Blano Design Guidelines Final Draft 2

D e s i g n Gu i d e l i n e s
f o r t h e
Ci t y of Bl anco, Texas
Mainstreet Architects, Inc.
1 3 3 We s t Mi s t l e t o e
San Antonio, Texas 78212
DRAFT: J UL Y 1 3 , 2 0 1 1
Design Standards for the City of Blanco, Texas i
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Preface
Table of Contents
1. History and Development of Blanco
2. Purpose of the Design Standards and Guidelines
3. Secretary of the Interiors Standards
4. General Information
4.1. Priority Planning for Historic Commercial and Residential
Buildings
4.2. Maintenance for Historic Commercial and Residential
Buildings
4.3. Restoring Previously Modifed Buildings
4.4. New Construction within Commercial and Residential
Historic Buildings
5. Design Standards and Guidelines for Historic Commercial
District
5.1. Historic Commercial Building Types and Styles
5.1.1. One-part Commercial Block
5.1.2. Two-part Commercial Block
5.2. Components of Historic Commercial Buildings
5.2.1. Storefronts
5.2.2. Canopies and Awnings
5.2.3. Upper Floor Windows
5.2.4. Cornice and Roof Lines
5.2.5. Rear Facades and Sides of Buildings
5.3. Characteristics of the Historic Commercial Buildings
5.3.1. Building Alignment
5.3.2. Rhythm and Visual Continuity
5.3.3. Ground Floor Rhythm
5.3.4. Horizontal Organization
5.3.5. Upper Floor Organization
5.3.6. Common Building Heights
5.4. Signage and Historic Commercial District Buildings
5.4.1. Signage and Historic Buildings
5.4.2. Number, Size and Illumination of Signs
5.4.3. Prohibited Signs
5.4.4. Acceptable Sign Styles
5.4.5. Incidental Signs
5.4.6. Menu Signs
5.4.7. Special Purpose/Temporary Signs
5.4.8. Illegal Placement
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5.4.9. Noncompliance
6. Design Standards and Guidelines for Historic Residential
Districts
6.1. Historic Residential Buildings Styles
6.1.1. National Folk: Pyramid
6.1.2. National Folk: Front Gable
6.1.3. National Folk: Massed Plan, Side Gable
6.1.4. National Folk: Gable Front and Wing
6.1.5. Greek Revival
6.1.6. Queen Anne
6.1.7. Folk Victorian
6.1.8. Mission or Pueblo Revival
6.1.9. Craftsman
6.1.10. Ranch
6.1.11. Mill Country Vernacular Rock
6.2. Components of Historic Residential Buildings
6.2.1. Foundations and Skirting
6.2.2. Porches
6.2.3. Exterior Wall Surfaces
6.2.4. Exterior Doors and Entrances
6.2.5. Windows
6.2.6. Roof Forms and Details
6.3. Characteristics of Historic Residential Neighborhoods
6.3.1. Neighborhood Characteristics and Distinctions
6.3.2. Site Development and Characteristics
6.3.4. Building Heights and Orientation
6.3.5. Color
6.3.6. Modern Conveniences, Amenities, and Public
Safety
7. Materials for Historic Commercial and Residential Districts
7.1. Brick
7.2. Stone Rubble and Cut Stone
7.3. Wood
7.4. Metal
7.5. Synthetic Materials
7.6. Glass
8. Glossary
9. Resources
9.1. Historic Preservation Resources
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9.2. Affordable Housing
9.3. Archeology
9.4. Architecture
9.5. Bibliographies
9.6. Design Review
9.7. Financial ncentives and Economic Benefts
9.8. Heritage Tourism
9.9. Historic Districts
9.10. Historic Districts Boards and Commissions
9.11. Historic Landscapes
9.12. Historic Preservation Easements
9.13. Land Trusts and Conservation Easements
9.14. Legal Issues
9.15. Local Preservation Planning
9.16. Maps, Aerial Images, and Photographs
9.17. Markers and Designations
9.18. Museums and Archives
9.19. Preservation Education
9.20. Preservation History
9.21. Small Towns and Rural Preservation
9.22. Surveys of Historic Resources
9.23. Technical Assistance
9.24. Transportation
9.25. Periodicals
9.26. National Organizations
9.27. State Organizations
9.28. State University Resources
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Design Guidelines for the City of Blanco, Texas 1
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1. History and Development of Blanco
Early Anglo settlement of Blanco began in the
1850s when Captain James Hughes Callahan and Eli
Clemens Hinds settled along the south side of the Blanco
River.
1
In 1854, they were joined by General John D.
Pitts who laid out the town of Pittsburg on the south
side of the Blanco River.
2
At that time this area was in
the westernmost part of Comal County, but the settlers
soon lobbied for the creation of a new county.
3
By 1858,
the Texas legislature had established Blanco as a new
county, carved from sections of Comal, Burnet, Hays,
and Gillespie counties.
4
The settlers of Pittsburg allocated
120 acres north of the Blanco River for the new town,
and named it Blanco.
5
The settlement on the South bank
of the Blanco River was known as Pittsburg well into the
20
th
century.
1 Bill Morgan, Old Friends: Great Texas Courthouses, (Ft. Worth:
Landmark Publishing, Inc., 1999). P.22.
2 Ibid.
3 Ibid.
4 John Stribling Moursund, Blanco County History (Burnet, Nortex
Press 1979)p124
5 Morgan, P.22.
Map of Blanco County after its establishment in 1858.
2 Mainstreet Architects Inc.
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Blancos town square is in the form of the
Shelbyville pattern.
6
The Shelbyville square is one of
four central courthouse square patterns and is the most
common pattern found in Texas.
7
It consists of a square
block bounded on all four sides by a regular grid of
streets running north and south and east to west. The
intersection of the streets occurs at the four corners.
8
In
Blanco, the town square is bordered by 3
rd
and 4
th
streets
to the south and north, and Pecan and Main streets to
the east and west. The courthouse, built a short fve
years before the county seat was moved to Johnson
City, (1886-1890), remained the center of the community
as it subsequently housed many other institutions
ranging from schoolhouse to bank, to hospital, and other
businesses. Most of the buildings on the four streets
surrounding the courthouse were constructed between
the late 1800s and 1940. Early businesses included
a general store, blacksmith shop, dry goods, furniture
maker, hotel, and drug store.
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The buildings are one-story
or two-story, often with commercial storefront glazing,
transom windows, and canopies or awnings to provide
shade.
Occupations in Blanco were centered on
agriculture and ranching, with an emphasis on livestock
production due to the rocky nature of the terrain.
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Ranchers raised cattle, sheep, horses and mules, goats,
and hogs. The principal crops were cotton, wheat,
oats, rye, corn, barley, sweet potatoes, and millet.
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Commercial businesses in town supported those
industries and provided other necessities of life. There
was no railroad to spur growth and industry for the town.
All supplies had to be hauled in by wagon and later by
6 Robert Veselka, The Courthouse Square in Texas, (Austin: Univer
sity of Texas Press, 2000.) p.25.
7 Ibid.p.19 &32.
8 Ibid.
9 Moursund, 308-9.
10 Ibid, p325.
11 Ibid. p 333. Historic photograph depicting picking cotton.
Workers inside the hardware store.
Downtown square activity.
Old courthouse building operating as a bank.
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truck from larger cities in the area, such as Austin, San
Antonio, San Marcos, or New Braunfels. Commercial
enterprises by 1936 included at least 29 businesses
ranging from bank to physician, to dry goods and grocery,
from sheet metal and blacksmith to car dealers, as well
as a beauty shop, a theater, and the local paper. The
highways that were constructed in the 1920s and 1930s
helped to reduce the isolation of the town. By the late
1930s, streetlights had been installed.
12

In 1935, Highway 281 was built from south Texas
12 Moursund p.322.
Blancos movie theater.
Inside the barber shop in Blanco.
The Blanco News building.
Inside Mohair Warehouse.
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north through the hill country to Oklahoma. Main Street
in Blanco, Texas was the route by which the highway
passed through town. As time passed, Highway 281
became larger and supported more traffc, essentially
severing the west side of the square from the remaining
three sides.
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Some of the oldest early homes in Blanco were
constructed near the river, and others were located near
the town square. While several early homes can be found
within a block of the town square, such as the Beckmann
house (1873) on the corner of 3
rd
and Main, the Kellam-
Galbreath house (1880) at 302 4
th
and the Brown-Cox
house (late 1870s) at 504 W.4
th
, other signifcant early
houses were located farther out from the center of town.
Lady Bird Johnsons childhood home, Amenthal, (1882)
at 819 River Road was built near the Blanco River on
the Pittsburg neighborhood side of town. Others were
13 http://en.wikipedia.org/wiki/List_of_U.S._Highways_in_Texas
Amenthal, the childhood home of Lady Bird Johnson.
Current photograph of the historic Brown-Cox house.
The Kellam-Galbreath house as it is today.
The Beckmann house in its current condition.
The Sublett residence in 2008.
The Sublett residence in 1917.
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surrounded by felds in the early days. For example, the
Queen Anne farmhouse at 7
th
and Mesquite, built by
the Sublett family, now owned by the Cage family, was
surrounded by cotton felds in 1917, according to Mildred
Byler Ford.
Because the early property owners in Blanco
often purchased multiple lots, these frst homes were
not grouped closely together. There was likely plenty
of space around them for gardens, chicken coops, or
hog pens. By 1870, 11 persons appeared on the Blanco
county tax assessment rolls owning from one to twelve
lots (or an acre) in the town.
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Over the years, as the
population increased, new houses were built on the
empty lots throughout the town. Tax records show that
by 1911, 61 people owned lots in Blanco ranging from
1/3 of a lot to whole blocks. As newer homes were added
over the decades along the existing streets of the town,
the house types of each period can be found on almost
every neighborhood street. Over time the styles of homes
built within these blocks changed from National Folk,
Folk Victorian, and Craftsman style homes to minimal
traditional and ranch style homes. The economy of
individual households often determined the amount of
detailing and styling or lack thereof. County tax records
confrm this observed pattern of development. For
example, most of the houses on Mesquite Street were
built from the 1920s to the 1970s. In 1926, a stone house
was constructed at 821 Mesquite. The walls were built
of thick limestone blocks with a side gable roof and a
Craftsman style porch across the front (now modifed). n
1936, two houses were built on Mesquite near the Blanco
River; #16 was a National Folk (NF) style with a pyramid
roof and #26 was a NF with a side gable roof. During the
1940s, three more NF homes were built; at #223 (NF
Pyramid-Hip), #303 (NF Front Gable), and #403 (NF
14 Moursund. p 303.
Current residential street in Blanco.
A National Folk: Massed plan, side gable style
home.
Hill Country Vernacular style residence.
Folk Victorian style home.
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Pyramid). For the two decades of the 1930s and 40s,
the National Folk styles appear to dominate construction
along this street. Similar patterns can be found on other
main streets in town. The National Folk variations were
the most predominant style constructed during the 1920s
through the 1940s, although there are also several
examples of Craftsman style homes and Hill Country
Vernacular rock homes built during these years as well.
In the 1950s, the new construction shifted from these
styles to the ranch style, a minimum traditional (MT) style,
and Hill Country Vernacular (HCV) rock style. Examples
on Mesquite of these newer styles are #33 (HCV), #513
(Ranch), #721 (MT), #815 (HCV rock with Craftsman-
infuenced porch. During the 1960s, six modest homes
were built, flling in lots near the river and in the 400-700
blocks.
All of the neighborhoods in Blanco are
predominantly single family homes; however there are
a few new examples of multifamily residences in the
Pittsburg neighborhood and on the northeast side of
town. Neighborhoods in Blanco were not differentiated
by obvious signs of economic prosperity or class. The
principal pattern is that of infll of existing lots over the
decades, often because new homes were built for family
members on the family homestead. An example of this
infll is the Schmidt family's homestead which began
with the frst home being built in 1949 at 33 Mesquite.
In 1958, Mr. Schmidts parents moved to town and a
home was built for them at 25 Mesquite. The grandson
of Mr. Schmidt has since built a home in between the
two houses at 29 Mesquite. Similar evolution of lots has
occurred throughout Blanco.
A residence in the Ranch style.
A National Folk: Front gabled residence.
A Craftsman style home converted to a business.
A house with a National Folk: Pyramid style.
The History and Development of Blanco was written by
Rebecca Greathouse, M. Arch.
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2. Purpose of the Design Standards and Guidelines
a. These standards/guidelines and recommendations
are intended to preserve and maintain the character
of the historic buildings in Blanco. They reinforce and
protect the defning features of the historic districts
and defne those visual elements which are common
to each district as well as the qualities unique to this
community.
b. This document will help preserve the integrity of historic
buildings and enhance the value of the Historic Districts
for the private investor, residents and owners, and the
community as a whole. When addressing changes
to an individual building, it must not be taken out of
context. Modifcations affect the block as a whole and
must have the broad interest of the community in mind.
c. The standards/guidelines do not address the use of the
building or its interior. Only the exterior portions, which
include new construction, additions, and rehabilitation
of the building, must comply with the guidelines set
forth.
d. These standards/guidelines must be applied to a
building based on its original use and construction.
For example, a residence may currently be used as
an offce, therefore it is considered a commercial
business, but it is still a residential building.
e. These standards/guidelines will be used by the City of
Blanco to provide an objective basis for the decisions
of the City Historic Preservation Commission. The
standards/guidelines specifcally address the issues
below.
1. Height
2. Proportion of buildings front facade
3. Proportion of openings within the facility
4. Rhythm of solids to voids in front facades
5. Rhythm of spacing of buildings on streets
6. Rhythm of entrance and/or porch projection
7. Relationship of materials and texture
8. Roof shapes
9. Walls of continuity
10. Scale of building
The rhythm of the commercial buildings alignment
and entrances can be seen in this plan view.
The proportion and rhythm of the buildings
diagramed.
Diagram depicting the proportion and rhythm of the
openings of the street facade.
Sketch of commercial buildings along the main
square.
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RESTORATION
3. Secretary of the Interiors Standards
3.1. Secretary of the Interiors Standards for
Treatment of Historic Properties
a. The Secretary of the Interiors Standards for the
Treatment of Historic Properties are common
sense principles in non-technical language. They
were developed to help protect our nations
irreplaceable historic properties by promoting
consistent preservation practices.
b. The Standards may be applied to all properties
listed or eligible to be listed in the National
Register of Historic Places, which may include
buildings, sites, structures, objects, and districts.
c. The Standards are a series of concepts about
maintaining, repairing and replacing historic
materials, as well as designing new additions or
making alterations; as such, they cannot, in and of
themselves, be used to make essential decisions
about which features of a historic property should
be saved and which might be changed. But
once an appropriate treatment is selected, the
Standards provide philosophical consistency to the
work.
d. There are Standards for four distinct, but
interrelated, approaches to the treatment of
historic properties preservation, rehabilitation,
restoration, and reconstruction.
preservation
REHABILITATION
reconstruction
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Preservation is defned as the act or process
of applying measures necessary to sustain the
existing form, integrity, and materials of an historic
property. Work, including preliminary measures
to protect and stabilize the property, generally
focuses upon the ongoing maintenance and repair
of historic materials and features rather than
extensive replacement and new construction.
New exterior additions are not within the scope of
this treatment; however, the limited and sensitive
upgrading of mechanical, electrical, and plumbing
systems and other code-required work to make
properties functional is appropriate within a
preservation project.
3.1.1. Secretary of the Interiors Standards for
Treatment for Preservation
a. A property will be used as it was
historically, or be given a new use that
maximizes the retention of distinctive
materials, features, spaces, and spatial
relationships. Where a treatment and
use have not been identifed, a property
will be protected and, if necessary,
stabilized until additional work may be
undertaken.
b. The historic character of a property
will be retained and preserved. The
replacement of intact or repairable
historic materials or alteration
of features, spaces, and spatial
relationships that characterize a property
will be avoided.
c. Each property will be recognized as
a physical record of its time, place,
and use. Work needed to stabilize,
consolidate, and conserve existing
historic materials and features will be
physically and visually compatible,
identifable upon close inspection, and
properly documented for future research.
d. Changes to a property that have
acquired historic signifcance in their own
right will be retained and preserved.
e. Distinctive materials, features, fnishes,
and construction techniques or examples
of craftsmanship that characterize a
property will be preserved.
f. The existing conditions of historic
features will be evaluated to determine
When the propertys distinctive
materials, features, and spaces
are essentially intact and thus
convey the historic signifcance
without extensive repair or
replacement; when depiction
at a particular period of time is
not appropriate; and when a
continuing or new use does not
require additions or extensive
alterations, Preservation
may be considered as a
treatment. Prior to undertaking
work, a documentation plan
for Preservation should be
developed.
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the appropriate level of intervention
needed. Where the severity of
deterioration requires repair or limited
replacement of a distinctive feature,
the new material will match the old in
composition, design, color, and texture.
g. Chemical or physical treatments, if
appropriate, will be undertaken using the
gentlest means possible. Treatments
that cause damage to historic materials
will not be used.
h. Archeological resources will be protected
and preserved in place. If such
resources must be disturbed, mitigation
measures will be undertaken.
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Rehabilitation is defned as the act or process of
making possible a compatible use for a property
through repair, alterations, and additions while
preserving those portions or features which convey
its historical, cultural, or architectural values.
Treatment for Rehabilitation
historically or be given a new use that
requires minimal change to its distinctive
materials, features, spaces and spatial
relationships.
b. The historic character of a property will
be retained and preserved. The removal
of distinctive materials or alterations
of features, spaces, and spatial
relationships that characterize a property
will be avoided.
c. Each property will 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 elements
from other historical properties, will not
be undertaken.
d. Changes to a property that have
acquired historical signifcance in their
own right will be retained and preserved.
f. Deteriorated historic features will be
repaired rather than replaced. Where
the severity of deterioration requires
replacement of a distinctive feature,
the new feature will match the old
in design, color, texture, and, where
possible, materials. Replacement of
missing features will be substantiated by
documentary and physical evidence.
g. Chemical or physical treatments, if
will not be used.
h. Archeological resources will be protected
and preserved in place. If such
resources must be disturbed, mitigation
When repair and replacement
of deteriorated features are
necessary; when alterations or
additions to the property are
planned for a new or continued
use; and when its depiction at
a particular period of time is
not appropriate, Rehabilitation
for Rehabilitation should be
developed.
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measures will be undertaken.
i. New additions, exterior alterations,
or related new construction will not
destroy historic materials, features, and
spatial relationships that characterize
the property. The new work will be
differentiated from old and will be
compatible with historic materials,
features, size, scale and proportion, and
massing to protect the integrity of the
property and its environment.
j. New additions and adjacent or related
new construction will 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.
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Restoration is defned as the act or process
of accurately depicting the form, features, and
character of a property as it appeared at a
particular period of time by means of the removal
of features from other periods in its history and
reconstruction of missing features from the
restoration period. The limited and sensitive
upgrading of mechanical, electrical, and plumbing
systems and other code-required work to make
properties functional is appropriate within a
restoration project.
Treatment for Restoration
historically or be given a new use that
refects the property's restoration period.
b. Materials and features from the
restoration period will be retained and
preserved. The removal of materials
or alteration of features, spaces, and
spatial relationships that characterize the
period will not be undertaken.
c. Each property will be recognized as
a physical record of its time, place,
and use. Work needed to stabilize,
consolidate and conserve materials and
features from the restoration period will
be physically and visually compatible,
identifable upon close inspection, and
properly documented for future research.
d. Materials, features, spaces, and
fnishes that characterize other historical
periods will be documented prior to their
alteration or removal.
f. Deteriorated features from the
restoration period will be repaired rather
than replaced. Where the severity of
deterioration requires replacement of a
distinctive feature, the new feature will
match the old in design, color, texture,
and, where possible, materials.
g. Replacement of missing features
from the restoration period will be
substantiated by documentary and
physical evidence. A false sense of
When the propertys design,
architectural, or historical
signifcance during a particular
period of time outweighs
the potential loss of extant
materials, features, spaces,
and fnishes that characterize
other historical periods; when
there is substantial physical and
documentary evidence for the
work; and when contemporary
alterations and additions are
not planned, Restoration may
be considered as a treatment.
Prior to undertaking work, a
particular period of time, i.e.,
the restoration period, should
be selected and justifed, and
a documentation plan for
Restoration developed.
