 8th Avenue district also contains a number of Bunga- town Gainesville and was settled mainly was the historical limits of the African lows and residences reflecting the Queen

1. Florida Master Site Files, Pleasant Street Historic District. Florida Division of Historic Resources. Tallahassee, Florida.

61 HISTORIC CONTEXT Pleasant Street Historic District

Anne and Colonial Revival traditions. In demolition. Many of the existing historic Housing Division and the Neighborhood addition there are the Mt. Pleasant United structures have become victim to the bor- Housing Development Corporation Methodist Church and the Friendship Bap- dering development of the commercial ar- (NHDC), a non-profit organization. Many tist Church which embody variations of the eas. vacant lots have received new structures Romanesque Revival Style. In 1989, the Pleasant Street neighbor- compatible to the character and scale of It is difficult to determine the appear- hood was listed as a historic district by the the existing context with participation from ance of the first houses erected in the dis- National Register of Historic Places and the Habitat for Humanity, Gainesville’s trict. Visual evidence suggests that the old- designated as a local historic district on Builders Association and Historic est extant structures date from the 1870- February 18, 1991, by the City Commission Gainesville, Inc. (HGI). Students and pro- 1880’s but most vernacular forms are age- of Gainesville. With this recognition, the fessors at the University of Florida College less and the available documentary sources residents gained momentum to revitalize of Architecture have worked and continue Dunbar Hotel Rehabilitation Project which is now are unreliable for judging exactly when the area. Efforts focused mainly on the pres- to work with leaders and residents of the known as Pleasant Place. most buildings in the area were con- ervation of significant residences and community in an effort to bring about vital- structed. churches. The southeast corner (zone B) ity to the district through neighborhood Gable front houses appear to be the of the Pleasant Street district has taken on studies, charrettes and education. most common types in the district. These a greater initiative and earlier advancement Examples of restored historic residences include the shotgun houses and bungalows in this movement. are the Chapin House -1886 renovated in and variations on the type found in the dis- Today, the Pleasant Street Historic Dis- 1984 (320 N.W. 4th Street), the Crouch trict, such as the “double shotgun” du- trict remains as a significant historic and House built in 1901, renovated in 1989 (102 plexes or two story frame structures as ex- cultural center within Gainesville. Pride N.W. 4th Avenue) and the Saunders House emplified by the one at 212A-212B N.W. can be seen throughout the entire district 1879 (116 N.W. 3rd Street). 7th Lane. One can expect that the earliest in treatment of landscape and beautifica- Several projects have received local and buildings in the neighborhood were shot- tion efforts. The residents continue to fight state recognition for their preservation ef- guns or variations of the hall and parlor the advancement of bordering develop- forts. A 1999 Award for Meritorious house, a type that had survived Americans ments and to protect the valuable historic Achievement was awarded by the Florida as basic shelters in the colonial era. fabric of their district. Trust for Historic Preservation to the Building and renovation within the dis- Dunbar Hotel Rehabilitation Project which Recent Preservation Efforts trict has increased in the most recent years. is now known as Pleasant Place, a home The area experienced a severe decline Over forty deteriorated structures have for homeless teenage mothers. Several of for more than twenty years. Buildings be- been restored and rehabilitated with assis- the churches have also received recogni- came abandoned due to deterioration and tance from the City of Gainesville Com- tion for preservation efforts such as Friend- the number of vacant lots increased due to munity Development Department and

Over forty deteriorated structures have been restored within the District.

1. Florida Master Site Files, Pleasant Street Historic District. Florida Division of Historic Resources. Tallahassee, Florida.

62 HISTORIC CONTEXT Pleasant Street Historic District

ship Baptist Church and Mount Pleasant United Methodist Church. Other significant sites and structures throughout the area are not included within the district boundary. Santa Fe Community College Downtown Campus, which was built in 1988 on the original site of the Rail- road Depot, which served the Sea Board Coast Line, stands as a link to the past and a foundation to education. Pressure continues within the district to protect, maintain and preserve the area’s Train station on 6th Street prior to renovatation as Sante Fe Community College Downtown Campus. history.

1. Florida Master Site Files, Pleasant Street Historic District. Florida Division of Historic Resources. Tallahassee, Florida.

63 HISTORIC CONTEXT Pleasant Street Historic District

Setting • Lot size and density of development: small lot size and low to medium den- • Entrances: facing all primary streets. sity.

• Parks, monuments, and greenspaces: • Block patterns: Commercial: 300 feet in Rosa B. Williams Recreation and Cul- length on east and west and 400-600 feet tural Center, Tot Lot. on their north and south ends. Residen- tial: rectangular 300 feet in length on east • Streetscape features: minimal sidewalks, and west and 300 feet on their north and fence lined properties, concrete curb- south ends. ing, and no walls. • Patterns of vacant lots and open spaces: • Subdivision layout: rectangular lots and vacant lots throughout. blocks flanking the primary streets.

• Facade lines, front and side setbacks: detached residences with minimal front Green space in Pleasant Street District is preserved. setbacks and minimal side setbacks.

New sidewalks have been one of many improvements initiated in Pleasant Street District.

64 HISTORIC CONTEXT Pleasant Street Historic District

Building Characteristics • Repetitive features: Porches and detached outbuildings. • Height: number or stories: Primarily single story. Range of 1-2. • Decoration: Minimal. Religious: brick corbeling. Stained glass. Residential: • Width: number of bays or vertical divi- minimal wood millwork such as brack- sions: one. ets, fretwork, spindles.

• Types: residential, commercial. • Predominate Architectural Styles: Wood Frame Vernacular, Queen Anne and • Predominant architectural styles and Eastlake influence, Romanesque Re- design influences: Frame. vival.

• Massing or overall form: single rectangular structures.

• Orientation: both compass orientation and horizontal or vertical orientation.

• Foundations: Residential elevated wood frame on brick piers or masonry piers. Commercial: continuous brick or masonry perimeter wall and slab on grade.

• Roofs: primary and secondary roof structures: gable, hip with standard pitch.

• Materials: Primarily wood frame

• Windows: Primarily wood frame double hung sash in 6/6, 2/2, or 1/1 light pattern.

65 HISTORIC CONTEXT Pleasant Street Historic District

Commercial Areas Building Height A commercial area borders the district Zone A is primarily one-story resi- on the south and mixed commercial and residences. Zone B contains one-and two- dential uses characterize the other three story residences. sides. Currently, very few commercial buildings exist in the district. Materials Wood frame and siding is the primary Blocks and Setbacks and traditional construction material within The district is comprised of all or por- the district. Weatherboard and drop siding tions of 15 rectangular blocks of varying types are prominent. size, which are laid out on an irregular grid Masonry structures exist within the dis- pattern. The blocks contain lots ranging in trict and are primarily churches and com- size from 40’ x 60’ to 100’ by 200’. mercial structures. Building setbacks vary considerably with some buildings sited at the front property line while others are sited at a depth ranging from 10 to 15 feet or more.

Pleasant Street District Map, indicating density Two dimensional study of Pleasant Street District’s of structures along N.W. 2nd, 3rd, and 4th Streets. density.

66 HISTORIC CONTEXT Pleasant Street Historic District

Building Styles Plans Wood frame vernacular houses repre- The floor plans of the smaller houses sent the largest building category in the are generally simple rectangular plans with district with 123 examples. Virtually all of a small rear ell, or are variations of the L- the national vernacular house types which plan. Few residences have garages or other developed between 1850 to 1890 are repre- outbuildings on the same property. sented in the Pleasant Street district examples. Roof Form The buildings are traditionally wood The roofs represented are either side or frame residences raised on brick or con- front gable roofs with v-crimp metal sheet- crete piers ranging in size, form and style. ing or asphalt shingles. On the small scale are Shotgun and hall and parlor vernacular structures to the Windows larger structures of two-story I- houses and Double hung wood sash windows pre- Queen Anne residences with large porches dominate throughout the district. The light and verandahs. pattern generally found is 2/2, however, Pleasant Street District Map, indicating street and Pleasant Street District Map, indicating block other examples such as 1/1 or 6/6 are also grid pattern. configurations. found in the district. Bungalows are the second largest category style with 91 examples.

67 HISTORIC CONTEXT University Heights Historic Districts

68 HISTORIC CONTEXT University Heights Historic Districts

UNIVERSITY HEIGHTS HISTORIC DISTRICTS - NORTH AND SOUTH

69 HISTORIC CONTEXT University Heights Historic Districts

NW 4TH PLACE T N

T NW 4TH AVE

NW 4TH AVENUE R N NW 4TH AVENUE Historic Districts NE 13th Ave R

City of Gainesville, Florida H

Historic Districts N 1. Northeast Residential Historic District NW 3RD AVENUE 2. Southeast Residential Historic District

3. Pleasant Street Historic District S

E E

4. University Heights Historic District-North 1 NW 2ND AVE

n NW 2ND AVENUE

2 T

5. University Heights Historic District-South N

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Prepared by the Dept. T R NW 1ST PLACE R R

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H December 2005 Police

T H

Station

W N W

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WEST UNIVERSITY AVENUE STATE ROAD NO. 26

WEST UNIVERSITY AVENUE t

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S S

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NW 3rd Ave t t t

S S

W SW 1ST AVENUE

h h t t

4 N 3 3

City T 1 1

T E

Hall E R W W

R T N N

T W University Ave S

H T

Library

W S University S of Florida SW 2nd Ave 2 SE 2nd Ave SW 2ND AVENUE Shands

Hospital

t t

S S

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W SE 5th Ave S S SW 3RD AVENUE

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Gainesville Historic Districts, 2005. S

6 SW 5TH AVENUE

W W

S S

SW 6TH

SW 6TH AVENUE T .

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S C A SW 6TH R R E T

H T 7

W S SW 7TH AVE 4. University Heights North District, 2005 SW 7TH AVENUE

5. University Heights South District, 2005 E

70 HISTORIC CONTEXT University Heights Historic Districts

UNIVERSITY HEIGHTS HISTORIC DISTRICTS—NORTH AND SOUTH

The University Heights Historic Dis- History of the University Heights Area tentional identification with the University tricts contain a collection of residences, and Impact of the University and, by and large, the scale is small with landscapes and related cultural resources, The high expectations for the Univer- only a few large and pretentious homes in which correspond to housing needs gen- sity, both locally and at the state level, were the area. The new developments are plat- erated by the location of the University reflected in the choice of architect and ted to often break the historic regular grid of Florida in Gainesville in 1905. The dis- style for the first campus buildings. Will- of the city with cul-de-sacs and interior tricts and the surrounding areas also con- iam A. Edwards, of the South Carolina firm block alleys. All the developments were tain a less numerous concentration of com- Edwards & Walter, designed thirteen build- filled with modest single-family residences mercial and institutional buildings which ings for the campus between 1905 and the in a mixture of period, bungalow, revival also developed in response to University mid-1920’s. The Collegiate Gothic style cho- and suburban “dream houses” of the 1910’s growth between 1905 and the present, al- sen in a competition for the campus asso- to the 1940’s. While not unlike many Ameri- though today the districts are comprised ciated the new university with prestigious can early 20th century suburban develop- Gainesville developed as a small railroad almost exclusively of residential structures. New England institutions, which had popu- ments, this area is unique because of the community. Gainesville was fifty-one years old when larized secular Gothic as a style, and linked number of similar projects and their direct the Florida legislature passed the Buckman the new campus to older medieval cam- relationship to the University which can Act, consolidating state supported colleges puses like Oxford and Cambridge. be seen in: College Park (1907), University and seminaries in one university at The same intentions of quality, formal- Place (1909), University Heights (1912), Gainesville. Prior to the founding of the ity, European association and even, “pic- University Terrace (1914), Florida Court University in 1905, Gainesville’s early so- turesqueness” seen in Edwards’ campus (1922), College Court (1922), Palm Terrace cial and economic history was based on its designs were also found in the new resi- (1925), Hibiscus Park (1925), Golfview Es- role as the county seat of Alachua County, dential subdivisions which grew up around tates (1925), and University Park (1928). a railroad and agricultural market center, and the University beginning in 1907. While Collectively, these buildings adhere to near the turn-of-the-century, a major phos- Edwards had envisioned faculty housing a University town theme reflected in the phate mining center. After its establishment on campus, this did not materialize. Instead, obvious intention to have a relationship in Gainesville, the University became the new housing developments were planned to the University which was subsequently dominant force in the community. It was privately to support the University, a pat- confirmed by the actual settlement of fac- the major community employer and its pres- tern which continued through the first half ulty, university-related staff and later, stu- ence was felt in the movement of busi- of the 20th Century. This speculative de- dents. These residential neighborhoods nesses and residences away from the tra- velopment was spurred on by the Florida with the business and institutional devel- ditional center of the city, near the court- land boom of the 1920’s and shared several opments they attracted, perhaps better house square, westward to University- common features: they are located near the than any other neighborhoods in the city, related areas then on the edge of the city. university and fall within about five blocks convey a unique sense of what is essential north and south of University Avenue. about Gainesville and its history. Their plans and early names reveal an in- University Heights neighborhood sidewalk in North District

ERLA Associated & The History Group, City og Gainesville Comprehensive Preservation and Conservation Plan, Phase 1: Survey Report, Gainesville, 1980

71 HISTORIC CONTEXT University Heights Historic Districts

In 1902 and 1912, Major William R. Tho- and historic relationship to the University Physical Description of University mas, developer of the home and later hotel and its impact on the growth of Gainesville. Heights Historic District—North & that now serves as the cultural affairs cen- In terms of local history, the 400+ acres of South ter and a municipal office facility for the the University’s residential neighborhoods The University Heights Historic Dis- City (The Thomas Center), platted Univer- are significant as one of Gainesville’s thriv- trict-North is primarily one and two-story sity Place and University Heights, respec- ing residential areas during the first half of residential structures with uniform set- tively. Located between what is now West the 20th Century and as an expression of backs. Most are single-family residences University Avenue, S.W. 13th Street, S.W. the Florida real estate boom during the used as multi-family housing interspersed 8th Avenue and S.W. 8th Street, the two 1920’s. The neighborhood is also signifi- with 2-story apartment buildings. The dis- areas are still primarily residential subdivi- cant for its cultural landscape as aging oaks, trict is bounded by three main corridors, sions, with commercial development evolv- azaleas, and a variety of tropical plantings N.W. 13th Street on the West, N.W. 6th Mid-block alleyway in South District with ing in the lots along University Avenue and help to retain the picturesque character of Street on the East, and West University ancillary garage apartment structures. some larger scale multi-family residential the neighborhood. Avenue on the South. The district is only projects developing in the period after WW The identification of these areas with seven blocks from the downtown commer- II. The University Heights South Historic the University was intended to attract de- cial area and four blocks from the Univer- District falls within this area. sirable permanent residents, particularly sity campus. The majority of the lots be- North of University Place across Uni- University faculty and staff. Research in fore N.W. 3rd Avenue are rectangular par- versity Avenue are two other early Uni- city directories show that between 1920 and cels laid in blocks, which are oriented north/ versity-related subdivisions, University 1930, faculty addresses vacate the older south with the majority of the buildings Terrace and Florida Court, both platted in city neighborhoods near the downtown facing east/west. This reverses north of 1914. Still primarily residential today with core in favor of the new University-related N.W. 3rd Avenue. A north/south loop road commercial development along West Uni- subdivisions. After WW II, faculty mi- connected by N.W. 2nd Avenue begins on versity Avenue, The University Heights grated to the ranch suburbs in the city’s NW 7th Terrace and ends on N.W. 7th North Historic District falls within these northwest area, changing the original uni- Street, and a cul-de-sac is found on N.W. two areas. versity-related single-family home charac- 12th Terrace. University Avenue accesses ter that had prevailed through the first half both the loop and cul-de-sac. The approxi- Significance of University Heights of the century. In the postwar years, as the mately 28-acre district is bounded on the Historic Districts University experienced dramatic growth, north by the Fifth Avenue neighborhood, The University Heights Historic Dis- many of the single-family homes were modi- and on the south by the commercial devel- tricts are significant in terms of commu- fied for multi-family student occupation, a opment along the north side of University nity planning, architecture, landscape ar- trend that continues to dominate the South Avenue. chitecture, local history and settlement for District even today. The University Heights Historic Dis- their distinct social, economic, physical trict - South is located immediately south of the North District across University Av- Period Revival Tudor style in North District.

ERLA Associated & The History Group, City og Gainesville Comprehensive Preservation and Conservation Plan, Phase 1: Survey Report, Gainesville, 1980

72 HISTORIC CONTEXT University Heights Historic Districts

enue. It has similar development patterns, the area and the west side is bounded by The Craftsman/Bungalow style was but the blocks are more regular and have University institutional structures and influenced by the Arts and Crafts Move- mid-block alleys. Garages and secondary higher density development along the S.W. ment and provided modest homes with a structures are located along the alleys, re- 13th Street corridor. Commercial develop- high degree of artisanship. They are char- ducing the number of front yard driveways. ment along the University Avenue corridor acterized by overlapping gable roofs with The North District structures are typically bounds the north side and S.W. 7th Av- broad overhangs, projecting rafters, brack- more modest buildings in scale and detail- enue bounds the south side. eted eaves, carved ridge poles, front ve- ing, with smaller lots. randas and use of natural colors. Detailing The approximately 34-acre South Dis- Architectural Styles in the University can transform these structures into a vari- trict is also primarily one and two-story Heights Historic Districts ety of revival styles such as Tudor or Span- single-family residential structures with The University Heights Historic Dis- ish/Mediterranean. uniform setbacks, occupied as multi-family tricts are primarily Colonial Revival, Crafts- Tudor Revival, which has a number of Fieldstone and brick construction in South dwellings by students. Two-and three-story man/Bugalow and Period Revival architec- excellent examples in the Districts, was a District. Known locally as “chert” houses, the apartment buildings are interspersed ture in a range of historical styles: Colo- direct reference to the medieval Collegiate technique was used for a variety of historic throughout the district. nial, Tudor, Spanish/Mediterranean, French Gothic style of the campus. Characterized styles The South District is divided by S.W. and English Provincial, and Minimal Tradi- by herringbone brick patterns, stone ac- 2nd Avenue, a planned primary corridor tional, a later highly diluted variant of Pe- cents, half-timbering, steep roofs with mul- connecting campus to downtown and pro- riod Revival design. The area also pos- tiple chimney stacks, and asymmetrical en- grammed for more intensive development. sesses a large number of fieldstone ma- tries, these houses represent the English Most of the north side of 2nd Avenue sonry buildings known locally as “Chert provincial “dream house.” between S.W. 10th Street and S.W. 12th Houses,” a style that is indigenous to Colonial Revival architecture in Street has been excluded from the historic Gainesville. Gainesville is characterized by a more for- district, and many of the historic struc- Fieldstone Houses are found through- mal brick form evoking the early Ameri- tures along the south side of S.W. 2nd Av- out the Districts and have one of the high- can architecture popularized in the 1920’s enue have undergone rehabilitation to of- est concentrations of these unique build- and 1930’s by Colonial Williamsburg. fice uses. ing types in the city. Made from a flint-like Spanish/Mediterranean style, embrac- The general area is bounded by the S.W. limestone called chert, the fieldstone is laid ing a range of Mediterranean and Ameri- 13th Street traffic corridor to the west, in a random, uncoursed pattern with brick can Southwest influences, while very popu- and on the north by the West University quoining at corners and around openings. lar in South Florida, is less common in the Avenue corridor. The South District is only The fieldstone and brick reflect the pictur- Districts. These include the Monterey style seven blocks from the downtown commer- esque character of period revival designs with projecting balconies as well as the cial area and only one block from the Uni- and many different revival styles were built more familiar stucco, arched openings, versity campus. The Shands at AGH Hos- with this material technique. wrought iron work and barrel tile roofs. pital complex is on the east boundary of Spanish/Mediterranean Style in South District.

ERLA Associated & The History Group, City og Gainesville Comprehensive Preservation and Conservation Plan, Phase 1: Survey Report, Gainesville, 1980

73 HISTORIC CONTEXT University Heights Historic Districts

A final prevalent architectural style is The University Heights Historic District known as Minimal Traditional, which is a - North contains one hundred seventy- later, highly diluted variant of Period Re- three (173) buildings of which thirty-three vival and Craftsman architecture usually (33) are noncontributing structures. dating from the 1930’s onward. The design The University Heights Historic District is a simplified form of the earlier styles, lack- - South contains one hundred eighty-two ing the decorative details that character- (182) buildings of which 32 are non-con- ized the older structures. The roof pitches tributing. are lowered, facades are simplified without Approximately 82% of the buildings in detailing, and overhangs are minimized. the two districts are contributing structures. Monterey Style in South District. A form of These houses, forerunners in some ways Spanish/Mediterranean Style influenced by the of the modern ranch house, were introduced Craftsman/Bungalow Style in South District. Spanish in California. in the 1930’s (possibly influenced by the Great Depression), and were common in the 1940’s and early 1950’s in the University Heights area. Other Styles found within the Uni- versity Heights Historic Districts - North & South in smaller numbers include Pro- vincial, Frame Vernacular, Prairie School/ Wright, International Style Modernism, and the modern Ranch Style. Noncontributing Buildings in the Dis- tricts are either less than fifty years old or have been so significantly altered that the original character of the building has been lost. Many of the noncontributing buildings, built during the earlier periods of significance but modified insensitively to their historic character, still retain some compatible context characteristics of uniform setbacks, mass, scale, height or materials.

Spanish/Mediterranean Style in North District. Provincial Style in South District.

ERLA Associated & The History Group, City og Gainesville Comprehensive Preservation and Conservation Plan, Phase 1: Survey Report, Gainesville, 1980

74 HISTORIC CONTEXT University Heights Historic Districts

OVERVIEW OF UNIVERSITY HEIGHTS HISTORIC DISTRICTS AND SPECIAL AREA PLAN

In January 2002, the City of Gainesville In October 2000, the City of Gainesville tury of Gainesville history with a broad established the University Heights Historic adopted the University Heights Special range of styles and materials. Guidelines Districts - North & South as local historic Area Plan to guide development in the need to provide flexibility to consider the districts, and the process for nomination University Heights neighborhoods. With unique character of the individual neigh- of the districts to the National Register of the 2002 adoption of the University Heights borhoods within the historic districts. His- Historic Places was initiated. The historic Historic Districts, a second overlay that toric Preservation Rehabilitation and De- district significance is based on the rela- occupies a substantial portion (but not all) sign Guidelines should be implemented to tionship of the residential subdivisions that of the Special Area Plan district, was put in work effectively with other overlapping are incorporated within the district bound- place. overlay regulations to avoid conflicts and aries to the University of Florida during The University Heights Special Area confusion in the implementation of city the first half of the 20th century. Principally Plan Overlay Zoning District and the un- policy in the area. single-family residential buildings now con- derlying zoning regulations currently verted to multi-family student-oriented guide development in the area, parts of housing, the Historic Districts contain a which also have the Historic District over- broad cross section of historic residential lay which has been governed by The Pres- building styles including a large number of ervation and Conservation Manual (1) of unique local fieldstone (chert) houses, the City pending adoption of specific his- Craftsman/Bungalows and Period Revival toric district rehabilitation and design styles from the early 20th century. The area guidelines. Projects in the Historic Districts retains much of its historic residential char- are reviewed by the City of Gainesville His- acter even though a number of larger scale toric Preservation Board, and the College infill apartment projects are scattered Park University Heights Redevelopment throughout the neighborhoods. Advisory Board provides community ad- Because of its proximity to the eastern vice and input. edge of campus and its location between The University Heights Historic Dis- campus and the downtown core area, the tricts - North and South are a complex City has been interested in the develop- historic area. While both districts have gen- ment of the University Heights area. The erally similar residential settlement patterns, Gainesville Comprehensive Plan designates there is a wide diversity of neighborhoods the area for higher density development to with differing setbacks, lot sizes and scale provide University-related housing and of buildings, with the North District hav- services while reducing local traffic impact. ing somewhat more modest buildings on smaller lots with narrower street right-of- ways. The architecture represents a cen- New 3-story addition to existing two-story structure with new pedestrian-friendly porches.

1. The Preservation and Conservation Manual, City of Gainesville Department of Community Affairs, February 1998.

75 HISTORIC CONTEXT University Heights Historic Districts

Area Development Goals Special Area Plan Coordination New site occupation characteristics Both the Gainesville Comprehensive The University Heights Special Area such as moving new infill buildings closer Plan and the University Heights Special Plan seeks to: to the street to promote a pedestrian-` Area Plan call for increased density of the 1. Preserve and extend the historic friendly environment will at times clash area to support University-related devel- neighborhood character through the de- with traditional neighborhhod front yard opment that would potentially reduce ve- sign and placement of building types and setbacks. New higher-density infill con- hicle dependence and promote pedestrian public spaces. struction will at times clash with the tra- activity. The challenge for the historic dis- 2. Create high-quality street spaces by ditional single-family residential scale and trict is how to protect the historic cultural using buildings to form a pleasant, conve- character of the historic neighborhoods. resources and residential character of the nient and safe environment designed for To accommodate proposed new de- area while accommodating the desired de- pedestrians, bicyclists, public transit and velopment and protect existing historic New infill construction located closer to the velopment objectives of the Special Area motorists. structures and neighborhood character will street, juxtaposed against adjacent historic require amelioration strategies to modify structure in South District. Plan and the Comprehensive Plan which 3. Enhance the viability of local busi- encourage new higher density infill devel- nesses and reduce car travel demand by the impact of new construction on exist- opment. focusing growth in appropriate locations. ing historic fabric. The Guidelines for The goals of the Historic District Reha- 4. Provide a measure of predictability New Construction specifically seek to bilitation and Design Guidelines for Uni- to property owners and occupants about put in place amelioration strategies versity Heights are: what may be built on their land or that of through scale, massing, building placement 1. Protect the identified historic cul- their neighbors property, yet allow for a and height. tural resources in the districts through re- market-driven mixture of land uses. habilitation standards and compatible de- 5. Encourage a wide range of building sign standards for new construction. types and sizes that will offer a measure 2. Protect the general scale and charac- of self-sufficiency and sustainability, and ter of the historic neighborhoods in the which will adapt gracefully to change over districts including street grids, alleyways, time. and the cultural landscape of tree cano- 6. Make the neighborhood a pleasant pies, streetscape and landscaping. place to live that will attract a mix of long- 3. Promote compatible design of new term residents reflecting the composition infill projects. of the university community and adjacent 4. Promote a diverse resident popula- neighborhoods. tion in the districts. The thrust of the goals is that Univer- 5. Promote higher density through use sity Heights will evolve and change with of ancillary structures and compatible new building types, new streetscapes and Mid-block alleyway in South District with New pedestrian-friendly infill construction with infill development. new uses. porches near the street and sidewalk. ancillary structures (garage apartments).

76 HISTORIC CONTEXT University Heights Historic Districts

UNIVERSITY HEIGHTS HISTORIC DISTRICTS—NORTH & SOUTH CHARACTERISTICS

Subdivision Layout North District Density Cultural Landscape Massing or Form: Varies with style of The original plats for the North District Most buildings are single family de- As older neighborhoods, both districts buildings. Can be highly complex (Bunga- include University Terrace (1914) and tached structures now occupied as multi- have a great deal of mature vegetation. The low) or relatively simple (Colonial Revival). Florida Court (1922) subdivisions. The plats family student-oriented housing. Two and North District has a number of live oak Foundations: Most buildings are el- are laid out to break the traditional city grid three-story infill apartment buildings are trees with a dense tree canopy. The South evated on brick piers or vented stem walls with cul-de-sacs, loop roads and mid-block interspersed within the districts. There are District is populated with numerous laural above grade. alleyways within grid blocks. numerous outbuildings and auxiliary struc- oaks that have reached maturity and are Roofs: Varies with the building styles. tures throughout the area, usually clus- now falling victim to age and disease, Includes gable, hip, mansard, flat and mul- Subdivision Layout South District tered along the mid-block alleyways. There which is degrading the historic tree canopy tiple combinations covered in metal, as- The original plats found in the South are few vacant properties in either district, in these neighborhoods. Understory trees phalt shingles, tile, or asbestos shingles. District include University Place (1909) with new higher density infill projects be- and mature azaleas along with a variety of Materials: Varies with building styles. and University Heights (1912) subdivi- ing built in the South District. tropical plantings make for a lush land- Includes wood frame and masonry con- sions. They are platted in a regular grid scape environment. struction with wood siding, wood shingles, with mid-block alleyways. Setbacks brick, stone, stucco, and varied combina- The setbacks are generally uniform Building Characteristics tions. Blocks within each given block, but vary within Height: Historic structures are one and Block size and street width vary greatly the districts from block to block. Large two-story structures. New infill buildings throughout the two districts. Lots in the front yard setbacks are common in the can be 3 to 4 stories in height. North District tend to be smaller and less South District. Orientation of structures Width and Number of Bays: Varies with consistent, varying from block to block. is generally consistent in the South Dis- building styles. Historic buildings are over- Roadway widths also vary. Blocks in the trict and varies from block to block in the whelmingly single-family residential scale. South district are fairly uniform with mid- North District. Primary buildings front on Building Types: Primarily single-family block alleyways and relatively consistent the principle street. detached houses with intermittent infill of lot sizes and roadway widths. two and three-story apartment buildings Street Edge and recent rowhouse buildings. Uniform setbacks along many (but not Predominent Architectural Styles: Var- all) streets create a number of blocks with a ies across the districts. Styles include: consistent front yard condition. Paved side- Craftsman/Bungalow, Frame Vernacular, walks, curbs and front yard fencing varies Period Revivals, Ranch, Provincial, Tudor, across the districts. Some streets in the Spanish/Mediterranean, Prairie, Native North District are without curbs while the Fieldstone, and Minimal Traditional. South District has consistent concrete curbs along all primary streets.

North District Tree Canopy Complex roof form and multiple materials

77 REHABILITATION GUIDELINES Overview

78 REHABILITATION GUIDELINES Overview

REHABILITATION GUIDELINES All Historic Districts

79 REHABILITATION GUIDELINES Overview

Renovation of structure.

80 REHABILITATION GUIDELINES Overview

The Structure of the Guidelines Authority to Review Certificate of Appropriateness The second section of the guidelines is Section 30-112 of the Land Development In addition to the foregoing, a Certifi- divided into two main chapters covering Code authorizes City staff and the Historic cate of Appropriateness (COA) must be rehabilitation and new construction. The Preservation Board to review and approve, obtained from the Historic Preservation first section examines rehabilitation issues approve with conditions or deny applica- Board to: with respect to existing historic properties tions for Certificates of Appropriateness and landscapes. This section also ad- that propose the regulated work items. 1. Erect a new building, structure or park- dresses the modification of historic struc- These work items, summarized below, are ing lot within a district listed on the lo- tures to accommodate handicapped acces- spelled out more specifically in Section 30- cal register. sibility requirements and the demolition and 112(d)(5)(c) of the City of Gainesville Land relocation of buildings. In the second sec- Development Code. 2. Demolish a building, structure or ob- tion, a systematic approach to designing ject listed on the local register, or desig- and evaluating compatible new buildings, · Abrasive cleaning nated as contributing to a district listed additions, out buildings and landscapes is · Awnings or canopies on the local register. outlined followed by detailed recommen- · Decks dations and avoidances; a synopsis of · Exterior doors and door frames 3. Relocate a building, structure or object which can be found in Appendix 5. · Exterior walls listed individually on the local register, All the recommendations in these chap- · Fencing or designated as contributing to a dis- ters are based on the Secretary of the Inte- · Fire escapes, exterior stairs and handi- trict listed on the local register. riors Standards for Rehabilitation (see capped ramps Appendix 1). While the treatment of reha- · Painting (includes only painting un- Buildings and structures, which do not bilitation is the major focus of these guide- painted masonry, not wood) conform to the Historic Preservation Reha- lines, they strongly emphasize the impor- · Porch fixtures bilitation Guidelines at the time of Local tance of well-designed new construction · Roofs Register nomination, are “grandfathered” in the process of preserving the character · Security grilles meaning they are not required to come into of historic districts. · Siding conformance. However, if an applicant pro- · Skylights poses to replace a feature of the building · Screen window and doors that is considered nonconforming, then he · Windows and door frames or she will be required to conform to the standards set forth in the guidelines.

81 REHABILITATION GUIDELINES Overview

Architectural details in need of repair.

82 REHABILITATION GUIDELINES Overview

Historic Preservation Design Standards The visual compatibility standards are ap- and Their Interpretation plicable to new construction and concern Work projects as ordinary maintenance such work items as height and scale of pro- (1) may be done without a Certificate of posal, setback relationships, materials and Appropriateness. Staff can approve work roof shapes. which will result in either the return of the As mentioned above, most of the stan- structure to its original appearance or (2) dards set forth in this document are pre- complies with the Historic Design Stan- ferred and ideal approaches to rehabilitat- dards for staff approval. If the work does ing historic structures but are not, per se, not fall under either of the above defini- mandatory. When you read “shall” “is not tions, it must be approved by the City of permissible” or “must,” the standards are Gainesville Historic Preservation Board. mandatory. The bulk of the document is (1) “Ordinary Maintenance” is defined comprised of preferred approaches and are in Section 30-23 of the City of Gainesville reflected by use of the verb “should.” The Land Development Code as work which HPB recognizes that individual circum- does not require a building permit and that stances may require a less-than-preferred is done to repair damage or prevent dete- approach and it wants to have flexibility to rioration or decay of a building or structure implement and interpret these standards as or any part thereof by restoring the build- those circumstances occur. ing or structure or part thereof as nearly as (2) According to Section 30-23 of the practicable to its condition prior to dam- Land Development Code, “original appear- age, deterioration or decay. ance” means that appearance (except for In its deliberations on applications for specific color) which, to the satisfaction of Certificates of Appropriateness, the HPB the city manager or designee, closely re- is guided by the Secretary of Interior’s sembles the appearance of either: Standards for Rehabilitation and Guidelines for Rehabilitating Historic Buildings and 1. The feature on the building as it was visual compatibility standards set forth in originally built or was likely to have been Section 30-112(d)(6)a. The Secretary’s Stan- built; or dards are tailored for the Gainesville Dis- 2. The feature on the building as it pres- tricts which also include the criteria for staff ently exists so long as the present ap- and board approval. A summary of these pearance is appropriate, in the opinion criteria is located in Appendix 4. The HPB of the city manager or designee, to the also refers to the Secretary’s Standards style and materials of the building. when reviewing ad valorem tax exemptions. Varied additions with complex roof form and multiple materials.

