City Government of San Pablo, Laguna Heritage ZONE GUIDELINES9 CONSERVATION PRINCIPLES & GUIDELINES for the SAN PABLO HERITAGE ZONE 1

CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE I

City Government of San Pablo, Laguna hERITAGE ZONE GUIDELINES9 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 1

A. SAN PABLO CITY HERITAGE ZONE1 4. Priority Development Area 4 (IRR Section 13.4): all structures from Postal Bank to San Pablo Central School; on the other side, from McDonald’s 9.1 San Pablo Heritage Zone Theme and Rehabilitation Implementation fast food restaurant to unoccupied building for sale (co-owned by Estelita, Prescilliano and Saturino Bueser) across from San Pablo Central The Heritage Zone of the City of San Pablo’s period of significance or “theme” School which shall be given four (4) years from the date of approval of is the American Colonial Era which is defined from the years 1910 to 1948 the Ordinance 2018-53; (IRR, Section 11.1). As per the City Heritage Zone Priority Development Areas and Timetable (IRR, Section 13), phased rehabilitation are prioritized 5. Priority Development Area 5 (IRR Section 13.5): all structures from Phil- as the following: Am Life Building down to Nation gasoline station including Bagong Pook Welcome Arch, and the lot before the railroad track between Rizal 1. Priority Development Area 1 (IRR, Section 13.1): all government-owned and Colago Avenues; on the other side, from Caltex gas station/7-Eleven properties and structures within the Heritage Zone which shall be be convenience store to UMEI Nihonggo Center on Fule Sahagun Street, given one (1) year from the date of approval of the Ordinance 2018-53; Focus Tarp Printing Shop to Petron gasoline station and Lipa Van Terminal shall be given five (5) years from the date of approval of the Ordinance 2. Priority Development Area 2 (IRR Section 13.2): private structures and sites 2018-53. on the northern side of T. Azucena Street inclusive of Farcon Residence, to LBC outlet, Si Cristina Gateau Sans Rival Restaurant, Manila Bank Per the IRR of Ordinance 2018-53, under Classification and Declaration building, and Pizza Hut restaurant on the along Rizal Avenue; on the of Historical Structures and Sites, and other Edifices Section 10.5, non- southern side from Liceo de San Pablo and BDO bank on M. Paulino conforming structures are defined as “a structure that is of no architectural, Street to Bonifacio Street inclusive of all structures in between which cultural, historical and cultural significance to San Pablo City.” shall be given two (2) years from the date of approval of the Ordinance 2018-53; Per IRR Section 11, all non-conforming structures in the Heritage Zone and 9 its Buffer Zone shall be advised to renovate their exterior/building facades 3. Priority Development Area 3 (IRR Section 13.3): all structures and sites within the prescribed period as enumerated above. Existing non-conforming fromJollibee fast food restaurant on Rizal Avenue to China Bank on A.B. structures in the Heritage Zone and its Buffer Zone shall follow the period of Fule Street, from KFC fast food restaurant on Bonifacio Street to Southern significance or “theme” when they apply for a permit for new construction, Drug Store on Lopez Jaena Street which shall be given three (3) years addition, repair or renovation which will be governed by CHACTO and from the date of approval of the Ordinance 2018-53; SPCHZ Advisory Board.

1 San Pablo City Ordinance No 2018 53 City Government of San Pablo, Laguna 9.0 hERITAGE ZONE GUIDELINES

A non-conforming building built within the period of significance but Predominantly, most of the historic center is populated with mid to late 20th to substantially altered may be reclassified as a contributing building. early 21st century modern architecture and vernacular building styles. These In order for the reclassification, the buildings must be brought into more recent and vernacular buildings are non-conforming buildings in that compliance by rehabilitation to comply with the Heritage Zone’s period of they hold no particular cultural, social, aesthetic, or historical significance; significance/”theme.” they do not adhere to the period of significance/theme of the San Pablo City Ordinance No 2018-53. Thus, as mandated, these buildings will require 9.2 Rehabilitation Nearby or Adjacent to Declared Heritage Buildings rehabilitation to the American Colonial period and its associated architectural styles. Non-conforming buildings that are rehabilitated or new construction must act deferentially to any adjacent or nearby declared historic building of San 9.4 General Design Guidelines for Rehabilitation of Non-Conforming Pablo City. That is, for the declared historic building, any rehabilitation shall Structures not block any viewscapes/approaches, shall be lower than the declared historic building, shall have little or no visual impact that detracts attention, Generally, rehabilitation of a non-conforming building or new construction in and shall not mimic or use architectural language of the declared historic the context of a heritage zone shall be differentiated from the old; however, it building as to differentiate between the new construction and the character shall be compatible and harmonize with the historic context and established of the declared historic building. period of significance or “theme." Therefore, rehabilitation is a balance with the goal that any alteration shall contribute to the understanding of the heritage 9.3 Extant Architectural Styles of the San Pablo City Heritage Zone zone’s sense of time and place.

Extant building typologies in the historic center vary greatly. The Beaux Arts can be seen in the designs of the plaza fountain, flower pots, light To rehabilitate or newly create a building that exactly replicates another posts, public art, and monuments along the main boulevard, and the ornate historic building creates a false sense of history; however, if that rehabilitation balustrades and stairs of the Hagdang Bato. Spanish Mission Revival is is compatible, then it shows a zone’s evolution as does historic properties that expressed in the Department of Education Library Hub with its tiled roof demonstrate its past. which overhangs the building, undecorated walls, with arched wood and steel casement windows. Academic Eclecticism, a combination of Revivalist Compatibility of rehabilitated properties and new construction shall consider styles, is displayed in the Fule-Malvar Mansion with its interpretation of the character-defining features of the heritage zone’s period of significance or Neoclassical columns, Moorish arches on its top floor open-air gallery, and theme. In order to accomplish this, it is not only important to understand the Nouveau filigree metal scrollwork on entrances and windows. Details of the architectural influences that the Philippines experienced but also how to relate Farcon Mansion, the Fule-Malvar Mansion, and the Old CIty Hall articulate the rehabilitated structure or new construction to the existing streetscape. Art Deco and Art Moderne style. 2 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 3

For example, that would be recognizing setbacks and open space patterns, However, a wide range of building materials should be avoided when mass and form, entries, foundation and window heights, proportions of the surrounding context/heritage zone only uses a simple combination of windows and architectural features as well as roof forms, among others. materials. It is encouraged that materials are of high quality and are durable Then, when considering compatibility, design variables as stated above should that complement heritage zone character and reflect fine craftsmanship. not be expressed uniformly. Compatibility is achieved when a rehabilitated building and new construction have a significant amount of design variables 9.4.3 Windows and Doors which are similar in execution (but not necessarily identical) to typical design variables in the surrounding historic context. Doors and windows should consider the overall ratio that are found on nearby, similarly styled and aged, historic structures or, if rehabilitated 9.4.1 Footprints: Lot Coverage and Open Space or new construction, should follow the ratio of an historical architectural design. The footprint of a new or rehabilitated building should be compatible with the existing historic lot coverage footprint. That is, the location of the building The placement of windows should be sensitive to the historic placement or should reflect the established setback patterns of the surrounding context/ historically inspired design of window lintels and sills relative to the cornice block, if applicable. Or, if existing historic buildings are located at the sidewalk or belt courses. Materials should also be compatible with historic materials. edge, then the building should be positioned to conform to this alignment. If there is open space such as a front yard or side yards, it should also be Doors' widths, heights and materials should be similar to historic building compatible with existing historic open spaces. Open space should not be or historically inspired design. obscured by utility, communication, or mechanical equipment; it should not be visible from the street or sidewalks. 9.4.4 Roof Forms

9.4.2 Material Choices Roofs should be consistent in pitch, shape, orientation, and complexity and in materials with the surrounding heritage zone. Materials that are similar in scale, color, texture, and finish to those used in the historic zone should be employed. Masonry materials such as concrete, 9.4.5 Street Wall Rhythm stone, stucco and brick are appropriate, and architectural materials such as tile, glass and metals are also appropriate especially in commercial areas. Blocks historically in the San Pablo Heritage Zone were platted average 12 meter frontages. This basic unit gives a fine-grained pattern to the facades New materials that are not historically represented can be considered if they with its own rhythm and inherent variety. New facades should reflect the have a similar appearance, size and shape to the traditionally-used materials. range of historic widths in the heritage zone in order to maintain this variation

City Government of San Pablo, Laguna 9.0 hERITAGE ZONE GUIDELINES

to create visual interest and to maintain a pedestrian scale.

Designs should include typical features and rhythms of the heritage zone with the similar proportions and dimensions. Height, mass and form are essential for the rehabilitated building or new construction to be compatible with its context. That would include: rectangular massing, forms that reference heritage zone buildings, foundation heights at the same grade, similar floor to floor heights, rhythmical variations in allowable or typical building heights (two to five stories), similar window locations and proportions, and recognizable building entrance size, proportions and locations.