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history will not be created by adding
conjectural features, features from other
properties, or by combining features that
never existed together historically.
h. Chemical or physical treatments, if
will not be used.
i. Archeological resources affected by a
project will be protected and preserved in
place. If such resources must disturbed,
mitigation measures will be taken.
j. Designs that were never executed
historically will not be constructed.
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Reconstruction is defned as the act or process of
depicting, by means of new construction, the form,
features, and detailing of a non-surviving site,
landscape, building, structure, or object for the
purpose of replicating its appearance at a specifc
period of time and in its historic location.
Treatment for Reconstruction
a. Reconstruction will be used to depict
vanished or non-surviving portions of a
property when documentary and physical
evidence is available to permit accurate
reconstruction with minimal conjecture,
and such reconstruction is essential to
the public understanding of the property.
b. Reconstruction of a landscape, building,
structure, or object in its historic
location will be preceded by a thorough
archeological investigation to identify
and evaluate those features and artifacts
which are essential to an accurate
reconstruction. If such resources must
be disturbed, mitigation measures will be
undertaken.
c. Reconstruction will include measures
to preserve any remaining historic
materials, features, and spatial
relationships.
d. Reconstruction will be based on
the accurate duplication of historic
features and elements substantiated
by documentary or physical evidence
rather than on conjectural designs or
the availability of different features
from other historic properties. A
reconstructed property will re-create the
appearance of a non-surviving historic
property in materials, design, color, and
texture.
e. A reconstruction will be clearly identifed
as a contemporary re-creation.
f. Designs that were never executed
historically will not be constructed.
Source: National Park Service
When a contemporary depiction
is required to understand and
interpret a propertys historic
value (including the re-creation
of missing components in a
historic district or site); when
no other property with the
same associative value has
survived, and when suffcient
historical documentation
exists to ensure an accurate
reproduction, Reconstruction
for Reconstruction should be
developed.
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4. General Information
4.1. Priority Planning for Historic Commercial and
Residential Buildings
4.1.1. Recommendations
a. Evaluate the overall condition of the
historic building to determine appropriate
priorities for maintenance and other
desired work to the building.
b. Prioritize those activities that will extend
the life of the building such as repairs to
the foundation, roof, windows, and exterior
siding. For example, a new coat of paint
for the front of the building will not do
much to extend the buildings life if the roof
is leaking badly.
c. Retain and repair as much of the original
building material and detailing as possible.
d. If a historic feature is beyond repair,
replace it to match the original in materials
and dimensions.
e. Determine the overall quantity of material
to be repaired or replaced and plan to
repair only that material. If one window is
beyond repair, there is no need to replace
all windows in the building.
f. If compromises must be made with regard
to budget and existing conditions, focus
on what will extend the life of the building
and what is most visible from the street
and has the most impact on the overall
streetscape.
When replacing historic features that are beyond
repair, the replacement should be of the same
material and dimension of the original.
Addressing issues that will prolong the life of the
building should be attended to frst.
The overall condition of the building should be
evaluated to determine repair and maintenance
priority.
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4.2. Maintenance for Historic Commercial and Residential
Buildings
4.2.1. Observations
a. All buildings require maintenance and
cleaning. It is generally more cost
effective to maintain a historic building
and repair limited areas of damage as
they occur than it is to defer maintenance
and have to extensively replace damaged
materials and features.
a. Leveling uneven foors or shifting of a
foundation can be repaired by a foundation
contractor. Piers can be replaced
and additional structural piers may be
necessary. Check for any possible causes
for the problem such as water leaks,
termites, poor site drainage, etc.
b. Regularly clean roof drains, gutters and
downspouts of trash and leaves, and
inspect for good drainage. Install splash
blocks or extenders where necessary for
proper drainage away from the building.
c. Regularly inspect the roof for leaks and
patch them immediately. Leaks commonly
occur where the roof and wall meet and
where roof penetrations are present.
Commercial buildings often have a parapet
that should have a sound cap.
d. Historic buildings should be cleaned
using the gentlest means possible which
typically include water and soft bristle
brushes. Sandblasting and high pressure
washing can cause irreparable damage
to historic building materials and are not
permissible. Chemical cleaner must be
tested in small areas of limited visibility to
ensure compatibility and effectiveness on
the historic materials.
e. Regularly inspect the windows and
conduct cyclical maintenance. Historic
wood windows were constructed so the
damaged wood elements can be repaired
without requiring that the entire window be
replaced.
f. Damaged wood components should be
repaired or replaced as appropriate. Any
damaged or missing glazing putty should
be replaced, and the window should be
painted to ensure long term preservation.
Historic wood windows should be inspected
and maintained on a regular cycle to prevent
deterioration as seen above.
Parapets should have a sound cap to prolong
the life of the roofine material.
Maintaining a historic building is generally more
cost effective than to defer maintenance until
extensive replacement is necessary.
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Replace broken or missing glass.
g. Regularly inspect canopy and awning
attachments, anchors, and structure.
Replace worn or damaged materials when
necessary.
h. Repaint wood and metal building
components to protect them from
deterioration.
i. Keep signs freshly painted and securely
anchored on commercial buildings.
Wood and metal building components should
be maintained with paint to protect it from
deterioration.
Canopies along with their attachments, anchors,
and structure should be regularly inspected.
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4.3. Restoring Previously Modifed Buildings
4.3.1. Observations
a. Buildings have a tendency to be
modifed and modernized over time as
a way of keeping up with the times
and through maintaining a building
by replacing deteriorated materials.
Replacement materials may or may not
have been compatible with the original
design and, if not, may have negatively
impacted the historic appearance of the
building. However, some additions and
modifcations may become historically
signifcant over time or considered part of
the "period of signifcance for a building.
b. Period of signifcance is the length of
time when a property is associated with
important events, activities, or persons, or
attained the characteristics which qualify it
for National Register Listing.
c. Consider restoring a building to its original
appearances when appropriate. This will
enhance the building and the surrounding
district. Refer to historic photographs to
determine the historic appearance of the
building. If clear evidence of previous
details exists, use these clues to return the
building or detail to its original appearance.
d. Restoration measures should not be
undertaken if the historic appearance of
the building cannot be determined, rather
a simplifed comparable design would be
appropriate.
4.3.2. Recommendations for Commercial Buildings
1
a. f the ground foor has been altered behind
the common line of the surrounding
building, bring the storefront back to the
original alignment.
b. Replace non-historic aluminum, framed
doors and windows with wood storefronts
and windows in a design to match the
original design.
c. Restore blocked and boarded-up windows
and openings, including transoms.
d. Install canopies where they previously
existed. Canopies provide a cohesive
quality to the pedestrian experience.
1 The recommended restoration measures are for
those buildings in which appropriate historical documentation
exists.
The evolution of the historic drug store in Blanco
can be seen through historic photographs. The
original design can be restored with the aid of
photographic documenation.
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Canopies were more common historically
than awnings.
e. If canopies were previously replaced
with contemporary aluminum canopies,
they should be returned to the original
design and material. Designs should
be compatible to the time period of the
building.
4.3.3. Recommendations for Residential Buildings
a. Porches are one of the most modifed
elements of a house. Restore the porch to
its original design.
b. f foor elevation has been lowered and
material changed, consider raising the
porch to its original height and replacing
the columns where modifed.
c. If a porch has been enclosed over time,
restore it to the original open plan.
d. If a porch has been removed, restoration
is recommended as it is a major defning
feature for the house.
e. Remove non-historic synthetic siding that
has been applied over the original siding.
Siding changes the character of the house
and can cause deterioration of any wood
siding retained behind the new material.
f. Evaluate the condition of the underlying
historic material, replace in-kind with a
dimension and profle to match original.
g. When windows have been removed
and replaced with windows of a different
material and proportion, such as
aluminum, consider replacing them with
windows to match the original in material,
proportion, confguration, and operation.
When replacement windows are not consistent
with the original material and/or proportion,
consideration should be given to replacing them
to match the original.
When porches that have been modifed, like the
one above, consideration should be given to
restoring it to its original design.
Boarded-up openings should be restored.
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4.4. New Construction within Commercial and Residential
Historic Buildings
a. All efforts should be made to protect and
maintain Blancos historic resources. New
construction may occur within historic
districts as in-fll on empty lots or, in
very rare instances, in place of historic
buildings.
b. Historic buildings should be replaced only
on those very rare instances when the
building is beyond repair, such as when
a building is severely damaged by fre or
other such disasters.
4.4.2. New Additions
a. Additions to existing buildings are often
necessary to accommodate contemporary
lifestyles and amenities. Additions shall
not overpower the original structure and
should be designed in such a way as to
appear removable or subordinate set
the addition back from the original building
wall.
b. Use details that are compatible with the
original details but not more ornate.
c. Proportion, building form, height, scale,
material scale, windows, etc. should
respect the original building.
4.4.3. New Construction
a. New Construction should not be designed
in a way to appear falsely historic. New
buildings are new buildings and should not
be confused with historic structures.
b. Respect and maintain the overall height of
buildings in the immediate vicinity.
c. Maintain the building relationship to
the street. Set the new building back a
distance equal to that of the surrounding
structures and orient the new building the
same way.
d. Maintain the established rhythm of
the structural piers in the surrounding
buildings. Consider a similar rhythm,
structural bay or width.
e. Respect the overall proportion and form
of adjacent historic buildings. Maintain
the same scale and width-to-height
relationship.
f. Maintain the horizontal continuity of the
historic downtown by mimicking the foor
New construction should maintain the overall height
of the buildings in its immediate surroundings,
unlike the building seen above.
Additions should not overpower the original
structure as seen in this example.
When adding dormers, avoid a pop-up appearance
(left) by retaining the orginal roof pitch (right).
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heights of adjacent buildings.
g. Respect the adjacent historic resources in
their roof forms and materials.
h. Maintain the solid-to-void pattern
established in the window openings within
the commercial district.
New construction adjacent to historic resources
should respect these resources materials and roof
forms.
nfll construction should respect the adjacent
historic structures style, scale, and material usage.
The above is not an example of an appropriate
solution.
When replacing a historic structure, refrain from
using styles and/or characteristics not present
within the local context.
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5. Design Standards and Guidelines for Historic
Commercial District
5.1. Historic Commercial Building Types and Styles
5.1.1. One-part Commercial Block
5.1.2. Two-part Commercial Block
5.1.1. One-Part Commercial Block
5.1.1.1. Observations
a. The one-part commercial block
began to appear in the 1850s
and was mainly used as retail
space or banks.
5.1.1.2. Characteristics
a. Area between cornice and
windows for signage
b. Simple, one-story box with a
decorated facade and simplifed
sides and rear
c. Large plate glass windows
d. Decorated cornice or parapet
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5.1.2. Two-Part Commercial Block
a. The two-part commercial block is
the most common building type
used for small and moderate
size commercial buildings in
the country. This type was
constructed from the 1850s to
the 1950s. Facades refect the
public frst foor use and private
second foor use.
a. Decorative cornice or parapet
b. Horizontal division of two-story
building into two distinct zones
public and private
c. Large openings at frst foor
public area, small openings at
second foor private area
d. Masonry as the principal facade
material
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5.2. Components of Historic Commercial Buildings
5.2.1. Storefronts
5.2.4. Cornice and Roof Lines
5.2.5. Rear Facades and Sides
5.2.1. Storefronts
a. Commercial storefronts typically
consist of a base or kick plate at
the ground level with large fxed
windows above.
b. These large window expanses
invite shoppers to look in and
allow natural day-lighting of the
interior.
c. Additional lighting and ventilation
are provided through the
transom windows above.
d. These three-part divisions of a
kick plate, windows, and transom
must be preserved.
e. Kick plates were originally
constructed to raise the
storefront and reduce the chance
of damage. They serve the
same purpose today.
f. The entrances to historic
buildings are often recessed or
set back from the face of the
building to draw people into
the building, allow space for
entering, and provide protection
from natural elements.
g. Entrances are proportional to ft
within the overall organization
of the storefront. The entrance
height is equal to the top of the
display windows.
h. Historic doors generally have
a large glass panels to let you
see inside. They also have a
kick plate similar in design and
proportion to the kick plate along
the front of the store.
5.2.1.2. Recommendations
a. Display windows should remain
transparent and not be altered in
Three-part storefront with recessed entrance.
An example of three-part division storefront.
Similar kick plate design on doors and the front
of store.
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size.
b. Transoms should not be covered
over or painted out.
c. Entrances should not be
changed. They shall not be
removed to create more interior
space, nor shall they project out
beyond the common wall.
d. If an entrance was not recessed
originally, it should not be
changed. Entrance heights
should also be retained and
should not be lowered.
e. If historic wood doors are beyond
repair, replace them with wood
doors of the same dimensions
and details.
f. Doors are frequently installed
in pairs. Historic doors should
be retained and repaired if
necessary.
g. Do not replace double doors with
one large single door or reduce
the opening to accommodate a
new, standard size door.
h. Aluminum doors that were
original to the building shall be
replaced with aluminum doors,
if they are missing or damaged
beyond repair.
i. Aluminum doors and frames
are not appropriate where wood
doors were originally installed.
a. Canopies are common on
historic commercial buildings.
They are a signifcant horizontal
element of the building block and
create a common human scale.
b. Some of the canopies in Blanco
are hung from the building using
rods, while others are supported
by poles or columns.
a. Many of the pipe columns still
present today were original to
the building, and should not be
Transoms should not be covered over or painted
out.
Historic doors should be retained and repaired
when necessary.
Example of canopies hung using rods.
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changed. If they are beyond
repair or missing, they should be
replaced with pipe columns of
the same proportions.
b. Canopies should be maintained
if still in place and consideration
should be given to reinstalling a
canopy if there is evidence that
one previously existed.
c. Canopies and awnings should be
installed at a height consistent
with other historic canopies
and appropriate for the specifc
building. This will continue the
horizontal organization already
established.
d. Bubble awnings, awnings of
shiny plastic, and awnings
with internal lighting are not
appropriate.
e. Awnings and canopies should
not conceal the character-
defning features of historic
storefronts.
a. Older buildings are recognized
by their individual window
openings with lintels above them,
whereas in buildings of the early
1900s, windows were placed
in banks of two or three where
technology allowed for larger
openings.
a. Many windows have hood
moldings or decorative tops
made of stone brick or other
materials. These moldings
should be retained and not
removed.
b. Most window openings are tall
and narrow. These openings
should not be modifed to install
new, smaller windows, or larger
ones.
c. The majority of windows
along the upper foors of the
Hood moldings on individual window openings,
Canopies and awnings should align at a
consistent height appropriate to each building.
If evidence exists of a removed canopy,
consideration should be given to reinstalling it.
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Roof-top mechanical equipment should not be
visible within the line of sight.
commercial buildings appear to
be punched or constructed as
individual units in the wall of the
buildings.
d. Most of the commercial windows
are wood framed and double
hung, meaning both sashes
move up and down. Wood
windows should be maintained
and not replaced by aluminum or
vinyl windows.
5.2.4. Cornices and Roof Lines
a. The roof line of a historic
commercial building is usually
detailed to create a crown or
cornice.
b. The roof line of a commercial
building is typically not seen from
the front or sides of a building
due to a parapet or wall that
extends above the roof line in
order to conceal it. The roof line
is usually visible from the rear of
the building.
a. The roof line should not be
modifed from the original.
b. Parapets should be retained
and maintained. Proper
maintenances of the roof and
parapet walls will help prevent
roof leaks.
c. If the original cornice and detail
are missing, consider replacing
the details to match the original
design, if there is enough
information to do so.
d. If newer materials cover the
original cornice details, it is
recommended that these
materials be carefully removed to
reveal the original design when
rehabilitation is undertaken.
e. Mechanical equipment, when
placed on the roof, should not be
visible within the line of sight.
Example of tall, narrow windows that appear to be
punched out, these should be maintained.
Detailed cornice at roof line retains its historic
character.
Replacing missing cornice and details is encouraged when
enough evidence exists.
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5.2.5. Rear Facades and Sides of Buildings
a. The sides and rear elevations
of most historic commercial
buildings were often constructed
of a different material than the
more prominent materials used
on the front facade.
b. The number, size, and amount
of detail on the windows differ
depending on which elevation
they are located.
c. Historically, rear entrances to
buildings are utilitarian and not of
architectural signifcance.
a. Rear and side facades should
respect their simple original
design and should not be
dressed up to create a false
impression or false history.
b. Some corner buildings were
constructed with two fronts
to face both streets. Both of
these facades should retain their
prominence.
c. As parking becomes more
available from the rear of the
building, these entrances to the
building may become a more
prominent access to the building.
However, this entrance shall not
compete with the front entrance.
Rear and side facades should not create a false
history by being dressed up.
The rear and side facades should be respected
for their simple original design.
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5.3. Characteristics of the Historic Commercial Buildings
a. Buildings in the Historic
Commercial District have a
consistent alignment or have a
common setback ensuring that
the front wall of all buildings is
constructed along the same line.
b. Historic buildings that are not in
the downtown square also have
a setback from the street that
should be respected.
a. This common line of
construction shall be respected
and maintained to give the
appearance of a common wall.
b. Construction shall not recede
from this common setback and
no part of the building shall
project beyond this line except
canopies, awnings, and signage.
c. If the entrance to a building has
been modifed, consideration
should be given to returning the
entrance and wall of alignment
back to its original position if
future alterations are made.
d. New construction should follow
the historic building line.
a. Most commercial buildings in the
Historic District have elements
in common which create a
rhythm and visual pattern. Some
elements include windows,
doors, columns, piers, awnings,
canopies, etc.
b. The majority of these buildings
A common setback should be retained within
the Historic Commercial District.
f an entry has been modifed, returning it to its
original design should be considered.
Rear entrances should not appear as
prominent as front entrances.
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A consistent alignment of the buildings should be
maintained. Avoid violating the common alignment.
were designed on a strong
architectural tradition of
repeating parts. This tradition
should be maintained.
c. While all buildings do not have
identical details, the visual
continuity and rhythm remains.
a. The continuity, visual pattern,
and rhythm should be retained.
b. Modifcations that previously
interrupted that rhythm should be
removed during renovations to
restore the visual continuity. For
example removing a previously
installed slip cover or fake
facade.
a. Each bay, or structural width,
generally has glass doors and
windows between structural
piers, creating a solid-to-void
pattern. This pattern may
deviate slightly from building-to-
building, but maintains an overall
rhythm of the ground foor.
b. A characteristic common to
many commercial buildings is
the recessed entrance. This
recessed space adds to the
rhythm of the building face and
to the block of buildings. This
rhythm is also experienced by
the pedestrian walking down the
block.
The rhythm of the buildings is experienced by the
pedestrian passing by.
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The tradition of repeating parts should be
maintained.
The repetition of doors and windows creates a
pattern between structural bays.
a. The regularity of doors and
windows across a buildings
facade creates a rhythm at the
ground foor which should be
retained.
a. Downtown commercial buildings
have a common horizontal
organization in the heights of
storefronts, canopies, etc.
b. Horizontal organization
separates the frst foor storefront
use from the private second foor
offces or living spaces.
c. Horizontal bands are clearly
seen in the front facades of
historic buildings.
d. The frst foor typically has more
openings and greater attention to
detail than the second foor.
e. In two story buildings,
the horizontal bonding or
organization continues with the
roofine and windows.
a. These horizontal organizations
should be maintained,
uninterrupted by signage,
canopies, awnings, etc.
The private use of the upper foors is evident in the
smaller expanse and size of windows.
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a. Given the more private use
of the upper foors, there are
smaller expanses of windows
and more defned openings
than the ground foor storefront.
These distinct upper foor
window openings establish a
pattern and rhythm of solid-
void-solid with the adjacent wall
surface.
b. These distinct window openings
have consistent proportions that
create a common rhythm across
the building and the block.
a. Avoid altering the proportions
of the upper foor openings,
roofine, and details
a. The two-story buildings have a
consistent height and similar cap
detail on the front facade. Some
buildings have a constructed
cornice of masonry while others
have a pressed metal cornice.
b. One story buildings generally
have more variation in the height
and detail of the facade cornice.
c. Roofs are low slope and are
hidden behind the parapet wall of
commercial buildings.
d. Side wall and rear elevations
are not as detailed as the front
elevation, but may have some
form of cap or detail.
