2018-016 Amending Ordinances Creating Historical Overlay Districts to Incorporate Design Standards for the Historic DistrictsI
AN ORDINANCE OF THE CITY COUNCIL OFTHE CITY OF PARIS, TEXAS,
AMENDING ORDINANCES CREATING HISTORICAL OVERLAY DISTRICTS
TO INCORPORATE "DESIGN STANDARDS FOR THE HISTORIC DISTRICTS
OF THE CITY OF PARIS, TEXAS" AND ADDITIONS AND AMENDMENTS
THERETO; PROVIDING A PENALTY CLAUSE; PROVIDING A SAVINGS
CLAUSE; PROVIDING A SEVERABILITY CLAUSE; AND PROVIDING AN
FECTIVE DATE.
WHEREAS, the City Council adopted Ordinance No. 20O2'-033, the "Paris Historic
Preservation Ordinance," on June, 17, 2002 declaring that the protection, preservation, and
enhancement of districts and landmarks of architectural, archaeological,, cultural, and
historic importance is a matter of public policy; and
WHEREAS, said Paz -is Historic, Preservation Ordinance was codified as Chapter 7,
Article V1, "Historic Preservation," of the Code of Ordinances of the City of Paris.;
WHEREAS, in furtherance of the goals set forth in the Paris Historic Preservation
Ordinance, the City Council did thereafter approve the creation of seventeen (17) Historic
Overlay Districts by ordinance; and
WHEREAS, pursuant to Sec. 7-155 of the Code of Ordinances, each creating
ordinance contained design guidelines and other appropriate regulations concerning the
exterior and site development or redevelopment of buildings in each Historic Overlay
District as those standards existed at the time of passage; and
WHEREAS, pursuant to Sec. 7-153(e) of the Code of Ordinances, the City Council has
vested in the Historic Preservation Commission the authority to, among other things,
approve or disapprove certificates of appropriateness for renovations or construction in
the Historic Overlay Districts and to prepare and promote design guidelines for, landmarks
and districts; and
WHEREAS, on the Historic Preservation Commission adopted "Design Standards for,
the Historic Districts of the City of Paris, Texas" (hereinafter, the "Design Standards") in
2009; and
WHEREAS, on April 11, 2018, the Historic Preservation Commission approved
certain amendments and clarifications to the Design Standards with respect to windows,
bricks, and, fencing;
NOW, THEREFORE, BE IT ORDAINED BY THE CITY COUNCIL OF THE CITY U0
PARIS, TEXAS:
Section 1. That Section 4 of each of
Ordinance, No. 2003-023 (Downtown Historical Overlay District, otherwise known
as HD-1);
Ordinance No. 2003-045 (The Paris Santa Fe -Frisco Depo Property, otherwise
known as HD -3);
Ordinance No. 2004-021 (I -ID -2, Church Street),
Ordinance No. 2004-022 (HD -4,71.4 Graham Street);
Ordinance No. 2004-023 (HD -5, 623 61h Street SE);
Ordinance No. 2004-024 (HD -6, 1970 Clarksville St.);
Ordinance No. 2004-025 (HD -7, 42,9 Graham Street„ 410, 428, and 440 W. Kaufman
Street);
Ordinance No. 2004-026 (HD -8,357 W. Kaufman Street),;
Ordinance No. 2,004-031 (HD -9, 625 Washington Street);
Ordinance No, 2004-0132 (HD, -10, 1033 Bonham Street),
Ordinance, No. 2004-033 (HD -11, 744 3rd Street NW);
Ordinance No. 2004-034 (HD -1.2,2006 Bonham St.);
Ordinance No. 2004-054 (HD -13, also known as Downtown Historic Overlay District
No. 2, 561 Clarksville Street);
Ordinance No. 2005-064 (HD -14, 546, Pine BluffStreet);
Ordinance No. 20017-025 (HD -15, 410W. Washington St.);
Ordinance No. 2012-031 (726 W. Sherman St., otherwise known as HD -16); and
Ordinance No. 201.4-016 (60 Sycamore St., otherwise known as HD -1.7)
is hereby arnended to read as follows in its entirely:
"Section 4. That the City's Historic Preservation Ordinance, Article
VII, Chapter 7, City of Paris Code of Ordinances as may be from time to time
hereinafter amended; the City's Design Standards for Historic Districts in the
City of Paris as amended and as may be from time to time hereinafter
amended; and the Secretary of the Interior's Standards for the Treatment of
Historic Properties as may be from time to time hereinafter amended, are,
incorporated herein by reference and shall apply to the property
encompassing the Historic Overlay District created by this ordinance. A copy
of the City's Design Standards for Historic Districts as amended through June
11, 2018 is attached hereto as Exhibit A and is incorporated by reference as
if fully set forth herein."
Section 2. Penalty Clause. That any person violating any provision of this ordinance
shall be guilty of a Misdemeanor, and upon conviction, shall be subject to a fine in
accordance with provisions of Sec. 1-6 of Chapter One of the City of Pal -is Code of
Ordinances, and each and every day's continuance of any violation of the above
enumerated sections shall constitute and be deemed a separate offense.
Section 3., Savings Clause. This ordinance shall be cumulative of all provisions of
ordinances and of the Code of Ordinances of the City of Paris, Texas, as amended, except
where the provisions of this ordinance are in direct conflict with the provisions of such
ordinances and such Code, in which event the conflicting provisions of such ordinances and
such Code are hereby repealed,
,Section 4. Severability. That the sections, paragraphs, sentences, phrases, clauses and
words of this ordinance are severable, and if any section, paragraph, sentence, phrase,
clause or word in this ordinance or application thereof to any person, firm or corporation,
or to any circumstance is held invalid or unconstitutional by a Court of competent
jurisdiction, such holding shall not affect the validity of the remaining portions of this
ordinance, and the City Council hereby declares, that it would have adopted such remaining
portions of this ordinance despite such invalidity, which remaining portions shall remain in
full force and effect.
Section 5. Effective D�ate. This ordinance shall take after passage and publication as
required by law.
PASSED AND! APPROVED BYTHE CITY COUNCIL OF THE CITY OF PARIS, TEXAS,
this 11th day of June, 2018.
Derrick Hughes, Mayor Pro -Tem
E. CIP),
0.,
ATTEST:
ice Ellis, City Clerk
Al?l OVED AS TO FOM:
Step`hadie H. Hart -is, City Attorney
for the Historic District.3.
of the City of Paris, Texal
Mainstreet Architects Inc.
133 W. Mistletoe Avenue
San Antonio, Texas 78212
210.7 32.9 268 r--- X H I B 1010
mainstreet@satx.rr.com
]?-able of Contents
Histo�ry of Paris 1-7
Applyingi fora Certificate of Appropriateness, 8-12
•• of the Design Standards 13-16
Secretary of the Interior's Standard's for Rehabilitation 17-19
General Information
20-33
Renovating Previously Modified Buildings
21-23
New Construction in Historic Districts
24-25
Priority Planning
26
Maintenance
27
Site Design
28-30
Lighting
31-33
Commercial Historic District
35-78
Architectural Heritage and Development
36-39
Styles and Influences
40-44
Buillding Characteristics
45-50
Building Components
51-61
Materials
62-72
Signs and Historic Buildings
73-78
Residential Historic District
79-132
Architectural Heritage and Development
80-82
Styles and Influences
83-91
Building Characteristics
92-101
Building Components
102-120
Materials
121-132
Glossary 133-158
Resources 159
This project was funded in part through a Certified Local Government Grant from the
National Park Service, U.S. Department of the Interior, as administered by the Texas
Historical Commission.
The contents and opinions, however, do not necessarily reflect the views and policies of
the Department of the Interior, nor does the mention of trade names or commercial
products constitute endorsement or recommendation by the Department of the Interior.
This program receives Federal funds from the National Park Service. Regulations of the
U. S. Department of the Interior strictly prohibit unlawful discrimination in departmental
Federally Assisted Programs on the basis of race, color, national origin, age or
handicap. Any person who believes he or she has been discriminated against in any
program, activity, or facility operated by a recipient of Federal assistance should write
to: Director, Equal Opportunity Program, U.S. Department of the Interior, National Park
Service, P.O. Box 37127, Washington, D.C. 20013-7127.
This Document addresses the Paris Commercial Historic District and
The Church Street Historic District
It speaks to issues outlined in the Paris Historic Preservation Master Plan as part
of the Visionaries in Preservation program of the Texas Historical Commission
This Publication is a project of the Department of Community Development
Shawn N'apier, Director
And the Historic Preservation Commission of the City of Paris, Texas
Arvin W. Starrett, Chairman
Paul' Denney, Vice -Chairman
Susan Scholz, Secretary
Ben Vaughan
Matthew Coyle
Jerry Raper
Douglas Cox
The Design Standards have been made possible through the collaboration and
generous funding from:
The Texas, Historical Commission
Visionaries in, Preservation
The City of Paris, Office of Community Development
The City of Paris Historic Preservation Commission
The City of Paris Main Street Program
for the Historic Districts
of the City of Paris, Texas
Mainstreet Architects Inc.
133 W. Mistletoe Avenue
San Antonio, Texas •
21 Oi.732.9268
mainstreeg satx.r(.COfT1
EMSME�
Paris, Texas, was formally founded in February
1844 after George Wright donated 5O acres of
land for the establishment of the Lamar County
seat. The City of Paris was incorporated by the
Congress of the Republic of Texas on February
3, 1845. However, before this time, other known
settlements existed. The first recorded
settlement in the Paris vicinity was in 1825, but
settlements were known in the area as early as
1824. Later, in 1837, Claiborne Chisum bought a
large tract of land west of Paris, upon which
several permanent residences already stood.
Then in 1839, George Wright, who came to the
Red River Vallley in 181�6 at the age of 17 with his
father, purchased one thousand acres, of the
Larkin Rattan Headright Survey and donated the
50 acres for the establishment of a town where
he opened a store. The town was surveyed in a
grid pattern, with Wright's store in the, middle.
The store was located in the uplands dividing the
tributaries of the Red and Sulphur Rivers. The
ridge stands, at 650 feet, not particularly high, but
from 50 to 200 feet above the surrounding land
where it was protected from flood, had good
drainage, and received abundant prevaillinig
breezes. Paris was founded and mostly settled
by those familiar with the surrounding area.
Those who conceived and planned the town had
lived in its vicinity for years and had a complete
understanding of the territory. They were famill,iar
with the soil', their surroundings, and even the
weather. For many years, Paris merchants
utilized the Red River to ship and receive goods.
This location was also on the Central National
Road which ran from San Antonio, through Paris,
across the Red River,
Paris looked north for trade and expansion.. The
Red River separated the Republic of Texas from
the United States. It also served as the division
between the Anglo colonies to the south and the
Choctaw and Chickasaw Nations to the north.
Paris benefited from the commerce and
exchange of services that took place between the
citizens of Paris and the Native Americans., With
Design Standards for the City of Paris, Texas 2
this market, early progressive settlement of Paris
took place. Paris became a business and federal
court center for the Indian Territory.
Paris experienced an influx of merchants from
cities across the Red River. For this reason,
Paris never became dependent on any single
crop,, industry, or commercial undertaking. It
filled a commercial and industrial role, different
than its agrarian neighbors. By 1860, Paris was
populated with millers, furniture makers, etc. that
established Lamar County as a "high, wage"
industrial region with plenty of skiilled craftsmen
and trades, people.,
The 1870s brought the flowering of the Parisian
culture with the publishing of various interests
and views in the inewspapers and journals. Paris
was also the home of several brillliant and/or
erratic thinkers. One such was William
McDonald. He was a wealthy lawyer who lived in
Paris and loved astronomy. On his deathbed, he
left the majority of his wealth to The University of
Texas, a place he never attended. A legal suit
was brought by his heirs over the estate;
however, the University of Texas was victorious
and used the funds for the construction of the
McDonald Observatory in the Davis Mountains of
West Texas.
In 1877, a devastating fire ravaged 13 acres of
the downtown area; most of the buildings
destroyed were in the Gothic Revival and
Italianate styles. As Iper the new city fire code,
the entire business district was rebuilt in brick or
stone in the Italianate or Second Empire style,
only to be destroyed again by another
devastating fire in 1916.
Paris was never a cattle town even though it was
the original Texas, home, and later burial place, of
one of the great ranching names of Texas history,
John Chisum. The most important economic
influence on Paris came from cotton. Cotton
brought wealth to the town and gave the small
town a world outlook.The cotton indlustry
Design Standards for the City of Paris, Texas 3
HISTORY
created a class of citizens who were capable of
forming and backing cultural and!, artistic
decisions of community importance. Cotton was
also an economic indicator, with Paris becoming
a gilded branch of the Cotton Kingdom. The
cotton buyers and cotton dealers strictly advised
the farmers, what they should be doing. The
surviving homes of this period of economic
influence display evidence of the owners' concern
for show and beauty✓ over usefulness and
function. They express an architectural desire to
display achievement.
Paris was a unique city. Unlike its surroundings,
Paris was more southern than western and more
urban than rural. The Cotton Kingdom status of
Paris enticed several Engllish families to take up
residence in the 1880s. This influx of Europeans
,created a cosmopolitan atmosphere in the small:
Texas town, and turned its attention to Europe as
a source of ideas. Today, Paris still exhibits
architectural traces of the great cotton era
because the economic and social influences of oil
were not experienced here, as they were in
Dallas, Tyler, Waco, and many✓ other towns in
Texas. The discovery and subsequent wealth
from oil greatly influenced these towns and
caused them to lose their historic past.
By 1885, the first residential subdivisions and
commercial developments were established
beyond the center of town. These new areas of
Paris were connected to downtown with trolley
lines. It was also at this time that the railroad
passed through Paris; development along these
lines soon followed. During the 1890s, Paris
continued to flourish and the population
continued to grow. With this came the need for
,even more land. Additions to the town continued
along the numerous rail lines and transportation;
corridors. By the turn of the century, the rapid
population growth slowed, but suibdivisions
continued to be created.
The City of Paris, the Board of Trade, and
Progressive Club commissioned landscape
Design Standards for the City of Paris, Texas 4
HISTORY
architect W. H. D�u,nn from Kansas City, Mo., in
1914. He was enlisted to assess, the current
conditions of the city and advise on expansion for
the next 25 years that would' support a population
of 50,000. Dunn's plan included many
suggestions, for Paris; however, only the
suggestions for the creation of a formal central
plaza and the relocation of Market Square were
enacted.
The second devastating fire in Paris took place
on March 21, 19,16. The fire left the heart of the
city in ashes.Several commercial buildings
survived and still stand in Paris today. Within five
years of the devastating fire, the entire
commercial and municipal district was rebuilt.
The rapid rebuilding of Paris indicated that the
citizens of the twice -damaged town showed
optimism for their future. With, this rebuilding
came the establishment of a Paris vernacular that
was influenced by the national trend of
eclecticism in architecture. Few buildings were
designed by architects. While devastating much
of Paris, this fire served as a unifying event for the
city. The rebuilding of Paris modernized the city
and brought a unified appearance of buildings
due to the brief rebuilding period.
