Historic District Design Guidelines

Yonkers Historic Design Guidelines City of Yonkers, New York Prepared by Yonkers Historic Stephen Tilly, Architect Design Guidelines 22 Elm Street Dobbs Ferry, NY 10522 City of Yonkers, NY 914-693-8898 www.stillyarchitect.com Stephen Tilly, Principal Margaret Gaertner, Preservation Specialist Elizabeth Martin, Landscape Designer Prentice Clark, Administrative Assistant Michelle Carroll, Staff Alison Napoli, Staff

For the City of Yonkers 40 South Broadway Yonkers, NY 10701 Philip A. Amicone, Mayor Lee Ellman, Planning Director Mario Caruso, Principal Planner

And the City of Yonkers Landmarks Preservation Board Tom Flynn, Vice Chairman Terrence Price Mieke Armstrong Jack Prill Patricia Bu� on Adina Taylor James Letsen Nell Twining

July 6, 2005

All photographs © Stephen Tilly, Architect except where otherwise noted. Table of Contents Page Number Neighborhood Histories 2-3 Part 1: Styles What Style is My House? 4-5 Mid-19TH Century Styles 6-9 Late Queen Anne / Shingle Style 10-13 Colonial Revival 14-17 Tudor Revival 18-21 French Norman Revival 22-25 Italian Renaissance Revival 26-29 Part 2: Design Guidelines Design Guidelines for Historic Houses in Yonkers 30-33 Roof Guidelines & Roof Glossary 34-35 Window Guidelines & Window Glossary 36-39 Choosing Shu� ers & Shu� er Glossary 40-41 Color Schemes for Historic Houses 42-43 Modern Conveniences 44-45 Landscape Design Guidelines 46-49 Appendix A: Glossary of Architectural Terms 50-54 Appendix B: The Secretary of the Interior’s Standards for Rehabilitation 55 Appendix C: Hiring an Architect 56-57 Appendix D: Hiring a Contractor 58-59 Appendix E: Historic Landmarks and Districts in Yonkers 60-61 Appendix F: Sources for Additional Information 62-65 Appendix G: Restoration Products and Contractors 66-67 Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 1 Neighborhood Histories Halcyon Place The Halcyon Place Historic District includes sixteen architecturally and historically signifi cant properties dating from the mid-nineteenth century to the early years of the twentieth century. Together, these properties refl ect the transformation of Yonkers from its mid-nineteenth century importance as an industrial center to its later role as a suburban community. Distinctive examples of a broad range of architectural styles survive intact and illustrate changing ideas about the form and function of the suburban house as well as the tastes and prosperity of local citizens.

The properties included in the Halcyon Place Historic District constitute a planned, early twentieth century suburban development. As a residential area which possesses integrity of location, design, se� ing, workmanship and association, the Halcyon Place Historic District a� ests to the regional prominence which has characterized Yonkers since its fi rst se� lement. In addition, a number of properties are associated with distinguished persons who made signifi cant contributions to the history and development of Westchester County.

- adapted from the Halcyon Place Application for Landmarking and Historic Districting, courtesy of the Yonkers Planning Bureau

Cedar Knolls

The Cedar Knolls Historic District is a suburban, residential subdivision of winding streets and striking single-family homes. The main entrance is at the intersection of Pondfi eld Road West and Dellwood Road. These two roads, along with Birch Brook Road, form both the boundaries and main arteries within the neighborhood. Although one can enter or leave Cedar Knolls in four places via cross streets at the perimeter, the district’s self-contained layout creates a secluded community with its own separate sense of place.

The meandering, curving roads of Cedar Knolls helped to establish its inward orientation, emphasized by an earlier sign reading “Cedar Knolls, no outlet” at the entrance. This internal focus was a refl ection of the planning concepts of the early twentieth century, when suburbs were meant to provide a country-like and private retreat from urban, worldly activities such as work and commerce. The relatively large lot size, substantial setbacks, and lack of sidewalks and porches all refl ected the preoccupation with the automobile which downplayed the role of pedestrian traffi c.

Historic District Design Guidelines Stephen Tilly, Architect 2 City of Yonkers, NY The Cedar Knolls district is visually unifi ed by the styles of its residences as well as the similar scale, massing, materials and setbacks of the buildings. All contributing properties were built as private single-family homes designed for middle-class owners in a period of about thirty years, between 1913 and 1945. At this time, the typical suburban dwelling was conceived in a period revival style. The houses of Cedar Knolls conformed to this trend and were executed in a variety of period revival styles, most notably the Colonial Revival and Tudor Revival. However, the French Norman Revival, Italian Renaissance Revival, and Mediterranean Colonial Revival are also represented.

Most of the residences survive in their original condition; there has been very li� le alteration such as modern siding or windows which might compromise the original features. While the overall appearance of the structures is consistent, individual detailing varies widely, lending architectural interest to the streetscapes. Certain elements observed on many of the houses, such as entry details, surface material, and massing of bow windows, refl ect the hand of a single builder or architect who may have contributed to their design. This shared origin enhances the architectural integrity of the homes in Cedar Knolls. The few buildings which do not conform to the overall pa� ern are not great enough in number to distract from the cohesive appearance of the district.

Cedar Knolls is unique in Yonkers. The most comparable neighborhood, the nearby Lawrence Park West, was developed simultaneously but diff ers from Cedar Knolls in that its houses tended to be on a grander scale.

The houses of Cedar Knolls demonstrate excellent workmanship and design as well as remarkable historic integrity. The neighborhood is one of few in Westchester, and the only such in Yonkers, which survives with such a high degree of unity and cohesiveness. Consequently, the Cedar Knolls Historic District is both architecturally and historically signifi cant as a revealing, intact example of early twentieth century residential planning concepts and architectural fashions as executed for middle-class suburban property owners.

- adapted from the Cedar Knolls Colony Historic District Application, courtesy of the Yonkers Planning Bureau

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 3 This manual includes information on the historic house styles found in the Halcyon Place and Cedar What style is my house? Knolls neighborhoods: Mid-19th Century Styles such as Gothic Revival and Italianate, Late Queen Anne, Colonial Revival, Tudor Revival, French Norman Revival, and Italian Renaissance Revival. Classifying buildings by their architectural styles can be a challenge, as few houses clearly and neatly fall into a single category. Styles are not defi nite – one style does not instantly disappear when a new one develops; instead, styles fl ow and overlap. A house may appear to be designed in a distinct style, but closer inspection reveals that it has details borrowed from another. Many of the houses on Halcyon Place are identifi ed as Late Queen Anne. However, homeowners may feel that their shingle siding suggests Shingle Style – and some style guides would agree! – while classical details such as columns, dentil moldings and cornices suggest Colonial Revival. These houses probably should be considered to be a happy collision of all three styles. There are also subcategories within the major styles which can cause further confusion. For example your Dutch Colonial Revival will have li� le in common with your neighbor’s Georgian Revival, although both fall into the Colonial Revival group. Style guides may also use diff erent names from those listed here. Some guides refer to Tudor as Elizabethan or Jacobean, while French Norman Revival may be called French Eclectic or simply French Revival. Any of these designations may be appropriate for a residence in Cedar Knolls. Remembering these points is important as one consults the various style guides referred to in this manual.

Source: Mark Short Above le� : The complicated massing and roofl ines say Queen Anne, while Classical elements such as the grouped Ionic columns add Colonial Revival details. Above: This Colonial Revival has classical elements such as balustrades and columns supporting a porch roof, while the clay tile roof and open piazza add a Mediterranean touch.

Historic District Design Guidelines Stephen Tilly, Architect 4 City of Yonkers, NY The high, steep hipped roof suggests French Norman, the diagonal brick “nogging” feels Tudor, and the half- timbering could go either way...but the cross-gable that dominates the façade and identifi es the entrance pushes this house into the Tudor Revival group.

Further reading... John Milnes Baker. American House Styles: A Concise Guide. New York: W.W. Norton & Company, 1994. This guide includes many more styles than most and breaks them down into more specifi c groups. Entries are shorter than those in other books. John J. G. Blumenson. Identifying American Architecture: A Pictorial Guide to Styles and Terms: 1600-1945. Nashville, TN: American Association for State and Local History, 1982. Most useful for mid-19th century houses as it omits the early 20th century styles. Includes a well-illustrated Rustic materials are also found on Tudor Revival homes, dictionary of architectural terms. but the round entrance tower with its conical roof is a form Rachel Carley. The Visual Dictionary of American Domestic Architecture. New York: Henry Holt and Company, unique to the French Norman Revival. 1994. Hugh Howard. How Old Is This House? New York: The Noonday Press, Farrar Strauss and Giroux, 1989. A user-friendly guide to dating houses by their construction techniques and hardware. Includes brief descriptions of historic styles. Jeff rey Howe. The Houses We Live In: An Identifi cation Guide to the History and Style of American Domestic Architecture. San Diego: Thunder Bay Press, 2002. Well-illustrated and thorough, with numerous photographs and drawings. May be diffi cult to fi nd your specifi c style within the larger categories, so go to the index fi rst! Virginia and Lee McAlester. A Field Guide to American Houses. New York: Alfred A. Knopf, 1986. One of the be� er and more thorough summaries, including both drawn diagrams and photographs of historic architectural “styles” in America. John C. Poppeliers, S. Allen Chambers, Jr., and Nancy B. Schwartz. What Style is It? A Guide to American Architecture. New York: John Wiley & Sons, 2003. A brief, concise style guide.

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 5 The mid-nineteenth century in the United States produced houses in a rich variety of styles that were Mid-19th Century inspired by European precedents yet stamped with American personality. Mass-produced pa� ern books and machine-made materials and details made distinctive architectural design aff ordable to Styles more homeowners than in earlier decades. Infl uential pa� ern books by A.J. Downing and Calvert Vaux helped make two styles – Gothic Revival and Italianate – especially popular. A� er the Civil War the Second Empire style became very fashionable as well.

window hood hipped roof square tower

brackets

low pitched roof

deep eaves

arch top

louvered shu� ers

bay window

single story, open porch Italianate The Gothic Revival and the Italianate were the most popular styles during the mid-nineteenth century. Italianate may also be called the Italian Villa, the Tuscan, or the American Bracketed style; some guides classify asymmetrical examples with towers in the fi rst group and more urban, symmetrical variations in the second. The City of Yonkers contains examples of both. Historic District Design Guidelines Stephen Tilly, Architect 6 City of Yonkers, NY cresting dormers Mansard roof

brackets

1/1 or 2/2 Below: This Second Empire house retains original features sash, typical such as a slate Mansard roof with decorative shingles, brackets under the eaves, brick chimneys, and bay and dormer windows. Decorative millwork on the dormers and the window casings are other surviving original features which should be preserved. hood

paired entry door

bay window

Second Empire The Second Empire style was extremely popular a� er the Civil War. Found in both urban and rural se� ings, it can be identifi ed by its defi ning feature, a Mansard roof. Named a� er French architect François Mansart, this roof has a double pitch – a lower, very steeply pitched section capped with a nearly fl at upper roof – which forms an inhabitable a� ic story. Large dormers allow light into this upper space.

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 7 tower

slate roof

complicated roofl ine

decorative millwork

dormers

bracketed eaves

decorative brickwork

brick façade

A Mix of Nineteenth Century Styles This house is an eclectic blend of several popular mid- and late-nineteenth century styles. The slate Mansard roof is typical of the Second Empire style, while the corner tower, terra-co� a ornament and millwork details on the pointed roof’s dormers suggest Queen Anne. Note the shaped slate shingles on the roof.

Historic District Design Guidelines Stephen Tilly, Architect 8 City of Yonkers, NY HINT... Throughout this manual, you will fi nd instructions labeled “Dos” and “Don’ts.” These are intended to provide clear and consistent guidelines for maintaining the character of each style or architectural element.