Two-story buildings have a consistent height
while one-story buildings vary.
Side walls should retain their modest
appearance.
The regularity of doors and windows should be
retained.
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The common height of storefronts and canopies
should be retained.
a. To alter this cap or detail by
addition or subtraction is not
appropriate and will alter the
horizontal organization.
b. Reconstruct cornice details and
parapets as the opportunity
presents itself.
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5.4. Signage and Historic Commercial District Buildings
5.4.1. Signage and Historic Buildings
5.4.5. Menu Signs
5.4.1. Signs and Historic Buildings
a. Signage has long been a part of
historic buildings.
b. Historic buildings were often
designed with built-in locations
for signage.
c. Historically, painted advertising
often appeared on the walls of
buildings. The signage is an
important part of historic and
development of commercial
buildings and businesses.
d. Display windows act as signage
by allowing the passer-by to look
into the storefront.
e. There are minor and major sign
locations on most buildings.
Doors and windows offer a
location for a minor sign such as
street address number or tenant
name.
a. Primary design considerations
for signage should address size,
scale, height, color, and location
so as to be harmonious with the
buildings and overall historic
characteristics of the district.
b. All signage must relate to a
business or service within the
historic building.
c. A well-designed store window
display can say more about the
occupant than words in a sign.
Avoid flling the display window
with additional signage and
blocking the view inside.
d. Painting new signs on the
Store window displays can say more about the
occupant than additional signage.
Door transom with appropriate minor signage.
Historic photograph of Blanco building with
painted advertising.
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building is acceptable provided
that the sign meets other
signage criteria and is in scale
with the building. An acrylic latex
paint should be used for signage
painted directly on masonry.
e. Construct the sign of the most
durable material that one can
afford.
f. Signage needs to be securely
anchored to the building
or canopy but must not be
anchored in such a way as to
cause damage to the historic
building material.
g. Avoid damaging, disfguring, or
covering architectural features
and details with signs. If the wall
is masonry, install the sign in
mortar joints which can easily be
repointed.
h. Blade signs, or two-sided
hanging signs are an appropriate
signage type and are often
installed from a canopy for the
pedestrian to view.
i. An appropriate position for small
blade signs is above or near the
entrance. For larger signs, place
them higher and centered on the
facade unless corner placement
is more suitable.
j. Hanging signs under canopies,
or blade signs, must have at
least eight (8) feet of height
clearance from sidewalk.
k. Window signs may be hung
inside a front window or painted
on the glass. A traditional form
of placement used both on
ground foor and second-story
windows.
l. Neon signage may be historically
appropriate on certain styles or
periods of historic buildings, such
as buildings constructed in the
early twentieth century and later.
However, neon signage is not
appropriate for all buildings. Do
not install where neon was not
Eight (8) feet of height clearance from the sidewalk
must be provided when hanging signs under
canopies.
Blade signage is an appropriate signage type and is
often for the pedestrian to view.
Historic photograph of Blanco Theater with marquee
signage.
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original to building.
m. All signage should be kept in
good maintenance and shall be
kept free of all debris and other
refuse.
n. Plastic signs, either lighted
from the back or internally
in fat plastic panels, are not
appropriate on any building in
the downtown district.
o. Identify built-in locations and try
to work within them for any new
signage.
p. Avoid listing all services or
products on a sign as the viewer
will get lost in the information.
q. Painted advertising shall not be
removed or painted over.
r. Refer to the City of Blanco Sign
Ordinance for additional signage
requirements and restrictions.
All signage should have
prior approval of the Historic
Preservation Commission.
a. For buildings housing one
business or service, one (1)
major sign and one (1) minor
sign shall be permitted for each
facade with a public entrance
to that business. No sign shall
exceed ffty (50) square feet.
b. For buildings housing more than
one business or service, each
business or service shall have
no more than one (1) major
and one (1) minor sign, with no
sign exceeding ffty (50) square
feet. The total number of signs
shall be kept to a minimum.
Developing a signage plan for a
multi-tenant building is required
for meeting that requirement.
c. The total area of all signage
shall not exceed thirty-six (36)
square inches per running
foot of store frontage for each
facade, for a total of no more
Plastic signage is not appropriate in the
downtown district.
The historic built-in locations should be
identifed and worked within for signage.
Avoid listing all services on the signage.
EDITING
IN
PROGRESS
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than ffty (50) square feet. f the
facades proportions support
additional signage, the Historic
Preservation Commission may
approve it.
d. When computing the area of
a sign, the measurement shall
include all borders. Bracing
and support structures are not
included in fguring the area. n
the case of channel letter signs,
the determining area shall be
the smallest rectangle that will
contain all the writing. For signs
with more than one (1) sign face,
such as double-faced, back-to-
back, overhanging and projecting
signs, each side of the sign shall
be included in total allowable
signage area.
e. Signs that direct the reader to a
specifc place or along a specifc
course, such as entrance,
exit, and handicap access,
shall not count toward the
total allowable signage area.
Emergency signs are exempt.
f. Sign illumination shall be
provided by the following (1)
indirect, internal, or bare-bulb
lighting, provided there is no
resulting glare, (2)indirect lighting
employing a hood or diffuser,
or (3)internal illumination using
opal glass or another translucent
material (excluding plastic) that
transmits an equal or lesser
amount of light. Glare is
defned as an illumination level of
at least six (6) lux at the property
boundary. All illumination must
be steady and stationary.
a. Billboards, junior billboards,
portable signs (including torpedo
signs), pole signs, electric (or
plastic) signs, cloud buster
balloons, infatable device signs,
Handicap access signage does not count toward total
allowable signage.
Example of channel letter signage.
The motel sign is an example of a pole sign and is
considered prohibited signage in the Historic District.
EDITING
IN
PROGRESS
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and advertising benches.
b. Digital or LED-lighted signs,
including those with rotating or
fashing lettering or images.
c. Roof-mounted signs, or sky
signs, except for landmark signs
or those approved by the Historic
Preservation Commission.
d. Any sign abandoned for more
than six (6) months or damaged
beyond ffty (50) percent of
its replacement value shall
be removed, along with their
supports, brackets and braces.
5.4.4. Acceptable Sign Styles
a. Flush-mounted wall signs: Use
type fonts traditionally seen in
the area; try to limit the number
of colors to three; and, when
possible, mount the sign so that
it aligns with others on the block.
b. Directory signs: These can
include an assortment of small
individual signs of common
size, proportion, and orientation,
as well as professional-style
directories.
c. Ground signs or free-standing,
monument-style signs: If small
in scale, no taller than six (6)
feet and causing minimal visual
interference with the structure,
are appropriate for houses used
for commercial purposes as
well as for churches, community
centers and similar structures.
a. Allowable incidental signs,
including those carrying business
hours and street numbers,
must conform to historic district
standards. They are not included
in the total allowable signage
area.
5.4.6. Menu Signs
Only landmark signage and those approved
by the Historic Preservation Commission are
permissible roof-mounted signage.
Signs that are abandoned and/or severely
damaged should be removed along with its
support attachments.
A fush-mounted sign with appropriate design for
the building.
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a. Menu boards shall be limited
to no more than three hundred
sixty (360) square inches,
with no more than one (1) per
establishment. The menu may
be displayed inside the window
adjacent to the main entrance.
It is permissible for the name of
the restaurant to be placed on
the menu, but not on the menu
board. The business logo shall
be considered a sign.
a. All special purpose signs shall
receive prior approval and shall
be removed within twenty-one
(21) days of such approval
unless a different display period
is specifed. Banners, pennants
and most fags are considered
special purpose signs and are
appropriate for advertising and
decoration only during special
events or celebrations.
a. Commercial signs, posters,
decals or advertisements should
not be tacked, nailed, pasted,
or taped to any portion of the
exterior of the building, with the
exception to temporary posters
placed on the inside window,
which shall be removed within 48
hours of the end of the event.
a. Any legally erected sign that
falls out of compliance because
of revisions to these standards
shall be considered for
nonconforming status.
Special purpose signs, such as the fag above,
are appropriate for decoration during events and
celebrations.
Temporary posters placed on the inside of storefronts
should be promptly removed following the event.
Temporary signage must receive prior approval.
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6. Design Standards and Guidelines for Historic
Residential Districts
6.1. Historic Residential Buildings Styles
6.1.4. National Folk: Gable Front and Side Wing
6.1.5. National Folk: Hall and Parlor
6.1.7. Queen Anne
6.1.9. Craftsman
6.1.10. Ranch
6.1.11. Mill Country Vernacular Rock
6.1.12. Minimal Traditional
6.1.1.1. The Pyramidal National Folk is
a massed plan of a rectangular
shape, and are commonly built with
equilateral hip roofs. Such roofs
appeared in the early post-railroad
era on modest houses.
a. Equilateral roof
b. Square shaped plans
c. Full width porch
d. Large fexible interior plan
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6.1.2.1. The Front Gable National Folk frst
became common in expanding
Southern cities in the late 19th
century. These are usually one-
story, double-width forms with low-
pitched roofs.
a. Front facing gable
b. Low pitched roof
c. Double width form
6.1.3.1. The side-gabled folk houses with
massed plans are usually one-
story forms that vary principally in
roof pitch, size, and placement of
porches. In the South, the houses
usually have full-length shed roof
porches and relatively large fexible
plans.
a. Side-gabled roof
b. Full-length shed roof porch
c. Massed Plan
d. One-story in height
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6.1.4. National Folk: Front Gable and Side Wing
6.1.4.1. The front gable and side wing
houses of the South were
traditionally one-story, hall-and-
parlor plans that were expanded
to add a gabled front wing. These
houses had more fexible interior
spaces than the typical hall and
parlor.
a. Side-gabled roof, with front-
facing gabled wing
b. Shed roof porch
c. One-story in height
d. Flexible interior spaces
6.1.5. National Folk: Hall and Parlor
6.1.5.1. Hall and Parlor style is traditionally
two rooms wide and one room deep
as a traditional British folk form.
However, the addition of a front
porch and rear addition became a
dominant pre-railroad folk housing
for the southeastern United States
and continued after the introduction
of the railroad.
a. Side-gabled roof
b. Two rooms wide and one room
deep
c. Addition to rear
d. Front porch
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6.1.6.1. One of the most familiar stereotypes
in American architecture is the full-
colonnaded Greek Revival mansion
of the southern states. The
southern Greek Revival residences
partially sprung from French
colonial building practices.
a. Entry porch with prominent
columns
b. Gabled or hip roof with a low
pitch
c. Emphasized cornice line with
wide, divided trim
6.1.7. Queen Anne
6.1.7.1. Queen Anne was the dominant
style of domestic architecture from
1880 to 1900. The style is based
on characteristics from the late
Medieval styles such as Elizabethan
and Jacobean architecture.
a. Asymmetrical facade
b. Decorative wood detailing
c. One story porch that extends
along one or both side walls
d. Steeply pitched, irregular shaped
roof
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6.1.8.1. The Folk Victorian style was
implemented using existing Folk
residences and adding Victorian
detailing. Railroads spread the
materials and machinery needed for
this style.
a. Gabled roof
b. Porch roof supports are either
spindles or square posts
c. Simple folk form
d. Spindle work detailing
6.1.9. Craftsman
6.1.9.1. The Craftsman style was inspired
by the English Arts and Crafts
movement, oriental wooden
architecture, and the manual
arts. The style began in southern
California and spread through
pattern books.
a. Low-pitched gable roofs
b. Porch roof supports are square
or tapered columns
c. Roof rafters and decorative
beams are exposed
d. Wide, open eave overhang
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6.1.10. Ranch
6.1.10.1. The Ranch style is a uniquely
American domestic architectural
style. It began in the 1930s and is
loosely based on Spanish Colonial,
Craftsman, and Prairie precedents.
a. Single- story with asymmetrical
facade
b. Porch roof supports in decorative
iron
c. Low-pitched roof with long, low
roofine
d. Large picture windows with
decorative shutters
e. Brick or wood cladding
6.1.11. Hill Country Vernacular Rock
6.1.11.1. The stone rubble that is indicative to
the Texas Hill Country is commonly
used within Blanco. This stone
is pieced together and held with
mortar to create load bearing walls
that in turn form modest dwellings.
These vernacular rock houses are
common throughout the Texas Hill
Country and should be preserved.
a. One-story house
b. Typically metal roofng
c. Porches framed by rock arcades
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6.1.12. Minimal Traditional
6.1.12.1. Minimal Traditional style is
reminiscent of the traditional
Eclectic House form, but without
the decorative detailing. It began
during the 1930s Depression and
continued until shortly after World
War II.
1. Minimal decoration
2. Low to intermediate roof pitch
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6.2. Components of Historic Residential Buildings
6.2.2. Porches
6.2.5. Windows
a. Houses in the historic residential
areas of Blanco are of frame
construction on pier-and-beam
foundation consisting of wood
post, brick, or stone piers set
into the ground. This type of
construction elevates the house
above the ground. Wood posts
often fail over time, causing the
house to shift, and eventually the
posts will need to be replaced.
b. There are a number of frame
structures with brick, stone,
or concrete perimeter beams.
Some houses of concrete-block
and masonry construction also
exist. These masonry structures
have interior supports similar to
pier-and-beam construction.
c. The skirting closes the space
under the house, but has
openings for ventilation. The
skirting material and detail are
defned by the style and period
of the house. For example,
Craftsman houses frequently
have a fared skirt of horizontal
board siding, stone, or brick with
ventilation screens. Brick and
stone houses, along with a few
wood frame houses, typically
have brick or stone skirting.
Sometimes concrete block that
resembles stone is used as
skirting.
a. Repair deteriorated foundations
before attempting other repairs,
such as roof leaks. The
movement of the foundation may
Vents along the perimeter provide necessary
ventilation under the house.
Flared shingle skirting example on a craftsman
residence.
An example of a pier and beam residence.
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cause other materials to shift or
cause leaks.
b. The foundation posts may be
replaced with new posts of
cedar or chemically treated
wood; or concrete piers may be
installed. Floors can be leveled
and additional support may be
installed if needed.
c. Both stone and brick foundations
may have deteriorated or
missing mortar, which requires
repointing or replacing mortar.
See Materials section
6.2.2. Porches
a. The front porch is one of the
most prominent features of
individual residences and is
found on most of the houses.
The front porch is an extension
of the living space and
contributes to the character of
the street and the neighborhood.
While most porches are elevated
above ground, some of the
newer houses have porches that
are near grade.
b. Throughout Blanco, many
porches retain their character-
defning features of columns,
railings, steps, and other details.
c. Some porches have been altered
and their original columns have
been removed and replaced
with fabricated metal or other
inappropriate materials and
design.
d. Other alterations include
lowering the porch level,
installing concrete or brick
porch fooring at grade, and
enclosing all or part of the porch
to accommodate additional living
space.
e. Porches require a great deal of
maintenance because of their
exposure to the weather; repair
is inevitable and necessary.
By preserving the porch's defning features, the
house retains its character.
Elevated porches are typical of pier and beam
residences.
Double front porch is indicative of the style and era
of the residence.
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a. Retain original materials and
make repairs that match the
original design of the porch foor,
columns, railings, brackets,
steps, and other character-
defning details.
b. Wood porch foors and
columns may require eventual
replacement due to moisture
penetration; wood foors and
columns should only be replaced
with wood.
c. At no time shall the porch
elevation be lowered to grade
and steps redesigned. Porches
should not be enclosed to
provide more living space as
this can dramatically alter the
appearance of the house. Any
enclosure should be reversible.
d. As renovation occurs, consider
restoring a previously altered
porch and its features. If
porches have been drastically
altered, or if there is no clear
idea of what was originally in
place, they can be designed to
be sympathetic to the original
style of the house. Do not
construct a porch of a different
house style.
e. If an access ramp needs to be
provided, it should be located
to minimize the loss of historic
features and should preserve the
historic character of the property.
f. Ramps should be constructed
out of various materials to
be compatible with housing
styles. Ramps constructed out
of unpainted pressure treated
wood are considered temporary
and not visually compatible with
historic properties.
a. The most prominent exterior wall
material is horizontal wood siding
When adding an access ramp, it should be
thoughtfully placed and designed within its
context.
When repairs and replacement of parts are
necessary, match the original design as closely
as possible.
Regular maintenance to porches is necessary
due to their exposure to the elements.
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the profle of which varies from
building to building.
b. Blanco housing also has a few
examples of board-and-batten
siding. This is a vertical wood
siding with narrow wood strips,
or battens, covering the seams
of the siding.
c. The historic wood siding has
been on some of the houses for
100 years and can last decades
to come if properly maintained
and painted. Brick, stone, and
stucco are also present.
d. Although the majority of the
houses retain their original
siding, a few of the house have
been covered with non-historic
siding such as asbestos, vinyl
or aluminum, and occasionally
stucco.
a. Each exterior wall surface
material requires different
maintenance which can be
referenced in the Materials
Section of this document.
b. It is important to retain the
original siding and its dimension,
profle, and shadow lines.
c. If the building was constructed of
wood siding and needs repairs or
board replacement, most siding
types are still manufactured and
available from suppliers or can
be custom milled for a nominal
fee.
d. For the integrity of the
neighborhood and house itself,
it is not recommended that any
synthetic siding be installed over
existing wood siding. This not
only changes the appearance of
the house but may also cause
deterioration of the historic
material it covers. Additionally,
synthetic siding often conceals
many of the original details of a
residence.
e. While houses with existing
An example of a stone rubble residence.
An example of board-and-batten siding.
A residence with wood siding.
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synthetic siding installed are not
required to remove the siding
and restore the exterior, removal
of synthetic siding and repairing
of original siding and trim are
encouraged.
a. The historic housing in Blanco
has a wide range of entry
treatments corresponding to the
variety of housing styles. Even
the simplest houses have a
well-defned entry that faces the
street.
b. Some of the houses have
multiple entrances and some
houses have transoms, or
windows, above the door. Some
of the entrances are fanked by
side lights, or windows.
c. Historic front doors often have
glass upper panels.
d. Another important feature is
the wooden screen door, often
with decorative inserts, which is
present on some of the houses.
e. Transoms are sometimes
concealed when alternative
siding or doors are installed.
Some historic screen doors have
been replaced with aluminum or
vinyl screen doors.
a. It is important to maintain the
multiple components of the entry
doors, including glass panel
doors, transoms, sidelights and
screen doors.
b. Historic doors should be repaired
where damaged. Ensure proper
operation and install secure
hardware and weather stripping
for energy effciency.
c. Reduce airfow at the bottom
of the door by installing a door
sweep to ft snugly against the
threshold.
d. Where beyond repair or already
Example of residence with multiple entrances.
A well defned entry adds character to any
residence.
An entrance door with side lights.
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removed, historic doors can be
replaced with a door of similar
design or replicated by a skilled
worker.
e. Installing a new door that
does not match the original
is not recommended as it
would negatively impact the
character of the house. Screen
doors should be retained and
repaired when necessary. Any
replacement screen door should
match the historic or be framed
to mirror the panels and sash
divisions of the door that it
covers.
f. If storm and screen doors are
installed where none existed
originally, select a full vision
panel design to allow the
original door to be seen.
g. Repair damaged transoms
and sidelights. Avoid altering
transoms and sidelight as it
distorts the strong vertical
proportions of the windows and
doors and changes the character
of the residence.
h. Retain original lighting fxtures,
and repair and re-wire as
necessary. Any new entry
lighting fxtures should be
compatible with the character
of the building. An artifcially
"aged fxture that mimics a
carriage lamp or gaslight is not
recommended.
6.2.5. Windows
a. Windows play an important role
in the character of the houses
and the overall neighborhood.
b. The proportion, material, and
organization of windows in a wall
help to establish a construction
date of the house. The detail of
the window is frequently a key
characteristic in identifying an
architectural style.
If adding a storm door, choose a full vision
panel to allow the original door to be seen.
When replacing doors, the design should be
consistent with the style and era of the residence.
Retain and repair, if necessary, original
transoms.
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c. The majority of the windows in
historic residential housing are
wood, double-hung, and rope-
and-pulley systems. Many of the
windows have multiple panes of
glass in a single window sash.
d. Steel casement windows were
common for houses of the
1940s.
a. All historic windows should
be retained and maintained.