J. L. Wees, a European -trained architect, had
been brought to Paris in 1908 to design an
elaborate house, for Rufus Scott, a local investor.
He returned, permanently, after the fire of 1916
and designed several public buildings and
spaces. These designs established the standard
for public architecture in Paris.
Paris was hit hard by the Great Depression.
Limited construction and advancement took place
in the 1930s. The city received only nominal
assistance from the Works Progress
Administration (WPA). With WPA labor, new
water and sewer lines were laid, streets were
curbed:, and paved, and Paris Junior College and
Noyes Stadium were constructed. To help
stimulate their struggling economy in the 1940s, a
group of merchants organized with the intent of
Design Standards for the City of Paris, Texas 5
securing an Army camp for Paris. With the
assistance of government officials,, the merchants
were granted their request, Camp Maxey,
located north of Paris, was established in 1942.
The influx of soldiers and their families helped
elevate Paris out of the lingering effects of the
Great Depression. By 1945, Camp Maxey was
no longer used for training by the Army. Shortly
thereafter, it became the training center for the
Texas National Guard and still continues for that
use today.
Throughout the history of Paris, industry has
been important to the economy, society, and
heritage of the city. In the present day, industry
has maintained its importance. Large
corporations, including Kimberly-Clark, Sara Lee,
and the Campbell Soup Company, have
maintained a presence in Paris for decades.
These three corporations, along with others,
provide employment for many residents of Paris
and Lamar County. Paris also serves as the
location for utility and tech nolog ica I industries,
For nearly 50 years, preserving the history of
Paris has been important to the citizens of this
unique and culturally rich city. The Lamar County
H!istoricall Commission began in 1963 under the
name Lamar County Historical Survey
Committee. The County Historical Commission
influenced development by focusing on becoming
a tourist destination based on history.
The Paris Downtown Development Association
(1966) and the Architectural Preservation
Committee (1979) were formed to provide
support and guidance to the revitalization of the
downtown business district. The Landmark
Preservation Committee was established in 1980
to help retain the historic personality of significant
properties in the city. The Committee was
renamed the Paris Historic Preservation
Commission in 2002.
Paris became a Texas Mainstreet City in 1984
and again recertified in; 19918. In 1988, three
Design Standards for the City of Paris, Texas 6
National Register Districts were establlished. The
three districts are the Paris Commercial Historic
District, the Church Street Historic District, and
the Pine Bluff — Fitzhugh Historic District. The
Paris Commercial Historic District was
established as a local historic district in, 2003.,
The following year, the Church Street Historic
District was established as a local historic district.
Design Standards for the City of Paris, Texas 7
i ;:� ,r1. ,� ,� �. �, ;�; i,� � ✓ASA �� /A..
Nfi
i40
APPLICATION FOR CERTIFICATE OF APPROPRIATENESS
Fate:
APPIACANT/OWNER INFORMATION
Name: Phonc:
Address: Fax:
Property Owner's Name: ---------------- — ------------------------------- Phone:
Property Owners Address: --------- — -------------- ----------------------- Fax:
PROJECT INFORMATION
N,inicofBusiiiess(if applicable):
Current or intended use of the building:
Address of Project:
iThe below ittlbrination (Lot, Block, Subdivision, and Frontage) can be obtained on the Lamar Coun�y Appraisal
District's website by entering the physical addresso,f the properl,V'
htiE.-Ilc.,Iiep7idb.tr*iteaietom(ilioi�.4'01711(-Iient4lbltii4iiii.asl??id=7
f1 -you do not have access to the Internet or cannot locate this iii/brination on, the website, contact the Coninitorit.v
Develoj)inew Deparfinew (it 003) 784-9234.16r USSiSIC11UT, ,Zoning and Historic Dis1ri(..,t iiilbr)natioit can be completed
by the Cotmnunif..v Dei,elopineiit Deparlmen I at the time you subtvi,f your application.)
Lot ----------- Block Subdivision Zoning:
Which Historic District is the property located within?
f_j Downtown Historic District
f:j Church Street Historic District
Ij Stand -Alone Desi. -nation
Select the type of project and complete the appropriate sections related thereto:
D Remodeling/Renovating
t"
Provide a detailed description of the nature ofthe proposed external alterations and /or repairs (attach additional
sheets if necessary):
Are you painting an exterior feature"t YES NO
If YES:
Describe Feature Color Name Sample Attached
Ex. Window and door frames SW ALKLI11111 FILIC No. 7665) YES NO
YES NO
YES NO
YES NO
APPLICATION FOR A COA
Page 2
Are YOU replacing an exterior feature? YES NO
IfYES:
Describe Fealure Current Material Proposed Material Sample Aiiached
Ex, Window frame Wood Vinyl YES NO
YES NO
YES NO
YES NO
Required attachments:
J Current photographs of the property
J If available, historic photographs of the property
J Samples of materials to be used
I I New Construction
Are you replacing an existing structure? YES N0
If YES, complete "Demolition" below.
Required attachments
D Current photographs of the property
D If available, historic photographs of the property
D Site Plan indicating the following:.
D Size, shape, and dimensions of the lot on which the building will be located (check official
plat records)
Q Location and width of all easements (check official plat records)
j Location of building setback lines (Zoning Ordinance No. 17 10)
j Location and dimensions of all existing buildings, parking areas, and existing signs (if any)
fj Location, size, and height of the proposed structures
j The exact distance the proposed structures will be from the platted lot lines
j Architect's rendering or scale drawing of proposed construction
J Sample board of materials and colors to be used
(j Demolition
Describe the condition ofthe existing structure:
What is the estimated cost of restoration or repair of the existing structure:?
Explain why the property is being demolished as opposed to restored or renovated for adaptive reuse:
What do you plan to do to mitigate the loss of the landmark structure'?
Required attachments:
J Current photographs of the property (photographs Should be taken from all possible angles)
j If available, historic photographs of the property
APPLICATION FOR A COA
Page 3
K
Sign
Type of Sigw
Q Attached Sign J Sky Sign
D Pole Sign J Temporary Sign
J Ground Sign J Other (Specify)
1J Barincr
-----------
Sign Dimensions: .... .................................... Total Square Footage
Will the sign be connected to electricity or lit in any way'? YES NO
If YES, what is the method oflighting`?
"I ill this sign project over a public sidewalk? YES NO
If YES, what is the distance from the sidewalk to the bottom of tile si-n?
Required attachments:
J Current photographs of the property
J If available, historic photographs of the property
D Site drawing indicating
, tile follownig:
F11 Pole Sign, Ground Sign, Banner, Temporary Sion, etc.:
J Size, shape, and dimensions of the lot on which the sign will be located (check
official plat records)
J Location and dimensions of all existing buildings, parking areas, and existing signs
(if any)
J Location, size, and height of the proposed sign
U Tile exact distance the proposed sign will be from the platted lot lines
J Attached Sign:
U Drawing of the critire face of the building on which the sign will be attached,
including the dimensions of the building face
U Drawing of the proposed sign on the building
:1 Size and dimensions of the proposed sign
J Sign contractor's rendering or scale drawing of proposed sign
1:1 Sample of materials and colors to be used
Have YOU Submitted an application for a Sign Permit to the Building Division? YES NO
D Fence
What is the proposed material and style of fence you intend to install?
What is the proposed height of the fence'?
Are you replacing an existing fence'? YES N0
If YES, what is the current fence material?
Required attachments:
J Current photographs of the property
If available, hislorte photographs of the property
Site drawing indicating:
D Size, shape, and dimensions oftlic lot oil which the fence will be located (check official plat
records)
J Location, size, and height of the proposed fence
:1 Samples of materials to be used (or alternatively, a photograph showing the style and color offence)
APPLICATION FOR A COA
Page 4
Di Oflier
Provide a detailed description of the nature of the proposed project (attach additional sheets it' necessary):
Required attachments:
fj Current photographs of' the property
j If available, historic photographs of the property
I.JI Samples of materials to be used
Intended start and finish dates: Start Finish
NOTICE'rO APPLICANT:
COMPLETED APPLICATIONS AND DRAWINGS MUST BE IN THE COMMUNITY DEVELOPMENT
OFFICE NO LATER THAN 10 DAYS BEFORE THE MEETING, (MEETINGS ARELIELD EACH MONTfI
ON THE 2ND WEDNESDAY AT 12:00 P.M. AND 4TH MONDAY AT 4:00 P'.M' IN THE CITY HALL
WEST ANNEX.)
2. ITIS IMPERATIVE THAT YOU COMPLETE THIS APPLICATION IN ]TS ENTIRETY. INCOMPLETE
APPLICATIONS WILL BE RETURNED AND COULD DELAY THE COMMENCEMENT OF YOUR
PROJECT.
3. THE PRESENCE OF THE APPLICANT OR HIS/HER AGENT AS DESIGNATED HE REIIN IS
NECESSARY AT THE HISTORIC PRESERVATION COMMISSION MEETING.
I have carefully read the complete application and know the same is true and correct. I understand the ordinances
governing the activity described in this application, and I agree to comply with all provisions of the City ordinances,
,State laws, and all property restrictions, whether herein specified or not. As the owner of the above property or a duly
authorized agent, I hereby ?rant permission to the City of Paris to enter the premises and make all necessary inspections.
(Owner or Authorized Agent)
RETORNTO:
City of Paris Community Development Department
P. 0. Box 9037
150 1 st Street S.E.
Paris, TX 75461
J ) / () 4-1) � U J
For Commission Use Only:
COA
El Approved as Submitted
11 Approved with the following conditions,
Denied for the following reasons:
0 Approved Administratively (Ordinary Maintenance)
Commission Chairman/HPO
Date
im
PURPOSE
These standards and recommendations are
intended to preserve and maintain the character
of the historic buildings. They reinforce and
protect the defining features of the historic
districts and define those visual elements which
are common to the district, as well as the
qualities unique to this community and to each
building.
This document should help to preserve the
integrity of the 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. Modifications affect the
block as a whole and should have the broad
interest of the community in mind.
General Considerations
Identify that which is important and "Character -
Defining"
• If it is in good condition, keep it.
• Retain and repair if deteriorated,
• Replace only when beyond repair.
• Reconstruct only when you can do so
accurately using periodical photos, ghosts
photos or outlines of what was there.
® New construction should be done in such
a way that it has minimal effect on the
original building, and, if remiovedl, would
not irreparably change the original.
• Demolition of any designated building or
contributing building within a district is
prohibited.
The standards do not address the use of the
building or the interior except when:, the interior is
a significant public space such as courthouses,
churches, house museums, etc. If the interior
,architecture (heated space) is deemed an integral
part of the design, it shall then be brought into
review. Only the exterior portions, which, include
new construction, additions, and: rehabilitation of
Design Standards for the City of Paris, Texas 14
the building, shall comply with the standards set
forth.
These standards should be applied to a building
based on its original use and construction. For
example, a residence may currently be used as
an office, therefore it is considered a commercial
business, but it is still a residential building.
The existing historical commercial district
contains residential buildings and the residential
districts contain commercial buildings.
Recommendations of approval or disapproval for
new construction in a historic district shall be
based on the National Park Service Guidelines
and by consideration and compatibility with the
standards as outlined herein.
These standards will be used to provide an
objective basis for the decisions of the Historic
Preservation Commission and City Planning
Staff. The standards specifically address the
issues below*
• Site and setting.
• Height and mass.
• Scale of building.
• Proportion of bui'lding's front facade.
• Proportion of openings within the facility.
• Rhythm of solids to voids in front facades.
• Location and treatment of entryway.
• Rhythm of spacing for buildings on streets.
• Rhythm of entrance and/or porch projection.
• Relationship of materials and texture.
• Roof shapes.
• Walls of continuity and street walls.
• Signage.
• Awnings and canopies.
It should be noted that buildings constructed prior
to 1959 may be eligible for listing on the National
Register of Historic Places and shall be evaluated
Design Standards for the City of Paris, Texas 15
for their significance and contribution to the more
recent development of Paris.
It should be noted that it is the Applicant's
responsibility to review all current ordinances of
the City of Paris to ensure full compliance.
A Certificate of Appropriateness must be
obtained prior to the commencement of any
project within the Historic Districts.
It should also be noted that a Certificate of
Appropriateness does not constitute a Building
Permit and the undertaking may require a
Building Permit to perform the work.
Design Standards for the City of Paris, Texas 16
17
The Secretary of the Interior's The Secretary of the Interior's Standards, for
Rehabilitation
Standards for the Treatment of
Historic Properties are common-
sense principles in non-technical 1. A property will be used as it was
language. They were developed to historically or be given a new use that
help protect our nation's requires minimal change to its
irreplaceable cultural resources by disfinctive materials, features, spaces,
promoting consistent preservation
practices. and spatial relationships.
The Standards may be applied to
2. The historic character of a property will
all properties listed in the National
be retained and preserved. The
Register of Historic Places:
removal of distinctive materials or
buildings, sites, structures, objects,
alteration of features, spaces, and
,and districts.
spatial relationships that characterize a
The Standards are a series of
property will be avoided.
concepts about maintaining,
repairing and replacing historic
3. Each property will be recognized as a
materials, as well as designing
physical record of its time, place, and
new additions or making
alterations; as such, they cannot,
use. Changes that create a false sense
in and of themselves, be used to
of historical development, such as
make essential decisions about
adding conjectural features or elements
which features of a historic
from other historic properties, will not
property should be saved and
be undertaken,
which might be changed. But once
an appropriate treatment is
selected, the Standards provide
4, Changes, to a property that have
philosophical consistency to the
acquired historic significance in their,
work.
own right will be retained: and
There are Standards for four
preserved.
distinct, but interrelated,
approaches to the, treatment of
5. Distinctive materials, features, finishes,
historic properties — preservation,
and construction techniques or
rehabilitation, restorafion, and
examples of craftsmanship that
reconstruction,
characterize a property will be
Source: National Park Service
preserved.
6. 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.
7. Chemical or physical treatments, if
Design Standards for the City of Paris, Texas 18
appropriate, will be undertaken using
the gentlest means possible.
Treatments that cause damage to
historic materials will not be used.
8,. Archeological resources will be
protected and preserved in place. if
such, resources must be disturbed,
mitigation measures will be
undertaken.
9. 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 the old and will be
compatible with the historic materials,
features, size, scale and proportion,
and massing to protect the integrity of
the property and its environment.
1g. New additions and adjacent or related
new construction will be undertaken in
a such a manner that, if removed in the
future, the essential form and integrity
of the historic property and its
environment would be unimpaired.
Source: National Park Service
Design Standards for the City of Paris, Texas 19
The Secretary of the Interior's Standai,Asfor IlReliabilitation
The Standards (Department of Interior regulations, 36 CFR 67) pertain to historic buildings of all
materials, construction types, sizes, and occupancy and encompass the exterior and the interior, related
landscape features and the, building's site and environment as well as attached, adjacent, or related new
construction. The Standards are to Ibe applied to specific rehabilitation projects in a reasonable manner,
taking into consideration economic and technical feasibility,
1. A property shall be used for its Ihiistoric purpose or be placed in a new use that requires minimal
change to the defining characteristics of the building and its site and environment.