DOs for 19th Century Houses DON’Ts for 19th Century Houses •Maintain the textures of surfaces. •Enclose or remove porches. When repairing, match the dimensions •Replace wood porch railings with and texture of the original brick, metal ones. stucco, wood siding, or other material. Install bare aluminum storm Study and match the existing color, • windows. Storm windows should texture and coursing of slate roofs. blend into sash and frames. •Maintain contrast between colors and Cover historic millwork and other materials. • details with vinyl or aluminum siding.

Further reading... A.J. Downing. Victorian Co� age Residences. New York: Dover Publications, 1981. A.J. Downing. The Architecture of Country Houses. New York: Dover Publications, 1969.

Hugh Howard. How Old is This House? p. 119-121. James C. Massey and Shirley Maxwell. “You Say Italian, I Say Italianate,” Old House Journal, September/October 2004, p. 88-95. Roger W. Moss and Gail Caskey Winkler. Victorian Exterior Decoration. New York: Henry Holt and Company, 1987. For Italianate color schemes, p. 91, 95, 96. For Second Empire color schemes, p. 52, 78. Roger W. Moss. A Century of Color. For Italianate color schemes, p. 22, 23, 24, 26, 33. Source: Yonkers Planning Bureau For Second Empire color schemes: p. 45, 46, 47, 48, 50, 51. Studying historic images such as this one of a Second Empire house on Warburton Avenue may help you identify Calvert Vaux. Villas & Co� ages: The Great Architectural Style-Book of the Hudson River School. New York: Dover missing details. Publications, 1970.

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 9 Many of the houses along Halcyon Place date to the late 19th or early 20th century and combine Late Queen Anne elements from the styles popular at that time: late Queen Anne, Colonial Revival, Four Square, and the Shingle Style. While many are covered in shingle siding, they are not true “Shingle Style” houses because they do not adhere to the other principles of that style, such as open fl oor plans and siding as a skin with minimal ornament or depth in the details. Historic photographs will be helpful to homeowners who wish to replace missing elements with appropriate details.

A simplifi ed Queen Anne example, with a single, nearly cubic volume, symmetrical massing, and a simple hipped roof. Classical details include paired columns and a dentilated cornice at the porch.

Historic District Design Guidelines Stephen Tilly, Architect 10 City of Yonkers, NY Late Queen Anne A� ributes... dormer cross gable The typical form is a two-story structure with cornice asymmetrical massing, a variety of shapes and bay dentils textures, producing a picturesque eff ect. The volumes of late Queen Anne are bolder, larger scaled and simpler than those of Queen Anne Houses from the 19th century. A few examples have a straightforward form consisting of a simple block with a hipped roof. Walls are fi nished with shingles or clapboards or both. Wood shingles may have cut ends arranged to make decorative pa� erns. Roofs are pitched, and have irregular roof lines with cross gables, large dormers, and towers. Gambrel roofs are an example of Colonial Revival infl uence. The façade is o� en dominated by a front facing gable. Roofs are shingled with wood or slate and may have decorative pa� erns. Tall, multiple chimneys have decorative brickwork. Porches and balconies, also asymmetrical, have classical elements such as cornices, columns, balusters, and details such as swags and garlands. They may have decorative brackets, and o� en a gable end. Windows include many options such as Palladian, double hung, and multi-paned over single-light sash (16/1, 12/1). One typical arrangement is a decorative upper sash over a simpler lower sash. Wood frames and sash are most common.

Source: Yonkers Planning Bureau

clapboard grouped columns siding asymmetrical façade palladian window

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 11 DOs for Late Queen Anne •Maintain original elements and details such as decorative sash, wood columns, balustrades, and trim. •Maintain decorative eff ects and pa� erns in the shingle siding. •Use paint to highlight architectural details: trim, sash, casings, columns and balustrades. •Paint sash dark colors.

DON’Ts for Late Queen Anne •Choose a monochrome or white- based color scheme. •Stucco over brick chimneys. •Replace wood columns and balustrades with metal ones or encase in vinyl or aluminum. •Install light colored or bare metal storm windows.

Typical Halcyon Place hybrids include shingle siding, classical elements such as a Palladian window, pilasters and paired columns, and bold massing of solid volumes over open ones.

Historic District Design Guidelines Stephen Tilly, Architect 12 City of Yonkers, NY Clockwise from the top: Shingles contrast with a stone foundation; a pair of double hung sash with decorative muntins; shaped shingles create a decorative eff ect; a pair of Tuscan (simplifi ed Doric) columns on a stone pier.

Further reading... Hugh Howard. How Old is This House? p. 119-121. James C. Massey and Shirley Maxwell. “Early Colonial Revivial: The Wellspring of a Neo-Traditional Style That is Still Running Strong,” Old House Journal, May/June 2004, p. 83-89.

James C. Massey and Shirley Maxwell. “Shingle Vision: The Shingle-Style House Then and Now,” Old House Journal, September/October 2003, p. 101-107.

Roger W. Moss and Gail Caskey Winkler. Victorian Exterior Decoration, p. 30-31. Roger W. Moss. A Century of Color, p. 69, 70, 71, 72, 73, 76, 85 (for color schemes).

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 13 This style originated with the 1876 Centennial Exhibition and was fostered by the emerging Colonial Revival appreciation of American history and the developing national pride. The residential designs of McKim, Mead and White also helped popularize the style. Although inspired by Colonial precedents, these houses are larger in scale, with larger interior rooms, higher ceilings, and added creature comforts. Sub-styles include Georgian Colonial and Dutch Colonial Revival.

Le� : A Dutch Colonial Revival with a gambrel roof and shed dormer across the second fl oor. Shu� ers and the front door are appropirate places to add color.

This grand example of a Georgian Colonial Revival has a symmetrical façade, a roof of thick slates, dormers, a classical cornice, a pedimented entrance, and brick quoins which contrast with the smooth stucco. The embellished chimneys are a unique feature. Historic District Design Guidelines Stephen Tilly, Architect 14 City of Yonkers, NY Colonial Revival Cues... pedimented fanlight shed Colonial Revival houses have a simpler, symmetrical entrance façade dormer shu� ers with more rectangular form than their picturesque end chimney decorative Victorian predecessors. cutouts Roof lines are also streamlined. Shingle roofs – hipped, pyramid, gable or gambrel – are common. Wood shingles, slate, standing seam metal, or tile are common roof materials. The façade is o� en symmetrical, with a centered door. Wall fi nishes include wood clapboards, wood shingles, brick, stone or stucco. Usually only one or two materials are employed. Trim is restrained and classically inspired. Entrances may be large, dramatic and elaborate, with broken pediments or elliptical fanlights and small porches on Doric or Ionic columns. Sidelights, pilasters, and balconied porticoes are other options. Paneled doors are typical. Windows are almost always wood and are o� en paired or grouped. Typical confi gurations include double hung, multi-paned windows (6/6, 9/9 or 12/12) or multi-paned upper sash over single light lower sash. Decorative windows include Palladian windows, small oval windows, and fanlights. Shu� ers are popular.

Source: Authentic Small Houses of the Twenties, Dover Publications

grouped pilasters windows with brick multiple lights

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 15 DOs for Colonial Revival •Maintain courses and exposure when repairing and matching siding and shingles. •Retain porch details including balustrades and columns. •Retain operable shu� ers with decorative details on hinges. •Use paint to highlight sash, trim, and This Dutch Colonial Revival has many features that typify shu� ers. the style: a gambrel roof, wood shingle siding, an entrance porch, double hung wood sash, shu� ers with decorative cut- DON’Ts for Colonial Revival outs, and a continuous dormer that forms the second fl oor. •Finish roof and dormer cheeks in the same material. •Install metal porch railings and columns. •Cover original wood cornices with vinyl or aluminum. •Choose a white-on-white paint scheme.

Colonial Revival details: above, a Palladian window with a wrought iron balcony; at right, a grand entranceway with a broken pediment supported on columns. Note the leaded glass sidelights and paneled door.

Historic District Design Guidelines Stephen Tilly, Architect 16 City of Yonkers, NY Above: Note the contrast between the wood shingles on the dormer and the slate shingles on the gambrel roof. Le� : A Georgian Colonial Revival with a symmetrical brick façade, a slate roof with an eyebrow window and classical cornice, and a pedimented entrance. Wood double hung sash are accented with paneled wood shu� ers. Below: A clapboarded gable end with a pair of windows fl anking a brick chimney. Note how the white trim makes the sash and trim stand out against the clapboards.

Further reading... Hugh Howard. How Old Is This House? p. 139-143. Steve Jordan. “Colors for a New Century,” Old House Journal, May/June 2003, p. 60-65. James C. Massey and Shirley Maxwell. “Early Colonial Revivial: The Wellspring of a Neo-Traditional Style That is Still Running Strong,” Old House Journal Magazine online, available at: www.oldhousejournal.com/magazine/2004/june/colonial_revival.shtml James C. Massey and Shirley Maxwell. “Was the Colonial Revival for Real?” Old House Journal Magazine online, available at: www.oldhousejournal.com/magazine/2003/february/colonial_revival.shtml Virginia and Lee McAlester. Field Guide to American Houses, p. 321-341. Roger Moss. A Century of Color, p. 72, 73, 74, 76, 77 (for color schemes). Patricia Poore. “Colonial Revival,” Old House Journal, p. 59-64.

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 17 Especially popular for residences built in the 1920’s and 1930’s, the Tudor style was an imaginative rath- Tudor Revival er than literal revival of English medieval and later architecture. Details such as slates with chipped edges, tool marks on wood, and patches in slate roofs or repairs in leaded glass windows added a feel of age to the houses. This style may also called be English Revival, Elizabethan or Jacobean.

Typically Tudor are the projecting entranceway and a complicated roof line with cross gables and dormers. A variety of textures and materials – rough stone, smooth stucco, wood half-timbering and windows – add more visual interest. Note the leaders (downspouts) and the decorative conductor head collecting gu� er outfl ow.

Historic District Design Guidelines Stephen Tilly, Architect 18 City of Yonkers, NY Tudor Trademarks... cross gabled chimney pots The overall form is asymmetrical, with pro- roof massive chimney jecting volumes and complicated roof lines. rustic, multi-colored of rustic brick Entrances are o� en in projecting volumes. slates Walls have textured surfaces: stucco, rustic or pa� erned brickwork, rustic or pa� erned stone work, wavy or straight clapboards. Combined materials provide contrast. Half-timbering is also typical. Look for tool marks on wood trim and stucco surfaces. Roofs and gables dominate the main façade. Steeply pitched roofs and complicated roof lines with cross-gables and overlapping gables are common. The ends of the ridge are o� en kicked up. Slate roofs have irregular coursing and ran- domly sized, thick slates. Windows have steel or wood sash, casement or double hung. Multi-paned sash and transoms are common; diamond panes are also popular. They are o� en installed in groups or in bays and oriels. Shu� ers are wood, either rail and stile or board and ba� en. Decorative metal work such as wrought-iron fencing, grilles, light fi xtures, strap hinges, shut- ter dogs and hardware, ornate conductor heads, and decorative leaders with straps add interest. Massive chimneys with decorative brickwork and terra-co� a chimney pots are prominently placed.

Source: Authentic Small Houses of the Twenties, Dover Publications

half-timbering, multi-paned steel stucco grouped casement sash windows

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 19 DOs for Tudor Revival •Maintain textured surfaces. When repairing, match the dimensions and texture of the original stucco, wood siding, or other material. Study and match the existing color, texture and coursing of slate roofs. Look for tool marks on wood elements and maintain them. •Choose replacement materials with texture. If asphalt shingles are used instead of slate or wood, they should be textured and have variations in color and thickness. •Maintain contrast between colors and materials. •Paint sash and wood trim in dark colors. Storm windows should be dark, and blend into sash and frames.

DON’Ts for Tudor Revival •Paint diff erent materials a uniform color. Do not paint brick or stone surfaces. •Paint window sash with light colors. •Replace dark colored sash with white, or install light colored storm windows.