83 REHABILITATION GUIDELINES Setting

Thomas Center courtyard in Northeast District.

Roper Park in Northeast District.

NW 3rd Avenue in University Heights North District. Gardens at the Thomas Center.

84 REHABILITATION GUIDELINES Setting

SETTING

Applicable Secretary Standards streetscape compositions. Fences and Cast iron fencing is most appropriate for walls serve to delineate property lines and buildings designed in the Colonial Revival, 2. The historic character of a property as a barrier to distinguish lines between a Neo-Classical, and Queen Anne styles. shall be retained and preserved. The yard, sidewalk, and street. Wooden picket Fences should be of appropriate scale on removal of historic materials or alter- fences of simple design were historically street elevations. They should complement ation of features and spaces that char- the most common in Florida but consider- the building and not obscure significant acterize a property shall be avoided. able variety in design is found throughout features. They should be no more than four the Districts. Cast iron fencing of a pike or feet on the street elevation and six feet on 9. New additions, exterior alterations or hairpin design was much less common and the side and rear elevations. They should related new construction shall not de- was generally restricted to buildings de- also be set back from the wall plane on the stroy historic materials that character- signed in the Queen Anne, Colonial Re- main elevation. Mid-block alleyway in University Heights-S District. ize the property. The new work shall be vival, and Neo-Classical styles. Retaining Incompatible uses of parks and other differentiated from the old and shall be walls of brick, poured concrete, or cast con- historic design landscapes, should be compatible with the massing, size, scale crete block with pilasters and coping are avoided.The linear character and overall in- and architectural features to protect also common streetscape features. tegrity of parks should be preserved. Under the historic integrity of the property Historic landscape features visually link Standard 9, new construction should be lo- and its environment. individual buildings to each other and cated unobtrusively and with the least should be retained under Standard 2. Chain amount of alteration to the site and setting Setting is the relationship of a historic link and hurricane fences have been added of a historic building. Parking should be lim- building to adjacent buildings and the sur- to many historic properties during the last ited to the rear or side of buildings unless it rounding site and environment. The setting forty years. Although there is no require- was historically located in other areas. of a historic building includes such impor- ment to remove this type of fencing, it is Duck Pond in Northeast District. tant features as parks, gardens, street lights, inappropriate and should not be installed signs, benches, walkways, streets, alleys, in the future. It is recommended that exist- and building setbacks. The landscape fea- ing metal fences be screened with shrub- tures around a building are often important bery or plants. aspects of its character and the district in Under Standard 9, new fences and walls which it is located. Such historic features as should respect traditional materials, design, gardens, walls, fencing, fountains, pools, and scale found in historic districts. They paths, lighting and benches should be re- should have a regular pattern and be contained during the course of rehabilitation. sistent in design with those found in the Historic fencing, garden and retaining same block or adjacent buildings. Wood is walls, and designed landscape features add the most appropriate material, particularly distinction to individual buildings and dis- for simple frame buildings. Split-rail or hori- Gardens at the Thomas Center in Northeast District. Private garden in University Heights-N District. tricts. Collectively, they form important zontal board fences should be avoided.

85 REHABILITATION GUIDELINES Setting

Recommended Not Recommended

1. Retain distinctive features such as size, 6. Remove or trim plants and trees in close 1. Removal of building features that add scale, mass, color, and materials of build- proximity to the building that may cause to the character of a district. ings, including roofs, porches, and stair- deterioration of historic fabric. ways, that distinguish a district. 2. Removal of historic landscape features 7. Provide proper site and roof drainage to that have been traditionally utilized to 2. Retain landscape features such as parks, assure that water does not splash link buildings and the surrounding en- gardens, street lights, signs, benches, against building or foundation walls, nor vironment. walkways, streets, alleys, and setbacks drain toward the building. Identify and retain plants and trees that reflect a that have traditionally linked buildings 3. Removal of historic or archeological el- property’s history and development. to their environment. 8. Landscape to provide shade, privacy, ements that provide a context to the his- screening of non-historic features, and toric development of the landscape or 3. Use new plant materials, fencing, walk- erosion control. building such as brick paving, historic ways, street lights, signs, and benches concrete curbing or carriage steps. that are compatible with the character of the district or neighborhood in size, 4. Avoid conjectural changes to the site. scale, materials, and color.

4. Identify and retain plants, trees, fencing, walkways, street lighting, signs, and benches that reflect a property’s history and development.

Retain landscape features such as streets, alleys, 5. Base new site work on documentation and setbacks that have traditionally linked or physical evidence. buildings to the environment.

Retain historic and archeological features that Retain landscape features such as streets, alleys, define the property’s history. and setbacks that have traditionally linked buildings to their environment.

86 REHABILITATION GUIDELINES Setting

Staff Approval Guidelines Board Approval Guidelines

Rehabilitation of settings that meet all The board must approve all projects of the following conditions can be ap- that involve significant modifications to proved by staff: public parks, street spaces and landscapes visible from major streets. New landscape designs that preserve and extend existing spatial and planting patterns.

Fences and walls meeting the criteria of guidelines for Fences and Garden Walls.

Identify and retain curbing, fencing, walkways, street lighting, signs, and benches that reflect a property’s history and development.

Retain landscape features such as parks and gardens that have traditionally linked buildings to their environment.

87 REHABILITATION GUIDELINES Additions to Existing Buildings

Additions, such as this access ramp at the Matheson House, should not significantly alter original distinguishing qualities of buildings such as the basic form, materials, fenestration, and stylistic elements.

88 REHABILITATION GUIDELINES Additions to Existing Buildings

ADDITIONS TO EXISTING BUILDINGS

Applicable Secretary Standards Additions to historic buildings are of- spicuous side of a building. Under Stan- ten required to make projects economically dard 10, they should be constructed so that 2. The historic character of a property feasible, to satisfy fire and building code if removed in the future, the essential form shall be retained and preserved. The requirements, to house mechanical sys- and integrity of a building will be unim- removal of historic materials or alter- tems, and for other personal or practical paired. ation of features and spaces that char- reasons. They are allowed under the Sec- In order to comply with the Americans acterize a property shall be avoided. retary of the Interior’s Standards and spe- with Disabilities Act (ADA) handicap ac- cifically addressed in Standards 9 and 10. cess was required. The addition of a handi- 3. Each property shall be recognized as a Although additions are usually accept- cap access ramp as required by ADA must physical record of its time, place, and able, they should be undertaken only after comply with Standards 9 and 10. The ramp use. Changes that create a false sense it has been determined that the new use must be clearly distinguished from the his- of historical development, such as add- cannot be successfully met by altering toric portion of the building by its form and ing conjectural features or architec- non-character defining interior spaces. If construction. Access ramps are clearly not tural elements from other buildings, undertaken, additions should not signifi- historic features. At the same time the de- shall not be undertaken. cantly alter original distinguishing quali- sign should be well integrated with the ties of buildings such as the basic form, building through the use of appropriate ma- 9. New additions, exterior alterations or materials, fenestration, and stylistic ele- terials and matching paint colors. The ramp related new construction shall not de- ments under Standard 2. Additions that location should be considered a design is- stroy historic materials that character- imitate the style of the existing building or sue. No significant historic features should ize the property. The new work shall be other historical styles should be avoided be impacted. The size and scale of the ramp differentiated from the old and shall be under Standard 3. shall be appropriate to the building and compatible with the massing, size, scale, Under Standard 9, additions should be clearly subordinate to it. Under Standard and architectural features to protect clearly distinguished from original portions 10, ramps could be removed in the future the historic integrity of the property of the building and should result in mini- without altering the form of the building or and its environment. mal damage to its integrity. Character-de- any significant features. See Design Guide- fining features of a historic building should lines for more information on handicap ac- 10. New additions and adjacent or related not be radically changed, obscured, dam- cess. new construction shall be undertaken aged, or destroyed in the process of add- Before considering an addition to a his- in such a manner that if removed in the ing new construction. The size and scale toric building, attempt to accommodate the future, the essential form and integrity of the new addition should be in propor- needed function within the existing struc- of the historic property and its envi- tion to the historic portion of a building ture. Enclosing a historic porch, however, ronment would be unimpaired. and clearly subordinate to it. Additions is discouraged. should be attached to the rear or least con-

89 REHABILITATION GUIDELINES Additions to Existing Buildings

New additions should be designed to Recommended Not Recommended minimize the impact on the visual character and materials of the historic structure. The 1. Place functions and services required 1. Expanding the size of a historic building 7. Using the same wall plane, roof line, cor- applicant should take care to preserve as for a new use in non-character defining by constructing a new addition when nice height, materials, siding lap or win- much of the original building wall as pos- interior spaces rather than installing a the new use could be met by altering dow type to make additions appear to sible by utilizing existing openings for pas- new addition. non-character-defining interior spaces. be part of a historic building. sageways rather than increasing their size. New additions should be compatible in 2. Protect architectural details and features 2. Attaching a new addition so that the 8. Adding height to a building that terms of mass, materials, vertical or hori- that contribute to the character of the character-defining features of the his- changes its scale and character. Changes zontal projection, relationship of solids and building during the course of construct- toric building are obscured, damaged, in height should not be visible when voids, symmetry or asymmetry and size and ing the addition. or destroyed. viewing the principal facades. scale with the principal structure. However, the character of the historic resource 3. Construct a new addition so that there 3. Designing a new addition so that its size should be identifiable after the addition is is the least possible loss of historic ma- and scale are out of proportion to the constructed. Additions should be con- terials and so that character-defining historic building, thus, diminishing its structed in a manner that clearly distin- features are not obscured, damaged, or historic character. guishes the footprint and plan for the his- destroyed. toric building. 4. Duplicating the exact form, material, 4. Locate an attached exterior addition at style, and detailing of the historic build- the rear or on inconspicuous side of a his- ing in the new addition so that the new toric building; and limit its size and scale work appears to be part of the historic in relationship to the historic building. building. 5. Design new additions in a manner that 5. Imitating a historic style or period of ar- clearly distinguishes historic and non- chitecture in new additions, especially historic features. those used for contemporary uses. 6. Design additional stories, when required for a new use, that are set back from the 6. Designing and constructing new addi- wall plane and are as inconspicuous as tions that result in the diminution or loss possible when viewed from the street. of the historic character of the resource, including its design, materials, workmanship, location, or setting.

90 REHABILITATION GUIDELINES Additions to Existing Buildings

Staff Approval Guidelines Board Approval Guidelines

Additions that meet all of the following Plans that propose adding floors to conditions can be approved by staff: buildings are inappropriate and are unlikely to be approved. Addition to historic building is sited in the rear yard and does not front on two or more streets;

Do not exceed 1-story in height and 300 sq. ft. area;

Utilizes materials and textures consistent with the principal building;

Window openings are of the same proportion as the nearest windows on the principal building;

Existing window and door openings that will be enveloped by the addition are retained and not modified.

3-story addition on 2-story historic structure in University Heights South District

91 REHABILITATION GUIDELINES Roof and Roof Surface

Eave detail of exposed rafters and gable vent of small wood frame Craftsman/Bungalow style house.

92 REHABILITATION GUIDELINES Roof and Roof Surface ROOF AND ROOF SURFACE

Applicable Secretary Standards 9. New additions, exterior alterations or Roof forms comprise an important part or replaced in a manner known to be accu- related new construction shall not de- of streetscapes in the historic district and rate based on documentation or physical 2. The historic character of a property stroy historic materials that character- create a unified rhythm with neighboring evidence, or treated in a contemporary style shall be retained and preserved. The ize the property. The new work shall be buildings. The most numerous residential in compliance with Standards 6 and 9. In removal of historic materials or alter- differentiated from the old and shall be roof types are gable, hip, or a combination. reviewing replacement of non-historic roof ation of features and spaces that char- compatible with the massing, size, scale Other common examples are pyramidal, surfacing, it is important to keep in mind, acterize a property shall be avoided. and architectural features to protect gambrel, and clipped gable (jerkinhead). Flat Standard 9. Even if the existing surfacing is the historic integrity of the property roofs with parapets predominate in com- inappropriate, the replacement material must 4. Most properties change over time; those and its environment. mercial buildings in the Pleasant Street Dis- be compatible with the overall design of changes that have acquired historic trict. the building. significance in their own right shall be The roof shape of the building, struc- In planning roof repairs, it is important Rooftop additions are another common retained and preserved. ture or object shall be visually compatible to identify significant features and materi- change to historic buildings. They are gen- with the buildings to which it is visually als and treat them with sensitivity under erally not suitable for smaller buildings of 5. Distinctive features, finishes and con- related. It is important to identify, retain and Standards 2 and 5. Under Standard 6, sig- three stories or less or for buildings with struction techniques or examples of preserve roofs and their functional and nificant features and materials should be very distinctive roof lines. They can, how- craftsmanship that characterize a his- decorative features that are important in repaired rather than replaced. If replacement ever, meet Standard 9 if certain conditions toric property shall be preserved. defining the overall historic character of of a deteriorated feature is necessary, the are met. The addition should be designed the building. This includes the roof’s shape new materials should closely match the to be distinguished from the historic por- 6. Deteriorated historic features shall be as hipped, gambrel or mansard; decorative original. tion of the building; be set back from the repaired rather than replaced. Where features such as cupolas, cresting and Roofs perform an essential function in wall plane; and be placed so it is incon- the severity of deterioration requires chimneys; and roofing materials such as keeping a building weathertight. As a re- spicuous when viewed from the street. replacement of a distinctive feature, the slate, clay and tile. sult, they are particularly subject to change. new feature shall match the old in de- Roofs are highly visibly components In the local district the most common origi- sign, color, texture and other visual of historic buildings in Gainesville’s His- nal roofing materials were embossed or qualities and, where possible, materi- toric Districts. They are an integral part of crimped sheet metal and sawn wood als. Replacement of missing features a building’s overall design and often help shingles. Virtually all original wood shingle shall be substantiated by documentary, define its architectural style. Examples in- coverings have been removed and often physical or pictorial evidence. clude mansard and belvederes which are replaced with ornamental sheet metal. Such primary features of the Second Empire and historic changes to roofs have gained a the Airplane Bungalow styles, respectively. significance in their own right and should Materials such as clay tile and ornamental be respected under Standard 4. metals which cover roofs in Gainesville are Where existing roofing material is non- also significant and should be preserved original and nonsignificant, there is greater in the course of rehabilitating a building. flexibility. The existing roof may be retained,

93 REHABILITATION GUIDELINES Roof and Roof Surface

Recommended Not Recommended

1. Alterations to the configuration or 7. Retain or replace where necessary dor- 1. Removal of existing chimneys is discour- shape of a historic roof should be con- mer windows, cupolas, cornices, brack- aged. Removal of historic or architec- fined to portions of the building not vis- ets, chimneys, cresting, weather vanes, tural roofing features should be ible from the right-of-way. and other distinctive architectural or avoided, if possible. If removal is un- stylistic features that give a roof its es- avoidable, replacement material should 2. Repointing of chimney mortar joints sential character. match the existing fabric in composition, shall match the existing composition, design, color, texture and other visual joint size, and profile. 8. Design rooftop additions, when required qualities. New synthetic roof tile representing historic for a new use, that are set back from a material. 3. Retain and preserve the roof’s shape, wall plane and are as inconspicuous as 2. Mortar with high portland cement con- historic roofing materials and features. possible when viewed from the street. tent shall not be used.

4. Preserve the original roof form in the 3. Masonry surfaces shall not be sand- course of rehabilitation. blasted.

5. Provide adequate roof drainage and in- 4. Avoid applying paint or other coatings sure that the roofing material provides a to roofing materials which historically weathertight covering for the structure. have not been painted.

6. Replace deteriorated roof surfacing with Clay tile roof tile in Northeast District. matching materials or new materials, such as composition shingles or tabbed asphalt shingles, in dark shades that match the original in composition, size, shape, color, and texture.

French roof tile in Southeast District. Retain roof shape, materials and features.

94 REHABILITATION GUIDELINES Roof and Roof Surface

Staff Approval Guidelines Board Approval Guidelines

Additions and alterations to the roof Chimneys that are designed in a man- Rooftop additions are not discouraged Roof windows and skylights should be that meet all of the following conditions ner appropriate to the period of the house, if they do not destroy significant historic placed on portions of the building not vis- can be approved by staff: placed on the side elevation, located on or architectural fabric and if their design is ible from the right-of-way. Flat skylights the exterior of the building and do not compatible in size, scale, color, materials which project minimally from the roof, are Vents and pipes for water heaters, dry- destroy or damage historic roofing fea- and character of the property and the the recommended treatment. ers, stoves, etc., are appropriate; tures, shapes or materials; and neighborhood. The design of roofing features, shapes Rooftop additions should be incon- or materials which seek to replicate or du- Skylights which are located on por- Alterations to non-historic portions of spicuous when viewed from the street and plicate a missing historic feature must be tions of the roof not visible from the right- contributing buildings provided they are be clearly distinguished from what is his- documented through historical, physical or of-way and have flat surfaces and do not compatible in scale, design and materials toric. photographic sources. destroy or damage historic roofing fea- but distinguishable from the historic por- Dormers should be added to portions tures, shapes or materials; tions. of the building not visible from the right- of-way. When a dormer must be con- Solar collectors, antennae and satel- structed, the new dormer should generally lite dishes which are placed on portions match the appearance of existing dormers of the roof not visible from the right-of- or, if none are present, draw inspiration from way and do not destroy or damage his- the architectural details on the building toric roofing features, shapes or materi- such as roof pitch, molding or window style. als; Contemporary dormers would generally detract from the overall historic character of Replacing non-historic roofing mate- the building. rial with a material of similar composi- Roof decks and balconies should only tion and design provided that the entire be added to portions of the building not structure will be covered; visible from the right-of-way and constructed in a subordinate manner to the his- Replacing historic roofing material toric building. with a material of similar composition and Roof decks and balconies should be design provided that the entire structure composed of materials that are sympathetic will be covered; with the historic building.

Mansard roof form of Matheson House in Retain distinctive architectural or stylistic features Southeast District. that give a roof its essential character.

95 REHABILITATION GUIDELINES Foundations

Foundation repairs, the historic materials should be retained, repaired as needed, or replaced with similar materials.

96 REHABILITATION GUIDELINES Foundations

FOUNDATIONS

Applicable Secretary Standards It is necessary to provide the appropri- Pierced brick and lattice are examples Slab Foundations ate foundation system as required by code. of compatible contemporary infill. Pierced Although contemporary construction 2. The historic character of a property However, the design of this element is ex- continuous brick infill, a pattern of bricks often uses slab on grade foundations this shall be retained and preserved. The tremely important in defining the character laid with air space between the end sur- type of system is very rare in the five his- removal of historic materials or alter- of the building or structure. The founda- faces, can easily be added to a foundation, toric districts and is confined to non-con- ation of features and spaces that char- tion enclosure should work with the over- providing ventilation, continuous support tributing structures. Raising a building acterize a property shall be avoided. all style and design of the proposed struc- to the sill plates, and a historic appearance. above ground has traditionally served both ture or building. Lattice infill can be purchased in prefabri- a practical and symbolic role. In neighbor- 4. Most properties change over time; those Most historic buildings in Gainesville cated panels and installed between ma- hoods where this pattern is pervasive, slab changes that have acquired historic rest on raised masonry foundations, either sonry piers. Square crisscross lattice infill on grade buildings look out of place. For significance in their own right shall be continuous or piers. Although brick is the is also an appropriate infill material. this reason, this foundation system is not retained and preserved. most common material, there are also nu- recommended for residential construction. merous examples of other foundation types, Pier Foundations 5. Distinctive features, finishes and con- including beveled and rock-faced concrete Pier foundations are common in all dis- struction techniques or examples of block, and coquina. Some buildings, par- tricts and should be retained as significant craftsmanship that characterize a his- ticularly Bungalows, feature foundation elements of the building. Enclosing the toric property shall be preserved. elements as an important part of the overall foundation with a continuous opaque wall design of the facade. Historically, lattice, is not recommended since it changes the 6. Deteriorated historic features shall be pierced brick, and continuous brick or other character of the pier profile. repaired rather than replaced. Where masonry generally constituted infill be- Accessing crawl space for repairs or the severity of deterioration requires tween foundation piers. These infill materi- maintenance is required in most cases. The replacement of a distinctive feature, the als protected the underside of a building, access panels also become inherent fea- new feature shall match the old in de- allowed ventilation, and, in some instances, tures in the character of the building espe- sign, color, texture and other visual provided additional decoration. cially if they are not hidden by landscape qualities and, where possible, materi- In undertaking foundation repairs, the materials or shrubbery. als. Replacement of missing features historic materials should be retained, re- Original piers and foundations should shall be substantiated by documentary, paired as needed, or replaced with similar be left in place and exposed. Continuous physical or pictorial evidence. materials under Standards 2 and 6. Non- brick foundations should be left intact. historic materials such as unpainted con- Spaces between piers can be infilled crete block, plywood, and stucco should with appropriate materials. not be used to fill raised foundations. En- closures should be limited to historically appropriate materials under Standard 3 or a compatible new design under Standard 9.

97 REHABILITATION GUIDELINES Foundations

Recommended Not Recommended

1. Retain, repair as needed or replace historic 1. Removing historic foundation enclo- foundations with matching materials. sures unless they are deteriorated and irreparable. 2. Maintain open spaces between piers. 2. Enclosing a pier foundation with con- 3. Retain, repair as needed or replace his- tinuous infill that prevents ventilation toric foundation enclosures with match- and destroys the openness of the fea- ing materials. ture. Lattice infill at pier foundation in University Heights North Historic District. 4. If foundation enclosures are missing, 3. Using a replacement infill material which enclose with an appropriate material is inappropriate to the style of the build- such as lattice or pierced brick. ing.

4. Using historically inappropriate material such as concrete block, stucco, or plywood as infill.

Lattice infill at pier foundation with pier expressed.

98 REHABILITATION GUIDELINES Foundations

Staff Approval Guidelines Board Approval Guidelines

Buildings proposed with slab on grade Slab on grade construction is inconsis- construction cannot be approved by staff. tent with Historic Districts. Floors should be elevated to at least 1.5 ft. above grade. Buildings of exceptional merit with this type of foundation system may be approved on a case-by-case basis provided all other design criteria are satisfied.

Removing historic foundation should be avoided Wood lattice infill with brick pier. when possible.

Pierced brick is an example of compatible contemporary infill.

Enclosing a pier foundation with continuous infill is not recommended.

99 REHABILITATION GUIDELINES Windows, Shutters and Awnings

Wood frame windows with distinctive wood brackets and trim in Southeast District.

Wood frame windows with distinctive wood brackets and trim in Craftsman/Bungalow style.

100 REHABILITATION GUIDELINES Windows, Shutters and Awnings WINDOWS, SHUTTERS AND AWNINGS

Applicable Secretary Standards 9. New additions, exterior alterations or ered in planning window repair or replace- related new construction shall not de- ment. Factors to consider include the size 2. The historic character of a property stroy historic materials that character- and number of historic windows in rela- shall be retained and preserved. The ize the property. The new work shall be tionship to a wall surface and their pattern removal of historic materials or alter- differentiated from the old and shall be of repetition; their overall design and de- ation of features and spaces that char- compatible with the massing, size, scale tailing; their proximity to ground level and acterize a property shall be avoided. and architectural features to protect key entrances; and their visibility, particu- the historic integrity of the property larly on key elevations. 3. Each property shall be recognized as a and its environment. Whether to repair or replace windows physical record of its time, place and is an issue that can pose considerable prob- use. Do not undertake changes that cre- Windows lems in a rehabilitation. Distinctive windows ate a false sense of historical develop- Identify, retain, and preserve windows that are a significant part of the overall de- ment, such as adding conjectural fea- and their functional features that contrib- sign of a building should not be destroyed tures or architectural elements from ute to defining the building. Such features under Standard 6. Careful repair is the pre- other buildings. include frames, sash muntins, glazing, sills ferred approach. If repair is not technically and moldings. or economically feasible, new windows that 6. Deteriorated historic features shall be The placement, design, and materials match the original in size, general muntin/ Sidelights that frame the door of the Matheson repaired rather than replaced. Where of windows is often a significant part of mullion configuration, and reflective quali- House in Southeast District. the severity of deterioration requires the architectural character of a building. ties may be substituted for missing or ir- replacement of a distinctive feature, the Common historic windows in the reparable windows. new feature shall match the old in de- Gainesville’s Historic Districts are double- Window design to enhance appearance sign, color, texture and other visual hung sash in a 1/1, 2/2, 6/6 or multi-light/1 is not permissible under the standards. The qualities and, where possible, materi- pattern, wooden or steel casement types, proper procedure is to improve existing win- als. Replacement of missing features and commercial show windows. Windows dows first. Weather stripping and other shall be substantiated by documentary, often offer or contain significant stylistic energy conservation methods should be physical or pictorial evidence. elements. Examples include lancet windows employed. If after careful evaluation, win- with stained glass in Gothic Revival dow frames and sashes are so deteriorated churches; multi-light upper sash in Bunga- they need replacement, they should be du- lows; and round arch windows in build- plicated in accordance with Standard 6. ings associated with Mediterranean influ- The following steps are recommended enced styles. Non-historic windows in- for evaluating historic windows. First, ana- clude awning, jalousie, and pivot types. lyze their significance to the building. Con- Under Standard 2, the visual role of sider their size, shape, color, and detailing. historic window design and its detailing or Then consider the condition of the win- Window with distinctive colored glass panes in craftsmanship should be carefully consid- dow. Inspect the sill, frame, sash, paint and Southeast District.

101 REHABILITATION GUIDELINES Windows, Shutters and Awnings

wood surface, hardware, weather-stripping, If these criteria are fulfilled, the new win- Alterations stops, trim, operability, and glazing. Then, dows need not be exact replicas of the origi- The alteration of historic windows may establish repair and replacement needs for nals. The Standards further permit new win- be approved by staff if the replacement existing windows. dows to be constructed of non-historic sash is of the same material, design, fea- If, following careful evaluation, window materials such as aluminum and to have a tures size and configuration of that of the frames are deteriorated, then they can be tint of up to 10 percent. Of course, match- original window. When replacing historic replaced. Replacement windows must be ing the original materials and visual quali- windows, special care should be taken to selected with care. They should match the ties is always preferable. In general, match the trim detail, the width of the frames original sash, pane size, configuration, glaz- changes to window openings should be and sash, the location of the meeting rail, ing, muntin detailing, and profile. Small dif- avoided. the setback of the window from the wall ferences between replacement and historic Owners often wish to replace windows plane, the separate planes of the two windows can make big differences in ap- to create a new look, for energy efficiency, sashes, and the reflective qualities of the Period Revival Tudor style window in University pearance. to decrease maintenance costs or because glass. “Snap-in” grids are not allowed. Heights North District. If 50 percent or more are deteriorated or of problems operating existing units. Highly Repairing window frames and sashes missing, then wholesale replacement of tinted windows, windows with reflective by patching, splicing, consolidating, or oth- windows is allowable. When choosing re- qualities, or stock windows of incompat- erwise reinforcing the window is encour- placements, the qualities of the original win- ible design and materials often result from aged. dows should be used as criteria. Consider such an approach and conflict with Stan- The design of replacement windows the following features of the original: dards 3, 6, and 9. which seek to replicate or duplicate a miss- The rhythm of window and door opening historic window must be documented 1. trim detail; ings is an important part of the character of through historical, physical or photo- buildings. In some instances, new window graphic sources. 2. size, shape of frame, sash; or door openings may be required to fulfill Enclosing historic window openings is code requirements or for practical needs. discouraged. If a window is no longer 3. location of meeting rail; New openings should be located on non- needed for its intended use, the glass Window with distinctive muntins assoiated with significant walls. For commercial buildings should be retained and the back side Craftsman/Bungalow style in University Heights 4. reveal or setback of window from wall these would be common or party walls or frosted, screened, painted black, or shut- North District. plane; secondary elevations. For residential build- tered so that it gives a functional appear- ings, these would be side or rear walls not ance. 5. separate planes of two sash; readily visible from a main thoroughfare. Window openings on facades or highly-visible elevations shall not be relo- 6. color, reflective qualities of glass; cated, enlarged or reduced.

7. muntin, mullion profiles, configuration.

102 REHABILITATION GUIDELINES Windows, Shutters and Awnings

Altering historic windows by use of aw- half the width of the window frame. They ning, glass jalousie, picture or any other should be attached to the window casing modern window material is not permissible rather than the exterior finish material. in any wall of an historic structure that is Wooden shutters with horizontal louvers visible from a right-of-way. are the preferred type although exact types Replacement windows for irreparable vary with style. Avoid metal and vinyl types historic windows should be made of the except in new construction. same materials. Compatible substitute materials may be considered only on a case-by- Awnings case basis depending on building use and Awnings shall be considered on a case- generally when the replacement window is by-case basis depending on the proposal’s Awning on “Chert House” in University Heights on a less-visible secondary elevation. impact on the historic character and mate- South District. Windows of residence in Northeast District. rials of the building. Window Additions Canvas awnings were sometimes fea- New window openings are inappropri- tured on buildings, particularly Mediterra- ate on the principal facade(s); new open- nean styled buildings, Bungalows, and ings should be placed on secondary eleva- commercial buildings. They are functional, tions. decorative, and appropriate to the many The addition of modern windows, metal historic buildings. Standard 3 should be sash, sliding glass windows or any type of considered when awnings are proposed as window which is inappropriate to the pe- part of a rehabilitation plan. riod shall be confined to “less visible sec- Under Standard 9, new awnings should ondary elevations.” be of compatible contemporary design. They should follow the lines of the win- Awnings in Universtiy Heights North District. Shutters dow opening. Round or bell shaped are ap- Shutters which are appropriate to the propriate for Mediterranean styled build- period and design of the building can be ings. Angled, rectangular canvas awnings introduced to facilitate energy efficiency. are most appropriate for flat headed win- Canvas awning on Mediteranean style residence in Northeast District. Under Standard 3, unless there is physi- dows and storefronts. Fiberglass and metal cal or documentary evidence of their exist- awnings and awnings that obscure signifi- ence, shutters should not be mounted. If cant detailing are inappropriate. shutters are found to be appropriate, they should be operable or appear to be operable and measure the full height and one-

103 REHABILITATION GUIDELINES Windows, Shutters and Awnings

Recommended Not Recommended 7. Installing heating/air conditioning units in window frames when the sash and 1. Retain and repair window openings, 1. Introducing or changing the location or frames may be damaged. Window instal- frames, sash, glass, lintels, sills, pedi- size of windows, and other openings lations should be considered only when ments, architraves, hardware, awnings that alter the architectural and historic all other visible heating/cooling systems and shutters where they contribute to character of a building. would result in significant damage to the architectural and historic character historic materials. If installation proves of the building. 2. Replacing window features on signifi- necessary, window units should be cant facades with historically and archi- placed on secondary elevations not 2. Improve the thermal performance of ex- tecturally incompatible materials such readily visible from public thorough- Multiple windows typical of Craftsman/Bungalow isting windows and doors through add- as anodized aluminum, mirrored or tinted fares. style fenestration. ing or replacing weather-stripping and glass. adding storm windows which are com- 8. Installing metal or fiberglass awnings. patible with the character of the build- 3. Removing window features that can be ing and which do not damage window repaired where such features contrib- 9. Installing awnings that obscure archi- frames. ute to the historic and architectural char- tecturally significant detailing or fea- acter of a building. tures. 3. Replace missing or irreparable windows on significant elevations with new win- 4. Changing the size or arrangement of win- 10.Replacing architecturally significant de- dows that match the original in material, dow panes, muntins, and rails where tailing, such as commercial canopies, size, general muntin and mullion propor- they contribute to the architectural and with awnings. tion and configuration, and reflective historic character of a building. qualities of the glass. Louvered wood awning in Northeast District. 5. Installing on significant facades shut- 4. Install awnings that are historically ap- ters, screens, blinds, security grills, and propriate to the style of the building or awnings which are historically inappro- that are of compatible contemporary de- priate and detract from the building’s sign. Awnings should follow the lines character. of window or door opening they are intended to cover. 6. Replacing windows that contribute to the character of a building with those that are incompatible in size, configuration, and reflective qualities or which alter the setback relationship between Awning on residence in Southeast District. window and wall.

104 REHABILITATION GUIDELINES Windows, Shutters and Awnings

Staff Approval Guidelines Board Approval Guidelines

Staff can approve repair of existing his- New windows on additions should be toric windows. compatible with those of the nearest window on the historic building in terms of Additions of the new windows that proportions, frames, sills and lintels. Install- meet the italicized conditions can be ap- ing window designs reflective of a historic proved by staff: period is discouraged. Designs that match the proportions of existing historic win- New window openings can be intro- dows, but are simple in detailing, are pre- duced on “less-visible secondary eleva- ferred. Window shutters on residence in Northeast District. tions” provided that they are of the same size or proportions as the nearest window Awning on residence in Southeast District. and utilize the same material as the historic windows. “Less visible secondary elevation” is defined as the portion of the building which is more than halfway behind the front and not fronting on street;

Alterations to non-historic portions of contributing buildings provided they are compatible in scale, design and materials with but distinguishable for the historic proportions.

Window shutters proportioned to size of window.

105 REHABILITATION GUIDELINES Entries, Porches and Balconies

Decorative. entry on residence in Pleasant Street District.

Decorative detailing of the entry on a Queen Anne style residence in Northeast District.

Period Revival Tudor style entry in University Heights North District.