2. The hiiist,oriic character of a property shall be retained and preserved. The removal of historic
materials or alteration of features and spaces that characterize a property shall be avoided.
3. Each property shall be recognized as a physical record of its time, place, and use. Changes that
create a false sense of historical development, such as adding conjectural features or
architectural elements from other buildings, shall not be undertaken.
4. Most properties, change over birne; those changes that have acquired historic significance in,
their own right shall be retained and preserved.
5. Distinctive features, finiishes, and construction techniques or examples of craftsmanship that
characterize a property shall be preserved,.
6. Deteriorated historic features shall be repaired rather than replaced. Where the severity of
deterioration requires replacement of a distinctive feature, the new feature shall match the old in
design, color, texture, and other visual qualities and, where possible,, materials. Replacement of
missing features shall be substantiated by documentary, physical, or pictorial evidence.
7. Chemical or physical treatments, such as sandblasting, that cause damage to historic materials
shall not be used. The surface cleaning of structures, if appropriate, shall be undertaken using the
gentlest means possible.
8. Significant archeological resources affected by a project shall be protected and preserved. If
such resources must be disturbed, mitigation measures shall be undertaken.
9. INevw additions, exterior alterations, or related new construction shall not destroy historic
materials that characterize the property. The new work shall be differentiated from the old and
shall be compatible with the massing, size, scale, and architectural features to protect the historic
integrity of the, property and its environment.,
10. New additions and adjacent or related new construction shall be undertaken in such a manner
that if removed in the future, the essential form and integrity of the historic property and its
environment would be unimpaired.
ZENI ! I
Em
FORMER RISEN! I I!! u=*
New Construction in Historic Districts 24-25
."*Tiority Planning 26
a
BUILDING FACADES ON EAST PLAZA
BEEN COVERED UP OVER THE YEARS
RESTORED TO THE ORIGINAL FACADE
�g . . -
Buildings
Buildings have a tendency to be modified
and modernized over time as a way of
"keeping up with the times" and through
maintaining building by replacing
deteriorated materials. Replacement
materials were not always compatible
with the original design andl altered the
original appearance.
A building is considered to have a
"period of significance" which is its most
important time period or its longest time
period.
Additions and alterations to previously
modified buildings should be viewed as a
product of their time. Early additions and
modifications may be historically
significant or part of the "period of
significance" for the building. These
additions should be retained.
Recent alterations that do not contribute
to the period of significance should be
removed and the original appearance
restored.
The following standards are
recommended:
® As renovations to historic buildings
take place, consider returning a
building to its original appearance
whenever possible. This will enhance
the building and the surrounding
dlistrict.
• As renovation takes place, refer to old
photographs if available. If clear
evidence of previous details exists,,
use these clues to return the building
or detail to its original appearance. If
no photos are available, construct a
new simplified design based on the
Building Characteristics, Building
Design Standards for the City of Paris, Texas, 21
ENTRIES AND WINDOWS ORIGINALLY
WOOD SHOULD NOT BE MODIFIED WITH
ALUMINUM
FUTURE RENOVATION
)F
BE REPLACED WITH WOOD WHICH IS MORE
COMPATIBLE WITH ORIGINAL DESIGN
Components and Ma'terials sections
of this document.
Commercial Buildings
• if the ground floor has been recessed
behind the common wall of the
surrounding buildings as part of
previous, alterations, the storefront
should be restored to the original
footprint and: building line.,
• Replace modified aluminum entries
and windows. Rebuild to a form more
in keeping with the original design.
• Open blocked or boarded -up
windows and transoms. If the
transom covering is removed and
mechanical systems and other
interior modifications become visible,
place a gray panel on the interior
window.
• Reinstall canopies if there is evidence
that they previously existed.
Canopies provide a cohesive quality
to the pedestrian experience. They
have a longer life than fabric awnings.
Most buildings, had canopies rather
than awnings.
Residential Buildings
Porches are frequently the most
modified portion of a house.
Returningi a porch to its original
design will make a positive visual
impact to, the house and the
neighborhood.
• If a porch has been lowered, consider
raising it to its original level.
• If the original columns have been
replaced with another material and
design, consider replacing the
columns with columns which are
compatible with the original design
and material.
• If porches have been closed to
provide additional space in the house,
Design Standards for the City of Paris, Texas 22
RETURNED TO THEIR ORIGINAL
APPEARANCE
REPLACED WITH ALUMINUM WINDOWS
look for other locations for this space
when remodeling.
• If porches have been removed,
consider reconstructing them.
m Synthetic siding which has been
applied over the original siding
changes the character of the house
and can cause the original material to
deteriorate. Consider removing the
synthetic siding and restoring the
original detail of the house.
• When windows have been removed
and replaced with, windows of a
different material and proportion,
consider replacing them with, windows
to match the original in material,
proportion, and configuration.
Design Standards for the City of Paris, Texas 23
MAINTAIN THE OVERALL HEIGHT OF THE
IMMEDIATE SURROUNDING STRUCTURES
BE CONSISTENT IN SHAPE AND DETAIL
MUST NOT BE OVER POWERING
THE SAME BUILDING RELATIONSHIP AS
THE SURROUNDING STRUCTURES
I MWO101 M 0 [ a M 9 [010 1
As opportunities arise, new
construction will take place in historic
districts and this is to be encouraged
in order to maintain a viable
community. However, new
construction should follow the
characteristics and standards outlined
in this document.
Respect and maintain the, overall
height of buildings in the immediate
vicinity.
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 inl the same way.
• Maintain the established rhythm of
the structural piers in the surrounding
buildings; consider a similar rhythm,
structural bay or width.
• Respect the overall proportion and
form. Maintain the width to height
relationship.
• Utilize floor heights common to
adjacent buildings. Maintain the
horizontal continuity of the elevations
in commercial buildings.
• Roof forms and roof lines or cornices
should be consistent in shape and
detail.
• Maintain the solid -to -void pattern
established in the window openings
and follow the proportions established
in these openings.
• Materials used in the construction of
new buildings should reflect the
period in which they are built but
should respect the established scale
of adjacent buildings.
• Maintain the orientation of building
entrances on a street.
• Construct additions to existing
buildings that do not overpower the
Design Standards for the City of Paris, Texas 24
a
original building.
Seek guidance and assistance early
in a project. Look at options that will
enhance the historic district and
satisfy new program needs.
Avoid creating a false history when
constructing new buildings. New
buildings are new buildings and
should not be confused with historic
structures,.
Design Standards for the City of Paris, Texas 25
TO ESTABLISH THE IMPORTANCE AND
ORDER OF THE WORK NEEDED
AND ONLY REPLACE MATERIAL TO MATCH
ORIGINAL IN DIMENSION AND PROFILE
"rTrITIM2V I
Guidelines
• Evaluate the existing structure to
establish the most important work to
be completed.
• What may be the most visible to the
eye may not be the most important
to the life of the building. For
example, a new coat of paint for the
front of the building will not do much
to extend the life of the building if
the roof is leaking badly.
• Identify the "character-definiing"
features of the building and relate
their importance to the character of
the street as welll as the building
itself.
• Retain as much of the original
building material and detailing as
possible.
• If the original feature is beyond
repair, replace the original with new
material to match the original in
dimension and profile.
• Determine what needs to be
repaired or replaced, and plan to
repair or replace only that. If one
window is beyond repair, there is no
need to replace all windows in the
building.
• 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.
Design, Standards for the City of Paris, Texas 26
CLEANING, IT COST LESS TO REPAIR AND
MAINTAIN A BUILDING THAN TO REPLACE
OR REBUILD DAMAGES AREAS
EFFECT ON THE APPEARANCE OF A
BUILDING
COVERED WITH BLANKER PANELS
I' AINTENANCE
• A building requires care,
maintenance and cleaning.
• It costs less to repair and maintain a
building than to replace or rebuild
damaged areas.
• Clean the building gently. Never
sandblast an old building. Soap
and water can do a lot. Chemical
cleaner should be tested to ensure
the same compatibility and
effectiveness of the materials.
• Clean roof drains of trash and
leaves. Check for good drainage.
• Check the roof for leaks and patch
them immediately. Leaks
commonly occur, where the roof and
wall meet and where pipes punch
through the roof.
• Check downspouts and make sure
rainwater runs away from the
building.
• Wash windows and repair any
damaged wood or glass.
• Check for loose glass and re -putty
as necessary and paint.
• Check canopy and awning
attachments and; anchors. Replace
worn or damaged materials.
• Repaint to protect wood and metal
from deterioration.
• Keep signs freshly painted and
securely anchored.
• If buildings are mothballed or
unoccupied, cover windows with
blanker panels but allow for
ventilation.
Design, Standards for the City of Paris, Texas 27
MATERIAL IF IT IS APPROPRIATE TO THE HOUSING
STYLE
ALTERNATIVE COMPARED TO CHAIN LINK FENCING
FENCING MATERIAL
SITE DESIGN
Paving,
• All historic paving within the districts,
should be maintained send
preserved.
• New paving installed must maintain
the aesthetic uniformity of the
historic districts.
• Paving that must be replaced shall
be made of similar material and
sizes, as well as joints or patterns
consistent with the style, or period of
the area.
Fencing
• Fences do not readily exist in the
front yard of houses.
® If original remains repair that which
is deteriorated.
• Fencing material should be
appropriate to the style of
house/buildings.
• Chain link, plywood, vinyl, and
concrete are prohibited.
• P'lace fences along established
property lines.
• Front yard walls are prohibited.
• Unless historically documented
fencing in the commercial historic
district is not allowed.
• Appropriate fencing materials are
metal; wood picket if appropriate to
housing style; masonry if
appropriate to housing style.
Garden loop is an appropriate
alternative to chain link.
Landscaping
• Landscaping needs to be designed
with native plants found in the,
surrounding area, especially within
public view corridors.
• Xeriscape water conservation
principles should, be implemented
when appllicable in all landscape
designs.
Design Standards for the City of Paris, Texas 28
SIMPLE STREET FURNITURE THAT DOES NOT BLOCK
PEDESTRIAN TRAFFIC IS APPROPRIATE
PLACE ROOFTOP MECHANICAL
EQUIPMENT OUT OF LINE OF SIGHT.
APPROPRIATE STREET FURNISHINGS FOR
HISTORIC DISTRICTS
Landscaping that requires continual
moisture, i.e. shrubs, trees, plants,
within ten feet of a historic building
shouild be avoided.
Remove climbing vines and ivy from
historic buildings and walls as they
damage the building fabric.
All plants, and vegetation growing in,
wall and foundation crevices needs
to be removed without damage to
the historic fabric.,
Trees over 6 inches in diameter
must not be removed without
approval.
All landscaping and planters must
not block or obstruct the normal flow
of pedestrian or vehicular traffic.
Equipment Screen ing/Uti I ity Location
• Mechanical equipment shall not be
wiithiin line of sight.
• Place rooftop mechanical equipment
out of pedestrian sight lines.
• Place ground mounted mechanical
equipment behind the line of the
front fagade and screen with planted
material.
Sidewalk Displays, Furnishings, and
Public Amenities
• All street furniture and public
amenities, i.e. benches, trash cans,
drinking fountains and lighting, need
to be approved by the Historic
Preservation Commission.
• Design of public amenities should be
simple and clean and shall not
replicate a period that predates
1920.
• Temporary signs shall, not be
attached to historic buildings
surfaces.
• Furnishings must not block or
obstruct the normal flow of
pedestrian traffic.
• New holes must not be created in
historic building fabric or hardscape.
Design Standards for the City of Paris, Texas 29
Mffq��
Parking
Parking structures shall be
compatible in design and materials
with surrounding historic buildings
and districts.
Ramps needed for parking
structures must be self contained
within, the structure and not visible
from the street.
New construction is encouraged to
provide parking behind the building,
in lieu of on -street parking.
All design and construction of
parking areas or structures within
historic districts must be approved
by the Historic Preservation
Commission.
At no time shall a buiilding be
demolished to provide surface
parking.
Design Standards for the City of Paris, Texas 30
PERIOD AND SCALE OF THE BUILDING
UNOBTRUSIVELY AS POSSIBLE
IMMOM
3=
® Lighting fixtures should be compatible
with the original period of the building.
• Fixtures that have an appearance
that predates the original installlation
of electricity are prohibited.,
• Retain original lighting fixtures. They
can be rewired and restored.
• An artificially "aged" fixture mimicking
a carriage lamp, or gaslight is
prohibited.
• A concealed fixture or one of a very
simple design is an acceptable
option.
• Place security lighting as
unobtrusively as possible.
• The use of approved neon (lighting on
buildings predating early twentieth
century is encouraged.,
• Post -mounted lligihting fixtures must
meet the approval of the Historic
Preservation Commission.
In general, illumination levels should not
exceed 5 foot -candies in exterior lighting
fixtures. However, higher illumination
levels can be utilized from concealed
indirect lighting, such as from, spot or
flood lighting sources.,
Inappropriate lighting colors and sources
include sodium vapor, blue toned
fluorescent, halogen, or xenon.
Design Standards for the City of Paris, Texas 31
to various housing styles.
re
um�
Design Stand'ardls for the City of Paris, Texas 32
LIGHTING
Design Standards for the City of Paris, Texas 33
Standards
Wistoric
M
Architectural Heritage and Development 36-39
Style and Influence 40-4,4
Building Characteristics 45-50
Building Components 51-61
Signs and Historic Buildings 73-78
99
SANBORN MAP SHOWING DEVELOPMENT AROUND
PLAZA IN 1888
17
rr
7',
a 4,
SAP B&'SHOWING DEVELOPMENT AROUND
PLAZA IN 1914,
The development of the Paris
Commercial Historic District took place
during four distinct periods. Each period
of construction brought different
architectural styles, details, and
materials.
The first period of development began in
1845 with the establishment of Paris and
ended with the fire of 1877. The first
buildings built in Paris were structures
made of hand hewn, wood and wood
siding. These early buildings were
constructed around the central plaza.
During this time, the county courthouse,
built in 1846, was, located in the center of
the plaza. The courthouse was relocated
two blocks north of the square in 1874
when the needs of the citizens outgrew
the building. The plaza was located in
the center of the original 50 acres of the
townsite. It is the focus of the grid
pattern street system located around it.
By the 1860s, buildings were constructed
in the High Victorian Italianate style. The
emergence of the style took place
because of the cotton boom and the
subsequent arrival of the railroad.
Presently, no buildings from this period
survive because of the devastation from
the fire of 1877, which destroyed 13
acres of the commercial district.
The second period of development
began immediately folllowingl the fire of
1877 and ended in 1916. Because of the
devastation of the fire of 1877, new city
code required that all commercial
buildings be constructed of brick. By
1877, the railroad had already impacted
the Paris economy. Pattern books and
materials arrived by rail and influenced
the reconstruction of the commercial
Design Standards for the City of Paris, Texas 86
1i
4
SANBORN MAP SHOWING DEVELOPMENT AROUND
PLAZA IN 1902
17
rr
7',
a 4,
SAP B&'SHOWING DEVELOPMENT AROUND
PLAZA IN 1914,
The development of the Paris
Commercial Historic District took place
during four distinct periods. Each period
of construction brought different
architectural styles, details, and
materials.