All the Tudor traits: complicated roof lines and massing and a variety of textures. The dark half-timbering contrasts with the lighter stucco, stone chimneys provide additional texture, and the roof is fi nished with thick slates in a variety of colors. Historic District Design Guidelines Stephen Tilly, Architect 20 City of Yonkers, NY Tudor textures: note the lead cames on the window, the pa� erning of brick combined with stone, the wavy edges of the clapboards and the tool marks on the wood frame next to the window.

Further reading... Gordon Bock. “Spots on Chimney Pots,” Old House Journal, November/December 2003, p. 31-32. A dramatic cross-gable defi nes and identifi es the entrance J. Randall Co� on. “Picturesque Masonry,” Old House Journal, May/June 1994, p. 30-35. to this grand Tudor house. Contrasting textures: rough Includes information about the Tudor style and maintenance advice. and smooth stone, the richly textured slate roof, and brick infi ll in the half-timbering. Steve Jordan. “Colors for a New Century,” Old House Journal, May/June 2003, p. 60-65. Includes information about paint colors for Tudor houses. Marylee MacDonald. “Steeling Home,” Old House Journal, March/April 1996, p. 46-51. Preservation Brief 13, “The Repair and Thermal Upgrading of Historic Steel Windows”; Preservation Brief 22, “The Preservation and Repair of Historic Stucco”; Preservation Brief 29, “The Repair, Replacement, and Mainte- nance of Historic Slate Roofs.”

“Tudor Revival,” Old House Journal, August 2000, p. 75-82. Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 21 Made popular by architectural and pa� ern books of the 1920’s, the French Norman Revival is also French Norman Revival called French Eclectic, French Rural or French Revival. While the earlier Beaux Arts style was based on formal, classical architecture, the French Norman Revival looked to rural, vernacular prototypes for inspiration. Both asymmetrical, rustic farm buildings and more refi ned manor houses were widely adapted for suburban America. The more rustically styled French Norman Revival home may contain mixed materials and half- timbering, leading to confusion with the Tudor Revival. How to tell the diff erence? Start with the roof line. The French Norman Revival house typically has a high, steeply pitched hipped roof while Tudor Revival houses have gable roofs with front facing cross-gables. Either may have a projecting entrance, but the round tower with a conical roof is unique to the Norman Revival.

Richly colored and textured slates and irregular coursing create an impression of many alterations over time. Note the dips in the ridge line and the clusters of slates which imitate patches. All of these features should be retained if repairs are made. The conical roof identifi es the entrance.

Contrasting textures give this home its appeal: stucco with visible trowel marks contrasts with the rusticated stone framing the entrance. The roughly textured, random coursed slate roof and brick chimney add an aura of age. Steel casement sash and louvered shu� ers are other period- appropriate details.

Historic District Design Guidelines Stephen Tilly, Architect 22 City of Yonkers, NY tall, steeply French Flair... pitched hipped bold chimney Walls are textured stone, brick or stucco. roof textured dormers Contrasting materials and half-timbering are slates common on the more rustic examples. Entranceways are housed in projecting volumes such as a rounded tower with a conical roof. Windows may be casement or double hung. Sash are wood or steel, with divided lights, and diamond paned sash are popular. Louvered shu� ers are common. Roofs are high, steep, and hipped and may have fl ared eaves. Slate is the most common material. Dormers, either shed- or gable-roofed, are typical. Dormer faces may continue straight up from the main wall, thus breaking the cornice. Wing walls extend from the main structure to form courts and screen yards. Chimneys are large in scale and prominently placed.

Source: Authentic Small Houses of the Twenties, Dover Publications

textured broken brickwork cornice

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 23 DOs for French Norman Revival •Maintain textured surfaces. When repairing, match the dimensions, colors, and textures of the original stucco, stone, slate or other material. Study and match the existing coursing of slate roofs. •Retain historic sash. •Paint window sash in dark colors. Storm windows should be dark, and blend into sash and frames. •Choose replacement materials with texture. If asphalt shingles are used instead of slate or wood, they should be textured and have variations in color and thickness.

DON’Ts for French Norman Revival •Paint diff erent materials such as trim and stucco a uniform color. •Paint window sash with light colors. •Replace dark colored sash with white, or install light colored or bare metal storm windows. •Interrupt or distort sweeping roofl ines

A high, steeply pitched hipped roof with fl ared eaves is typical of the French Norman Revival style. Note how the main wall continues up to the dormer and breaks through the cornice. At the le� side of the house a vine-covered wing wall shields and encloses a rear yard.

Historic District Design Guidelines Stephen Tilly, Architect 24 City of Yonkers, NY A high, hipped roof of rough textured slate swoops down and fl ares at the eaves on the one-story wing. Dark colored storms would enhance the windows.

Further reading... Jeff rey Howe. The Houses We Live In, p. 300-302. James C. Massey and Shirley Maxwell, The French Revival in Suburban America, Old House Journal, May/June 1991, p. 41- 45. Virginia and Lee McAlester. A Field Guide to American Houses, p. 387-395.

A typical French Norman Revival entrance, set in a round tower with a conical roof. Original materials, including steel casement sash, a richly textured slate roof, and contrasting wall materials including stone, half-timbering and stucco, have all been preserved.

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 25 In part inspired by Edith Wharton’s 1904 book Italian Villas and their Gardens, the Italian Renaissance Italian Revival is typifi ed by grand architecture, sunny spaces inside and out, and formal gardens. Urban examples mimic palazzi while suburban examples such as those found in Cedar Knolls typically Renaissance Revival borrow from villas. The 20th century revival was more academic and more faithful to the Italian originals than the mid-19th century version, the Italianate.

This house retains its signature Italian feature: the hipped roof covered in clay tiles. The brick walls are less typical but still appropriate.

This residence has many features found in the Italian Renaissance Revival including a recessed entrance, arched openings, wrought iron balcony, and multi-light wood sash. Also note that the fi rst story is taller than the second.

Historic District Design Guidelines Stephen Tilly, Architect 26 City of Yonkers, NY fi rst story is decorative straps Italian Identity... hipped taller than on leaders roof second The form is simple, with a symmetrical façade. recessed clay tiles deep eaves decorative As in the Italian originals, the fi rst fl oor is taller entrance ironwork than the second story. Entrances are projecting volumes or porticoes or recessed. May be embellished with columns. Walls are stucco or brick, usually light in color. Window and door openings are o� en arched at the ground fl oor. They may have engaged columns or pilasters. The second story openings are smaller and simpler. The windows have multi-light sash in steel or wood. Roofs are low pitched, hipped or gable roofs with projecting eaves. Clay tiles – red or other colors – are most common. Barrel tiles are either c-shaped or s-shaped and interlocking clay tiles are also used. Brackets – single or paired – under the eaves are common. Decorative touches include metal work such as conductor heads and iron balcony railings.

Source: Authentic Small Houses of the Twenties, Dover Publications

stucco multi-light body sash arches

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 27 DO’s for Italian Renaissance Revival •Retain and maintain clay tile roofs. •Repair missing or broken tiles instead of replacing the entire roof.

DON’Ts for Italian Renaissance Revival •Paint trim and body the same color.

IMAGE TO FOLLOW

Although the dark brick facade is not typical, this house has other features typical of the Italian Renaissance Revival such as a hipped roof of clay tiles with deep eaves.

Historic District Design Guidelines Stephen Tilly, Architect 28 City of Yonkers, NY This house has a symmetrical façade with arched openings on the fi rst fl oor and simpler, smaller openings on the second fl oor. An open patio with a balustrade encloses a pleasant outdoor space. Note the deep eaves created by the roof overhang and the use of decorative brackets.

Further reading... An entranceway recessed into an arch-topped opening and Jeff rey Howe. The Houses We Live in, p. 303-307. a wrought-iron balcony are some of the elements that typify the Italian Renaissance style. Marylee MacDonald. “Steeling Home,” Old House Journal, March/April 1996. Virginia & Lee McAlester. A Field Guide to American Houses, p. 396-405. Mary Ellen Polson. “Clay in Context,” Old House Journal, March/April 1998, p. 39. Paul Kelsey Williams. “Crowns of Clay,” Old House Journal, November/December 2003, p. 61-63. Information on clay tile roofs including general information, repair techniques, and sources for replacement tiles.

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 29 Design Guidelines Identify, retain, and preserve features and elements that defi ne the overall historic character of the building. for Historic Houses IDENTIFY the features that defi ne your house’s style. in Yonkers Look at elements such as siding, railings, brackets, cornices, window architraves, door pediments, steps, and columns. The style pages in this manual are a start, but every house has additional, unique features as well. Study construction and aesthetic details such as tooling and bonding pa� erns, textures, coatings, and color. What is original, and what is a replacement? RETAIN original or historic features and elements! DO retain original materials fi nishes and choose DON’T remove or radically change features appropriate color and accent schemes. that defi ne the overall historic character of the building. • Do maintain the texture of historic stucco. • Do not replace wood siding with vinyl, aluminum or other substitute materials.

• Do not replace wood or steel windows with vinyl or fi berglass units.

Shingles (le� ) and wavy edged clapboards add interest to a pair of gable ends.

Historic District Design Guidelines Stephen Tilly, Architect 30 City of Yonkers, NY HINT... Do not make repairs or paint before identifying and correcting the sources of the deterioration! Usually, water is the culprit. Specifi c causes may include faulty fl ashing, leaking gu� ers and loose leaders; cracks and holes in siding or masonry; failure to carry storm run-off away from the building; deteriorated caulking in joints and seams; plants growing too close to the building; or insect or fungus infestation.

PRESERVE surviving historic features through regular maintenance. Maintain rather than repair, and repair rather than replace. DO replace only the portions that are damaged DON’T replace or rebuild major elements that and retain the rest. Examples: can be repaired. Replacement results in the permanent loss of historic fabric. • Replace a baluster or two rather than the whole railing.

• Replace a section of slate or shingles or just the fl ashing rather than the whole roof.

• Repair your historic window sash and install appropriate exterior or interior storm windows.

It may take some extra time to fi nd the right Even garage doors can be a “character defi ning feature” of cra� sman and materials, but usually you will your historic house. save money, and also maintain the features that make your home unique. Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 31 Historic Wood DO repair wood features: patch them with matching wood, or consolidate and patch with epoxies suitable for wood.

DO replace in kind – or with an appropriate substitute material – elements which are too deteriorated to be repaired or are missing parts, where there are surviving examples such as brackets, molding, or sections of siding that can be matched. The size, thickness and taper of new clapboards and shingles should exactly match those of the existing historic materials they are replacing. When installing, match the spacing between shingles and the exposure of the existing courses of shingles and clapboards.