106 REHABILITATION GUIDELINES Entries, Porches and Balconies ENTRIES, PORCHES AND BALCONIES

Applicable Secretary Standards compatible with the massing, size, scale The addition of non-historic architec- and architectural features to protect tural features such as sidelights and 2. The historic character of a property the historic integrity of the property entryway surrounds is discouraged if not shall be retained and preserved. The and its environment. original to the entrance. removal of historic materials or alteration of features and spaces that char- 10.New additions and adjacent or related Porches acterize a property shall be avoided. new construction shall be undertaken Porches have been a traditional and sig- in such a manner that, if removed in the nificant feature of architecture. Porches 4. Most properties change over time; those future, the essential form and integrity served as a covered entrance to buildings changes that have acquired historic of the historic property and its environ- and a transitional space between the inte- Distinctive detail of porch colomns and brackets on significance in their own right shall be ment would be unimpaired. rior and exterior. They provided a protected, Craftsman/Bungalow style house in Universtiy retained and preserved. shaded area used for relief from the state’s Heights North District. Entries, Porches and Balconies hot and humid weather. They were often 5. Distinctive features, finishes and con- Identify, retain and preserve entrances the principal location for ornamentation and struction techniques or examples of and their functional and decorative features detailing, such as brackets and other jig- craftsmanship that characterize a his- such as doors, fanlights, sidelights, pilas- sawn woodwork, posts, columns, and bal- toric property shall be preserved. ters, entablatures, balustrade and stairs. ustrades. Size, style, ornateness or simplicity, sense of openness, and detailing were 6. Deteriorated historic features shall be Alterations all important attributes of porches. Such repaired rather than replaced. Where Encasing a decorative balustrade, re- features should be preserved during the the severity of deterioration requires moving or simplifying brackets and fret- course of rehabilitating a building under replacement of a distinctive feature, the work, or boxing in open eaves are gener- Standard 2. new feature shall match the old in de- ally inappropriate alterations to a historic There are a number of common prob- sign, color, texture and other visual porch and should not be considered. lems associated with porch treatments. qualities and, where possible, materi- Aluminum storm doors, sliding doors Owners are often tempted to enclose als. Replacement of missing features and screen doors are not appropriate for fa- porches for additional year-round living shall be substantiated by documentary, cades or highly-visible secondary eleva- space. Although porch enclosures are gen- physical or pictorial evidence. tions. French doors are appropriate for side erally not recommended, they can meet and rear entrances but are not acceptable as Standards 5, 9, and 10 under limited cir- 9. New additions, exterior alterations or front entryways unless documented by cumstances. Transparent materials, such related new construction shall not de- physical, photographic or historic evidence. as clear glass enclosures or screens, which stroy historic materials that character- Relocating, enlarging or reducing his- are set behind balustrade and structural ize the property. The new work shall be toric doorways on facades or highly-vis- systems and maintain the visual openness Detail of porch columns on the Craftsman style differentiated from the old and shall be ible secondary elevations is inappropriate. of a porch are permitted. Removal or en- Medlin House in Southeast District.

107 REHABILITATION GUIDELINES Entries, Porches and Balconies

casement of significant porch features or Recommended Not Recommended enclosures with non-transparent materials are not acceptable treatments. Permitted 1. Retain porches and steps that are ap- 1. Removing or altering porches and steps enclosures should be attached in such a propriate to a building and its subse- that are appropriate to the building’s de- way that if removed, the form and integrity quent development. Porches and addi- velopment and style. of the porch would remain. tions reflecting later architectural styles Because they are open to the elements, are often important to the building’s his- 2. Stripping porches and steps of original porches also require frequent maintenance torical development and should, wher- material and architectural materials such and repair. Under Standard 6, deteriorated ever possible, be retained. as hand rails, balusters, columns, brack- Simple porch detail of Frame Vernacular style porch features should be repaired rather ets, and roof decorations. residence in Pleasant Street District. than replaced. When replacement proves 2. Repair and replace, where necessary, necessary, replacement features and mate- deteriorated architectural features of 3. Enclosing porches in a manner that de- rials should approximate the originals as wood, terra cotta, tile, brick and other stroys their historical appearance. closely as possible. If wholesale replace- historic materials. ment is required, the new porch should be rebuilt based on historical research and 3. If enclosures are undertaken, maintain physical evidence. If a porch or individual the openness of porches through the features of it are missing and no documen- use of transparent materials such as tation or physical evidence is available, a glass or screens. Place enclosures be- new porch design which is compatible with hind significant detailing so that the the scale, design, and materials of the re- detailing is not obscured. Simple porch detail of frame vernacular style mainder of the building is appropriate un- residence in Pleasant Street District. der Standard 9. 4. If additional interior space is needed or Extant porches which have previously desired, place the addition at the rear of Entry porch with built in benches in Northeast been enclosed or otherwise altered are per- the building rather than enclosing a District. mitted to remain under the guidelines. porch. There is no requirement to restore an altered or missing feature. However, if enclosures or other inappropriate alterations are removed during the course of rehabilitation, they can not be replaced. Moreover, new construction must comply with Stan- dard 9. Monterey style with balcony in University Heights South District. Articulated railing in Southeast District.

108 REHABILITATION GUIDELINES Entries, Porches and Balconies

Staff Approval Guidelines Board Approval Guidelines

Additions and alterations to entries, In constructing a new entrance or porch, porches and balconies under the italicized the design shall be compatible in size, scale, conditions may be approved by staff: and material with the historic character of the building. Stairways to existing openings which New porches or entryways should be are composed of materials compatible constructed to the rear of historic struc- with the style of the building. Concrete is tures. Unless their historic existence is acceptable if historically documented; documented, new porches for the main facades are discouraged. Coordinate porch building design with building. Entry on Tudor style residence in University New door openings can be introduced Porch designs for new construction Heights North District on “less-visible secondary elevations” should be simple and not replicate the pe- provided that they are of the same size or riod and style of the building in its details and balustrade. proportions as the nearest door and uti- Original door openings and features lize the same material as the historic doors. such as transoms, sidelights, and doors “Less-visible secondary elevation” is de- should be retained. New door openings fined as that portion of the building which should not be introduced on elevations vis- is more than halfway behind the front and ible from the street. not fronting on street. Where the intent is to preserve significant interiors and not enclose internal stair- Replacement doors which are appro- ways, the required exterior should be rede- priate to the style of the building; signed as an exterior addition on a secondary elevation. Screening porches on less-visible secondary elevations;

Alterations to non-historic portions of contributing buildings that are compat- Coordinate porch building design with principal ible in scale, design and materials and building. distinguishable from the historic portions. Porch plays important role as a spatial link between the principal building and the Enclosing a porch or porte cochere radically surrounding landscape and context. changes the appearance of the principal building.

109 REHABILITATION GUIDELINES Doors and Entrances

Historic door on office in Northeast District.

Craftsman/Bungalow style entry in University Heights North District.

110 REHABILITATION GUIDELINES Doors and Entrances

DOORS AND ENTRANCES

Applicable Secretary Standards 9. New additions, exterior alterations or Replacement doors should either match related new construction shall not de- the design of the original under Standard 2. The historic character of a property stroy historic materials that character- 6, or substitute new materials and designs shall be retained and preserved. The ize the property. The new work shall be sympathetic to the original under Standard removal of historic materials or alter- differentiated from the old and shall be 9. Under Standard 3, historic doors that do ation of features and spaces that char- compatible with the massing, size, scale not match the composition and stylistic acterize a property shall be avoided. and architectural features to protect details of the building should not be sub- the historic integrity of the property stituted. Contemporary stock doors and 3. Each property shall be recognized as a and its environment. screen doors are inappropriate replace- physical record of its time, place and ments. Replacement screen doors should use. Changes that create a false sense Principal doors and entrances are an be simple and any ornamentation should of historical development, such as add- integral part of historic buildings. They be based on historic precedent and in keeping conjectural features or architec- frequently contain decorative or stylistic ing with the character of the entry. Alumi- tural elements from other buildings, features, such as transom and sidelights or num, metal, and jalousie doors should be shall not be undertaken. detailed surrounds. Under Standard 2, avoided except where documented histori- doors and entrances and associated de- cally. 6. Deteriorated historic features shall be tailing should be preserved. Changes to Codes or practicality may require new repaired rather than replaced. Where door size and configuration should be entrances. Placement on principal facades the severity of deterioration requires avoided. If a historic entrance can not be should be avoided under Standard 2. Un- replacement of a distinctive feature, the incorporated into a contemporary use for der Standard 9, new doors should not be new feature shall match the old in de- the building, the opening and any signifi- readily visible from the public right-of-way. sign, color, texture and other visual cant detailing should, nevertheless, be re- qualities and, where possible, materi- tained. als. Replacement of missing features shall be substantiated by documentary, physical or pictorial evidence.

111 REHABILITATION GUIDELINES Doors and Entrances

Recommended Not Recommended

1. Retain and repair historic door openings, 1. Introducing or changing the location of doors, screen doors, trim and details doors and entrances that alter the archi- such as transom, sidelights, pediments, tectural character of the building. frontispieces, hoods and hardware where they contribute to the architec- 2. Removing significant door features that tural character of the building. can be repaired.

2. Replace missing or deteriorated doors 3. Replacing deteriorated or missing doors with doors that match the original, or with stock doors or doors that are inap- that are of compatible contemporary propriate designs or constructed of in- design. appropriate materials.

3. Place new entrances on secondary el- 4. Replacing historic doors, transoms or evations away from the main elevation. sidelights with blocking. Preserve non-functional entrances that are architecturally significant. 5. Adding aluminum or other inappropriate screen doors. 4. Add simple or compatibly designed wooden screen doors where appropriate. Side lights and transom on door of Pound House in Southeast District.

112 REHABILITATION GUIDELINES

Staff Approval Guidelines Board Approval Guidelines

Staff can approve any rehabilitation of The board may consider new designs entrances and doors that meet the follow- that utilize different materials for entry ing conditions: projects provided the new entry does not destroy contributing architectural features New entrances that do not occur on of the main entrance. facades facing principal streets and whose design and materials are compatible with that of the existing building.

Historic entry on residence in Northeast District.

Historic door with tile border in Northeast District.

113 REHABILITATION GUIDELINES Exterior Fabric

The exterior fabric of the Matheson House exhibits cypress shingles at gable ends and horizontal wood lap siding on first level.

The exterior fabric of this house in the University Heights North District has both wood shingles and horizontal wood siding.

114 REHABILITATION GUIDELINES Exterior Fabric

EXTERIOR FABRIC

Applicable Secretary Standards Horizontal wood siding is the predomi- non-historic materials and violate this stan- nant exterior finish of residential buildings dard. Artificial siding also frequently dam- 2. The historic character of a property in Gainesville’s Historic Districts. Wood ages the fabric underneath. It can trap mois- shall be retained and preserved. The siding is a character defining feature of ture and encourage decay and insect infes- removal of historic materials or alter- frame vernacular buildings and many of the tation. Furthermore, despite manufacturer’s ation of features and spaces that char- late nineteenth and early twentieth century claims, artificial siding requires mainte- acterize a property shall be avoided. styles found in the state such as the Queen nance. All materials have a limited life span Anne, Colonial Revival, and Craftsman and vinyl and aluminum are no exceptions. 3. Each property shall be recognized as a Bungalow. Important characteristics of Within twenty years the finish of these physical record of its time, place and wood siding which should be considered materials will begin to deteriorate and use. Changes that create a false sense in its repair or replacement are board size, weather, requiring painting, repair, or re- of historical development, such as add- width of exposure, length, and trim detail. placement. ing conjectural features or architectural Probably the greatest threat to wood In cases where artificial siding is al- elements from other buildings, shall not siding is the application of non-historic sur- ready in place, its removal is not neces- be undertaken. face coverings such as aluminum and vi- sary under the guidelines. An owner may nyl siding, stucco, and permastone. Appli- retain the material or remove it. If, how- 7. Chemical or physical treatments, such cation of these materials violates Standards ever, the material is removed, it must be as sandblasting, that cause damage to 2 and 3. Standard 2 states that the removal replaced with historically appropriate ma- historic materials shall not be used. The or alteration of any historic material or dis- terials in accordance with Standard 9. surface cleaning of structures, if appro- tinctive architectural feature should be Abrasive cleaning or paint removal are priate, shall be undertaken using the avoided when possible. Application of other threats to historic wooden siding and gentlest means possible. non-historic exterior finishes results in ei- violate Standard 7. The proper method for ther the removal or covering of historical paint removal is cleaning, light scraping, 9. New additions, exterior alterations or materials and details. Decorative trim and sanding down to the next sound layer. related new construction shall not de- around doors, windows, and under roof If more intensive paint removal is required, stroy historic materials that character- lines is frequently removed. Detailing of the gentlest means possible should be used. ize the property. The new work shall be the wood itself, such as beveling or bead- Appropriate methods include a heat plate differentiated from the old and shall be ing, is lost. Board width, length, and expo- for flat surfaces such as siding, window sills compatible with the massing, size, scale sure are generally changed, thus, altering and doors; an electric heat gun for solid and architectural features to protect the the scale and appearance of the building. decorative elements; or chemical dip strip- historic integrity of the property and its Standard 3 states that historic build- ping for detachable wooden elements such environment. ings shall be recognized as products of their as shutters, balusters, columns, and doors time and that alterations that have no his- when other methods are too laborious. torical basis shall be discouraged. Alumi- Harsh abrasive methods such as rotary num, vinyl, and permastone are clearly sanding discs, rotary wire strippers, and

115 REHABILITATION GUIDELINES Exterior Fabric

sandblasting should never be used to re- Compatibility of Materials Recommended move paint from exterior wood. Such and Textures methods leave visible circular depressions The relationship of material and texture 1. Retain wooden materials and features in the wood; shred the wood; or erode the of the facade of a building, structure or ob- such as siding, cornices, brackets, sof- soft, porous fibers of the wood, leaving a ject shall be visually compatible with the fits, fascia, window architrave, and permanently pitted surface. Harsh thermal predominant materials used in the build- doorway pediments, wherever possible. methods such as hand-held propane or ings to which it is visually related. For in- These are essential components of a butane torches should never be used be- stance, if wood siding is proposed for new building’s appearance and architectural cause they can scorch or ignite wood. construction, the dimensions of the siding style. should relate to the surrounding buildings. Wood Stucco on concrete masonry unit construc- 2. Repair or replace, where necessary, de- Wood: Weatherboard, novelty, drop, tion may be appropriate if other architec- teriorated material. New construction shingles and other wooden siding. tural details such as window and door trim, shall not destroy historic materials that Identify, retain and preserve historic door surrounds, and molded cornices are characterize the property. The new work siding and its material, functional and deco- added to enhance the complexity of the shall be differentiated from the old and rative aspects such as masonry, rubble, design proposal, as is found on Mediterra- shall be compatible with the massing, Texture of new exterior walls should be compatible clapboard, shiplap and novelty. nean influence and Mission style buildings. size, scale and architectural features to with existing structure. protect the historic integrity of the prop- Masonry erty and its environment. Repair damaged masonry features by patching, piecing in, or consolidating to 3. Artificial siding may be permitted if the match original instead of replacing an en- material is shown to be compatible in tire masonry feature. Repair work should quality, shape and scale with the historic be done by hand in compliance with Na- buildings. tional Park Service Standards. If cleaning is necessary, test the cleaner 4. The complexity of architectural articula- on a small, inconspicuous part of the build- tion on surrounding historic buildings ing. Observe the test patch over a sufficient (i.e., bay windows, bracketing, belt period of time in order to determine the courses, window designs) should be re- gentlest cleaning method. flected on the new buildings.

5. Wood is preferred siding material when replacing asbestos siding.

116 REHABILITATION GUIDELINES Exterior Fabric

Not Recommended

6. When repairing stucco, maintain the ex- 1. The use of T111 vertical siding, diago- 6. Avoid using cleaners that damage ma- isting texture as well as the existing nal siding, vinyl and aluminum siding is sonry or leave chemical residue. Do not decorative elements or details around discouraged. clean marble or limestone with acid the windows, doors or roof lines. cleaners. Do not use abrasive cleaning 2. Do not cover exposed wood, masonry, methods such as sandblasting. 7. Use of pervious sealants is acceptable. stone or other surfaces with stucco unless historically documented. 7. Do not paint unpainted masonry. 8. Clean unpainted masonry with the gentlest effective means possible. The best 3. Replacement wood siding should be 8. Avoid using high-pressure water wash Fieldstone at base of residence. method is low-pressure water wash consistent with the original in size, di- which can damage the brick. (600-1000 pounds per square inch) with rection, materials and lap dimension. detergents and natural bristle brushes. Original wall shingles should be maintained.

4. Synthetic and composition siding is generally not appropriate replacement material for historic buildings. On a case- by-case basis, however, such siding may be an acceptable alternative only if (1) the existing siding is so deteriorated or damaged that it cannot be repaired; (2) the substitute material can be installed without damaging or obscuring the architectural features of the building; and (3) the substitute material can match the historic material in size, profile and finish so that there is no change in the character of the building.

5. The use of Portland cement should be avoided when repointing brick unless technical reasons demand its use.

117 REHABILITATION GUIDELINES Exterior Fabric

Staff Approval Guidelines Board Approval Guidelines

Staff can approve alterations to siding Wood siding for new additions should that utilizes compatible materials, matches match existing materials, if present, in terms existing depth and width and type of lap of lap width, type and depth. and approximates textures consistent with When matching brick and tile work with the historic building. new brick and tile work, care must be taken Alterations to non-historic portions of to match the color, texture, composition and contributing buildings can be approved by size of the bricks or tile, the width or the staff provided they are compatible in scale, joints between the bricks and tile, the color design and materials. and tone of the mortar and the type of joint Decorative woodwork eave details at gable end with the original. of building.

118 REHABILITATION GUIDELINES Painting, Texture and Color PAINTING, TEXTURE AND COLOR

Applicable Secretary Standards stencilling, graining, marbleizing, and trompe l’oeil are significant treatments and 2. The historic character of a property should be preserved during the course of a shall be retained and preserved. The rehabilitation. removal of historic materials or alter- Advisory guidelines are offered in Ap- ation of features and spaces that char- pendix 3: Historic Materials to property acterize a property shall be avoided. owners who are interested in painting their building historically appropriate colors. Be- 5. Distinctive features, finishes and con- cause of frequent painting, few buildings in struction techniques or examples of Gainesville exhibit original colors. craftsmanship that characterize a his- The best way to verify original colors toric property shall be preserved. is through paint analysis. A selection of Textured stucco and masonry provide unique books and articles are included in the bib- material qualities in historic properties which should be preserved. Paint colors are not reviewed by staff liography for further assistance in choos- or the Historic Preservation Board. How- ing historically appropriate paint colors. ever, removal of lead-based paints and coatings used extensively before the 1970’s requires special permits. Paint colors, finishes, and decorative painting constitute important factors in defining the character of a historic building. Under Standard 2, painting a building that has never been painted, or removing paint from a building that has traditionally been painted, is never a recommended rehabilitation treatment. Either of these treatments can change a building’s appearance to one that is at odds with its historic character. Likewise, when repainting a historic building that is already painted, a new color should generally be close to the original, as well as historically appropriate to the building and the historic district. Under Standard 5, decorative painting such as

119 REHABILITATION GUIDELINES Painting, Texture and Color

Recommended

1. Preserve painted and unpainted sur- 6. Apply compatible paint coating follow- 9. Paint historically unpainted masonry faces as they traditionally existed on a ing proper surface preparation. only if it has been previously painted or building. as a protective measure to prevent fur- 7. Follow manufacturer’s product and ap- ther deterioration caused by poor qual- 2. Preserve and restore decorative paint- plication instructions when repainting ity materials or prior abrasive cleaning. ing such as stencilling, graining, mar- masonry. bling, and trompe l’oeil. 8. Repaint with colors that are historically Choose color appropriate to the period and style of the building. 3. Choose color appropriate to the period appropriate to the building and district. and style of the building.

4. Inspect painted masonry to determine whether repainting is necessary.

5. Remove damaged or deteriorated paint only to the next sound layer using hand scraping prior to repainting.

Textured stucco finish.

120 REHABILITATION GUIDELINES Painting, Texture and Color

Not Recommended Staff Approval Guidelines Board Approval Guidelines

1. Painting a traditionally unpainted sur- Staff does not review color selections. Board does not review color selections. face and removing paint from a traditionally painted surface.

2. Damaging, covering or removing decorative painting.

3. Bright, gaudy colors or colors without historic basis.

4. Removing paint that is firmly adhered to and thus protecting masonry surfaces.

5. Removing paint by destructive means such as sandblasting, application of caustic solutions or high pressure water blasting.

6. Creating a new appearance by applying paint or other coatings such as stucco to masonry that has been historically unpainted or uncoated.

7. Removing paint from historically painted masonry.

8. Radically changing the type of paint or coatings or its color.

Preserve painted, textured and patterned surfaces in original form wherever possible.

121 REHABILITATION GUIDELINES Auxiliary Structures

Coordinate auxiliary building material with principal building.

122 REHABILITATION GUIDELINES Auxiliary Structures

AUXILIARY STRUCTURES

Applicable Standards Garages, tool sheds, and other structures should be compatible with the de- 9. New additions, exterior alterations or sign of the major buildings on the site. related new construction shall not de- Newer buildings should take their design stroy historic materials that character- clues from other existing (contributing) out- ize the property. The new work shall be buildings. The use of traditional roof slope differentiated from the old and shall be and traditional materials are two important compatible with the massing, size, scale criteria. and architectural features to protect the historic integrity of the property and its environment. Coordinate auxiliary building material with 10.New additions and adjacent or related principal building. new construction shall be undertaken in such a manner that if removed in the future, the essential form and integrity of the historic property and its environment would be unimpaired.

New Garages, Carport, Accessory and Other Structures Attaching a new garage to a historic house or enclosing a historic porte cochere or carport to accommodate the function is Coordinate auxiliary building design with principal building. discouraged. New garages should not be placed to the front of a house. The garage should be compatible with the materials, design, and architectural features of the principal building. If proposed, garages should be detached, placed at the rear of the property, and accessible from mid-block alleyways when possible. Garage apartments along mid-block alleyways in University Heights South District.

123 REHABILITATION GUIDELINES Auxiliary Structures

Recommended Not Recommended

1. Use materials similar in size, proportion, 1. Obscuring important features of the and detail to the original. property with new auxiliary structures.

2. If additional interior space is needed or 2. Designs that, through their scale, detail desired, place the addition at the rear of and materials detract from the principal the building site. buildings or settings.

Auxilliary structures should use materials similar in size, proportion and detail to the principal structure.

Use materials similar in size, proportion, and detail to the principal building.

124 REHABILITATION GUIDELINES Auxiliary Structures

Staff Approval Guidelines Board Approval Guidelines

Decks that meet all of the following con- Utilize materials and textures consis- Auxiliary structures that exceed the ditions can be approved by staff: tent with the principal building; staff approval guidelines can be approved by the board on a case-by-case basis. Historic building on which deck is to Roof type and pitch is similar to prin- be built does not front on two or more cipal building. In the University Heights Historic Dis- streets; tricts, the board can approve new auxiliary Sheds that meet the italicized conditions or secondary structures that exceed the Sited to the rear or rear sideyard of can be approved by staff: size of existing principal structures if they building (i.e., behind the point midway are compatible in materials, design details between front and back of building); and Is not to be attached to structure; and scale with the existing contributing structure. Utilize simple designs that are mostly Does not exceed 8 feet in wall height open; and 200 sq. ft. in area.

New garages and carports that meet all Sited behind the rear wall line of the of the following conditions can be ap- principal building; and comprised of ma- proved by staff: terials compatible with main structure.

Structure does not front on two or more streets;

Is not attached to the historic building;

Does not exceed 1-story in height and 400 sq. ft. in area;

Sited to the rear or rear sideyard of the building (i.e., behind the point midway between front and back of building);

Auxilliary structures should use materials similar in size, proportion and detail to the principal structure.

125 REHABILITATION GUIDELINES Porte Cocheres and Garages

Porte cocheres and detached garages are visible expressions of the impact of the automobile on historic buildings in Florida.

Garage apartment in University Heights North District.

126 REHABILITATION GUIDELINES Porte Cocheres and Garages

PORTE COCHERES AND GARAGES

Applicable Secretary Standards compatible with the massing, size, scale and architectural features to protect the 2. The historic character of a property historic integrity of the property and its shall be retained and preserved. The environment. removal of historic materials or alteration of features and spaces that char- 10. New additions and adjacent or related acterize a property shall be avoided. new construction shall be undertaken in such a manner that if removed in the 4. Most properties change over time; those future, the essential form and integrity changes that have acquired historic of the historic property and its envi- significance in their own right shall be ronment would be unimpaired. retained and preserved. Porte cocheres and detached garages Porte cocheres and garages are often an integral part of the original design of historic buildings. 5. Distinctive features, finishes and con- are visible expressions of the impact of the struction techniques or examples of automobile on historic buildings in Florida. craftsmanship that characterize a his- Much of Florida developed after mass pro- toric property shall be preserved. duction of the automobile. As a result, porte cocheres and garages are often an integral 6. Deteriorated historic features shall be part of the original design of historic build- repaired rather than replaced. Where ings. In some instances, garages were the severity of deterioration requires re- added as an afterthought and lack signifi- placement of a distinctive feature, the cant design quality and materials. Where new feature shall match the old in de- they are less than fifty years old or insignifi- sign, color, texture and other visual cant, they can be selectively removed, if qualities and, where possible, materi- necessary. als. Replacement of missing features shall be substantiated by documentary, physical or pictorial evidence.

9. New additions, exterior alterations or related new construction shall not destroy historic materials that characterize the property. The new work shall be differentiated from the old and shall be

127 REHABILITATION GUIDELINES Porte Cocheres and Garages

Recommended Not Recommended

1. Repair and replace, where necessary, 1. Removing or altering porches and steps deteriorated architectural features of that are appropriate to the building’s de- wood, terra cotta, tile, brick and other velopment and style. historic materials. 2. Stripping porches and steps of original 2. Retain garages and porte cocheres. If en- material and architectural materials such closures of garages and porte cocheres as hand rails, balusters, columns, brack- are undertaken, preserve significant fea- ets, and roof decorations. tures. Use materials similar in size, pro- Garage in the University Heights North District. portion, and detail to the original. 3. Enclosing porte cocheres, garages, and steps in a manner that destroys their 3. If additional interior space is needed or historical appearance. desired, place the addition at the rear of the building rather than enclosing a porch or porte cochere.

Porte-cochere in University Heights North District.

128 REHABILITATION GUIDELINES Porte Cocheres and Garages

Staff Approval Guidelines Board Approval Guidelines

Staff can approve porte-cocheres, ga- Enclosing of carports or porte-cocheres rages and carports that meet the italicized to gain additional space may be approved conditions: on a case-by-case basis provided new additions are not feasible. A proposal for enclo- In the case of contributing garages, sure must not detract from the overall de- porte-cocheres and carports, staff can ap- sign of the structure and use compatible prove rehabilitations that are compatible materials and design. The enclosure must with the original structure; be distinguished from the original structure.

Structures do not front on two or more Garages are well-suited for adaptive use streets; because they already have most building features. The typological integrity of the Is not attached to the historic build- garage should be maintained in adaptive ing; use projects.

Does not exceed 1-story in height and 400 sq. ft. in area;

Sited to the rear or rear yard of building (i.e,. behind the point midway between front and back of building);

Utilize materials and textures consistent with the principal building;

Roof type and pitch similar to principal building.

Carport in the University Heights North District.

129 REHABILITATION GUIDELINES Landscape Structures

Landscape structure in side yard in the Northeast District.

Landscape along NW 3rd Avenue in University Heights North District.

130 REHABILITATION GUIDELINES Landscape Structures LANDSCAPE STRUCTURES

Applicable Secretary Standards Recommended Not Recommended

2. The historic character of a property 1. The design of landscape features 1. Removing or altering historic landscape shall be retained and preserved. The should complement the character of the structures. removal of historic materials or alter- principal structure. ation of features and spaces that char- 2. Adding new landscape features that acterize a property shall be avoided. 2. Swimming pools should be located at obscure important architectural features the rear of a structure and not be visible of a historic structure. 9. New additions, exterior alterations or from the front of the property. related new construction shall not de- 3. The use of railroad ties as retaining walls. stroy historic materials that characterize the property. The new work shall be Garden entries should be compatible with principal building and site design. differentiated from the old and shall be compatible with the massing, size, scale and architectural features to protect the historic integrity of the property and its environment.

Parks, streetscapes, lawns and gardens are highly significant components of historic districts. Built structures such as gazebos, pergolas, decks, patios, retaining Greenhouse structures should be located on less visible sides of the site. walls and pools are often featured as principal elements in historic landscapes. Brick paved streets, patterned sidewalks, granite curbing and street trees are important urban design features.

Landscape barriers should be compatible with Landscaping of rehabilitation project on SW 2nd principal building and site design. Avenue in the University Heights South District.

131 REHABILITATION GUIDELINES

Staff Approval Guidelines Board Approval Guidelines

Landscape structures which meet all of Landscape structures should be con- the italicized conditions can be approved structed of materials that are compatible by staff: with and complement the design of the main structure. Can be located in front, side, or rear yard; A pool enclosure is acceptable provided that it is set to rear of the house and subor- Are compatible with the scale, historic dinate to the primary building. (See also Landscape structures should be constructed of materials, style and detailing of the prin- “Auxiliary Structures.”) materials that are compatible with and cipal building; and complement the design of the main structure. Do not obscure architectural details which are significant in defining the character of the historic structure.

Swimming pools that meet all of the italicized conditions can be approved by staff:

Sited behind the rear wall line of the principal building; and

The pool enclosure does not impact or obscure significant features of the building.

132 REHABILITATION GUIDELINES

133 REHABILITATION GUIDELINES Fences and Garden Walls

Utilize materials and textures consistent with the principal building for fence design.

Picket fencing in University Heights South District.

134 REHABILITATION GUIDELINES Fences and Garden Walls

FENCES AND GARDEN WALLS

Fences, walls and hedges can define Grid wire fencing supported by metal, Applicable Secretary Standards the private landscape of personal property wood or masonry piers is acceptable if used and make the spatial order of the district as a support for plant materials. 2. The historic character of a property visible. Fences and walls designed in this Fences should be coordinated with shall be retained and preserved. The manner combine personal expression with landscaping elements. Taller fences should removal of historic materials or alter- civic order. be placed adjacent to taller landscape ele- ation of features and spaces that char- The term “fence” generally applies to a ments. acterize a property shall be avoided. lightweight construction of wood or metal Applicants who live on corner lots must whereas “wall” applies to a more substan- design fences to comply with the City’s 9. New additions, exterior alterations or tial barrier constructed of stone or masonry. intersection visibility requirements. The related new construction shall not de- Hedges are lines of enclosure constructed State of Florida’s Department of Transpor- stroy historic materials that character- of natural material such as shrubs or flow- tation and the City of Gainesville have ize the property. The new work shall be ers. Trees may also be used to define space adopted The American Association of State differentiated from the old and shall be in the landscape. Highway and Transportation Officials compatible with the massing, size, scale Fences and walls that are designed to (AAASHTO) guidelines for determining and architectural features to protect the permit the passage of light and air are pre- visibility at intersections. If you have any historic integrity of the property and ferred over totally solid construction. Rec- questions concerning the requirements, call its environment. ommended fence and wall materials are the City of Gainesville’s Public Works. wood, stone, masonry, and metal used sepa- rately or in combinations. Fences designed with more than two materials are not recommended. Owner designed solutions are recommended over pre-manufactured fences such as “stockade” fencing due to its ubiquitous use and lack of detailing. Vi- nyl and recycled prefabricated fence materials are also discouraged for the same reason. The board may approve selected use of these materials on a case-by-case basis. Finish, appropriate detail and compatibility with existing architecture are significant factors to be considered.

Brick wall in University Heights North District.

135 REHABILITATION GUIDELINES Fences and Garden Walls

Recommended Not Recommended

1. Utilize custom-design fences or walls 1. Use of stockade style fencing. over pre-fabricated constructions. 2. Use of chain link fencing. 2. Use design, scale and materials compatible with the context. 3. Use of vinyl fencing.

3. Design features such as vertical accent elements or tapering picket heights to Fence depicting same slat width and spacing. offset repetition of fences.

Coordinate landscape elements with fence design.

Retain historic fence materials when possible.

Solidity of fence/walls shall be limited.

Walls designed to permit the passage of light and Fence depicting variety of slat widths and spacing. air are preferred.

136 REHABILITATION GUIDELINES Fences and Garden Walls

Staff Approval Guidelines Board Approval Guidelines

Fences and walls extending in to the Comply with the AASHTO Standards. None required if all conditions are met. front yard beyond the front wall of the house or with a highly-visible side or rear New construction should include yard must meet the following conditions: fence-lines/walls when adjacent to historic properties with fence-lines and walls. Constructed of wrought iron, masonry, wood or stucco; Fences in backyards shall be no more than six feet in height and constructed of No greater than 48 inches tall if mostly wood or masonry; and open (i.e., 50% or more transparent); Picket designs should draw inspira- No greater than 36 inches tall if mostly tion from architectural elements of the his- closed (i.e., 50% or more opaque); toric structure.

Where the lot is higher than the sidewalk or street, the fence height should be reduced, where practical, by the difference between the height of the lot and the sidewalk;

Align with adjacent fences, if appropriate, in terms of height (where permissible) and materials;

Vertical elements which break up the repetition of the picket fence should be introduced for every ten feet of picket fence. This can be accomplished by tapering the height of the pickets or interjecting decorative posts at rhythmic intervals.

Brick wall in a historic district.

137 REHABILITATION GUIDELINES Sidewalks and Walkways

Sidewalk and continuous picket fence form a clear edge linking 19th century bungalows in Southeast District.

Existing sidewalks should be maintained.

138 REHABILITATION GUIDELINES Sidewalks and Walkways

SIDEWALKS AND WALKWAYS

Applicable Secretary Standards Sidewalks and Walkways Retain historic walkways, sidewalks, 2. The historic character of a property and historically significant features of the shall be retained and preserved. The existing property. removal of historic materials or alter- Sidewalks are important elements in ation of features and spaces that char- defining street character, facilitating pedes- acterize a property shall be avoided. trian movement and establishing a transitional space between private properties and 9. New additions, exterior alterations or public space. Sidewalks should be pre- related new construction shall not de- served and maintained in districts where stroy historic materials that character- they are predominate such as the North- ize the property. The new work shall be east, Southeast, and University Heights differentiated from the old and shall be Historic Districts. In the Pleasant Street Dis- compatible with the massing, size, scale trict, the use of sidewalks was used prima- and architectural features to protect rily on streets such as 1st Street (Pleasant the historic integrity of the property Street) when it functioned as the principle and its environment. commercial spine for the community before desegregation. The use of sidewalks is more intermittent along other streets due to the number of buildings built and the more informal relationship between individual property and the public space of the street. Existing sidewalks within the district should be maintained.