If a building is larger than the average historic width of the frontage, the massing can be broken up to match the historic frontage. They can also be subdivided by use of smaller bays that appear similar in size to historic building widths. Materials, fenestration, materials, finishes and colors can also be effective for subdividing large buildings. All building features especially entries, windows, articulation and decorative details need to be sensitive to human scale proportions to create visual interest to pedestrians. Foundation Heights, First and Second Storey Heights Contribute to Street Wall with Human Scale proportions, Escolta, Manila2

2 lougopal.com

4 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 5

Opposite Sides of the Street Respond to each other’s Building Heights, First and Second Storey Heights, Escolta, Manila3

Buildings Consistent with Historic Lot Widths: A Granular Approach to Lot Widths Allow for Consistency, Variation, and Pedestrian Scale, San Pablo City Heritage Zone4

3 ibid. 4 Author's Own

City Government of San Pablo, Laguna 9.0 hERITAGE ZONE GUIDELINES

9.5 Design Guidelines for Signage5

Signage is an essential component to every historic zone as it communicates programs of buildings. It is most essential to businesses so they can advertise their brand, their services and their products. Signage also reinforces a building’s historic character; proper placement, fonts, size and composition of signage are all factors which reflect a particular age and style of a building but should not detract and/or destroy, or obscure any architectural features.

9.5.1 Storefront: Painted and Pin-Mounted Signage

For a typical storefront, signage is limited to these areas:

• Signband • Awning • Bracket sign • Display window or transom

Letters, logos, should be attached or painted to the signband or onto the channel (sign of dimensional letters attached to a metal channel or bar that spans the Typical Enclosed Storefront6 front of the transom window, mounted directly onto the storefront framing or the returns of the piers of the storefront surround), in front of a storefront or If painted onto the signband, letters and logos can be painted directly transom window. It should not be attached to the decorative cornice or historic onto the signband or a flat panel installed within the signband. Letters and storefront framing. logos can also be individual dimensional letters made of wood, metal,

5 Adapted from New York Landmarks Commission Permit Guidebook 6 https://www1.nyc.gov/site/lpc/applications/storefronts.page

6 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 7 or painted plastic. Dimensional letters cannot be more than 18 inches in 9.5.4 Storefront: Painted and Vinyl Signage height. Projection from the signband, sign channel or metal channel cannot be more than 2 inches. Back-painted and vinyl letters, numbers, and graphics/logos can be applied directly onto storefront glazing: display window, transom and door. However, Pin-mounted letters should use mounting strips or a channel to limit damage signage cannot occupy more than twenty percent of the glazed area. Signage to underlying historic material. area can be calculated by the total area as a visual object, without subtracting for voids between letters, numbers, or graphics/logos. 9.5.2 Storefront: Awning Signage 9.5.5 Storefront: Seasonal Advertising Signage shall be permitted only on the awning skirt (maximum height of 10 inches); such signage shall not exceed 8 inches in height. Signs may be Signage promoting seasonal or temporary messaging shall not be applied painted on the sloped portion of the awning only if there are no signbands directly onto the glazing of the storefront. Advertising signage can be hung or spandrel area above the ground floor storefront; however, signage shall 18 inches behind the glazing of the storefront display window. not exceed 6 square feet in area per awning. 9.5.6 Bracket Signage 9.5.3 Storefront: Flat Sign Panel Signage 9.5.6.1 Bracket signage: First and Second Storey Placement Sign panels can be installed in the signband or transom. Bracket signs must be installed in close proximity to the commercial tenant A sign panel can be made of wood, metal or opaque glass. Letters can be identified on the sign; the armature of the bracket sign can be installed on painted or pin-mounted metal, wood or painted plastic. the first storey or above the second storey. The maximum height for the bracket sign on the first storey is ten feet. For the second storey bracket sign, Proportionality of sign panel cannot exceed ninety percent coverage of the the installation should be 3 feet from the bottom of the second storey. The signband or transom. Letters can be up to 18 inches in height. The sign panel bracket signs should align vertically for the first and second storey. can project 2 inches from the facade. Dimensional letters can be added and can project an additional two inches from the sign panel for a total of four 9.5.6.2 Bracket Signs: Materials, Design Elements & Quantity inches of projection. Bracket signs can be made of wood or metal, can be fixed or swing freely from points of attachment to the armature, and cannot be moved by mechanical or controlled means.

City Government of San Pablo, Laguna 9.0 hERITAGE ZONE GUIDELINES

Display faces, letters, words, numerals, illustrations or graphics can be painted, applied or pin-mounted to the sign and made of wood, metal, or painted plastic.

The design of the bracket sign should not detract from significant architectural features; jarring colors or graphics must be avoided. Novelty shapes such as circles, polygons, and irregular shapes are permitted as long as they do not exceed the general surface parameters of a bracket sign

The size of the sign cannot exceed 18 x 24 inches with a projection up to 18 inches from the facade of the building. The width of the sign cannot exceed two inches. Raised letters or logos on bracket signs cannot exceed three inches in total width.

The armature itself should be simple in design or take cues from historical Typical Bracket Sign Placement7 shapes of armature design and painted in a color that is harmonious with the storefront finish. Armature must be installed within the mortar joints, if 9.5.7 Neon Signage applicable. But, generally, armature installation cannot destroy important and significant architectural features. Neon signage can be utilized on buildings that historically used neon as lighting design for illumination of the building and for signage. Typically, For multiple commercial establishments in a building with more than two neon was used extensively in Art Deco and Art Moderne structures. storeys, bracket signs can be installed at the building entrance. One sign per tenant per armature and must hang on the same armature one on top of another. Guidance for neon signage in display windows: All design features for bracket signs enumerated above apply for upper storey tenants. • Placement must be 6 inches behind the glass. • Backing panel must be clear. The number of signage permitted is one per establishment with these exceptions: • Sign must not exceed 15 percent of the area of the display window.

• If a corner building, one bracket sign is permitted per facade and cannot be located on the corner. • From the corner, the bracket sign cannot be mounted closer than 2 meters. 7 https://www.thestorefront.com/locations/new-york/manhattan-soho

8 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 9

• Visible illuminated lighting strips that outline display windows are not permitted.

9.6 Design Guidelines for Illumination of Signage and Storefront

Lighting fixtures above storefronts to illuminate signbands or to illuminate storefronts without signbands or sign panels are permitted; however, illumination of the exterior of the storefront must comply with the regulations cited below. To note, no signage that is internally illuminated will not be approved. However, internally illuminated signage such as neon to be used in an Art Deco or Art Moderne building is an exception, since these architectural styles included neon as part of signage and lighting design.

Permitted with permission from the SPCHZ Advisory Board:

• Light fixtures installed in or on plain masonry, metal or wood. • Signbands and sign panels with integrated cove fixtures in the same finish Typical Gooseneck Lighting8 as the sign. • Small project light fixtures 12 inches or less in diameter, length or width can be installed above sign or storefront with the following quantities and 9.6.1 Halo Light Illumination for Signage spacing: - One (1) fixture per 1-6 foot storefront opening Signage that is halo-light with a concealed light source that emits a glow - Two (2) fixtures per 1-12 foot storefront opening behind solid letters or logo but not through front. Halo light is reserved for - Three (3) fixture per 1-24 foot storefront opening pin-mounted letters or logos. • Light fixture armature cannot project more than 18 inches from the signage. • Conduits must be concealed. • Bracket light signage can be illuminated as long as: - Lighting is integrated on projecting arms attached to the armature and finished to blend with the sign. 8 Google Maps

City Government of San Pablo, Laguna 9.0 hERITAGE ZONE GUIDELINES

Typical Halo Light Illumination for Pin-mounted Letters9 Cross-section of Halo-lit Signage10 9.7 Signage for Commercial Identity and Heritage Sites/Zone: Mounted Signage 9.8 Design Prompts for Rehabilitation or New Construction in Theme of San Pablo City Heritage Zone Mounted on a free-standing metal single or double pole with a dark finish up to six feet tall, installed through non-historic paving within the confines of the At the time of American colonization, Manila was experiencing the front lot space, if any. same problems with most urban centers across the globe. The American administration saw that Manila was growing quickly but unplanned, was And for information signage such as plaques that impart information about congested with a high density of people and traffic, and lacked proper heritage sites or zones, they shall be mounted on non-historic paving within sanitation. an areaway (front yard). No more than one plaque per free-standing metal pole with a dark finish up to six feet tall. If signage requires a different configuration, Out of this concern, the initial urban planner that was hired to organize please apply for a special permit with the proposed design complete with the city of Manila was Daniel Burnham whose success was demonstrated graphic designs and copy integrated into the proposed design.