Ensuring proper window ft,
weather stripping the sash,
installing new glazing compound,
and sealing around the window
frames at the siding, all
substantially improve the energy
effciency of wood windows.
b. It is not necessary to replace an
entire window if only a portion
is damaged. Historic windows
were designed so that a failed
element could be repaired
or replaced, and would not
require the whole window to
be replaced. Repair or replace
damaged components as
necessary.
c. Replace historic glass only when
broken as the wavy quality adds
to the character of the historic
house.
d. If windows are missing or if
frames are deteriorated beyond
repair, their replacement must
have the same basic dimension
and profle as the original.
Snap-in muntins or imitation
dividers are inappropriate within
the historic housing and should
not be installed.
e. Aluminum and vinyl windows are
not appropriate replacements
for a wood window and are not
more energy effcient than a well-
maintained wood window.
f. Mill fnished aluminum should be
avoided even in the installation
of window screens and storm
The material of the window helps to date the
construction. Retaining the original window
material is important to preserve that character.
The placement of windows in a wall help to
defne its character.
Maintenance to wood windows can
substantially improve the energy effciency.
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When adding dormers, avoid a pop-up
appearance (top) by retaining the original roof
pitch (bottom).
windows. Avoid the use of bright
aluminum screen fabric.
g. Factory painted or powder
coated storm or screen windows
with a meeting rail that matches
the window are acceptable.
a. Roof forms and materials play
an important role in defning
the character of a house.
The majority of the roofs are
combination of hip, gable, and
dormers, although a few simple
gable and hip roofs exist.
b. The size of the roof overhang
(eave) varies from house to
house but relates to the houses
style. For example, Craftsman
style houses have wide open
eave overhangs, with exposed
roof rafters and decorative
beams; these features should be
retained or repaired if needed.
c. Dormers are common and are
found in a variety of shapes and
sizes, some have windows while
others have vents. Dormers and
other historic roof details such
as weather vanes add to the
character of the house and the
neighborhood.
d. It is not uncommon for one
house to have multiple roofng
materials. A house may have a
standing seam roof one portion
and composition shingle on
another.
e. There are a variety of historic
roofng materials that are still
present within the historic
district, including standing seam
metal. However composition
shingle is the most common and
economical roofng material.
a. Retain original roof materials and
replace with material to match
original when necessary.
The type of roof form plays an important role in
defning the character of the residence.
The various depths and structure of eaves is a
defning feature of homes.
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b. Maintenance of the roofng
material and fashing is
important. In the event
replacement is necessary,
select a roofng material that is
compatible to the design and
style of the house.
c. Retain the original roof form
and details. If attic space is
converted into living space and
dormers are added, retain the
original roof pitch to avoid a
pop-up appearance, especially
on the front facade.
d. Composition shingles should not
be installed on a low-slope pitch
roof because they will leak.
e. Avoid adding details that did not
exist originally.
Maintaining the roofng material and fashing
is crucial to the longevity of a roof.
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6.3. Characteristics of Historic Residential Neighborhoods
6.3.1. Neighborhood Characteristics and
Distinctions
6.3.5. Color
Safety
6.3.1. Neighborhood Characteristics and
Distinctions
6.3.1.1. Defnitions of Historic Neighborhood
Characteristics
a. Building Form is primarily
dictated by the style of the
building. For example, Queen
Anne and Victorian style
are recognizable by their
composition of multiple shapes
which include bays, dramatic roof
lines, dormers and porches while
the Craftsman style is derived
from a simplifed rectangular
plan. The Neoclassical building
also derived its form from a
rectangular plan but has a
dominant central entry porch with
columns which extend the full
height of the building.
b. Scale of a building is measured
as the relationship of building
size to something else, such as
a human. Windows, entrances,
porches, bays and the
dimensions of building materials
contributes to the overall scale of
the building.
c. Rhythm of a street is created by
the spacing between houses,
the location and spacing of
sidewalks from the curb as well
as walkways to the entrances
of the houses, and the location
and spacing of the driveway
entrances to each property.
d. Proportion is the relationship
of the dimensions of an object
to itself, such as height to
width. Proportion is inherent in
When modifying homes or new construction occurs,
these setbacks should be considered.
A common setback of residences is evident in many
neighborhoods.
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all aspects of a building form,
components, and material. As
an example, older homes with
high ceilings have windows that
are taller than they are wide.
Houses built after 1960s usually
have lower ceiling heights so
their windows are shorter and
wider.
e. Relationship of Materials
and Texture of each home
is representative of the style
and period of construction.
The inherent properties and
dimensions of construction
materials like brick and wood
boards help in understanding
the homes size, scale, and
proportion.
a. The historic residential buildings
within Blanco have many
shared characteristics while
each building retains its own
distinctive identity. The common
neighborhood characteristics
must be maintained.
a. As changes are proposed to
a site or home, review the
lines of continuity and rhythm
established in the specifc
neighborhood. Look at the
scale, form, and proportion of
proposed changes and ensure
that the proposed project will
retain these characteristics.
a. The setbacks of the houses
throughout the neighborhood are
consistent for the most part, but
they can vary depending on the
area of development.
b. The organization pattern
established in each block of
the Historic District guides the
development and proposed
alteration of each site.
c. Some houses face the street
Historic residences have different proportional
relationships, such as high ceilings with tall
windows.
Scale of materials help to defne a home's size,
scale, and proportion.
A residence with a sidewalk that leads directly to
the entrance from the street.
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with a logical, visible entrance
and a sidewalk that leads from
the street to the entrance. Others
have gravel driveways that lead
from the street to the entrance.
The sidewalks and gravel
driveways help to establish a
rhythm.
d. There is an established distance
from the street to the house,
which is called a setback.
This setback reinforces the
importance of the entrance
and the orientation of the
building. Building beyond this
setback would change the visual
continuity established.
e. Several driveway approaches
in the front yard lead to garages
and secondary outbuildings,
which are located behind the
main house.
f. Contemporary style houses
have incorporated their garage
or carports into their house plan,
but typically they do not project
beyond the established front wall
of the house.
g. While the construction of
new garages and carports is
necessary, their placement and
approach should respect the
original front line of the house.
This would place them behind
the existing setback. Locating
them to the rear of the property
is preferable.
h. Front yards are defned by the
street, sidewalks, fences, and
boundary walls made of stone.
The walls are low in profle and
do not obscure the house. Front
yard fences are not common to
these neighborhoods, but there
is evidence of historic fences and
walls.
a. Retain the orientation of the
house to the street. To change
the entrance from the front would
Established setbacks should be retained when
new construction occurs to maintain the visual
continuity of the neighborhood.
Site new garages/carports preferably to the rear
of the property.
Stone boundary walls typically have a low profle.
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alter the pedestrian approach
and rhythm.
b. Removing and relocating the
sidewalk from the street to the
house would break the rhythm
of the neighborhood. Broken
sidewalks should be replaced
but the location should remain.
The material should match the
original or should be compatible
with the house and the
surrounding neighborhood.
c. Driveway locations should not
be altered if it affects the rhythm
of the street. Materials that
might be used for a driveway are
gravel, pea gravel with a brick
or metal edge band, pavers,
concrete strips or ribbons and
asphalt.
d. Front yard circular drives are not
appropriate to the neighborhood
because they encroach on the
setback and break the rhythm on
the street.
e. The style of the house and
the surroundings should be
evaluated when considering any
type of front yard fencing.
f. Avoid using chain link fencing at
the front of any property.
g. Review the reason for wanting
to install a front yard fence. Did
one exist historically? Houses
constructed in the 1880s had
front yard fences to keep
livestock from roaming into the
yard. Houses built in the 1920s
had fences in the front yard,
which refected a "progressive
movement when fencing laws
reduced the chance for roaming
livestock.
h. In most applications, the fence
should be installed at or behind
the building setback line.
a. A rhythm is created by the
Driveway locations should not be altered as it
affects the street rhythm.
Siting of houses and sidewalks creates visual
rhythms within neighborhoods.
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spacing between houses, and
the setback of house from the
street as well as the location
of sidewalks, walkways, and
parkways. This cohesiveness is
reinforced by a common scale
and building height.
a. The density of the
neighborhoods must be
preserved to avoid changing the
character and the streetscape of
the area.
b. If replacement housing, or
"infll, is necessary due to
natural disaster or the re-
platting of land, avoid reducing
the lot size or changing the
rhythm of the street. Consider
square footage and scale of the
surrounding houses to retain
the cohesiveness of the historic
neighborhood.
c. Building heights should be
compatible with surrounding
houses which may necessitate
elevating foor levels above
grade and constructing with
higher than 8-0 ceilings.
d. The building setback line of
surrounding houses should be
followed and garages should
be set back from the face of the
house.
e. Avoid additions that detract from
the size of the original house and
that come forward of the original
building line.
a. The majority of the houses
within the historic neighborhoods
are one-story though there is
an occasional two-story. The
houses are generally rectangular
in shape and are deep from front
to back, but there are several
square shaped houses.
b. Most entrances of the houses
The scale and height of residences should
also be considered within a neighborhood for
compatible new construction.
A typical one-story rectilinear residence.
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face the street.
c. However, there are several
historic and non-historic houses
that are positioned parallel to the
street and are deep from right to
left.
a. Retain the prominent entrance or
face to the street.
b. If new construction occurs, orient
the front of the house to the
street.
c. Maintain wide side yard setbacks
even if they do not conform to
current standards.
6.3.5. Color
a. The existing color palette of
the historic residential area
mainly consist of light or neutral
colors, including white, tan, and
cream for the body; and the trim
varies from neutrals to colors
depending on the house. Some
trim colors include blue, brown,
green, red, white, tan, and
yellow.
b. Some houses are painted in
pale colors like blue, green,
and yellow. The trim on these
houses is either a different color,
or a neutral tone.
a. Keep the neighborhood and
surrounding houses in mind
when selecting a new exterior
paint color. A successful
color scheme can tie a
building together and create
harmony in the facade and the
neighborhood. Avoid severely
contrasting colors in body and
trim or details.
b. The style and period of a house
impacts the appropriate color
schemes. To determine the
historic paint color, scrape small
areas of existing paint to reveal
the original color of the house.
Maintaining the wide side yards within historic
neighborhoods is important to maintaining its
character.
Some residences have a dominant pale color like
the above green, with a neutral accent.
The predominant color palette is light neutral
colors with accents of bolder color.
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c. Research colors available at the
time your house was built. This
information can be obtained
from paint manufacturers such
as Sherwin Williams, Pratt and
Lambert, or Benjamin Moore.
Many manufacturers carry
appropriate colors for each time
period.
d. Seek help when selecting
paint colors for your house.
Local paint stores can provide
assistance in selecting or
matching paint colors as well as
recommend historic paint colors.
The Historic Commission can
also provide assistance in paint
selection.
e. Dark colors tend to look darker
near large trees or where
shadows are created. Dark
colors also tend to fade or chalk
or get white powder on the
surface. This residue is caused
by the gradual disintegration of
the resin in the paint flm due to
the amount of ultraviolet light on
the paints surface.
f. The trees and humidity of Blanco
add to the possibility of mildew
on paint. It is recommended that
a mildew inhibitor be added to
the paint.
g. Avoid high gloss paints, as they
are not historically appropriate.
A "satin fnish paint can provide
the appearance of historic
paint while providing the easily
washed surface of a gloss fnish.
h. The preparation of the surface
is important when painting. The
surface should be scrapped and
sanded to remove any loose
paint, but it is not necessary
to remove all paint down to
the bare wood. Make sure the
wood is dry before applying a
good primer and two topcoats of
paint. Use a brush for the best
coverage instead of a sprayer.
Recommended book for reference.
Over time, dark colors begin to look faded and
chalky. If selected, they must be more regularly
maintained.
When painting, use a brush instead of a sprayer
for better coverage.
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Safety
a. Some modern amenities
have been added to historic
residences that are visible from
the street and detract from the
character of the neighborhood.
Such additions include
window air conditioning units,
antennas and satellite dishes.
Other common inappropriate
alterations include railings,
lighting, and non-functional
shutters.
b. In some cases, historic fabric
has been removed and
replaced with incompatible
materials. Examples include the
replacement of wood window
screens with aluminum screens
and replacement of decorative
screen doors with storm doors.
c. Access ramps have been added
to some houses to allow a no-
step entrance.
a. Weigh the historic integrity of
the house and neighborhood
with the value of the
improvement and the quality
of life. Ask yourself, Can
this improvement be installed
and removed without causing
irreparable physical and
aesthetic damage to the house
or neighborhood?
b. Locate modern amenities in
the least visible place from the
prominent face of the house,
which include the rear and side
facades. Avoid the installation
of air conditioning and electrical
equipment on the prominent
face of the house, only install
equipment in such a way
that it does not damage the
historic building fabric. Screen
equipment when possible with
Modern amenities should not be located on the
prominent or street facing facades.
When adding modern amenities, their installation
should avoid irreparable physical or aesthetic
damage to the residence.
Provide screening for modern amenities such as
air conditioning units.
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appropriate planting material.
c. Retain window and door
screens that are a detailed
features of the period of
the house, as in the case
of Craftsman style houses.
Avoid concealing the detailing
of historic front doors and
entrances with contemporary
storm doors. When damaged
beyond repair, wood window
screens and doors, designed for
the style of the house, can be
purchased or custom made at
most lumber yards.
d. Chimneys are an important
architectural feature and the
removal or alteration of existing
chimneys alters the historical
integrity of the house and is not
recommended.
e. Decks and patios can be
compatible with historic houses
if thought is given to location,
proportion, and materials.
f. Flags and banners are
considered a removable
amenity, but care must be used
when mounting to not damage
the historic materials of the
house.
g. Light fxtures located on the
building exterior, porches,
pathways and paved areas
need to be appropriate in
design, scale, and character
of the house. There are many
available fxtures in various
architectural styles. A Victorian
light fxture is appropriate
with a Victorian house but not
appropriate with a Ranch or
Craftsman style house.
h. Mailboxes and mail slots should
be simple and as unobtrusive
as possible. Mailboxes can be
obtained in styles compatible
with the time period of the
house.
i. Operable shutters may be
Chimneys are an important architectural feature
that should be maintained and repaired when
necessary.
Avoid covering historic front doors with
contemporary storm doors.
Light fxtures should be appropriate in style and
scale with the context of the home.
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installed if they are in keeping
with the style of the house
and period of construction.
Shutters need to be correctly
proportioned to the width and
height of the window and be
installed with hinges rather than
nailed to the wall.
j. Skylights can add light to interior
spaces and make attics spaces
more useable. f fat in profle
and positioned away from public
view, skylights can be installed
in older houses. Bubble-dome
skylights are not appropriate
for buildings within Historic
Districts.
k. Site garages away from the
primary view and set them
behind the front wall of the
house. Install single doors
instead of double-width doors.
Whether constructed as an
addition to the original house
and historic structures, or as
an accessory or secondary
building, the garage design
should be compatible with the
historic residence.
l. When formulating ideas to
modify and improve a building,
questions will arise. There are
many sources available for
advice and assistance, including
a neighbor who has completed a
similar project appropriately, the
Texas Historical Commission,
City Staff, and the National
Trust for Historic Preservation.
Helpful publications to consider
include The Secretary of the
Interiors Standards for the
Treatment of Historic Properties,
National Park Services
Preservation Briefs, Traditional
Building Magazine, The Old
House Journal and Catalog, and
Renovators Supply Catalog.
When adding shading devices, they should be
appropriately proportioned and be consistant
with the houses character. The above shading
device is inappropriate for this house.
Garages/carports should be sited away from the
prominent view. The above should be avoided
because it conceals the residence from the
street; the carport should be located on the side
or rear of the property.
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7. Materials for Historic Commercial and Residential
Districts
7.1. Brick
7.1.1. Observations
a. Some of the commercial buildings in
Blanco are made of brick masonry.
These brick walls are usually about a foot
thick or more and carry the weight of the
building.
b. Brick is not a common building material in
the wall construction of residential houses
in the historic neighborhood of Blanco.
c. Several more contemporary houses are
constructed with a brick veneer siding.
d. Brick is also used to create decorative
features that should be preserved.
These features are usually found around
openings on a building, at the top of
building to create a cornice, or as a detail
to add to the horizontal organizations of
the building block.
e. Brick is typically used for chimney
construction, as column bases in Arts and
Crafts styles, and, occasionally, for the
construction of foundations.
f. Chimney tops are usually constructed
with decorative brick detailing or corbel.
The mortar in this portion of the chimney
is frequently loose or missing due to
weather.
g. Rough-faced concrete block, which
resembles the look of stone, has been
used in some residential buildings for skirt
and wall construction.
a. Retain and maintain the original brick or
block material.
b. Replace loose or missing mortar using
a mortar of the same composition as
the original. Mortar is important to the
integrity of the brick wall. Mortar should
match the historic mortar in composition,
color, and joint width.
c. Modern masonry mortar has cement as
a main ingredient, which is too hard for
historic brick. A high cement content
will trap moisture in the brick and cause
it to deteriorate. A sand-lime recipe for
mortar, which is compatible with the old
An example of a brick column base.
Brick is used for decorative features, which
should be preserved.
Brick is not a dominant material in Blanco,
however, it can be seen in both commercial and
residential uses.
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brick, is most common.
d. It is important to preserve brick detailing
because it adds to the character of the
building.
e. Avoid removing chimneys; rather, repair
and maintain them.
f. Repair or replace fashing as needed to
ensure a watertight connection between
the chimney and roof.
g. Historic buildings should be cleaned in the
gentlest means possible which typically
includes water and soft bristle brushes.
h. Sandblasting and high pressure washing
can cause irreparable damage to brick
and are not permissible.
i. Any chemical cleaner should be tested in
small areas of limited visibility to ensure
compatibility and effectiveness on the
brick.
j. Brick is a clay material that breathes,
it does not require paint like its metal or
wood counterparts. Some coatings can
trap moisture in historic brick causing
damage to mortar and interior fnishes.
k. Avoid changing the appearance and scale
of a brick building by painting it.
l. Avoid installing brick or block where these
materials were not originally used.
m. Avoid installing brick on the walls of a
house that originally had wood siding. To
install brick over wood siding changes the
character of the house and can destroy
the wood beneath.
7.2. Stone Rubble and Cut Stone
7.2.1. Observations
a. Stone is used commonly in Blanco both
as a load-bearing material and a veneer.
Stone is used in the construction of both
commercial and residential buildings,
foundations, retaining walls/fences, and
details.
b. Field stone or stone rubble refers to stone
that varies in size and has an undefned
shape. The uneven face of stone rubble
and uneven size of the pieces provide a
unique visual appearance.
c. Cut stone is a precisely shaped stone,
usually with a relatively smooth face. It is
frequently used as a decorative element
Stone is a predominant building material within
Blanco.
When cleaning brick, use the gentlest means
possible.
Brick detailing should be retained as it is a
contributing factor to the character of a building.
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on buildings or as a way to accent an
opening. Cut stone can also have a great
amount of detail, such as columns and
capitals.
d. The stone walls are put together with
mortar in the same way brick walls are.
The mortar must not be harder than the
stone. Portland cement mortar can cause
damage to stone walls.
e. Other uses for stone are walkways, free-
standing walls, and planter beds.
a. Replace deteriorated stone with stone
that matches the original in composition,
color, and texture.
b. Replace deteriorated or missing mortar
with mortar of the same composition as
the original. Mortar should match the
historic mortar in composition, color, and
joint width.
c. Stone can be cleaned with a mild solution
of soap and water. Do not sandblast or
use high pressure water as it can cause
irreparable damage to stone and are not
permissible.
d. Portland cement, or masons mortar
is too hard and will cause the stone to
deteriorate and crumble.
e. It is not recommended that stone be
added to the foundation or face of a
house.
f. Retain free-standing stone walls and
drainage beds.
g. Use stone as a site design material for
features such as walks, walls, and planter
beds.
h. Any chemical cleaner must be tested in
small areas of limited visibility to ensure
compatibility and effectiveness on the
stone. Some chemicals may burn the
face of stone.
7.3. Wood
7.3.1. Observations
a. Wood is the primary building material
for both commercial and residential
construction of Blanco and is used for the
structural elements as well as the skin of
the building.
b. Wood was historically used for a variety
Stone walls should be retained.