139 REHABILITATION GUIDELINES Sidewalks and Walkways

Recommended Not Recommended Staff Approval Guidelines Board Approval Guidelines

1. Maintain existing sidewalks. 1. Allowing landscape materials to block Staff can approve alterations or side- Board can approve sidewalk additions sidewalks. walk additions if they meet all the above that are shown to be compatible with his- 2. Minimize new curb cuts where possible. recommendations. toric patterns of private-public spatial rela- 2. Decoration of sidewalks where no his- tionships and construction practices of the 3. Add sidewalks where appropriate dur- torical precedents exist. district, street or block. ing rehabilitation or new construction. 3. Excessive curb cuts. 4. Allow sidewalks to accommodate existing landscape elements such as mature trees by “bending” around features.

Landscape bordering sidewalks within the district should maintain existing edge conditions.

Sidewalks should accommodate mature trees.

140 REHABILITATION GUIDELINES Interior Spaces, Features & Finishes

INTERIOR SPACE, FEATURES & FINISHES

Applicable Secretary Standards compatible with the massing, size, scale, jails, industrial buildings, or social clubs and architectural features to protect often prove difficult to adapt to other uses 1. A property shall be used for its historic the historic integrity of the property without destroying their historic character. purpose or be placed in a new use that and its environment. Under Standard 2, interior spaces which requires minimal change to the defin- define the historic use of a building should ing characteristics of the building and Interior spaces are not reviewed by be respected. Church sanctuaries, theatre its site and environment. staff or the board unless a tax exemption auditoriums, and hotel lobbies and ball- has been applied for in conjunction with a rooms should remain intact both for their 2. The historic character of a property rehabilitation. The historic preservation detailing and their relationship to the shall be retained and preserved. The planner should be consulted before any building’s original use. Obscuring or de- removal of historic materials or alter- work is undertaken to insure the appropri- stroying such significant interior spaces ation of features and spaces that char- ateness of the rehabilitation project. should be avoided. acterize a property shall be avoided. An interior floor plan, the arrangement During the course of a rehabilitation, of spaces, built-in features, and applied fin- the significant spatial qualities of a historic 5. Distinctive features, finishes and con- ishes may be individually or collectively interior should be preserved under Stan- struction techniques or examples of important in defining the historic charac- dard 9. Spatial qualities are defined by ceil- Detail of ceiling on porch of the Medlin House, Southeast District. craftsmanship that characterize a his- ter of a building. The identification, reten- ing, wall dimensions, size, number of open- toric property shall be preserved. tion, protection, and repair of these char- ings between rooms, and arrangement of acteristics should be given prime consid- rooms that link spaces on a particular floor. 6. Deteriorated historic features shall be eration in every rehabilitation project. Cau- Interior alterations should be compatible repaired rather than replaced. Where tion should be exercised in pursuing any with these historic spatial qualities. New the severity of deterioration requires re- plan that would radically change charac- partitions, floor, or ceiling cuts, and other placement of a distinctive feature, the ter-defining spaces or obscure, damage or treatments which adversely alter or destroy new feature shall match the old in de- destroy interior features or finishes. significant interior spaces should be sign, color, texture and other visual Under Standard 1, consideration should avoided. qualities and, where possible, materi- be given to how to best integrate a new als. Replacement of missing features function into an existing historic structure shall be substantiated by documentary, without destroying its character. A new use physical or pictorial evidence. will have its own set of requirements, and some may not be compatible with the exist- 9. New additions, exterior alterations or ing character of a building. For example, a related new construction shall not de- historic building with many small rooms stroy historic materials that character- would be ill-suited for adaptive use as an ize the property. The new work shall be art gallery which requires a few large rooms. differentiated from the old and shall be Similarly, single purpose facilities such as

141 REHABILITATION GUIDELINES Interior Spaces, Features & Finishes

Recommended

1. Identify, retain, and preserve interior fea- 4. Protect interior features such as stair- 9. Evaluate the overall condition of mate- tures and finishes that are important in case, mantel, or decorative finishes and rials to determine whether more than defining the overall historic character wall coverings against damage during protection and maintenance are re- of the building, including columns, cor- project work by covering them with quired, that is, if repairs to interior fea- nices, baseboards, fireplaces and man- heavy canvas or plastic sheets. tures and finishes will be necessary. tels, paneling, light fixtures, hardware, and flooring; and wallpaper, plaster, 5. Install protective covering in areas of 10. Repair interior features and finishes by paint, and finishes such as stenciling, heavy pedestrian traffic to protect his- reinforcing the historic materials. Repair marbling, and graining; and other deco- toric features such as wall covering, par- will also generally include the limited rative materials that accent interior fea- quet flooring and panelling. replacement in kind or with compatible tures and provide color, texture, and substitute materials of those extensively patterning to walls, floors, and ceilings. 6. Remove damaged or deteriorated paints deteriorated or missing parts of re- and finishes to the next sound layer su- peated features when there are surviv- 2. Protect and maintain masonry, wood, ing the gentlest method possible, then ing prototypes such as stairs, balus- and architectural metals which comprise repainting or refinishing using compat- trades, wood panelling, columns; or interior features through appropriate ible paint or other coating systems. decorative wall coverings or ornamen- surface treatments such as cleaning, tal tin or plaster ceilings. rust removal, limited paint removal, and 7. Repaint with colors that are appropri- reapplication of protective coatings. ate to the historic building. 11. Replace in kind an entire interior feature or finish that is too deteriorated to 3. Protect interior features and finishes 8. Limit abrasive cleaning methods to cer- repair, if the overall form and detailing against arson and vandalism before tain industrial or warehouse buildings is still evident, using the physical evi- project work begins, erecting protective where the interior masonry or plaster dence to guide the new work. Examples fencing, boarding-up windows, and in- features do not have distinguishing de- could include wainscoting, a tin ceil- stalling fire alarms systems that are sign, detailing, tooling, or finishes; and ing, or interior stairs. If using the same keyed to local protection agencies. where wood features are not finished, kind of material is not technically fea- molded, beaded, or worked by hand. sible, then a compatible substitute ma- Abrasive cleaning methods should only terial may be considered. be considered after other, gentler methods have been proven ineffective.

142 REHABILITATION GUIDELINES Interior Spaces, Features & Finishes

12. Design and install a new interior fea- 15. Install permanent partitions in second- ture or finish if the historic feature or ary spaces; removable partitions that finish is completely missing. This could do not destroy the sense of space include missing partitions, stairs, eleva- should be installed when the new use tors, lighting fixtures, and wall cover- requires the subdivision of character- ings; or even entire rooms if all historic defining interior spaces. spaces, features, and finishes are missing or have been destroyed by inap- 16. Enclose an interior stairway where re- propriate “renovations.” The design quired by code so that its character is may be a restoration based on histori- retained. In many cases, glazed fire-rated cal, pictorial, and physical documenta- walls may be used. tion; or be a new design that is compatible with the historic character of the 17. Place new code-required stairways or building, district, or neighborhood. elevators in secondary and service areas of the historic building. 13. Accommodate service functions such as bathrooms, mechanical equipment, 18. Create an atrium or a light well to pro- and office machines required by the vide natural light when required for the building’s new use in secondary spaces new use in a manner that preserves char- such as first floor service areas or on acter-defining interior spaces, features, upper floors. and finishes as well as the structural system. 14. Reuse decorative material or features that have had to be removed during the 19. Add a new floor, if required, for the new rehabilitation work, including wall and use in a manner that preserves charac- baseboard trim, door molding, panelled ter-defining structural features, and in- doors, and simple wainscoting. Relo- terior spaces, features, and finishes. cate such material or features in areas appropriate to their historic placement.

143 REHABILITATION GUIDELINES Interior Spaces, Features & Finishes

Not Recommended

1. Removing or radically changing features 8. Failing to provide adequate protection 15. Changing the texture and patina of char- 20. Discarding historic material when it can and finishes which are important in de- to materials on a cyclical basis so that acter-defining features through sand- be reused within the rehabilitation fining the overall historic character of deterioration of interior features results. blasting or use of other abrasive meth- project or relocating it in historically ap- the building so that the character is di- ods to remove paint, discoloration or propriate areas. minished. 9. Permitting entry into historic buildings plaster. This includes both exposed through unsecured or broken windows wood, including structural members, 21. Installing permanent partitions that 2. Installing new decorative material that and doors so that interior features and and masonry. damage or obscure character-defining obscures or damages character-defin- finishes are damaged by exposure to spaces, features, or finishes. ing interior finishes or features. weather or through vandalism. 16. Failing to undertake adequate measures to assure the preservation of interior 22. Enclosing an interior stairway with fire- 3. Removing paint, plaster, or other fin- 10. Stripping interiors of features such as features and finishes. rated construction so that the stairwell ishes from historic surfaces to create a woodwork, doors, windows, light fea- space or any character-defining features new appearance such as removing plas- tures, copper piping, radiators, or deco- 17. Replacing an entire feature such as a are destroyed. ter to expose surfaces such as brick rative materials. staircase, panelled wall, parquet floor, walls or a chimney piece. or cornice; or finish such as a decora- 23. Creating a false historical appearance 11. Failing to provide proper protection of tive wall covering or ceiling when re- because the replaced feature is based 4. Applying paint, plaster or other finishes interior features and finishes during pair of materials and limited replacement on insufficient physical, historical, and to surfaces that have been historically work so that they are gouged, scratched, of such parts are appropriate. pictorial documentation or on informa- unfinished to create a new appearance. dented or otherwise damaged. tion derived from another building. 18. Using a substitute material for the re- 5. Stripping historically painted wood sur- 12. Failing to take new use patterns into placement part that does not convey 24. Introducing a new interior feature or fin- faces to bare wood, then applying clear consideration so that interior features the visual appearance of the surviving ish that is incompatible with the scale, finishes or stains to create a “natural and finishes are damaged. parts or portions of the interior feature design, materials, color, and texture of look.” or finish or that is physically or chemi- surviving interior features and finishes. 13. Using destructive methods such as pro- cally incompatible. 6. Stripping paint to bare wood rather than pane or butane torches or sandblasting repairing or reapplying grained or to remove paint or other coatings. These 19. Removing a character-defining feature marble finishes to features such as methods can irreversibly damage the or finish that is not repairable and not doors and paneling. historic materials that comprise interior replacing it; or replacing it with a new features. feature or finish that does not convey 7. Radically changing the type of finish or the same visual appearance. its color, such as painting a previously 14. Using new paint colors that are inap- varnished wood feature. propriate to the historic building.

144 REHABILITATION GUIDELINES Interior Spaces, Features & Finishes

Staff Approval Guidelines Board Approval Guidelines

Staff does not review interior spaces Board does not review interior spaces unless owner applies for tax exemption. unless owner applies for tax exemption.

145 REHABILITATION GUIDELINES Mechanical Systems

Mechanical systems should be screened from view.

146 REHABILITATION GUIDELINES Mechanical Systems

MECHANICAL SYSTEMS: HEATING, AIR CONDITIONING, ELECTRICAL, PLUMBING, FIRE PROTECTION

Applicable Secretary Standards Protection and Maintenance of Mechanical Systems Raised foundations, generous attic Existing Systems Air conditioning units should be in- spaces, and existing chases and duct work 2. The historic character of a property In some instances, features of historic stalled in a manner that preserves historic found in many historic buildings provide shall be retained and preserved. The heating, lighting, ventilating, and plumb- materials and features of the building. In- ample space for new duct work, plumbing, removal of historic materials or altering systems are themselves significant. troducing air conditioning units on the fa- and electrical lines. Landscaping or fenc- ation of features and spaces that char- They may be significant in the history of cade is discouraged. ing can screen exterior mechanical systems acterize a property shall be avoided. building technology or have some aesthetic Other contemporary devices such as such as heat pumps and transformers from importance. Identification of radiators, satellite dishes, pool filtration systems and view. 5. Distinctive features, finishes and con- vents, lighting features, fans, grilles, cer- solar collectors should be located in such struction techniques or examples of tain plumbing fixtures, elevator housing, a manner that they do not detract from the craftsmanship that characterize a his- switchplates, and lights should be under- historic character of the property. It is pre- toric property shall be preserved. taken early in project planning. Those de- ferred that central air conditioning units tails and features which express the his- should be concealed by landscaping and 9. New additions, exterior alterations or toric character of a building should be replaced in the rear of a lot so as not to be related new construction shall not de- tained and repaired whenever possible seen from the street. stroy historic materials that character- under Standard 5. Upgrades or additions to mechanical ize the property. The new work shall be In most instances, systems such as systems are frequently a necessary part of differentiated from the old and shall be boilers, compressors, generators, and as- rehabilitating a historic building. Careful compatible with the massing, size, scale sociated ductwork, wiring, and pipes are planning should precede installation of and architectural features to protect the functionally obsolete. They will need to modern heating, ventilating, and air-condi- historic integrity of the property and its be upgraded, augmented, or replaced to ac- tioning (HVAC) and other mechanical sys- environment. commodate contemporary building stan- tems. Insensitive installation of mechani- dards and satisfy code requirements. cal systems can cause significant damage Raised foundations, generous attic to historic fabric and alter the visual quali- spaces, and existing chases and duct work ties of a building in violation of Standard 9. found in many historic buildings provide Installation should be accomplished in the ample space for new duct work, plumb- least obtrusive manner possible and in the ing, and electrical lines. Landscaping or most inconspicuous location. In particular, fencing can screen exterior mechanical sys- protruding, through-the-wall or window air- tems such as heat pumps and transformers conditioning units should be avoided un- from view. der Standard 2.

147 REHABILITATION GUIDELINES Mechanical Systems

Recommended Not Recommended

1. Identify, retain, and preserve visible fea- 6. Install a completely new mechanical 1. Removing or radically changing features tures of early mechanical systems that system if required for the new use so of mechanical systems that are impor- are important in defining the overall that it causes the least alteration pos- tant in defining the overall historic char- character of a building, such as radia- sible to the building’s floor plan, the acter of the building so that, as a result, tors, vents, fans, grilles, plumbing fix- exterior elevations, and the least dam- the character is diminished. tures, switchplates, and lights. age to historic building material. 2. Failing to provide adequate protection 2. Protect and maintain mechanical, plumb- 7. Install the vertical runs of ducts, pipes, of materials on a cyclical basis so that ing, and electrical systems and their fea- and cables in closets, service rooms, deterioration of mechanical systems tures through cyclical cleaning and chases, and wall cavities. and their visible features results. other appropriate measures. 8. Install air-conditioning units if required 3. Enclosing mechanical systems in areas 3. Prevent accelerated deterioration of me- by the new use in such a manner that that are not adequately ventilated so Avoid radically changing the appearance of a chanical systems by providing ventila- the historic materials and features are that deterioration of the system results. historic building with mechanical units. tion of attics, crawl spaces, and ceil- not damaged or obscured. ings so moisture problems are avoided. 4. Replacing a mechanical system or its 9. Install heating/air-conditioning units in functional parts when it could be up- 4. Repair mechanical systems by augment- the window frames in such a manner graded and retained. ing or upgrading system parts, such as that the sash and frames are protected. installing new pipes and ducts; rewiring; Window installations should be con- 5. Installing a replacement feature that or adding new compressors or boilers. sidered only when all other viable heat- does not convey the same visual ap- ing/cooling systems would result in sig- pearance. 5. Replacing in kind or with compatible nificant damage to historic materials. substitute materials those visible fea- 6. Installing a new mechanical system so tures that are either extensively dete- that character-defining structural or in- riorated or are missing when there are terior features are radically changed, surviving prototypes such as ceiling damaged, or destroyed. fans, switchplates, radiators, grilles, or plumbing fixtures. 7. Installing vertical runs of ducts, pipes, and cables in places where they will obscure character-defining features.

148 REHABILITATION GUIDELINES Mechanical Systems

Staff Approval Guidelines Board Approval Guidelines

8. Installing dropped acoustical ceilings Air-conditioning units that meet all of Central heat and air systems are encour- to hide mechanical equipment when this the italicized conditions can be approved aged to replace window units. destroys the proportions of character by staff: defining interior spaces. Location of new units should follow Wall air-conditioning units are not lo- rehabilitation recommendations. 9. Cutting through features such as ma- cated on street facade and work does not sonry walls in order to install air-condi- involve enlarging or creating an opening; tioning units. Central air-conditioning units are not Mechanical systems should not be placed in front 10. Radically changing the appearance of a located in front yard and are screened yards. historic building or damaging or de- with vegetation if located on side yard; stroying windows by installing heating and or air-conditioning units in historic window frames. Solar collectors and satellite dishes that do not obscure or damage significant features of the structure or setting.

Mechanical equipment should be screened from view.

149 REHABILITATION GUIDELINES Handicap Accessibility

The items that should be preserved include significant materials, the form and style of the property, the principal elevations, major architectural and landscape features, and the principal public spaces.

150 REHABILITATION GUIDELINES Handicap Accessibility

HANDICAP ACCESSIBILITY

Applicable Secretary Standards while preserving their architectural charac- ture, the essential form and integrity of the ter through careful planning and sensitive property would be unimpaired. 2. The historic character of a property design. When it enacted the Americans with shall be retained and preserved. The Standard 2 addresses the need to pre- Disabilities Act, Congress recognized the removal of historic materials or alter- serve the historic character of a property national interest in preserving significant ation of features and spaces that char- when making it handicap accessible. As in historic properties. It established alterna- acterize a property shall be avoided. any aspect of rehabilitation, the character tive minimum requirements for qualified defining features, materials, and spaces of historic properties that cannot be made 9. New additions, exterior alterations or a property should be thoroughly inspected physically accessible without threatening related new construction shall not de- and evaluated before upgrading it for or destroying their significance. stroy historic materials that character- handicap accessibility. The items that Qualified historic properties include Utilize materials and textures consistent with the ize a property. The new work shall be should be preserved include significant properties listed in or eligible for listing in principal building for ramp addition to a building. differentiated from the old and shall be materials, the form and style of the prop- the National Register of Historic Places, compatible with the massing, size, scale erty, the principal elevations, major archi- and those designated under state or local and architectural features to protect the tectural and landscape features, and the law. Owners of qualified properties must historic integrity of the property and its principal public spaces. first consult with the State Historic Preser- environment. During the course of inspecting a prop- vation Officer (SHPO) before using the al- erty, features, materials, and spaces of less ternative minimum requirements. 10. New additions and adjacent or related significance to the historic character of a If it is determined by the SHPO that new construction shall be undertaken property should also be identified. Under compliance with the full accessibility rein such a manner that if removed in the Standard 2, nonsignificant spaces, second- quirements would threaten or destroy the future, the essential form and integrity ary pathways, later non-historic additions, significance of a building or facility, the of the property and its environment previously altered areas, utilitarian spaces, following alternative minimum require- would be unimpaired. and service areas can usually be modified ments may be used: without threatening or destroying a Utilize materials and textures consistent with the Handicap Accessibility property’s historical significance. 1. One accessible route must be provided principle building for ramp addition to a building. The Americans with Disabilities Act Modifications for handicap accessibil- from a site access point to an accessible (ADA) extends comprehensive civil rights ity should be compatible with the property entrance. Using a ramp with a 1:6 slope to individuals with disabilities. Historic under Standard 9 and reversible under is permissible for a run of up to 2 feet. properties, including buildings, sites, and Standard 10. They should be in scale with landscapes, are not exempt from the ADA the property, visually compatible in terms 2. One accessible entrance must be pro- and must comply with its regulations. How- of their design and materials, but be dif- vided. If it is not possible to make the ever, as with other alterations, historic prop- ferentiated from the original. They should public entrance accessible, then an alter- erties can generally be made accessible be reversible so that if removed in the fu-

151 REHABILITATION GUIDELINES Handicap Accessibility

native, unlocked entrance is acceptable. 2. Assigning persons to guide individu- Ramps Directional signage at the primary en- als with disabilities into or through in- Ramps, where required, should be con- trance and a notification system at the accessible areas of a historic property. cealed with landscaping materials as much accessible entrance must be provided. as possible and should harmonize with 3. Adopting other innovative methods. scale, materials and architectural features of 3. If toilets are provided, only one must be the historic building. Wooden balusters accessible, and it may be unisex. During the conversion of the Thomas and rails are the preferred materials. Decora- Center from a private to a public facility, tive ironwork may be used on a case by case 4. Public spaces on the level of the acces- compliance with the Americans with Dis- basis provided it is appropriate to the style sible entrance must be accessible, and abilities Act (ADA) was required. The ad- and period of the building. Wherever pos- other public levels should be accessible dition of a handicap access ramp at the sible, ramps should be positioned so as to Ramps should not destroy character-defining whenever practical. Thomas Center complied with Standards 9 not obscure the principal elevations and qualities of the architecture. and 10. The ramp was distinguished from minimize the visual impact by integrating 5. Displays and written information should the historic portion of the building by its the ramp design with porch balustrade. be located where they can be seen by a form. Access ramps were clearly not his- seated person. Horizontal signage toric features. At the same time the design should be no higher then 44 inches of the ramp was well integrated with the above the floor. building through the use of appropriate materials (cmu rendered with stucco) and In limited circumstances, if it is deter- matching paint colors. The ramp was lo- mined in consultation with the SHPO that cated at the rear of the building and was compliance with the alternative minimum not visible from the major street elevations. requirements would also threaten or de- No significant historic feature was im- stroy the significance of a historic build- pacted. The size and scale of the ramp was ing, alternative methods of access may be appropriate to the building and clearly sub- used. The alternative methods of accessi- ordinate to it. Under Standard 10, the ramp Ramp design should not be limited to the rear of bility that may be used to make a building’s could be removed in the future without al- the principal building. program and activities accessible include: tering the form of the building or any significant feature. 1. Using audiovisual materials and devices to show inaccessible areas of a historic property.

152 REHABILITATION GUIDELINES Handicap Accessibility

Recommended Not Recommended Staff Approval Guidelines Board Approval Guidelines

1. Review the historical significance of a 1. Altering, damaging, or destroying char- Staff can approve additions of ramps The board encourages the introduction property and identify character-defin- acter-defining spaces, features, and fin- that meet the following conditions: of innovative solutions to handicap access ing features. ishes while making modifications to a such as vertical travel lifts that become part building or site to comply with barrier Ramps that do not obscure or destroy of the landscape when not in use, or ramp 2. Assess the property’s existing and re- free access. significant historic features; designs that minimize the impact on the his- quired level of accessibility. toric character of the architecture. 2. Install permanent ramps that damage or Ramps that are located on secondary 3. Evaluate accessibility options within a diminish character-defining spaces. facades not facing principal streets. preservation context. 3. Providing barriers free access which de- 4. Comply with barrier-free access require- stroys significant features of a historic ments in such a manner that character- property without first consulting the defining spaces, features, and finishes SHPO. are preserved.

5. Provide barrier-free access through removable or portable, rather than permanent, ramps.

6. If providing barrier-free access threat- ens the integrity of a historic property, consult the SHPO about using the alternative minimum requirements.

Ramps should not be limited to the rear of buildings.

153 REHABILITATION GUIDELINES Relocating Buildings

Moving a historic residence should be considered prior to demolition.

154 REHABILITATION GUIDELINES Relocating Buildings

RELOCATING BUILDINGS

Applicable Secretary Standards Furthermore, an improperly relocated In an effort to avoid demolition of his- building can have a negative impact on the toric structures, several buildings in 2. The historic character of a property setting of existing buildings in a new loca- Gainesville have been relocated. The shall be retained and preserved. The tion. Side and front setback, orientation, McCreary House, originally built in the cen- removal of historic materials or alter- scale, mass, and individual features of ex- tral business district, was moved to 815 ation of features and spaces that char- isting buildings should be considered University Avenue in 1977. The Hodges acterize a property shall be avoided. when choosing an appropriate site. It is House originally located at 116 N.E. 1st also important to establish a clear plan of Street was moved to 717 S.E. 2nd Avenue Relocating a building is a last resort to use, especially if the historical function is in 1978. avoid demolition. From a preservation per- to be changed. Buildings that are moved The demolition delay ordinance, spective, relocating a building has many and left to deteriorate create a negative for adopted in 1988, provides that permits negative consequences. First, the context the concept of adaptive use and preserva- to demolish structures which have a of the building is lost. The association with tion in general. Florida Site File and are 45 years of age or the surrounding natural and built environ- Despite the negatives, relocation is pref- older, not be issued until 90 days from the ment is destroyed. Left behind are side- erable to demolition. This is particularly date of the permit application. walks, retaining walls, and landscape fea- true with regard to buildings whose sig- tures that make each building unique. nificance is primarily architectural. There Moreover, many of the character-defin- are several criteria to be considered when ing features that contribute to the architec- reviewing a proposal to move a building tural significance of a building have to be to a new site. They are essentially the same removed or are seriously damaged as a re- as those for compatible infill. The built sult of relocation. These include founda- environment for the new site should be tions, porches, chimneys, and interior fin- similar to the old one in terms of the age of ishes, particularly plaster. Structural dam- the surrounding buildings, their height, ma- age can also result. The loss of a building’s terials, setback, and architectural detail. If historic context and many of its features not properly planned and executed, a relo- conflicts with Standard 2. cated building can be just as incompatible as a poorly designed infill structure.

155 REHABILITATION GUIDELINES Relocating Buildings

Recommended Not Recommended

1. Retain the historic relationship between 1. Relocating a historic building thus de- buildings and streetscape and land- stroying the historic relationship be- scape features. tween buildings, features and open space. 2. Move a building only when there is no alternative to its preservation. Provide 2. Relocating a building not threatened by documentation that there is no feasible demolition. alternative for preserving a building at its historic location. 3. Relocating a building outside a historic district. 3. To mitigate the impact of the relocation, move the building to an existing vacant 4. Relocating a building to a site where the lot within the historic district in which it surrounding buildings date from a dif- is located. ferent period or are architecturally incompatible due to their height, materi- 4. In choosing a new site for a moved build- als, setback, and detailing. ing, select a setting compatible with the original. Consider the age of surround- 5. Destruction or alteration of significant ing buildings, their height, mass, mate- features, structures, or archaeological rials, setback, and architectural details. sites at new location.

5. Properly locate the moved building on 6. Improperly locating a building on its new its new site. Place the building so that site so that its orientation and front and the orientation of its principal facade side setbacks are incompatible with sur- and front and side setbacks are compat- rounding buildings. ible with surrounding buildings. 7. Placing the building on a new founda- 6. Provide a new foundation whose design, tion whose design and materials are in- height, and facing materials match those compatible with the original. Examples of the original. Salvage original founda- include slab foundations or unfinished tion materials where possible for reuse concrete blocks. as veneer on new foundation.

156 REHABILITATION GUIDELINES Relocating Buildings

Staff Approval Guidelines Board Approval Guidelines

Staff can approve relocation projects Relocating structures from one district to that meet the following conditions: another can be approved by the board if the building is compatible with its new setting. Relocations of structures within the same district; Relocation projects that involve moving a related group of structures or more The placement, scale, and style of the than one structure on a street or block are relocated structure are compatible with required to demonstrate documentation the new context. that feasible alternatives for rehabilitation and adaptive use are not possible.

157 REHABILITATION GUIDELINES Demolition

Many historic and contributing structures have faced demolition due to fire damage and deterioration.

158 REHABILITATION GUIDELINES Demolition

DEMOLITION

Applicable Secretary Standards In some instances demolition may be Avoid demolition of significant out- appropriate and may even enhance a his- buildings and additions. Carriage houses 2. The historic character of a property toric district, building, or site. Non-historic and garages can be significant components shall be retained and preserved. The buildings whose designs are not in charac- of building complexes. Many buildings in removal of historic materials or alter- ter with its surroundings can be removed a district have had additions, new orna- ation of features and spaces that char- with no negative impact. Likewise, under ments, storefronts, porches, windows, acterize a property shall be avoided. certain circumstances, non-historic or non- wings, and additional stories. These significant components of a building com- changes might have gained significance in 4. Most properties change over time; those plex can be removed. There are several their own right and should be retained un- changes that have acquired historic factors to consider in the removal of such der Standard 4. Assessing significance of significance in their own right shall be components. These include whether the later additions requires careful professional retained and preserved. components are secondary structures; lack review and should be done on a case-by Eliminating a building from a streetscape leaves a conspicuous void, or the replacement is usually historical, engineering, or architectural sig- case-basis. insensitive to existing historic context. Demolition is an important issue in his- nificance; do not comprise a major portion toric districts. The main reasons for demo- of a historical site; or the absence of per- lition are institutional and commercial ex- suasive evidence to show that retention of pansion, and condemnation by cities, prin- the components is not technically or eco- cipally due to fire damage and deteriora- nomically feasible. tion. Demolition of nonsignificant additions Demolition exerts a negative impact on may also be appropriate. Demolition may historic districts. In many historic districts, be undertaken if the addition is less than zoning, land-use regulations, and market fifty years old, does not exhibit stylistic conditions, compatible new construction is details or fine workmanship or materials, often not feasible. Furthermore, eliminating was added after the period of significance a building from a streetscape leaves a con- of the building or district; is so deterio- spicuous void, or the replacement is usually rated it would require reconstruction; or insensitive to the existing historic context. obscures earlier significant features. Demolition of significant buildings, outbuildings, and individual features conflicts with Standards 2 and 4. Demolition alters the essential character and integrity of a building and the district in which it is located in violation of Standard 2. Standard 4 recommends the retention of significant later additions to historic buildings.

159 REHABILITATION GUIDELINES Demolition

Recommended Not Recommended

1. Identify, retain, and preserve buildings 1. Removing buildings which are impor- which are important in defining the over- tant in defining the overall historic char- all historic character of a historic dis- acter of a district or neighborhood so trict or neighborhood. that the character is diminished.

2. Retain the historic relationship between 2. Removing historic buildings thus de- buildings and landscape and stroying the historic relationship be- streetscape features. tween buildings, features and open space. 3. Remove nonsignificant buildings, additions, or site features which detract from 3. Removing a historic building in a com- the historic character of a site or the sur- plex, a building feature, or significant rounding district or neighborhood. later addition which is important in defining the historic character of a site or the surrounding district or neighborhood.

160 REHABILITATION GUIDELINES Demolition

Staff Approval Guidelines Board Approval Guidelines

Staff can approve demolition requests Historic or contributing structures in an meeting the following conditions: advanced state of deterioration can be demolished if evidence is presented showing Selective removal on non-contributing that rehabilitation is unfeasible. additions, features, or materials that have obscured historic elements;

The structures are shown to be noncontributing axillary structures, garages or carports.

161 DESIGN GUIDELINES FOR NEW CONSTRUCTION

162 DESIGN GUIDELINES FOR NEW CONSTRUCTION

DESIGN GUIDELINES FOR NEW CONSTRUCTION Northeast, Southeast, & Pleasant Street Historic Districts

163 DESIGN GUIDELINES FOR NEW CONSTRUCTION

New infill construction in Northeast District.

164 DESIGN GUIDELINES FOR NEW CONSTRUCTION

MAINTAINING THE HISTORIC CHARACTER OF THE DISTRICTS

New construction should complement material, and character of adjacent build- historic architecture. Through sound plan- ings and their historic setting. This allows ning and design, it can respect and rein- for considerable interpretation in the de- force the existing patterns of a historic dis- sign of new structures. trict. Good infill design does not have to The architectural character of buildings imitate demolished or extant buildings to often varies considerably from one street be successful. Rather, it utilizes significant or block to another, even within the same patterns, such as height, materials, roof district. This diversity makes the design of form, massing, setbacks and the rhythm of compatible new structures a challenge for openings and materials to insure that a new designers, builders, staff and the review building fits with the context. board. Since almost every street in the three While the Secretary of the Interior’s districts has a different pattern of building, Standards are oriented toward rehabilita- it is impossible to show every design sce- tion of existing historic buildings, Stan- nario. The guidelines illustrate the Stan- dards 2, 3, and 9 apply to new construction dards of Visual Compatibility established in historic districts and near individual land- to preserve the historic districts as a strat- marks. Under Standard 2, the setting of his- egy of thinking about compatibility rather toric buildings should be preserved when than a set of stylistic recipes. new construction is undertaken. The relationship of new construction to adjacent buildings, landscape and streetscape features, and open spaces should also be considered. New construction adjacent to historic buildings can dramatically alter the historic setting of neighboring buildings or the district. Such construction should not create a false sense of historical development through the use of conjectural features or stylistic elements drawn from other buildings under Standard 3. Under Stan- dard 9, new construction is appropriate as long as it does not destroy significant historic features, including designed landscapes, and complements the size, color,

165 DESIGN GUIDELINES FOR NEW CONSTRUCTION

DEFINING THE CRITERIA

Without careful attention to overall de- 2. Setbacks. The size of buildings, struc- 9. Proportion of the Front Facade. The sign, materials, scale, massing, and set- tures and open spaces and their place- width of the building, structure, or ob- backs, contemporary construction in an ment on a lot relative to the street and ject to the height of the front elevation Historic District can threaten the coherence block. in relationship to its immediate context. of the historic context. As often the case, context has been sacrificed through igno- 3. Height. The overall height of buildings 10.Proportion of Openings. The width and rance, indifference, and in the effort to make and structures related to those sharing height relationship of the windows and new projects absolutely cost efficient. the same street or block. doors in a building or structure to the The following criteria are used to evalu- principle facade. ate the compatibility of new construction 4. Roof Forms. The shape of a building or proposed for the historic districts. These its roof system in relationship to its 11. Rhythm of Solids to Voids. The pattern criteria should be considered during the Bungalows along S.E.7th Street show existing neighbors. and overall composition of openings rhythm of streets and blocks. New construction design process to ensure compatibility and such as windows and doors in the front should add to the existing rhythm. to avoid unnecessary conflicts in the re- 5. Rhythm of Entrances and Porches. The facade. view process. The terms are adapted from relationship of entrance elements and the eleven standards of visual compatibil- porch projections to the street. 12. Details and Materials. The relationship ity found in the City’s Land Development of details, materials, texture and color of Code. 6. Walls of Continuity. Appurtenances of building facades, structures, objects and Please note, however, that “Scale” is a building or structure such as walls, landscaped areas to the existing con- broken up into to two parts, Scale of the fences, landscape elements that form text. Street and Building Scale emphasizing the linked walls of enclosure along a street importance of these two related but very and serve to make a street into a cohe- different issues of scale. sive whole. Each criteria is explained in a text and illustrated with an analytical drawing of 7. Scale of Building. Relative size and selected buildings, streets and lots found composition of openings, roof forms and throughout the three districts. details to the building mass and its configuration. 1. Rhythm of the Street. The relationship of the buildings, structures and open 8. Directional Expression. The major ori- spaces along a street that creates a dis- entation of the principle facade of a cernible visual and spatial pattern. building or structure to the street.