DO repair only deteriorated sections and Regular maintenance including painting is critical for the preservation of wood clapboards and elements. Repair a section of deteriorated wood trim. wall shingles or clapboards rather than the whole wall. Replace a single bracket or piece of Painting Your Historic House molding rather than the whole cornice. DO inspect painted surfaces and determine if DON’T remove paint which is fi rmly adher- repainting is really necessary or if cleaning is all ing to, and thus protecting, surfaces. DO apply modern, clear chemical preserva- that is required. tives to wood that traditionally was le� un- use destructive paint removal meth- painted. DON’T DO inspect the overall condition of materials ods such as a propane or butane torches, sand- prior to repainting. Complete repair and or water-blasting. Thermal paint removal de- DON’T use sand- or water-blasting to clean maintenance work before painting. vices – heat plates and heat guns – must be used historic woodwork because these practices can carefully to avoid scorching. These methods can DO maintain paint coatings on surfaces that damage the wood. irreversibly damage historic materials and ignite historically had them! Paint helps protect wood dust in wall cavities. from moisture, physical weathering, and ultra- DON’T replace wood siding with vinyl, alu- violet light. Remove old paint only if it is dete- minum or other substitute materials. riorated enough to compromise the performance DON’T replace wood or steel windows with of the new paint system. vinyl or fi berglass units. DO remove damaged or deteriorated paint down to the next sound layer using the gentlest method possible (hand scraping and hand sand- ing), then prime and repaint. Historic District Design Guidelines Stephen Tilly, Architect 32 City of Yonkers, NY Caring for Historic Masonry DO talk to your masonry contractor before DO repoint areas of deteriorated mortar with DON’T remove or alter masonry features; hiring him/her! Ask about the materials and a so� mortar which matches the historic in they are important in defi ning the overall methods he/she will use. Look at past work and appearance and composition. The new mortar historic character of the building. check for signs of inappropriate practices: hard, should match the historic in color, texture, gray mortar; damage to brick or stone from hardness and tooling. Achieve a uniform DON’T replace or rebuild a major portion harsh cleaning, sand blasting or improperly appearance by matching new work to the of exterior masonry walls if the walls can be cu� ing out mortar; or white residue on masonry historic. repaired. Replace individual bricks or stones from improper cleaning. rather than rebuilding an entire wall. Repoint DO use hand tools to remove deteriorated only damaged areas, not the entire wall. DO review and approve samples before mortar. Grinders are hard to control and o� en cut into adjacent brick and stone. proceeding with cleaning, stucco repairs or DON’T clean masonry with harsh methods repointing. Have the mason point, clean or DO repair deteriorated stucco with new stucco such as high-pressure water or abrasive methods repair a small section for your approval before that matches the historic in appearance and such as sand blasting. beginning the work. composition. The new stucco should match the surrounding in color, texture, and hardness. DON’T repoint masonry with Portland DO as li� le work as possible! Patch failed Tooling is especially critical. cement-based mortar. stucco portions rather than replacing the entire wall. Clean masonry only when necessary to DO select paint coating systems designed for DON’T apply paint or stucco to masonry halt deterioration or to remove heavy soiling. masonry surfaces. Follow the manufacturer’s which has been historically unpainted or directions carefully. uncoated. DO clean masonry surfaces with the gentlest method possible. Try low-pressure water spray DON’T apply waterproofi ng and water fi rst; o� en water is all that is needed. If neces- repellent coatings to masonry. sary, detergents designed for masonry may be used. Carefully follow the manufacturer’s recommendations for testing all products before commi� ing to a cleaning program. Use natural bristle brushes and low-pressure sprays for washing and rinsing.

Right: Note how the mortar was struck to create a square profi le in the mortar joints – called “tooling” – on this chimney. Far right: The rough stucco contrasts with the smooth bricks used on the sill and the quoins. Note the rough texture of the mortar. Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 33 The roof is a vital part of a historic building, both functionally and aesthetically. A roof is crucial to Roof Guidelines the utility of a building as it protects the structural system, interior and occupants from water, sun, and weather. A roof is o� en the defi ning feature of an architectural style – for example, the Mansard roof of the Second Empire, or the tile roofs of the Italian Renaissance Revival. Also, the roof adds to the architectural character of a house through its scale, color, and texture and the way it is installed. Whenever possible, historic roofs should be repaired rather than replaced. Common repair problems include cracks in chimney masonry; failed fl ashings around chimneys, valleys and ridges; loose or missing roof shingles; and water backing up due to clogged gu� ers. Historic roofs made of durable materials such as clay, slate or metal can last for very long periods of time with proper maintenance such as cleaning gu� ers and pruning trees. When roofs leak it is o� en the fl ashings which have failed, rather than the main body of the roof. A roofer experienced in repairs can replace only the fl ashings rather than the entire roof, which preserves the historic material and results in cost savings to the owner. It is also possible that only a section of shingles has failed – for instance, if a falling branch has hit the roof and broken a limited number of slates or tiles. In this case, an experienced roofer may be able to locate matching slates or tiles and replace only the damaged areas rather than the entire roof, thus saving the homeowner money. The replacement shingles must match the originals in every detail: size, color, thickness, and texture. In addition, the installation must conform to that of the original roof; the installer’s work must correspond with existing features such as spacing between shingles, coursing, exposure, and how the ridges, eaves and valleys are fi nished. Roofi ng details and accessories also require a� ention. Gu� ers, conductor heads, and leaders should be retained and maintained. Cresting, fi nials, pendants, and brackets also add character to your house.

Above le� : A dormer roof with irregularly coursed slates. Note how individual slates vary in color, thickness and texture. Deliberately broken edges add to a sense of age. Above: A clay tile roof. Note how specially shaped clay Above: This slate roof has regularly coursed shingles and tiles are used to fi nish the ridges and the sheet metal fl ash- minimal color variation. Rough edges and varying thick- ing visible in the valley. nesses add texture. Note how slates are used to fi nish the ridge. Historic District Design Guidelines Stephen Tilly, Architect 34 City of Yonkers, NY gable hipped

Glossary of Roofi ng Terms Bu� The exposed or thick end of a shingle. Flashings Sheet metal used to waterproof the edges and joints of a roof. May not be visible, but it’s there! gable with cross-gable Mansard Cheek The side wall of a dormer. Gu� er Horizontal trough either built in or a� ached Course A row of individual units such as bricks or to the edge of a roof to collect water. shingles. May be regular or irregular. Graduated Roof A roof in which the shingles Conductor Head A box, usually metal and o� en diminish in length and/or thickness as the roof decorated, at the top of the leader. progresses from eave to ridge. gambrel shed Cresting Decorative metal work applied to a ridge of Leader A vertical wood or metal pipe that connects a roof. Typical roof forms found in Yonkers the gu� er to the ground or a cistern; also called a Decorative Shingle Shingle with the bu� end cut downspout. into a shape, such as half round or half of a hexagon. DOs for Historic Roofs Pendant An ornament that hangs from a building. Eave The part of the roof that extends beyond the Pitch The angle or slope of the roof. •Restore and maintain historic roofs. wall. Ridge Horizontal line where two sloped roof surfaces •Trim back trees and clean gu� ers Exposure The amount of a shingle that is visible (or meet. A piece of framing, called a ridge pole, runs the regularly. “exposed”) a� er the courses above it are installed, for length of the ridge. example, “a six inch exposure.” Also expressed as “to •Repair deteriorated sections of roofs the weather.” Valley Trough formed where two sloped surfaces of rather than replacing the entire roof. a roof meet. Finial A projecting ornament. •Retain original details and accessories such as copper gu� ers, leaders, and conductor heads. Further reading... The Cedar Shake & Shingle Bureau is a non-profi t industry association founded in 1915 which administers a quality assurance program. Their website off ers specifi cations and guidelines for the installation of wood shingle roofs: www.cedarbureau.org DON’Ts for Historic Roofs Preservation Brief 04, “Roofi ng for Historic Buildings.” Preservation Brief 19, “The Repair and Replacement of Historic Wooden Shingle Roofs.” •Replace slate and tile roofs with Preservation Brief 29, “The Repair, Replacement, and Maintenance of Historic Slate Roofs.” asphalt shingles. Preservation Brief 30, “The Preservation and Repair of Historic Clay Tile Roofs.”

•Finish dormer cheeks in same material Brian Stearns, Alan Stearns, John Meyer. The Slate Book. Morrisville, VT: Vermont Slate and Copper Services, as adjacent roof. 1998.

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 35 Windows are a critical element in the character of a historic house. They add depth to the façade Window Guidelines and provide visual interest by refl ecting light. Poor maintenance will result in una� ractive windows which do not operate smoothly. Accumulated layers of paint and broken sash cords and chains will cause the sash to bind. Both conditions are easily corrected by either a carpenter or a handy homeowner. Peeling paint, broken glass, and failing pu� y are unsightly but also easily fi xed. Beware of the tradesman who tells you your windows can’t be repaired; usually they can, and the Yonkers Planning Bureau has a directory of tradespeople experienced in repairing steel and wood sash. Homeowners may be concerned that their historic windows are not as energy effi cient as replacement windows. Caulking window openings and installing weather-stripping will help stop air infi ltration and energy loss. Repairing and installing sash locks will help the meeting rails meet tightly and therefore stop dra� s. Interior or exterior storm windows will further reduce energy loss. Exterior storm windows should be in the same color as the sash; bare aluminum is prohibited and white will rarely be appropriate. If your house already has replacement windows and you wish to install something more appropriate, study your house carefully to see if any original sash have survived. A� ic sash or decorative sash o� en are not replaced and can serve as a pa� ern for rail, stile and muntin profi les. Historic photographs may also provide more information. If your windows are beyond repair and must be replaced (a rare condition), understand your existing windows completely and select a replacement unit which matches the exterior of the original in every detail including size, material, and number of lights. Note the number of lights, the dimensions of rails and stiles, and the profi les of muntins. All trim must also match exactly.

Above le� : An arch-topped window with curved muntins in the upper sash is an appropriate Colonial Revival detail. Le� : A dormer window in the Mansard roof of a Second Empire house retains the original brackets and hood. Above: A double window with 6/1 light wood sash and rail and stile shu� ers on a Dutch Colonial Revival. Historic District Design Guidelines Stephen Tilly, Architect 36 City of Yonkers, NY Reasons to retain and repair rather than replace sash... Old sash are more durable! Historic wood windows are o� en made of old growth lumber which is far more durable and decay- resistant than the wood available for making sash today. Repairing historic sash retains the historic character of the façade. Repair may be less expensive than replacement.

Le� : A narrow leaded casement sash is accented with brickwork. Above: A half-round a� ic window with wood moldings and sash.

Further reading... Charles E. Fisher. The Window Handbook: Successful Strategies for Rehabilitating Windows in Historic Buildings. Washington: Historic Preservation Education Foundation, 1986. Preservation Brief 9, “The Repair of Historic Wooden Windows.” Preservation Brief 13, “The Repair and Upgrading of Historic Steel Windows.” Preservation Brief 33, “The Preservation and Repair of Historic Stained and Leaded Glass.” Above: Multi-paned, leaded casement sash are typically found on Tudor Revival houses. Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 37 head

head

exterior muntin stile casing

mullion stile

sash muntin stops

light light (glass) (glass) jamb

jamb

casing bo� om rail sill

bo� om rail masonry subsill sill

masonry subsill Sash and frame components of a metal Sash and frame components of a wood casement window double hung window Historic District Design Guidelines Stephen Tilly, Architect 38 City of Yonkers, NY DOs for Historic Windows •Restore and maintain historic wood and metal sash. Modern Window Terms •Install interior storm windows or If you absolutely must replace your windows, shopping for historically appropriate replacements can be confus- exterior storm windows in the same ing. Some terms you may hear when consulting with a window salesperson are: color as the sash. Aluminum Clad Wood window parts (muntins, sash, casings) are covered in aluminium for exterior use. May be accepted in Historic Districts if all dimensions and profi les match the existing exactly and the exterior is fi n- ished in an appropriate color. DON’Ts for Historic Windows Energy Panel Removable piece of glass that is annealed or tempered and fi nished on its edges by a surround. Energy panels can be applied on windows and doors and off er the homeowner added energy effi ciency. May be •Change the size of window openings accepted in the Historic Districts. to accommodate replacement units. Grilles Thin pieces of wood, vinyl or aluminum which a� empt to mimic muntins. May be sandwiched between •Change the location of window open- panes of glass or snapped to the interior face of a sash. Not accepted in Yonkers’ Historic Districts. ings. Simulated Divided Lights A method of construction in which muntins are fi xed to the exterior and/or interior •Replace historic sash unless they are of large panels of glass to give the appearance of a true divided light. May be accepted in Yonkers’ Historic Dis- beyond repair. (This is rare!) tricts if dimensions, thicknesses, muntin profi les, and other details match the existing historic ones exactly. •Install bare aluminum or white storm “True” or “Authentic” Divided Light Multiple panes of glass are separated using functioning muntins. May windows. have insulated or single glazing. Permi� ed in the Historic Districts; all details including muntin profi les must match existing historic details exactly.