The first period of development began in
1845 with the establishment of Paris and
ended with the fire of 1877. The first
buildings built in Paris were structures
made of hand hewn, wood and wood
siding. These early buildings were
constructed around the central plaza.
During this time, the county courthouse,
built in 1846, was, located in the center of
the plaza. The courthouse was relocated
two blocks north of the square in 1874
when the needs of the citizens outgrew
the building. The plaza was located in
the center of the original 50 acres of the
townsite. It is the focus of the grid
pattern street system located around it.
By the 1860s, buildings were constructed
in the High Victorian Italianate style. The
emergence of the style took place
because of the cotton boom and the
subsequent arrival of the railroad.
Presently, no buildings from this period
survive because of the devastation from
the fire of 1877, which destroyed 13
acres of the commercial district.
The second period of development
began immediately folllowingl the fire of
1877 and ended in 1916. Because of the
devastation of the fire of 1877, new city
code required that all commercial
buildings be constructed of brick. By
1877, the railroad had already impacted
the Paris economy. Pattern books and
materials arrived by rail and influenced
the reconstruction of the commercial
Design Standards for the City of Paris, Texas 86
ASL w2h
.. . . ......
IT
17
SANBORN MAP SHOWING DEVELOPMENT AROUND
PLAZA IN 1926
district. Gothic Revival, Italianate, and
Second Empire style buildlin,gs were
visible throughout the rebuilding of the
downtown, commercial district. Further
influencing the rebuilding were the ideas
brought by professionals and new
residents who came from the Midwest.
Paris once again showed strength, both
architecturally and economically. All this
ended on March 21, 1916, when an
extensive fire destroyed most of the
downtown commercial district and a
portion of several residential
neighborhoods.
The next period in the development of
the Paris Commercial Historic District
took place from 1916 to, 1924.
Reconstruction after the fire of 1916 was
rapid. Most of the city was rebuilt within
five years. A vast majority of the
buildings standing today were built
during this time. The architecture was
based on popular 20th century
commercial architectural styles. The
styles include: Prairie School, Classical
Revival, Richardsonian Romanesque,
Italian Renaissance, and Gothic Revival.
The new commercial buildings had brick
fire wallls and other features reflecting the
latest safety precautions of the time.
Prior to the fire, in 1914,W. H. Dunn, a
landscape architect, made multiple
recommendations for the future growth of
Paris. After the fire, two of the
recommendations were followed. The
first was the relocation of the public
market two blocks south of the square.
The second recommendation was to
convert the central plaza from an open
space to a formal space.
The final stage of development for the
Commercial Hiistoric District began in the
mid -192,6s and continues today. Since
the end of the last period of
Design Standards for the City of Paris, Texas 37
[ 109 we] I N rol W M- V 14 a
development, very little new construction
has taken place. The Great Depression
brought on the significant period of
development. During this time, the
Works Progress Administration (WPA)
upgraded the infrastructure of the city.
Overall, the buildings remain, but have
undergone modernizations.
Modernization actions include covering
the facades with metal panels and
plaster, boarding; upper windows, and
replacing historic windows with non -
historic counterparts. Today, the central
core structures of the district remain
intact; however, many of the buildings, are
vacant and: neglected. The periphery of
the district has several vacant lots.
Design Standards for the City of Paris, Texas 38
t
k -j
jw
T 0
SANB6RN MAP SHOWING acv ELOPIMEN 'A�'"IJ
PLAZA IN 1946
[ 109 we] I N rol W M- V 14 a
development, very little new construction
has taken place. The Great Depression
brought on the significant period of
development. During this time, the
Works Progress Administration (WPA)
upgraded the infrastructure of the city.
Overall, the buildings remain, but have
undergone modernizations.
Modernization actions include covering
the facades with metal panels and
plaster, boarding; upper windows, and
replacing historic windows with non -
historic counterparts. Today, the central
core structures of the district remain
intact; however, many of the buildings, are
vacant and: neglected. The periphery of
the district has several vacant lots.
Design Standards for the City of Paris, Texas 38
IN pre 191�6 TIME PERIODS OF DEVELOPMENT
EM.
1946
1950
,post 1950
Design Standards for the City of Paris, Texas 39
One -part Commercial The one -part commercial block began to appear
Block in the 1850s and was mainly used as retail space
or banks.
• simple, one story box with a decorated
facade
• typically consists of windows and an entry
capped with a cornice
Two-pairt Commercial The two-part commercial block is the most
Block common building type used for small and
moderate size commercial buildings in the
country. This type was constructed from the
1850s to the 1950s.
• usually 2 to 4 stories in height
• distinct horizontal division in two zones to
denote different building functions
• first floor, public space, has an open
storefront facade
• second floor, private space, has a solid
appearance with a few punched openings
Design Standards for the City of Paris, Texas 40
Onmr. rd WT -T, am mm H:
Three-part Vertical Block
Early construction of the two-part vertical block
started in the early 1900}s and continues today.
• minimum four stories high
• building divided horizontally into two
distinct zones with a prominent upper zone
• engaged columns, pilasters, or
uninterrupted
wall surface
emphasized
the verticality
of the form
The three-part vertical block shares many of the
same features of the two-part commercial block.,
building divided horizontally into three
distinct zones
• the base of the building supported a mid
zone of multiple floors
• top zone consisting of one to three stories
above the
mid zone
became the
cornice of
the building
Design Standards for the City of Paris, Texas 41
Gothic Revival The Gothic Revival style is based on medieval
and non -classical building forms. Characteristics
.
include:
HOOD MOLDING
BATTLEMENT
SEMICIRCULAR ARCHES ON
SHORT COLUMNS AT THE
RECESSED FRONT ENTRY
RUSTICATED STONE
• poiinted arches
• ribbed vaulting
• battlement
parapets
• hood molding
over windows
This is an example
of a two-part block
Gothic Revival
Richardsonian Romanesque Is a unique
American style that incorporates 11 th century
French and Spanish Romanesque
characteristics, The style was favored for
churches, universities, and public buildings.
Characteristics include:
heavy building massing with massive
rusticated stone walls
dramatic
semicircular
arches
® recessed
entrances
with short
columns
• bands of
windows
This is an example
of a two-part block
Richardsonian
Romanesque
Design Standards for the City of Paris, Texas 42
Classical Revival
PORTICO WITH PILASTERS
ADORNED ROOF PARAPET
Spanish Eclectic
RED ROOF TILE
ARCHES ABOVE WINDOW AND DOOR
Classical Revival style was often used as the
style of choice for significant commercial
buildings including post offices, courthouses, and
libraries. Characteristics include:
• symmetrical facade
• simple geometric forms with monumental
proportions
• pedimented porticos surrounded by
pilasters of the classical orders
• adorned roof parapets
Spanish, Eclectic style buildings are typically
found in the southern! United States.
Characteristics include:
• low-pitched roof with little or no overhang
covered with the
• prominent arches above windows, and
doors
• stucco wall surface
gn Standards for the City of Paris, Texas 43
TiMM11-0-Mm.
SEMICIRCULAR ARCH
Prairie Schooll
DECORATIVE BRACKETS
The Mission Revival style began in California, but
quickly spread across the southern part of the
country. Characteristics include:
semicircular arches
roofs are typically low-pitched or
concealed behind parapets
balconies, towers, or turrets are common
smooth, unorn,amented walls
The Prairie School style was, widely used for
small and midsize commercial buildings in late
1800s and early 190Os. Characteristics, include:
• emphasis on horizontal seen in the eaves,
cornice, and facade
• honest use of material
• generous use of windows
• decorative brackets
GENEROUS USE OF WINDOWS
Design Standards for the, City of Paris, Texas 44
FNTRANCE WALL..
AVOID MODIFYING ENTRANCES BY
RECESSING OR PROJECTING FROM THE
COMMON LINE OF CONSTRUCTION
PROPERLY MAINTAINED ORIGINAL ENTRY
POINTS
Historic District
• Buildings in the Downtown Historic
District have a consistent alignment
or have a common setback. The
front wall of all buildings is
constructed along the same line.
4 This common line of construction
needs to be respected and
maintained to give the appearance of
a common wall.
• Construction and renovation of
buildings must not breach this line.
• While partially recessed entrances
are typical in the historic footprint,
many buildings have been modified
altering that entrance. Consideration
must be given to returning the
entrance and wall of alignment as
future alterations are made.
m No part of the building should project
beyond this line except canopies,
awnings, and, possibly, signage.
0 Historic buildings that are not in the
downtown square also have a
setback from the street, which needs
to be respected.
9 New construction must follow the
historic building line.
Design Standards for the City of Paris, Texas 45
MODIFICATION TO UPPER FLOOR WINDOWS
CHANGES THE RHYTHM
FALSE FAQADE REMOVED FROM BUILDING
• Most commercial buildings in the
Downtown District have elements in
common, which create a rhythm and
visual pattern and must be retained.
• The majority of these buildings were
designed on a strong architectural
tradition of repeating parts. This
tradition must be maintained.
Whille all buildings do not have
identical details, the visual continuity
and rhythm remains.
These characteristics need to be
maintained and enhanced as
renovations occur.
Modifications that previously
interrupted that rhythm need to be
removed during renovation to restore
the visual continu,ity. For example,
removing a previously installed "slip
cover" or false facade.
REPEATING ARCHITECTURAL PARTS CREATES A
RHYTHM AND VISUAL PATTERN
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COMMON ARCHITECTURAL ELEMENTS CREATE A RHYTHM AND
VISUAL PATTERN
Design Standards for the City of Paris, Texas 46
COURSES, WINDOWS, TRANSOMS, AND
CANOPFS
DETRACT FROM THE HORIZONTAL
ORGANIZATION
• Downtown commercial buildings have
a common horizontal organization in
the heights of storefronts, canopies,
etc.
• There is a clear difference between
the ground floor commercial activities
and the more private upper activities
of offices or living spaces.
• The horizontal bands are clearly seen
in the front facades of the buildings.
• The upper and lower walls of the two
part commercial building have very
different openings and details.,
• In two story buildings, the horizontal
banding or organization conitinues
with the roofline, belt coursing and
windows.
• Buildings of more than two stories are
organized at the two story level with
the same horizontal elements or
groups of elements.
• These horizontal organizations need
to be maintained!, uninterrupted by
signagie, awnings, etc.
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Trip
HORIZONTAL ORGANIZATION
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7"
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HORIZONTAL ORGANIZATION
Design Standards for the City of Paris, Texas 47
TRANSOM
THREE HORIZONTAL ELEMENTS
EVIDENT
RHYTHM OF THE BUILDING
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The regularity of building width
creates a rhythm at the ground floor.
Each bay, or structural width, is,
compiled of glass panels. The panels
create rhythm within the structural
bay by repeating a similar width in a
solid to void pattern.
Within the ground floor of the block,
the walll surface is, comprised
vertically of three horizontal elements:
the base or kick plate, the, display
windows and glass portions of the
doors, and the transom. These are
consistent elements in the ground
floor of almost alll buildings,. These
proportional elements must be
retained and restored when
renovation occurs.
The repetition of dispilay window and
door components creates a rhythm in
the block of buildings.
A characteristic common to most
commercial buildings is the recessed
entrance. This recessed space adds
to the rhythm of the building face and
to the block of building. 'This rhythm,
is also experienced by the pedestrian
walking down the block.
The recessed entrance needs to be
maintained, not elongated or
expanded beyond the original
footprint. The entrance should be
restored to its original alignment as
renovation takes place.
GROUND FLOOR RHYTHM - PIER-STOREFRONT-P'IER
Design Standards for the City of Paris, Texas 48
"PUNCHED" OPENINGS AT THE UPPER FLOORS
ARE TYPICAL OF THE PERIOD OF
CONSTRUCTION
OFTEN HAVE A DECORATIVE UPPER SASH
THE GROUND FLOOR STRUCTURAL BAY OR
ORGANIZATION READS THROUGH TO THE
UPPER FLOOR WINDOW ORGANIZATION
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The window openings are well
defined at the upper floors and
establish a pattern and rhythm of
window -wall -window or solid -void -
solid -void.
• Windows are vertically proportioned,
usually tall and thin.The windows
are normally made of wood and both
top and bottom portions open for
ventilation, Each window frequently
has a decorative top sash.
• Buildings constructed later in the
119010s, after the Victorian period',
often have windows placed in pairs or
in banks of three.
® Buildings constructedwith more than
two stories repeat the organization
between the ground floor storefront
and the upper floors. The upper floor
windows often have more detail and
the building is capped with a cornice
or defining feature.
UPPER FLOOR RHYTHM - SPACING OF PAIRED DOUBLE WINDOWS
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UPPER FLOOR RHYTHM - SPACING OF SINGLE WINDOWS
Design Standards for the City of Paris, Texas 49
TWO-ST'ORY BULDINGS ARE PREDOMINANT IN
PARIS
BREAKS THE HORIZONTAL ORGANIZATION
ROOFS ON COMMERUAL BUILDINGS ARE NOT
SEEN, THEY ARE HIDDEN BEHIND A PARAPET
Common Building Heights and Ro
• I
• The two-story building is the
predominant type in the commercial
district of Paris. They have a
consistent height and similar capping
detail. Some buildings have a
constructed coirnice of masonry while
others have a pressed metal or terra
cotta cornice.
• Buildings of one story have more
variation in the height and detail of
the cornice than their two-stoiry
counterparts, often breaking the
horizontal organization.
• Roofs on commercial buildings are
not often seen from the front. They
are nearly flat and are hidden behind
a parapet, a vertically extended wall
of the, bluildingi.
• Side walls and rear elevations are not
as detailed as, the front elevation, but
most roof lines have some form of
cap or detail.
• To alter this cap or detail by addition
or subtraction is not appropriate and
will alter the horizontal organization.
Design Standards for the City of Paris, Texas 50
COMMON DISPILAY-ENTRY-DIISPILAY WITHIN A
STRUCTURAL BAY MUST BE RETAINED
THOUGH TRANSOMS HAVE BEEN COVERED,
THEY REMAIN A STRONG ELEMENT IN THE
HORIZONTAL ORGANIZATION OF THE FACADE
MECHANICAL EQUIPMENT SHOULD NOT BE
PLACED WITHIN LINE OF SIGHT
w Commercial storefronts have, a basic
organization, both vertically and
horizontally, which does not depend
on the size of the buildings. 'Thiiis
organization exists whether the
building is one story or three or more
stories.
• There is a common vertical three-part
construction at the ground level: a
base or kick plate, a display window,
and a transom.
• Commercial storefronts also have a
common horizontal three-part
construction in each bay including
display -entry -display or display -
display -entry. Very transparent
storefronts invite shoppers to look in.
• These three-part divisions need to be
preserved.
• 'Transoms must not be covered over
or painted out.,
® Display windows need to remain
transparent and not be altered in size,
• Kick plates need to be preserved and
maintained. Kick plates were
originally installed to raise the
storefront and reduce the chance of
damage. They are used the same
way today.
w Interior modifications must not impact
the storefront appearance. For
example, lowering the ceiling inside
will have an adverse effect on the
exterior appearance.