166 DESIGN GUIDELINES FOR NEW CONSTRUCTION

Recommended Not Recommended

1. Keep new construction to a minimum 1. Designing new buildings whose mass- through rehabilitation and adaptive use ing and scale is inappropriate and whose of existing structures and landscapes. materials and texture are not compatible with the character of the district. 2. Design new buildings to be compatible in scale, size, materials, color, and tex- 2. Imitating an earlier style or period of ar- ture with the surrounding buildings. chitecture in new construction, except in rare cases where a contemporary de- 3. Employ contemporary design that is sign would detract from the architectural compatible with the character and feel unity of an ensemble or group. of the historic district.

167 DESIGN GUIDELINES FOR NEW CONSTRUCTION

RHYTHM OF THE STREET

New construction should add to the existing rhythm of streets and blocks. This rhythm is a complex layering of many features that add up to what is described gen- Southeast District erally as “character.” Spacing between SE 7th Street buildings, divisions between upper and lower floors, porch heights, and alignment of windows and windowsills are examples of such rhythms. New construction in historic districts should maintain or extend these shared streetscape characteristics in blocks where they appear.

Northeast District NE 6th Street

Pleasant Street District Pleasant Street

168 DESIGN GUIDELINES FOR NEW CONSTRUCTION

SETBACKS

The careful placement of buildings on lots is essential to maintaining the building patterns of each district. The distance a building is located from its property lines is referred to as “setbacks.” Buildings in historic districts often share a common front and side setback although these setbacks NW 3rd Street vary from block to block and street to street, even within the same district. In locating new buildings, the front side and rear setbacks should be maintained and be consistent with the facades of surrounding historic buildings. No new structure can be placed closer to or further from the street, sidewalk, or alley than that distance which has been predetermined by existing historic structures with a one-block proximity of the proposed structure. The distance is measured from the principal mass of the building (ex- cluding the porch and other projections). New buildings should reflect the existing spacing or rhythm of buildings of an entire block. NE 6th Street

Two sample street plans, Pleasant Street District (above) and Northeast District (below), show very different historic building patterns. Structures on NW 3rd Street are built closer to the street and often fall outside of current setback requirements which are shown in dotted lines.

169 DESIGN GUIDELINES FOR NEW CONSTRUCTION

HEIGHT

The height and width of new construction should be compatible with surrounding historic buildings: Design proposals should consider the width to height relationships as well as the depth of setback to height relationship.

Pleasant Street District, NW 3rd Street

170 DESIGN GUIDELINES FOR NEW CONSTRUCTION

ROOF FORMS

Similar roof form and pitch are characteristics of buildings in many historic districts. Most residential buildings in the districts have pitched roofs with the gable or hip roof as the predominate type. Gambrel, pyramidal, and clipped gable (jerkinhead) are also found in abundance. A significant number of Mediterranean influenced structures having flat roofs concealed behind parapets are found in all districts. A few structures of merit have flat planar roof forms dating from the 1940’s and 50s. These structures trace their influence to the Sarasota School in Florida and are beginning to come of age for historic recognition. Commercial buildings found within the Pleasant Street District generally have flat roofs with parapets. In general, roof designs should be compatible with surrounding buildings.

Southeast District, SE 7th Street

171 DESIGN GUIDELINES FOR NEW CONSTRUCTION

RHYTHM OF ENTRANCES & PORCHES

The relationship of entrances and projections to sidewalks of a building, structure, object or parking lot shall be visually compatible to the buildings and places to which it is visually related. New porches, entrances, and other projections should reflect the size, height, and materials or porches of existing historic buildings found along the street and contribute to a continuity of features. Porches are strongly encouraged and should have sufficient size to accommodate outdoor furniture and easy accessibility. Their widths and depths should reflect that which can be found on other historic buildings in the district.

Repetitive porches on these bungalows set up an unmistakable rhythm along SE 7th Street. The pattern of this rhythm varies considerably along the entire length of the street.

172 DESIGN GUIDELINES FOR NEW CONSTRUCTION

WALLS OF CONTINUITY

Appurtenances of a building or structure such as walls, fences, landscape elements that form linked walls of enclosure along a street and serve to make a street into a cohesive whole are defined as “walls of continuity.” These conditions are by no means uniform along streets and illustrate the importance of relating individual properties to their context. The drawing on this page shows how walls, fences, and landscape elements create the impression of a surface along the street edge.

Southeast District, corner of SE 7th Street and SE 4th Street.

173 DESIGN GUIDELINES FOR NEW CONSTRUCTION

SCALE OF BUILDING

Scale is defined as relative size and composition of openings, roof forms and details to the building mass and its configuration. The examples shown are buildings selected at random from the three districts.

The overall order of the building elevation relative to the side lot setbacks and maximum allowable height (dashed lines).

Size, configuration and detail of the porch relative to the mass of the building.

Placement and proportion of openings in the front facade.

Location of the front steps orients people to the building and helps show the size of the building relative to the size of the human body.

174 DESIGN GUIDELINES FOR NEW CONSTRUCTION

DIRECTIONAL EXPRESSION

New buildings should visually relate to adjacent buildings in the directional character of its facade. The directional expression may be vertical, horizontal, or non- directional, and it encompasses structural shape, placement of openings, and architectural details. The drawing below shows a plan view of a group of buildings along S.E. 7th Street with axis lines indicating the directional expression of each structure towards the street.

Southeast District, SE 7th Street

175 DESIGN GUIDELINES FOR NEW CONSTRUCTION

PROPORTION OF THE FRONT FACADE

In the examples below from N.E. 6th Street in the Northeast district, the height to width ratios establish a pattern of proportions that follow closely from building to building despite differences in height and style. This ratio test can be applied to the facade of any building to check its relationship to structures along the street and block.

Northeast District, NE 6th Street

176 DESIGN GUIDELINES FOR NEW CONSTRUCTION

PROPORTION & RHYTHM OF OPENINGS

The relationship of the width of the windows in a building, structure or object shall be visually compatible with buildings and places to which the building, structure or object is visually related. Window designs and mutin configurations should reflect that found on historic windows on surrounding contributing structures. Contemporary windows including those in which the meeting rail is not Pleasant Street District Northeast District Southeast District equidistant from window head and sill are discouraged. New doors should relate to historic door styles found on historic buildings throughout the district.

177 DESIGN GUIDELINES FOR NEW CONSTRUCTION

RHYTHM OF SOLIDS TO VOIDS

The relationship of the width of the windows in a building, structure or object should be visually compatible with the context of the district block and street. The rhythm and ratio of solids (walls) and voids (windows and doors) of new construction buildings should relate to and be compatible with facades (i.e., expressed in terms of proportion of wall area to void area) on adjacent historic buildings.

178 DESIGN GUIDELINES FOR NEW CONSTRUCTION

DETAIL & MATERIALS

Materials that are compatible in quality, color, texture, finish, and dimension to those common to the district should be used in new construction. Buildings in the Pleasant Street, Northeast and Southeast Districts exhibit a superb library of material juxtapositions, detailing, and craft.

179 DESIGN GUIDELINES FOR NEW CONSTRUCTION

180 DESIGN GUIDELINES FOR NEW CONSTRUCTION

DESIGN GUIDELINES FOR NEW CONSTRUCTION University Heights North & University Heights South Historic Districts

181 DESIGN GUIDELINES FOR NEW CONSTRUCTION

New infill construction juxtaposed against an existing contributing structure in University Heights South District.

182 DESIGN GUIDELINES FOR NEW CONSTRUCTION

MAINTAINING THE CHARACTER OF THE UNIVERSITY HEIGHTS HISTORIC DISTRICTS—NORTH & SOUTH

New construction should complement material, and character of adjacent build- The Special Area Plan, which encour- historic architecture. Through sound plan- ings and their historic setting. This allows ages historically compatible new design, ning and design, it can respect and rein- for considerable interpretation in the de- has established specific design require- force the existing patterns of a historic dis- sign of new structures. ments for landscape design, building place- trict. Good infill design does not have to Part of the delight of the Gainesville his- ment, parking, signage, and architectural imitate demolished or extant buildings to toric districts is their diversity, which can design criteria for a number of building be successful. Rather, it utilizes significant vary considerably along streets and blocks. types. The Historic Preservation Design patterns, such as height, materials, roof This diversity makes the design of new Guidelines for New Construction do not form, massing, setbacks and the rhythm of structures a challenge for designers, build- seek to supplant the existing regulations. openings and materials to insure that a new ers, staff and the review board. Since al- Rather, they attempt to work with the exist- building fits with the context. most every street in the University Heights ing regulatory structure to ameliorate the While the Secretary of the Interior’s Historic Districts has a different pattern of impact of new construction on existing his- Standards are oriented toward rehabilita- building, it is impossible to have a single toric properties, and through the Rehabili- tion of existing historic buildings, Stan- standard for new construction that will ap- tation Guidelines to protect the identified dards 2, 3, and 9 apply to new construction ply the same way in every location. To en- historic resources of the districts. in historic districts and near individual land- courage diversity, the design guidelines set Building additions are regulated by the marks. Under Standard 2, the setting of his- up a way of thinking about compatibility Special Area Plan. Contributing structures toric buildings should be preserved when rather than a set of stylistic recipes. in the historic districts also must comply new construction is undertaken. The rela- with the Rehabilitation Guidelines, which tionship of new construction to adjacent Special Area Plan address similar issues but are more spe- buildings, landscape and streetscape fea- The University Heights Special Area cific concerning the various strategies for tures, and open spaces should also be con- Plan overlay encompasses the area of the placing and designing additions. sidered. New construction adjacent to his- University Heights Historic Districts. As The Design Guidelines for New Con- toric buildings can dramatically alter the was discussed under HISTORIC CON- struction provide specific recommenda- historic setting of neighboring buildings or TEXT, the goal is to encourage new de- tions for design compatibility, and use ame- the district. Such construction should not velopment in University Heights and to lioration strategies to reduce the impact of create a false sense of historical develop- create a pedestrian friendly public realm, new larger-scale development on historic ment through the use of conjectural features goals that will clearly impact the historic structures. or stylistic elements drawn from other character of the neighborhoods that make buildings under Standard 3. Under Stan- up the historic districts. New infill con- dard 9, new construction is appropriate as struction and some new patterns of land long as it does not destroy significant his- use are expected in this area as market toric features, including designed land- forces spur new development. scapes, and complements the size, color,

183 DESIGN GUIDELINES FOR NEW CONSTRUCTION

DEFINING THE CRITERIA

Without careful attention to overall de- 1. Rhythm of the Street. The relationship 8. Directional Expression. The major ori- sign, materials, scale, massing, and set- of the buildings, structures and open entation of the principle facade of a backs, contemporary construction in an spaces along a street that creates a dis- building or structure to the street. Historic District can threaten the coherence cernible visual and spatial pattern. of the historic context. As often the case, 9. Proportion of the Front Facade. The context has been sacrificed through igno- 2. Setbacks. The size of buildings, struc- width of the building, structure, or ob- rance, indifference, and the effort to make tures and open spaces and their place- ject to the height of the front elevation new projects absolutely cost efficient. ment on a lot relative to the street and in relationship to its immediate context. The following criteria are used to evalu- block. ate the compatibility of new construction 10. Proportion of Openings. The width and proposed for the historic districts. These 3. Height. The overall height of buildings height relationship of the windows and Materials, detail, massing, roof forms, proportion criteria should be considered during the and structures related to those sharing doors in a building or structure to the of openings, entry orientation and scale all need to design process to ensure compatibility and the same street or block. principle facade. be considered in compatible design. avoid unnecessary conflicts in the review process. The terms are adapted from the 4. Roof Forms. The shape of a building or 11. Rhythm of Solids to Voids. The pattern eleven standards of visual compatibility structure roof system in relationship to and overall composition of openings found in the City’s Land Development its neighbors. such as windows and doors in the front Code. Note that “Scale” is broken up into facade. two parts, Scale of the Street and Scale of 5. Rhythm of Entrances and Porches. The Buildings, emphasizing the importance of relationship of entrance elements and 12. Details and Materials. The relationship these two related but very different scale. porch projections to the street. of details, materials, texture and color of building facades, structures, objects and 6. Walls of Continuity. Appurtenances of landscaped areas to the existing context. a building or structure such as walls, fences, landscape elements that form linked walls of enclosure along a street and serve to make a street into a cohesive whole.

7. Scale of Building. Relative size and composition of openings, roof forms and details to the building mass and its configuration.

184 DESIGN GUIDELINES FOR NEW CONSTRUCTION

Recommended Not Recommended

1. Encourage rehabilitation and adaptive 1. Designing new buildings whose mass- use of existing structures and land- ing and scale is inappropriate and whose scapes. materials and texture are not compatible with the character of the district. 2. Design new buildings to be compatible in scale, size, materials, color, and tex- 2. Imitating an earlier style or period of ar- ture with the surrounding buildings. chitecture in new construction, except in rare cases where a contemporary de- 3. Employ contemporary design that is sign would detract from the architectural compatible with the character and feel unity of an ensemble or group. of the historic district.

4. Employ amelioration strategies with new larger scale infill construction to protect adjacent historic structures.

5. Employ design strategies that use proportional relationships of facades, shapes of openings, solid/void ratios and the directional typology of historic structures to link new buildings with the historic context.

6. Use of fences, walls or landscape materials to reinforce the continuity of the street edge in a neighborhood.

185 DESIGN GUIDELINES FOR NEW CONSTRUCTION

RHYTHM OF THE STREET SETBACKS

New construction should add to the ex- The careful placement of buildings on The “step back” is a compromise half isting rhythm of streets and blocks. This lots is essential to maintaining the building way between the minimum build-to line al- rhythm is a complex layering of many fea- patterns of each district. The distance a lowed by the Special Area Plan, and the tures that add up to what is described gen- building is located from its property lines setback of the existing contributing struc- erally as “character.” Spacing between is referred to as “setbacks” or, more recently, ture, and in no case to step back further buildings, divisions between upper and “build-to” lines. Buildings in historic dis- than the maximum build-to line established lower floors, porch heights, and alignment tricts often share a common front and side by the Special Area Plan. of windows and windowsills are examples setback although these setbacks vary from In the event that the new construction of such rhythms. New construction in his- block to block and street to street, even is a multi-family row house or apartment toric districts should try to maintain or ex- within the same district. In locating new building, only the first bay, adjacent to the tend these shared streetscape characteris- buildings, the front side setbacks should contributing structure should be required tics in blocks where they appear. be maintained and be consistent with the to “step back.” Where new building types such as row facades of surrounding historic buildings. houses or apartment buildings are intro- Where the Special Area Plan encour- duced that are not in scale with the tradi- ages placement of buildings closer to the tional single-family housing that histori- street than the historic uniform front yard cally occupied the area, new rhythms of setbacks along a block, adjustments are building and open space along the street recommended to ameliorate the impact of will evolve. the new building setbacks on adjacent con- To help ameliorate the impact of these tributing buildings in the historic districts. new more massive building forms, special This adjustment strategy is desirable to help attention should be paid to the articulation create a cohesion among the neighborhood and massing of the new building street fa- buildings as a whole, and to avoid fractur- cades, avoiding the introduction of large ing the neighborhood fabric by changing unbroken masses of building. abruptly the building-street relationships. Finding the street rhythm in wall fenes- Front yard build-to/setback lines would tration, eave heights, building details, and stay within the ranges set forth in the Spe- landscape features such as fences or walls cial Area Plan requirements. When new can help ameliorate the larger building construction abuts a contributing building masses and “connect” the new building to located within 20 feet of a shared side yard its neighborhood and street. boundary, the new construction must “step back” from the build-to line.

186 DESIGN GUIDELINES FOR NEW CONSTRUCTION

HEIGHT ROOF FORMS RHYTHM: ENTRANCES & PORCHES WALLS OF CONTINUITY

The height of new construction should Similar roof form and pitch are charac- The relationship of entrances and pro- Appurtenances of a building or struc- ideally be compatible with surrounding his- teristics of buildings in many historic dis- jections to sidewalks of a building, structure such as walls, fences or landscape toric buildings. Building height has a sig- tricts. Most residential buildings in the dis- ture, object or parking lot shall be visually elements that form linked walls of enclo- nificant impact on the scale and character tricts have pitched roofs with the gable or compatible to the buildings and places to sure along a street serve to make a street of a neighborhood. hip roof as the predominate type. Gambrel, which it is visually related. New porches, into a cohesive whole. The Special Area Plan allows new build- pyramidal, and clipped gable (jerkinhead) entrances, and other projections should re- New infill construction should be en- ings to be significantly taller than the 1- are also found in the districts. A small num- flect the size, height, and materials of couraged to align walls, fences or landscape story and 2-story single-family residential ber of Mediterranean influenced structures porches of existing historic buildings found elements (hedges) with adjacent property buildings that occupy the historic districts. with flat roofs concealed behind parapets along the street and contribute to a conti- owners to create uniform street walls. Par- To avoid abrupt scale juxtapositions that exist. nuity of features. tially open edges are preferred to promote fragment a neighborhood and adversely Repetition of historic roof forms is a Porches are strongly encouraged and social connection from street (public do- impact historic structures, a “step down” strategy that new construction can employ should have sufficient size to accommo- main) to porch (semi-private domain). amelioration strategy would be applied to to achieve compatibility with older struc- date outdoor furniture and easy accessi- new construction that is adjacent to a con- tures, particularly when there is a widely bility. Their widths and depths should re- tributing structure located within 20 feet of used roof convention in a neighborhood. flect that which can be found on other his- a shared side yard boundary. toric buildings in the district. The new construction should not be more than 1 1/2 stories taller than the contributing structure. A half story is defined as an attic space within the roof utilizing dormer windows or gable-end windows. In the event the new construction is a multi-family row house, apartment building, or a larger scale structure, only the first bay or set of spaces on the end of the building adjacent to the contributing structure should be required to “step down.”

187 DESIGN GUIDELINES FOR NEW CONSTRUCTION

SCALE OF THE BUILDING DIRECTIONAL EXPRESSION PROPORTION OF FRONT FACADE

Scale, although related to objective di- Scale for new construction speaks to New buildings should relate to adjacent All buildings have a proportional rela- mensions, is more open to interpretation both the relationship of the building to its buildings in the directional character (ori- tionship between the width and height of and is ultimately a more important measure neighbors, and the scale of the building to entation) of its facade. In a historic district the front facade which is independent of of a good building. Proper scale is a critical the person, which is influenced by the there is usually a typology of entry and physical size. In a district as complex as issue in determining the compatibility of massing (large unbroken masses vs. smaller connection to street shared by the neigh- University Heights with many different buildings within an historic context. It has collection of masses), materials, the size and borhood buildings that helps create a con- building styles, there can be a number of two general meanings: its scale to context proportion of openings, the articulation of sistent fabric. facade proportions. New construction and its scale relative to ourselves. Intu- surfaces, the ratio of void to solid, and de- University Heights buildings almost should consider the facade proportions of itively, we judge the fit of a building at dif- tails like handrails, doors and windows. without exception have primary entries that the historic structures in the immediate ferent scales of measurement in order to New infill may be larger in size (not in face the principal street. The facade facing neighborhood to determine if a common assess its relative size or proper scale in a physical scale with its neighbors) and yet the principal street is clearly recognized as proportion can be found in nearby struc- given context. Many issues affect the per- still feel compatible in scale if the building the building “front,” and porches or stoops tures. Compatibility can be enhanced if ception of scale such as placement on the form has been articulated with a number of create a transition from street to interior. neighborhood proportions can be inte- site, overall massing, building type, style, scaling strategies. New construction should recognize grated into the design of new buildings, combinations of materials and detailing to these shared conventions and enhance even if they are of a larger physical scale. name but a few. Every building in the Uni- compatibility by becoming part of the neigh- versity Heights Historic Districts is also borhood fabric. measured against its neighbors for degrees of similarity and difference. The result or “fitness” of a building is a delicate balance between these seemingly contradictory aspects of context. From far away, we note the profile of a structure on the skyline. On the streetscape: its distance from the road and its neighbors. Up close, we look for familiar things that tell us its relationship directly to our body, i.e., stairs, railings, doors and windows, and modular materials such as brick, blocks or wood. Most im- portantly, we sense that all these individual elements must have an overall order to achieve proper scale. Scale changes are evident from district to district and from street to street.

188 DESIGN GUIDELINES FOR NEW CONSTRUCTION

PROPORTION & RHYTHM RHYTHM OF SOLIDS TO VOIDS DETAILS AND MATERIALS OF OPENINGS In many historical styles, the height to Like the proportioning of openings, the Due to the varied architectural styles in width proportion of windows is an impor- relative ratio of openings to solid wall area University Heights, there is a broad range tant element of the design, along with the is also a characteristic of architecture that of materials used on historic buildings, in- way windows are configured by muntins. can be exploited to seek compatibility with cluding brick, wood siding, wood shingles, New construction should consider the pro- nearby historic structures. Architectural stucco, cut stone and the unique use of portion and rhythm of fenestration in style in historic buildings is a factor which local field stone and brick in the buildings nearby historic structures to enhance com- influences the solid to void ratio. The ratio locally known as “Chert Houses.” Roofs patibility. can also vary between primary and sec- also use a range of materials including as- In University Heights, vertically propor- ondary elevations as windows have often phalt shingles, asbestos shingles, crimped tioned windows predominate with many ex- been a status symbol and used on front and standing seam metal, tiles and stone. amples of group windows, especially in the facades to express wealth or social status. New construction should consider numerous Craftsman/Bungalow style build- looking at the pallet of materials used on ings. Consistent use of muntins is another nearby historic structures to pursue com- recognizable fenestration characteristic. patibility at the neighborhood level. Similarly, many historic structures have highly detailed doors and entryways, even when facades are simple and undetailed.

189 DESIGN GUIDELINES FOR NEW CONSTRUCTION

180 DESIGN GUIDELINES FOR NEW CONSTRUCTION

DESIGN GUIDELINES FOR NEW CONSTRUCTION University Heights North & University Heights South Historic Districts

181 DESIGN GUIDELINES FOR NEW CONSTRUCTION

New infill construction juxtaposed against an existing contributing structure in University Heights South District.

182 DESIGN GUIDELINES FOR NEW CONSTRUCTION

MAINTAINING THE CHARACTER OF THE UNIVERSITY HEIGHTS HISTORIC DISTRICTS—NORTH & SOUTH

183 DESIGN GUIDELINES FOR NEW CONSTRUCTION

DEFINING THE CRITERIA

7. Scale of Building. Relative size and composition of openings, roof forms and details to the building mass and its configuration.

184 DESIGN GUIDELINES FOR NEW CONSTRUCTION

Recommended Not Recommended

4. Employ amelioration strategies with new larger scale infill construction to protect adjacent historic structures.

6. Use of fences, walls or landscape materials to reinforce the continuity of the street edge in a neighborhood.

185 DESIGN GUIDELINES FOR NEW CONSTRUCTION

RHYTHM OF THE STREET SETBACKS

186 DESIGN GUIDELINES FOR NEW CONSTRUCTION

HEIGHT ROOF FORMS RHYTHM: ENTRANCES & PORCHES WALLS OF CONTINUITY

187 DESIGN GUIDELINES FOR NEW CONSTRUCTION

SCALE OF THE BUILDING DIRECTIONAL EXPRESSION PROPORTION OF FRONT FACADE

188 DESIGN GUIDELINES FOR NEW CONSTRUCTION

189 GLOSSARY

190 GLOSSARY

GLOSSARY

191 GLOSSARY

Abacus The uppermost member of a capi- Bay The division of a facade of a building, Chevron A zigzag or V-shaped decoration Cresting The decorative railing along the tal of a column. defined by window and door openings. usually used in series. ridge of a roof.

Acanthus An architectural ornament, usu- Beltcourse A flat, horizontal member of rela- Cladding An outer veneer of materials ap- Cupola A small, vaulted structure attached ally found on the lower portion of the tively slight projection, marking the di- plied to the exterior walls of a building. to the roof of a building and supported capitals of Corinthian and or compos- vision in a wall plane. by either solid walls or four arches. ite order columns, that resemble the Coffer A sunken panel in a ceiling, vault, large, spiny leaves of the acanthus plant. Belvedere A rooftop pavilion. or dome. Dentil A tooth-like ornament occurring originally in Ionic and Corinthian or- Arcade A series of arches supported on Braced Frame A wooden structural sys- Colonnade A series of columns support- ders, usually at the cornice line. piers or columns and attached or de- tem, consisting of heavy corner posts ing an entablature. tached from the wall. and heavy horizontal timbers and light, Dog-Trot A double pen house with a cen- closely spaced studs, nailed between the Column A vertical support consisting of a ter passage or breezeway. Architectural Review Board An appointed horizontal timbers. base, shaft, and capital. board of professionals and laymen au- Dormer A secondary feature of a building thorized under local ordinance to review Canales A Spanish term for a water spout Composition Shingles A modern roofing housing a window or vent, which is set modifications to historic buildings and used to drain water from roof. A fea- material composed of asphalt, fiber- upon the slope of a roof surface. Pro- districts. ture of Spanish Colonial and Spanish glass, or asbestos. vides ventilation, lighting, or auxiliary Colonial Revival style buildings. living space. Balloon Framing A method of wood-frame Coping A protective cap, top, or cover of construction, referring to the skeletal Canopy An ornamental roof-like structure a wall, chimney, or pilaster. Drop Siding A siding in which the upper framework of a building. Studs or up- used on commercial buildings which portion of each board has a concave rights run from sills to eaves, and hori- provides advertisement space, shade, Coquina A material formed from donax curve. Also known as novelty, rustic, zontal bracing members are nailed to and protection for the storefront and shells found along the east coast of and German siding. them. pedestrian traffic. Florida. Eaves The projecting edges of a roof over- Balustrade A series of balusters with a top Capital The upper portion of a column or Cornice The upper portion of an entabla- hanging the walls. and bottom rail. pilaster. ture. Elevation A two dimensional representa- Bargeboard A decorative board covering Casement Window A hinged window Crenelation A decorative feature that rep- tion or drawing of an exterior face of a the projection portion of a gable roof. which opens out from a building. licates the pattern of openings of a de- building. fensive parapet. Frequently associated Bracket A decorative support feature lo- Chamfer A 90 degree corner cut to reduce with the Moorish and Gothic Revival cated under eaves or overhangs. it to two 45 degree edges. styles.

192 GLOSSARY

Entablature Beam member carried by col- Gambrel Roof A double-sloped gable roof, Lattice A panel of criss-crossed, diagonal Modillion An ornamental block or bracket umns containing an architrave, frieze, allows additional living or storage space. or perpendicular slats often utilized as under the cornice in the Corinthian and and cornice, supported by a colonnade. decorative infill between masonry foun- other orders. Garland An ornament in the form of a band, dation piers. Facade The elevation or face of a building. wreath, or festoon of leaves, fruit, flow- Molding A continuous decorative strip of ers or oats. Light A single pane of glass. material applied to a surface. Fanlight Semicircular window over a door or window with a radiating glazing bar Half-timbering A method of construction Lintel A horizontal beam located above a Mullion A division between multiple win- system. in which vertical structural members window or door. dows or screens. were infilled with brickwork or plaster. Fenestration The arrangement of win- Loggia A gallery open on one or more Muntin The small members that divide dows, doors, and other exterior open- Hip roof A roof with sloping sides and sides, sometimes pillared. glass in a window frame; vertical sepa- ings in a building. ends. rators between panels in a panel door. Louver A small opening comprised of over- Finial An ornament that caps a gable, hip, Historic Preservation Commission (HPC) lapping, downward-sloping slats, which Newel The post in which a handrail is pinnacle or other architectural feature. A board of professionals and local resi- shed rain while admitting light and air. framed. dents who exercise defined historic Fluting The vertical channeling on the preservation responsibilities. Mansard Roof A roof having two slopes Niche A cavity in a wall, to receive a statue shaft of a column. on all four sides. or other ornament. I-House A two-story house, two rooms Footprint The outline of a building’s wide and one story deep. Masonry Brick, block, or stone which is Order In classical architecture, the specific ground plan from a top view. secured with mortar. configuration and proportions of a col- Jalousie A type of window comprised of a umn, including the base, shaft, capital Frieze molding Decorative wooden mold- series of horizontal slats connected to a Massing The arrangement of the various and entablature. ing located at the point where the eave mechanical device operated by a crank. geometric forms of a building into a meets the exterior wall. whole. Palladian Window A window composed Jerkinhead A roof form characterized by of a central arched sash flanked on ei- Gable roof A triangular section at the end a clipped gable. Medallion A circular tablet, ornamented ther side by smaller side lights. of a pitched roof. with embossed or carved figures or pat- Knee Brace A wooden triangular brace terns. Parapet A solid protective or decorative Gallery An upper story porch or walkway that supports the eaves of a building. wall located along the outside edge of a running along the facade of a building. Frequently utilized in the construction roof. of Bungalow style residences.

193 GLOSSARY

Pavilion A tower-like projecting element Porch A covered, visually open space, pro- Rejas Projecting wooden grillwork pro- Shaft The part of a column between the on an exterior wall, usually at the center jecting from the facade of a building, tecting exterior windows. base and the capital. or at each end of a building. which serves as a transition between inside and outside. Relocation Any change in the location of Shed roof A roof with a single sloping pitch. Pedestal A support for a column, pilaster, a building from its present setting to status or urn. Porte Cochere A covered entrance pro- another setting. Sidelight A glass window pane located at jecting so automobiles, carriages, or the side of a main entrance way. Pediment A triangular piece of wall above other wheeled vehicles may easily pass Restoration The process of accurately the entablature, which fills in and sup- through. recovering the form and details of a Story Story height is often used to de- ports the sloping roof. building as it may have appeared at an scribe the height of buildings. This is Portico The space enclosed within col- earlier time. not an absolute measure. Generally de- Pent roof A sloping roof structure located umns and forming a covered ambula- fined as the “occupiable space between above a window line, which serves as tory. Return Usually a cornice return, where the any two floors or between the floor and secondary protection or ornamentation. cornice is carried a short distance onto roof of a building,” actual dimensions Quatrefoil A four lobe or leaf-shaped the gable end of a building. of a story are dependent on building Piers A masonry structure, usually made curve. type, style, and method of construction. of brick or concrete block, which el- Ridge The highest part of a roof. Since absolute uniformity is absent from evates and supports a building or part Quoins Large stones or other materials the five districts, the best way to man- of a building. used to decorate and accentuate the cor- Rustication A method of forming stone- age story heights is by considering size, ners of a building, laid vertically, usu- work with recessed joints and smooth proportion and massing relative to the Pilaster A rectangular or round pillar pro- ally with alternating large and small or roughly textured block faces. surrounding context. jection from the wall with the same pro- blocks. portions and details as the order in Sash A frame that encloses the panes of a Stucco A masonry material applied as ex- which it is used. Rafter A wooden member of a roof frame window. terior wall fabric. which slopes downward from the ridge Pitch The steepness of roof slope. line. Scale The proportions of a building in re- Structural Glass Glass building blocks, lation to its surroundings, particularly reinforced plate glass, or pigmented Pivot window A hinged window which Rehabilitation The process of returning other buildings in the surrounding con- structural glass. opens out with the aid of a mechanical a building to a state of usefulness text. crank. through repair or alteration which pre- Tabby A primitive form of concrete, made serves those features that are histori- Setback The distance a building is located by mixing equal parts of sand, lime, Platform Framing Framing in which studs cally or architecturally significant. from a street or sidewalk. water, and oyster shell. only extend one floor at a time and the floor joints of each floor rest on the top plate of the story below.

194 GLOSSARY

Terra cotta Earth colored baked clay products formed into molds and used as or- naments.

Transom window A glass pane, usually rectangular, which is located above a window or door.

Valley A depressed angle formed by the meeting at the bottom of two inclined sides of a roof, as a gutter.

Verandah In Florida, a porch extending along more than one elevation of a building.

Vigas A projecting rounded roof beam found in Colonial and Spanish Colonial revival style buildings.

Wainscot The lower three or four feet of an interior wall when finished differ- ently from the remainder of the wall.

Weatherboard A type of cladding characterized by beveled overlapping boards with either tongue and groove or rab- beted top and bottom edges.