10 Ibid. 9 https://www1.nyc.gov/site/lpc/applications/storefronts.page

10 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 11 in the planning of the popular Columbian Exposition of 1893. He as well The following design prompts for the rehabilitation of the San Pablo Heritage as his successors saw that a boulevard with nodes and axes could ease Zone offers local, national and international examples for possibilities for congestion and connect neighborhoods efficiently in the city. He introduced building design. These examples are by no means exhaustive but attributes formalized zoning in which areas were planned for government/civic certain styles for particular building typologies. buildings, commercial areas, residential, manufacturing and parks and recreation. This was the City Beautiful movement for which urban planning 9.8.1 Government and Civic Buildings was used to uplift civic pride and promote social order. 9.8.2 Beaux Arts Style Architectural design evolved from the initial plans for Burnham. Although he prescribed Beaux Arts architecture for many buildings, especially those San Pablo CIty Heritage Zone contains government buildings that include a for government and civic purposes, his successors also introduced other city hall, courthouse, national/municipal agencies, post offices, fire stations forms, not only in Manila but across the Philippines. Parsons executed and police stations, and civic buildings such as libraries, museums, and many Beaux Arts buildings, but he also considered the climate and thought community halls. that the California Mission Revival, a style derived from the Franciscan Missions in California and Southwestern states, could be utilized. Government buildings serve the public and are places where government officials administrate the municipality. Civic buildings like government He was a prolific architect, and he was later succeeded by Juan Arellano, buildings offer resources to its citizens by providing information dissemination, a Filipino architect who had trained in Paris (École des Beaux Arts) and intellectual enrichment, cultural appreciation, local identity, recreation and was influenced by the latest trends of architecture in the States. Across the community-building. Philippines, he did execute buildings in the Beaux Arts style but introduced Art Deco in his famous and then controversial Metropolitan Theater in 9.8.2.1 Building Forms Manila. According to the City Beautiful Movement and its architectural expression in The latest architectural expressions caught on in the tastes of the Filipinos. the Beaux Arts, government and civic buildings are monolithic, symmetrical, Art Deco and its later variant Art Moderne was adopted fervently, especially proportional and harmonious in appearance with a hierarchical composition for businesses that wanted to be identified with high fashion and modernity. (i.e., where the piano nobile is the largest and dominant). Large, exterior The main showcase for this architecture was the Escolta and Avenida Rizal central entrances are flanked by columns which support an entablature or which hosted a wide collection of Deco and Moderne styles in its offices, pediment and are reached by an imposing stairway, sometimes flanked by department stores, shops and restaurants. podiums.

City Government of San Pablo, Laguna 9.0 hERITAGE ZONE GUIDELINES

Usually these buildings contain highly decorative elements to stress the Alternate materials may be accepted depending on their reversibility and importance and beauty of these edifices. The main facade is adorned with compatibility with traditionally-used materials. Characteristics such as lavish architectural details such as swags, ornamental sculptures, cartouches, physical strength, appearance, and sustainability should be considered. and bas-reliefs. Openings are large archways; or, if square, surrounded by Material choices are subject to review before acceptance. decorative lintels and molded surrounds. Colonnades add a sense of rhythm across the main facade. 9.8.2.5 Interiors

Upper story walls are coursed to resemble large stone masonry units that are Lobbies are a grand affair with floors of marble, terrazzo, or other noble smoothly finished while the ground floor is rusticated or is expressed as large materials with large, central staircases. A grand central room is the focus chamfered ashlar blocks. of the building from which all other interior spades are related.

9.8.2.2 Windows and Doors 9.8.2.6 Color Palette

Window openings are protected by double hung wooden or vertical steel The color palette of government and civic buildings is restrained. Since casement windows with divided lights. Doors are wood, bronze, copper, stone and concrete are the preferred materials, the building does not sometimes with glass lights. usually receive paints as finishes; instead, it showcases the natural, light color of stone or the light to medium cool gray of concrete. However, 9.8.2.3 Roof Forms white paint as a finish was sometimes employed as with the buildings of the “White City” of the Columbian Exposition of 1893. Some metallic Cornices and parapets are active and articulated. Roofs can be pitched, curved, colored accents, like gold. flat or domed. Copper can be applied for roofs especially if visible from street or sidewalk. Second Empire configurations are also another configuration. 9.8.2.7 Other Details

9.8.2.4 Material Choices Decorative grille work on stair rails, windows and doors, transoms and as architectural features. A variety of materials are utilized for Beaux Arts compositions. Materials like stone or concrete are employed for walls, stairs, parapets, columns, pediments and entablatures, sculpture and details such as swags and bas reliefs. Copper can be used in details such as lighting, cornices, or a variety of smaller articulations.

12 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 13

Post Office Building, Manila, Architect Juan Arellano, built 192612

Old Provincial Capital of Laguna11

9.8.2.8 Placement of Government and Civic Buildings

Government and civic buildings are usually zoned in proximity to one another to endeavor communication, creating a civic complex. They are oriented in areas that are easily visible to the public, on higher ground or in landscaped gardens. As important centers of the town’s administration and service to the public, massing and volume are grand and monolithic.

Municipal Government Building, Jaro, Iloilo, built 193513

11 http://lumang-tao-moments.blogspot.com/2011/09/provincial-capitol-building-of-laguna.html 12 arquitecturamanila.blogspot.com 13 theurbanhistorian.tumblr.com City Government of San Pablo, Laguna 9.0 hERITAGE ZONE GUIDELINES

9.8.1 Government and Civic Buildings

9.8.3 California Mission Revival Style

An alternative to the Beaux Arts is the California Mission Revival style which is used for the DepEd Library Hub in the Heritage Zone. This is a departure from the language used in Beaux Arts government and civic buildings since it is simpler in form and draws its inspiration from Span- ish influenced architecture of the missions established by the Franciscan friars in California and the American Southwest in the late 18th to the early 19th centuries.

9.8.3.1 Building Forms & Details

As with the example of the DepEd, California Mission Revival style can be rectangular in form with a horizontal orientation. Arches are common FDNY Fire Station Hook and Ladder No. 8, Architect Alexander H. Stevens, New York, NY articulation for window openings, and if present, arches can be used 190314 openings for exterior or interior courtyard arcades. Vertical rectangular windows also make their appearance in the DepEd example. 9.8.2.9 Special Government and Civic Buildings: Fire and Police Departments Walls are plain, smooth stucco with a white finish. For the DepEd Library example, window bay walls slightly recede. Windows are wood config- However, to note, government buildings like fire stations and police departments ured in multiple lights with panelled ventanillas. And its three entrances are less ostentatious and follow simpler forms of the Beaux Arts Movements. are double wooden doors which are also paneled. Function dictates form in these buildings; egress and ingress points are simple; and decoration is pared down. Fire trucks and police cars are located near or at Another feature is the use of ornamental grille work for doors and balco- the bottom floor. Fire stations had large arched openings into the garages with ny railings, and semi-circular balconies with stepped bracket supports on office spaces and living quarters above. the main facade project from the second storey. In some cases, there are towers that rise above the roofline as references to bell towers found in original mission buildings.

14 https://www.flickr.com/photos/mateox/4782492039 14 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 15

9.8.3.2 Windows and Doors

Solid wooden doors and multi-light steel casement windows

9.8.3.3 Roof

California Mission Revival has low-pitched tiled, hipped roofs with large and deep overhangs. California Mission Style employs gables in the second example which have curved españadas with Moorish inspired windows. In some cases, there are mock bell towers which rise above the roofline. Spanish Mission Revival Style for the DepEd Library Hub, Rizal Avenue, San Pablo City15 9.8.3.4 Material Choices

Walls are constructed of concrete with terracotta for roof tiles, wood and steel for windows, and metal for decorative grille work.

Spanish Mission Revival Style with Arched Arcaded Exterior16

15 Author's OWn 16 https://www.triposo.com/loc/Los_Angeles/architectural_style-spanish_colonial_ revival_architecture/background

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Alternate materials may be accepted depending on their reversibility and compatibility with traditionally-used materials. Characteristics such as physical strength, appearance, and sustainability should be considered. Material choices are subject to review before acceptance.

9.8.3.5 Color Palette

In the DepEd, the predominant color is white with dark brown for as a secondary accent color. The use of dark brown as a finish color is seen in many California Missions to emphasize the natural materials used - in this case, wood. Also, overall finishes to some California Mission Revival buildings are buff to yellow in color. Caltrains Train Stop, Burlingame, California17

9.8.1 Government and Civic Buildings

9.8.4 Classicizing Art Deco

San Pablo’s City Hall was constructed in the late 1930s in a simplified Neoclassical style with Art Deco elements. Although the two styles may seem incongruous, both designs have been restrained to complement each other.

9.8.4.1 Building Form

18 Building 1204, Fort Winfield Scott, San Francisco, California, built 1912 The City Hall is horizontal in orientation and has two vertical wings that flank the entrance. The central massing recedes between the wings with the main entrance receding even further into the volume of the building. 17 https://www.pinterest.com/lindalin41/mission-style/ 18 https://www.nps.gov/prsf/learn/historyculture/mission-revival.htm 16 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 17

rusticated base. Windows are mostly vertical and steel casements with two arched windows at either side. A central double wooden door with a dentilated lintel is the terminus of a grand staircase bordered by podiums. In effect, as a government building, this creates an impression of permanence, prosperity, harmony, integrity and rationality.

Art Deco elements are sparsely used in the City Hall. Simplification of forms to its basic geometry can be observed in its entablature with its undecorated, prominent attic above. Geometric plinths for column bases are integrated into the stair. A band of geometric forms tops the parapet wall in the central volume.20

9.8.1 Government and Civic Buildings

9.8.5 Art Deco

Old San Pablo City Hall, San Pablo City, Laguna, built 1938-4019 This style came into vogue after an exposition in Paris, the Exposition Internationale des Arts Décoratifs et Industriels Modernes, in 1925, later From the Neoclassical style, the City Hall appears well-proportioned, coined as “Art Deco.” Art Deco style broke with the formality of the Beaux balanced, and harmonious with a hierarchy of spaces. The scale seems Arts and Neoclassical which had dominated architecture in the late 19th monolithic; however, because of its proportions, the building is actually to early 20th century. The formality, grand scale, with highly decorative human scaled. elements from sculpture to bas-reliefs, columns, pediments and entablatures, rusticated bases, arches and other forms were abandoned and thought too The City Hall employs a centralized entrance, an entablature supported by fussy or ostentatious. columns, figurative sculpture and shield atop the entablature. Walls around windows step back slightly and are topped by parapets delineated by projected moldings. Ground floor walls have a water table with an incised

20 More descriptions of Art Deco and Art Moderne/Streamline Moderne can be found at 19 Advocates for Historical Preservation San Pablo Chapter the end of this document.