0 Aluminum that is anodized or that has
a natural finish is inappropriate and
must not be used in, new construction.
However, it is appropriate where
historically original.
10 Installation of low -E glass is
acceptable to address today's energy
concerns. Heavily tinted oir reflective
glass is prohibited.
Design Standards for the City of Paris, Texas 51
• Mechanical equipment should not be
placed within the l'ine of sight or
where visible on the front facade.
• Approved Blanker panels over
windows are acceptable as a
temporary solution in buildings.
Design Standards for the City of Paris, Texas 52
IYN 'P#pj 'at
RECESSED ENTRANCE ALLOWS FOR WINDOW
SHOPPING
COMMERCIAL BUILDING COMPONENTS
umzmnN : = -
• The entrances to historic commercial
buildings are usually recessed or set
back from the face of the building to
draw people into the building, allow
space for entering and to provide
protection from the elements in
addlition to providing more display
space. These entrances must not be
changed. They must not be removed
to create more interior space, nor
should they project out beyond the
common building wall.
• Entrances are proportioned to fit
within the overall organization of the
storefront. The entrance height is
equal to the top of the display
windows.
• If an entrance was not recessed
originally, it must not be changed.
• Entrance heights need to be retained.
They should not be loweredl.
Design Standards for the City of Paris, Texas 53
A (PAIR OF DOORS IN STOREFRONT WITH
LARGE GLASS PANELS AND KICK PLATE
SINGLE WOODEN DOOR WITH LARGE
GLASS PANEL AND KICK PLATE
EXAMPLE OF FAIR OF DOORS WITH
LARGE GLASS PANELS, KICK PLATE,
AND TRANSOM
WOODEN DOORS MUST NOT BE REPLACED
WITH ALUMINUM DOORS
Doors in Camme,rcia�l Structures
Historic doors for commercial
buildings are constructed with large
glass panels to let you see, inside.
They also have a kick plate similar in
design and' proportion to the kick
plate of the storefront. Historic doors
must be retained and repaired if
necessary.
• Doors are frequently installed in pairs.,
It is important to keep this
configuration and not replace the
doors with, one large single door or
reduce the opening to accommodate
a new, standard sized door.
• If historic wood doors are beyond
repair, it is important to replace them
with wood doors of the same
dimension, and proportion.
• Aluminum doors and frames are not
appropriate where wood doors were
originally inistallled.
Only aluminum doors that were
original to the buildings should be
replaced with aluminum doors.
Design Standards for the City of Paris, Texas 54
CANOPIES CREATE A HUMAN SCALE ALONG THE
BUILDING BLOCK
CANOPY AT APPROPRIATE SCALE AND
LOCATION ON BUILDING
AND SCALE OF THE FACADE AND DETRACT
FROM THE ORIGINAL CANOPY
• Canopies are common on historic
commercial buildings. They area
significant horizontal element of the
building block and create a common,
human scale.
• Canopies are hung from the buildings
with rods or retractable systems. All
existing mechanisms and housings
must be preserved.
• Canopies must be maintained if still in
place and' consideration should be
given to reinstalling a canopy if there
is evidence that one previously
existed. If canopies were previously
replaced with contemporary
allum,inum canopies, they need to be
returned to the original design.
Designs must be compatible to the
time period of the building..
• Fabric awnings can also be found on
commercial buildings. Canvas type
materials are appropriate for
installation and the awning needs to
be constructed to "fit" an opening. A
rectangular awning needs to be
installed on, a square or rectangular
opening and an arched top awning is
appropriate for an arched opening.
• Permissible awning fabrics are either
striped or without pattern, of a color
appropriate and compatible to the era
of the building's construction. Canvas
fabrics are historically correct;
however, vinyl or nylon reinforced
fabrics or UV resistant fabrics are
acceptable for their longevity.
• Fabric awnings can have a dramatic
impact on a facade, if the building was
not originally designed with them.
They frequently cover the transom
and can alter the proportion and scale
of the facade.
Design Standards for the City of Paris, Texas 55
THE SAME HEIGHT ALONG THE SIDEWALK. THIS
ESTABLISHES HORIZONTAL ORGANIZATION
• If fabric awnings have replaced
canopies, consideration must be
given to reinstalling the canopy.
• Canopy need to replace canopy.
• Bubble awnings, awnings of shiny
plastic, and internal lighting are not
appropriate and not acceptable.
• Awnings andl canopies must not
conceal the character -defining
features of historic storefronts.
® The bottom of all canopies and
awnings should be installed at the
same height, with an eight foot (8')
minimum head clearance above the
sidewalk, or as determined by
applicable codes. Thus will continue
the horizontal organization already
established.
• Canopies on non -historic buildings
are encouraged to relate to the
adjacent historic structures in design
and materials.
Design Standards for the City of Paris, Texas 56
DOUBLE HUNG WOODEN FRAME WINDOWS
WINDOWS SHOULD BE REPAIRED IN A TIMELY
MANNER, AND SHOULD MATCH THE ORIGINAL IN
ALL ASPECTS
DEFINE THE "PUNCHED"' OPENINGS AND ACT AS
STRUCTURAL COMPONENTS.
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The majority of wiindows on the upper
floors of commercial buildings appear
to be "punched" openings —
constructed as individual units in the
walls. Newer buildings have windows
constructed in combinations of two or
three. Windows must not be
modified!.
Windows were tradlitionally wood
framed and double hunig, meaning
both sashes move up and down.
Wood windows need to be
maintained and not replaced by
aluminum windows.
• Most window openings, are tall and
narrow. These openings must not be
modified to install new, smaller
windows.
• Many windows have hood molding or
decorative tops made of stone, brick
or other materials. These lintels and
moldings must be retained and not
removed.
® Windows, including transoms, need
to remain uncovered and
unobstructed. Removing previous
closures, covering and infill is to be
encouraged.
• Windows that were originally metal
need to remain metal. If replacement
is required due to the irreparable
condition of the original, the
replacement must match the original
in profile, dimension, configuration,
material, and color/finish.
• Powder -coated metals are
acceptable. Alluminum that is
anodized or that has a natural finish
is inappropriate and must not be used
in: new construction. However, it is
appropriate where historically original,
• Metal clad replacements must folllow
the original proportions and meeting
rail location.
Design, Standards for the City of Paris, Texas 57
ORIGINAL IN PROPORTION, MATERIAL, AND
SCALE TO AVOID "BUND" OPENINGS
REPLACEMENT GLAZING THAT IS TINTED OR
REFLECTIVE IS NOT PERMISSIBLE
COMMERCIAL BUILDING COMPONENTS
Approved Blanker panels at openings
are acceptable as a temporary solution
to secure buildings.
Glass
• Any replacement glazing needs to
match the original in material,
dimension,, and patterning. Tinted or
reflective glazing, and prismatic or
patterned glass will not be allowed
unless shown to replicate the original,
• Applied materials, such as those used
to darken or alter reflectivity of the
glass, are not permissible. With the
exception of Low E glass, all are
subject to Commission approval' of the,
material.
• Installation of low -E glass is acceptable
to address today's energy concerns.
Screens
Door and window screens on historic
buildings are constructed of simple
wooden frames. They are framed to
mirror the panels and sash divisions of
the doors and windows that they cover.,
Mill finish aluminum' is never an option
and is prohibited in the installation of
window screens and storm windows.
Factory painted storm and screen
windows with a meeting rail that
matches the window are acceptable.
Avoid the use of screen fabric that is
bright aluminum.,
Storm Windows
• The installation of interior storm
windows is preferable to an exterior
installation and will not detract from the
original.,
• Exterior storm windows should
replicate the appearance of the window
they cover. They should be of simple
wood frame construction with mullions
and muntins as applicable.
Design Standards for the City of Paris, Texas 58
MO]
With prior approval', metal frame storm
windows may be used if the frames are
the same size and profile as the sash
they cover. In addition, they must be
entirely painted to appear as painted
wood.
Art Glass Protection
• Art glass is a character defining feature
and must be retained', repaired, and
restored if necessary,
• The installation of protective glazing to
shield art glass is often problematic
though intended to protect glass from
damage. It can hasten deterioration of
the art glass sash by trapping heat and
condensation. Both the interior and
exterior appearance can be marred by
an unsympathetic design and
installation of the secondary sash.
• Consult a knowledgeable historic
design professional! prior to installing
secondary gillazing.
Security Devices
The installation of metal grills or guards
on doors or windows on the front
facades of historic buildings is
prohibited.
With prior approval, door or window
guards may be installed on the side or
rear elevations of buildings.
The preferred types of security devices
are those that are unseen or
imperceptible. These include various
motion detectors and sensors.
Design Standards for the City of Paris, Texas 59
ROOF LINE
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• The roof line, of historic commercial
buildings is usually detailed to create
a "crown" or cornice. If newer
materials cover these details, it is
recommended that these materials be
carefully removed to reveal the
original detail.
® If the original cornice and detail are
missing, replace the detailing to
match the original if there is enough
information, to do so. If there are no,
photographs or evidence of the
original design, construct a new,
simplified cornice of similar
proportions.
• The cornices frequently project out
from the face of the building and need
to be maintained.
• The roof of commercial buildings is
usually not seen from the, front or
sides of a building but may be visible
from the alley. It is not seen from the
main street because a parapet, or
wall, extend's above the roof to
conceal it. This parapet must be
retained and maintained. It is at the
junction between the roof and parapet
wall that many roof leaks occur.
* Upper floor additions to buildings
must not, violate the existing parapet.
* Mechanical equipment should not be,
placed within the line of sight.
Design Standards for the City of Paris, Texas 60
DIFFERENT MATERIAL IS OFTEN USED FOR AN
ALLEY FACADE THAT IS LESS PROMIINENT
THAN THE FRONT FACADE
PAINTED ADVERTISEMENT ON SIDE FACADE OF
BUILDING SHOULD BE RETAINED
MIN 075 111: 1 as] WA a 011111 t IBM
The side and rear elevations of most
historic commercial buildings, were
frequently constructed of a different
material than the more prominent
front facade. Often the detail, and the
number and size of windows differs
from front to side and rear. Alley and
side facades need to be respected for
their simple design and must not be
"dressed up"' to create a false
impression or false history.
Some corner buildings were
constructed with two "fronts" to face
both streets. Both, of these facades
need to retain their prominence.
Historically, painted advertising often
appeared on the walls of buildings.
This signage is an important part of
the history and development of
commercial buildings and
businesses., This signage must not
be removed or painted over.
Alley entrances to buildings were
usually utilitarian and not of
architectural significance; though
some have beautiful details that must
not be destroyed. As parking
becomes more available from the
rear or alley of the building, these
entrances to the building may
become a more prominent access, to
the building. However, this entrance
must not compete with the front
entrance, or create a phony image.
Approved Blanker panels at openings
are acceptable as a temporary
solution to secure buildings.
Mechanical equipment should not be
placed within the line of sight.,
APPARENT IN THIS BRICK MASONRY
BUILDING
DECORATIVE BRICK USED AROUND OPENING
AND AT THE TOP OF BUILDING AS A CORNICE
Many of the commercial buildings in
Paris are constructed of brick
masonry. These brick walls are
usually about a foot thick or more and
carry the weight of the building.
Brick walls are constructed by
stacking single pieces together to
create a pattern. Most wall patterns
have a defined: horizontal line.
0 Brick is used to create decorative
features, that need to be preserved,
as they add to the character of the
building. These features are usually
found around openings on a building,
at the top of buildings to create a
cornice, or to add to the horizontal
organization of the building and block.
a Brick does not require paint like its
metal and wood counterparts. Brick
is a clay material that "breathes".
Some coatings can trap moisture in
historic brick causing damage to
mortar and interior finishes. Avoid
changling the appearance and scale
of a brick building by painting it.
0 The use, of water -repellant or water-
proofing coatings is strongly
discouraged.
Cleaning of Brick Walls
• Sand blasting is prohibited.
• It is important not to damage the face
of the brick by sandblasting it, using
abrasive methods, or by the use of
high pressure water sprays.
• Chemical cleaning may be requiired
for difficult stains or graffiti, but such
cleaning must be prescribed or
conducted by a knowledgeable
professional.
• Water washing of a buiilding is the
gentlest means of cleaning masonry
surfaces. Prior to any water washing
BRICK SHOULD NOT BE PAINTED
A _N
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methods, make certain that all mortar
joints are sound and that the building
is watertight. This will decrease the
likelihood of water reaching metal'
anchors or interior walls.
Clean a building gently,. Start with a
solution of water and liquid Joy
dishwashing detergent and a stiff
brush of either natural or synthetic
bristles. Never use a metal -bristled
brush.
Cleaning needs to start at the bottom
of the building and progress upwards,
keeping the lower levels wet or
frequently rinsed. This will prevent
the dripping water from upper
Cleaning areas streaking or staining
the lower areas.
Repair of Brick Walls
• The material between the brick is
called mortar and is important to the
integrity of the wall'.
• Before replacing missing or damaged
mortar (repointing), determine any
other causes for the deterioration of
the mortar or brick wall: leaking roofs
or gutters, building settlement, or
extreme weather exposure. This willl
ensure that the new mortar is not
subjected to the original sources of
deterioration.,
• Never use Portland cement mortar
with historic materials.
If the mortar is simply missing or
deteriorated, it needs to be replaced
with mortar to match, the original in
,color, composition, and profile. Use
a sand-liime recipe for mortar, which
is compatible with the old brick.
Testing may be necessary to achieve
a match. Modern masonry mortar has
Portland cement as a main
ingredient, which is too hard for
historic brick. Too much cement in
the recipe will accelerate the
deterioration of the brick and spalling
. Design Standards for the City of Paris, Texas 63
which can cause water to enter the
wall.
A preservation professional can
determine an appropriate mortar.,
Mi'ssingi or severely damaged bricks
must be replaced with bricks
matching the original in material and
dimensions.
Refer to the National Parks Service
Preservation Briefs for more
information on cleaning and repair of
historic masonry.
Design Standards for the City of Paris, Texas 64
BECAUSE OF ITS UNDEFINED SHAPE
• Stone, rubble refers to a type of stone
which has an undefined shape. The
uneven face of stone rubble and
uneven size of the pieces provides a
unique texture that is not found in
other materials,
• Cut stone is a precisely shaped
stone, a smooth or rusticated (rough)
face. It is frequently used as a
decorative element on buildings or as
a way to accent an opening. Cut
stone can also have a great amount
of detail such, as on columns and
capitals.
• Stone walls are constructed 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.
Cleaning of Stone
• Do not sandblast, use abrasive
methods or high pressure water
sprays to clean stone masonry.
• Chemical cleaning may be required
for difficult stains or graffiti, but such
cleaning must be prescribed or
conducted by a knowledgeable
professional. Great care must be
given if a chemical cleaning solution
is to be used. Some chemicals burn
the face of stone.,
• Water washing is the gentlest method
of cleaning simple dirt and grime from
stone masonry surfaces.
• Prior to, any water washing methods,
make, certain that alll mortar joints are
sound and that the building is
watertight. This will decrease the
likelihood of water reaching metal
anchors or interior walls.