195 BIBLIOGRAPHY

196 BIBLIOGRAPHY

BIBLIOGRAPHY

197 BIBLIOGRAPHY

The following bibliography includes Jennings, Jan and Herbert Gottfried. Whiffen, Marcus. American Architec- National Register of Historic Places Site sources consulted in preparing these guide- American Vernacular Interior Ar- ture Since 1780: A Guide to the File, Northeast Residential District, lines as well as additional sources and stan- chitecture, 1870-1940. New York: Styles. Cambridge, Mass: MIT United States Department of the Inte- dard references which might prove useful Van Nostrand Reinhold, 1988. Press, 1992. rior, National Park Service, 1991. as references for design review boards and their staffs in the future. McAlester, Virginia and Lee. A Field Gainesville Historic Gainesville, Inc. Historic Gaines- Guide to American Houses. New ville, A Tour Guide to the Past. Edited Architectural History York: Alfred A. Knopf, 1984. Comprehensive Plan 1991-2001.City of by Ben Pickard.1991 Gainesville Department of Commu- Blumenson, John J.G. Identifying Maddex, Diane. Built in the U.S.A.; nity Development Comprehensive Sanborn Insurance Maps, Gainesville, American Architecture: A Pictorial American Buildings from Airports Planning Section, November 1991. Florida 1922, 1928. Guide to Styles and Terms, 1600- to Zoos. Washington, D.C.: The 1945 . Nashville: American Asso- Preservation Press, 1985. Data and Analysis Report, City of Florida Architectural History ciation for State and Local History, Gainesville Comprehensive Plan 1977. Rev. Ed. New York: W.W. Pevsner, Nikolaus. A History of Build- 1991-2001. City of Gainesville De- Adams, William R. Historic Lake Wales. Norton, 1981. ing Types. Princeton: Princeton partment of Community Develop- St. Augustine: Southern Heritage University Press, 1976. ment Comprehensive Planning Sec- Press, 1992. Cole, Katherine H. and H. Ward Jandl. tion, November 1991. Houses by Mail: A Field Guide to Phillip, Steven J. Old House Dictio- Adams, William R. and Paul L. Weaver. Mail Order Houses from Sears, Roe- nary. An Illustrated Guide to Ameri- Gainesville Land Development Code, City The Historic Sites of St. Augustine buck and Company. Washington, can Domestic Architecture 1600- of Gainesville, Setion 30-112: Historic and St. Johns County. St. August- D.C.: Preservation Press, 1986. 1940. Lakewood, Colorado: Ameri- Preservation/Conservation, 1998. Sec- ine: Southern Heritage Press, 1994. can Source Books, 1989. tion 30-79 Historic Preservation/Con- Hammett, Ralph W. Architecture in the servation District. 1998. Amelia Island Fernandina Restoration United States: A Survey of Archi- Poppeliers, John, S. Allen Chambers, Foundation. Centre Street: tectural Styles Since 1776. New and Nancy B. Schwartz. What Style National Register of Historic Places Site Fernandina Historic District. York: John Wiley, 1976. Is It? A Guide to American Ar- File, Pleasant Street Historic District, Fernandina, 1976. chitecture. Washington, D.C.: Pres- United States Department of the Inte- Jennings, Jan and Herbert Gottfried. ervation Press, 1983. rior, National Park Service, 1991. Ash, Jennifer. Private Palm Beach: American Vernacular Design, Tropical Style. 1992. 1870-1940. New York: Van Rifkind, Carole. A Field Guide to National Register of Historic Places Site Nostrand Reinhold, 1985. American Architecture. New York: File, Southeast Historic District, United New American Library, 1980. States Department of the Interior, Na- tional Park Service, 1991.

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Grimmer, Anne E. A Glossary of His- Mack, Robert C., AIA, de Teel Paterson Mechanical Systems Interior, Technical Preservation Ser- toric Masonry Deterioration Prob- Tiller and James S. Askins. Preser- vices, 1982. lems and Preservation Treatments. vation Briefs 2: Repointing Mortar Park, Sharon C. Preservation Briefs 24: Washington, D.C.: U.S. Depart- Joints in Historic Brick Buildings. Heating, Ventilating, and Cooling Freeman, John Crosby. “Anything Goes: ment of Commerce, National Tech- Washington, D.C.: U.S. Department Historic Buildings: Problems and An Approach to Exterior Paint Color nical Information Service, 1984. of the Interior, Technical Preserva- Recommended Approaches. Wash- For Early 20th Century Houses.” tion Services, 1980. ington, D.C.: U.S. Department of the Old House Journal. (May/June Grimmer, Anne E. Preservation Briefs Interior, Technical Preservation Ser- 1991), 37-40. 22: The Preservation and Repair Park, Sharon C. Preservation Briefs 16: vices, 1988. of Historic Stucco. Washington, The Use of Substitute Materials on Moss, Roger. Century of Color: Exte- D.C.: U.S. Department of the In- Historic Building Exteriors. Wash- Metals rior Decoration for American Build- terior, Technical Preservation Ser- ington, D.C.: U.S. Department of ings, 1820-1920. Watkins Glen, vices, 1990. the Interior, Technical Preservation Waite, John G. Preservation Briefs 27: New York: American Life Founda- Services, 1988. The Maintenance and Repair of Ar- tion, 1981. Grimmer, Anne E. Keeping It Clean: chitectural Cast Iron. Washington, Removing Dirt, Paint, Stains and Smith, Baird M, AIA. Mosture Prob- D.C.: U.S. Department of the In- Schwin, Lawrence. Old House Colors. Graffiti from Historic Exterior Ma- lems in Historic Masonry Walls: terior, Technical Preservation Ser- New York: Sterling Publishing Com- sonry. Washington, D.C.: U.S. De- Diagnosis and Treatment. Wash- vices, n.d. pany, Inc., 1990. partment of the Interior, Technical ington, D.C.: U.S. Department of Preservation Services, 1987. the Interior, Technical Preservation Painting Weeks, Kay D. and David W. Look, Services, 1988. AIA. Preservation Briefs 10: Ex- London, Mark. Masonry: How to Care Athenaeum Library of Nineteenth Cen- terior Paint Problems on Historic for Old and Historic Brick and Tiller, de Teel Paterson. Preservation tury America. Exterior Decoration: Woodwork. Washington, D.C.: U.S. Stone. Washington, D.C.: The Briefs 7: The Preservation of His- A Treatise on the Artistic Use of Department of the Interior, Techni- Preservation Press, 1988. toric Glazed Architectural Terra- Colors in the Ornamentation of cal Preservation Services, 1982. Cotta. Washington, D.C.: U.S. De- Buildings, and a Series of Designs Mack, Robert C., AIA. Preservation partment of the Interior, Technical Illustrating Different Combinations Porches Briefs 1: The Cleaning and Water- Preservation Services, 1979. of Colors in Connection proof Coating of Historic Build- withVarious Styles of Architecture. Bock, Gordon. “Reviving Railings.” Old ings. Washington, D.C.: U.S. De- Philadelphia: The Athenaeum of House Journal. (July/August, 1990), partment of the Interior, Technical Philadelphia, reprinted in 1976. 45-46. Preservation Services, 1975. Chase, Sara B. Preservation Briefs 28: Trescott, Jerry. “Restoring a Period Painting Historic Interiors. Wash- Porch.” Old House Journal. (July/ ington, D.C.: U.S. Department of the August, 1990), 41-44.

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Wilkinson, Jeff. “The Story of Porches: Signs Park, Sharon C. Preservation Briefs 13: Myers, John H., revised by Gary H. An American Tradition.” Old House The Repair and Thermal Upgrad- Hume. Preservation Briefs 8: Alu- Journal. (July/August, 1990), 30-40. Auer, Michael J. Preservation Briefs 25: ing of Historic Steel Windows. minum and Vinyl Siding on Historic The Preservation of Historic Signs. Washington, D.C.: U.S. Department Buildings: The Appropriateness of Roofs Washington, D.C.: U.S. Department of the Interior, Technical Preserva- Substitute Materials for Resurfac- of the Interior, Technical Preserva- tion Services, 1984. ing Historic Wood Frame Buildings. Bock, Gordon. “Composition Shingles tion Services, 1991. Washington, D.C.: U.S. Department of the 1920’s and 1930’s.” Old House Poore, Jonathan. “How to Fix Old of the Interior, Technical Preserva- Journal. (May/June 1990), 28-31. Storefronts Doors.” Old House Journal. (June, tion Services, 1984. 1986), 222-227. Park, Sharon C. Preservation Briefs 19: H. Ward Jandl. Preservation Briefs 11: O’Bright, Alan. Preservation Technical The Repair and Replacement of Rehabilitating Historic Storefronts. U.S. Department of the Interior, National Notes: Paint Removal from Wood Historic Wooden Shingle Roofs. Washington, D.C.: U.S. Depart- Park Service, and Center for Architec- Siding. Washington, D.C.: U.S. Washington, D.C.: U.S. Depart- ment of the Interior, Technical Pres- tural Conservancy, Georgia Institute of Department of the Interior, Preser- ment of the Interior, Technical Pres- ervation Services, 1982. Technology. The Window Handbook: vation Assistance Division, 1986. ervation Services, 1989. Successful Strategies for Rehabilitating Windows and Doors Windows in Historic Buildings. Wash- Phillips, Morgan W. and Dr. Judith E. Sweetser, Sarah M. Preservation Briefs ington, D.C.: U.S. Department of the Selwyn. Epoxies for Wood Repairs 4: Roofing for Historic Buildings. Bock, Gordon. “The Sash Window Bal- Interior, National Park Services, n.d.. in Historic Buildings. Washington, Washington, D.C.: U.S. Depart- ancing Act: Sash Weight and Tape- D.C.: U.S. Department of Com- ment of the Interior, Technical Pres- Balance Systems.” Old House Jour- Wood merce, National Technical Informa- ervation Services, 1978. nal. (September/October 1989), 31- tion Service, 1978. 34. Bock, Gordon. “Painting Exterior Wood.” Favretti, Rudy J. Landscapes and Gar- Old House Journal. (May/June 1989) Interiors dens for Historic Buildings. Nash- Bock, Gordon. “Stripping Paint From 32-41. ville: American Association for Windows Without Breaking Glass.” Fisher, Charles E. Ed. Interiors Handbook State and Local History, 1978. Old House Journal. (September/ Briscoe, Frank. “Wood Destroying In- for Historic Buildings. Washington, October 1989), 39-40. sects.” Old House Journal. (May/ D.C.: National Park Service, 1988. June 1989) 32-41. New York Landmarks Conservancy. Flaharty, David. Preservation Briefs Repairing Old and Historic Win- 23: Preserving Historic Ornamen- dows: A Manual for Architects and tal Plaster. Washington, D.C.: U.S. Homeowners. Washington, D.C.: Department of the Interior, Tech- The Preservation Press, 1991. nical Preservation Services, 1990.

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Jandl, H. Ward. Preservation Briefs 18: Seale, William. Recreating the Historic Handicap Asscessibility Moving Historic Buildings Rehabilitating Interiors in Historic House Interior. Nashville: Ameri- Buildings-Identifying Character- can Assosciation for State and Lo- Ballantyne, Duncan. Accomodation of Curtis, John Obed. Moving Historic Defining Elements. Washington, cal History, 1979. Disabled Visitors at Historic Sites Buildings. Elbridge, N.Y.: Interna- D.C.: U.S. Department of the Inte- in the National Park System. Wash- tional Society of Structural Mov- rior, Technical Preservation Ser- Seale, William. The Tasteful Interlude: ington, D.C.: U.S. Department of ers, 1991. vices, 1988. American Interiors Through the Interior, National Park Service, n.d. Camera’s Eye, 1860-1917. New MacDonald, Marylee. Preservation York: Praeger Publishers, 1975. Parrot, Charles. Access to Historic Briefs 21: Repairing Historic Flat Buildings for the Disabled: Sug- Plaster-Walls and Ceilings. Wash- Shivers, Natalie. Walls and Molding: gestions for Planning and Imple- ington, D.C.: U.S. Department of the How to Care for Old and Historic mentation. Washington, D.C.: U.S. Interior, Technical Preservation Ser- Wood and Plaster. Washington, Department of Commerce, National vices, 1989. D.C.: The Preservation Press, 1990. Technical Information Service, 1980.

Moss, Roger W. Lighting for Historic Von Rosensteil, Helene and Gail Caskey Smith, William D. and Tara Goodwin Buildings. Washington, D.C.: The Winkler. Floor Coverings. Wash- Frier. Access to History: A Guide Preservation Press, 1988. ington, D.C.: The Preservation to Providing Access to Historic Press, 1988. Buildings for Persons with Dis- Nylander, Jane C. Fabrics for Historic abilities. Boston, Massachusetts: Buildings. Washington, D.C.: The U.S. Department of the Interior, Na- Massachusetts Historical Commis- Preservation Press, 1990. tional Park Service, and Historic sion, 1989. Preservation Education Founda- Nylander, Richard C. Wallpapers for tion. Interiors Handbook for His- New Construction Historic Buildings. Rev. ed. Wash- toric Buildings. Washington, D.C.: ington, D.C.: The Preservation Historic Preservation Education Brolin, Brent C. Architecture in Context, Press, 1992. Foundation, n.d.. Fitting New Buildings with Old. New York: Van Nostrand Reinhold Com- Schwin, Lawrence. Decorating Old House Winkler, Gail Caskey and Roger W. pany, 1980. Interiors, American Classics, 1650- Moss. Victorian Interior Decora- 1960. New York: Sterling Publishing tion: American Interiors 1830- Company, Inc., 1994. 1900. New York: Henry Holt and Company, 1986.

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APPENDIX 1: ARCHITECTURAL PERIODS

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FLORIDA’S ARCHITECTURAL PERIODS

The Division of Historical Resources Colonial Period (1565-1821) materials, methods of construction, and States, the Bahamas, and other existing or has developed periods for categorizing ar- The Colonial Period began with the Span- building features. Many of the accommo- former British dominions, and the popula- chitectural resources in Florida. They de- ish settlement of St. Augustine in 1565. The dations they made to the local environment tion of East Florida contained a number of scribe expanses within which important de- First Spanish Period was highlighted by became part of the state’s architectural tra- former British subjects. velopments in Florida history occurred. the construction of the Castillo de San dition. Only two examples of Second Spanish The periods create a framework for under- Marcos, beginning in 1672. In 1763, Spain Domestic architecture, the most com- Period architecture exist outside of St. Au- standing local architectural resources and relinquished Florida to Great Britain, which mon type of building in colonial Florida, gustine. The Kingsley Plantation, located for organizing and developing an architec- ruled the colony until 1784, a period en- was functional rather than ornate. Colonial at the north tip of Ft. George Island in Duval tural description of a specific area or dis- compassing the American Revolution. As buildings were generally constructed at County, is the only example of a plantation trict. a result of Spain’s alliance with the United street line with walled courtyards and doors complex remaining in Florida from the pe- States and its military occupation of Florida on the south side entering from a court- riod. The Lavalle House, constructed c. west of the Suwannee River, Britain re- yard or loggia. With the exception of hard- 1803 in Pensacola, is the second standing turned Florida to Spain in 1784, at the close ware, all building materials were locally pro- structure remaining from the period and the of the Revolutionary War. Spain’s subse- duced. Wood, including heart pine, red ce- only one yet documented in West Florida. quent inability to populate and defend its dar, and cypress, constituted the principal It is a wood-frame, raised Creole cottage colony resulted in a decision to transfer construction material in St. Augustine and an excellent example of the early Gulf Florida to the United States, which formally throughout most of its history. Following Coast vernacular tradition. took control of the new territory in 1821. the destruction of the city in 1702, use of The colonial architecture of Florida re- masonry materials for wall construction, Territorial Period (1821-1845) flected the ethnic and racial diversity of particularly coquina and tabby, became At the beginning of the Territorial Pe- peninsular inhabitants. It encompassed prevalent. riod, the population of Florida was largely three distinct historic periods: the First The architectural legacy of the succeed- concentrated at St. Augustine and Spanish Period (1565-1763); the British Pe- ing British Period can also be found in St. Pensacola. Tallahassee, midway between riod (1763-1784); and the Second Spanish Augustine. The British added extra rooms the two populated centers, was selected as Period (1784-1821). The surviving colonial or upper stories to Spanish buildings. On the territorial capital in 1823. Typical of the buildings embody primarily Spanish, En- new and existing buildings, they placed rural South, Florida’s cash economy relied glish, and French building traditions, often doors directly on the street, used window largely on a plantation system and accom- in combination. With few exceptions, ex- glass, and constructed chimneys. During panying slave labor. Florida planters culti- tant colonial buildings are concentrated in the Second Spanish Period, the influence vated cash crops such as cotton, sugar- St. Augustine. of British building traditions remained cane, tobacco, and indigo. Most settlers, Searching for ways to protect them- strong. The reasons for the British influ- however, relied on subsistence farming. selves from the elements and to secure re- ences on the architecture of St. Augustine Difficulties with Indians culminated in an lief from Florida’s harsh climate, colonial and East Florida were several. Building outbreak of hostilities in 1835. The Second inhabitants experimented with indigenous materials were imported from the United Seminole War endured until 1842, halting

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development for a time and resulting in and parlor, dog-trot, and I-house. All of Although not prevalent, brick came into The Greek Revival remained the stylis- great destruction in some eastern and cen- these buildings shared similar features and use in Florida during the Territorial Period. tic model for the design of many private tral parts of the Territory. Slavery came to methods of construction. Many features A few substantial dwelling houses and com- residences, commercial buildings, and other dominate national politics during the pe- were adaptations to the hot, moist climate mercial buildings were constructed of the property types, including the state capitol riod. In 1845, the United States Congress, of Florida. material, although it was predominately in Tallahassee. The Carpenter Gothic first in order to maintain a balance between slave Another distinct vernacular dwelling used on federal construction projects such appeared in Florida during the period. It and free states, admitted Florida to the house found in Territorial Florida, particu- as fortifications and lighthouses. was popularized nationally in writings and Union. larly in the coastal panhandle, was the Cre- plan-books published from the 1830s The architecture of the Territorial Pe- ole Cottage. The Creole Cottage was de- Statehood Period (1845-1861) through the 1850s by Andrew Jackson riod essentially expressed the building tra- veloped in Louisiana by French Canadian The Statehood Period extended from Downing, Alexander Jackson Davis, and ditions of settlers arriving from the Tide- immigrants with an understanding of long- 1845, when Florida entered the Union, until Richard Upjohn. Characteristic of the style water South, a coastal region stretching span roofing techniques. These buildings 1861, when it seceded from it. The popula- was the extensive use of sawn wood orna- from Virginia to Georgia. With the excep- had an incised or inset porch under the tion remained concentrated in the northern mentation on the bargeboards and eaves tion of Key West, the majority of buildings main roofline, with the front wall set back. tier of counties. During the peaceful years of the roof, made possible by the invention and structures associated with the period The Creole Cottage was a common dwell- between two wars, however, the construc- of the jigsaw. Upjohn’s plans were used in were located in the tier of North Florida ing house in West Florida during the Terri- tion of the Florida Railroad from Fernandina the construction of Episcopal churches counties stretching from St. Johns County torial and Statehood periods. to Cedar Key permitted significant settle- from the Statehood Period through the rest (St. Augustine) on the east coast through Nationally, the Greek Revival style ment of the central peninsula. Like the rest of the nineteenth century. Episcopal Leon County (Tallahassee) across to emerged as the major architectural style of of the South, the Florida economy remained Churches found in towns throughout Escambia County (Pensacola). Extant build- the era. Carpenters, pattern books, and ar- based on the plantation system and slave Florida offer excellent examples of the style. ings dating from the period include rural chitects of the time popularized the design, labor. Slavery dominated national and state Wood remained the prevalent building and urban residences, churches, and com- applying it to residences, churches, banks, politics during the period. The period ended material and log or braced frame walls the mercial buildings. courthouses and other public buildings. with the disruption of the Union and the principal method of constructing wooden Settlers from the Tidewater South The full-colonnaded plantation home pro- commencement of the Civil War. buildings. Commercial saw mills operated brought with them English vernacular build- vided a common example of the style in the The architecture of the Statehood Pe- in populated areas of Florida. They pro- ing traditions. The most common building South. Even vernacular buildings incorpo- riod in many ways resembled that of the duced lumber, characterized by vertical saw type, the wooden dwelling house, used a rated features of the style. Florida’s remote Territorial Period. The settled areas of north, marks, cut by steam or water powered re- log or braced frame structural system. Build- location, lack of sophisticated building ma- middle, and west Florida and Key West still ciprocating saws. ings one-room or one-pen deep were most terials, and its relatively limited scale of ur- contained the majority of buildings. Settle- The construction of the Florida Rail- common. These rooms could be built in a ban and rural architectural development re- ments reached Central Florida, particularly road from Fernandina to Cedar Key re- modular fashion and resulted in a number sulted in less elaborate and ornate expres- Marion and Alachua counties. Extant build- sulted in the development of new towns of different types of vernacular dwelling sions of the style than appeared elsewhere. ings dating from the Statehood Period were and settlements in the peninsula. The rail- houses. These included the single-pen, hall originally private residences and for edu- road provided an efficient means of trans- cational, religious, transportation, commer- porting building materials to previously in- cial and political uses. accessible areas. Products of the industrial

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revolution, such as corrugated metal and over local and state politics. Production of Extant building types indicate the ini- Post-Reconstruction Period cast iron, appeared in Florida for the first cotton and other plantation crops declined, tial stages of a maturing state. Commercial (1877-1898) time as did commercially milled wood win- eventually supplanted by citrus cultivation buildings with cast-iron storefronts made Reconstruction ended in Florida in 1877 dows, doors, frames, shutters, and orna- as the principal agricultural activity. Settle- their appearance in the 1870s. The first hos- with the withdrawal of federal armies. Four ment. ment of the peninsula quickened, though pitals were constructed. years later, in 1881, the State of Florida sold New building types expressed the early the absence of good transportation facili- Buildings constructed during the pe- four million acres of public lands to a Phila- stages of a maturing state. Hotels and ties limited its pace. For the first time, tour- riod contained influences of the previous delphia investor, Hamilton Disston, permit- boarding houses were constructed in sig- ists, seasonal residents, and invalids seek- period and foreshadowed styles that ap- ting it to resolve its internal debt problem nificant numbers for the first time and ing relief from northern winters began ar- peared in the subsequent era. Elements of and distribute land grants in order to pro- served the state’s infant tourist industry. riving in significant numbers. the Greek Revival style persisted. The Car- mote railroad development. Rail networks The first schools were designed and built The disruptions of the Civil War pre- penter Gothic and the Gothic Revival in par- soon reached all parts of the state. The rail to educate the state’s youth. Railroad de- vented any serious or permanent construc- ticular continued to exert a significant in- infrastructure allowed substantial settle- pots arose beside tracks in settled commu- tion in Florida. With the exception of scat- fluence, especially on ecclesiastical archi- ment and development of the southern por- nities. The settlement of new areas and a tered fortifications, little of consequence tecture, notably Episcopal churches exhib- tion of the peninsula for the first time. Rail- growing population resulted in the need was built. Architecturally, the Reconstruc- iting the Carpenter Gothic style. road development stimulated the state’s for governmental services. The growth of tion Period that followed the war was a tran- The Reconstruction Period witnessed economy, particularly tourism and citrus government was symbolized by the con- sitional era. New methods of construction, the early flowering of a variety of materials, cultivation. It was closely linked to hotel struction of the state capitol and the first types of buildings, and styles of architec- methods of construction, types, and styles construction and the growth of resort com- county courthouses designed as such. ture were introduced to Florida. Circular of architecture in Florida that blossomed in munities throughout the peninsula. The sawn-lumber became common as steam the succeeding era. Greek and Roman in- first significant industrial development oc- Civil War and Reconstruction Period powered mills began to replace manual and fluenced architecture began giving way to curred, highlighted by cigar manufacturing. (1861-1877) reciprocating saw operations. The balloon- Victorian period designs. The Italianate ap- During the Post-Reconstruction pe- In 1861 Florida seceded from the Union frame structural system was first used. With peared particularly on buildings con- riod, Florida began rapidly changing from and became one of eleven Confederate it came standardization of board size, which structed of cast iron. a largely undeveloped frontier to a mature states. Florida’s cattle and salt industries enabled relatively unskilled workers to erect state. Florida architecture began to reflect supplied important provisions for the frame buildings both quickly and soundly. national trends in materials, methods of southern cause. The Union victory meant Transportation improvements, principally construction, types of buildings and styles the abolition of slavery and, with it, the steamboating and some limited rail facili- of architecture. Professionally trained ar- plantation system. Although little fighting ties, led to a wider distribution of materials chitects practiced in the state for the first occurred within the state, Florida’s such as brick and milled wood products in time. Brick and machine-milled lumber, economy was in ruins at the end of the war. Florida. However, much of the Florida pen- whose shipment was facilitated by the rap- During the Reconstruction era (1865-1877), insula remained unaccessible and undevel- idly expanding rail transportation network, Florida’s experience mirrored that of other oped. North, middle, and west Florida con- became widely distributed. Products of the southern states. Former slaves and north- stituted the principal settled areas. industrial north such as sheet metal and ern immigrants wielded powerful influence cast iron were readily available.

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Buildings dating from the Post-Recon- Industrial expansion constituted an- United States into World War I signaled the trum of uses and styles. Social clubs, edu- struction period reflect a broad range of other key development of the Post-Recon- end of the period. Immigration and housing cational buildings, government facilities, types, materials, sizes, and designs. They struction era. In Tampa, Key West, Jack- development slowed during the war, but retail and wholesale establishments, and indicate a varied, diversified, and increas- sonville, and St. Augustine cigar manufac- tourism rose when the war in Europe forced transportation buildings, among others, ingly sophisticated society. Located turing emerged as a significant industry. Americans to seek vacation destinations in date from the period. The development of throughout the peninsula, their numbers Cigar factories in Tampa and other Florida this country. the state’s southeastern counties and the paralleled the course of rail construction cities symbolized the period. Florida architecture underwent substan- steady progress of railroad construction along the Atlantic and Gulf coasts. They Educational facilities appeared in un- tial change during the Turn-of-the-Century along the coastlines during the period are embody nationally popular styles, includ- precedented numbers. With the develop- period. The flamboyant architecture of the also reflected in the geographic distribu- ing the Italianate, Queen Anne, and Sec- ment of rail transportation and economic Victorian era gave way to more traditional, tion of buildings. ond Empire. and population growth, the need for gov- conservative influences represented by the Transportation remained a key to the Transportation, particularly railroads, ernment services expanded. New counties Beaux Arts, Colonial Revival, and Classical state’s development. Railroad depots and which lengthened across the Florida penin- were created to serve the need and new Revival styles. Also present were early ex- stations were constructed throughout sula and along the Atlantic coast, keyed the courthouses and jails followed. amples of Mediterranean influenced styles, Florida, particularly in previously undevel- state’s overall development. Upon comple- Domestic architecture, particularly that including the Spanish Colonial Revival and oped areas. The railroad, because of its tion of the Florida East Coast Railway to Mi- associated with urban areas and wealthy Italian Renaissance, which were to come speed and accessibility, supplanted ship- ami in 1896, a whole new region of the state Northerners was characterized by flamboy- into full bloom during the 1920s. Contrast- ping as the principal transportation sys- opened to development. Railroad depots ant use of decoration, irregular form, mul- ing with more traditional styles of architec- tem in Florida. and stations housing passengers and tiple roof types, and a variety of materials ture were the first examples of the late nine- Industrial expansion continued during freight services dotted the lines. Hotels soon and colors. teenth and early twentieth century Ameri- the Turn-of-the-Century Period. Cigar followed. The design, materials, and con- can movements, such as the Prairie School, manufacturing and citrus processing were struction techniques employed in construct- Turn-of-the-Century Period/WW I the Commercial style, and the Bungalow. important activities. In Key West and Tar- ing the hotels exceeded those used for other (1898-1918) Masonry materials became commonplace, pon Springs, sponge harvesting developed building types in Florida and, in the case of The Turn-of-the-Century Period began particularly in commercial areas. on a significant scale. Cigar factories, the Ponce de Leon and Alcazar hotels in St. with the outbreak of the Spanish-American Improved construction techniques, par- sponge warehouses, sponge boats, and cit- Augustine and the Tampa Bay Hotel in War in 1898. Florida benefitted from the war ticularly the use of reinforced concrete and rus packing houses were significant prop- Tampa, set new national standards. Formally through improved harbors and the billeting steel frame structural elements, resulted in erty types associated with the period. trained architects, such as John M. Carrere, of large numbers of troops in many of the the first Florida skyscrapers in cities such Educational institutions continued to Bernard Maybeck, James Renwick, and Tho- coastal communities. Railroad development as Jacksonville, Miami, and Tampa. Archi- expand. The State of Florida made a signifi- mas Hastings, were employed by hotel own- continued throughout the state. Introduc- tecture as a profession became institution- cant commitment to higher education by ers and wealthy northern winter residents to tion of the automobile stimulated the begin- alized during the period with the founding adopting the Buckman Act, which created design their buildings. ning of a state road system. Improved trans- of the Florida Chapter of the American In- the University of Florida, Florida Agricul- portation facilitated agricultural and indus- stitute of Architects in 1915. tural and Mechanical University, and the trial expansion and led to dramatic increases The extant buildings in Florida identi- Florida State School for Women. Many of in population and tourism. The entry of the fied with the period occupy a wide spec- the original buildings of these three univer-

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sities remain. Public and private schools of tecture was introduced to Florida through close to one another. During the late nine- state into economic depression. Adding to primary, secondary, and higher education St. Augustine in the Spanish Renaissance teenth and early twentieth centuries the the economic misery, an infestation of the were constructed in unprecedented num- Revival Ponce de Leon and Alcazar hotels business districts of a number of Florida Mediterranean fruit fly devastated groves bers for the period. Public libraries, many of and the Venetian Revival Flagler Memorial cities burned. The hazard of fire spurred throughout the state in 1928. them funded by the Carnegie Endowment or Church. Spanish Colonial architecture was the use of masonry materials in downtown The Florida Land Boom of the 1920s other charitable organizations, were erected popularized nationally at San Diego’s areas throughout Florida during the early was a period of unprecedented population in communities throughout the state. Panama-California International Exposition twentieth century. growth, economic expansion, and building Social institutions, a reflection of a main 1915. In Florida, the outstanding example construction. The Boom was concentrated turing society and an improving quality of of Mediterranean architecture from the pe- Florida Boom Period (1919-1929) in South Florida, but few communities in life, proliferated. Examples of properties re- riod was Villa Vizcaya, located in Miami and Florida experienced an unprecedented the peninsula were exempted from the flecting the trend include fraternal organiza- designed in the Italian Renaissance Revival period of growth during the post World speculative fever. tions, mutual aid societies, and women’s style. Not long after, flamboyant architect War One period, known as the Florida Land Building design was strongly influ- clubs. Addison Mizner began designing buildings Boom. Immediately upon the war’s end real enced by Mediterranean architecture. De- With the continued development of rail in an eclectic Spanish style in southeast estate activity quickened, soon rising to a velopers and architects attempted to capi- transportation and economic and popula- Florida. The first examples of the style were frenzied pitch. Property values rose dra- talize upon Florida’s Spanish heritage, as it tion growth, local government expanded. applied to large and ornate residences. matically. In virtually every city and town offered a different element than English tra- Construction of courthouses and other However, not until the 1920s did the style new subdivisions were platted and lots ditions. Buildings large and small were de- municipal and county buildings revealed become widely popular. sold and resold for quick profits. Bank designed in a variety of “Mediterranean Re- the expansion of local government during Commercial architecture proliferated posits swelled and droves of real estate vival” Styles. Mediterranean Revival has the period. and changed in character during the Turn- companies set up shop in many towns and become a catch-all term employed in Florida Domestic architecture grew more con- of-the Century Period. A trend toward ma- cities. State and county road systems ex- to describe a building displaying features servative, reflecting the influence of clas- sonry building materials and innovative panded rapidly. Southeast Florida, particu- obviously derived from some part of the sical precedents. The Colonial Revival pro- construction techniques were major mani- larly Miami and Palm Beach, entertained Mediterranean basin. Most designs were vided a major influence, even on vernacu- festations of the change. Brick and con- the most anxious activity, but few commu- eclectic, and many incorporated only mini- lar architecture. The Bungalow dominated crete business blocks replaced wooden nities in the state escaped the fever. The air mal features associated with Mediterra- residential architecture. It represented a structures in communities throughout began to seep out of the speculative land nean architecture. clear break from the preceding period Florida. One of the principal reasons for bubble in 1925. In August of that year the Commercial buildings in Florida con- through its size, massing, and interior de- the trend toward masonry building materi- Florida East Coast Railway announced an structed at the time reflected a variety of sign. Together with the Prairie School, it als was the actual or potential hazard of embargo on freight shipments to south influences. Many, of course, displayed the symbolized the introduction of the Early fire. As was true in virtually every commu- Florida, where ports and rail terminals were influence of Mediterranean styles in de- Modern Movement in Florida. nity in Florida, the first commercial build- clogged with unused building materials. tailing. Commercial architecture in Florida Mediterranean-based architecture ings were nearly always wood-frame, con- Devastating hurricanes that hit southeast continued in general to employ the charac- gained popularity. Various included Span- structed of extremely flammable pine. As a Florida in 1926 and 1928 killed thousands teristics of one and two-zone composition ish, Spanish Colonial, Moorish, and Italian result, fires were common, particularly in of people and provided a sad, closing chap- developed at the turn of the century. Renaissance. Mediterranean-based archi- commercial areas where buildings were ter to an era of wild excesses, plunging the

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Materials used in construction turned Depression and New Deal Period facilities, commercial buildings, and federal, increasingly to brick, concrete, and steel, (1929-1940) state, and local government buildings. although numerous vernacular dwelling The economic decline that first struck Private sector development was largely houses continued to employ wood frame Florida fell within three years upon the na- concentrated in a few tourist oriented ar- construction techniques. Structural clay tile tion at large, descending in full measure eas, such as Miami Beach, Daytona Beach became common in the construction of ex- after the 1929 Wall Street Crash. Between and several other coastal areas. The Art terior walls. Many buildings were con- 1929 and 1933, 148 state and national banks Deco and Art Moderne began to appear in structed of reinforced concrete. Concrete in Florida collapsed. By 1933, approximately quantity and were mainly concentrated in block, often stamped with a decorative face, one out of four Floridians was receiving Miami Beach. also came into common usage. some type of public relief and assistance. Public works projects, particularly those Before the 1920s, virtually all residen- As the decade wore on, relief measures ex- funded by the federal government stimu- tial development in Florida had developed panded, mostly inspired by the New Deal lated building construction. Numerous post organically, largely on the basis of a grid- administration of President Franklin Delano offices, courthouses, auditoriums, armor- iron subdivision lay-out. During the 1920s, Roosevelt. The Works Progress Adminis- ies, and municipal offices were constructed planned residential areas, which contained tration (WPA) provided jobs for profes- under federal auspices. innovative layouts, designated parks, set- sional workers and laborers alike, often As the Depression wore on, innovative back requirements, deed restrictions, and employing them to construct roads and mechanisms for financing housing con- design guidelines appeared for the first time. buildings. As a result, the nation, the state, struction, including federally guaranteed and communities by the thousands ob- home loans, were introduced. This stimu- tained infrastructural improvements they lated home building, generally confined to might otherwise never have attempted. relatively small houses designed for middle Little building activity occurred during class incomes. The Bungalow, Mediterra- the initial years of the Depression decade nean Revival, and Moderne styles were of the 1930s. The construction that did take major influences. place was largely limited to two types of activities: tourism and public works projects funded by federal programs, such as the Works Progress Administration. Building types of the Depression and New Deal Period context include tourist related

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213 ARCHITECTURAL STYLES

214 ARCHITECTURAL STYLES

APPENDIX 2: ARCHITECTURAL STYLES

215 ARCHITECTURAL STYLES

216 ARCHITECTURAL STYLES

FRAME VERNACULAR (1855-1927)

Vernacular architecture predominated in Some porches included upper galleries and Characteristics Gainesville from the Territorial Period until frequently contained decorative features the late 1920s. Vernacular buildings were such as jig-sawn brackets, spindles, and • Plan: regular, rectangular; ell and irregu- seldom designed by architects, but instead other woodwork. lar; also common. were produced by builders who learned Many frame vernacular buildings exhib- their trade from other carpenters having ited stylistic influences, commonly draw- • Foundation: Pier: wood or tabby prior little or no formal training in architecture. ing from Colonial and Gothic Revivals, the to Civil War; brick post-Civil War; con- Frame vernacular architecture in Bungalow, and the Queen Anne. Structural crete block during 1920s. Gainesville exhibited common features and systems ranged from braced frame before CROSS-GABLE LOUVRED EXTENSION VENT SIDE GABLE adaptations to Florida’s warm climate. The the Civil War, balloon frame in the late Vic- • Height: one to two-and-one-half stories. ROOF ground plan of buildings was generally torian era, to platform frame after about VERANDA regular and rectangular and their overall 1910. • Primary exterior material: horizontal 2/2 DOUBLE- HUNG SASH shape, boxlike, either one or two rooms The following buildings typify the va- wood siding; less common wood SIMPLE COLUMNS CLAPBOARD deep and two rooms wide. Frame vernacu- riety of form possible in the wood frame shingles, board and batten. SIDING lar buildings generally rose only one to two- vernacular house type in Gainesville. BRICK PIER OFFSET FOUNDATION and-one-half stories. • Roof type: gable, less common hip, py- ENTRANCE Typical wood-frame buildings rested on ramidal. Elevation drawing of the Frame Vernacular style a raised pier foundation, which facilitated building. air flow. Exterior cladding generally con- • Roof surfacing: wood shingles during sisted of horizontal wood boards, though 19th century; metal during late 19th cen- board and batten was not uncommon. tury; composition and asbestos shingles Gable, hip, and pyramidal roofs typically beginning in 1920s. capped frame vernacular buildings. Most contained generous attic spaces, which fa- • Detailing: simple; usually jig-sawn cilitated interior cooling. Wooden shingles woodwork on porches or around eaves; covered the roofs of the earliest buildings. corbeling on chimneys. Metal surfacing appeared in the latter of the nineteenth century. Sash windows and panel doors were nearly universal. En- trances were unadorned. One-story, full- facade width entrance porches and veran- das, a concession to Florida’s climate, often surrounded one or more elevations.