Glossary of Window Terms used to describe a wood beam. Mullion Vertical member between window units. Casement A window sash which swings open on Jamb A vertical member at the side of the window Muntin A secondary framing member (horizontal, side hinges (see illustration). frame. Can also refer to the horizontal member at vertical, or slanted) to hold the window panes in the the top of a window frame, as in “head jamb” and sash. O� en confused with “mullion.” Cames Lead strips which hold small panes of glass “window jamb.” in leaded windows. Popular on Tudor and French Parting bead, parting strip, parting stop Vertical Norman Revival houses. Light, lite A pane of glass within a window. Double- strip on each jamb which separates the sash of a double-hung window. Double-hung window A window with two moving and single-hung windows are identifi ed by the sash which slide up and down. number of lights in the upper and lower sash (for Rails The horizontal members of a window sash. example, 6/6). Fixed light, fi xed sash A sash which doesn’t move. Sash Frame in which the lights of a window are set. Lintel Horizontal member (wood, steel, or stone) Glazing Installation of glass in a window opening. over a window opening which supports the weight of Sill The horizontal member at the bo� om of the the wall above. window frame. Hanging sash, hung sash Sash hung on a cord connected to a counterweight. Meeting rail, lock rail, check rail One of the two Single-hung window A window similar to a double- horizontal members of a double-hung sash – the hung window, except that the top sash is stationary. Header (also lintel, beam) Supporting member or bo� om rail of the top sash or the top rail of the bo� om beam above a window opening. Header is generally sash – which come together. Stiles The vertical framing members of a sash.

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 39 Shu� ers were o� en found on 19th and early 20th century houses. They were very common on Choosing Shu� ers Colonial Revival houses and may also be appropriate for Tudor, French Norman Revival, and Italian Renaissance houses. Shu� ers add character to your house and an opportunity to add an accent color to your façade. If you have historic shu� ers, keep them!

No shu� ers? You may be able to determine if your house had shu� ers by looking for surviving hardware on the façade. Even if the shu� ers are missing, the hardware o� en survives. And if the hardware is missing, you may fi nd holes or pu� y patches where the screws which held hinges and shu� er dogs were installed. Historic photographs may provide information on the appearance of missing shu� ers and hardware.

If you decide to replace missing shu� ers it is important to choose shu� ers of an appropriate style which are the right size and shape. Shu� ers should be made of wood; they are constructed in the same way as doors, either rail and stile or board and ba� en. Rail and stile shu� ers may have solid panels, recessed or fl ush, with or without decorative cutouts in the top panel. One or more panels may have louvers – angled slats that admit the fl ow of air.

Each window opening typically has two shu� ers. Some may have a single shu� er if a chimney or other feature is in the way, or if the designer wanted a rustic appearance. When closed, the shu� ers should sit fl ush in the window opening. With a pair of shu� ers each leaf is half the width of the overall window opening. The shu� er is as tall as the window opening is high. If the window has a curved top, the top of the shu� ers should be curved to meet the opening. Shu� ers should be operable and hung on hinges. Shu� ers should never be fi xed directly to the siding. When shu� ers are mounted directly to the face of a house there is no ventilation between the shu� er and the house. The lack of air movement holds moisture against the building and accelerates deterioration of paint and siding. You can study historic photographs or pa� ern books or other homes in your neighborhood for ideas on shu� er and hardware styles. Above le� : Rail and stile shu� ers with solid, recessed panels. Note that they are hung on hinges and held open with shu� er dogs. Le� : A pair of board and ba� en shu� ers, also incorporat- ing hinges and shu� er dogs.

Historic District Design Guidelines Stephen Tilly, Architect 40 City of Yonkers, NY stile

rail

panel

pintel

shu� er dog Rail and stile shu� ers with recessed panels. The upper panels have decorative cutouts.

Glossary of Shu� er Terms Operable louvers Louvers which pivot open and Applied molding Shaped wood trim pieces applied closed to allow ventilation control. Typically, a vertical rod is affi xed to the louvers to move them. strap to the shu� er panels. hinge Arch top A shu� er with a curved top. The top of the Panels A solid “fi eld” in the frame of the shu� er. shu� er should match the top of the window opening. May be raised, fl at or recessed on one or both sides.

Board and ba� en shu� er A shu� er consisting of Pintel A vertical pin which holds the shu� er hinge. vertical pieces of wood (boards) fastened to horizontal May be mounted to a plate which is screwed onto a boards at the top and bo� om (ba� ens). casing, or a spike which is driven into the wood.

Cutout A shape or motif cut into a panel to create an Rails The horizontal framing members of a shu� er. decorative eff ect. Popular on Dutch Colonial Revival Shu� er dogs Hardware a� ached to the building houses. which holds the shu� ers open.

Fixed louvers Louvers which are stationary and do Strap hinge A hinge secured across the back surface not move or pivot. May take the place of one or more of the shu� er. The end is bent into a round sleeve panels in a rail and stile shu� er. which fi ts over a pintel.

Leaf One half of a pair of shu� ers; a single shu� er. Stiles The vertical framing members of a shu� er. Mortise A hole in the stile joint which accepts a Tenon A projection on the end of a rail made to fi t tenon. into a mortise, thereby creating a joint.

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 41 Choosing a color scheme for your historic house is not a small decision; painting a house is an Color Schemes for expensive job, and the results will be something that you – and your neighbors – will have to live with for many years. It is natural that homeowners fi nd this task daunting. Historic Houses There are two approaches to choosing a color scheme for your historic house: “of the period” and “actual.” An “of the period” color scheme is one which would have been popular at the time and appropriate for your home during its early life. It may not include the exact colors which were on your building, but it would not be out of place. The do-it-yourselfer who prefers to do his own research should look at “primary sources” to gain understanding of what was popular in the past. Primary sources are actual historic documents, such as a historic paint card or trade illustration. Secondary sources are someone else’s interpretation of the original material – your neighbor’s paint scheme, or the “historic” paint scheme shown on a modern paint brochure. Even though the paint manufacturer claims to be using historic colors accurately, his catalogue refl ects a contemporary view of history, and thus cannot be as defi nitive as an actual document from the period. To fi nd “typical” color schemes for a historic house, one can consult primary sources such as historic paint catalogs, trade publications, or architectural books. Dover Publications (www.doverpublica- tions.com) off ers many books with full color reproductions of historic color schemes. The books by author Roger Moss listed in the sources section also include many reproductions of authentic historic color schemes. Another approach is to retain the services of an architectural historian who specializes in historic colors and have him or her design a color scheme for your house. Most can work from a clear photo of your house, and some may be able to provide a computer-generated rendering of what the house will look like with the proposed scheme. Several of these consultants are listed in the “Additional Sources” section of this manual. A homeowner may also wish to embark upon a more scientifi c approach which will determine the true original colors of his/her particular house. Architectural conservators can use a variety of techniques to sample, analyze, and identify the composition and colors of paint on a historic structure. The most commonly used technique is microscopic analysis of the paint layers. A sample of the paint layers including the substrate is prepared and analyzed under a microscope. This allows the conservator to view in cross-section numerous layers of primer, paint and dirt and determine a chronology of paint colors. Historic houses o� en had multi-hued schemes in color combinations which seem unfamiliar to modern eyes. Using modern technology, a computer rendering of your house in the proposed color scheme can be easily generated. You should always have your painter prepare a mockup and live with it for a while until you make the fi nal decision. Ask for a sample of the fi nal color scheme - including body, trim, and window sash - to be applied together on a representative section of your home before allowing the painter to proceed.

Historic District Design Guidelines Stephen Tilly, Architect 42 City of Yonkers, NY Further reading... Pale yellow siding, white trim, and dark shu� ers accent Gordon Bock. “Colorful Issues in Choosing Exterior Paint,” Old House Journal. Article available at: this Dutch Colonial Revival perfectly. Distinctive win- www.oldhousejournal.com/magazine/2001/march_april/exterior_paint/default.shtml dows, shu� ers with decorative cutouts, wood siding and a John Crosby Freeman: “The Color Doctor” heavy, boxed out eave are all essential to the personality of Provides free historic color schemes to homeowners courtesy of Valspar paint. Mail photograph of home with color this style. likes and dislikes to: John Crosby Freeman, 1601 Sheridan Lane, Norristown, PA 19403-3336 Roger Moss. Century of Color: Exterior Decoration for American Buildings, 1820-1920. Watkins Glen, NY: The American Life Foundation, 1981. Includes many historic color plates of Four Square, Colonial Revival, and Queen Anne style houses and an architectural glossary. Roger W. Moss (editor). Paint in America: The Colors of Historic Buildings. Washington, D.C.: The National Trust for Historic Preservation, 1994. A more technical guide that includes chapters on paint analysis techniques, paint technology, and painting techniques. Roger W. Moss and Gail Caskey Winkler. Victorian Exterior Decoration: How to Paint Your Nineteenth Century American House Historically. New York: Henry Holt and Co., 1992. A clearly wri� en guide to paint treatments and shi� s in fashion through the early 20th century, including advice on how to achieve historic colors with currently available products. “Preservation Brief 28: Painting Historic Interiors,” available at www2.cr.nps.gov/tps/briefs/brief28.htm Although this article is about interior paints, it includes useful sections on paint investigation, paint formulations, and surface preparation. E.K. Rossiter and F. A. Wright. Authentic Color Schemes for Victorian Houses: Comstock’s Modern House Painting 1883. Mineola, NY: Dover Publications, Inc., 2001. An unabridged reproduction of an 1883 painting guide with many color plates showing authentic color schemes for Queen Anne houses. Robert Schweitzer Robert Schweitzer is a historic color consultant who can provide exterior paint schemes via mail. www.arts-cra� s.com/market/robs/index.html Welsh Color and Conservation Frank Welsh is a conservator who will analyze samples via mail for those wishing to determine the original colors of their own homes. www.welshcolor.com/index.html Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 43 Living in a historic district does not mean living in a time capsule. Your Landmarks Preser- Modern Conveniences vation Board understands that people live in historic houses and thus modern standards of living and security must be accommodated. However, homeowners should remember that technology changes constantly. In the 1970s, televisions required large aerials to get recep- tion, in the 1980s and 1990s cable television was the standard, and in 2005 many prefer a satellite dish. The point? What seems “essential” today will be obsolete tomorrow. Thus all systems should be treated as temporary and installed on the historic house in the least visually obtrusive location, in a reversible manner, and with no damage to historic fabric.

General Guidelines Do not obscure character-defi ning features. Be careful not to remove, alter or damage signifi cant architectural details when installing equipment. Mount equipment on outbuildings such as garages. Consider installing it in the rear yard; do not install in front or side yards. Consider undergrounding utilities and cable, if possible. Request that utility meters be installed in unobtrusive locations. Use plantings to screen equipment.

Satellite dishes should be installed on rear façades and painted to blend in.

Historic District Design Guidelines Stephen Tilly, Architect 44 City of Yonkers, NY Lighting Exterior light fi xtures should be individual Air Conditioners point lights. Fixtures should be compatible Technology in style with that of the building on which Window air conditioners should be Radio aerials and antennas and satellite they are mounted or installed. Strip installed so that the elements of the historic dishes (and technologies not even dreamed fl uorescent light fi xtures are not acceptable. windows are not damaged or removed. of yet!) should not be visible from the street. Flood and spotlights should be “full Exterior piping for central air conditioning cutoff ” types directed at the ground of the Paint antennas, dishes and cabling with systems should not be visible on the exterior structure. Light levels should be kept below colors that blend into the building. of the building. Conceal piping behind the minimum acceptable promulgated by leaders. Paint piping to match surrounding Conceal cable and security wiring behind the Illumination Engineering Society materials. leaders. (www.iesna.org). Screen exterior air conditioning equipment Rewiring and refurbishment of historic Recreation with full shrubbery or fencing consistent original fi xtures are encouraged. Quality with the character of the house. Playhouses and swingsets should be reproductions appropriate to the building installed in rear yards and not visible from style are acceptable. If no documentation “Split System” or central air conditioning the street. regarding the original fi xtures is available, removes the need for unsightly, style- inconspicuous fi xtures are preferred marring window units. Geothermal cooling Decks should be constructed on rear or to inappropriately ornate or nostalgic systems eliminate exterior condensing units concealed facades and not visible from the reproductions not original to the site. altogether. street.