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9.8.5.1 Building Form 9.8.5.3 Roof Form

Internationally and in the Philippines, architects who created in this Usually flat roofs adorned with parapets, spires, or tower-like constructs to design vocabulary reduced building forms to its basic geometry with accentuate a corner or entrance. symmetrical vertical volumes. Setbacks and parallel lines are articulated to emphasize the verticality and monolithic appearance of the building. 9.8.5.4 Materials These setbacks, as can be seen in the Iloilo City Hall from 1934, have a ziggurat design, referencing Near Eastern architecture which at the time Walls are smooth finish concrete stucco and/or Vitrolite glass, stone, or was being rediscovered by European archaeologists. Walls are rectilinear decorative terracotta tiles. Use of steel or aluminum. with angled corners. Alternate materials may be accepted depending on their reversibility and Typically, Art Deco buildings were constructed with smooth walls with compatibility with traditionally-used materials. Characteristics such as physical decoration around the window and door surrounds and applied to the strength, appearance, and sustainability should be considered. Material choices central vertical volume. This decoration was geometric ornamentation are subject to review before acceptance. expressed as low-relief abstracted flora and fauna, sometimes with figurative elements. Oftentimes, grille,work also in geometric design was 9.8.5.5 Color Palette applied to window openings and door entrances. Exuberant use of bright colors, or neutrals to convey a monochromatic scheme. 9.8.5.2 Windows and Doors Metallic accents.

Windows appear as punched openings and are horizontally oriented Both the Old Iloilo City Hall and the Old Tanauan City Hall have purely Art with steel or aluminum casements with multiple lights. Some window Deco forms where the verticality of the building is emphasized. Decoration is configurations were horizontal ribbon bands, connected in a straight line, nearly absent from both buildings as compared to the Beaux Arts; instead, low called ribbon windows (first coined by LeCorbusier in the 1920s). bas-reliefs add ornamentation. The colors of both buildings strike an opposite approach to finishes, where the first is a light colored building, and the latter Windows could also be elegant features in themselves, having colorful uses a bright palette to call attention to its components (repainting occured in palettes with complex geometric designs much like stained glass. 2014).

Doors were highly stylized features, especially if they were at the entrance. Wood or metal framed highly decorated glass doors or solid geometrically decorated doors. 18 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 19

Art Deco Old Iloilo City Hall, built 193421 Art Deco Municipal Hall, Tanauan, Batangasm Architect Oscar Arellano, 1930s

9.8.2 Bank Buildings

9.8.6 Beaux Arts

Beaux Arts architecture tends to be the architecture style of choice since it reinforces the banks’ identity. Visually it is monolithic, connoting wealth and importance. Banks can be expressed like government and civic buildings: for example, with centralized entrances with grand gestures of ornamental decoration, symmetrical articulation, hierarchical divisions, lavish and intensive surface decoration, columns and colonnades, entablatures or pediments, and grand archways. Embellishments and design vocabulary reminiscent of ancient Greek and Roman architecture further enforce the 21 https://iloveiloilo.wordpress.com/2007/03/23/the-upv-main-building-iloilo-city- ideas of rationality, strength and permanence. campus-by-juan-arellano/

City Government of San Pablo, Laguna 9.0 hERITAGE ZONE GUIDELINES

9.8.6.1 Building Form22

Horizontal axis with numerous massing types, usually rectangular. Sometimes banks have multiple stories with the upper stories as office spaces and the ground floor containing a large lobby with high ceilings for clients and replete with marble floors, high ceilings, sumptuous decorations, and spacious interiors.

These three examples below, two American and one Filipino are differentiated by its height and scale. The American examples show that smaller volumes can possess the exuberant styles of the Beaux Arts in a diminutive scale. The Filipino example of the First City National Bank in Manila is larger, containing multiple stories, and exemplifies a simpler Neoclassical influence with colonnades, simple parapet walls with modillons, and active cornice line.

9.8.6.2 Windows and Doors

Window openings are protected by double hung wooden or vertical steel casement windows with divided lights. Doors are wood, bronze, copper, On right, Beaux Art Bank, San Francisco, California23 sometimes with glass lights. Walls are coursed to resemble large stone masonry units that are chamfered or with banded rustication.

9.8.6.3 Roof Form Cornices and parapets are active and articulated. Roofs can be pitched, curved, flat or domed. Second Empire roofs are also another possible configuration.

22 Please see Building Form under Government and Civic Buildings, Beaux Arts for more information. 23 commons.wikimedia.com

20 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 21

Adaptively Reused Beaux Arts Bank 9.8.6.2 Material Choices Building, 24 Washington, D.C. A variety of materials are utilized for Beaux Arts compositions. Materials like stone or concrete are employed for walls, stairs, parapets, columns, pediments and entablatures, sculpture and details such as swags and bas reliefs. For windows, wood and steel (as in steel casement windows) can be employed. Doors can be composed of wood, copper, or bronze with glass lights. Copper can be applied for roofs or used in details such as lighting, cornices, or a variety of smaller articulations.

Alternate materials may be accepted depending on their reversibility and compatibility with traditionally-used materials. Characteristics such as physical strength, appearance, and sustainability should be considered. Material choices are subject to review before acceptance.

9.8.6.5 Color Palette

First City National Bank in the Again, like Beaux Arts government and civic buildings, the color palette early 1920s, Manila25 is restrained. Stone and concrete are the preferred materials with natural, light color of stone or the light to medium cool gray of concrete. However, white paint as a finish was sometimes employed as with the buildings of the “White City” of the Columbian Exposition of 1893. Some metallic colored accents, like gold.

24 piinterest.com 25 Arkitekturang Filipino: A History of Architecture and Urban- ism in the Philippines City Government of San Pablo, Laguna 9.0 hERITAGE ZONE GUIDELINES

9.8.2 Bank Buildings

9.8.7 Classicizing Art Moderne

Like San Pablo City Hall and Tanauan Municipal Hall, this Philippine National Bank in Iloilo fuses both Neoclassical elements with Art Moderne.

9.8.7.1 Building Form

The ideas of the bank’s wealth and importance are still concepts that are reinforced by its Neoclassical articulation: the use of an abstracted entablature, columns and walls with bands of rustication. A hierarchy of spaces is denoted by a large centralized entrance that is surrounded by molding and by larger windows as seen on the secondary facade.

Art Moderne, a later design variant that is closely related to Art Deco, is Classicizing Art Moderne Building Philippine National Bank, Iloilo26 seen in the building’s massing which reveals simple geometry and symmetry. The building is noticeably rectangular in shape and the building corners are 9.8.7.2 Windows and Doors angled, not rounded as in most Art Moderne buildings. A large horizontal band wraps around the building and runs the length of the front facade, Fenestration is horizontal casement windows and bands of vertical windows further defining its horizontal orientation. as on the front facade. Windows on the secondary facade are protected by Art Moderne simplifies the Neoclassical elements; the entablature is plainly canopies of concrete (also known as eyebrows) which give the building a rectangular. Columns, although forming a colonnade, are spare cylinders streamlined effect. without any capitals or bases. Only one small bas-relief announces the identity of the bank. 9.8.7.3 Roof

Flat roof, no pitch.

26 https://sungduan.blogspot.com/2009/05/photo-editing-101.html 22 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 23

9.8.3 Educational Buildings

Universal public education had begun in the late Spanish Colonial Era, but during the American Colonial Era, the colonial government educational institutions became a major “civilizing and indoctrinating” endeavor that permeated all levels of society and all major cities, towns and far-flung provinces. The importance placed on education brought American teachers to the shores of the colony and caused the opening of institutions to train Filipino teachers to meet the growing enrollment of students. The need for education grew out of the need of skilled workers in the growing industries of the colonies and to combat economic depression28. Thus, a campaign of building educational institutions ensued rapidly across the Philippines.

9.8.8 Galbaldon Schools ASSIST Bangued Campus, Architect William Parson, Abra Province27

9.8.7.5.4 Material Choices During the American Colonial Period, the form of the educational institutions was the Galbaldon school. Named after legislation written by Isauro 29 Smooth finished concrete and glass for windows and doors. Gabaldon of the Philippine Assembly in 1907 , these modern schools, built of concrete and wood, and were initially designed by Architect Williams J. Alternate materials may be accepted depending on their compatibility with Parsons. Various styles were referenced in each individual school. It could traditionally-used materials, such as physical strength, appearance, and take design cues from the traditional bahay na bato, California Mission sustainability. Material choices are subject to review before acceptance. Revival or the Beaux Arts. Some features that were omnipresent were tall ceiling heights for ventilation and large doors and windows to take 9.8.7.5 Color Palette advantage of daylight and to permit air circulation.