Design Standards for the City of Paris, Texas 65
COMMERCIAL BUILDING MATERIALS
If stone shows evidence, of dirt and
grime, it can be cleaned with a mild'
solution of soap and water and a stiff
brush of either natural or synthetic
bristles. Never use a metal -bristled
brush.
As with brick masonry, cleaning must
start at the, bottom of the building and
progress upwards, keeping the lower
levels wet or frequently rinsed.
Repair of Stone Masonry
• The material between the stone,
mortar, is important to the integrity of
the wall!.
• Before replacing missing or damaged
mortar (repointing), determine any
other causes for the deterioration of
the mortar or stone wall: leaking roofs
or gutters, building settlement, or
extreme weather exposure. This will:
ensure that the new mortar is not
subjected to the original sources of
deterioration.,
If the mortar is simply missing or
deteriorated, it must be replaced' with
mortar to match the original in color,
composition, and profile.
Use a sand -lime recipe for mortar,
which is compatible with the old
stone. Modern, masonry mortar has
Portland cement as a main
ingredient, which cures considerably
harder than the stone. This can lead
to cracking or other damage to the
stone and may cause water to enter
the wall. A preservation professional
can determine an appropriate mortar.
® Missing or severely damaged stone
must be replaced with stone matching
the original in material and
dimensions.
® If stone is structurally soundi, stone
patch may be utilized or a dutchman
may be cut and iinstalled.
Design Standards for the City of Paris, Texas 66
WOODEN STOREFRONT
I P&Nto arol MAN V rol-kI
WOOD SHOULD BE REPLACED WITH WOOD,
AND IN A TIMELY MANNER
COMMERCIAL BUILDING MATERIALS
Wood is, a material that is used for a
variety of architectural details such as
storefronts and windows on many of
the commercial buildings. Common
locations of wood are window frames
and sash; wood columns and
canopies; wood storefronts including
doors and frames for display windows
and for kick plates or bases.
• 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 including top and bottom,
side and back. When wood is badly
deteriorated, it may need to be
replaced with wood of the same
profile and dimension.
• There are several epoxy wood repair
prodlucts, that may be used to repair
or reconstruct significant wood
elements prior to total replacement.
• Wood historically would have been
painted.
• Rough sawn wood is not appropriate
for installation in historic buildlings.
• Wood must be replaced with wood,
not a simulated material.
• It should be noted that wood does not
have a "wood grain" surface.
• Stain on the exterior of a building or
its elements are inappropriate, except
in special circumstances and building
type; such as government buildings,
churches, etc. Consult the local
Historic Preservation Commission for
a STEMM in
Design Standards for the City of Paris, Texas 67
BUT IT ADDS A DECORATIVE DETAIL TO THIS
ENTRANCE
PRESSED METAL CEILING
METAL CHAIN AND ESCUTCHEON SUPPORTING
METAL CANOPY
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0 There are several types of metal
found in and on buildings. The type
and application of the metal on
buildings help to identify the time
period and style of the commercial
buildings. Buildings of the late 1800s
and early 1900s incorporated pressed
metal and cast iron while more
contemporary buildings utiilize
aluminum and steel in their
construction.
• Cast iron columns and' beams were
uised as structural components in
some Victorian buildings around the
square. These structural members:,
while functional, also add detail and
scale to the building storefronts and
must be retained.
• Pressed metal is often thought of as
an interior ceiling material but is used
for cornices and other details on,
many of the buildings.Pressed metal
cornices are constructed over a
wooden framework. Deteriorated
wood needs to be replaced to provide
adequate support for metal cornices.
Damaged and deteriorated pressed
metal panels can be fabricated and
replaced if necessary to, retai'nl the
overall detailing.
Another common metal found
frequently is aluminum. Aluminum is
a more contemporary metal and was
used on buildings dating from the
1930s.
As a general rule, aluminum must not
replace wood as a building material.
This is especially true of doors ands
windows and their frames. If
aluminum appears to be the onily
option as a replacement material for
deteriorated wood, the aluminum
needs to be of similar profille and
must have a factory painted finish.
Design Standards for the City of Paris, Texas 68
F-11 0191101617171 M11 :10M
Mill finish or "shiny" aluminum must
not be used on a historic building to
replace a previously painted material.
Miscellaneous steel components can
also be found at, porch columns and
porch structures, railings, turnbuckle
and chain supports at canopies,
downspouts, etc.
It is important to keep pressed metal,
cast iron and steel well painted' to
avoid rust and dleterioration.
,Design Standards for the, City of Paris, Texas 6S
DRAW PEOPLE INTO THE STORE
TIMELY MANNER, AND WITH THE SAME COLOR
QUALUTY AS THE EXISTING
COMMERCIAL BUILDING MATERIALS
mm'
The transparent or "see-thirough"
quality of glass has been utilized in
commercial building storefronts to
draw customers into the shops and
ground floor spaces. This is a quality
that needs to be retained'.
• Glass in the transom windows
allowed light to enter deep into the
ground floor. These windows need to
retain their transparent quality
• Glass was also used as a cladding
material on commercial buildings
during the 1920s and 1930s.
• Any replacement glazing needs to
match the original in material,
dimension, and patterning.
• Broken glass must be replaced
immediately to avoid damage to the
interior of buildings and building
materials.
• Replace broken glass with glass that
matches the original in color quality.
• Approved Blanker panels at openings
are acceptable as a temporary
solution to secure buildings.
ign Standard's for the City of Paris, Texas 70
j
EXISTING BUILDING MATERIAL, BUT IT MAY BE
USED IN NEW CONSTRUCTION
Stucco or cement plaster is not commonly
seen as a building material in historic
commercial districts of Paris. It is a
hardened cementitious paste which is
applied' over a wire mesh, or lath. It
creates an exterior wall surface that can,
be made smooth or can have a sculpted
texture. Stucco has, no dimension or
shape of its own; therefore it is not
compatible in scale to the more common
materials such as brick and stone.
Stucco is a material to be used as the
initial exterior wall surface of a builldingi. It
is not intended to be installed over another
wall surface material. Ideally, a damaged
original wall material needs to be repaired
and restored, rather than covered over
with a layer of stucco. Installing stucco as
a secondary material surface will change
the overall appearance of the building by
eliminating the original detail and shadows
of the building.
The following guidelines are
recommended:
• Retain and maintain original stucco.
• Avoid installing stucco over another
material.
• Repair deteriorated stucco and match
the composition and texture of the
original.
• Stucco must not be used to cover a
historic building material but might be
used on new construction.
• Small cracks, can be concealed by
applying an, elastomeric paint, which
has the ability to stretch and return to
its shape.
• Large cracks can be repaired, and
deteriorated or missing stucco can be
replaced, with stucco that matches the
texture and composition of the original
material.
Design Standards for the City of Paris, Texas 71
EXTERIOR SURFACE OF COMMERCIAL
CONSTRUCTION
DISTINCTIVE FEATURE OF THE
BUILDING FACADE
DETAIL AND GLAZED SURFACE
COMMERCIAL BUILDING MATERIALS
• Terra cotta is a prominent and
distinctive build'i'ng material found in
Paris. It was used throughout the
United States in the early part of the
20th century.
• Terra cotta is distinctive for its
repetitive form and geometry as welll as
the glazed surface.
• Terra cotta is a masonry material and
is installed with mortar in the joints
between pieces. Replace deteriorated:
or missing mortar with mortar to match
the original in: color, composition, and
profile.
• Most damage occurs to terra cotta
when moisture, enters into the wall
system. The metal anchors rust and
expand, causing a cracking of the terra
cotta and possible failure of the unit in
extreme cases. This is especially true
when, terra cotta is exposed to extreme
weather conditions such as on a
building cornice, for example.
• Because terra cotta is a clay material,
water entering behind the unit or
behind the glaze can cause the clay to
expand, cracking the unit or the glaze.
Moisture in the, wall and unit that
freezes causes damage at a rapid rate.
• Anchoring into the face of the terra
cotta is a common cause of damage.
This is especially true of signage.
Holes need to be plugged as
inconspicuously as possible to prevent
moisture from entering the wall system.
• Terra cotta can be reglazed' by a
specialist and new units can be
manufactured.
• Cleaning terra cotta usually only
requires a gentle soap and water
solution.
• Retain and repair terra cotta as a
character -defining feature of the
building.
Design i Standards for the City of Paris, Texas 72
WITH OTHER PROPERTUES AND
THE OVERALL HISTORIC
CHARACTER
PLACE FOR SIGNAGE
ALLOWING YOU TO VIEW MIDE THE STORE
FRONT
Signs and Historic Districts
e Signage has long been a part of
historic buildings. Traditional
building's were designed with "built-in"
signage locations. Identify these
locations and try to work within these
areas. There are minor and major
signs on most buildings.
Primary design considerations of
signage must address size, scale,
height, color, and location so as to be
harmonious with the other properties
and overall historic characteristics of
the district and structure.
•
All signage must relate to a business
or service within the historic build'inig.
• The area directly above the transom
on a storefront was a common
location to identify the occupant.
• Display windows act as signage by
allowing the passer-by to look into, the
storefront. A well-designed store
window display says more about the
occupant than words in a sign. Avoid
filling the display window with
additional signage and, as a result,
blocking the view inside.
o Doors and windows do offer a
location for a minor sign such as
street address number or tenant
name.
• Avoid damaging, disfiguring, or
covering architectural features and'
details with signs.
• Identify the information desired on the
Sign. Avoid listing all services or
products, as the viewer will giet lost in
the information.
• Construct the sign of the most
durable material that can be afforded.
• 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
Design Standards for the City of Paris, Texas 73
SIGNAGE CAN BE ANCHORED SECURELY TO
THE CANOPY, BUT IN A WAY THAT DOESN'T
CAUSE (DAMAGE TO THE BUILDING MATERIAL
BE RETAINED
TOO MUCH SIGNAGE IN WINDOWS
61 rel 0
historic building material.
a Plastic signs, either, lighted from the
back or internally in flat plastic
panels, are not appropriate on any
building in the downtown district.
a Signs painted directly on building
walls have long been a tradition.
Many historic signs remain on the
sides of buildings and' need to be
retained. Additionally, painting new
signs on buildings is acceptable
providing the sign meets other
signage criteria and is in scale with
the building.
• 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 lights are not appropriate for all
buildings.
• Avoid too much signage on one
building. If there are multiple tenants,
create a directory type sign to identify
the address and location of each:.
• All' signage must be kept in good:
maintenance and shall be kept free of
all debris and other refuse.
• Refer to the City Sign Ordinance for
additional signage requirements and
restrictions. All signage must conform
to city codes and must have prior
approval of the Historic Preservation
,Commission.
Number, Size and Illumination
For buildings housing one business
or service, one (1) major sign and
one (1) minor Signs will be permitted
for each facade with a public
entrance to that business. No sign
shall exceed fifty (50) square feet.
For buildings housing more than one
business or, service, each business or
service shall have no more than one
Design Standards for the City of Paris, Texas 74
5,,', A PVTA
J A L
E IS NOT PROPORTIONAL TO BUILDING
'SIGNAGE IS HARMONIOUS WITH
SURROUNDING AREA
POLE SIGNS ARE NOT SUITABLE
SIGNAGE
*I relkI FAT
, el
(1) major and one (1) minor signs,
with no sign exceeding fifty (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.
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
than fifty (50) square feet. If the
facadle's proportions support
additional signagle, the Historic
Preservation Commission may
approve it.
When computing the area of a sign,
the measurement shall include all
borders. Bracing and support
structures are not included in figuring
the area. In 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.
• Signs that direct the, reader to a
specific place or along a specific
course, such as "entrance," "exit,"
and "handicap access," shall not
count toward the total allowable
signage area. Emergency signs are
exempt.
• Sign illumination may be provided by
indirect, internal, or bare -bulb lighting,
provided there is no resulting glare;
by indirect lighting employing a hood
or diffuser; or by internal illlumination
using opal glass or another
translucent material (excluding
plastic) that transmits an equal or
lesser amouint of light. "Glare" is
defined as an illumination level of at
BILLBOARD
Design Standards for the, City of Paris, Texas 75
[003110 4:010110 M 9 IZZ-11 E&WAA
EXAMPLE OF ACCEPTABLE
LARGE BLADE SIGN AND
SIGNAGE UNDER CANOPY
EXAMPLE OF ACCEPTABLE
GROUND SIGNAGE
least six (6) lux at the property
boundary. All illumination must be
steady and stationary.
Prohibited Signs
• Billboards, junior billboards, portable
signs (including torpedo signs), pole
signs, electric (or plastic) signs, cloud
buster balloons, inflatable device
signs, and advertising benches.
• Digital or LED -lighted signs, including
those with rotating or flashing lettering
or images.
Roof -mounted signs, or sky signs (as
defined in the City Code), except for
landmark signs or those approved by
the Historic Preservation, Commission.
Historic roof -mounted billboards may
be resurfaced if they were erected
legally and are recognized as historic
by the commission. Such signs'
square footage shall be included in
the total allowable signage for the
building. (Existing sky signs in the
downtown area are allowed to remain,
subject to the requirements for
nonconforming signs, but no new sky
signs will be allowed to be erected.)
Any sign abandoned for more than six
(6) months or damaged beyond fifty
(50) percent of its replacement value,
shall be removed, along with their
supports, brackets and braces.
Acceptable Sign Styles
Following is a sampling of sign
formats often found in historic
districts. All signs are subject to
approval by the Historic Preservation
Commission.
e 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.
o Projecting, or blade, signs- An
Design Standards for the City of Paris, Texas 76
SIGNAGE
61' rel 121
appropriate position for small bllade
signs is above or near the entrance;
for larger signs, place them higher and
centered on the facade unless corner
placement is more suitable.
• Hanging signs, under canopies: The
bottom of these shallow two-sided
signs, or blade signs, must have at
least eight (8) feet of clearance from
the sidewalk.
• Window signs: They may be hung
inside a front window or painted on the
glass, a traditional form of placement
used both on ground -floor and second
story windows.
• Directory signs: These can include an
assortment of small individual signs of
common size, proportion and
orientation, as well as professional' -
style directories.
• 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.
Incidental Signs
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.
Menus
Menu boards shall be limited to no
more than three hundred sixty (360f )
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,,
," Design Standards for the City of Paris, Texas 77
•' not on the menu •! The
business' logo shall be considered'a
sign.
Special Purpose/Temporary Signs/
Posters
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 specified. Banners, pennants
and most flags are considered special
purpose signs and are appropriate for
advertising and decoration only during
special events or celebrations.
Illegal Placement
Commercial signs, posters, decals or
advertisements may 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 must be
removed within 48 hours of the end of
the event.
Noncompliance
Any legally erected sign that fails out of
compliance because of revisions to
these standards, shall be considered
for nonconforming status.
Design Standards for the City of Paris, Texas 78
Style and Influence 83-91
Building Characteristics 92-101'
Building Components 102-1:20
Materials 121-132
W",
i I *
The development of the Residential Historic
District took place during three distinct periods.
Each period of construction brought different
architectural styles, details, and materials,.
