Crowley Historic District Design Guidelines Crowley, Louisiana

Total Page:16

File Type:pdf, Size:1020Kb

Crowley Historic District Design Guidelines Crowley, Louisiana FINAL REPORT CROWLEY HISTORIC DISTRICT DESIGN GUIDELINES CROWLEY, LOUISIANA APRIL 2012 PREPARED FOR: LOUISIANA DIVISION OF HISTORIC PRESERVATION PREPARED BY: HARDY • HECK • MOORE, INC. AUSTIN, TEXAS FINAL REPORT CROWLEY HISTORIC DISTRICT DESIGN GUIDELINES CROWLEY, LOUISIANA APRIL 2012 PREPARED FOR: LOUISIANA DIVISION OF HISTORIC PRESERVATION PREPARED BY: HARDY • HECK • MOORE, INC. AUSTIN, TEXAS TABLE OF CONTENTS Purpose and Goals ...................................................................................................................................................................................... 1 History and Development of Crowley, Louisiana, and the Crowley Historic District ................................................................................. 2 Design Review Process ............................................................................................................................................................................... 5 Architectural Character of Crowley Historic District .................................................................................................................................. 7 Building Forms ............................................................................................................................................................................... 8 Architectural Styles ..................................................................................................................................................................... 29 Landscape and Streetscape Features .......................................................................................................................................... 48 Crowley Historic District Design Guidelines ............................................................................................................................................. 51 General ........................................................................................................................................................................................ 51 Retention of Historic Style ............................................................................................................................................. 51 Avoidance of False Historicism ....................................................................................................................................... 51 Sequence of Appropriate Treatment Options ................................................................................................................ 51 Architectural Barriers and Accessibility .......................................................................................................................... 52 Energy Efficiency ............................................................................................................................................................ 52 Rehabilitation of Contributing Buildings ..................................................................................................................................... 52 Exterior Walls ................................................................................................................................................................. 53 Porches ........................................................................................................................................................................... 55 Roofs ............................................................................................................................................................................... 56 Storefronts ..................................................................................................................................................................... 57 Canopies and Awnings ................................................................................................................................................... 58 Windows and Screens .................................................................................................................................................... 59 Crowley Historic District Design Guidelines i Doors .............................................................................................................................................................................. 63 Chimneys ........................................................................................................................................................................ 63 Mechanical Equipment ................................................................................................................................................... 64 Signage ........................................................................................................................................................................... 65 Landscape and Streetscape Features ............................................................................................................................. 67 Additions to Contributing Buildings ............................................................................................................................................ 69 Preservation of the Original Building ............................................................................................................................. 69 Location and Height ....................................................................................................................................................... 69 Massing and Roof Form .................................................................................................................................................. 68 Design and Style ............................................................................................................................................................. 73 Exterior Walls ................................................................................................................................................................. 73 Roofs ............................................................................................................................................................................... 73 Windows and Screens .................................................................................................................................................... 73 Doors .............................................................................................................................................................................. 73 Non‐Contributing Buildings ......................................................................................................................................................... 74 New Construction in Historic Districts ........................................................................................................................................ 75 Orientation, Set‐backs, and Height ................................................................................................................................ 75 Design and Style ............................................................................................................................................................. 75 Exterior Walls ................................................................................................................................................................. 78 Porches ........................................................................................................................................................................... 78 Roofs ............................................................................................................................................................................... 78 Windows and Screens .................................................................................................................................................... 78 Doors .............................................................................................................................................................................. 78 Crowley Historic District Design Guidelines ii Chimneys ........................................................................................................................................................................ 78 Garages and Accessory Buildings ................................................................................................................................... 79 Independent Fences and Walls ...................................................................................................................................... 79 Landscaping .................................................................................................................................................................... 79 APPENDICES Appendix A: Glossary ................................................................................................................................................................................ 80 Appendix B: Inventory and Map of Properties in Crowley Historic District ............................................................................................. 85 Appendix C: Crowley Historic District Date Map .....................................................................................................................................