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 45 Halcyon Place and Cedar Knolls represent two distinct styles of landscape design. Halcyon Place is Landscape Design a late 19th-century neighborhood that is simultaneously separated from yet integrated into the larger urban grid. The cul-de-sac eliminates through traffi c and creates a quiet atmosphere as only residents Guidelines and guests travel here. However, the orientation of Halcyon Place is dictated by the surrounding cityscape. Freestanding houses with yards have a suburban feel, but the regular setbacks and straight road still feel urban. Cedar Knolls belongs to a later school of design: the planned suburb. In the late nineteenth century, a tradition of controlled, picturesque landscapes was developed. Cemeteries and parks were the fi rst resources to be so designed. Generally located in or near city limits, they were designed in a poetic, decorative manner following the writings of J.C. Loudon in England and his American disciples Catherine Beecher, A.J. Downing, and Calvert Vaux. A reaction to American society’s increasing industrialization and urbanization, the picturesque movement sought to emphasize the bucolic and restorative qualities of home life. In these planned rural landscapes, nature was manipulated for aesthetic purposes. Typically, the o� en hilly topography was accommodated by serpentine roads and paths which were organized to enhance already scenic views. Meandering, curvilinear plans which followed the terrain were also used to distinguish early 20th century residential suburbs from nearby urban areas. Cedar Knolls was laid out in 1913 and followed a curvilinear plan, which was by then a well-established suburban planning concept. Nearby examples include Armour Villa Park in Yonkers and Lawrence Park in the village of Bronxville. - adapted from Cedar Knolls Colony Historic District Application, courtesy Yonkers Planning Bureau

Source: City of Yonkers Planning Bureau Halcyon Place in the early 20th Century. Note the use of stone retaining walls to create raised yards. Historic District Design Guidelines Stephen Tilly, Architect 46 City of Yonkers, NY Landscape Element Review Policy A. The following shall be considered Land- scape Elements: 1. Natural rock outcroppings 2. Curbing, driveways, and patios 3. Pathways and steps 4. Fencing 5. Free-standing and retaining walls 6. Lighting 7. Trees 8. Statuary and fountains B. The following actions relating to landscape elements shall be subject to review by the Landmarks Preservation Board: 1. Modifi cation of a landscape element which contributes to making a building, structure, site, or district historic and was mentioned specifi cally in the documentation resulting in landmark or historic district status from the Land- marks Preservation Board. 2. Removal or alteration of natural ledge outcroppings or rock outcroppings. 3. Removal of any mature specimen trees, e.g. Japanese cut leaf maple. 4. Removal of any tree greater than twenty (20) feet average height above grade. 5. Alteration to the site’s grade. 6. Construction, alteration or installation of any fencing. 7. Construction, alteration or installation of any other landscape element listed in section A. C. The installation or removal of elements such as bushes, fl owers, grasses, ground cover and shrubs will not be reviewed by the Homeowners may fi nd inspiration for landscape planning from historic sources. The Landmarks Preservation Board unless there above page is from a late-1920’s pamphlet entitled “How to Landscape the Home is an application for an appurtenance such Grounds.” as a new building, an addition to an existing building, an air conditioning condenser, meters and manifolds, etc.

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 47 When considering changes and improvements to landscapes in these historic districts, owners may fi nd general principles helpful. People se� ling the new suburbs in the 19th century soaked up advice from garden writer A.J. Downing and others. An important goal of garden planning of this period was to give residents of suburban lots the impression they lived within an expansive, romantic or picturesque landscape, extending well beyond the limits of their own properties. Hedges and fences defi ning property lines and bordering street frontages were discouraged so neighbors could enjoy each other’s pleasing vistas. Gardeners continued this practice in the 20th century. A circa 1930’s pamphlet states “The proper planning of the front yard, or public area, is of great importance for it is this view of our grounds which is seen by every passerby. In America, it is the custom to share this portion of our grounds with the general public. The front yard is le� open and it is generally arranged as the se� ing for the home.” (p. 8, How to Landscape the Home Grounds, The Storrs and Harrison Company, Painesville, Ohio.) A scheme common among many styles places service and private areas behind the house, sheltered from public view by shrubbery, fences, walls or trellising appropriate to the style of the dominant structure. This allocation of space to open, public areas and private areas can continue to be applied to many properties in the Yonkers Historic Districts.

Another set of cues for gardens accompanies the diversity of house styles in Cedar Knolls. We know that owners did not slavishly develop gardens exactly to match the styles of their houses. Except for some professionally designed and preserved estate gardens, residential landscapes have evolved through the improvisations of a succession of owners. However, it is safe to speculate that a Colonial Revival house would be likely to have had, somewhere on the grounds, straight connecting gravel paths, possibly a rose arbor and a rectangular, enclosed garden recalling, in a more lush style, an early colonial plot. A Tudor Revival or French Norman house might have been set within a landscape defi ned by hedges, vine-covered walls and stone pathways reminiscent of an imagined European property. A full-blown Queen Anne might have had a front yard adorned by a circular bed densely planted in a pa� ern of bright annuals and a fl owering, weeping fruit tree set off center, to shelter an ornamental bench.

A� er World War I, houses started to be built with exposed foundations of materials unrelated to the style of the structure they were supporting. This construction economy launched the use of foundation plantings – an array of usually evergreen shrubs planted to hide the base of the house. This pa� ern has been common for the balance of the 20th century and into the present. Except for accent plants at corners or to punctuate special features of a building façade, continuous foundation plantings are not appropriate for pre-World War I houses. Historic District Design Guidelines Stephen Tilly, Architect 48 City of Yonkers, NY Further reading... Denise Wiles Adams. Restoring American Gardens: An Encyclopedia of Heirloom Ornamental Plants 1640 - 1940. Portland & Cambridge: Timber Press, 2004. A clear and well-illustratred introduction relates architectural and landscape styles and describes regional characteristics. This text is especially helpful for 20th century properties. The informative plant encyclopedia covers trees, shrubs, vines, herbaceous perennials, annuals, bulbs and roses, with historic or contemporary images of many. Appendices cover Invasive Heirloom plants and useful present day plant sources.

M. Christine Klim Doell. Gardens of the Gilded Age. Syracuse, New York: Syracuse University Press, 1986. An apt and excellent overview of garden design and practice on prosperous properties in the 19th century. A.J. Downing. Landscape Gardening and Rural Architecture. New York: Dover Publications, Inc., 1991. First published in 1841, Downing’s treatise saw at least seven printings and profoundly aff ects – to this day – the way Americans organize their properties. It includes land design and gardening advice, plant descriptions and illustrations.

Rudy J. Favre� i. For Every House A Garden: A Guide for Reproducing Period Gardens. Chester, Connecticut: Pequot Press, 1977. Thumbnail descriptions of period-appropriate gardens.

Rudy J. Favre� i and Joy Putnam. Landscapes and Gardens for Historic Buildings. Nashville: American Association for State and Local History, 1978. Ann Leighton. American Gardens of the Nineteenth Century “For Comfort and Affl uence.” Amherst: University of Massachuse� s Press, 1987. Leighton has culled contemporary garden writers and plant catalogs to provide a bountiful overview of 19th century gardening.

Preservation Brief 36, “Protecting Cultural Landscapes: Planning, Treatment and Management of Historic Landscapes.” Frank J. Sco� . Victorian Gardens: The Art of Beautifying Suburban Home Grounds, A Victorian Guidebook of 1870. np: American Life Foundation, nd. Facsimile reprint of an 1870 guide by a Downing disciple. This evangelical work includes illustrations of garden features and landscape plans of a variety of private properties. Used copies are available for purchase through the internet.

Guy Sternberg. “Living History,” Old House Journal, November/December 2002, p. 31-35. An article on the importance of historic trees in the landscape.

Mature trees add to the character of Cedar Knolls.

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 49 Appendix A Glossary of Architectural Terms bay window A window which projects from the surface of the For additional terms and diagrams, refer building and runs all the way to the ground. to pages 6, 7, 8, 11, 15, 19, 23, 27, 35, 38, 39, 41. belt course A raised horizontal band across the façade which typically aligns with the fl oor heights. architrave Molding or decorative band above a window or bonding door opening. The arrangement of masonry units, such as headers and stretchers in brickwork. Provides baluster strength, stability and sometimes decorative A spindle or post supporting the rail of a balus- eff ect. Examples include running bond, English trade. bond, and Flemish bond.

running bond

balustrade English bond A railing with a top rail and spindles or posts (balusters) installed above the cornice on the outside of a building or on a porch.

bargeboard Flemish bond The decorative board a� ached to the overhang- ing portion of a gable roof. Also called a verge- board. bow window bay Similar to a bay window but more rounded; it extends from the wall in a semicircular shape. The regular external division of a building marked by windows or other vertical elements bracket (as in a three bay façade). Also an external pro- A small curved or saw-cut wooden projecting jecting feature (a bay window). element which supports a horizontal member such as a cornice, window, or door hood.

Historic District Design Guidelines Stephen Tilly, Architect 50 City of Yonkers, NY cames Lead strips which hold small panes of glass in leaded windows. Popular on Tudor and French Norman Revival houses. casement A window which swings open like a door on side-mounted hinges. conductor head A decorative box at the top of a leader (downspout) which serves as a funnel for rainwater. dentil cornerboard Small square blocks running along the under- A narrow or wide wooden vertical board at the side of a projecting cornice. corner of a frame building. cornice A projecting molding at the top of a building or a wall. capital The top element of a column or pilaster. course A continuous row of units, such as bricks or classical shingles. May be regular or irregular. Pertaining to the architecture of Greece and Rome, and to the styles inspired by this architec- cresting ture (Georgian, Federal, Neoclassical). A line of ornament fi nishing the roof; o� en a small cast iron railing with decorative points. column A vertical pillar representing one of the fi ve cross-gable dormer orders (Doric, Ionic, Corinthian, Tuscan, Com- A gable that is set parallel to the main ridge of A small window with its own roof projecting posite), usually supporting a member above. the roof. from a sloping roof. cupola eaves A small roof tower, usually rising from the top- The projecting overhang at the lower edge of a most center of the roof ridge. Cupolas o� en roof. have windows and can have a variety of roof types: gable, fl at, hexagonal, etc.

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 51 frieze la� ice The middle part of the deep fl at boards under a Open work produced by interlacing of laths classical cornice. or other thin strips of wood used as screening, especially on the base of a porch. gable roof entablature A roof with a central ridgepole and one slope In classical architecture, an articulated beam that at each side. A gable is the triangular section of leaded glass window rests on columns. wall under the roof edge. A window which is composed of pieces of glass that are held in place with lead strips (cames); exposure gambrel roof The portion of a shingle that remains uncov- the glass can be clear, colored, or stained. A roof with a central ridgepole and two sloping Leaded glass windows are o� en called stained ered a� er the next course is installed. May roof sections on either side. also be referred to as “to the weather.” Usually glass windows. expressed in inches, for example “a six inch graining leader exposure” or “six inches to the weather.” A faux fi nish in which paint and varnish are Vertical pipe that leads from a gu� er to the used to imitate natural wood grain. ground or a cistern; also called a conductor or downspout.

lintel A horizontal beam over a wall opening, either decorative or structural. eyebrow A window with a smooth, shallow, curved top set into a roof. façade half-timbering Wall treatment in which plaster or stucco infi lls The face or elevation of a building. the spaces between wood framing members. fanlight A semi-circular or semi-ellipitcal window over a hipped roof A roof with uniform slopes on all four sides of a door. building. fi nial Mansard roof Projecting ornamental element at the top of a hood A projecting element over a door or window A roof having a double slope on all four sides, gable, spire, or pointed roof. opening; may provide protection from the the lower slope being much steeper. Named weather or be used for decorative eff ect. a� er the French architect François Mansart (1586-1666).