The first period of development began in 1845
with the establishment of the City of Paris and
ended with the fire of 1916. During the early part
of this period, vernacular structures made of
hand-hewn wood were plentiful in the residential
neighborhoods; however, no structures from; this
time can be found in the district. With, the boom
of the cotton industry in the 1860s, the population
,and wealth of Paris increased, Trolley lines ran
along South Main and Kaufman Streets,
connecting, the residents to the business district.
Residences built during the post -Civil War era
were of the High Victorian Italianate, Second
Empire, and Gothic Revival styles. Only one
residence,, the Sam Maxey House, remains in the
district from this period. The railroads came to
Paris, starting in 1876, and brought new ideas,
materials, and styles that influenced future
development. Shortly thereafter, the fire of 1877
destroyed much of the commercial district. With
the, rebuilding of this part of the city, the Italianate
and Second Empire styles became dom!inan!t.
Near the turn of the century, influence from the
northeastern United States brought additional
styles. The Victorian Queen Anne/ Eastlake and
Folk Victorian styles with influences from the
Shingle style and Richardsonian Romanesque
began appearing in Paris residential
neighborhoods. Today, the main concentration of
residences from this development period is found
south of Washington Street, which was spared
from the fire of 1916.
The second period of development took place
from the time of the fire of 1916 to 119501. The fire
of 1916 destroyed much of the downtown
commercial district and a portion of the
Residential Historic District. During the rebuilding
of the town and the 10 years that followed, a
Design Standards for the City of Paris, Texas 80
trend toward eclecticism took place. The
residential buildings, were built to reflect the
current trends in architecture, Several of the
houses display Classical and Colonial Revival
elements on otherwise Queen Anne style
buildings. Sullivanesque and Prairie School
styles were more common than the revival styles
during this time. These two styles are plentiful in
the district. Following the popularity of the Prairie
School style came a simplification in the details of
the residential buildings. The switch from
elaborate detailing to simplicity came as a
response to the excessive ornamentation during
the Victorian era. The resultant simplified forms
include the American Foursquare, Pyramid
House, and Bungalow, which are all derivatives
of the Prairie School and Craftsman styles. The
above mentioned styles were constructed during
the rebuilding of the, residential district after the
fire of 1916 and as replacement houses
throughout the rest of the district. At this time of
rebuilding, large lots that before contained one
house were divided into two or more smaller lots.
This resulted in a greater density of housing in
the district. Other styles including Jacobean and
Spanish Colonial Revival are found in the district,
but in limited quantities. The use, of brick veneer
became popular during this time and is visible in
homes in the district. Also during this time, the
size of homes became more modest than the,
large, extravagant homes of the previous
decades.
After the 1950s, residences were built following
contemporary designs. Contemporary designs,
include Ranch style and Neoeclectic. Ranch
style residences were modest in size and lacked
applied detail. Neoecllectic residences include
characteristics from various styles, but do not
follow one particular historic style. Both styles, of
residences are found in the Residential Historic
District,.
Design Standards for the City of Paris, Texas W
RESIDENTIAL HISTORIC DISTRICT
DEVELOPMENT OF CHURCH STREET DISTRICT
EM pr�e 1908
S
11908,
ru
1914
1920
19,26
1.1 1946 l loin
1950
post 1950
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q/
77ry
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Li
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W,
........ . .
X4
j
Design Standards for the City of Paris, Texas 82
Greek Revival
(National)
FRONT ENTRY PORCH
SUPPORTED BY COLUMNS
WIDE, DECORATIVE CORNICE TRIM
Gothic Revival
R 'AqL 111.1
STEEPLY PITCHED ROOF WITH WALL
AND WINDOW EXTENDING INTO
GABLE
POINTED GOTHIC ARCH
Greek Revival was the dominant style of
residential architecture from 1830 to 1850, with
occurrences in all areas settled before 1860.,
Characteristics include:
® gabled or hipped roof with low pitch
• cornice line emphasized with wide trim
• entry or full width porch supported by
square or round columns
• front door surrounded by sidelights and
transom Nights
The Gothic revival style was popularized by
fashionable architects in the northeastern united
States between 1840 and 1870. Scattered
examples are found in most parts of the country
settled before 1880. Characteristics include:
m steeply pitched' roofs with steep cross
gables with decorated bargeboards,
• wall surface and windows extending into
gable without break
0 pointed arch shaped detailing
Design Standards for the City of Paris, Texas 88
Exotic Eclectic
(Dutch Renaissance)
DUTCH DORMER AND MISSION
STYLE PARAPET
TERRA COTTA DETAILING
BAY WINDOW
RESIDENTIAL BUILDING STYLES
The Exotic Eclectic style consists of a collection
of detail's from various architectural styles. The
exact characteristics of the style vary from, one
building to the next. The characteristics of the
example in Paris include:
0 Dutch dormers and mission style parapets
• red the roof
• terra cotta elements
e Art Nouveau detailing
Queen Anne was the dominant style of domestic
,architecture from 1880, to 1900, The style is
based on characteristics from the late Medieval
style of architecture.Characteristics include:
• steeply pitched irregular shaped roof with
a dominant front facing gable with a finial
• patterned shingles and/or brickwork
• bay windows and other devices, are used
to avoid a smooth wall appearance.
• asymmetrical facade one story porch that
extend along one or both side walls
• decorative wood detailing including
fretwork, spindles, and turned porch
columns
Design Standards for the City of Paris, Texas 84
"Shingle -like"
(Dutch! Colonial)
(3AMBREL ROOF
ASBESTOS SHINGLES ON WALL AND
ASPHALT SHINGLES ON ROOF
Folk Victorian
SQUARE PORCH SUPPORT WITH
DECORATIVE SPANDRELS
TURNED PORCH COLUMNS
RESIDENTIAL BUILDING STYLES
The Shingle style is a unique American style with
adapted characteristics from the Queen Anne
and Richardsonian Romanesque styles. The
style began as the design of choice for cottages
,in the seaside resorts between 1880 and 1900.
Characteristics include:
• free -formed and variable in style
• walll cladding and roofing of shingles
• asymmetrical facade with irregular, steeply
pitched roof lines with cross gables
0 multiple chimneys
Folk Victorian houses can be found throughout
the country. This style is characterized' by the
occurrence of Italianate or Queen Anne detailing
on simple house forms. Characteristics incluide.,
• basic house with simple folk form
• symmetrical facade (except for gable -front -
and -wing types)
spindles, or square posts as porch
supports
• lace-like spandrels and turned balusters,
for porch railings and suspended friezes
• boxed or open roof -wall junctions
Design Standards for the City of Paris, Texas 85
Italianate
TALL, NARROW WINDOWS
SIDELIGHTS AND FAN LIGHT AT ENTRY
BRICK WALLS WITH MINIMAL PORCH
OVERHANG
104=19
Z 101121111Y.1110 Moll
The Italianate, style began in England and
dominated residential architecture in the United
States from 1850 to 18,80. The style was
common in the Midwest and northeastern
seaboard. Characteristics iinclude:
• low-pitched roofs with wide overhanging
eaves supported by decorative brackets
• two or three stories high
• tall, narrow windows, arched at the top
with decorative window crowns
Colonial Revival was a popular style for domestic
buildings across the country during the first half of
the 20th century. The backbone, of Colonial
Revival is found in the Georgian andl Adam
styles. Characteristics include:
• front door with a pediment supported by
pilasters or extended to form a porch
• entry door with sidelights and a fan light
• symmetrical front facade with the entry
door in the middle
• constructed of brick with boxed roof/wall
intersection with minimal overhang
Design Standards for the City of Paris, Texas 86
MOM M-T-Uml
SYMMETRICAL FRONT FACADE
Tudor/Jacobean
HALF TIMBERING AT GABLE
ROOF DORMERS
Im q 19F.13 N1
, 110191L
The Neoclassical style dominated domestic
architecture throughout the country during the
first half of the 20th century. Characteristics
include:
• facade dominated by a full height porch
supported with classical columns
• symmetrical facade is balanced,
established by the entry door and' windows
• pediment capping the windows
• roof -line balustrade
Tudor is the dominant style of domestic
architecture for a large portion of the early 20th
century suburban houses throughout the country.
Characteristics include:
• steeply pitched roof with a side gable
• steeply pitched cross gables with
decorative, non-structural half timbering
• tall and narrow windows with mu!llti-pane,
glazing often found in multiple groups
pitched roof dormers
cast stone trim
* massive chimneys with decorative pots
Design Standards for the City of Paris, Texas 87
Italian Renaissance
CLAY TILE ROOF
ENTRY ACCENTED BY PILASTERS
Wbb]UN bhAr 'tU HAKAFt t
WIDE OVERHANGS
Italian Renaissance residences were built in the
early 1900s throughout the country. This style
was primarily used for architect -designed
buildings in major metropolitan areas.
Characteristics include:
• low-pitched ceramic the hip roofs
• wide overhangs with decorative brackets
• first story window dominance
• entry accented by columns or pilasters
Mission style architecture began in California in
the 1890s and later spread across the
southwestern United States through national
builders' magazines. Characteristics, iinclude:
• mission shaped dormers or roof parapets
• red the roof with smooth stucco walls
• wide overhanging eaves
• porch roof supported by square piers
• symmetrical or asymmetrical facades
• arched entry porch
Design Standards for the City of Paris, Texas 88
SQUARE PORCH SUPPORTS
WIDE ROOF OVERHANGS
Craftsman,
WIDE EAVES AND EXPOSED SOFFIT
RESIDENTIAL BUILDING STYLES
The, Prairie style originated in Chicago and is one
of the few indigenous American styles. Built in
the early 20th century, the style began emerging
in Midwestern suburban cities and spread
throughout the country by pattern books and
popular magazines.The popularity of the style
faded after World War 1. Characteristics include:
• low-pitched roofs with wide overhangs
• flattened gable roof edges
• eaves, cornices, and facade detailing
emphasizing horizontal lines
• massive square porch supports
* broad, flat chimney
Craftsman style architecture began in southern
California in 1905 as the style for smaller homes.
The craftsman style quickly spread across the
county by pattern books and popular magazines.
Characteristics include:
• low-pitched gable roofs with wide,
unenclosed cave overhangs
• exposed roof rafters and decorative beams
• full or partial width porches with tapered
square columns that extend to the ground
• short columns that rest on massive piers
SHORT COLUMNS ON MASSIVE PIERS
Design, Standards for the City of Paris, Texas 89
2-m=
WIDE OVERHANGS WITH EXPOSED
RAFTERS
LOW PROFILE, ONE STORY HOUSE
American Four Square
ARTS AND CRAFTS DETAILING IN
WALL TREATMENT AND ROOF
BRACKETS
DORMER ON HIP ROOF
The American Bungalow was initially used as the
style for summer homes in the 1880s. By the
1999s, the style became popular throughout the
country because it was economical and practical.
Characteristics include:
• low profile, one or one and a half story
• low-pitched gable or hip roof
• wide overhangs with exposed rafters or
decorative brackets
• front porch covered with extension of roof
The American four square emerged in suburban
development from the 1880s to the 1930s. This
style was the lowest cost for housing that still had
a dignified appearance. Characteristics include:
• square massing with four rooms on the
first floor and three rooms above
• hip or pyramid roof with a small dormer
• stairs and entrance hall on one side
o Arts and Crafts detailing
Design Standards for the City of Paris, Texas 99
DECORATIVE PORCH SUPPORTS
BRICK WALL CLADDING
International
CLERESTORY RIBBON WINDOWS
FLAT ROOF
RESIDENTIAL BUILDING STYLES
The ranch style began in;, the mid -1939s in
California. It gained popularity in the 1940,s and
became the dominant style for residential
architecture during the 1959s and '60s. The
dependence on the automobile allowed for the
development of suburban, neighborhoods, with
larger lots, which allowed for maximizing the front
facade width. Characteristics include:
* asymmetrical one story shapes with low-
pitched roofs
* moderate or wide eave overhangs
* wooden or brick wall cladding
• decorative iron or wooden porch, suipports
• ribbon, windows, or large picture windows
commonly with decorative shutters
The International style began appearing in the,
American residential landscape in the 1939s and
continued until the 1970s. After World War 11,
elements of the International style were softened
into a widespread vernacular referred to as the
Contemporary style. Characteristics include:
• flat roofs with an asymmetrical facade
• multiple roof lines
® smooth, unornamented wall surfaces
• windows set flush to outer walls,
* regular and clerestory ribbon windows
Design Standards for the City of Paris, Texas 91
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THE BUILDING FOOTPRINT INDICATES THE
VARIETY OF HOUSING STYLES FOUND IN PARIS
THE SPACING BETWEEN DRIVEWAYS, HOUSES,
AND THE DISTANCE FROM SIDEWALK TO CURB
ARE PART OF THE RHYTHM ESTABLISHED IN
THE NEIGHBORHOOD
Characteristics
Building Form
Building form is primarily dictated by
the style of the building.
For example, Queen Anne and
Victorian styles are recognizable by
their compositions of multiple shapes
which, include bays, dramatic roof
lines, dormers and porches. The
Craftsman style is, derived from a
simplified implified rectilinear plan. The
Neoclassical building also derived lits
form from a rectilinear plan but has a
dominant central entry porch with
columns which extend the full height
of the building. The Tudor form is
derived by one or more prominent
cross rectangles and its building
materials (principally masonry and
stone) make it less
compartmentalized with fewer
openings.
Scale
The 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 dimension of building
materials contribute to the overall
scale of the building. The houses in
these districts are one or two stories
high andl are considered to be
"huiman" scale.
Rhythm
The rhythm of a street is created by
the spacing between houses, the
location and spacing of sidewalks
from the curb to the entrances of the
houses, and the location and spacing
of the driveway entrances to each
property. The rhythm, of the street
adds to the visual continuity and
Design Standards for the City of Paris, Texas 92
OF BUILDING FORM
CHARACTER -DEFINING FEATURES
THE DIMENSION AND TEXTURE OF THE BRICK
AND TILE PROVIDE A SCALE FOR THE BUILDING
FACADE
PART OF THE VISUAL CONTINUITY OF THE
STREET
NAM0,111010111 0i#
Proportion
Proportion is the relationship of the
dimensions of an object to itself, such
as height to width.Proportion is
inherent in all aspects of a building
form, components and material. As
an example, older homes with higher
ceiling heights have windows that are
taller than they are wide. This
proportion is approximately 2'/2 high
to 1 wide. House styles of the 1960s
to 1980s usually have lower ceiling
heights so their windows are shorter
and wider.
Relationship of Materials and
Texture
The materials and textures of each
home are 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 home's size, scale and
proportion,. Because stucco has, no
dimension, it is difficult to measure its
relationship to the scale of a building.
Tudor houses, for example are
constructed mainly of brick and stone
and, because of the size and texture
of these materials, the houses
express mass with a rustic
appearance.
Walls of Continuity
The front of each building, its walls,
its porch allignment and even fences
help define a "wall" that establishes a
visual pattern along the streetscape.
Due to the difference in lot size and
house size, the neighborhood reads like
Design Standards for the City of Paris, Texas 98
BY THE SPACING BETWEEN HOUSES
THE STREET
9,nd quarter notes., Thiis needs to be
recognized and respected.