Recommended publications
  • Critical Beauty: the Decorative, the Grotesque and the Explicit in the Work of Aubrey Beardsley and Kara Walker
    Critical Beauty: The Decorative, the Grotesque and the Explicit in the work of Aubrey Beardsley and Kara Walker Natalya Hughes School of Art Theory/ Art History College of Fine Arts University of New South Wales STATEMENT OF ORIGINAL AUTHORISHIP ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ Signed …………………………………………….............. Date …………………………………………….............. ii ABSTRACT This research project centres on a representative mode in the visual arts marked by seemingly contradictory operations. Made through a particular use of decorative form, this mode combines the operations of aesthetic pleasure and a more challenging or destabilising affect. It co-implicates formal beauty and a critical content usually associated with so-called anti-aesthetic art practices. The written component analyses the occurrence of this contradictory logic of representation in the work of late Victorian artist Aubrey Beardsley, and contemporary African American artist Kara Walker. Here I argue that while existing criticism on Beardsley and Walker points to the co-existence of these seemingly contradictory operations, it consistently privileges one term (i.e.
    [Show full text]
  • National Register of Historic Places Inventory Nomination Form
    FHR-8-300 (11-78) United States Department of the Interior Heritage Conservation and Recreation Service National Register of Historic Places Inventory Nomination Form See instructions in How to Complete National Register Forms Type all entries complete applicable sections________________ 1. Name historic Weet Village and/or common Dwight Street Historic District 2. Location street & number (see continuation sheet) N/A"Q* for publication .. New Haven N/A .... Third city, town vicinity of congressional district Connecticut _. 09 New Haven 009 state code county code 3. Classification Category Ownership Statue Present Use _ K district public x occupied agriculture museum building(s) private ^ unoccupied X commercial park structure _ X both work in progress educational X private residence site Public Acquisition Accessible entertainment x religious object . in process X yes: restricted government scientific being considered x yes: unrestricted X industrial transportation N/A X no military other: 4. Owner of Property name multiple street & number N/A city, town N/A N/A_ vicinity of state N/A 5. Location of Legal Description courthouse, registry of deeds, etc. Municipal Building, Tax Assessor's Office 200 Orange Street street & number CT city, town New Haven state 6. Representation in Existing Surveys Places title State Register of Historic has this property been determined elegible? yes _ -no date 1983 federal X state county local depository for survey records CT Historical Commission 59 South Prospect St. city, town Hartford state CT 7. Description Condition Check one Check one X excellent X deteriorated unaltered X original site X good t ruins X altered moved date X fair ~ ' unexposed Describe the present and original (if known) physical appearance The Dwight Street Historic District is a roughly square, 20-block commercial and residential neighborhood of modest, 19th-and early 20th- century structures lying near the center of New Haven, Connecticut.
    [Show full text]
  • NAME CLASSIFICATION OWNER of PROPERTY Morris D. Alhadeff
    Form No. 10-300 (Rev. 10-74) UNITED STATES DEPARTMENT OF THE INTERIOR SHEET NATIONAL PARK SERVICE NATIONAL REGISTER OF HISTORIC PLACES INVENTORY -- NOMINATION FORM SEE INSTRUCTIONS IN HOWTO COMPLETE NATIONAL REGISTER FORMS _______TYPE ALL ENTRIES -- COMPLETE APPLICABLE SECTIONS_____ NAME HISTORIC Coliseum Theater________________________________ AND/OR COMMON STREET & NUMBER rittn Avenue and Mice btreet —NOT FOR PUBLICATION CITY. TOWN CONGRESSIONAL DISTRICT Seattle __ VICINITY OF #1 - Honorable Joel M. Pritchard CODE COUNTY CODE Washington 53 King 033 CLASSIFICATION CATEGORY OWNERSHIP STATUS PRESENT USE —DISTRICT —PUBLIC ^.OCCUPIED _AGRICULTURE —MUSEUM X_BUILDING(S) ^PRIVATE —UNOCCUPIED —COMMERCIAL —PARK —STRUCTURE —BOTH —WORK IN PROGRESS —EDUCATIONAL —PRIVATE RESIDENCE —SITE PUBLIC ACQUISITION ACCESSIBLE X-ENTERTAINMENT —RELIGIOUS —OBJECT __IN PROCESS _YES: RESTRICTED —GOVERNMENT —SCIENTIFIC —BEING CONSIDERED X.YES. UNRESTRICTED —INDUSTRIAL —TRANSPORTATION —NO —MILITARY —OTHER: OWNER OF PROPERTY MorrisNAME D. Alhadeff, Washington Jockey Club STREET & NUMBER Skinner Building, 1325 Fifth Avenue CITY. TOWN STATE Seattle VICINITY OF Washington LOCATION OF LEGAL DESCRIPTION COURTHOUSE. REGISTRY OF DEEDS, ETC. King County Administration Building STREET & NUMBER Fourth Avenue and James Street CITY. TOWN STATE Seattle Washington I REPRESENTATION IN EXISTING SURVEYS TITLE None DATE —FEDERAL _STATE —COUNTY —LOCAL DEPOSITORY FOR SURVEY RECORDS CITY. TOWN STATE DESCRlt'llON CONDITION CHECK ONE CHECK ONE —EXCELLENT —DETERIORATED —UNALTERED X_ORIGINALSITE X-GOOD _RUINS X_ALTERED —MOVED DATE_______ —FAIR _UNEXPOSED DESCRIBE THE PRESENT AND ORIGINAL (IF KNOWN) PHYSICAL APPEARANCE The Coliseum Theater, designed by B. Marcus Priteca in the Second Renaissance Revival Style, has served as a first-run movie house since its opening early in 1916. Having had a high level of maintenance over the intervening sixty years, the building is in sound condition.