In this example, white painted finish; however, other Art Deco buildings can use a larger palette with metallic accents.

28 https://en.wikipedia.org/wiki/Education_in_the_Philippines 29 https://en.wikipedia.org/wiki/Gabaldon_School_Buildings 27 https://news.abs-cbn.com/news/02/07/19/duterte-signs-law-to-protect-gabaldon- school-buildings City Government of San Pablo, Laguna 9.0 hERITAGE ZONE GUIDELINES

Bahay na Bato Style Camarines Sur National High School, Naga City30

Iloilo National High School, Architect Williams Parsons, built 1906 and rebuilt after WWII31

30 http://www.canadianinquirer.net/2015/06/21/house-ap- proves-proposed-conservation-of-gabaldon-and-other-heri- 31 Iloilo National High School, Architect Williams Parsons, built 1906and tage-school-buildings/ rebuilt after WWII

24 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 25

9.8.3 Educational Buildings

9.8.9 Neoclassical

The Liceo de San Pablo, constructed in 1912, is unlike the Galbaldon schools. This is a formal structure that takes its inspiration from the Neoclassical design vocabulary. The liceo is adjacent to the cathedral and has a horizontal massing that faces the plaza.

The second storey has a centralized, triangular pediment with a classical return expressed as a split fillet eave that rests on two consoles with guttae. Double bands run vertically down from the guttae making the ensemble resemble an aedicula. Above, a pitched roof with a poor man’s return emphasizes the pediment below. Expressed moldings run horizontally across the second storey’s facade. Casement windows feature transoms and divided lights and are smaller in size than the bottom storey widows. Moldings surround the window openings. Neoclassical Liceo de San Pablo, constructed 1912

The bottom storey has an arcade that runs the length of the building creating 9.8.9.1 Windows and Doors a projection from the primary facade and forming a continuous balcony. The arcade’s openings are arched with keystones and engaged rusticated Steel or wood casement windows. pilasters with simple capitals that extend to the moldings that delineate the bottom of the second floor. Large vertical windows protected by grille work 9.8.9.1 Roof Form are centered in relation to the openings of the archways. The entrance is not central to the composition, however, and is located on the right side. A low-pitched roof is at the center of the building flanked by flat roofs on All walls have a smooth finish and are colored a soft yellow color with either side. accents of white on architectural details.

City Government of San Pablo, Laguna 9.0 hERITAGE ZONE GUIDELINES

9.8.9.3Material Choices

Concrete, glass and metal.

Alternate materials may be accepted depending on their compatibility with traditionally-used materials, such as physical strength, appearance, and sustainability. Mat erial choices are subject to review before acceptance.

9.8.9.4 Color Palette

Stone colors, light to buff colored finishes

9.8.4 Educational Buildings Beaux Arts Style University Hall, University of the Philippines, designed by Williams Parsons, Manila33 9.8.10 Beaux Arts/California Mission Revival However, for the Normal School, he applied the California Mission Revival For higher education and vocational institutes, during the American Colonial Style which features low-pitched red tile roofs, steel casement windows, flat Era, the American Architect William J. Parsons from the Public Works stucco concrete walls and españada gables. Similar to the DepEd Library Department used two divergent design vocabularies: Beaux Arts for the Hub, the window bays recessed slightly and top floor windows terminate in University of the Philippines in Manila and California Mission Revival Style arches. for the Normal School, a training facility for Filipino teachers. This edifice is a large school with at least five entrances and responds to As with all Beaux Arts buildings, the formula for design for the University of the street corner. This form allowed for an interior courtyard with all levels the Philippines was like other civic institutions that he executed for the Post with arched arcades similar to his work for the Philippine General Hospital. Office and Legislative Buildings32. On all four corners are solid volumes, Arched arcades suited the tropical and humid environment of the Philippines, and the sides of the building are colonnades with columns resting on over- since it reduced sun and rain penetration and allowed passive air circulation sized plinths. Windows are steel casements, and the roofs are low-pitched throughout the entire building. and hipped. One interesting feature is that above the colonnades are slightly projecting balconies supported by the architrave. 33 Photo of the University Hall © 1920, Facts and Figures about the Philippines by the Bureau of Printing Manila, as cited by John Tewell Photo 26 32 Please see Government and Civic Buildings, Beaux Arts for more information. CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 27

California Mission Revival Normal School, Architect William Parsons, Manila34 Interior Courtyard with Arched Arcades Normal School, Architect Williams Parsons, 35 Like the DepEd Library Hub, walls were a smooth stucco finish in a white to Manila light color and primarily built of concrete. 9.8.10.3 Material Choices 9.8.10.1 Windows and Doors Walls are of smooth stucco finished concrete, with terracotta roof tiles, and Solid wooden doors and multi-light steel casement windows steel for casement windows.

9.8.10.2 Roof Form Alternate materials may be accepted depending on their compatibility with traditionally-used materials, such as physical strength, appearance, and California Mission Revival has low-pitched tiled, hipped roofs with large and sustainability. Material choices are subject to review before acceptance. deep overhangs. Gables have curved españadas. 9.8.10.4 Color Palette

White to buff color painted finishes.

34 https://www.flickr.com/photos/nccaofficial/18006942954 35 https://images.summitmedia-digital.com/spotph/images/pnu.jpg City Government of San Pablo, Laguna 9.0 hERITAGE ZONE GUIDELINES

In this particular example of the Far Eastern University, the fenestration is a combination of vertical and horizontal orientation. There are decorative elements on the sides of the building in the form of fins that emphasize the building’s horizontal orientation. Defined horizontal lines are also seen in the stepped concrete spandrel panels between the second and third storey. Setbacks are somewhat absent from this example, used sparingly.

An open arcade at the ground storey is an adaptation of this building to the tropical environment of the Philippines, sheltering users from the sun and precipitation. The tops of the openings included transoms which appear to be open allowing air circulation at this level.

9.8.11.1 Windows and Doors

The scale of the steel casements windows are large with divided lights and horizontal in orientation. Metal doors with lights. Art Moderne Far Eastern University, Architect Pablo Sebero Antonio, late 1930s36 9.8.11.2 Roof Form 9.8.3 Educational Buildings Flat roof. 9.8.11 Art Moderne 9.8.11.3 Material Choices Art Moderne also made an appearance in higher educational institutions. Unlike its predecessors, Art Moderne as compared to Art Deco had a Smooth finished concrete and glass. predominantly horizontal massing without vertical volumes so that the building seems anchored to the ground. Decoration was kept to a minimum Alternate materials may be accepted depending on their compatibility with compared to Art Deco. Corners of the building are rounded rather than traditionally-used materials, such as physical strength, appearance, and angular. sustainability. Material choices are subject to review before acceptance.

36 pinterest.com 28 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 29

9.8.11.4 Color Palette

White finish.

9.8.4 Commercial and Mixed-use Buildings

During the early period of American colonization, commercial establishments had shop fronts for retail, services, offices, and restaurants that had a variety of styles. The Spanish Colonial Era shop house where the bottom floor served as a shop and the top story contained residences continued well into the 20th and even 21st century. The enclosed shop fronts that mimicked those of Western countries also continued. Beaux Arts style added another design influence which also included enclosed shop fronts, however with different treatments of building materials and fenestration. Later in the American colonial period, Art Deco and then Art Moderne were in vogue, and many retailers, restaurateurs, Arcaded Walkway at the Kneedler Bldg, Avenida Rizal, Manila, circa 1920s37 and movie houses quickly adopted the styles to remain in fashion to satisfy their customers' ever-growing tastes. 9.8.4 Commercial and Mixed Use Buildings If the building was multi-storied, the shop front would be recessed from the 9.8.10 Open-Air Shop Front front lot line and would allow for a walkway at the front of the building. The upper stories would extend to the front lot line, creating an arcade beneath. The most commonplace design for a shop front were the ones that were open to the air. The openings were large and extended to the top of the first The arcaded design was a response to the intense heat, sunlight and precipitation storey. High ceilings encouraged air circulation in the store. Decorative and provided shade and protection from the elements to the businesses and columns or piers divided the shop front into multiple openings, which walkways below. Cloth awnings also provided an extra modicum of protection could be shuttered by large wooden, paneled doors. Occasionally, the top and also served as opportunities for commercial identity and advertisements. of the shop front openings had transoms. Some were expressed in arches and some had elaborate grille work.

37 http://www.lougopal.com/manila/?p=2681

City Government of San Pablo, Laguna 9.0 hERITAGE ZONE GUIDELINES

Arcaded Walkway with Open-Air Store Front, At left, Ground Storey, Open-Air Shop Front With Division By Advertisement for a Shop House with Three Shop Open-Air Residences/Office Spaces on Upper Stories, American Columns, American Era Escolta Street, date unknown39 Shop Fronts on Avenida Rizal Commercial and Mixed Use Era, date unknown38

39 https://www.philippine-history.org/pictures-old-manila. 38 Life Magazine, cited by John Tewel htm

30 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 31

Enclosed Shop Fronts With Stone Piers Between Shop Fronts, Alfredo Roensch & Co, Escolta, Manila, 191440

Enclosed Shop Front with Retractable Awning, La Estrella del Norte, Escolta, Manila, built 191041

40 Enclosed Shop Fronts With Stone Piers Between Shop Fronts, Alfredo Roensch & Co, Escolta, Manila, 1914 41 http://www.lougopal.com/manila/?p=2488

City Government of San Pablo, Laguna 9.0 hERITAGE ZONE GUIDELINES

9.8.13 Western-style Shop Front

Western-style enclosed shop fronts were designed with a central or side entrance with a wooden door(s), large wooden-framed or metal-framed display windows flanking the door, wooden-framed or metal-framed, divided light transoms above the doorway and the display windows, and bulkheads at the bottoms of the display windows. Retractable or non- retractable awnings or large metal and glass canopies provided shade from solar radiation and precipitation. Signage for identity was located at the upper portion of the storefront above the entrance(s) and or on the awnings.