Historic District Design Guidelines Stephen Tilly, Architect 52 City of Yonkers, NY portico An entrance porch. modillion post An ornamental horizontal block or bracket Any vertical support member. May be square or placed under the overhang of the cornice. round, plain or fancy (such as those turned on a lathe). molding Palladian window Any shaped piece of trim. May be wood or A large window divided into thirds by columns quoins stone. or pilasters. Typically the center window has an The corner stones of a masonry wall empha- arched top and is wider than the side windows. sized by the size, color, or cut; in a frame house, mortar The narrower side windows have fl at heads. wooden boards at the corners, cut and sized to A mix of lime, possibly cement, aggregate (sand, resemble corner stones. small stones) and water used to bond together parapet masonry units. Until the late 19th and early 20th rail A low wall, or any part of the wall above a century, mortar was made of lime, sand and The horizontal framing member of a door, sash, water and was very so� and porous. Twentieth roofl ine. or shu� er. Each rail ends in a tenon which fi ts century mortars o� en contain lime and Portland into an opening in the stile (the mortise). cement, resulting in a harder, less porous mortar. roof See page 34-35. mullion A vertical divider in a window. sash The frame in which glazing (glass panes) is set. muntin May be moveable or fi xed; may slide vertically The wooden dividing strips between the panes (as with a double-hung window) or be pivoted pediment (as with a casement window). or “lights” in a multi-paned window. The triangular gable end of the roof; also, any oriel similar crowning element used over the doors or shu� ers A projecting window in an upper story that may windows, usually triangular but may be curved. See page 40-41. be supported by brackets or corbells. Unlike a pier side light bay, it does not continue to the ground. A support, usually built of masonry. A fi xed window next to a door or window opening. Usually narrow. pilaster A shallow pillar a� ached to a wall, resembling a classical column; also used commonly on doors and windows. Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 53 sill The lower horizontal member of a door frame, terra-co� a the window frame or wall. A clay based, kiln dried building product popular in the late nineteenth and early soffi t twentieth centuries. Since it is formed in molds The exposed underside of any overhead compo- it is o� en used for ornament. nent of a building, such as the undersurface of an arch, cornice, eave, beam or stairway. tooling stained glass window In masonry work, the use of tools to create mortar joints with distinct profi les. A window with a painted scene or words on the glass which are then fi red into the glass. See tracery also leaded glass window. Delicate ornamental work consisting of interlac- standing seam metal roof ing lines, the intersecting of ribs and bars, in a A roofi ng system in which sheets of metal – typi- decorative window. cally copper or coated iron – are folded together transom light to form ribs perpendicular to the roof ridge. A small window over a door or another strap hinge window; may be rectangular, fan-shaped, or elliptical, and o� en contains stained or leaded Long hinges, o� en decorative, applied across the glass. face of the door or shu� er. stile Victorian The term used to cover all the various kinds of The vertical framing member of a door, sash, or houses and public buildings constructed during shu� er. Stiles have rectangular holes (mortises) the reign of Queen Victoria (1837-1901). into which the tenons of the rails fi t. stucco windows See page 36-39. An exterior coating made of lime, aggregate (sand, small pebbles, perhaps shells) and water. Like mortar, early stucco was heavily lime- based, increasing in hardness with the addition of Portland cement in the late 19th century.

Historic District Design Guidelines Stephen Tilly, Architect 54 City of Yonkers, NY The Secretary of the Interior’s Appendix B Standards for Rehabilitation “rehabilitation: the process of return- ing a property to a state of utility, 1. A property shall be used for its historic purpose or be placed in a new use that requires minimal change to the defi ning characteristics of the building and its site and environment. through repair or alteration, which makes possible an effi cient contem- 2. The historic character of a property shall be retained and preserved. The removal of historic materials or alteration of features and spaces that characterize a property shall be avoided. porary use while preserving those portions and features of the property 3. Each property shall be recognized as a physical record of its time, place, and use. Changes that create a false sense of historical development, such as adding conjectural features or architectural which are signifi cant to its historic, elements from other buildings, shall not be undertaken. architectural, and cultural values.” 4. Most properties change over time; those changes that have acquired historic signifi cance in their own right shall be retained and preserved. 5. Distinctive features, fi nishes, and construction techniques or examples of cra� smanship that characterize a historic property shall be preserved. 6. Deteriorated historic features shall be repaired rather than replaced. Where the severity of deterioration requires replacement of a distinctive feature, the new feature shall match the old in design, color, texture, and other visual qualities and, where possible, materials. Replacement of missing features shall be substantiated by documentary, physical, or pictorial evidence. 7. Chemical or physical treatments, such as sandblasting or pressure washing, that cause damage to historic materials shall not be used. The surface cleaning of structures, if appropriate, shall be undertaken using the gentlest means possible. 8. Signifi cant archeological resources aff ected by a project shall be protected and preserved. If such resources must be disturbed, mitigation measures shall be undertaken. 9. New additions, exterior alterations, or related new construction shall not destroy historic materials that characterize the property. The new work shall be diff erentiated 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. 10. New additions and adjacent or related 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.

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 55 Appendix C Hiring an Architect

The Value of an Architect Do I need an architect? Unfortunately, the answer to that question is: “it depends.” Project size and complexity, your knowledge and experience of design and construction, and local regulations are all factors to consider. Coordinating cosmetic changes and repairs, such as painting or roofi ng, can o� en be handled by a knowledgeable homeowner working with a reputable, experienced contractor. If you have limited or no knowledge of construction practice and technique, working with an architect will help protect and maximize your return on this signifi cant fi nancial investment in your home. If you are building an addition, or contemplating any other work which requires a Building Permit, you will need an architect or engineer licensed to practice in the State of New York to prepare and sign the drawings that must be fi led with the Building Department. Choosing that person requires some research and a basic understanding of the profession.

Licensing and Experience Architects are licensed professionals who are uniquely qualifi ed to assist you in defi ning the goals of your project, to present options you might never have considered, to identify and solve potential problems, and to get the most value out of your construction budget. Architects understand the bidding process and will help you develop a clear, defi ned scope of work and verify that each potential contractor’s price refl ects that scope.

In New York, the title “Architect” may only be used by individuals currently licensed by the New York State Education Department, Offi ce of Professions. To be licensed in New York, the individual must have acquired a combination of education and professional experience and have passed a national exam. You can verify if an individual or fi rm is licensed by checking the listings at www.op.nysed.gov. This website also off ers valuable background information about the profession and the services architects off er, and gives additional guidance about how to select, hire and work with an architect.

Locating an Architect To fi nd an architect in your area who specializes in historic buildings, you can inquire about referrals at the Yonkers Planning Bureau, the Preservation League of New York State, or the American Institute of Architects (AIA). Please note that the AIA is a professional organization and membership is not a requirement to practice architecture. You can also ask neighbors in your historic neighborhood or local house museums and historical societies about architects with whom they have worked recently.

Making Your Choice Before making a decision, assemble a list of possibilities, call each fi rm and describe your project. Be clear about your project budget and fees. Ask if the candidate has experience working with historic buildings and historic district commissions and if he/she can accomplish the project in the time frame you’ve outlined. Request literature describing the fi rm’s qualifi cations and experience. Historic District Design Guidelines Stephen Tilly, Architect 56 City of Yonkers, NY If the company is unable to handle your project for whatever reason, ask for recommendations for other local fi rms. A� er you have narrowed down your list, arrange to interview several promising contenders. Be aware that some fi rms charge fees for interviews. Ask to meet with the actual staff members who will be assigned to your project, as you will be working with them and must feel comfortable communicating with them. Visit past work if it is located nearby, ask to see photographs of other completed projects, and check references before making your fi nal choice.

Questions to ask include: How busy is the fi rm and does it have the capacity to take on this project and meet the proposed schedule and deadlines? What experience does the fi rm have working with historic homes and buildings? Who will be the Project Manager and what other jobs has he/she completed? Be sure to ask for the names of several past clients whom you can contact for references.

Useful Sources American Institute of Architects (AIA) The website of the American Institute of Architects provides background about the profession and guidance in Even in 1936 homeowners understood the value of work- selecting an architect. It also includes a directory of its members (please note that not all licensed architects ing with an architect, as this cover image from an early are members of the AIA). Owners of historic houses may fi nd the Historic Preservation Commi� ee’s page builder’s magazine suggests. especially helpful: www.aia.org/hrc_default website: www.aia.org AIA Westchester/Mid-Hudson Chapter Regional Chapter of the American Institute of Architects. Off ers referrals of local fi rms. phone: 914-232-7240 website: www.aiaarchitect.net New York State Education Department, Offi ce of the Professions Offi ce and website off ers information about the profession of architecture and the licensing of Architects in New York State. Excellent advice on fi nding, selecting and hiring an architect. phone: 518-474-3817 website: www.op.nysed.gov Please see also Appendix F, Sources for Additional Information, for other organizations which may be able to provide architect recommendations in Westchester County. Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 57 Appendix D Hiring a Contractor

Where to Start Look for a contractor experienced with historic structures and materials. Contact your Landmark Review Board or neighborhood association for a list of appropriate candidates. Manufacturers and suppliers may also be able to help. For example, the slate or wood shingle supplier or copper gu� er manufacturer may know roofers in your area experienced in installing their products.

Experience Generally, the longer a contractor has been in the business, the be� er. Five years’ experience with historic structures is a minimum standard. The contractor should be familiar with the materials involved in the project and have experience applying to and working with Landmark Review Boards.

The contractor and his workmen should be well-trained and experienced in providing quality work. Don’t be afraid to ask a potential contractor about his or her training, experience, and membership in professional associations.

Professionalism A good contractor will meet with you at the job site to evaluate the project and explain materials, techniques, and costs. He or she will show enthusiasm for the job and provide a detailed proposal including samples of materials and products to be used. Be wary if a contractor only takes information over the phone and then recommends a solution.

Ask for References A reliable contractor will have the names, addresses, and telephone numbers of former clients whom you can call and interview before signing a contract. Past customers are an excellent source of information.

Call these individuals and ask if they were pleased with the contractor’s work. Questions to ask include: “What work did the contractor do?” “Did he/she start the project and fi nish the project when promised?” “Did he/she arrive on time every day or when promised?” “Did he/she keep the job site clean?” “Did he/she work continuously until the project was fi nished?” “Were there any ‘extras’ – costs not covered in the initial estimate? Were these justifi ed (such as a condition that could not be observed before the project started) or did the contractor simply underestimate the work?” “How long ago was the work completed and how well has it performed?”

Whenever possible, arrange to go and look at the contractor’s past work yourself. Also call the Be� er Business Bureau and check for complaints before making your fi nal choice.

Historic District Design Guidelines Stephen Tilly, Architect 58 City of Yonkers, NY Licensing and Bonding Contractors, plumbers and electricians in Yonkers are required to have a license. Ask for business license numbers and the name of the contractor’s bonding company. Most state licensing departments can verify whether a contractor has complied with regulations. Some states, including New York, will tell you if there are claims pending against a contractor.

Insurance You are responsible for all workers on your property, so verify that the contractor carries current worker’s compensation and general liability insurance. Ask to see a valid Certifi cate of Insurance. Call the insurance company to confi rm that the certifi cate is current. Be wary of contractors who off er low bids by skimping on insurance coverage, licensing, and bonding or by not paying employment and business taxes.

Shop Around Get more than one wri� en proposal for the work. Compare the proposals carefully to make sure each contractor is providing the same materials, quantities, and quality of work. The contractor who gives you the lowest bid may not be the best choice. Be cautious of a contractor who off ers very low prices; it may mean he/she omi� ed something or corners are being cut. Paying slightly more may ensure you receive a higher quality fi nished product and be� er service.