    [Show full text]
  • Representation in Existing
    form No. 10-300 {Rev, 10-74) U INI 1 C.U o i /\ 1 no UE,r/\l\ i ivicrN i \jr i nc, iix i trs.iwrv NATIONAL PARK SERVICE iSfjiiSs&S&S inn NATIONAL REGISTER OF HISTORIC PLACES .•SSSSISS&S INVENTORY -- NOMINATION FORM SEE INSTRUCTIONS IN HOWTO COMPLETE NATIONAL REGISTER FORMS TYPE ALL ENTRIES -- COMPLETE APPLICABLE SECTIONS Noank District AND/OR COMMON All of the Hoank Peninsula east of Elm f- including parts of CITY, TOWN CONGRESSIONAL DISTRICT d ~ Christopher J. Dodd CODE Connecticut 009 OWNERSHIP STATUS PRESENT USE —^.DISTRICT —PUBLIC ^-OCCUPIED —AGRICULTURE 3C_MUSEUM _BUILD ING(S) —PRIVATE —UNOCCUPIED 2LCOMMERCIAL 3L.PARX —STRUCTURE X_BOTH —WORK IN PROGRESS ^.EDUCATIONAL 3C.-PRIVATE RESIDENCE —SITE PUBLIC ACQUISITION ACCESSIBLE —ENTERTAINMENT 3t_RELlGIOUS —OBJECT _IN PROCESS —YES: RESTRICTED 2LGOVERNMENT JLSCIENTIFIC —BEING CONSIDERED — YES: UNRESTRICTED X-INDUSTRIAL X—TRANSPORTATION —NO —MILITARY —OTHER. NAME Names & Addresses 'in Inventory CITY. TOWN STATE VICINITY OF COURTHOUSE, REGISTRY OF DEEDS,ETC. Groton Town Clerk STREET* NUMBER 45 Fort Hill Road CITY. TOWN STATE Groton CT REPRESENTATION IN EXISTING SURVEYS TITLE New Enql and i An Inventory of Historic Elja.^ineerina and Radius trial Sites ____Historic American Engineering Record : DATE 1974 ^.FEDERAL —STATE —COUNTY —LOCAL DEPOSITORY FOR SURVEY RECORDS Library of Congress CITY, TOWN STATE Washington DC Form No. 10-300a (Hev 10-74) UNITED STATES DEPARTMENT OF THE INTERIOR NATIONAL PARK SERVICE NATIONAL REGISTER OF fflSTORIC PLACES INVENTORY - NOMINATION FORM Noank National Register
    [Show full text]
  • Dictionary of Moisture Protection and Restoration by John F
    Dictionary of Moisture Protection and Restoration by John F. Maillard CSI-CDT 2008 Edition Edited by Taryn Williams S.E. The first time I met John Maillard, he showed me a small black book, which he took from his breast pocket. The book was filled with hand-drawn illustrations of architectural details, each one a work of art. To John, they were not so much art; rather, they served a more practical purpose. The illustrations were the method he used to educate others about elements of architecture, as well as proper construction details. John is passionate about the preservation of our structures, our heritage. He is also passionate about waterproofing; because, as he says, all problems in structures begin with water. This book, John’s book, is a gem. It is a work of unique passion. I am proud that he has selected Conproco Corp. to publish his life’s collection of knowledge and experience. John, Taryn and I hope you enjoy this contribution to our industry. Christopher Brown President Conproco Corp. PREFACE Why do we use Division 07 00 00 Thermal and Moisture Protection (Waterproofing) and Preservation / Restoration in the same sentence? Because Waterproofing is an integral part of Preservation / Restoration. The only way we can preserve or restore a structure is to stop or prevent further water intrusion. We are well aware that water has destroyed or damaged more structures than wars and natural disasters have. We appear to ignore this fact when we attempt to preserve or restore our historic structures today. Our landmark architects, engineers and conservators face an enormous challenge.