Stone is also used for retaining walls and
planters throughout Blanco. This wall is random
feld stone.
An example of a cut coursed stone building.
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of architectural details such as window
frames and sashes, columns, canopies,
and storefronts, including doors and
frames for display windows.
c. Wood, when well maintained, can last
for decades. However, it will rot with the
presence of moisture. It is important to
keep wood surfaces painted or sealed.
d. Wood shingles are rarely found as an
existing roofng material and may be the
result of previous replacement due to
deterioration.
e. The majority of houses are covered in
horizontal drop siding with a milled profle
or in a clapboard or lap siding, which has
a tapered profle.
f. Board-and-batten, or vertical siding, is
found on some houses, and can be seen
on outbuildings such as garages, barns,
and sheds.
g. Wood details are found on all houses
from all styles and periods of construction.
These include ornate turned columns and
spindles and window and door surrounds.
h. Wood is also a skirting material on
houses. Because houses were built
above ground on posts and beams, a skirt
was constructed from the foor level to
the ground. Wood skirts often refect the
same siding profle and dimension as on
the body of the house; on Craftsman style
houses, the skirt was frequently made of
a wider horizontal board siding.
a. Maintain and repair wood siding and
details.
b. Replace missing or badly deteriorated
wood features with wood of the same
dimension and profle.
c. Refrain from installing synthetic materials,
such as vinyl siding or hardiplank siding,
over existing wood materials because
they frequently cause historic materials to
rot and change the profle of the original.
d. Refrain from replacing a deteriorated
wood feature with another material.
e. Explore the use of epoxy wood repair
materials in lieu of replacing an entire
wood member. This has proven effective
on rotted column bases, window sills and
A residence with wood siding.
Rough wood posts are a common canopy structural
piece in Blanco, historically and today.
A commercial building with a wood facade and
parapet.
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sashes, etc.
f. Replace rotted wood that is in contact
with the ground with a chemically treated
wood to prolong the life of the feature.
This can be done on skirting and steps.
g. All solid skirt materials should have vents
installed to allow air to pass under the
house and eliminate moisture from the
wood foundation.
h. All treated wood should be thoroughly
dried prior to installation.
i. Do not use excessive water pressure or
sandblasting on wood surfaces as it pits
the wood.
7.4. Metal
7.4.1. Observations
a. There are several types of metal found
in and on buildings in Blanco. Buildings
of the late 1800s and early 1900s
incorporated pressed metal and cast iron
while mid-twentieth century buildings
utilize aluminum and steel in their
construction.
b. Cast iron columns and beams were
used as structural components in some
buildings around the square. Some
columns are free standing, and others
become part of the building storefront
detail. These structural members, while
functional, also add detail and scale to the
building storefront and must be retained.
c. Pressed metal is often thought of as an
interior ceiling material but was used
for cornices and other details on some
of the buildings of Blanco. Pressed
metal cornices are constructed over a
wooden framework. Deteriorated wood
must be replaced to provide adequate
support for metal cornices. Damaged and
deteriorated pressed metal panels can be
fabricated and replaced if necessary.
d. Aluminum is more contemporary and was
used on buildings dating from the 1930s.
e. Miscellaneous steel components can also
be found on porch columns and porch
structures, railings, turnbuckle supports at
canopies, downspouts, etc.
f. The primary use of metal on historic
residential buildings in Blanco is as a
A pressed metal decorative facade.
When necessary, replace missing or badly
deteriorated wood.
A cast iron commercial facade.
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roofng material.
g. Standing seam metal roofng is a
traditional material found in central Texas,
and is commonly found in Blanco.
h. Corrugated metal roofng is found on
many houses and commercial structures.
It also is installed on outbuildings such as
garages and barns. Other sheet metal
roofng materials found are "V crimp and
pre-fnished metal with a deep profle.
i. Ornamental metal columns have been
installed to replace wooden columns on
some houses which was a fashion trend
throughout the United States in the mid
20
th
century.
j. Pressed metal has been installed as a
skirting material on some houses, but was
not an original application.
a. Replace deteriorated metal with new
primed metal of the same or compatible
material.
b. Metal materials should not be used to
replace wood or other historic non-metal
materials as a building material. This is
especially true of doors, windows, and
their frames. If metal appears to be the
only option as a replacement material for
deteriorated wood, the metal should be of
similar profle and have a factory painted
fnish. Mill fnish or "shiny metal should
not be used on a historic building to
replace a previously painted material.
c. It is important to keep pressed metal, cast
iron and steel well painted to avoid rust
and deterioration.
d. Retain decorative roof details when
replacing the primary roofng material.
7.5. Synthetic Materials
7.5.1. Observations
a. Stucco and plaster are not materials
common to Blanco historically.
b. Stucco is a material that has no
dimension of its own; therefore it is not
compatible in scale to the more common
materials such as brick and stone.
c. Stucco shall not be used to cover historic
building materials due to the damage
its application causes to the underlying
This contemporary standing seam metal roof is
installed with a ridge cap, gutters, and downspouts.
Ornamental metal columns can be seen on some
houses which was a fashion trend of the United
States.
Metal materials should not be used to replace
non-metal materials on buildings.
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building material, however, it may be used
in new construction.
d. Stucco is not commonly used on houses
in historic neighborhoods in Blanco. Only
a few examples appear to be part of the
original style, although stucco has been
applied on a few wood-frame and wood-
sided houses.
e. As is true in most American cities,
synthetic siding materials have been
installed over original building materials
such as wood siding.
f. Asbestos as original siding, in the shape
of shingles, is the oldest synthetic siding
material used in residential construction.
It is not harmful nor is it considered
hazardous material but, if removed,
special disposal precautions may be
required.
g. Asbestos shingles are not detrimental
to the siding underneath because they
breathe and do not trap moisture.
h. Aluminum or steel siding followed
asbestos as a modern material.
a. Retain and repair the original building
material.
b. Replace only that material which is
beyond repair.
c. Replace deteriorated material with
compatible new material.
d. Stucco should not be confused with
plaster. Stucco is cement based while
plaster is lime based.
e. Avoid installing any synthetic building
material on top of existing wood. Many of
these materials can trap moisture in the
wall, which will cause the wood beneath
to deteriorate. It can also trap moisture in
the insulation, which reduces the value of
the insulation.
f. Avoid installing synthetic siding on
top of an existing siding as a way of
modernizing the house or attempting to
make the house more energy effcient.
Corner boards, windows and door
surrounds, gable vents, and rafter ends
are often changed or eliminated when the
installation of synthetic materials occur.
This changes the character of the original
Stucco should not be added over historic building
materials as it damages the historic materials and
changes the scale and profle of the orginal.
Stucco is not a common material historically in
Blanco.
Asbestos shingles do not cause irreparable
damage to underneath materials.
Avoid installing siding of a different scale or
profle than the original siding.
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design and frequently destroys the
character-defning features of the house
and neighborhood.
g. Avoid installing stucco over existing
materials because it causes rapid
deterioration of wood beneath.
h. Avoid hardiplank and synthetic wood
materials, because these are not
comparable substitutes for wood siding.
They may, however, be appropriate for
new construction.
i. Avoid installing wood grained materials.
Wood used in historic houses was
smoothly sanded with no obvious grain.
7.6. Glass
7.6.1. Observations
a. The transparent or see-through quality
of glass has been utilized in commercial
building storefronts to draw customers
into the shops and ground foor spaces.
b. Transom windows allowed light to enter
deep into the ground foor. These
windows must retain their transparent
quality.
c. Historic houses usually have glass that is
wavy in quality, this adds to the character
of the house.
a. Tinted or refective glass is not
appropriate in any historic building,
including storefronts, transom and upper
foor windows in historic commercial
buildings and districts. This type of
glass is uninviting and detracts from
the character of the building. The see-
through quality should be retained.
b. Broken glass should be replaced
immediately to avoid damage to the
interiors of buildings and building
materials.
c. Replace broken glass with glass that
matches the original in color quality.
Tinted and/or refective glass is inappropriate on
historic buildings.
Transom windows should retain their original
transparency.
The transparency of storefronts should be retained.
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8. Glossary
Addition Any new construction which increases the
height or foor area of an existing building or adds to a
building such as a porch or garage.
Alteration - Construction in a building which may change
the structural parts, mechanical equipment, or location
of openings, but does not increase the overall area
dimensions of the building.
Anchor - A device such as a metal rod, wire, or strap,
for fxing one object to another, as specially formed metal
connectors used to fasten together timbers, masonry,
trusses, etc.
Appurtenant Features - accessories which defne the
design of a building or property. These include porches,
railings, columns, shutters, steps, fences, attic vents,
sidewalks, driveways, garages, carports, outbuildings,
gazebos, arbors, ponds and pools.
Arch - A curved opening in a wall, usually constructed of
stone or brick, as in the top of a window opening.
Arcade A line of counterthrusting arches raised on
columns or piers; a covered walk with a line of arches
along one or both sides.
Asbestos Shingle - A dense, rigid roofng shingle
containing a high percentage of asbestos fber (a
noncombustible, fexible fber able to with stand high
temperatures) bonded with Portland cement known for
distinctive patterns.
Ashlar Masonry - Masonry composed or rectangular units
of stone, generally larger in size than brick and having
sawn, dressed, or squared sides laid in mortar.
Attic - a low story or wall above the main building,
immediately below the roof.
Awning - A roof-like covering of canvas or rigid materials
over a window or door to provide protection. Similar to a
canopy providing a covered area.
Band Course - A horizontal element, usually of masonry,
dividing upper and lower portions of the building, but
unifying the facades.
Baluster - one of a number of short vertical members,
often circular in section used to support a stair handrail or
a coping, forming a balustrade.
Balustrade - An entire railing system (along the edge of a
balcony or porch) including a top rail and its balusters, and
sometimes a bottom rail.
Bargeboard - Sloped boards at the edge of a projecting
overhang at the gable end, often decorative.
Base - Lower part of a column or pier, wider than the
shaft, and resting on a plinth, pedestal or podium.
Base Course A foundation or footing course, as the
A stone arcade porch.
Residence with an addition to the left side.
Left: An example of ashlar masonry.
Right: A simple baluster that is part of a
balustrade.
A residence with a bargeboard.
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lowest course in a masonry wall.
Bay - A regularly repeated space created by the structure
of a building.
Bay Window - A window forming a recess in a room and
projecting outwards from the wall.
Beaded Board - A 4 or 6 wide tongue-and-groove wood
fnish with a milled bead along the centerline and along the
edge adjoining the tongues.
Bearing Wall - A wall capable of supporting more than its
own weight, such as a roof or foor.
Board and Batten Siding A siding consisting of long
vertical boards and thin strips, or battens are used to
conceal the gaps between siding boards.
Bond - An arrangement of masonry units to provide
strength, stability, and beauty through setting a pattern by
lapping units over one another.
Box Column - A hollow, built-up column constructed of
wood, which is rectangular in shape.
Boxed Eave or Box Cornice - A hollow cornice, built up
of boards, moldings, shingles, etc.
Brackets - Projecting support members found under
eaves or other overhangs; may be plain or decorated.
Brick Course / Pattern - The way in which brick is laid in
a building.
Building - A more or less enclosed and permanent
structure.
Built-up Roof - A roofng system covering a relatively fat
roof, consisting of several layers of saturated felt where
each layer is mopped with hot tar or asphalt fnished with a
mineral or rock covering.
Bulkhead - Base panels just below display windows on
storefronts, also referred to as kick plates.
Bungalow - A one-story frame house, or a summer
cottage, often surrounded by a covered veranda usually
expressing materials in their natural state. The forms are
usually low and broad and lack applied ornament.
Canopy - A covered area which extends from the wall of a
building, protecting an entrance.
Capital - The topmost member of a column, usually
decorative.
Casement Window - A window having at least one sash
which swings open along its entire height; usually on
hinges fxed to the sides of the opening into which it is
ftted.
Carved Stone - Rough natural stone shaped by the
controlled removal of stone pieces with tools to create
decorative detailing.
Cast Iron Store Front - The front of a commercial building
that is made up of prefabricated cast iron parts.
Cast Stone - A mixture of stone chips or fragments,
A Canopy with rods at the building's entrances.
A residence with board and batten siding.
Left: A wooden bracket at the eave.
Right: A porch with a box column.
A storefront with a detailed bulkhead.
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usually embedded in mortar, cement, or plaster, treated to
simulate stone; also known as "artifcial stone.
Caulking - a resilient compound of silicone, bituminous, or
rubber base, used to seal cracks and fll joints.
Clapboard Siding - A wood siding commonly used as
an exterior covering on buildings of frame construction;
applied horizontally and overlapped, with the grain running
lengthwise, thicker along the lower edge than along the
upper.
Clerestory Window - An upper window that admits light
to the center of a lofty room.
Clipped Gable - end of a roof when it is formed into a
sharp intermediate between a gable and a hip.
Column - A vertical structural member such as a post or
pillar.
Combination Hip Roof - A composition of more than one
hip element at the roof or a combination of hip and gable
roof form.
Composition Shingles - Shingles made from a mixture of
binder materials with fbers, also call asphalt shingles.
Conservation - The skilled repair and maintenance of
cultural artifacts, including buildings and historic or artistic
materials, with the aim of extending their longevity and
aesthetic qualities.
Construction - all the on-site work done in building
or altering structures, from land clearance through
completion, including excavation, erection, and the
assembly and installation of components and equipment.
Contemporary - Happening, existing, living, or coming
into being during the same period of time. Contemporary
denotes characteristics that illustrate that a building,
structure, or detail was constructed in the present, rather
than being imitative of refective of a historic design.
Context - The setting in which something exists or occurs.
Contributing Property - A property that is ffty years
old or older which contributes to a district's historical
signifcance through location, setting, design, construction,
workmanship, or association with historical persons or
events, based on guidelines set forth by the National Parks
Service in the National Register of Historic Places Criteria
for Evaluation.
Corbel - in masonry, a projection, or one of a series of
projections, each stepped progressively farther forward
with height anchored in a wall, story, column, or chimney.
Corner Block - A square block used to trim casing at
the upper corners of door or window surrounds; typically
decorated with a milled bull's eye, known as rosettes.
Corner Board - A trim board used at an exterior corner of
a wood-frame structure.
Cornice - A molded projection which crowns or fnishes
An example of a clipped gable on a roof.
A row of clerestory windows between the two
roof-lines.
A sketch of masonry in a corbeled condition.
The wooden corner board gives corners a
clean fnish on houses with siding.
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the top of a building wall.
Cross Gable - A gable that is set parallel to the ridge of
the roof.
Cut Stone - Finished stone block which has been shaped
by cutting.
Demolition - The intentional destruction of all or part of
a building or structure, may include removal of structural
elements, partitions, mechanical equipment, and electrical
wiring and fxtures.
Demolition By Neglect The destruction of a structure
caused by failure to perform maintenance over a long time
period.
Dentils - One of a band of small, square, tooth-like blocks
found in a series on cornices, molding, etc.
Design Guidelines - Recommendations for control of
new construction, as well as alterations and additions to
existing buildings and structures in historic districts that
are typically adopted and published by the local regulation
agency.
District - An area designated by the City of Blanco
possessing a signifcant concentration, linkage, or
continuity of sites, buildings, structures, or objects
united historically or aesthetically by plan or physical
development.
Divided Light Sash - A window with glass divided into
small pieces.
Dormer - A vertical window which projects from a sloping
roof.
Double Hung Window - A window having two vertically
sliding sashes, each closing a different part of the window;
the weight of each sash is counterbalanced for ease of
opening and closing.
Double Glazed Window A window with an inner and
outer pane of glass with an airspace in between.
Drainage Beds - Stone lined ditch used to transport water
runoff.
Drop Siding - A type of wood cladding characterized by
overlapping boards with varying profles.
Eave - The lower edge of a sloping roof that projects
beyond the wall.
Engaged Column - A column partially built into the wall,
not free-standing.
Exterior Features The architectural style, general
design and general arrangement of the exterior of a
building or other structure, including the kind and texture of
a building material and the type and style of all windows,
doors, light fxtures, signs, other appurtenant features and
signifcant trees. For signs, the term exterior features refer
to the style, material, size and location of all signs.
Fabricated Metal - Any kind of building component
An engaged column on a
porch.
Decorative dentils at cornice and eave.
A divided light sash on a residence.
A dormer on a home.
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manufactured of metal, often decorative in nature and
frequently used as columns and railings.
Facade - The exterior face of building.
Fanlight - A semi-circular window over the opening of a
door, with radiating bars in the form of an open fan.
Fascia - Flat, horizontal member that forms the trim of a
roof.
Fenestration - The arrangement and design of openings
in a building.
Finial - An ornament that terminates the point of a spire,
pinnacle, or roof.
Fixed Light A window or an area of a window which
does not open.
Flashing - A waterproof material such as metal used to
make a water-tight transition between roofng materials
and elements such as chimneys and dormers that break
the roof plane.
Footing - The portion of the foundation which transfers
loads directly to the soil; a widened part of a wall or column
at or below the ground to spread the load directly to the
soil.
Foundation - Any part of a structure that serves to
transfer the load to the earth or rock, usually below ground
level and is the lowest exposed portion of the building.
Fretwork - Ornamental wood which is usually carved or
turned.
Front Facing Gable - The end wall of a building with a
gable roof that faces the street.
Gable End - An end wall having a gable.
Gambrel Roof - A ridged roof with two slopes on both
sides.
Garden Loop Fence - A woven wire fencing which is
distinguished by the loop at the top and mid height.
Glazing - Setting glass in an opening.
Grade The height of the surface of the ground in
relationship to a structure (building).
Hip Roof - A roof which slopes upward from all four sides
of a building.
Historic District - A defnable geographic area that
contains a number of related historic sites, buildings,
structures, features, or objects united by past events or
aesthetically by plan or physical development, and that has
been designated on local, state, or national register.
Historic Property - Any site, building, structure, or object
determined to be historically signifcant.
Hood Molding - A projecting molding over a door or a
window.
!"#%% - The development of property or the construction of
buildings on land that is adjacent to existing buildings.
Joint - The gap between brick or stone flled by mortar.
A garden loop fence at a residence.
An example of fretwork.
Above the entry door is
an example of a fanlight.
Windows with hood molding.
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Keystone -n masonry, the center piece of an arch, often
in contrasting material.
Landmark - Any building, structure, or place which has a
special character or special historical or aesthetic interest
or value as part of the development, heritage, or cultural
characteristics of a city, state, or nation.
Landscape - The whole of the exterior environment of
a site, district, or region, including landforms, trees and
plants, rivers and lakes, and the built environment.
Lattice - A network, often diagonal, of strips of metal or
wood, used as screening or ornamental construction.
Lath and Plaster - A metal mesh or wood strips with
plaster, a paste like material, applied to surfaces such as
walls or ceilings.
Light/Lite - A single pane of glass in a window or door.
Lintel - A horizontal structural member (such as a beam)
overran opening which carries the weight of the wall above
it.
Load Bearing Wall - A wall capable of supporting an
imposed load in addition to its own weight. These walls
frequently run the full height of a building from foundation
to roof.
Louver - an assembly of sloping, overlapping blades or
slats, fxed or adjustable, designed to admit air and/or light
in varying degrees and to exclude rain and snow.
Marker - A plaque located on or near a historic site,
building, structure, or object; usually put in place by a
government agency or a private organization.
Masonry - Stone, brick, concrete blocks, etc. used to form
walls and other parts of a building.
Materials - The substance of which something is
composed or constructed.
Mortar - A paste-like mixture installed between masonry
units such as brick or stone. t is usually made of cement,
lime, water and sand.
Mullion - A vertical element separating window, doors, or
panels set in a series.
Muntin - The small framing members within a single
window sash that hold the individual pieces of glass in
place.
New Construction - The process, or completed product,
of building a new structure or building, or portion there of,
to an existing building neighborhood or district.
Non-Contributing Property - A property which is less
than ffty years old and/or does not meet the conditions
required of a contributing property.
Oculus - A round or oval panel or aperture. The aperture
may be glazed, open, or louvered.
One-Over-One Conguration A window with a single
sheet of glass in the top sash and a single sheet in the
A balustrade with wooden lattice.
A series of windows with mullions between
each window.
An example of a window in a one-over-
one conguration.
A wooden louver vent.