Frame Vernacular style building.

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SHOTGUN (1866-1940)

The Shotgun House in the United States street side is a living room. Behind the liv- Characteristics DROP OR DOUBLE-HUNG dates to the early nineteenth century, when ing room is a kitchen with a bedroom and CLAPBOARD SASH WINDOWS SIDING blacks from Haiti introduced the style to bathroom at the rear. There are no interior • Plan: regular, rectangular. New Orleans and other parts of Louisiana. hallways. Each room opens to the next to The Shotgun drew its name from its long, maximize living space and to keep construc- • Foundation: brick or block piers. rectangular shape. Supposedly a shotgun tion costs low. blast would travel through the building Shotgun houses can be seen through- • Height: one story. without striking a wall. Typically one room out the Pleasant Street Historic District. BRICK OR wide, a Shotgun might be accommodated These houses reflect the typical details of • Primary exterior material: wood: weath-

OFFSET ENTRANCE CONCRETE PIER on a small lot or half-lot at minimal cost. wood frame structures with weather board erboard or drop-siding; less common, FOUNDTATION Although initially concentrated in the or drop siding, set on brick or concrete board and batten. Perspective drawing of the Shotgun style house. South, the Shotgun House, because of its piers. The houses are often two bays wide utility and modest construction cost, be- and typically three rooms deep with a door • Roof type: typically gable; shed roof came a common dwelling for working class and one window on the front facade as rep- over porch. blacks and whites in urban areas and in resented by the examples at 213 N.W. 4th agricultural and industrial communities Place and 113 N.W. 7th Avenue. These • Roof surfacing: wood shingles; metal, throughout the United States. houses have gable roof forms and were V-crimp; composition shingles. Shotgun houses first became common constructed with either asphalt shingles or in Florida after the Civil War, when newly v-crimp metal sheets with a shed roof ex- • Detailing: simple; jig-sawn woodwork freed slaves began to establish their own tending the width of the main facade. The on porches, doors, or under eaves. communities and neighborhoods. The style porches are supported by simple and mod- appeared throughout Florida in a variety est wood posts. There is also an example in of rural and urban settings. the district of the “double shotgun” where Freestanding and one room wide, the two shotgun houses were built together to Shotgun offers a front facade containing a form a two-family dwelling. These examples doorway on one side and a window on an- can be seen at 212A-212B N.W. 7th Lane other. Generally austere, many Shotgun and 716-718 N.W. 2nd Street. Houses, nonetheless, feature decorative woodwork on doors and porches and under eaves. Windows are often over-sized to allow the generous play of light and air. The interior has a common plan. On the

Typical Shotgun style house in Pleasant Street District. Floor plan of the Shotgun style house.

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HALL AND PARLOR This type of house could be easily ex- Characteristics The hall and parlor houses represent panded by constructing rear additions. the same period of construction as the shot- These side gabled houses in the Pleasant • Plan: rectangular, two rooms wide and gun house. This type of house was once Street Historic District, like the one at 406 one room deep. common in both the urban and rural South. N.W. 4th Avenue and 702 N.W. 3rd Street Thousands of them were found through- probably started out as simple two-room • Foundation: brick or block piers. out the countryside and were occupied by dwellings that were eventually enlarged as white and black tenement farmers who additional space became needed. Such • Height: one story. made a bare living from “share cropping,” structures were often originally constructed delivering the land owner a certain portion with a small shed or gable roof “kitchen” • Primary exterior material: wood: weath- of the annual crop in lieu of cash payment ell, but more substantial enlargements of erboard or drop-siding; less common, for rent. The majority of these tenements the house were usually made at a later date. board and batten. have vanished, yet there are a few of these historic structures which continue to be • Roof type: typically side gable; shed utilized. roof over porch. The basic form of the house is typical of the southern hall and parlor house. The • Roof surfacing: wood shingles; metal, basic structure is two rooms wide and one V-crimp; composition shingles. room deep. Exterior side chimneys flank the structure and mark the ridge of the side • Detailing: simple on porches, doors, or gable roof which is covered with v-crimp under eaves metal sheathing. The house stands on brick piers and has a shed roof at the porch which extends the width of the main facade. The porch roof is supported by simple wood posts. The exterior siding is weatherboard, and the windows are 2/2 light- double hung sashes.

Hall and Parlor style house.

219 ARCHITECTURAL STYLES

GREEK REVIVAL (1855-1880)

Greek Revival was the dominant style These buildings display a two-story, Characteristics of architecture in the United States from columned porch extending the length of a 1830 until 1860. For many Americans, it sym- five bay facade and a centrally placed, en- • Plan: regular, rectangular or nearly bolized the United States as the spiritual trance with sidelights and transom. Win- square. successor to the democratic traditions of dows are double hung-sash with a six-over- ancient Greece. The Greek Revival was an six light pattern and have a regular, sym- • Foundation: brick or other masonry adaptation of the classic Greek temple front, metrical fenestration pattern. piers. employing details from Doric, Ionic, and Lot size resulted in a second variant of Corinthian orders. The Greek Revival style the Greek Revival style. City lots were laid- • Height: one to two-and-one-half stories. was popularized by carpenters, pattern out in various dimensions ranging from books, and architects. It was applied to resi- long, narrow lots with a narrow street front- • Primary exterior material: horizontal dential design and churches, banks, court- age to larger, square lots with additional wood siding. houses and other public buildings. The full- street frontage. Narrow lots were common colonnaded plantation home provided a in densely developed urban areas during • Roof type: hip or gable. common example of the style in the South. the nineteenth century. They could not ac- Just before the Civil War, the Greek Re- commodate the length of a side-gabled • Roof surfacing: wooden shingles (origi- vival style became an important influence building without the purchase of additional nal); sheet metal or shingles; composi- Elevation drawing of the Greek Revival style building. on the architecture of Gainesville. Features lots. As a result “temple front” houses, tion, shingles. associated with the Greek Revival style those with a pedimented gable facing the were frequently incorporated into the build- street, were also popular. • Detailing: classically derived columns, ings constructed in the town during the They often have two-story porches, full balustrades, modillions, dentils. En- 1850s. Moreover, a Greek Revival influence pediments and entrances with transom and trance detailing—transom, sidelights, is apparent in buildings constructed as late sidelights. Their entrances are offset in a fanlights—common. Entry porch or full- as 1880. three-bay facade. The offset entrance is a width porch supported by square or These buildings were rectangular in variation of a style that typically empha- round columns. Cornice line emphasized plan with a gabled roof placed on the shorter sized symmetry. with wide band of trim. side of the building. The gable paralleled the street. Thus, the longer side of the building faced the street and formed the main facade.

220 ARCHITECTURAL STYLES

QUEEN ANNE (1880-1910)

Another style found in Gainesville is The Queen Anne in Florida was exclu- Characteristics the Queen Anne. The Queen Anne style, sively applied to residential buildings. It arguably the most picturesque of late nine- spread rapidly throughout the state during • Plan: irregular. teenth American domestic styles, exhibited the 1880s and 1890s following the con- a variety of forms, textures, colors, and ma- struction of rail lines, which facilitated the • Foundation: piers, brick. terials. Steep gables, towers, dormers, bal- transportation of ornamental millwork and DECORATIVE MULTIPLE VERGEBOARD conies, and verandahs further enrich the other elements of the style. The style ex- • Height: two to two-and-one-half stories. ROOF PANES style. erted great influence on vernacular build- Popularized in England by architect Ri- ings. Although it declined in popularity af- • Primary exterior material: various: hori- TOWER chard Norman Shaw, the style appeared first ter 1900, examples can be found as late as zontal wood siding, shingles. MULTIPLE in England, but developed a distinctive 1910. WALL character in the United States. The name The Queen Anne style was popular • Roof type: multi-planed, gable most com- SPNDLE- FABRICS WORK given to the style was inappropriate, for from the mid-1880s until 1910. The style mon; towers, gables, turrets common the precedents they used had little to do became fashionable to the point that many secondary roof structures. TURNED POSTS with the formal Renaissance architectural homeowners incorporated its identifying forms dominant during the reign of Queen features into existing structures. Turrets, • Roof surfacing: sheet metal, embossed; MULTI-PANED porches, and bay windows were attached composition, asbestos shingles. UPPER SASH Anne (1707-1714). The style was introduced Elevation drawing of the Queen Anne style building. to the American public at the 1876 Centen- to residences, totally changing their size, nial Exposition in Philadelphia and gained plan, massing and materials. • Detailing: A variety of woodwork, in- wide publicity in illustrations, press reports, The best example of the Queen Anne cluding finial, pendants, brackets, scroll- pattern books, and popular magazines such style in Gainesville is seen in the Northeast work, trusses, verge boards, panels; a as Architecture and Building News. Ameri- and Southeast Historic Districts. variety of textures, fish scale, other can architects and builders took a fancy to shingles; and variety of color. the style, which reached its apogee in the 1880s and 1890s.

Queen Anne style building in Southeast District.

221 ARCHITECTURAL STYLES

SHINGLE (1880-1900)

The Shingle style found its widest There are relatively few surviving ex- Characteristics popularity in the Northeastern United States amples of Shingle style residences in between 1880 and 1900. The first examples Florida. The examples that have survived • Plan: irregular. were designed by some of the most promi- were generally built by wealthy winter resi- nent architects of the late nineteenth cen- dents from the Northeast where the style • Foundation: piers, brick. tury, including Henry Hobson Richardson was most prevalent. and the firm of McKim, Mead, and White, Identifying features of the shingle style • Height: two-and-one-half stories. as summer residences for wealthy clients. are irregular roof planes most often broken WOOD SHINGLE From this fashionable base, well publicized by a series of dormers; cross-gable and • Primary exterior material: shingles. SIDING DIAMOND PANE in contemporary architectural magazines, cross-hip roof extensions; polygonal bays; WINDOWS the style spread throughout the country. unpainted wood shingle exterior fabric; • Roof type: multi-planed gable most com-

POLYGONAL Shingle style designs drew heavily upon palladian and double-hung sash windows mon, with secondary roof structures VERANDA BAY Queen Anne, Colonial Revival, and with multi-pane upper sashes and single such as dormers and cross gables. Richardsonian Romanesque precedents. pane lower sashes; and wide verandahs. From the Queen Anne it borrowed wide • Roof surfacing: wood shingles (origi- porches, shingle surfaces, and asymmetri- nal); pressed metal; composition ASYMMETRICAL FACADE cal forms. From the Colonial Revival style shingles. Elevation drawing of the Shingle style building. came the often used gambrel roofs, classical columns, and Palladian windows. • Detailing: unpainted wood shingle ex- Adapted from the Richardsonian Ro- terior finish; full facade width porch of- manesque was the emphasis on irregular, ten wrapping around the sides of the sculpted shapes, Romanesque arches, and, building; irregular plan and massing; in some examples, stone lower stories. palladian and double-hung sash windows with multi-pane upper sashes and single pane lower sashes.

Elevation of the Shingle style building in Northeast District.

222 ARCHITECTURAL STYLES

GOTHIC REVIVAL (1880-1920)

The Gothic Revival style achieved A residence within the Southeast Dis- Characteristics popularity in the United States between 1840 trict has Gothic Revival features, including and 1870. Nonetheless, it remained a fa- decorative vergeboards and flattened • Plan: rectangular or ell. vored building style for religious and edu- arches spanning the distance between its cational buildings, including those in porch supports. A number of houses have • Foundation: brick piers. Florida, well into the twentieth century. such elements as a steeply pitched roof. STEEPLY-PITCHED CENTER GABLE SIDE GABLE ROOF Several variations, including the Carpenter The Gothic Revival was also frequently • Height: one-and-one-half to two-and- EXTENSION Gothic and the Collegiate Gothic, material- associated with ecclesiastical architecture, one-half stories. ized. Architect Andrew Jackson Downing, a carry-over from the Middle Ages when said to have built the first example in the Gothic was the stylistic model for • Primary exterior material: wood: board DECORATIVE America in 1832, later produced several churches. and batten, shingles, weatherboard; less BRACKETS ORNAMENTAL pattern books in which he illustrated the frequently stone. SPINDLEWORK style’s appropriateness for modest domestic designs. Downing’s efforts to popular- • Roof type: steep-pitched gable. ize the Gothic helped to make it one of the dominant building styles of the day. Car- • Roof surfacing: wooden shingles (origi- DOUBLE-HUNG DOUBLE-DOOR SASH WINDOWS WITH TRANSOM penter Gothic, a peculiarly American ver- nal); ornamental metal; composition Elevation drawing of the Gothic Revival style sion of the Gothic Revival, was popular- shingles. building. ized nationally in the writings and architectural pattern books of Downing, Alexander • Detailing: prominent gables, oriel win- Jackson Davis, and Richard Upjohn, pub- dows, massive chimneys, pointed ellip- lished in the 1830s, 1840s, and 1850s. tical arch, towers and battlements, During the post-Civil War era, from the crenelation, jig-sawn trim on eaves, 1870s until the early 1890s, the Gothic Re- gable end, leaded stain glass. vival was a significant influence on the residential and ecclesiastical architecture of Gainesville. Gothic Revival features can be seen on a number of residential buildings. Two residences in the Northeast Dis- trict have steeply pitched roofs with a cen- tered gable, small gable crowns, and remnants of crossbracing under their eaves. At one time their designs mirrored each other. Elevation of the Gothic Revival style building.

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COLONIAL REVIVAL (1900-1927)

The Colonial Revival style traces its ori- The Colonial Revival style in Gaines- Characteristics gins to the 1876 Philadelphia Centennial ville is seen throughout the Northeast and Exposition, where many of the exhibit build- Southeast Historic Districts. Residences in • Plan: regular, rectangular or nearly ings sought to revive and interpret histori- this style are based mainly on Georgian and square. cal “colonial” types. Publicity surround- Adam precedents but lack the extensive ing appeals for the preservation of Old and distinctive articulation of form typical • Foundation: brick piers or continuous South Church in Boston and Mount Vernon of the better examples of Colonial Revival brick. appeared simultaneously in periodicals of houses. The houses in the district are gen- SYMMETRICAL OCTAGONAL FACADE the day. About the same time, a series of erally two stories in height and have a • Height: two to two-and-one-half stories. WINDOW articles about eighteenth century Ameri- hipped or pyramidal roof and a large hipped CORNER can architecture were published in periodi- dormer facing the street. The overall box • Primary exterior material: horizontal BOARD DOUBLE- HUNG SASH WINDOW cals such as American Architect, New York like appearance of the structure may be re- wood siding, shingles. Sketchbook of Architecture, and Harper’s lieved by a hipped porch or verandah sup- SPLAYED ARCH AND KEYSTONE Monthly Magazine. ported by columns. • Roof type: hip; hip dormers frequent sec- LINTEL WORKING Colonial Revival buildings, rich in bor- FANLIGHT AND Little ornament was used on Colonial ondary roof type. SHUTTERS SIDELIGHT rowed details, reflected the classical tradi- Revival houses in the district. Straight- DOOR SURROUND tion that produced designs now known as headed, 1/1 light windows were common. • Roof surfacing: embossed sheet metal Elevation drawing of the Colonial Revival style building. “Georgian,” “Federal,” and “Jeffersonian.” The hipped roof usually has a wide soffit, or shingles; composition, asbestos Interiors were often integrated with exteri- and the employment of columns, particu- shingles. ors through the application of Colonial de- larly Tuscan and Ionic, is common. Occa- tails to major rooms and addition of fea- sionally, one also encounters faceted bays. • Detailing: classically derived—columns, tures such as staircases and fireplaces. The 2/2 light windows with broken pedi- balustrades, modillions, dentils. En- The Colonial Revival style became ments, however, derive from Italianate and trance detailing—transom, sidelights, popular at the turn of the century. In Florida Classical Revival precedents rather than fanlights, ornamental woodwork—com- it exerted a strong influence on vernacular Colonial Revival. mon. architecture. Colonial Revival style buildings, generally residences, rose two to two- and-one-half stories in height. They displayed symmetrical massing, exhibited a tall hip roof and hip dormers, and usually contained a one-story full facade entrance porch or verandah.

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CLASSICAL REVIVAL (1920S)

Classical Revival, also known as Neo- Characteristics classical, resulted from an adaptation of the Greek temple front and other details to a • Plan: regular, rectangular or nearly variety of structures. The Classical Revival square. provided a more subdued alternative to the Beaux Arts, which featured ostentatious, • Foundation: piers or continuous, brick sculptured ornament and highly decorated or concrete. moldings. Classical Revival was frequently associated with major public buildings and • Height: two to two-and-one-half stories. OVAL FULL-HEIGHT private residences designed by formally WINDOW PEDIMENTED PORTICO END trained architects. • Primary exterior material: horizontal CHIMNEY In Florida the Classical Revival was wood siding; smooth masonry. BRICK MODILLIONS SILL found on a variety of building types. Al- SPLAYED 6/9 DOUBLE- ARCH though scattered examples of the style in HUNG SASH • Roof type: low-pitched hip or flat with a LINTEL Florida date to the 1890s, it did not become balustrade. common until the following decade. Many CASEMENT BROKEN PEDIMENT WINDOW WITH URN FINIAL of the earliest examples consisted of large • Roof surfacing: embossed sheet metal Elevation drawing of the Classical Revival style private residences and estates. Whitehall, or metal shingles; composition, asbes- building. in Palm Beach, designed in 1901 by the New tos shingles; built-up on flat roofs. York firm of Carrere and Hastings as a winter home for Henry Flagler, provides a most • Detailing: classically derived; full-facade notable example. Over the next several de- height ionic columns, balustrades, me- cades the Classical Revival exerted a major dallions, dentulous. Entrance detail- influence on the design of public buildings ing—transom, sidelights, ornamental such as courthouses and commercial build- woodwork—common. Interiors: molded ings, particularly banks. Only occasionally plaster cornices, urns, swags, wainscot- did the style appear in middle and upper ting, French doors. class residential neighborhoods.

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MEDITERRANEAN INFLUENCE (1910-1927) Spanish and other Mediterranean-influ- During the great Florida land boom of Characteristics enced styles were most common in Califor- the 1920s, architects and builders applied nia, Arizona, New Mexico, Texas, and Spanish, Spanish Colonial Revival, Mis- • Plan: irregular. Florida, states with a tradition of Spanish sion, and other Mediterranean-influenced colonial architecture. The principal Medi- designs to a wide spectrum of buildings. • Foundation: continuous. terranean-derived styles were Italian Re- Developers attached Spanish and Italian naissance, Mission, and Spanish Colonial names to towns, subdivisions and streets • Height: two stories. Revival. These revival styles date to the and created whole communities around 1880s. Spanish Revival architecture, popu- Mediterranean themes. Although the term • Primary exterior material: stucco. COPING PARAPET larized at the 1915 Panama-California Inter- “Mediterranean Revival” is indiscrimi-

STUCCO national Exposition in San Diego, swept nately applied to all buildings with features • Roof type: hip roof; flat with curvilinear EXTERIOR through California, the southwest, and derived from Mediterranean architecture, parapet (Mission). FABRIC BARREL TILE PENT ROOF Florida within a few years. many, particularly those designed by ar-

ARCHED ARCHED Florida’s Spanish heritage and semi- chitects, were consciously modeled on for- • Roof surfacing: barrel, French interlock- WING WALL ENTRANCE tropical climate favored use of Mediterra- mal styles. ing tile. CASEMENT BLIND nean designs. The roots of Mediterranean- WINDOWS ARCH Gainesville has only a limited number influenced architecture in Florida can be of buildings constructed in these styles. • Detailing: plaster and terra cotta detail- Elevation drawing of the Mediterranean style building. traced to the Spanish, Italian Renaissance, ing highlighting arches, columns, win- and Moorish Revival hotels and churches dow surrounds, cornices, and parapets; in St. Augustine developed by Henry wrought iron grilles, balconies, and Flagler and others during the 1880s. The balconets. most important early twentieth century Mediterranean building in Florida was Villa Vizcaya in Miami, drawn from Italian precedents. One of the most significant architects associated with Mediterranean-influenced architecture was Addison Mizner, who used the design to create a distinctive urban look in cities like Palm Beach and Boca Raton.

Mediterranean style building in Northeast District.

226 ARCHITECTURAL STYLES

MISSION (1910-1927)

The Mission style originated in Cali- Characteristics fornia during the 1880s and 1890s in response to increased interest in that state’s • Plan: irregular. colonial Spanish heritage, particularly the ecclesiastical architecture of the Franciscan • Foundation: continuous. missions. The style was widely popularized when the Santa Fe and Southern Pa- • Height: two stories. cific railroads applied it to railroad stations CURVILINEAR PARAPETTED BARREL TILE and hotels throughout their systems. While • Primary exterior material: stucco. WALL DORMER ROOF SURFACING authentic reproductions were scarce, most Mission buildings incorporate such dis- CURVILINEAR • Roof type: flat with shaped parapet; PARAPET STUCCO tinctive elements of the style as a shaped towers. EXTERIOR parapet, quatrefoil window, and bell tower. FABRIC The Mission style became popular in • Roof surfacing: barrel tile. Florida during the Land Boom of the 1920s. It is associated with a wide variety of build- • Detailing: plaster and terra cotta detail- PORTE COCHERE FLAT ROOF ENTRANCE PORCH ings in Florida, including churches, train ing; quatrefoil windows. Elevation drawing of the Mission style building. stations, government buildings and private residences. Elements of the style, particularly the shaped parapet and the quatrefoil window, are frequently found on less formally designed buildings

Elevation of a Mission style building in Northeast District.

227 ARCHITECTURAL STYLES

ITALIAN RENAISSANCE (1910)

The Italian Renaissance or Renaissance Although Florida contains fine ex- Characteristics Revival style remained in vogue through- amples of the Italian Renaissance style, it out the United States from the 1880s did not match the popularity of contempo- • Plan: regular, rectangular. through the 1920s. It drew its inspiration rary Spanish styles. Most of the state’s Ital- from the Italian Renaissance palaces and ian Renaissance style buildings were built • Foundation: continuous, concrete. estates of Florence, Venice, and Rome. The in the decade preceding the collapse of the style was applied to a variety of building Florida Land Boom in 1926. The prototype • Height: two to four stories. types, including private residences and of the style in Florida was Vizcaya, the commercial buildings. Initially restricted to James Deering Estate, built between 1914 • Primary exterior material: buff brick; CERAMIC TILE BALCONETTE ROOF SURFACING high quality buildings designed by promi- and 1916. Designed as a replica of a Renais- stone; stucco. PAIRED BRACKETS nent architects, the Italian Renaissance sance palace, Vizcaya embodied a fully inte- SUN PORTE COCHERE became more widespread after the turn of grated application of the style, including in- • Roof type: low pitched, hip-type with PORCH the century with the improvement of simu- teriors and extensive formal gardens. eaves. lated masonry exterior materials. Its use continued until the Great Depression. • Roof surfacing: interlocking tile. FANLIGHT RECESSED ENTRANCE • Detailing: broad overhanging roof with Elevation drawing of the Italian Renaissance style building. boxed eaves supported by decorative brackets; roof surfaced by terra cotta tile; arched doors, windows, or porches; upper story windows smaller and less detailed than windows below; entrance accented by small classical columns or pilasters; quoins; pedimented windows; classical door surrounds; belt courses; rusticated first story.

228 ARCHITECTURAL STYLES

TUDOR (1920S)

The Tudor style was loosely based on suburbs proliferated. Many of the earliest Characteristics a variety of late Medieval English proto- and best examples were professionally de- types. The American expression of the Tu- signed and reasonably accurate expressions • Plan: regular, rectangular. dor emphasized steeply pitched, front-fac- of the features and materials of the style. ing gables, which were almost universally Subsequent examples tended to be smaller, • Foundation: continuous brick. present as a dominant facade element. more modest, and less detailed as the style Many Tudor style buildings feature orna- was applied to middle-class houses during • Height: one-and-one-half to two-and- mental half-timbering, executed in stucco, the mid-to-late twenties. one-half stories. masonry, or masonry veneered walls. Un- The best examples of the Tudor Revival common before World War I, the Tudor later in Gainesville are in the Northeast District. • Primary exterior material: brick, first STUCCO DIAMOND WALL FABRIC WINDOW DECORATIVE gained favor when masonry veneering tech- HALF-TIMBERING Characteristic of the style, the buildings story; stucco and wood, second story STEEPLY- niques allowed even the most modest ex- feature steeply-pitched roofs with a domi- (half-timbering). PITCHED GABLE ARCHED amples to mimic closely the brick and stone nating cross gable, tall, narrow casement ROOF CASEMENT WINDOW exteriors seen on English prototypes. The windows, and massive chimneys. • Roof type: gable. FRONT END CHIMNEY style was confined almost exclusively to private residences. They ranged from large • Roof surfacing: composition shingles. RECESSED ARCHED estates, designed by professionally trained ENTRANCE Elevation drawing of the Tudor style building. architects, to modest dwellings that prolif- • Detailing: half-timbering; prominent erated in middle class subdivisions during gables, oriel windows, massive chim- the 1920s. neys, pointed elliptical arch. The application of the Tudor style in Florida followed national trends. Nearly all examples of the style were found on private residences. Most date from the 1920s, when middle and upper class residential

Elevation of the Tudor style building in Northeast District.

229 ARCHITECTURAL STYLES

ART MODERNE (1935)

The Art Moderne style, like the Art Like Art Deco, Art Moderne buildings Characteristics Deco and International styles, broke from in Florida were located in coastal commu- the past. The style gained favor in the nities where tourism remained popular dur- • Plan: irregular. United States shortly after 1930, when in- ing the Great Depression. Art Moderne was dustrial designs began to exhibit stream- usually applied to commercial and apart- • Foundation: continuous, concrete. lined shapes. The idea of rounded corners ment buildings. Private residences exhibit- to make automobiles and airplanes more ing the Art Moderne style were less com- • Height: one to three stories. aerodynamic was applied to kitchen appli- mon. ances, jewelry, and many other products Art Moderne styling is expressed • Primary exterior material: stucco. MASONRY where function was less important than through a flat roof, glass block windows, COPING CANTILEVERED form. horizontal grooves, and cantilevered over- • Roof type: flat, with parapet. OVERHANG CORNER hangs with rounded corners to emphasize PIVOT WINDOWS the streamline effect. • Roof surfacing: built-up.

STUCCO SIDING • Ornamentation/significant features: ROUNDED Asymmetrical facade; rounded corners; CORNER horizontal grooves or lines in walls; hori- Elevation drawing of the Art Moderne style building. zontal balustrade elements; parapet, usually with coping at the roof line.

Elevation of the Art Moderne style building on Main Street.

230 ARCHITECTURAL STYLES

COMMERCIAL (1873-1927)

Design of commercial buildings in The two-part commercial block was a Characteristics Gainesville mirrored national trends. Na- multi-story building, organized into upper tionally, commercial buildings as a distinct and lower zones. The design of the lower • Plan: regular, rectangular. property type developed during the mid- zone was essentially the same as the one- nineteenth century. They housed a variety part facade. The upper zone often provided • Foundation: continuous or slab (com- of uses, such as offices, banks, hotels, and space for private uses, including apart- mercial) brick or concrete. theatres, but most commonly functioned ments, offices, hotel rooms, and meeting as retail stores. halls. • Height: one-three stories. To exploit land value, commercial build- One and two-zone commercial build- PARAPET ings were attached and designed to cover ings employed a variety of materials and • Primary exterior material: brick, common TRANSOM COPING most of the lot. The side walls of one com- styles. The application of cast iron on or running bond; stucco, rough texture. CORNICE mercial building often formed party walls storefronts, architectural features, and de- with adjacent buildings. Most commercial tails began in the 1870s. Ornamental metal • Roof type: flat with parapet. buildings were rectangular in plan. A nar- was often applied to ceilings and side-walls row elevation, facing the street, became the and on exterior walls, providing decoration • Roof surfacing: built-up. SILL focal point, providing the building’s iden- and sheathing. DISPLAY WINDOW KICK PANELS tifying features. Facades were organized Following the Civil War, brick became • Details: simple; usually cast-concrete or Elevation drawing of the Commercial style building. into distinct zones, commonly containing readily available in Gainesville. Brick found ornamental brick such as corbeling; cast- one or two parts. rising use in constructing commercial build- iron; architectural metal. The one-part facade generally was one- ings because of its resistance to fire. Orna- story in height. It was formed by a struc- mentation was simple, usually decorative tural framework consisting of columns, brick work, such as corbeling. Roofs were bulkheads or kick-panels, and a cornice usually flat built-up types with parapet. The topped by a parapet. Large, show windows majority of commercial buildings downtown were generally placed within this framework exhibit some stylistic features. to display merchandise and light the interior. The wall area between windows and cornice provided a place for advertising and made the facade appear taller. This framework formed a basic compositional arrangement. Materials, doors and windows, and decorative and stylistic details constituted secondary characteristics that could be organized in a variety of ways. Commercial style building in Pleasant Street Residential District.

231 ARCHITECTURAL STYLES

MASONRY VERNACULAR (1821-1940)

Before the Civil War masonry construc- decorative brick work, such as corbeling. Characteristics tion was far less common in Florida than Roofs were usually flat, built-up types with wood framing. Brick, the most common parapet. Poured concrete buildings first • Plan: regular, rectangular. masonry material in the United States, was appeared in St. Augustine during the 1880s. not readily available because of a sparsity After 1900 new colors and textures of • Foundation: continuous or slab (com- of clay in the state and poor transportation brick were introduced. In addition to commercial), brick or concrete. facilities. Contractors for federal structures mercial buildings, brick was increasingly in Florida, including fortifications, light- used on a variety of buildings, including • Height: one-two stories (apartments); houses, and arsenals, imported brick from private residences, apartments, schools, one-two stories (commercial). other states for their works. Most privately and governmental buildings. Beginning in owned brick buildings were residences. the 1920s, two new masonry materials, hol- • Primary exterior material: brick, common Brick construction usually consisted of low tile and concrete block, became widely or running bond; stucco, rough texture; fired brick in an English or common bond used. These new materials were as strong concrete block, rusticated rock-faced. pattern. The most common wall dimensions as fired brick, but were lighter and cheaper. were eight or twelve inches. Coquina was In later years, concrete block almost exclu- • Roof type: hip; flat with parapet (com- used as a construction material in St. Au- sively replaced brick as a structural mate- mercial). gustine and scattered to east coast loca- rial. During the 1920s, brick was frequently Elevation drawing of the Masonry Vernacular style building. tions. used as a veneer in combination with ma- • Roof surfacing: composition shingles; Following the Civil War, brick became sonry or frame interior walls on a variety of built-up, commercial. more readily available, particularly in the buildings. 1880s, as rail networks began to penetrate • Ornamentation: simple; usually cast- the Florida peninsula. Because of its fire- concrete or ornamental brick such as resistant qualities, brick was often em- corbeling. ployed in constructing commercial buildings. Many commercial areas were rebuilt in brick after fires destroyed the original frame structures. Such commercial buildings generally rose one or two stories in height and exhibited fixed glass storefronts. Ornamentation consisted of simple detailing, usually cast concrete applications or

Elevation of the Masonry Vernacular style building in Pleasant Street District.