The large fenestration of enclosed shop fronts encouraged daylight to penetrate the interior and attract visual attention to the business, its products or services. With the transparency of the glass, it broke down the separation between the outside and inside; and the effect was inviting to passerbys. Functionally, the large windows allowed more light for customers, employees to conduct their business, and pedestrians to see activities happening inside.

Enclosed Cut Corner Shop Front with Rolled Up Awning and Two Over Two Transom Windows and Office Spaces Above that Extends over Front Lot Line American Colonial Era, circa 1920s.42

42 http://www.lougopal.com/manila/?p=2276 32 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 33

Typical Storefront Configuration with Entrance at Side43

Cross Section of a Typical Storefront Configuration44

43 NYC Landmarks Preservation Commission Guidelines for Storefronts In Historic Districts, 2012 44 NYC Landmarks Preservation Commission Guidelines for Storefronts In His- toric Districts, 2012 City Government of San Pablo, Laguna 9.0 hERITAGE ZONE GUIDELINES

9.8.4 Commercial and Mixed-Use Buildings

9.8.14 Beaux Arts

Since the Beaux Arts style dictated heavy use of stone or concrete for its walls, some enclosed shop fronts had less transparency into the interiors of their establishments. In this style, there are varying treatments of the shop fronts, and there is no one typical example to create an archetypical design.

If the shop front is located on the ground storey where walls are expressed as banded rustication or ashlar blocks, then openings for the storefront are sometimes archways or rectangular vertical openings that were formed into the heavy walls. Usually the entrances are as formal as the building itself where there is a central entrance flanked by other bays on either side that display products or services.

Or, if the building is colonnaded or has engaged pilaster that begins on the ground storey, shop fronts are integrated between columns or engaged pilasters.

Some Beaux Arts buildings have regular shop front spaces at the ground level, dedicated to commercial activity with regular spaced piers as divisions.

Oftentimes, in these larger Beaux Arts buildings, offices are located at the Symmetrical Store Fronts with Arched Openings with Rustication, Madison Avenue, upper stories. These offices have dedicated entrances on the ground storey 45 denoted by heavy ornament and a grand entryway. Upper East SIde, New York, NY

45 https://themadimposter.files.wordpress.com/2011/04/rl-nyc.jpg

34 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 35

9.8.14.1 Windows and Doors

Window openings are protected by double hung wooden or vertical steel casement windows with divided lights. Doors are wood, bronze, copper, sometimes with glass lights.

9.8.14.1 Roof Form

Cornices and parapets are active and articulated. Roofs can be pitched, curved, flat or domed. Other configurations like French Second Empire. Material can be copper especially if roof is visible from street or sidewalks.

9.8.14.2 Material Choices

A variety of materials are utilized for Beaux Arts compositions. Materials like stone or concrete are employed for walls, stairs, parapets, columns, pediments and entablatures, sculpture and details such as swags and bas reliefs. Copper can used in details such as lighting, cornices, or a variety of smaller articulations.

9.8.14.3 Color Palette

Like government and civic buildings, the color palette of commercial and mixed- use buildings showcases the natural color of stone and concrete. Beaux Arts buildings do not usually receive paints as finishes. However, white paint as a Enclosed Shop Front on Each Bay of a Beaux-Arts Facade with Art Nouveau Canopies, finish was employed in the “White City” of the Columbian Exposition of 1893. B. Altman Building, Ladies’ Mile Historic District, New York, NY, early 21st century46 Some metallic colored accents, like gold.

46 https://ephemeralnewyork.wordpress.com/tag/ionic-columns-new-york-buildings/

City Government of San Pablo, Laguna 9.0 hERITAGE ZONE GUIDELINES

Beaux Arts Commercial/Mixed-Use Building Large Display Windows and Doors for Commercial Establishments Divided by Rusticated Piers Entrance for Office Spaces at the Cut Corner Calvo Building, Escolta, Manila, Architects Fernando H. Ocampo and Tomás Beaux Arts Commercial/Mixed-use Building Enclosed Shopfront with Large Display Argüelles built 193847 Windows with Undecorated Piers, Offices located at the Upper Stories of the Building, Burke Building, H.E. Heacock Store, corner of Escolta and David, Manila, built 191848

47 https://arquitecturamanila.blogspot.com/2014/03/calvo-building.html 48 lougopal.com

36 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 37

Cable Building, 611 Broadway, Architects McKim, Mead and White, New York, NY built 189450

Beaux Arts Commercial/Mixed-use Regina Building, Showing Upper Storeys with Office Spaces, Architects Charles Scribner & Co. Building, 597 Fifth Avenue, 52 Andrés Luna de San Pedro and Fernando H. Ocampo Bottom Storey Commercial of Natividad Building, Architect Ernest Flagg, New York, NY, built 1912 49 Manila, built 1915 circa 1930s51

52 http://landmarkbranding.com/wp-content/up- 50 https://www.pinterest.com/ loads/2016/01/597-Fifth-Avenue-the-Charles-Scribner- pin/350154939749962227/ Sons-Building-576x1024.jpg. 49 https://en.wikipedia.org/wiki/Regina_Building#/ 51 Manila Nostalgia/John Tewell via John Harper media/File:Regina_Building_Main_Corner_Facade.jpg City Government of San Pablo, Laguna 9.0 hERITAGE ZONE GUIDELINES

9.8.4 Commercial and Mixed-Use Buildings

9.8.15 Art Deco

There are examples of Art Deco forms in the Philippines, but unfortunately many of them were destroyed by the Second World War or have been razed. From the examples that do exist, the interpretation of Art Deco in the Philippines included decorative motifs that reflected local culture through native flora, fauna and figurative elements.

9.8.15.1 Building Form

The Metropolitan Theater built in 1931 and designed by Juan Arellano is the highest form of Deco to be found in the country. Its massing is vertical. And volumes expressed in the window bays rise skywards at the upper stories of the building along with spires at the corners. The use of setbacks calls attention to its verticality, so each plane, in relation to the front entrance, recedes. Brightly colored painted finished and terracotta tiles embellish the exterior surfaces of the theater. Local stylized low bas-relief flora and fauna, and figurative sculptures executed by Italian sculptor Francesco Monti are found throughout the building.

Geometric canopies cover the entrances of the building. And decorative Charles Scribner & Co. Building, 597 Fifth Avenue, Architect Ernest Flagg, New York, NY, grille work found on doorways and windows. built 191253 9.8.15.2 Fenestration

Stained glass above the main entrance. Steel casement used throughout. Some larger abstract arched windows with muntins.

53 http://landmarkbranding.com/wp-content/uploads/2016/01/597-Fifth-Avenue-the- Charles-Scribner-Sons-Building-576x1024.jpg. 38 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 39

9.8.15.2 Roof Form

Stepped flat roof over auditorium

9.8.15.3 Material Choices

Rough finished concrete stucco walls with terracotta tiles as decoration, use of metals for grille work, sculptures, and other architectural details.

9.8.15.5 Color Palette

Metropolitan Theater, Manila, Architect Juan Arellano, built 193154 Bright polychromy is used throughout the building. Another theater which is a prime example of Deco is the Ideal Theater 9.8.16 Art Deco Theater whose composition is symmetrical. The central bay reaches above the roofline embellished with vertical lines and ribbon band windows and a Movie theaters, also known as movie palaces, adopted Art Deco design. vertical marquee with theater identity. Rounded metal arches rest upon Theaters provide the best examples of this design vocabulary because they another marquee on which were displayed titles of films. Behind which were built to impress and attract patrons with the latest and most fashionable are stepped vertical bands. buildings, so theaters in Manila like the Life, the Ideal, Cine Astor, and the Tivoli Theaters followed suit.

54 ttps://news.abs-cbn.com/ancx/culture/spotlight/03/22/19/panic-at-the-met- where-is-the-theater-weve-all- been-promised

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9.8.16.2 Fenestration

Steel casement windows (on Capital Theater, lights are colored) protected by concrete eyebrows and glass block windows, and vertical ribbon windows

9.8.16.3 Roof

Flat roof, no pitch

9.8.16.4 Materials

Concrete, glass, metal

Alternate materials may be accepted depending on their compatibility with traditionally-used materials, such as physical strength, appearance, and sustainability. Material choices are subject to review before acceptance. Art Deco Capitol Theater, Escolta Street, Architect Juan Nakpil, built 193555 9.8.16.5 Color palette At the sides of the marquee are horizontal volumes whose top two floors have balconies that extend to its width. These two floors are set back Exposed light gray concrete (Capitol Theater) and painted white finish (Ideal from the ground storey. Theater)

Bottom storey is a shaded arcade with rusticated columns. 9.8.16.6 Lighting design

Some neon lighting on exterior as decorative or as brand identity

One example of Art Deco’s use in the Philippines for office buildings and retail shop fronts is the Perez-Samanillo Building in Manila. 55 https://moleinthefoot.blogspot.com/2015/12/uap-manila-corinthian-chapters-escolta.html

40 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 41

9.8.18 Art Deco: Multi Use Multi Storey Building

One example of Art Deco’s use in the Philippines for office buildings and retail shop fronts is the Perez-Samanillo Building in Manila.