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bottom sash.
Orientation - The relationship of structure to compass
points or a site feature such as a street or the direction a
facade faces.
Outbuilding - A building detached from the main house or
structure but located on the same lot.
Paneled Door - A wood door comprised of fat and raised
panels or pieces.
Parapet - An exterior wall which projects above the roof
structure.
Parkways - The space between the curb and sidewalk,
usually green space.
Partition Wall - Dividing wall within a building which may
be load bearing or non-load bearing.
Pediment - A triangular roof form of a building or as an
ornament or hood mold over a door or window.
Pier-and-Beam - A foundation system consisting of
rows of posts spaced at appropriate intervals that support
beams which form a base for a house to be built on.
Pillars - A simple, massive, vertical structural support
such as a column or post.
Pitch - The slope of a roof.
Pitched Roof - A roof that has a slope.
Plaster - A paste-like substance of sand, water, and
lime installed over another material to provide a fnished
surface.
Plinth Block - A small, slightly projecting block at the
bottom of the door trim, extending to the fnished foor.
Porch - A structure attached to a building to shelter an
entrance or to serve as a semi-enclosed space; usually
roofed and generally open-sided. t may also be called a
veranda.
Preservation - The act of applying measures to sustain
the existing form, integrity, and material of building or
structure, and the existing form and vegetative cover of a
site.
Pressed Metal - Metal that has been pressed into a
decorative shape or pattern.
!"#$&'%- The outline of a building or an element of that
building that is usually shown as a cross section.
Proportion - The relationship of the size, shape, and
location of one building element to all the other elements,
each architectural style typically has its own rules of
proportion.
Purlin - A piece of timber, board, or metal laid horizontally
on the principle rafters of a roof to provide support for the
common rafters on which the roof covering is laid.
Quoins - A large stone or block of brick used to
reinforce an external corner or edge of a wall that is often
distinguished decoratively from adjacent masonry.
A parapet along the front facade.
A decorative pediment over an entry door.
An example of pressed metal on the decorative
parapet.
Left: A sketched ("#$&'%shown as a cross section.
Right: The smooth texture of the quoins contrasts
with the rough texture of the rusticated adjacent cut
stone.
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Rabbet - A groove cut into one piece of wood to receive
the projection or tongue of another.
Reconstruction - The act of reproducing by new
construction the exact form and detail of a vanished
building, structure, or object, or a part thereof, as it
appeared at a specifc period of time.
Rehabilitation - The process of returning a property to
a state of utility through repair or alteration which makes
possible an effcient contemporary use while preserving
those proportions of features of the property which are
signifcant to its historical, architectural and cultural values.
Repointing - The removal of mortar from between the
joints of masonry units and the replacing of it with new
mortar. Mortar should match the original in composition,
color, and texture.
Restoration - The process of accurately recovering the
form and details of a property and its setting as it appeared
at a particular period of time by means of the removal of
later work or by the replacement of missing earlier work.
Retaining Wall - A wall, freestanding or laterally braced,
that bears against an earth or other fll surface and resists
lateral and other forces from the material in contact with
the side of the wall.
Ridge - The highest point of a pitched roof.
Ridgecap - Any covering (such as metal, wood, shingle,
etc.) used to cover the ridge of a roof.
R-PaneI MetaI Roong - A galvanized or painted metal
roofng material with a ribbed profle used primarily in
commercial applications.
Rubble - Rough irregular stone which may vary in size,
used in wall construction.
Rusticated - Stone with an intentionally rough face.
Sash - The part of a window that moves or opens and
contains the glass.
Scale - The proportions of the elements of a building to
one another and the whole and to adjacent buildings.
Score - The cut of a channel or groove in a material with a
hand tool or circular saw to decorate a surface.
Scupper - An opening in a wall or parapet that directs
water to drain from a roof.
Setting - The physical environment encompassing a
historic property which may include other onsite buildings
and structures, natural and built landscape features, and
the relationship to the street or nearby buildings.
Shed Roof - A roof shape sloping in only one plane or
direction.
Shingles - Thin, overlapping pieces of wood, asphalt
material, tile, clay, or other material cut to stock lengths,
widths, and thicknesses used as an exterior covering on a
sloping roof or wall.
A ridgecap located at the ridge of the roof.
The retaining wall with stairs helps defne the front
entrance.
Back walls of commercial buildings constructed of
stone rubble.
A through-wall scupper and conductor head.
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Shiplap - Horizontal wood sheathing which butts together.
When used on the interior walls it was frequently covered
with cheesecloth and wallpaper.
Side Light/Lite - A narrow window adjacent to a door
or wider window, most often one of a pair fanking an
entrance door.
Siding - the fnish covering of an exterior wall on a frame
building.
Sign/Signage - A permanent or fxed graphic or display
that provides information. t may be freestanding or
integrated into the building.
Sill - The horizontal bottom member of a window frame or
other frame.
Single Hung Window - A window having a single
movable sash.
Site - The land on which a building is located. For historic
purposes, the location of a signifcant event, a prehistoric
or historic occupation or activity, or a building or structure,
whether standing, ruined or vanished, where the location
itself maintains historical or architectural value regardless
of the value of any existing structure.
Skirt - An element used to cover a foundation or the
space between the main house and ground level.
Sliding Window - A window which moves horizontally in
grooves or between runners.
Slope - The amount of degree of incline.
Soft - The exposed underside of any overhead
component of a building.
Spindles - One of a series of thin, vertical, round
elements of railing often part of a balustrade.
Splash Block - a small masonry block laid on the ground
below a downspout to prevent soil erosion.
Stabilization - The process of temporarily protecting
a historic building or structure until rehabilitation or
restoration efforts can begin. This process typically
includes making the building weather-tight, structurally
sound, and secure against intruders.
Standing Seam MetaI Roong - A sheet metal roofng
with vertical folded seams running parallel along the slope.
Stile and Rail Door - Components of a door; the stiles
are the upright structural members and the rails are the
horizontal framing members at top, middle, and bottom of
the door.
Streetscape - The built environment encompassing a
street or road, including sidewalk, and roadway paving,
street furniture, buildings, landscaping, and signage, etc.
Structure - Any kind of human construction.
Stucco - A paste-like substance used as an exterior fnish,
composed of Portland cement, lime, sand, and water.
Style - A type of architecture distinguished by special
Left: An entry door with side lights.
Right: A solid sill located at the bottom of the
window.
An under-foor vent in a masonry skirt.
A porch railing with spindles.
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characteristics of structure and ornament and often related
in time.
Sympathetic Design - New work that has an appropriate
relationship to the existing historic architecture and
character of the surrounding area, based on rhythm,
proportion, and scale.
Tapered Box Column - A hollow, built-up column,
constructed of wood, which is frequently seen in Craftsman
style houses.
Tongue and Groove - A joint composed of a rib (tongue)
received by a groove, frequently seen in wood fooring and
paneling.
Tooling - Compressing and shaping the face of a mortar
joint.
Transom Window - A high window separated by a
horizontal member of door frame, window, or canopy.
Trim - The visible woodwork or moldings of a building.
Turn Buckle - A device for connecting and tightening a
rod as for a canopy support.
Two Part Commercial Block - A typical 2-4 story building
with commercial activity on the ground foor and more
private uses on the upper foor, i.e. offces or residential.
Valley - The trough or gutter formed by the intersection of
two inclined planes of a roof.
V-Crimp Roong - Sheet metal roofng which is folded to
create a "V in profle and laps at a "V joint.
Veneer - A thin layer of material applied over a structural
backing such as brick, stone, etc.
Verge Board - A board which hangs from the projecting
end of a roof, covering the gables, often elaborately carved
and ornamented, same as barge board.
Vernacular - A building whose form refects the local
infuences, materials, and tradition.
Vestibule - A small enclosed space between outer and
inner doors.
Welded Wire Fencing - A welded wire fencing comprised
of square or rectangular openings also known locally as
"hog wire or "goat wire. An acceptable alternative for
chain link fencing in historic neighborhoods.
Wood Sash Window - A window where the frame work is
constructed of wood, may be movable or fxed.
A commercial building with transom windows above
the canopy.
A tapered box column with a masonry base.
A fence consisting of welding wire fencing.
A residence with v-crimp roong.
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9. Resources
9.1. Historic Preservation Resources
Adapted from Paris Historic Preservation Action Plan, Visionaries in Preservation- Texas
Historical Commission. Edited by Mainstreet Architects Inc.
9.1.1. Print Resources
a. National Trust for Historic Preservation: Information Series
www.preservationbooks.org
1. Maintaining Community Character: How to Establish a Local Historic
District
2. Design Review in Historic Districts
3. Reviewing New Construction Projects in Historic Districts
4. Basic Preservation Procedures
5. Buyers Guide to Older and Historic Houses
6. Getting to Know Your 20th Century Neighborhood
b. Brand, Stewart. How Buildings Learn: What Happens After Theyre Built.
New York: Penguin Books, 1994.
c. ODonnell, Eleanor. Researching a Historic Property. Washington, D.C.:
National Park Service, rev. 1998.
d. Preservation Yellow Pages: The Complete Information Source for
Homeowners, Communities and Professionals. Washington, D.C.: National
Trust for Historic Preservation, 1997.
e. Remembering Texas: Guidelines for Historical Research. Texas Historical
Commission.
f. Researching a Historic Property. U.S. Department of the Interior. National
Park Service.
g. Weeks, Kay and Anne Grimmer, eds. The Secretary of the Interiors
Standards for the Treatment of Historic Properties with Illustrated
Guidelines for Preserving, Rehabilitating, Restoring, and Reconstructing
Historic Buildings. Washington, D.C.: Superintendent of Documents,
Government Printing Offce, 1995.
9.1.2. Electronic Resources
a. African American Heritage Preservation Foundation
www.aahpf.org
b. African American Studies at Columbia University
www.cc.columbia.edu/cu/libraries/subjects/afam/afambibl.html
c. Advisory Council on Historic Preservation
www.achp.gov
d. American Association for State and Local History
www.aaslh.org
e. Arkansas Historic Preservation Program Youth Education
www.arkansaspreservation.org/preservation-services/youth-education/
default.asp
f. Colorado Preservation, Inc.
www.coloradopreservation.org
g. Cultural Resources Management, Online Archive of Past Issues
http://crm.cr.nps.gov/index.htm
h. ePreservation
www.epreservation.net
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i. The Handbook of Texas Online
www.tshaonline.org/
j. Heritage Preservation: The National Institute for Conservation
www.heritagepreservation.org
k. Heritage Preservation Services Free Bookshelf, National Park Service
www.nps.gov/history/freepubs.htm
l. Historic American Buildings Survey/Historic American Engineering Record/
Historic American Landscapes Survey
www.nps.gov/hdp/
m. Institute of Texan Cultures
www.texancultures.utsa.edu
n. The National Association for Interpretation
www.interpnet.com
o. National Center for Preservation Technology and Training
www.ncptt.nps.gov
p. National Conference of State Historic Preservation Offcers
www.ncshpo.org
q. National Council on Public History
www.ncph.org
r. National Main Street Center
www.mainst.org
s. National Park Service Preservation Programs
www.nps.gov/history
t. National Preservation Institute
www.npi.org
u. National Trust for Historic Preservation
www.nationaltrust.org
v. Offce of the Governor, Economic Development and Tourism
www.txed.state.tx.us
w. Partners for Sacred Places
www.sacredplaces.org
x. Partnership Notes, National Park Service
www.nps.gov/hps/pad/partnership/index.htm
1. Local Preservation Reference Shelf
2. Zoning and Historic Preservation
3. Subdivision Regulation and Historic Preservation
4. Issues Paper: Conservation Districts
y. Preservation Directory
www.preservationdirectory.com
z. Preservation Texas
www.preservationtexas.org
aa. Preserve/Net
www.preservenet.cornell.edu
bb. The Recent Past Preservation Network
www.recentpast.org
cc. Scenic America
www.scenic.org
dd. Secretary of the Interiors Standards for the Treatment of Historic Properties
www.nps.gov/history/hps/tps/standguide
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ee. Texas Historical Commission
www.thc.state.tx.us
ff. Texas History, Texas Culture - Humanities Interactive
www.humanities-interactive.org
gg. Texas Parks and Wildlife
www.tpwd.state.tx.us
hh. Texas State Historical Association
www.tshaonline.org
ii. Texas State Preservation Board
www.tspb.state.tx.us
9.2. Affordable Housing
a. Affordable Housing Design Advisor
www.designadvisor.org
b. Austin Housing Finance Corporation S.M.A.R.T. Housing
www.ci.austin.tx.us/ahfc/smart.htm
c. The Campaign for Affordable Housing
www.tcah.org
d. The Low Income Housing Tax Credit Program
www.hud.gov/offces/cpd/affordablehousing/training/web/lihtc/basics/
e. National Community Reinvestment Coalition
www.ncrc.org/
f. National Low Income Housing Coalition
www.nlihc.org
g. Texas Low Income Housing Information Service
www.texashousing.org/about/about.html
h. TIF Housing Program Rock Island, Illinois
www.rigov.org/citydepartments/ced/tifhousingprogram.html
9.3. Archeology
a. Archeology and the Federal Government, Cultural Resource Management
17, No. 6 (1994).
b. Archeology and the Public, Cultural Resource Management 18, No. 3
(1995).
c. Cushman, David W., ed. The Power to Preserve: Public Archeology and
Local Government, Cultural Resource Management 21, No. 11 (1998).
d. Lerner, Shereen. Archeology and Historic Preservation. Washington, D.C.:
National Trust for Historic Preservation, 1995.
a. Archaeological Institute of America
www.archaeological.org
b. Archeology and Historic Preservation: Secretary of the Interiors Standards
and Guidelines
www.nps.gov/history/local-law/arch_stnds_0.htm
c. ArchNet, Online Archaeological Library
http://archnet.asu.edu
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d. Society for American Archeology
www.saa.org
e. Society for Commercial Archeology
www.sca-roadside.org
f. Society for Historical Archaeology
www.sha.org
g. Strategies for Protecting Archeological Sites on Private Land, National Park
Service
http://tps.cr.nps.gov/pad/main.cfm
h. Texas Archaeological Research Laboratory, University of Texas at Austin
www.utexas.edu/research/tarl
i. Texas Archeological Society
www.txarch.org
j. Texas Beyond History, Texas Archaeological Research Laboratory
www.texasbeyondhistory.net/index.html
k. Texas Historical Commission, Archeology Division
www.thc.state.tx.us/archeology/aadefault.shtml
9.4. Architecture
9.4.1. Guidebooks and Dictionaries
a. Blumenson, John J.G. Identifying American Architecture: A Pictorial Guide
to the Styles and Terms, 1600-1945. Nashville: American Association for
State and Local History, rev. ed., 1981.
b. Carley, Rachel. The Visual Dictionary of American Domestic Architecture.
New York: Henry Holt and Co., 1994.
c. Greene, Fayal. The Anatomy of a House. New York: Doubleday, 1991.
d. Harris, Cyril. Dictionary of Architecture and Construction. New York:
McGraw-Hill, 1993.
e. Howard, Hugh. How Old is This House?: A Skeleton Key to Dating and
Identifying Three Centuries of American Houses. New York: The Noonday
Press of Farrar, Straus and Giroux, 1989.
f. Howe, Barbara, et. al. Houses and Homes: Exploring Their History.
Nashville: Association for State and Local History, 1987.
g. Kyvig, David E. and Myron A. Marty. Nearby History: Exploring the Past
Around You. Nashville: American Association for State and Local History,
1982.
h. Lounsbury, Carl R. An Illustrated Glossary of Early Southern Architecture
and Landscape. New York: Oxford University Press, 1994.
i. McAlester, Virginia and Lee. A Field Guide to American Houses. New York:
Alfred A. Knopf, 1990.
j. Pevsner, Nicholas, Hugh Honour and John Fleming. The Penguin Dictionary
of Architecture. New York: Penguin Books.
k. Phillips, Steven J. Old-House Dictionary: An Illustrated Guide to American
Domestic Architecture, 1600 to 1940. Washington, D.C.: Preservation
Press, 1992.
l. Poppeliers, John S., Allen Chambers and Nancy B. Schwartz. What Style Is
It? Washington, D.C.: Preservation Press, 1983.
m. Rifkind, Carole. A Field Guide to American Architecture. New York: New
American Library, 1980.
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n. Smith, Henry Atterbury, compiler. 500 Small Houses of the Twenties. Dover
Publications, June 1990 (reprint edition).
o. Walker, Lester. American Shelter: An Illustrated Encyclopedia of the
American Home. New York: Overlook Press, 1981.
p. Whiffen, Marcus. American Architecture Since 1780. Cambridge: MIT
Press, 1993.
q. Smith, Henry Atterbury, compiler. 500 Small Houses of the Twenties. Dover
Publications, June 1990 (reprint edition).
r. Walker, Lester. American Shelter: An Illustrated Encyclopedia of the
American Home. New York: Overlook Press, 1981.
s. Whiffen, Marcus. American Architecture Since 1780. Cambridge: MIT
Press, 1993.
9.4.2. Print Resources for the History of American Architecture: Popular House Types
a. Clark, Clifford. The American Family Home, 1800-1960. Chapel Hill:
University of North Carolina Press, 1986.
b. Foy, Jessica and Thomas Schlereth, eds. American Home Life, 1880-1930.
Knoxville: University of Tennessee Press, 1992.
c. Handlin, David. The American Home: Architecture and Society, 1815-1915.
Boston: Little, Brown and Co., 1979.
d. Jackson, Kenneth. Crabgrass Frontier: The Suburbanization of the United
States. New York: Oxford University Press, 1985.
e. Schrenk, Lisa (foreword). Your Future Home: The Architects Small House
Service Bureau. Washington, D.C.: American Institute of Architects, 1992.
f. Stevenson, Katherine Cole. and H. Ward Jandl. Houses by Mail: A Guide to
Houses from Sears, Roebuck and Company. New York: Preservation Press
by John Wiley and Sons, Inc., 1986.
g. Wright, Gwendolyn. Building the Dream: A Social History of Housing in
America. Cambridge, MIT Press, 1993.
9.4.3. Print Resources for Non-Domestic Building Types
a. Baker, T. Lindsay. A Field Guide to American Windmills. Norman:
University of Oklahoma Press, 1985.
b. Falkenburg, Ruth and John Hankey. Railroad Depot Acquisition and
Development. Washington, D.C.: National Trust for Historic Preservation,
1991.
c. Gebhard, David. The National Trust Guide to Art Deco in America. New
York: Preservation Press by John Wiley and Sons, Inc., 1996.
d. Hautaluoma, Grey and Mary Margaret Schoenfeld. Curtain Up: New
Life for Historic Theaters. Washington, D.C.: National Trust for Historic
Preservation, 1993.
e. Humstone, Mary. BARN AGAIN! A Guide to the Rehabilitation of Older
Farm Buildings. Washington, D.C.: National Trust for Historic Preservation,
1997.
f. Rubman, Kerri. A Community Guide to Saving Older Schools. Washington,
D.C.: National Trust for Historic Preservation, 2000.
g. Snyder, John. Preserving Historic Bridges. Washington, D.C.: National
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9.4.4. Print Resources for Texas Architecture
a. Abernathy, Francis Edward, ed. Built in Texas. Waco: E-Heart Press, 1979.
b. Alexander, Drury B. Texas Homes of the Nineteenth Century. Austin:
University of Texas Press, 1966; 1979.
c. Brandimarte, Cynthia. Inside Texas: Culture, Identity and Houses, 1878-
1920. Fort Worth: Texas Christian University Press, 1991.
d. Cohen, Judith. Cowtown Moderne: Art Deco Architecture of Fort Worth,
Texas. College Station: Texas A&M University Press, 1988.
e. Coursey, Clark. Courthouses of Texas. Brownwood: Banner Printing, 1962.
f. Culbertson, Margaret. Mail-Order Mansions: Catalogue Sources of
Domestic Architecture in North Central Texas. Legacies: A History Journal
for Dallas and North Central Texas. Fall 1992, 8-20.
g. Culbertson, Margaret. Texas Houses Built by the Book: The Use of Print
Designs, 1850-1925. College Station: Texas A&M University Press, 1999.
h. Fox, Daniel. Traces of History: Archaeological Evidence of the Past 450
Years. San Antonio: Corona Publishing Company, 1983.
i. Francavaglia, Richard. Main Street Revisited. Iowa City: University of Iowa
Press, 1996.
j. George, Mary Carolyn Hollers. ONeil Ford, Architect. College Station:
Texas A&M University Press, 1992.
k. Goeldner, Paul, comp. Texas Catalog: Historic American Buildings Survey.