    [Show full text]
  • Middle Byzantine Pottery in Athens
    MIDDLE BYZANTINE POTTERY IN ATHENS The desolation of mediaeval Athens and the deplorable state of industry so lamented by the cosmopolitan Michael Akomiinatos' are well reflected in its pottery. Contemporary wares from Corinth anid Thebes, of aii eleoance rarelv afforded by mediaeval Atlhenians, attest the fact that even in the humbler arts these cities had triumphed over their former rival. But although the Byzantine pottery of the Ao,ora is, in general, frag- mentary and poor, the circumstances of finding have sometimes prov-ided valuable chronological evidence, while an occasional fine piece rejoices the excavator and relieves the dark picture of Bvzantine Athens.2 The chronological evidence is provided by the finding of closed deposits or of refuse dumps of pottery, the contents of cisterns, pits or pithoi, filled up either all at one timne, or (as evidence of stratification shows) by dcegrees over a period of years. Each such dump may be considered as a unit, or, rather, as a group, the elements of which may be expected to show some logical relation to each other. Five such groups, rangino in date fromnthe tenth or early eleventh century to the thirteenth, have been selected for discussion here. Except in one case (Group B) the dating is based on coins found with the pottery. These groups represent almost all the types of Byzantine pottery found in the Agora, and the conclusions are consistent with those offered, with less decisive evidence, by other Agora material. The present discussion does not pretend to offer a complete chronology of Byzantine pottery but may perhaps establish a few convenient landmarks for future studv.
    [Show full text]
  • 1-··'" Registration Form
    United States Department of the Interior National Park Service NATIONAL REGISTER OF HISTORIC PLACES 1-··'" REGISTRATION FORM L-~---·· ,.~--~......... o· • • ; This form is for use in nominating or requ ~Tt~ij}roi!~w~~~:N'.)trisi for individual properties and districts. See instructions i · · -LTI.e~National Register of Historic Places Registration Form (National Register Bulletin 16A). Complete each item by marking 11 x 11 in the appropriate box or by entering the information requested. If any item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. Place additional entries and narrative items on continuation sheets (NPS Form 10-900a). Use a typewriter, word processor, or computer, to complete all items. 1. Name of Property =========--====-=======--=========--=------=-----------------==------------------- historic name New Bern Historic District Additional Documentation and Boundary Expansion other names/site number N/A 2. Location ========================-============------=-==--==---=--======-=--==============- street & number Boundary Expansion: Three separate areas - See continuation sheet 2-1 for locations N/A Not for publication city or town New Bern N/A vicinity state North Carolina code NC county Craven code 049 zip code 28562 3. State/Federal Agency Certification ====================================··==--==================================~====-- As the designated authority under the National Historic Preservation Act of 1986, as amended, I hereby certify that this x nomination-~ request for determination of eligibility meets the documentation standards for registering properties in the National Register of Historic Places and meets the procedural and professional requirements set forth in 36 CFR Part 60. In my opinion, the property _x_ meets does not meet the National Register Criteria.
    [Show full text]
  • English for Architects
    Министерство образования и науки Российской Федерации Московский государственный университет геодезии и картографии English for Architects Москва 2014 Министерство образования и науки Российской Федерации Московский государственный университет геодезии и картографии (МИИГАиК) С.В. Кириленко English for Architects Методические указания Москва 2014 Рецензенты: доктор фил. наук, А.Н. Биткеева (Институт языковедения РАН); кандидат фил. наук Д.В Моховиков (МИИГАиК) С.В. Кириленко English for Architects: Методические указания по английскому языку. – М.: МИИГАиК, 2014г., – 52 с. Методические указания представляюит собой подборку текстов по теме «Архитектура» и систему лексических упражнений. Предназначены для для студентов 1 курса по специальности «Ар- хитектура» ГУФ МИИГАиК. Все упражнения рассчитаны на развитие речевых навыков и способствуют достижению основных целей обучения иностранному языку студентов неязыковых специальностей. Электронная версия учебно-методического пособия размещена на сайте библиотеки МИИГАиК http://library.miigaik.ru 2 Unit 1. Profession of an Architect Ex. 1 Fill in the job descriptions in their places; there is one you won’t need; 1. Production architect at a large firm 2. Interns (0-5 years experience) 3. Spec (specifications) Writer 4. Principal at a Large firm 5. Contract Administration 6. Architect at a mid-size to small firm 7. Sole practitioner or firm owner 8. Design architect at a large firm What Exactly Does an Architect Do? Ask different architects the details of his or her daily job duties and you’ll get a different answer every time. What an architect does on a daily basis depends on where they live (big city or small town), what kind of firm they work for, and a myriad of other factors.