As opposed to the previous examples of Deco, the Perez-Samanillo building contains a larger ratio of fenestration expressed in steel casements on all elevations of the upper stories of the building. In an era when air-conditioning was still uncommon and when electricity was expensive, it was necessary to have ventilation/air circulation and daylight to make it comfortable for the oc- cupants. The steel casements as seen in the photo are all operable to let in air to cool down the building.

The building is multi-storeyed and vertical in orientation. Vertical volumes with banding and abstracted arches expressed as towering bays on the corners and on mid-points in the building rise above the rooflines. They are capped with rectangular forms which feature low bas-reliefs and are accented by vertical projections on all four sides. Parapet walls between the towering bays were also decorated with bas-reliefs and urn and flower sculptures supported with abstracted guttae.

Shop fronts are located at the ground floor, and they are divided by piers that relate to the piers that carry to the upper storeys. The shop fronts are protected by canopies that project from the building facade. Art Deco Perez-Samanillo Building, Architects Andres Luna de San Pedro, Juan Na- kpil, and Jose G. Cortez, built 192856

56 https://sa.kapamilya.com/absnews/abscbnnews/media/ancx/culture/2019/47/perez.jpg

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9.8.18 Art Deco: Restaurants

As in any commercial/mixed-use buildings, restaurants could occupy the ground storeys of these buildings, or they could be stand alone structures.

In the three following examples, materially, Art Deco used Vitrolite glass as cladding for the exteriors of buildings. The sheen of these materials in the sunlight and at nighttime reflected light and appeared sleek and modern. Aluminum was also used as a secondary material. Large windows of every shape and size reveal the activities within. Lighting design sometimes included neon for the lettering for the restaurant’s name or as an added design to the facade of the restaurant.

Terracotta tiles were also another material choice for restaurants. As in the example below, geometric triangular forms and fluting line upper portions of the wall. A small tower above one of the entrances announces the identity of the business below. Instead of large plate glass as in the previous examples, small, divided light, casement windows are used in the cafe portion of this building.

9.8.18.1 Windows and Doors

For Deco, decorative doors in aluminum with decorated glass (examples all have modern infill). Fenestration is large plate glass. Detail of Upper Storeys of Perez-Samanillo Building57 9.8.16.2 Roof Form

Flat, no pitch 57 https://www.aisaipac.com/2016/02/carlos-celdrans-escolta-old-manila.html

42 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 43

Depiction of Art Deco Restaurant with Lunette Windows, Vitrolite Black Glass Exterior58

9.8.18.3 Materials Art Deco Diner with Vitrolite Black Glass Cladding and Chrome Accents, New York, NY59 Concrete, Vitrolite cladding, glass, aluminum, and metal. 9.8.18.4 Color palette Alternate materials may be accepted depending on their compatibility with traditionally-used materials, such as physical strength, appearance, and Various colors used throughout with extensive use of black. Metallic sustainability. Material choices are subject to review before acceptance. accents.

9.8.18.5 Lighting design Some neon lighting on exterior as decorative or as brand identity.

Vitrolite Glass Cladded Art Deco Cafe with Geometric Arches and Vertical Banding,

59 https://customrodder.forumactif.org/t524-diners-restaurants-cafe-bar-1930-s- 58 https://www.pinterest.com/pin/2040762311565184/ 1960-s City Government of San Pablo, Laguna 9.0 hERITAGE ZONE GUIDELINES

9.8.4 Commercial and Mixed-Use Buildings

9.8.19 Art Moderne

For many offices, retail stores, restaurants, Art Moderne was especially popular and was widely adopted during the 1930s. Although there are not many Art Moderne buildings that are extant, historic photographs provide a window into the ultramodern style in which these buildings were constructed.

Art Moderne was a more streamlined style than Art Deco, and when the variant was interpreted and developed in America, it tended to be bigger and bolder. The inspiration of Art Moderne was from the Machine Age; often referenced Broad St., Gasden, Alabama60 were maritime vessels and the sea/ocean, so applied decorations were curves, horizontal lines, finished in varieties of blue. Fenestration was sometimes expressed as portholes or oculi or in ribbon windows. The precision of lines and repetition was common. And movement was key to its composition, even the corners of these buildings were curved to allow wind circulation.

Symmetrical massing is a hallmark for Art Moderne; however, this was not always the rule as seen in the Meralco Head Office built in 1936. This building could be considered a combination of Art Deco/Art Moderne since there existed a prominent vertical volume that was highly decorated by Italian sculptor Fresco Monti. Yet, the form of the building is decidedly horizontal and at the foot of the tower are incised horizontal lines. Fenestration are ribbon Art Deco Store and Cafe in Shamrock, Texas61 windows both vertical and horizontal. And, the entrance and corners have the trademark curves of Art Moderne.

The Marsman & Co. Building is a purest form of the Art Moderne. The building 60 https://customrodder.forumactif.org/t524-diners-restaurants-cafe-bar-1930-s- is symmetrical and oriented horizontally with corners that are curved on 1960-s 61 https://3.bp.blogspot.com/_M_5-SeFASxY/S8U87cpWWfI/AAAAAAAAAMw/ all floors. Ribbon windows wrap around the entire building, almost like an viGdK7_fA4A/s1600/Art++Deco+building+on.jpg. 44 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 45

American “daylight factory” where windows predominate all the facades. vertical ribbon windows, large transom lights above transparent store Concrete canopies add wing-like flair to the building. fronts, large display windows on the ground floor, glass components in 9.8.19.1 Fenestration the main entrance’s canopy, and skylights throughout. The central bay had applied ornamentation in geometric forms with intricate grillwork Vertical and horizontal ribbon windows, steel casement windows. covering the windows above the building’s entrance. The Crystal Arcade was an attraction in itself and drew many admirers through its doors. 9.8.19.2 Roof Form

Flat, no pitch.

9.8.19. 3 Material Choices

Concrete, glass and metal.

9.8.19.4 Color palette

White colored painted finish

9.8.19.5 Lighting design

Some neon lighting on exterior as decorative or as brand identity Meralco Head Office in San Marcelino, Architect Juan Arellano, built 193662 Another outstanding example of Art Moderne was the Crystal Arcade on the Escolta and was considered one of the most modern buildings during the 1930s and housed the Manila Stock Exchange, offices, a restaurant, and upscale retail 62 https://www.ivanhenares.com/2012/02/manila-loses-meralco-head-office-in-san. establishments. Its facades were literally replete with glass: horizontal and html.

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Marsman & Co. Building, built 193663 Crystal Arcade Department Store, Architect Juan Luna de San Pedro, Manila, circa 1930s64

The central bay had applied ornamentation in geometric forms with intricate Another outstanding example of Art Moderne was the Crystal Arcade on grillwork covering the windows above the building’s entrance. The Crystal the Escolta and was considered one of the most modern buildings during Arcade was an attraction in itself and drew many admirers through its doors the 1930s and housed the Manila Stock Exchange, offices, a restaurant, and upscale retail establishments. Its facades were literally replete with 9.8.20 Art Moderne Restaurants glass: horizontal and vertical ribbon windows, large transom lights above transparent store fronts, large display windows on the ground floor, glass Another famous establishment, the New Europe Restaurant on Isaac Peral St., components in the main entrance’s canopy, and skylights throughout. was much like the Crystal Arcade with its extensive use of glass. The shape of the glazing is square and acts as walls for the building. The glass even curves

63 https://www.flickr.com/photos/johntewell/18899151103 64 Crystal Arcade Department Store, Architect Juan Luna de San Pedro, Manila, circa 1930s 46 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 47 at the corners. The building is protected by a slightly projecting cement canopy, sometimes called an “eyebrow.”

One significant adaptive reuse of an Art Moderne structure is the Manila International Terminal in Makati CIty that is now a restaurant. It is mostly horizontal in orientation but has a central volume that rises above the roofline of the building, as it was formerly an air traffic control lookout. Otherwise, the building has a streamlined look and its windows respond to the curvature of the central volume and wrap around the building.

Another example of adaptive re-use is the McDonald’s restaurant building in Clifton Hill, Australia that was a former hotel65. It has a vertical volume that denotes its entrance and is further articulated with vertical ribbon band windows. Unlike the other restaurant examples found in the Philippines, this Australian building is not as transparent since it only has a few windows on each level on its primary facade. Also, the material choices are very unusual for a Moderne style since brick is exclusively used. However, different colored brick is banded horizontally at the bottom storey of the building, an emphasis on the horizontality of the building. New Europe Restaurant, Isaac Peral, Blackbird Restaurant formerly Manila Manila, circa 1930s66 International Terminal, Makati City67

65 https://www.businessinsider.com/weirdest-coolest-glamorous-mcdonalds-restaurants-in-the-world-2020-5?op=1#this-mcdonalds-restaurant-in-clifton-hill-melbourne-australia-is-designed-in-the-art-deco-style-of-the-1920s-and-30s-7 66 pinterest.com 67 yelp.com

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building in black, tan, and light blue. Windows are squarish and meet the plane of the walls. The identity of the bar is placed upon a vertically projecting plane with the identity in neon lights.