San Antonio: Trinity University Press, 1974.
l. Goeldner, Paul. Temples of Justice: 19th Century County Courthouses in
the Midwest and Texas. Ph.D dissertation, Columbia University, 1970.
m. Harwood, Buie. Decorating Texas: Decorative Painting in the Lone Star
State from the 1850s to the 1950s. Fort Worth: Texas Christian University
Press, 1993.
n. Heimsath, Clovis. Pioneer Texas Buildings: A Geometry Lesson. Austin:
University of Texas Press, 1968.
o. Henry, Jay. Architecture in Texas, 1895-1945. Austin: University of Texas
Press, 1993.
p. Jordan, Terry. Texas Log Buildings: A Folk Architecture. Austin: University
of Texas Press, 1978.
q. Kelsey, Maris and Donald Dyal. The Courthouses of Texas: A Guide.
College Station: Texas A&M University Press, 1993.
r. Robinson, Willard. Architecture. The New Handbook of Texas, 1996, Vol.
1: 226-234.
s. Robinson, Willard. Gone From Texas. College Station: Texas A&M Press,
1982.
t. Robinson, Willard. The Peoples Architecture. Austin: Texas State Historical
Association, 1983.
u. Robinson, Willard. Refections of Faith: Houses of Worship in the Lone Star
State. Waco: Baylor University Press, 1994.
v. Robinson, Willard. Texas Public Buildings of the Nineteenth Century. Austin:
University of Texas Press, 1974.
w. Sasser, Elizabeth. Dugout to Deco: Building in West Texas, 1880-1930.
Lubbock: Texas Tech University Press, 1993.
x. Simons, Helen and Cathryn Hoyt, eds. Hispanic Texas: A Historical Guide.
Austin: University of Texas Press and the Texas Historical Commission,
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1992.
y. Welch, June Rayfeld and J. Larry Nash. The Texas Courthouse. Dallas:
GLA Press, 1971.
z. Welch, June Rayfeld and J. Larry Nash. The Texas Courthouse Revisited.
Dallas: GLA Press, 1984.
a. American Architecture, A Style Guide
www.realviews.com
b. American Institute of Architects
www.aia.org
c. BARN AGAIN! National Trust for Historic Preservation
www.preservationnation.org/issues/rural-heritage/barn-again
d. Historic House Architecture
www.ragtime.org/arch
e. Partner for Sacred Places
www.sacredplaces.org
f. Roadside Architecture
www.roadsidepeek.com/archit/index.htm
g. Society of Architectural Historians
www.sah.org
h. Texas Historical Commission, Historic Properties
www.thc.state.tx.us/historicprop/hpdefault.shtml
i. Texas Society of Architects
http://texasarchitect.org
j. Theatre Historical Society of America
www.historictheatres.org
9.5. Bibliographies
a. Gagliardi, Neil and Stephen Morris. Local Historic Preservation Plans: A
Selected Annotated Bibliography. Washington, D.C.: National Park Service,
1993.
b. Massey, James. Readings in Historic Preservation: An Annotated
Bibliography to the Key Books and Periodicals. Washington, D.C.: National
Preservation Institute, 1986.
a. Heritage Preservation Services Free Bookshelf, National Park Service
www.nps.gov/history/freepubs.htm
b. Preservation Links National Alliance of Preservation Commissions
www.uga.edu/napc/programs/napc/links.htm
c. Partnership Notes, National Park Service Local Preservation Reference
Shelf
9.6. Design Review
a. Adams, Rachel. Finding a Better Fit. Preservation, March/April 2003: 26-
27.
b. Beasley, Ellen. Reviewing New Construction Projects in Historic Areas:
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Procedures for Local Preservation Commissions.
c. Washington, D.C.: National Trust for Historic Preservation, 1986.
d. Berry, Wendell, editor. Good Neighbors: Building Next to History. Denver:
Colorado Historical Society, 1980.
e. Cox, Rachel. Design Review in Historic Districts. Washington, D.C.: National
f. Frazier, Kathleen O. and William T. Frazier. Virginia Historic District Design
Guidelines Research Project. Historic Preservation Forum, Spring 1996:
4-11.
g. Kaplan, Marilyn E. Building Code Changes Impact Historic Buildings.
Forum News, Jan./Feb. 2000, Vol. 6, No. 3.
h. Pregliasco, Janice. Developing Downtown Design Guidelines. Sacramento:
California Main Street Program, 1988.
a. City of Fort Worth Urban Design Standards
www.dfwi.org
b. City of Grapevine Design Guidelines
www.grapevinetexas.gov/IndividualDepartments/HistoricPreservation/
DesignGuidelines/tabid/661/default.aspx
c. City of Wichita Architectural Design Guidelines
www.wichita.gov/CityOffces/Planning/Preservation/old_town_design_
guidelines.htm
d. Creating and Using Design Guidelines, National Park Service
www.nps.gov/history/hps/workingonthepast/writingsteps.htm
e. City of Georgetown Design Guidelines for the Downtown Overlay District
http://fles.georgetown.org/downtown-design-guidelines/
f. Design Guidelines for Downtown Greenville
www.ci.greenville.tx.us/index.aspx?nid=353
g. Historic Preservation in Salisbury, North Carolina
www.salisburync.gov/lm%26d/historic/historic.html
h. Historic Rockville Technical Guides for Exterior Alterations
www.rockvillemd.gov/historic/tech-guides.html
i. Town of Truckee Historic Design Guidelines
www.truckee2025.org/planning/hdgcont.htm
j. Urban Design Standards
http://winter.phpwebhosting.com/~cspivey/APA/Urban%20Design.htm
k. Economic Development and Entrepreneurship Center for Rural
Entrepreneurship
www.ruraleship.org/
l. Center for the Study of Rural America
www.kansascityfed.org/RuralCenter/RuralMain.htm
m. Lets Talk Business: Ideas for Expanding Retail and Services
www.uwex.edu/ces/cced/publicat/letstalk.html
n. National Business Incubation Association
www.nbia.org
o. National Main Street Center
www.mainst.org
p. Texas Center for Rural Entrepreneurship
www.tcre.org
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q. Texas Enterprise Zone Program
www.window.state.tx.us/taxinfo/enterprise_zone/ez_program.html
r. USDA Rural Business-Cooperative Service
www.rurdev.usda.gov/rbs/busp/bprogs.htm
9.7. Financial ncentives and Economic Benefts
a. Affordable Housing Through Historic Preservation: A Case Study Guide to
Combining the Tax Credits. Washington, D.C.:
b. National Trust for Historic Preservation and the National Park Service, 1995.
c. The Economic Benefts of Preserving Community Character: A Practical
Methodology. Washington, D.C.: National Trust for Historic Preservation,
1991.
d. Historic Preservation at Work for the Texas Economy. The Texas Historical
Commission, Preservation Dallas, the City of Abilene, the City of Fort
Worth, the City of Grapevine, the City of Laredo, the City of Lubbock, the
City of Nacogdoches, the City of San Antonio and the Grapevine Heritage
Foundation, 1999. Available on the THC web site.
e. Leith-Tetrault, John and Erica Stewart. Historic Texas Credits: Expanding
Their Use on Main Street. MainStreet News, May 2002: 1-5, 10-12.
f. Preservation Tax Incentives for Historic Buildings. National Park Service and
National Conference of State Historic Preservation Offcers, 1987.
a. ADA Tax Credits, United States Department of Justice
www.ada.gov/taxpack.htm
www.ada.gov/taxcred.htm
b. Certifed Local Government Grants
www.thc.state.tx.us/grantsincent/graclg.shtml
c. City of Dallas Historic Preservation Tax Incentives
www.dallascityhall.com/
d. City of Waxahachie Historic Building Restoration Program and Incentives
www.waxahachie.com/c3web/incentives page.htm
e. City of Waxahachie Historic Building Restoration Program and Incentives
www.waxahachie.com/c3web/incentives page.htm
f. Community Development Block Grant Programs
www.hud.gov/offces/cpd/communitydevelopment/programs/index.cfm
g. Federal Financial Assistance for Rural Buildings
www.rurdev.usda.gov/rhs
h. The Foundation Center, Finding Funding
http://fdncenter.org
i. Funding for Historic Preservation, National Trust for Historic Preservation
www.nationaltrust.org/help/funding.html
j. Historic Preservation at Work for the Texas Economy
www.thc.state.tx.us/publications/reports/EconImpact.pdf
k. Incentives! A National Park Service Guide
www.nps.gov/history/tax.htm
l. Keep Texas Beautiful
www.ktb.org/
m. Local Incentives for Preservation
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www.preservationtexas.org/newsletter/preservation_newsletter_incentives.
html
n. The Low Income Housing Tax Credit Program
www.hud.gov/offces/cpd/affordablehousing/training/web/lihtc/basics/
o. Main Street Brenham
www.ci.brenham.tx.us/ComDev_MainStreet.cfm
p. National Main Street Center
www.mainst.org
q. National Park Service: Grants, Tax Credit, and Other Assistance www.nps.
gov/history/grants.htm
r. National Trust Community Investment Fund
www.ntcicfunds.com/
s. National Trust Loan Funds
www.preservationnation.org/resources/fnd-funding/loans/national-trust-
loan-fund
t. Rehabilitation Mortgage Loan Insurance
www.hud.gov/offces/hsg/sfh/203k/203kmenu.cfm
u. Rehabilitation Tax Credit Guide, National Trust for Historic Preservation
www.preservationnation.org/issues/rehabilitation-tax-credits/
v. Small Deal Fund, National Trust for Historic Preservation www.
preservationnation.org/resources/fnd-funding/nonproft-public-funding.html
w. Sources of Financial Assistance for Historic Preservation Projects, Advisory
Council on Historic Preservation www.achp.gov/funding.html
x. Texas Center for Rural Entrepreneurship
www.tcre.org
y. Texas Department of Agriculture, Rural Economic Development
www.agr.state.tx.us/agr/program_render/0,1987,1848_6052_0_0,00.
html?channelId=6052
z. Texas Historical Commission, Grants and Incentives
www.thc.state.tx.us/grantsincent/gradefault.shtml
aa. Texas Parks and Wildlife, Recreation Grants Program
www.tpwd.state.tx.us/grants/
bb. Texas Tax Increment Financing Zone Registry
www.window.state.tx.us/taxinfo/proptax/registry/zone.html
cc. Texas Yes!
www.texasyes.org
dd. Web-Available Studies on the Economic Impacts of Historic Preservation
www.achp.gov/economicstudies.html
9.8. Heritage Tourism
a. Baker, Priscilla. Touring Historic Places. National Trust for Historic
Preservation and National Tourism Association, 1995.
b. Fleming, Ronald Lee. If Walls Could Talk: Telling the Story of a Historic
Building to Create a Market Edge. Washington, D.C.: National Trust for
Historic Preservation, 1989.
c. Geiger, Debbie. Public Relations Strategies for Historic Sites and
Communities: Offering a Media Tour. Washington, D.C.: National Trust for
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d. Levy, Barbara Abramoff, Sandra Mackenzie Lloyd, and Susan Porter
Schreiber. Great Tours!: Thematic Tours and Guide Training for Historic
Sites. AltaMira Press, 2002.
e. Share Your Heritage: Cultural Heritage Tourism Success Stories.
Washington, D.C.: National Trust for Historic Preservation, 2001.
a. Alliance of National Heritage Areas
www.nationalheritageareas.com
b. Association of Travel Marketing Executives, Marketing Toolkit
www.atme.org/pubs/members/75_310_1324.cfm
c. Destination Texas
www.destinationtexas.cc
d. Historic Accommodations of Texas
www.hat.org
e. Historic Travel, National Trust for Historic Preservation
www.preservationnation.org/travel-and-sites
f. National Register Travel Itineraries
www.cr.nps.gov/nr/travel
g. National Scenic Byways
www.byways.org
h. National Tour Association
www.ntaonline.com
i. Preserve America
www.preserveamerica.gov
j. Trails and Rails Partnership Program, National Park Service
www.nps.gov/trails&rails
k. Rivers, Trails and Conservation Assistance Program Community Toolbox
www.nps.gov/phso/rtcatoolbox/index_comtoolbox.htm
l. Rural Information Center Resources
www.nal.usda.gov/ric/ruralres/tourism.htm
m. Statewide Arts and Cultural Events
www.arts.state.tx.us/caltca/calregions.cfm
n. Texas Historical Commission, Heritage Travel
www.thc.state.tx.us/heritagetourism/htprogram.shtml
o. Texas Parks and Wildlife
www.tpwd.state.tx.us
p. Texas Travel Industry Association
www.ttia.org
q. Tour Texas
www.tourtexas.com
r. Travel Industry Association of America
www.tia.org
s. TravelTex.com, the Offcial Site of Texas Tourism
www.traveltex.com
t. Utah Heritage Tourism Toolkit
http://history.utah.gov/httoolkit
9.9. Historic Districts
a. Ames, David L. and Linda Flint McClelland. Historic Residential Suburbs:
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Guidelines for Evaluation and Documentation for the National Register of
Historic Places. National Register Bulletin, September 2002.
b. Beasley, Ellen. Design and Development: Infll Housing Compatible with
Historic Neighborhoods. Washington, D.C.: National Trust for Historic
Preservation, 1989.
c. Cassity, Pratt. Maintaining Community Character: How to Establish a Local
Historic District. Washington, D.C.: National Trust for Historic Preservation,
1992.
d. Guidelines for Drafting Historic Preservation Ordinances and Model
Ordinance. Local Government Assistance Series, No. 1. Certifed Local
Government Program.
e. Headley, Hope. Historic Districts: An Introduction to Information Resources.
Information Sheet No. 35. The Preservation Press, 1983.
f. Roddewig, Richard J. Preparing a Local Preservation Ordinance. Planning
Advisory Report, No. 374. Chicago: American Planning Association, 1983.
g. Skelly, Christopher. Promoting Innovative Historic Preservation
Ordinances. Zoning News, January 2002.
h. Wright, Russell. A Guide to Delineating Edges of Historic Districts. The
Preservation Press, 1976.
a. Partnership Notes, National Park Service Conservation Districts
b. Working on the Past in Local Historic Districts, National Park Service
www.nps.gov/history/hps/workingonthepast
9.10. Historic District Boards and Commissions
a. Certifed Local Governments in the National Historic Preservation Program.
Washington, D.C.: National Park Service.
b. Peters, Rober, ed. A Comprehensive Program for Historic Preservation in
Omaha, Nebraska. Omaha: Landmarks Heritage Preservation Commission,
December 1980.
c. Procedural Due Process in Plain English: A Guide for Preservation
Commissions. Washington, D.C.: National Trust for Historic Preservation,
2004.
a. National Alliance of Preservation Commissions
www.uga.edu/napc/
b. Working on the Past in Local Historic Districts, National Park Service
www.nps.gov/history/hps/workingonthepast
9.11. Historic Landscapes
a. Birnbaum, Charles. Protecting Cultural Landscapes: Planning, Treatment,
and Management of Historic Landscapes. Preservation Brief 36, National
Park Service, 1994.
b. Focus on Landscape Preservation. National Trust for Historic Preservation,
Historic Preservation Forum (May/June 1993, Volume 7, Number 3).
a. The Alliance for Historic Landscape Preservation
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www.ahlp.org
b. American Society of Landscape Architects
www.asla.org
c. The Cultural Landscape Foundation
www.tclf.org
d. Family Land Heritage Program, Texas Department of Agriculture
www.agr.state.tx.us
e. Historic Landscape Initiative, National Park Service
www.nps.gov/history/hps/hli/
f. Institute for Cultural Landscape Studies
www.icls.harvard.edu
9.12. Historic Preservation Easements
a. Coughlin, Thomas. Appraising Easements. Land Trust Alliance, 1984.
b. Watson, Elizabeth and Stefan Nagel. Establishing an Easement Program to
Protect Historic, Scenic, and Natural Resources. Washington, D.C.: National
a. The Facts about Preservation Easements
www.preservationnation.org/resources/legal-resources/easements/
b. Historic Preservation Easements, National Park Service
www.nps.gov/history/hps/tps/tax/easement.htm
c. Preservation Easement Trust
www.preservationeasement.org/home
9.13. Land Trusts and Conservation Easements
a. Diehl, Janet and Thomas S. Barrett. The Conservation Easement
Handbook. Alexandria, VA: Land Trust Alliance and Trust For Public Land,
1988.
b. Doing Deals: A Guide to Buying Land for Conservation. Land Trust Alliance
and The Trust for Public Land, 1998.
c. Lind, Brenda. The Conservation Easement Stewardship Guide. Land Trust
Alliance, 1991.
d. Small, Stephen J. Preserving Family Lands. Boston: Landowner Planning
Center, 1992.
e. The Standards and Practices Guidebook. Land Trust Alliance, 1989.
a. American Farmland Trust
www.farmland.org
b. Conservation Fund
www.conservationfund.org
c. Hill Country Conservancy
www.hillcountryconservancy.org
d. Land Trust Alliance
www.lta.org
e. Legacy Land Trust
www.llt.org
f. Native Prairies Association of Texas
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www.texasprairie.org
g. Natural Area Preservation Association
www.napa-texas.org
h. The Nature Conservancy, Texas Chapter
http://nature.org/wherewework/northamerica/states/texas
i. Texas Land Trusts
www.texaslandtrustcouncil.org/
j. Trust for Public Land
www.tpl.org
9.14. Legal Issues
a. Duerksen, Christopher J., editor. A Handbook on Historic Preservation Law.
The Conservation Foundation and the National Center for Preservation Law,
1983.
b. Duerksen, Christopher and Richard Roddewig. Takings Law in Plain
English. Washington, D.C.: National Trust for Historic Preservation, 1994.
c. Miller, Julia. Layperson`s Guide to Preservation Law: Federal, State, and
Local Laws Governing Historic Resource. Washington D.C.: National Trust
for Historic Preservation, 1997.
d. Preservation Law Reporter. A monthly publication covering federal, state
and local developments in preservation law. Washington, D.C.: National
Trust for Historic Preservation.
e. Preservation Law Updates. Twice-monthly newsletters on matters of
preservation law. Washington, D.C.: National Center for Preservation Law.
f. Roddewig, Richard J. and Christopher J. Duerksen. Responding to the
Takings Challenge. Planning Advisory Service Report No. 416. Chicago:
American Planning Association, 1989.
a. Land Use and Planning, McTex Law
www.mctexlaw.com/atf-land.asp
b. Legal Advocacy, National Trust for Historic Preservation
www.preservationnation.org/resources/legal-resources
c. Preservation Action
www.preservationaction.org
d. Preservation Texas
www.preservationtexas.org/advocacy/index.htm
9.15. Local Preservation Planning
a. Ames, David L. and Linda Flint McClelland. Historic Residential Suburbs:
Guidelines for Evaluation and Documentation for the National Register of
Historic Places. National Register Bulletin, September 2002.
b. Arendt, Randall. Conservation Design for Subdivisions: A Practical Guide to
Creating Open Space Networks. Washington, D.C.: Island Press, 1996.
c. Beaumont, Constance Epton. A Citizens Guide to Protecting Historic
Places: Local Preservation Ordinances. Washington, D.C.: National Trust
for Historic Preservation, 1992.
d. Beaumont, Constance. How Superstore Sprawl Can Harm Communities:
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And What Citizens Can Do About It. Washington, D.C.: National Trust for
e. Beaumont, Constance Epton and A. Bruce Dotson. Preservation Planning
and Growth Management in Four States. Washington, D.C.: National Trust
for Historic Preservation, revised 1992.
f. Campoli, Julie, Elizabeth Humstone, and Alex MacLean. Above and
Beyond. Chicago: Planners Press, 2002.
g. Collins, Richard C., Elizabeth B. Waters, and A. Bruce Dotson. Americas
Downtowns: Growth, Politics and Preservation. Washington, D.C.: The
h. Currier, Ross and Deidre Schmidt. Restoring Historic Buildings to Their
Communities. Historic Preservation Forum, Spring 1996: 14-21.
i. Derry, Anne, Ward Jandl, Carol D. Shull, and Jan Thorman (revised by
Patricia Parker). Guidelines for Local Surveys: A Basis for Preservation
Planning (formerly National Register Bulletin 24), 1985.
j. Duany, Andres. A Long-Range Vision for Cities, and for Preservation.