    [Show full text]
  • Fine Homebuilding 014 (April-May 1983)
    Kitchen Design • Laying a Brick Floor • • Rebuilding Log Homes April/May 1983 No. 14 o 5 o Fine % .. I I I .. od%rking 4 Letters 22 Victorian Addition Energetic clients and a pragmatic approach keep costs down without sacrificing quality Q&A 10 by Steve Larson Tips and Techniques 14 27 Curved-Truss House Standard materials and a lot of time and patience 16 Reports create a vaulted building on a grand scale Water-Source Heat Pumps by Tim Snyder 76 Reviews 30 Gaslight Renovation: A Complete Guide Liquid-propane lamps give warm light at low cost by Tim Matson 78 Calendar 32 Putting Down a Brick Floor 82 Great Moments The mason's craft is easier when the bricks are laid on a horizontal surface by Bob Syvanen Editor John Lively 36 Shelter from the Storm Art Director Betsy Levine Sometimes it's easier to live in the rain than to build Associate Editors your own house Mark Alvarez, Tim Snyder, Paul Spring by Brian Berkey Box-beam trusses, p. Western Editor Charles Miller 27 41 Treehouse Copy/Production Editor Ruth Dobsevage by Alfred Wells Assistant Art Director Frances Ashforth Editorial Secretary Lynn Meffert 42 Portable Power Planes How these versatile tools can true framing lumber and Consulting Editor Bob Syvanen clean up trim by Geoff Alexander The Taunton Press: Paul Roman, publisher, Janice A. Roman, Log-Cabin Legacy associate publisher; JoAnn Muir, director of administration; Tom 46 Luxeder, business manager; Barbara Bahr, secretary; Lois Beck, Dog-trots, saddlebags and single pens are dismantled purchasing coordinator; Elizabeth Brodginski, receptionist; Liz Crosby, and reassembled by two Tennessee restorationists personnel assistant; Mary Galpin, production manager; Mary using a mix of mountain craft and modern construction Glazman, data processing.
    [Show full text]
  • An English Pottery Heritage (PDF)
    The Troy Dawson Chappell Collection of Earthenware & Stoneware 1630 – 1800 AN ENGLISH POTTERY HERITAGE A Survey of Earthenware and Stoneware 1630 – 1800 his author has comparatively represented herein, T through catalog format, his personal assemblage of ceramic objects. The collection records progress to compactly review English earthenware and stone- ware as broadly manufactured during the span 1630 to 1800. Pottery examples demonstrate most of the prevailing production materials and the related for- mation techniques; also included are manners to de- velop the colored and shaped decorations as well as notices of predominant styles then embraced among the English perceptions and trade. This layout estab- lishes a valued domain for considering the pressures of custom, imitation, and inventive processes across a revolutionary industry, which by evolution stood as one mainstay of British wealth for centuries. The first component of the Collection, earth- enware, is formed from low-fired clays and additives that are effectively encased in a lead-glaze to reduce porosity. Second, the higher-fired stoneware depends on incipient fused-clay masses or degrees of surface vitrification to generate comparable imperviousness to liquids. Within these two groups there are several designated English pottery categories that encompass slipware, tin-glazed earthenware (delftware), agate- ware, redware, salt-glazed stoneware, and the assorted cream-colored, including emerging whiter, wares. Distinctions are shown in procedures for clay contouring such as by wheel throwing, press molding, slip casting, lathe turning, and hand modeling. At- tention is directed to approaches for relief ornamen- tation, coloration, and pattern as potters and decorators heeded challenging technological environments and changing fashions.
    [Show full text]