232 ARCHITECTURAL STYLES

SECOND EMPIRE (1870-1907)

French in origin, the Second Empire de- cause it permitted an attic story of usable Characteristics rived its name from the Second Empire of space without the mass of a full upper story. Napoleon III (1852-1870), rising to popularity Because of their utility, mansard roofs were • Plan: rectangular or ell. in the United States during the immediate frequently applied to existing as well as to post-Civil War period. It is often referred to new buildings. Other features frequently as- • Foundation: brick piers. as the “General Grant Style” because of its sociated with the Second Empire style are association with the presidency of President prominent projecting and receding surfaces, • Height: one-and-one-half to two-and- Ulysses S. Grant (1869-1877). paired columns, a projecting central bay, one-half stories. Few examples of the Second Empire classical pediments and balustrades, win- style exist in Florida. They are generally dows flanked by columns or pilasters, • Primary exterior material: wood: weath- limited to residential buildings. By the late arched windows with pediments and molded erboard; less frequently stone. 1880s, the popularity of the style had de- surrounds, and tall first-floor windows. clined, although examples can be found in • Roof type: Mansard. the state as late as 1907. The defining feature of the Second Em- • Roof surfacing: wooden shingles (origi- pire style is the Mansard roof, double- nally); metal; composition shingles. pitched and four-sided, with dormers pro- Elevation drawing of the Second Empire style jecting from the lower, steeply-pitched sec- • Detailing: eaves with decorative brack- building. tion. This type of roof was functional be- ets; classical pediments and balustrades; arched windows with pediments and molded surrounds; cast-iron cresting.

Second Empire style building in Southeast District.

233 ARCHITECTURAL STYLES

BEAUX ARTS (1900-1930)

The Beaux Arts (fine art) style emerged Florida contains few domestic examples Characteristics as a popular choice of wealthy Americans of the Beaux Arts style. It was, however, for grand residences during the late nine- often applied to banks, government build- • Plan: regular, rectangular or nearly teenth and early twentieth centuries. Based ings, and social clubs during the decade square. on classical precedents, the style drew from before the collapse of the Florida land boom all of the classical revivals. The high cost in 1926. Many of the best examples are • Foundation: continuous, concrete. of executing the highly decorative Beaux found in Tampa and Hillsborough County,

ELABORATE Arts design relegated it almost exclusively where the Centro Asturiano, the Circulo • Height: two to two-and-one-half stories CORNICE BALCONY to people of wealth, until scaled down ver- Cubano de Tampa, Tampa City Hall, and

EXTENSIVE sions with less ornamentation appeared at the Hillsborough State Bank at Plant City • Primary exterior material: smooth ma- APPLIED the turn of the century. American architects embody the style. sonry. ORNAMENT who studied at the Ecole de Beaux Arts in Identifying features of the style include RECESSED GROUPED Paris during the latter half of the nineteenth PANELS WINDOWS flat roofs; elaborate cornices; symmetrical • Roof type: flat or low-pitched hip; man- century introduced the style to the United facade with bays divided by pilasters with sard. States. Their number included Richard classical capitals; masonry walls adorned CENTRAL RAISED Morris Hunt, Louis Sullivan, H. H. with decorative garlands, floral patterns, • Roof surfacing: composition, asbestos BAY ESTENSION FOUNDATION Richardson, John Mervin Carrere, and or shields; rusticated stonework; and shingles, built-up. Elevation drawing of the Beaux Arts style building. Thomas Hastings. Confined essentially to quoins. major urban centers, the style eventually • Detailing: rusticated stonework at first became popular as a commercial design. floor level; wall surfaces with decorative garlands, floral patterns or shields; quoins, pilasters or columns, usually paired with Ionic or Corinthian columns.

Elevation of the Beaux Arts style building.

234 ARCHITECTURAL STYLES

MONTEREY (1925-1940)

The Monterey style was derived from Distinctive features of the Monterey Characteristics the Spanish Colonial and American territo- style included a low-pitched gable roof, a rial period architecture of northern Califor- cross gable, and a second story balcony, • Plan: ell. nia. The resulting buildings combined usually cantilevered and covered by the stucco exterior finishes with traditional principal roof. Exterior materials included • Foundation: continuous, masonry. English massed plan forms brought to Cali- wood shingles, tile, stucco, and weather- fornia by settlers from the United States. board. The first and second stories fre- • Height: two stories. Scattered examples of the style were con- quently had different materials such as structed in suburbs throughout the United wood above brick, the most common appli- • Primary exterior material: stucco; wood, States during the second quarter of the cation. Door and window surrounds often weatherboard . twentieth century. reflected Territorial examples of Spanish In Florida, the Monterey style never Colonial antecedents. • Roof type: low-pitched gable roof cov- gained wide popularity. The style was ap- ering cantilevered, second story bal- plied principally to residential housing in cony. middle class subdivisions. • Roof surfacing: wood shingles or clay tile. Elevation drawing of the Monterey style building. • Detailing: wood or stucco exterior finish, frequently in combination; second story porch, usually cantilevered and covered by principal roof; door and window surrounds absent or of simple Co- lonial form; full length windows opening onto balcony.

Monterey style building in Northeast District.

235 ARCHITECTURAL STYLES

PRAIRIE (1909-1920)

The Prairie style, which emerged in the The Prairie style was characterized by a Characteristics American Midwest at the beginning of the low pitched hipped roof, with wide over- twentieth century, borrowed largely from hanging eaves. Eaves, cornices, and facade • Plan: irregular. Japanese design and the English Arts and detailing emphasized horizontal lines. Tall Crafts movement. It grew from the inspira- casement windows that revealed geomet- • Foundation: continuous. tion of Frank Lloyd Wright in reaction ric patterns of small-pane glazing provided against the formalism and historicism of the light. Decorative detail included floral, cir- • Height: two stories. E MENT HIP DORMER Beaux Arts and other classical styles that cular, and angular geometric patterns ap- D OWS dominated American architecture at the plied to capitals, cornices, and door sur- • Primary exterior material: stucco. turn-of-the-century. The Prairie School rounds. emphasized horizontal lines, low-pitched • Roof type: low-pitched hip roof with roofs, bands of windows, and unity be- wide, projecting eaves; also swept-back MAS O COL U tween house and landscape. Because of gable with peak projecting farther than its horizontal emphasis, the style was lower edges. largely applied to residential architecture, CONTINUOUS although examples can be found on a vari- • Roof surfacing: composition shingles. BRICK FOUNDA T ety of other building types. Elevation drawing of the Prairie style building. In Florida, the Prairie style was almost • Detailing: geometric detailing: leaded exclusively a residential design. The archi- panes or lights in windows; wrought- tect most closely associated with the Prai- iron railings, grills; column capitals and rie style in Florida was Henry John Klutho, cornices; pediments; fascia; cast-metal a native of Illinois, who moved to Jackson- brackets; Florid, Sullivanesque orna- ville after a great fire in 1901 to lead the ment. city’s architectural rebirth. Other Florida architects soon adopted the style and applied it well into the 1920s. Less formal examples were popularized by builders, magazines, and pattern books. Jacksonville may contain more Prairie style-influenced architecture than any city outside the Midwest, but fine examples can also be found in Or- lando, Tampa, and other Florida towns and cities. Elevation of the Prairie style building in Northeast District.

236 ARCHITECTURAL STYLES

BUNGALOW (1910-1940)

The Bungalow arrived in the United low. Sears Roebuck and other companies Characteristics States as an import from East Asia. A low provided pre-cut Bungalows which could house with generous porches, it originated be assembled on site. The most common • Plan: regular, rectangular, usually ori- as a wayside shelter for British travelers in Bungalow, a one-story type, featured a ented with the narrow side facing the India during the eighteenth and nineteenth gable main roof above a gable porch roof. street. centuries. While the origin of the word During the 1920s, developers used the Bun- Bungalow and some of its design features galow as tract housing in neighborhoods • Foundation: brick pier or continuous came from India, the Japanese provided throughout the state. brick or concrete block. many of its details. Techniques of Japa- Bungalows in Florida generally featured nese construction exhibited at late nine- a rectangular ground plan, with the nar- • Height: one story; belvedere, two sto- GABLE-OVER teenth century American expositions, par- rowest side oriented toward the street. ries. EXPOSED GABLE ROOF CHIMNEY BEAMS ticularly the extensive display of structural Most displayed gently sloping gable-over- CAP WOOD SHINGLES END members and the interplay of angles and gable roofs that face the street. Bungalows • Primary exterior material: horizontal CHIMNEY TRUNCATED VERTICAL PANE planes, became integral parts of Bungalow employed a variety of exterior materials, in- wood siding, shingles; less frequent COLUMNS DOUBLE-HUNG BATTERED SASH WINDOW design. cluding weatherboard, shingles, and stucco. BRICK PIERS During the first three decades of the stucco. Lattice roof vents often appeared BRICK PIER LATTICE KNEE WALL FOUNDATION INFILL twentieth century, the Bungalow became in the gable ends. The porches were domi- • Roof type: gable main roof over gable Elevation drawing of the Bungalow style building. the most common style of residential archi- nated by short, oversized, tapered or square porch roof; shed dormers frequent sec- tecture in the United States. The earliest columns, which rested on massive brick ondary roof type; less frequent multiple American Bungalows appeared in the piers connected by a balustrade. Rafter gable, belvedere. 1890s, but the style’s popularity expanded ends were usually exposed and often after the turn of the century when plans carved in decorative patterns to combine • Roof surfacing: sheet metal, frequently began to appear in such publications as structure and ornament. Wood sash win- composition, asbestos cement shingles. Bungalow Magazine and The Craftsman. dows usually contained three lights in the Bungalows came in various shapes and upper unit and one in the lower, although • Detailing: simple; exposed structural el- forms, but small size, simplicity, and there were many examples of multi-light sash ements (ridge beams, truss work, rafters, economy generally characterized the style. or casement windows. purlins); knees braces; battered porch Florida Bungalows appeared in several piers; tapered chimneys. forms. The more elaborate of them were one- and-one-half stories in height and highly detailed. They included the side-gabled type and the Belvedere or Airplane Bunga-

Bungalow style house in Pleasant Street District.

237 ARCHITECTURAL STYLES

FRENCH ECLECTIC (1915-1930)

The French Eclectic, also known as the A steep, hip pavilion roof offers an ob- Characteristics French Revival style, was based upon previous identifying feature. Eaves are often cedents developed over centuries of French flared upward at the roof-wall juncture. Wall • Plan: regular, rectangular. domestic architecture. It resembles Medi- cladding was either brick or stucco, some- eval English building types and is closely times with false half timbering. Tall, mas- • Foundation: continuous brick. associated with the Tudor style. As the sive chimneys were also common. The name suggests, the style encompasses a eaves of the roof are sometimes flared and • Height: two to two-and-one-half stories. variety of building forms and details whose show exposed rafter ends. Secondary roof unifying feature consists of a characteris- structures may appear. Half timbering pro- • Primary exterior material: brick; stucco tic steeply-pitched hip roof. The style was vides the most common exterior wall fabric, and wood, (half-timbering). popularized in the United States by return- though wood shingles and clapboard are ing World War I veterans who had served common. The main entrance, often re- • Roof type: tall, steeply pitched hip. in France and by a number of studies on cessed, may feature decorative surrounds. French domestic architecture published in • Roof surfacing: composition shingles. various magazines of the 1920s. It remained a popular suburban residential style • Detailing: half-timbering; prominent through the 1930s. steeply pitched gable roofs; massive Elevation drawing of the French Eclectic style building. Popular in Florida for only a few years chimneys; flared eaves. during the 1920s, the French Eclectic appeared sporadically in middle class neighborhoods and large estates. Most Florida examples are relatively simple in design.

French Eclectic style house in Northeast District.

238 ARCHITECTURAL STYLES

ROMANESQUE REVIVAL (1870-1910)

The Romanesque Revival drew its in- Semi-circular or round arches and poly- Characteristics: spiration from the medieval architecture of chromatic finishes provide the defining fea- Europe, particularly that of France and tures of the Romanesque Revival style. • Plan: rectangular or irregular. Spain. As interpreted in the United States Arches circled above windows, porch sup- by Boston architect, H. H. Richardson, the ports, and entrances. Buildings in Florida • Foundation: continuous brick. style was primarily applied to churches, executed in the style employed brick with educational buildings, train stations, court- different colored stone, especially for win- • Height: two to three stories. houses, and other public buildings. A ma- dow trim, arches, quoins, and belt courses. jor variant of the style was indeed called Towers and pavilions constituted charac- • Primary exterior material: brick. Richardsonian Romanesque. teristic features of the design. Constructed of solid masonry, Ro- • Roof type: gable or hip frequently with manesque Revival buildings were expen- secondary roof features such as cross sive to build and invariably required pro- gables, towers, or pavilions. fessional design. Given such limitations, the style did not gain wide application. Few • Roof surfacing: composition shingles. monumental examples of the kind found in other states appear in Florida. Courthouses, • Detailing: semi-circular arches; poly- Elevation drawing of the Romanesque Revival style schools, and churches were the primary chromatic exterior finish highlighted by building. property types associated with the style. quoins, window trim, arches, and belt courses.

Example of Romanesque Revival, Pleasant Street District.

239 ARCHITECTURAL STYLES

ITALIANATE (1870-1890)

The Italianate, primarily a domestic Characteristics: style in the United States, remained popular in much of the country from the mid- to • Plan: rectangular or square. late nineteenth century. The writings and designs of architects Andrew Jackson • Foundation: brick piers or continuous Downing, A.J. Davis, and Calvert Vaux pro- brick. moted Italianate designs. The development of cast iron facades during the middle of • Height: two to three stories. the nineteenth century, when the style flow- ered, resulted in the construction of many • Primary exterior material: wood: weath- Italianate commercial buildings. erboard; brick, cast-iron on storefronts. The Italianate style appears infre- quently in Florida. Many of the best ex- • Roof type: low-pitched hip, frequently amples of the style are large private resi- with square cupola or tower; commer- dences and commercial buildings found cial buildings, flat with parapet. mainly in small north Florida towns such as Fernandina and Palatka. • Roof surfacing: wooden shingles (origi- Elevation drawing of the Italianate style building. Characteristic features of the Italianate nally) composition shingles; flat-roofs: include a height of two to three stories, built-up. capped by a low-pitched roof whose wide, overhanging eaves were supported by • Detailing: height of two to three stories; decorative brackets. A square cupola or a low-pitched roof with wide, overhang- tower often rose above the roof line. The ing eaves and brackets beneath, tall, tall, narrow windows were commonly narrow windows commonly arched or arched and frequently displayed elaborated curved above; windows frequently with crowns, usually an inverted U-shape. elaborated crowns, usually of inverted U shape; square cupola or tower.

Example of the Italianate style building in Northeast District.

240 ARCHITECTURAL STYLES

INTERNATIONAL (1930-1970)

The International style became the The style resembles a flat-roofed un- Characteristics: dominant commercial building style in the decorated box covered with a skin of glass, United States between 1930 and the mid- or bands of glass, and smooth concrete or • Plan: irregular. 1970s. Originally conceived by post-World stucco. Glass walls hang like curtains from War One European architects as a design steel structures. Identifying features in- • Foundation: continuous, reinforced for worker housing, the style found a theme clude flat roofs, smooth exterior surfaces concrete. in the exploitation of contemporary build- without ornament, bands of windows, ex- ing materials and technologies. Designers posed structural elements, asymmetrical • Height: one to three stories. discarded the ornamentation of existing or facades, steel pipe railing, and metal case- traditional styles and exposed the struc- ment windows that are flush with outer • Primary exterior material: poured, rein- tural elements of their buildings to produce walls. forced concrete. a starkly functional design. The style took its name from a book entitled, The Interna- • Roof type: flat, with coping at roof line. tional Style: Architecture Since 1922, published in 1932 by Henry Russell Hitchcock • Roof surfacing: built-up. and Philip Johnson, who also organized an exhibit that same year at which they intro- • Detailing: minimal; no decorative detail- Elevation drawing of the International style building. duced the style to an American audience. ing at doors or windows; glass block- Later in the decade, many originators of ing; asymmetrical facade. the style, fleeing the rise of Nazi Germany, immigrated to the United States. They took up positions at some of the most influential schools of architecture in the country and subsequently influenced generations of leading American architects. In Florida, International style buildings are most often found in communities where building continued during the 1930s, notably coastal communities in southeastern counties where tourism sustained the economy.

241 HISTORIC MATERIALS

242 HISTORIC MATERIALS

APPENDIX 3: HISTORIC MATERIALS

243 HISTORIC MATERIALS

BRICK

Before the Civil War, brick, the most The brick used for the construction of common masonry material in the United many of Gainesville’s early buildings was States, was not readily available in Florida. produced at the Campville Brick Company The principle reasons for this were the scar- prior to 1940, when it closed. The company city of clay in the state and a primitive trans- was located in what was once a small town portation system, impeding shipment of of Campville east of Gainesville.1 heavy materials. Many of the important Churches often utilized brick as the pri- early brick structures in Florida consisted mary construction material, the First United of fortifications, lighthouses, and arsenals Methodist Church in the NE and Mt. Pleas- constructed under federal auspices. Con- ant United Methodist Church in the Pleas- Brick Church, Pleasant Street District. tractors imported the brick for these and ant Street Historic District are examples. An- most other major construction projects from other prime example is the Kirby Smith Brick detail at the First United Methodist Church, Northeast District. other states. School, built in 1900. After the Civil War, brick became more readily available, particularly in the 1880s when rail networks began to penetrate the Florida peninsula. Brick was increasingly used on commercial buildings in Florida because of its resistance to fire. Many commercial areas were rebuilt in brick following fires which destroyed original wood frame structures. Brick construction usually employed fired brick in an English or common bond pattern. The most common wall dimensions were eight or twelve inches. After 1900, new colors and textures of brick appeared. Buff or yellow brick was among the most widely popular of these new types. Brick residences are seen throughout the Northeast and Southeast Historic Dis- tricts. The Medlin House, built in 1913, exhibits dark brown brick. Brick detail at entry of chert rock residence, Northeast District.

1. Historic Gainesville, Inc. Historic Gainesville, A tour Guide to the Past. Edited by Ben Pickard.1991

244 HISTORIC MATERIALS

CONCRETE

Florida has an outstanding collection Like tabby, poured concrete was placed There are few examples of poured con- of concrete buildings. They date from a pe- in forms, course by course, with drying time crete buildings in Gainesville. It was often riod of national experimentation to find du- in between. This method left pour lines that utilized for retaining walls and steps (car- rable, fireproof, rot resistant, and economi- remain a visible feature on building walls. riage blocks) which can be found through- cally feasible materials. The search was Once dry, the concrete was left unpainted. out all the districts. spurred by the late nineteenth century de- During subsequent renovations paint and The use of concrete block as a building velopment of elevators, which made sky- stucco finishes were applied over the con- material increased and can be seen in many scrapers possible, and portland cement. crete, obscuring the pour lines and surface buildings throughout Gainesville. Rusti- Common examples in Florida were rein- texture. cated concrete block was utilized in build- forced concrete, concrete block, imitation Poured concrete had great compres- ing the Friendship Baptist Church in the stonework, and poured concrete. sive but little tensile strength, unless rein- Pleasant Street District. Rusticated concrete block utilized on the Friendship St. Augustine contains many of forced with steel rods. Limited in use in St. Baptist Church, Pleasant Street District. America’s original poured concrete build- Augustine, reinforced concrete was devel- ings. Franklin W. Smith, an amateur archi- oped simultaneously in other parts of the tect from Boston, first used the material to country. The poured concrete buildings of build his ornate Moorish Revival style win- St. Augustine and nearby areas were not ter residence, Villa Zorayda, in St. August- only pioneering structures, but period ine. Smith mixed coquina gravel with port- pieces. They have earned a place in the land cement to produce its walls. Impressed history of building in the United States. with the material, Henry Flagler urged his architects, Carrere and Hastings, to employ it as the principal material for construction of the Ponce de Leon and Alcazar hotels and other buildings in the city. Additional churches, commercial buildings, and private residences were built with material into the twentieth century.

Rusticated concrete block utilized on the foundation of a residence in Northeast District.

245 HISTORIC MATERIALS

STONE

Sandstone, granite, and marble, not in- By the early twentieth century, modern, digenous to Florida, were rarely used. Gran- less expensive materials such as cast con- ite, imported from New England, probably crete and terra cotta increasingly replaced constituted the most common non-indig- stone in Florida and throughout the United enous stone in the state, applied to curb- States. Granite curbing and granite sills are ing, coping, sills, lintels, and other archi- the principal examples of the use of stone tectural and landscape features. Georgia in historic structures. marble was employed mainly for interior fin- Limestone quarries were located north ishes and occasionally as an exterior ve- of Gainesville in High Springs. Local build- neer. Slate was sometimes used as a roof- ers utilized the rock in many of the resi- ing material, particularly on academically dences throughout Gainesville. correct examples of the Tudor Revival style. Detail showing stone used in combination with brick Exterior trim may have included limestone. in Northeast District. Locally, marble was primarily used on interior elements such as fireplaces and mantels and floors.

Detail showing stone and chert rock entry on Pierson House in Northeast District.

246 HISTORIC MATERIALS

CHERT ROCK

Chert rock, commonly called limerock was indigenous to this area and often used by local builders. From 1920 to 1950, a popular Gainesville practice combined native chert rock and period house designs. This construction type is characterized by rubble-faced, random-coursed fieldstone, often trimmed with red or yellow brick quoins around door and window openings and the edges of dwellings. Hard edges created by these openings could not be The “Rock” House, Northeast District. easily finished in the rubble fieldstone material and, thus, the introduction of the brick. Local stone was also used in many of the building elements as foundation piers, chimneys, and at fireplaces.

Chert rock.

Chert rock residence on N.E. 7th Street in Northeast Massive stone walls of the Pierson House, Northeast District. District.

247 HISTORIC MATERIALS

SHEET METAL

Sheet metal, a product of the industrial Ornamental metal roofs stylistically ac- Metal roofs, however, generally first ap- revolution, came into use after the Civil War commodated the architecture of the later peared in the 1880s and became quickly and remained popular through the 1920s. nineteenth and early twentieth century. The popular because they were easily trans- Decorative metal was made from sheets of Gothic, Queen Anne, Eastlake, and Stick ported and installed. Wood shingles and iron or steel and usually coated with tin styles featured a variety of roof forms. The shakes, the most common roofing materi- (tin plate); lead and tin (terneplate); or zinc flexibility of ornamental metal allowed it to als prior to metal, quickly deteriorated in (galvanized). After the metal was cut and be shaped into such forms. Many compa- Florida’s moist climate and were suscep- coated it could be stamped, pressed or em- nies ascribed the style name to their tible to wind damage and fire. Fire proved a bossed. shingles. major catalyst for the application of metal Metal roof coverings were used on all Metal roofs served the climate and ar- roofs. Many Florida cities suffered major New metal roof, Northeast District. types of buildings with pitched roofs. They chitecture of Florida well. They eased the fires, for which wood roofs were blamed. became popular because they were afford- weight load on the lightweight, wood frame Subsequently, local ordinances and build- able, durable, fire and storm resistant, light- buildings common to the state and proved ing codes often required metal roofs, par- weight, attractive, and did not require great durable and comfortable in the harsh cli- ticularly in commercial areas. In many cases, skill to install. Metal roofs appeared in mate, characterized by copious rainfall, decorative metal provided an ornamental greatest numbers in small cities, towns, and strong winds, and intense sunlight. Rela- touch to otherwise austere architecture. rural areas that held large concentrations tively cheap and easy to apply, metal roofs Metal roofs continue to be used today of wood frame buildings. appealed to building owners in a state that in new construction. A mix of old and new Metal roofing was cut into shingles or enjoyed neither great wealth nor large num- roofs can be seen throughout each district. sheets. It took the form of imitative wood bers of skilled artisans. The Taylor House, built in 1904, has a shingles, slate, and terra cotta tiles. Styles patterned tin roof. of wood shingles, such as woodshakes and fishscale shingles, were stamped in the metal. A variety of roof features, including ridge coping, metal valleys, cresting blocks, and finials, came in metal as well. Such accessory features were sold together with metal shingles.

Ornamental metal entry roof, Northeast District.

248 HISTORIC MATERIALS

CAST IRON

Cast iron, a product of the industrial Use of cast iron in Florida began after revolution, was employed in building con- the Civil War and lasted until about 1910. struction throughout much of the nine- The primary use was in commercial build- teenth century. Made from remolted pig ings of the Central Business District. iron, cast iron wielded great compressive There was minimal use of cast iron lo- strength and worked well in vertical struc- cally in Gainesville. It was primarily seen in tural elements. Cast iron building compo- structural details (small scale) or as deco- nents included the entire facade, first story rative elements. assemblies, internal structural systems, and The Cooper House exhibits cast iron decorative elements such as balustrades, covers for the fireplaces. Wrought iron de- balconies, columns, cornices, lamp posts, tails can be seen in the Carter-Hilliard House railings, and grates. iron railings and grill work. Cast iron revolutionized the design of Cast iron garden gate in Northeast District. commercial architecture in the United States. In contrast to masonry construction, it was able to support greater weight with slender elements. Initially used in a wide variety of commercial buildings, it subsequently became the material of choice for structures housing retail businesses. It allowed for greater transparency, scale, and openness in commercial design. Larger wall openings permitted merchants to display their goods in show windows. Use of slender cast iron columns provided more open floor spaces and increased floor to ceiling heights. Cast iron construction paved the way for skyscrapers by allowing curtain wall construction between slender structural elements.

Cast iron garden gate in Northeast District.

249 HISTORIC MATERIALS

STAINED/LEADED GLASS

Decorative glass became a popular The application of stained glass in building material in the United States from Florida followed national trends. Beginning 1870 until 1930. It took two principal forms. in the 1870s, stained glass served an inte- Stained glass consisted of colored, painted, gral part of Gothic style churches through- enameled, or tinted with true glass stains. out the state. Leaded glass was clear and held in place In Gainesville, the major buildings by cames formed with lead, copper, or zinc. which feature stained glass are also Stained glass was closely linked with churches. These include Friendship Bap- many of the stylistic movements of the late tist Church, Mt. Pleasant United Method- nineteenth and early twentieth centuries. ist Church in the Pleasant Street District, One, Neo-Gothic, was associated with and the Holy Trinity Episcopal Church and church and university architecture; another Epworth Hall in the Northeast District. was Art Nouveau. Prairie Style designs of Several residences in the northeast Stained glass window at Epworth Hall. the early twentieth century often incorpo- have exhibited stained or lead glass win- rated stained glass. The style’s geometric dows of note such as the Steckert House, designs coincided with the invention of zinc Murphree House, and Gracy house. and copper cames, which permitted fewer support bars. In the early 1900s, mail order Stained glass window at Mt. Pleasant United catalogues promoted sale of stained glass, Methodist Church. though the material’s popularity declined thereafter.

Leaded glass window in Northeast District.

250 HISTORIC MATERIALS

WOOD

Wood has been the most common con- During the early twentieth century, struction material in Gainesville since colo- wood remained an important building ma- nial times. Carpenters and sawyers pro- terial. A particularly important influence was duced structural members, exterior clad- the Craftsman Bungalow. Sheathed in ding, and shingles from indigenous woods shingles and/or horizontal siding, the Bun- such as heart pine, red cedar, and cypress. galow was found in residential areas During the mid-nineteenth century, as rail around the periphery of the historic dis- and water transportation expanded and the trict. Interiors were frequently crafted of production of building materials became in- pine, quarter sawn oak, mahogany, and dustrialized, milled lumber and other pecky cypress. wooden construction elements proliferated. Standard size lumber and prefabricated win- Wood shingles on residence in Northeast District. Decorative wood shingles on gable end of residence in Northeast District. dows, doors and decorative features became readily available. Milled decorative features included cornices, brackets, entablatures, shutters, columns, and balustrades. The development of the jigsaw in the early nineteenth century resulted in extensive use of sawn wood ornament. For the first time a power driven tool had a major impact on the visual quality of American architecture. Following the Civil War ornamental woodwork or gingerbread was closely associated with a number of architectural styles popular in Gainesville, including the Queen Anne. Wood was jig- sawn, pierced or turned into building elements such as porch posts, brackets, balustrades, bargeboards, frieze work, finials, and pendants.

Decorative wood scroll detail on residence in Wood frame residence in Northeast District. Southeast District.

251 HISTORIC MATERIALS

STUCCO

Stucco, an exterior wall covering, con- Stucco finishes were associated with a Many local examples include the Tho- sists of a mixture of portland cement, sand, variety of styles and building styles and mas Center, the Graham House, and the Sur- lime, and water. Sometimes crushed stone building types. In addition to the Italian face House. Stucco was also used in the or shell is added for texture. Until the late Renaissance, these included the Italianate, Tudor Revival style residences on NE Bou- 1800s, stucco was formed by water, sand, Prairie, Art Deco, Art Moderne, and many levard, the Welch House built in 1926 and straw, animal hair, and lime. The invention revival styles, among them the Mission, the Maines-Hughes House built in 1929. of Portland cement in 1871 revolutionized Spanish Colonial, and Tudor. Resort ho- Textured stucco residences are also the use of stucco, making it durable and tels, apartment buildings, private mansions, prominent throughout the Northeast Dis- versatile. and movie theatres were among the build- trict. Traditionally, stucco was applied with ing types typically finished in stucco. The Gothic Revival First Advent Chris- a trowel, finished smooth, then scored or In Florida, stucco gained popular use tian Church, built in 1909, exhibits a stucco Textured stucco on Mission style residence in lined in imitation of ashlar. Other finishes during the Great Boom of the 1920s, usu- veneer. The Holy Trinity Episcopal Church Northeast District. included adobe, pebble dash, shell dash, ally in association with revival styles such was built with a cement, crushed granite dry dash, fan and sponge texturing, reticu- as the Mission, Spanish Colonial, and Ital- and coral rock veneer over brick. lated, vermiculated, rough-cut, and ian Renaissance. It was also frequently sgraffito. Sgrafitto, a particularly significant applied to existing buildings, particularly stucco finish, incorporated classical de- brick commercial structures, to give them a signs created by artists who incised pat- contemporary look. terns in the outer layer of red-colored stucco while still soft. This technique exposed a stucco undercoat of contrasting color. Sgraffito constituted an important element of the Italian Renaissance style.

Textured stucco on Mediterranean style residence in Northeast District.

252 HISTORIC MATERIALS

TERRA COTTA

Terra cotta, an Italian term meaning Terra cotta, a popular building material baked earth, refers to a variety of ornamen- in Florida from the mid-1880s through the tal cladding material produced from fine- 1920s, can be found in abundance on the grained fired clay. Terra cotta can be glazed, Flagler Era buildings of St. Augustine, in- un-glazed and cast or carved. It usually is cluding the Ponce de Leon and Alcazar Ho- brownish red in color, but through the ap- tels, and Grace and Flagler Memorial Pres- plication of glazes can appear in a variety byterian churches. During the Florida Land of other colors. Boom of the 1920s, it became closely asso- In the United States, terra cotta did not ciated with Mediterranean style buildings come into use until the mid-nineteenth cen- of the period, most frequently as roofing tury. It remained popular until about 1930. tile, for exterior ornament, and as a struc- Terra cotta roofing tile and ornament exhibited on A pioneer architect in its use, James tural material. Mediterranean style residences in Northeast Renwick of New York and winter resident Terra cotta details such as parapet caps, District. of St. Augustine, applied it to the roof and scuppers and decorative details are seen detailing of the cathedral bell tower in the in the Mission and Mediterranean influ- Florida city. Terra cotta constituted an ap- ence buildings of the district. The clay tile propriate material for its time, well-suited roof of the Thomas Center is a fine example. to the many revival styles popular in the United States during the late nineteenth and early twentieth centuries. These included the Renaissance, Mission, Spanish and Spanish Colonial. Terra cotta was produced in a variety of forms. Frequently used as a substitute for stone, it served to fashion panels, friezes, finials, cornices, chimney caps and other ornament. Unglazed terra cotta provided a structural and fireproofing material that was light, durable, and inexpensive. It was also used for roofing tiles, including barrel, pantile, French and plain.

Detail of terra cotta tile above window.

253 HISTORIC MATERIALS

PAINTING

Paint colors are not reviewed by the Historic Preservation Board. However, removal of lead-based paints and coatings used extensively before the 1970’s requires special permits. Paint colors, finishes, and decorative painting constitute important factors in defining the character of a historic building. Under the Secretary of the Interior’s Stan- dards for Rehabilitation: Standard 2, painting a building that has never been painted, or removing paint from a building that has traditionally been painted, is never a recommended rehabilitation treatment. Either of these treatments can change a building’s appearance to one that is at odds with its historic character. Likewise, when repainting a historic building that is already painted, a new color should generally be close to the original, as well as historically appropriate to the building and the historic district. Under Standard 5, decorative painting such as stencilling, graining, marbleizing, and trompe l’oeil are significant treatments and should be protected during a rehabilitation.

254 HISTORIC MATERIALS

The following colors are recommended for several major styles of architecture:

Greek Revival Body—White Shutters—Green or White

Gothic/Italianate Body—1840-1870: pale earth tones, especially yellows, grays, tans, and pinks; late nineteenth century: darkening of colors, emphasis on contrasts.

Queen Anne/Victorian Vernacular Body—Medium gray, dark red, dark blue, dark green, brown. Trim—Dark gray, dark brown, olive green, dark red. Door—Unpainted, varnished or grained.

Colonial Revival Body—White, light yellow, tan, medium gray. Trim—Cream, warm white, dark green. Door—Unpainted, varnished or grained, olive green Shutters, Blinds, Screen: olive green.

Bungalow Body—Often unpainted with earth tones. Stains such as soft greens, gray, brown, or dark red. Trim-White, light yellow, gray, light green. Door-Unpainted, varnished or stained.

255 HISTORIC MATERIALS

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