Forum Journal, Winter 2003: 37-42.
k. Duany, Andres and Elizabeth Plater-Zyberk. Towns and Town-Making
Principles. New York: Rizzoli, 1990.
l. Duerksen, Christopher J. Aesthetics and Land Use Controls: Beyond
Ecology and Economics. Planning Advisory Service Report No. 399.
Chicago: American Planning Association, 1986.
m. Fleming, R.L. Saving Face: How Corporate Franchise Design Can Respect
Community Identity. Planning Advisory Service, No. 629. Washington, D.C.:
n. Gratz, Roberta Brandes. Cities Back from the Edge: New Life from
Downtown. Washington, D.C.: The Preservation Press, 1998.
o. Gratz, Roberta Brandes. The Living City: How Americas Cities Are Being
Revitalized by Thinking Small in a Big Way. Washington, D.C.: The
p. Herr, Philip B. Saving Place: a Guide and Report Card for Protecting
Community Character. Boston: National Trust for Historic Preservation,
1991.
q. Homsy, George. Making Great Strips Happen. Planning, December 2002:
24-27.
r. Innovative Tools for Historic Preservation. Washington, D.C.: National Trust
for Historic Preservation and the American Planning Association, 1992.
s. Longstreth, Richard. History on the Line: Testimony in the Cause of
Preservation. Ithaca, NY: Historic Urban Plans, Inc. 1998.
t. Mantell, Michael A., et al. Creating Successful Communities: Resource
Guide for Creating Successful Communities. Washington, D.C.: Island
Press, 1989.
u. Moe, Richard and Carter Wilkie. Changing Places: Rebuilding Community in
the Age of Sprawl. New York: Henry Holt and Co, 1997.
v. Montgomery, Jim. Where Caring Counts. Planning, November 2002: 14-
16.
w. Oltmans, Rebecca. Bedroom Communities. Hastings Tribune. January
2003.
x. Papasan, Wendy. Building Communities and Economies Through Heritage
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Tourism. Museline, Summer 2003: 8-9.
y. Paseltiner, Ellen Kettler and Deborah Tyler. Zoning and Historic
Preservation: A Survey of Current Zoning Techniques in U.S. Cites to
Encourage Historic Preservation. Landmarks Preservation Council of Illinois,
1983.
z. Preservation Planning: Ensuring a Future for our Past. Cultural Resource
Management 23, No. 7 (2000).
aa. Roddewig, Richard and Bradford White. Preparing a Historic Preservation
Plan. PAS Report No. 450, 1994.
bb. Secretary of the Interiors Standards and Guidelines for Preservation
Planning, September 1983.
cc. Talarico, Wendy. Teardowns Slowdown. Preservation, March/April 2003:
11-12.
dd. Tassan, Vickie. The Partnership Role of Banks in Historic Preservation.
Historic Preservation Forum, Spring 1996: 22-29.
ee. Vogel, Lisa and Pratt Cassity. The Buck Stops Where? Historic
Preservation Forum, Summer 1996: 15-22.
ff. Waters, John C. Maintaining a Sense of Place: A Citizens Guide to
Community Preservation. Institution of Community and Area Development,
1983.
gg. White, Bradford J. and Richard J. Roddewig. Preparing a Historic
Preservation Plan. Chicago: American Planning Association, 1994.
a. American Planning Association
www.planning.org
b. American Planning Association, Texas Chapter
www.txplanning.org
c. Context Sensitive Solutions
www.contextsensitivesolutions.org
d. Historic Preservation Planning Program, National Park Service
www.nps.gov/history/hps/pad/
e. Livable Communities Task Force
http://blumenauer.house.gov/issues
f. Partnership Notes, National Park Service
1. Local Preservation Reference Shelf
2. Zoning and Historic Preservation
3. Subdivision Regulation and Historic Preservation
4. Issues Paper: Conservation Districts
g. Pedestrian and Bicycle Information Center
www.pedbikeimages.org
h. Preserve America
www.preserveamerica.gov
i. Secretary of the Interiors Standards for Preservation Planning
www.nps.gov/history/local-law/arch_stnds_1.htm
j. Smart Growth America
www.smartgrowthamerica.org
k. Texas Downtown Association
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www.texasdowntown.org
l. Texas Historical Commission, Certifed Local Government
www.thc.state.tx.us/certifedlocgov/clgdefault.shtml
m. Texas Historical Commission, The Texas Main Street Program
www.thc.state.tx.us/mainstreet/msdefault.shtml
n. Texas Historical Commission, Visionaries in Preservation Program
www.thc.state.tx.us/visioninpres/vpdefault.shtml
o. Walkable Communities, Inc.
www.walkable.org
9.16. Maps, Aerial Images and Photographs
a. Applying GPS to Historic Preservation and Architectural Surveys, National
Park Service
www.nps.gov/history/hdp/standards/CRGIS/hist_pres_gps.htm
b. Cultural Resources Mapping and GIS, National Park Service
www.nps.gov/hdp/crgis/index.htm
c. The National Map (USGS maps and aerial photography)
http://seamless.usgs.gov/
d. Pedestrian and Bicycle Information Center
e. TerraServer (Aerial photography)
http://terraserver.com/
f. Texas Escapes
http://texasescapes.com/
g. Texas General Land Offce (archival map collection dating from the 1820s)
www.glo.state.tx.us/archives/mapscol.html
h. Texas Natural Resources Information System (USGS maps and other
collections)
www.tnris.org
i. TexShare Databases for the Texas State Library and Archives Commission
(Sanborn Fire Insurance Maps)
www.tsl.state.tx.us
j. TopoZone The Webs Topographic Map (USGS maps)
http://topozone.com/
9.17. Markers and Designations
a. Guidelines for Evaluating and Documenting Properties Associated with
Signifcant Persons. U.S. Department of the nterior. National Park Service.
b. Guidelines for Listing Your Neighborhood in the National Register of
Historic Places. Texas Historical Commission.
c. Historic Texas Cemetery Designation Guidelines and Application Form.
Texas Historical Commission.
d. How to Apply the National Register Criteria for Evaluation. U.S.
Department of the Interior. National Park Service.
e. How to Complete the National Register Registration Form. U.S.
Department of the Interior. National Park Service.
f. "Offcial Texas Historical Markers: Guidelines and Application Form. Texas
Historical Commission.
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a. National Register of Historic Places
www.nps.gov/history/places.htm
b. THC Atlas Database of Texas/State of Texas markers, National Register
properties, data and survey records
http://atlas.thc.state.tx.us/
c. Texas Historical Commission, History Programs Division
www.thc.state.tx.us/markersdesigs/maddefault.shtml
9.18. Museums and Archives
a. Donnelly, Jessica Foy. Interpreting Historic House Museums. Altamira
Press, 2002.
b. Heaver, Melissa. Housekeeping for Historic Homes and House Museums.
Washington, D.C.: National Trust for Historic Preservation, 2000.
a. American Association of Museums
www.aam-us.org
b. Association for Living History, Farm, and Agricultural Museums
www.alhfam.org
c. Institute of Museum and Library Services
www.imls.gov
d. Texas Association of Museums
www.io.com/~tam
e. Texas Historical Commission, Museum Services
www.thc.state.tx.us/museums/musdefault.html
f. Texas State Library and Archives Commission
www.tsl.state.tx.us
9.19. Preservation Education
a. Rubman, Kerri. Heritage Education: An Introduction for Teachers, Group
Leaders and Program Planners. Washington, D.C.: National Trust for
b. White, Charles. Curriculum Framework for Professional Training and
Development. Washington, D.C.: National Trust for Historic Preservation,
1995.
a. Arkansas Historic Preservation Education Program
www.arkansaspreservation.org/preservation-services/youtheducation/
default.asp
b. Center for Understanding the Built Environment
www.cubekc.org
c. Heritage Education
www.ncptt.nps.gov/
d. The Heritage Education Network
http://histpres.mtsu.edu/then/
e. Kids and Community, American Planning Association
www.planning.org/kidsandcommunity
f. National Council for Preservation Education
www.uvm.edu/histpres/ncpe
g. Teaching with Historic Places, National Register of Historic Places
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www.nps.gov/history/nr/twhp/index.htm
h. Texas State Historical Association, Education Program
www.tshaonline.org/education/
9.20. Preservation History
a. Hosmer, Charles B. Jr. Preservation Comes of Age: From Williamsburg to
the National Trust, 1926-1949. Charlottesville: University Press of Virginia,
1981.
b. Lee, Antoinette. From Tennis Shoes to Sensible Pumps: How Historic
Preservation Went from a Passion to a Profession. History News, Summer
2002: 18-21.
c. Morris, Marya. Innovative Tools for Historic Preservation. American
Planning Association, Planning Advisory Service, Report No. 438.
d. Rypkema, Donovan D. Historic Preservation: Where Weve Been and
Where We Need to Go. Forum Journal, Winter 2003: 43-56.
e. Young, Dwight. Like an Old Shoe: The Cities of Tomorrow Need the
Seasoned Places of Today. Preservation, November/December 2002: 84.
9.21. Small Towns and Rural Preservation
a. Arendt, Randall, et al. Rural by Design: Maintaining Small Town Character.
Chicago: American Planning Association, 1994.
b. Calderon, Richard. Planning Approaches for Growth in Rural Areas.
Leesburg, Va.: Loudon County Planning Department, 1989.
c. Campoli, Julie, Elizabeth Humstone, and Alex MacLean. Above and
Beyond: Visualizing Change in Small Towns and Rural Areas. Chicago:
d. Daniels, Thomas L., John W. Keller, and Mark B. Lapping. The Small Town
Planning Handbook (second edition). Chicago: Planners Press, 1995.
e. Does Farmland Protection Pay? The Cost of Community Services in Three
Massachusetts Towns. American Farmland Trust. Northhampton: The
Massachusetts Department of Food and Agriculture, 1992.
f. Farmsteads and Market Towns: A Handbook for Preserving the Cultural
Landscape. Preservation League of New York State. Albany: Preservation
League of New York State, 1982.
g. Glassie, Henry. The Rural Landscape. Forum Journal, Winter 2003: 32-36.
h. Laskin, David. New West Order. Preservation, July/August 2003: 11-12.
i. Managing Change in Rural Communities. National Endowment for the Arts
and the U.S. Department of Agriculture, 1995.
j. McClelland, L., J.T. Keller, G. Keller, R. Melnick. n.d. Guidelines for
Evaluating and Documenting Rural Historic Districts. National Register
Bulletin, No. 30. Washington, D.C.: U.S. Department of the Interior, National
Park Service.
k. Melnick, Robert Z. Capturing the Cultural Landscape. Landscape
Architecture 71, January 1981: 56-80.
l. Rural Development Guidelines. Dutchess County Department of Planning
and Development. Albany: New York Planning Federation, 1994.
m. Stipe, Robert E., ed. New Directions in Rural Preservation. Washington,
D.C.: U.S. Department of the Interior, 1980.
n. Stokes, Samuel, A. Elizabeth Watson, and Shelley S. Mastran. Saving
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Americas Countryside: A Guide to Rural Conservation. Baltimore: Johns
Hopkins University Press, 1997.
o. Urbanizing Farmland: Dynamics of Land Use Change in Fast-Growth
Counties. U.S. Department of Agriculture Information Bulletin, No. 629.
Rockville, MD: Economic Research Service, 1991.
p. Village Planning Handbook. Doylestown, PA: Bucks County Planning
Commission, 1989.
q. Zube, E.H. and M. Zube, eds. Changing Rural Landscapes. Amherst:
University of Massachusetts Press, 1977.
a. American Farmland Trust
www.farmland.org
b. Association for Living History Farm, and Agricultural Museums
www.alhfam.org
c. BARN AGAIN! National Trust for Historic Preservation
www.preservationnation.org/issues/rural-heritage/barn-again
d. Center for the Study of Rural America
www.kansascityfed.org/RuralCenter/RuralMain.htm
e. Conservation Fund
www.conservationfund.org
f. Land Trust Alliance
www.lta.org
g. Rural Heritage Program, National Trust for Historic Preservation
www.preservationnation.org/issues/rural-heritage
9.22. Surveys of Historic Resources
a. Applying GPS to Historic Preservation and Architectural Surveys, National
Park Service
www.nps.gov/history/hdp/standards/CRGIS/hist_pres_gps.htm
b. Discover Dallas! A Survey of Dallas Historic and Architectural Properties
www.preservationdallas.org/new_site/survey/about.php
c. Guidelines for Local Surveys: A Basis for Preservation Planning
www.nps.gov/history/nr/publications/bulletins/nrb24/
d. Historic Resource Surveys, Texas Historical Commission
www.thc.state.tx.us/survey/surdefault.shtml
9.23. Technical Assistance
a. Auer, Michael, Charles Fisher, and Anne Grimer, eds. Interiors Handbook
for Historic Buildings. Historic Preservation Education Foundation and
National Park Service, 1988.
b. Auer, Michael, Charles Fisher, Thomas Jester, and Marilyn Kaplan, eds.
Interiors Handbook for Historic Buildings, Volume II. Historic Preservation
Education Foundation and National Park Service, 1993.
c. Caring for Your Historic House. Heritage Preservation and National Park
Service. New York: Harry N. Abrams, Inc., 1998.
d. Fisher, Charles, ed. The Windows Handbook: Successful Strategies
for Rehabilitating Windows in Historic Buildings. Historic Preservation
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Education Foundation.
e. Foulks, William, ed. Historic Building Facades: The Manual for Maintenance
and Rehabilitation. New York: Preservation Press (John Wiley & Sons,
Inc.), 1997.
f. Jester, Thomas, ed. Twentieth Century Building Materials. New York:
McGraw-Hill, 1995.
g. Kitchen, Judith L., Respectful Rehabilitation Caring for Your Old House, A
Guide for Owners and Residents. New York: John Wiley & Sons, 1991.
h. Preserving the Recent Past. Historic Preservation Education Foundation,
1995.
i. Preserving the Recent Past II. Historic Preservation Education Foundation
and National Park Service, 2000.
j. Respectful Rehabilitation: Answers to Your Questions about Old Buildings.
Washington, D.C.: Preservation Press, 1990.
k. Roofng Handbook for Historic Buildings. Historic Preservation Education
Foundation and National Park Service, 1999.
l. Weaver, Martin. Conserving Buildings: A Manual of Techniques and
Materials. New York: Preservation Press (John Wiley & Sons Inc.), 1997.
m. Window Rehabilitation Guide for Historic Buildings. Historic Preservation
Education Foundation and National Park Service, 1997.
a. Association for Preservation Technology
www.apti.org
b. Conservation and Art Materials Encyclopedia Online (CAMEO)
www.mfa.org/cameo
c. Historic Preservation Technical Procedures, General Services
Administration
http://w3.gsa.gov/web/p/hptp.nsf
d. Old House Journal
www.oldhousejournal.com
e. This Old House Online
www.thisoldhouse.com
f. Preservation Briefs, National Park Service
www.nps.gov/history/hps/tps/briefs/presbhom.htm
g. Preservation Tech Notes, National Park Service
www.nps.gov/history/hps/tps/technotes/tnhome.htm
h. Preservation Trades Network
www.ptn.org
i. Preservation Web
www.alexa.com/siteinfo/www.preservationweb.com/
j. Secretary of the Interiors Standards for the Treatment of Historic Properties
www.nps.gov/history/standards.htm
k. Technical Preservation Services for Historic Buildings
www.nps.gov/hps/tps/
l. Traditional Building
www.traditional-building.com
9.24. Transportation
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a. Marriott, Paul Daniel. Saving Historic Roads: Design and Policy Guidelines.
New York: John Wiley & Sons, Inc., 1998.
b. Community Guide to Planning and Managing a Scenic Byway. U.S.
Department of Transportation.
a. Context Sensitive Solutions
www.contextsensitivesolutions.org
b. National Transportation Enhancements Clearinghouse
www.enhancements.org
c. Pedestrian and Bicycle Information Center
d. Rails to Trails Conservancy
www.railstotrails.org
e. Reconnecting America
www.reconnectingamerica.org
f. Surface Transportation Law, TEA-21
www.fhwa.dot.gov/tea21/
g. Texas Department of Transportation
www.txdot.state.tx.us
h. Transportation, National Trust for Historic Preservation
www.nationaltrust.org/issues/transportation/
i. Walkable Communities, Inc.
www.walkable.org
9.25. Periodicals
a. American Bungalow
Self-Print
b. Antique Homes Magazine
Self-Print
c. Cultural Resource Management
Printed by the U.S. Department of the Interior, National Park Service
d. Historic Preservation Forum
Printed by the National Trust for Historic Preservation
e. History News
Printed by the American Association for State and Local History
f. Journal of the Association for Preservation Technology
Printed by the Association for Preservation Technology
g. Journal of the Society of Architectural Historians
Printed by the Society of Architectural Historians
h. Main Street News
The monthly periodical of the National Trusts National Main Street Center
i. The Medallion
Printed by the Texas Historical Commission
j. Old House Journal
Printed by Restore Media, LLC
k. Planning
Printed by the American Planning Association
l. Platform
Printed by the University of Texas School of Architecture
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m. Preservation
The offcial magazine for members of the National Trust for Historic
Preservation
n. This Old House
Printed by Time Publishing Ventures
o. Traditional Building: The Professionals Source for Historical Products
Printed by Restore Media, LLC
9.26. National Organizations
a. National Park Service
1849 C Street NW, Washington, D.C. 20240
202/208-6843
www.nps.gov
b. National Trust for Historic Preservation - National Offce
1785 Massachusetts Ave. NW, Washington, D.C. 20036-2117
202/588-6000
www.nationaltrust.org
c. U.S. Department of the Interior
1849 C Street NW, Washington, D.C. 20240
202/208-3100
www.doi.gov
d. USDA Forest Service
1400 Independence Ave. SW, Washington, D.C. 20250-0003
202/205-8333
www.fs.fed.us
9.27. State Organizations
a. Texas State History Museum
Bob Bullock
P.O. Box 12874, Austin, TX 78711
512/936-8746
www.thestoryoftexas.com
b. Friends of the Texas Historical Commission, Inc.
512/936-2241
www.thc.state.tx.us/friends/fredefault.shtml
c. Preservation Texas
Julianne Fletcher, Executive Director
P.O. Box 12832
Austin, TX 78711
512/472-0102
www.preservationtexas.org
d. Texas Commission on the Arts
P.O. Box 13406, Austin, TX 78711-3406
512/463-5535
www.arts.state.tx.us
e. Texas Historical Commission
P.O. Box 12276, Austin, TX 78711-2276
512/463-6100
www.thc.state.tx.us
f. Texas Historical Foundation
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512/453-2154
g. Visionaries in Preservation, Texas Historical Commission
Josh Lasserre
P.O. Box 12276, Austin, TX 78711-2276
512/463-3345
josh.lasserre@thc.state.tx.us
www.thc.state.tx.us/visioninpres/vpdefault.shtml
h. Texas African American Heritage Organization
Dr. David A. Williams
P.O. Box 141038
Austin, TX 78714
512/837-1405
9.28. State University Resources
a. Stephen F. Austin State University
Dr. Archie P. McDonald
P.O. Box 6223-SFA Station
Nacogdoches, TX 75962
936/468-2190
www.sfasu.edu
b. Texas A&M University
Dr. Robin F. Abrams
A-405 Langford A
Department of Architecture, College of Architecture
College Station, TX 77843-3137
979/845-7050
www.tamu.edu
c. Texas State University
James Kimmel
601 University Drive
San Marcos, TX 78666
512/245-3201
www.txstate.edu
d. Texas Tech University
James E. White
P.O. Box 42091
Lubbock TX 79409
806/742-3169
www.ttu.edu
e. University of Texas at Austin
Dr. Christopher Long
Historic Preservation Program
Goldsmith Hall 2.208 B7500
Austin, TX 78712
512/471-1922
www.utexas.edu

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