The last two examples also located in the United States are typical configurations for diners. Composition is symmetrical. All are horizontal in orientation and have aerodynamic curved corners. The first example has a vertical component that is almost Deco like and has two rectangular marquees at the bottom for signage. Lighting design includes neon for both diners.

The last example has chrome cladded walls and a curved roof.

9.8.20.1 Door and Fenestration

Doors are glass and metal. Fenestration in these examples are large plate glass or glass blocks. Art Moderne Adaptive-Reuse McDonald’s Restaurant, Architect James Hastie Wardrop, 68 Clifton Hill, Australia, built 1938 9.8.20.2 Roof Form

Other examples of Art Moderne for restaurants are the ubiquitous diners Curved or flat, no pitch that can be found across the United States. The first example isn’t an eatery but a bar that won a contest as “America’s Favorite Bar” from the National 9.8.20.3 Materials Trust for Historic Preservation. Located in Anaconda, Montana. A corner lot configuration has a corner entryway with an oculus window on the door Concrete, Vitrolite glass, chrome, glass blocks. tucked beneath an eyebrow canopy that is banded with multiple colors. The exterior walls have colors to emphasize the horizontal massing of this Alternate materials may be accepted depending on their compatibility with traditionally-used materials, such as physical strength, appearance, and sustainability. Material choices are subject to review before acceptance. 68 Art Deco Buildings: The Most Beautiful McDonald's in the World artdecobuildings.blogspot.com

48 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 49

Art Moderne Diner, Miami, Florida69 Club Moderne, Anaconda, Montana, Architect Fred F. Willson70

Club Moderne, Anaconda, Montana, Architect Fred F. Willson71

69 https://mini-adventures.com/wp-content/up- 70 https://customrodder.forumactif.org/t524-din- 71 https://en.wikipedia.org/wiki/Club_Moderne#/me- loads/2016/12/miami-art-deco-diner-2.jpg ers-restaurants-cafe-bar-1930-s-1960-s dia/File:Club_Moderne,_Anaconda,_Montana.jpg

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9.8.20 4 Color palette

Large palette from restrained to vibrant colors.

9.8.20. 5ighting design

Some neon lighting on exterior as decorative or as brand identity.

9.8.5 Special Use: Service Stations

9.8.21 Art Deco and Art Moderne

During the Spanish Colonial Era and the early decades of the American Colonial Era, ownership of automobiles was a rarity. The usual means of transportation was by horse and carriage. Eventually, the popularization of the automobile in the Philippines came about due to two factors: the availability of (due to increased importation) and affordability of automobiles Gulf Gas and Service Station72 (automobiles became cheaper and could be bought in installments) in the 1920s and the 1930s. The first example is a Gulf service station in an Art Deco style, with the main The American Administration through the Bureau of Public Works building clad in terracotta tiles, with a central bay that features geometric responded by building over 12,000 kilometers of road infrastructure by triangular forms. In keeping with Deco expression, the central bay rises end of the 1920s . above the rest of the building. It is horizontal in orientation and faces the roadway. In the Philippines as in the United States, gasoline and car servicing was a commodity and a service that was in high demand. And to attract customers out of the noise of many service providers, services stations were built in the latest styles. 72 https://www.pinterest.com/pin/244531454738742334/

50 CONSERVATION PRINCIPLES & GUIDELINES FOR THE SAN PABLO HERITAGE ZONE 51

Shell Gas Station73

Shell Gas Station75

Richfield Gas and Service Station74

73 https://www.pinterest.com/pin/1196337391028470/ 74 wrightrealtors.com 75 wrightrealtors.com

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9.8.6 Special Use: Transportation Hub

9.8.22 Art Moderne

Along with the rise of the automobile, bus service gained popularity as a convenient and fast way to travel in the 1930s and 1940s. Companies such as Greyhound developed branded architecture that popped up at destinations across the continental United States. These stations had comfortable waiting rooms with ticket counters and sometimes even cafes.

All are decidedly horizontal in massing with marquees of the bus depot’s Greyhound Station, Houston, Texas76 identity vertical above the entrance. All are colored blue, a brand color for Greyhound. Windows respond to the corners and are multi-light in configuration. Canopies or rounded eyebrows are featured elements in two of the examples.

In these buildings, the lots had outdoor spaces for passengers to board, sometimes protected by canopies as in the second example. In other types of depots, buses could enter the building through an open-air bay for passengers to board in a protected interior.

Greyhound Station, Louisville, Kentucky77

76 https://www.pinterest.com/pin/362891682447371947/ 77 https://www.sjsu.edu/faculty/wooda/busdepot/busdepot5.jpeg

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9.8.7 Design Elements: Beaux Arts, Art Deco, And Art Moderne

9.8.8.1 Typical Design Elements of the Beaux Arts79

• Massive with a symmetrical façade • Domed, flat or low-pitched roofs • Features adornment reminiscent of Greek and Roman Architecture such as balconies with balustrades or vertical posts, cornices, and moldings • Facade held up by large decorative columns • Arched windows and grand arched entryways topped with triangular gables or pediments • Double hung wooden or steel casement windows • Elaborate details and decorations: three dimensional carved panels called bas-reliefs, rounded convex surfaces called cartouches, surrounded by garlands or vines, decorative swags (garlands raised up in the middle), medallions, medal-like ornamentation. sculptures, flowers, and shields • Hierarchy of spaces • Walls are coursed to imitate large blocks of stone, usually chamfered • Corners with quoins • Usually constructed with stone, sometimes brick Greyhound Station, Blytheville, Arkansas, U.S. Register of Historic Places, built 193778 • Materials are stone or concrete with use of copper or metal for cornices and lighting fixtures • Exteriors are white colored or colors that simulate light earth tones such limestone • Interiors typically have grand stairways and polished marble floors • Arched doorways lead to large ballrooms and decorations inside the

78 https://www.bloomberg.com/news/articles/2015-02-03/the-bus-terminal-is-dead-long- 79 https://study.com/academy/lesson/beaux-arts-architecture-definition-characteris- live-the-bus-terminal tics-style.html

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buildings are as ornate as those on the exterior • Geometric ornament: parallel straight lines, zig-zags, chevrons, lozenges • High, vaulted ceilings and central domes. (diamond shaped) • Stylized (abstracted) floral motifs 9.8.8.2 Typical Design Elements of the California Mission Revival Style • Stylized figurative sculpture, especially bas relief • Sunrise and floral patterns in ornamentation • Parapets and dormers fancifully interpret the coped rooflines of mission • Intense colors in terra cotta, glass, colored glazed bricks, mosaic tiles churches • Hard-edged low relief ornamentation around door and window openings • Gable and hip roofs with wide, overhanging eaves with exposed rafter • Windows strips or ribbons with decorated iron grille work beams • Metal double-hung or casement windows; • Red clay roof tiles • Occasional circular porthole, oculus, round windows on main or • One or two square towers symbolizing a mission church and its bell tower secondary elevations • Deep windows without any framing except for sills and door openings • Flat roofs • Large flat stucco surfaces, no ornamental detail • The use and integration of new and experimental materials such as Bakelite • Spanish Baroque ornament, particularly rose windows, Moorish arches, (phenol-formaldehyde resin), Monel (copper-nickel alloy), aluminum, and and carvings Vitrolite (architectural glass) • Arched arcades on ground floor 9.8.8.4 Typical Design Elements of Art Moderne or Streamlined Moderne 9.8.8.3 Typical Design Elements of Art Deco 1920s80 late 1920-1930s81,82

• Vertical emphasis • One-story buildings • Angular corners • Horizontal emphasis and orientation • Towers and other vertical projections above roof lines • Anchored to the ground • Setbacks (step like recessions in a wall) • Asymmetrical facades • Smooth wall surfaces in stone, brick, or stucco • Occasional circular porthole, oculus, round windows on main or • Shapes and decorations inspired by ancient civilizations, Mesopotamian, Egyptian and Mesoamerican design motifs (i.e.) Ziggurat and inverted ziggurat motifs 81 https://circaoldhouses.com/art-deco-art-moderne/ 82 Gelernter, Mark, A History of American Architecture: Buildings in Their Cultural and Technological Context 1st Edition, Manchester : Manchester University Press, 2001, pp 249- 80 https://circaoldhouses.com/art-deco-art-moderne 250

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secondary elevations • References to the sea/the ocean: curves, horizontal vectors and lines, and light blue finishes on detailed ornaments like aquamarine, azure, baby blue, cyan, teal, and turquoise • White is predominant color • Rounded edges • Corner windows • Glass block walls • Mirrored panels • Ribbon band of windows with metal frames • Stringcourse along coping of wall • Flat roofs • Curved canopies • Smooth wall finish • More utilitarian and functional metals like aluminum, chrome, and stainless steel used for door and window trim, railings, and balusters • Metal double-hung or casement windows • Flat roofs

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