Get it in Writing Always insist on a wri� en contract before allowing a contractor to begin work. Ask about warranties and have them included in the contract as well.

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 59 Appendix E Historic Landmarks and Districts in Yonkers A landmark is an individual property which has been designated by the Yonkers City Council as having historic signifi cance. The City has designated four individual structures – the Boyce Thompson Estate/Alder Manor, the Fisher/Father Divine House, the Eleazer Hart House, and the Old Stone Co� on Mill – as landmarks. In addition, two neighborhoods, Cedar Knolls and Halcyon Place, have been designated as historic districts.

Source: City of Yonkers Planning Bureau The boundaries of the Cedar Knolls Historic District (not to scale). Historic District Design Guidelines Stephen Tilly, Architect 60 City of Yonkers, NY Date Property Location / Address Description Landmarked

Cedar Knolls See map on facing page. Located in eastern Yonkers. Encompasses approximately 103 acres. 1/23/96 Historic District Over 80% of the area’s 147 residences were constructed prior to the Depression, most between 1926 and 1930.

Halcyon Place See map below. Includes sixteen properties in western Yonkers dating from the mid-19th 6/14/94 Historic District century to the early years of the 20th century.

Former estate of copper magnate, William Boyce Thompson. Boyce Thompson 1061 North Broadway 03/01 Renaissance Revival mansion was designed by Carrere and Hastings in Estate/Alder Block: 3515, Lot: 90 and Manor 1912. The surrounding stone wall, with a mile marker of the Albany- 115 Post Road, is also landmarked.

Eleazer Hart House 243 Bronxville Road A rare example of an 18th century Federal-style residence. Incorporated 6/14/94 Block 5645, Lot 44 within the structure is the only surviving tenant farmhouse original to its site in Yonkers that dates from the Philipse Manor era (1682-1783). The Fisher/Father Divine House is a designated Yonkers landmark. Fisher/Father 369 Park Hill Avenue A Colonial Revival residence in southern Yonkers. Followers of Father 4/13/93 Divine House Block 103, Lot 14 Divine, a seminal religious leader among African-Americans, purchased the house in 1939 as part of early a� empts to break down barriers of segregation.

Old Stone Co� on 2 Scarsdale Road Oldest surviving industrial building in Yonkers. Displays early 19th 10/13/92 Mill Block 4546, Lot 45 century vernacular Georgian design. An example of the industrial structures built in the U.S. during the early years of co� on processing in the fi rst half of the 19th century.

Source: City of Yonkers Planning Bureau The boundaries of the Halcyon Place Historic District (not to scale). Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 61 Appendix F Sources for Additional Information Books William G. Foulks. Historic Building Facades. The Manual for Maintenance and Rehabilitation. New York: John Wiley and Sons, Inc., 1997. Although this book is targeted towards urban buildings, homeowners will fi nd the chapters on inspection, mortar, stone and brick helpful. More technical than other sources.

Patricia Poore. The Old House Journal Guide to Restoration. New York: Penguin Books, 1992. An excellent, thorough and user-friendly guide to caring for your historic house.

Robert A. Schweitzer and Michael W.R. Davis. America’s Favorite Homes: Mail-Order Catalogues as a Guide to Popular Early 20th-Century Houses. Detroit: Wayne State University Press, 1990.

Julie Taylor (editor). Northeast Preservation Sourcebook. Vienna, VA: Preservation Publications, LLC, 1999. A directory of 6,500 regional preservation suppliers, including manufacturers, contractors, and design professionals. Updated frequently.

Periodicals The following periodicals off er useful articles on history and maintenance and advertisements for restoration products and suppliers:

Old House Journal Magazine Full of useful articles for owners of historic houses. Published 6 times a year. Many articles are also available online at h� p://www.oldhousejournal.com/index.shtml

Traditional Building An excellent resource for locating manufacturers and tradesmen. www.traditionalbuilding.com

This Old House: The Magazine Articles on tools and techniques for the owners of historic houses. Published 10 times a year. Some articles are also available online at h� p://www.thisoldhouse.com/toh/magazines

Historic District Design Guidelines Stephen Tilly, Architect 62 City of Yonkers, NY Websites The following websites off er up-to-date information on restoration and maintenance issues for owners of historic houses: National Park Service/Department of the Interior The NPS off ers restoration standards, design guidelines and useful technical information including the Secretary of the Interior’s Standards for Rehabilitation, Preservation Briefs, and Tech Notes. An easy to use, detailed and illustrated guide to the Secretary of the Interior’s Standards for Rehabilitation is available at h� p://www2.cr.nps.gov/tps/tax/rhb/index.htm The Rehab Yes/No Learning Program presents case studies which demonstrate a balance between preservation of historic character and accommodation of modern needs. It is available at h� p://www2.cr.nps.gov/rehabyes-no/index.htm Tech Notes are similar to Preservation Briefs and provide guidelines on windows, wood and other materials. They are available at h� p://www2.cr.nps.gov/tps/technotes/tnhome.htm The complete collection of Preservation Briefs is available at h� p://www2.cr.nps.gov/tps/briefs/presbhom.htm The following Preservation Briefs may be especially useful to Yonkers homeowners. Additional Preservation Briefs are listed in other sections.

01: Assessing Cleaning and Water-Repellent 17: Architectural Character – Identifying the Visual Treatments for Historic Masonry Buildings Aspects of Historic Buildings as an Aid to 02: Repointing Mortar Joints in Historic Masonry Preserving Their Character Buildings 19: The Repair and Replacement of Historic Wooden 03: Conserving Energy in Historic Buildings Shingle Roofs 04: Roofi ng for Historic Buildings 22: The Preservation and Repair of Historic Stucco 06: Dangers of Abrasive Cleaning to Historic 29: The Repair, Replacement, and Maintenance of Buildings Historic Slate Roofs 08: Aluminum and Vinyl Siding on Historic Buildings: 30: The Preservation and Repair of Historic Clay Tile The Appropriateness of Substitute Materials for Roofs Resurfacing Historic Wood Frame Buildings 31: Mothballing Historic Buildings 09: The Repair of Historic Wooden Windows 32: Making Historic Properties Accessible 10: Exterior Paint Problems on Historic Woodwork 33: The Preservation and Repair of Historic Stained 13: The Repair and Thermal Upgrading of Historic and Leaded Glass Steel Windows 35: Understanding Old Buildings: The Process of 14: New Exterior Additions to Historic Buildings: Architectural Investigation Preservation Concerns 37: Appropriate Methods of Reducing Lead-Paint 15: Preservation of Historic Concrete: Problems and Hazards in Historic Housing General Approaches 39: Holding the Line: Controlling Unwanted Moisture 16: The Use of Substitute Materials on Historic in Historic Buildings Building Exteriors

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 63 Sources for Local History The following have libraries containing maps, drawings and photographs of houses in Yonkers.

City of Yonkers Assessment Offi ce Between 1953 and 1955 Yonkers surveyed and photographed every property in the city. Photographs in this collection may help homeowners identify elements and fi nishes removed or altered during the past 50 years. 87 Nepperhan Avenue, Yonkers, NY 10701 phone: 914-377-6200

Grinton I. Will Library Holdings include historic photographs of the Yonkers Historical Society. 1500 Central Park Avenue, Yonkers, NY 10701 phone: 914-961-8940

Riverfront Library – Local History Room This collection contains historic photographs of Yonkers, including some residences. 1 Larkin Center, Yonkers, NY 10701 phone: 914-375-7966 Historic District Design Guidelines Stephen Tilly, Architect 64 City of Yonkers, NY Organizations Lower Hudson Conference of Historical Agencies and Museums A consortium of historic sites, archives, and other cultural institutions, LHC can direct individuals to helpful organizations and professional practitioners. email: [email protected] phone: 914-592-6726

National Trust for Historic Preservation Home page for the nationwide organization and its programs. The site was established in the spring of 1995. website: www.nthp.org

New York Landmarks Conservatory The Conservancy provides technical assistance, contractor referrals, and publications such as “The Restoration Directory” to the owners of historic buildings. website: www.nylandmarks.org phone: 212-995-5260

New York State Offi ce of Parks, Recreation and Historic Preservation The “Technical Preservation Guidelines” section of this website off ers a wealth of information for owners of historic houses. website: www.nysparks.state.ny.us/fi eld/techpres

The Society for the Preservation of New England Antiques SPNEA off ers information on subjects such as historic paint colors. website: www.spena.org/services/faq.asp

Westchester County Archive Virtual archive containing many of Westchester’s historical documents. website: www.westchesterarchives.com

Westchester Historical Society The fi rst stop when researching your historic house. website: www.westchesterhistory.com

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 65 Appendix G Restoration Products and Contractors A database of restoration product and service providers for the exteriors of historic houses is available at the City of Yonkers Planning Bureau. The list of categories on the facing page summarizes the types of products and services included in the directory. Some companies manufacture reproduction items while others off er one-of-a-kind items such as architectural salvage. If homeowners need additional sources they can consult the following directories of service and product suppliers:

Old House Journal website www.oldhousejournal.com/restoration_directory/rd_home.shtml Includes over 2,000 companies which off er restoration products and services.

Old House Journal’s Restoration Directory Available at (202) 339-0744 ext. 101. An annual publication which includes 2,000 companies which provide restoration products and services.

Preservation Sourcebook Available at www.preservationweb.com/index.html A guide to preservation service professionals and product manufacturers and suppliers. Regional editions.

Traditional Building website www.traditional-building.com/8.htm Online database includes hundreds of manufacturers and suppliers.

The companies listed in the Yonkers Planning Bureau database are included because they provide products or services appropriate for historic residences. The listed companies are not in any way endorsed or approved by Stephen Tilly, Architect or the City of Yonkers. We suggest homeowners examine products closely, review recent work, and seek references before contracting for services or purchasing products.

Historic District Design Guidelines Stephen Tilly, Architect 66 City of Yonkers, NY Categories of Products architectural salvage porch balusters roofi ng accessories - snow guards brick porch ceilings roofi ng accessories - vents, louvers chimney pots - terra co� a porch posts - wood screen doors - wood columns - composite porch railings screen sash - metal columns - wood roofi ng - asbestos shingles - salvaged screen sash - wood cupolas roofi ng - asphalt shingles shu� ers doors - wood roofi ng - asphalt shingles - slate look shu� er hardware (see “hardware - shu� ers”) downspouts (see “roofi ng accessories”) roofi ng - asphalt shingles - wood look siding - wood fencing - ornamental roofi ng - clay tiles stone - brownstone forged iron work roofi ng - clay tiles - salvaged storm sash - interior garage doors - wood roofi ng - composition tiles storm sash - wood gazebos roofi ng - concrete tiles storm windows - aluminum gu� ers (see “roofi ng accessories”) roofi ng - concrete tiles - salvaged stucco glass roofi ng - copper shingles Victorian gingerbread hardware - antique and salvaged roofi ng - metal weathervanes hardware - door roofi ng - metal - shingles weatherstripping hardware - forged iron roofi ng - slate windows - steel hardware - screen doors roofi ng - slate - imitation windows - wood hardware - shu� ers roofi ng - slate - removal lighting fi xtures roofi ng - slate - salvaged lightning protection systems roofi ng - wood - cedar shakes Categories of Service Providers lumber roofi ng - wood - cedar shingles masonry restoration metalwork - restoration services roofi ng - wood - shingles restoration carpentry millwork (see also “Victorian gingerbread,” roofi ng accessories - conductor heads roofi ng - restoration services “porch posts,” “porch railings,” “columns”) roofi ng accessories - fi nials stucco millwork - custom roofi ng accessories - gu� ers windows - steel - restoration services paint roofi ng accessories - leaders (downspouts) windows - wood - restoration services pilasters - wood roofi ng accessories - metal

Stephen Tilly, Architect Historic District Design Guidelines City of Yonkers, NY 67