Each neighborhood has visual
continuity, starting at the street which is
basically a straight line of uniform width.
A curb runs along the street defining the
green space of the parkway followed by
the sidewalk. Each of these elements
works to organize a neighborhood.
These organizational elements along
with orientation and placement of houses
on the lot establish the visual continuity
of a neighborhood.
Each neighborhood has its own
established organization, which needs to
be respected.
As changes are proposed to a site or
house, review the lines of continuity and
rhythm established in the neighborhood.
Look at the scale, form and proportions
of proposed changes. Will the proposed
project retain and enhance the
characteristics or w 11 it create change?
Design Standards for the City of Paris, Texas 94
12
0
mad
'I
"Fosii,,f
If
NOR, NO, I ne
own,
21
HOUSES ARE SET BACK FROM THE STREET TO
FORM A WALL OR LINE
BY THE SPACING BETWEEN HOUSES
THE STREET
9,nd quarter notes., Thiis needs to be
recognized and respected.
Each neighborhood has visual
continuity, starting at the street which is
basically a straight line of uniform width.
A curb runs along the street defining the
green space of the parkway followed by
the sidewalk. Each of these elements
works to organize a neighborhood.
These organizational elements along
with orientation and placement of houses
on the lot establish the visual continuity
of a neighborhood.
Each neighborhood has its own
established organization, which needs to
be respected.
As changes are proposed to a site or
house, review the lines of continuity and
rhythm established in the neighborhood.
Look at the scale, form and proportions
of proposed changes. Will the proposed
project retain and enhance the
characteristics or w 11 it create change?
Design Standards for the City of Paris, Texas 94
THE SET6Xdk OF THE HOUSE REINFORCES
THE ENTRANCE AND ORIENTATION
7,A
FA,
THE MAJORITY OF HOUSES HAVE PORCHES
THAT FACE THE STREET
zdr
The organization pattern established in
,each Historic District guides the
development and proposed alteration of
each site. Historic neighborhoods were
designed to be pedestrian: friendly since
walking was a major mode of
transportation. Houses face the street
with a logical, visible entrance and a
sidewalk that leads from the street to this
entrance. Sidewalks from the street to
the front door help establish rhythm.
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
orientation of the building. Building
beyond this setback would change the
visual continuity established.
Driveway approaches in the front yard
lead to garages and secondary
outbuiildings, which are located behind
the main house. 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.
While the construction of new garages
and carports is sometimes necessary,
their placement and approach needs to
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.
Front yards are defined by Sidewalks,
yard curbs, short walls or boundary walls
made of stone, brick, concrete or
concrete bllock. These walls are low in
profile and do not obscure the house.
Front yard fences are not common to
these neighborhoods, but there is
evidence of historic fences and walls.
Design Standards for the City of Paris, Texas 95
al
..
FA,
THE MAJORITY OF HOUSES HAVE PORCHES
THAT FACE THE STREET
zdr
The organization pattern established in
,each Historic District guides the
development and proposed alteration of
each site. Historic neighborhoods were
designed to be pedestrian: friendly since
walking was a major mode of
transportation. Houses face the street
with a logical, visible entrance and a
sidewalk that leads from the street to this
entrance. Sidewalks from the street to
the front door help establish rhythm.
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
orientation of the building. Building
beyond this setback would change the
visual continuity established.
Driveway approaches in the front yard
lead to garages and secondary
outbuiildings, which are located behind
the main house. 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.
While the construction of new garages
and carports is sometimes necessary,
their placement and approach needs to
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.
Front yards are defined by Sidewalks,
yard curbs, short walls or boundary walls
made of stone, brick, concrete or
concrete bllock. These walls are low in
profile and do not obscure the house.
Front yard fences are not common to
these neighborhoods, but there is
evidence of historic fences and walls.
Design Standards for the City of Paris, Texas 95
-71
EXAMPLE OF IMPACT A NEW DRIVEWAY HAS
INFRONTYARD
The following standards are
recommended:
Retain the orientation of the house to
the street. To change the entrance
from the front would alter the
pedestrian approach and rhythm.
Removing or relocating the sidewalk
from the street would break the
rhythm of the neighborhood. Broken
sidewalks need to be replaced but the
location should, remain. The material
must match the original or should be
compatible with the Ihouse and the
surrounding neighborhood. Materials
such as stone, concrete or brick
pavers, and decomposed granite are
appropriate replacement materials
and are not as harsh as large
expanses of concrete. Each house
style needs to be considered when
selecting an alternative material.
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,
crushed granite, pavers, concrete
strips or "ribbons" and asphalt.
• Front yard circular drives are not
appropriate to, the neighborhood
because they encroach on the
setback and break the rhythm on the
street.
• The style of the house and the
surroundings need to be evaluated
when considering any type of front
yard fence. For example, an ornate
Victorian fence would look out of
place in front of a Craftsman style
house.
• Chain link fencing is not allowed in
the district.,
• Review the reason for wanting to
install a front yard fence. Did one
exist historically? Houses
Design Standards for the City of Paris, Texas 96
constructed in the 1880s had front
yard fences to keep livestock from
roaming into the yard. Houses built in
the 1920s had no fences in the front
yard, which reflected a "progressive"
movement when fencing laws
reduced the chance for roaming
livestock.
• In imost applications, the fence must
be installed at or behind the building
setback line.
• Refer to fencing under General Site
Conditions for more information.
Design Standards for the City of Paris, Texas, 97
THE ORIGINAL CHARACTER OF THE HOUSE
Historic homes offer charm and
character not always found in current
residential construction. As families
grow and residents, grow older, needs
change. Air conditioning is a welcome
relief from the heat and humidlity.
Additional rooms and bathrooms may be
necessary as, children get older. Steps
may become impossible to maneuver
with age or a disability. The installation
of a "no -step entrance" or ramp can
maintain or prolong one's independence
and mobility.
Adapting a historic home for modern use,
while maintaining the home's original
character, requires thoughtful planning.
Weigh the safety and comfort concerns
with that of historical accuracy, economic
feasibility and long-term impact. Ask
yourself, "How can this improvement or
necessity be installed or removed without
causing irreparable damage to the
historic character of the house or
neighborhood?'°
The following includes some of the
commonly installed amenities and
additions to historic properties:
* Carefully consider access ramps for
temporary or long term disability and
the location and impact of the ramp
on the house and neighborhood. The
removal of a small section of railing
on the side of a porch may be more
convenient and less intrusive to the
front of the house. If the porch is not
elevated, consider replacing the
sidewalk with an incline to eliminate
steps at the porch or door.,
* Air conditioning and electrical
equipment needs to be installed in
such a way that it will not damage
important architectural features.
Study possible locations for the
Design Standards for the City of Paris, Texas 98
9.-W IRZ�'
equipment and install it where it is
least visible from the street or can be
screened with planting material.
• Antennas, and satellite dishes are
considered a removable fixture but
with some thought can be sited away
from public view.
• Maintain existing chimneys.
• Chimneys are an important
architectural feature and the removal
or alteration of existing chimneys
alters the historical integrity of the
house.,
• Decks and patios can be compatible
with historic houses if thought is given
to location, proportion and materials.
• Dormers are important to the
composition of the roof and must not
be eliminated. Scale andl form needls
to be retainedl. New dormers may
allow for additional use of the attic,
but need, to be designed to match the
style of the original house and not
overpower it.
• Flags and banners are considered a
removable amenity, but care must be
used when, mounting to not damage
the historic materials of the house.
• Light fixtures 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
adaptations of fixtures in various
architectural styles. A Victorian light
fixture is appropriate with a Victorian
house but not appropriate with a
Ranch or Craftsman style house.
• Refer to Lighting Section for more
information.
• 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.
Design! Standards for the City of Paris, Texas 99
• Shutters may be installed if they are
in keeping with the style of the house
and the period of construction.
Shutters need to be correctly
proportioned to the width and height
of the window and must be installed
with hinges rather than nailed to the
wall.
• Skylights can add light to interior
spaces andmay make attic spaces
more useable. If flat in profile and
positioned away from public view,
skylights can be installed in, older
houses. Bubble -dome skylights are
not appropriate for Historic Districts.
• Storm/screen doors and windows, can
be installed without hiding the historic
door and surrounding features. Metal
framed doors and window screens
are acceptable if - selected with a
white factory finish or painted the
color of the door and window trim.
Wood storm/screen doors and
windows designed for the style of the
house can be purchased or custom
made at most lumber yards.
• 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,
attachment to the origiinal and historic
structure, or as an accessory or
secondary building, maintain or
match building materials, Design
,attributes should also adhere to those
of the primary structure, but can be of
a much simpler form with respect to
materials and scale.
• As you formulate your ideas to modify
and improve your home, questions
will arise. There are many sources
available for advice and assistance,
inclluding a neighbor who has
completed a similar project
appropriately, the Texas Historical
Commission, City Staff and the City
Design Standards for the City of Paris, Texas 1, 00
Historic Preservation Commission,
and the National Trust for Historic
Preservation.
Help full publications to begin your
project include The Secretary of the
Interior's Standards for Preservation
Projects, Preservation Briefs,
Traditional Building Magazine, The
Old House Journal and Catalog, and
Renovator's Supply Catalog.
Design Standards for the City of Paris, Texasl 01
PIER AND BEAM FOUNDATION ELEVATES THE
HOUSE ABOVE GRADE WITH A WOODEN SKIRT
GROUND SPACE
CLOSED WITH BRICK
Historic homes were not built on
concrete slab foundations as they are
today. The majority of houses are of
wood frame construction and have a pier
and beam foundation, often with a
perimeter beam or walll. The houses are
elevated above the ground because the
beams supporting the house rest on a
grid of cedar posts, brick or stone piers
set into the ground. This creates a crawl
space between the floor structure of the
house and the earth.
Homes of brick and stone, along with a
few wood frame houses, have brick or
stone perimeter walls. More commonly,
concrete block, which, resembles stone,
is used for perimeter walls. These
houses have interior posts or piers as
ro mentioned above. The perimeter walls
support the house and close the space
under the house, yet are designed with
openings for ventilation.
OF A CRAFTSMAN STYLE HOUSE
Houses that have no, perimeter walls
close the crawl space between the floor
of the house and the ground with a
"''skirt."
The design and detail of the skirt is
defined by the style and time period of
the house. For example, Craftsman
houses frequently have a flared skirt of
horizontal board sidiing that matches the
body of the house, No matter what the
styl�e, all skirting must provide ventilation
to avoid trappings imoisture, which causes
mildew and wood rot.
recommended:
Foundations, should be repaired
before starting other repairs to a
house. Leveling foundation may
HOUSES TO SHIFT
REPOINTING
REPAIRED
THE HISTORIC APPEARANCE
cause a house to shift. The shifting
usually adds, to the damage that has
already occurred from the house
settling unevenly and causes,
additional damage to the roof and
walls.
The foundation posts may be
replaced with new posts of cedar or
chemically treated wood designed for
in-grouind contact. Concrete piers
may be installed, since they have a
longer life than wood posts. Floors
can be leveled and additional
supports may be installed at this time
if needed. Select a reputable
foundation contractor before leveling
a home.
Both stone and brick foundations may
have deteriorated or are missing
mortar, which requires repointing or
replacing mortar. It is imperative to
use mortar which is softer than the
masonry to avoid accelerating the
deterioration of the stone or brick.
The replacement mortar needs to
match the original in composition and,
if exposed to, view, must match the
color and joint type as well.
Portland cement or masons mortar is
harder than most historic masonry
materials and must not be used.
The skirting may deteriorate over time
and needs to be repaired or replaced
if missing or badly deteriorated. The
skirting must match the original in
design, and detail.
Skirting of solid materials such as
brick or stucco are discouraged
because it changes the historic
appearance of the house and does
not provide the essential ventilation
City of Paris, Texas Design Guidelines 103
ONLY IF THEY REFLECT THE ORIGINAL
DESIGN, THIS EXAMPLE CHANGES THE
CHARACTER OF THE HOUSE
RESIDENTIAL BUILDING COMPONENTS
• Ur p'177777117-0=7
foundations.
Synthetic materials, such as cement
board siding, may be an acceptable
alternative for ground contact skirting
only if installed in a manner that
reflects the original design, detail, and
dimension.
Repair material where possible and
replace badly deteriorated material
when necessary. Do not change the
style of the skirting when repairs are
made as it changes the character of
the house.
City of Paris, Texas Design Guidelines 104
THE STYLE
PORCHES TO BE ELEVATED ABOVE GRADE
SPACE
CHARACTER IS LOST FROM THIS PORCH
-Z.Tz=
Historically, the, most dominant feature of
a historic home is the front porch, which
was used as, an extension of the living
space. It contributes to the character of
the street and the life of the
neighborhood. The details of most
porches in the Church Street Historic
District are intact. The original character -
defining features and elements of their
individual styles, are still evident.
Most of the homes are constructed with
pier and beam foundations, which cause
the porch floors to be eievated above
ground level. The newer slab -on -grade
foundations have a porch at a much
lower level,
Porches may require a great deal of
maintenance because of their exposure
to the weather, so repair is inevitable and
necessary. Details muist be retained and
repaired. The removal or alteration of a
porch will have a significant impact on
the character of the house and
neighborhood.
Some of the porches, have been altered
over time with more modern materials in
the effort to reduce maintenance. These,
,alterations have changed the character -
defining features of the original design.
Some of the common changes included
the removal of wood columns and
installation of fabricated metal porch
supports; replacing wood steps with
concrete or brick steps; and removal of
wood porch floors and installation of
concrete or brick porch floors, often at a
lower level than the original porch.
Another common alteration is the
enclosure of porches to create additional
living space, bathrooms, and entrances.
Design Standards, for the City of'Faris, Texas 105
REPLACED WITH FABRICATED METAL
OF THE ORIGINAL DESIGN
TRANSITION SPACE TO THE FRONT DOOR
NECESSARY
MM I Paz I g rum al;��
Wood steps, porch floors, column bases,
and railings are usually the first things to
deteriorate on historic porches because
of their exterior exposure.
The follo,wing guidelines are
recommended:
Keeping a porch and its
corresponding features and details in
good repair is far less costly than
allowing deterioration to continue
resulting in the major repair or
replacement of large portions of the
porch, details, and structure
underneath.
Retain original material and make
repairs that match the original design
of the porch floors, columns, railings,
brackets, steps, and other character -
defining details.
While the installation of concrete or
brick steps does eliminate some of
the maintenance of wood steps, it
changes the character of the house.
Concrete steps are normally Inot
anchored to the original Iporch
structure and pull away from the
porch, sink, or rotate unless the entire
porch has been chainged to concrete.
Changing, of porch steps or
installation of concrete slab is not
recommended.
A porch floor that has been lowered
changes the step location: to the front
door, which can be awkward and
unsafe. It also requires a change in
the support of any columns the porch
design may have had. Retain the
original height of the porch.
0 If concrete or brick has been
Design Standards for the City of Paris, Texasl 06
ALTERS THE APPEARANCE OF THE HOUSE
PREVIOUSLY ALTERED CONDITIONS
installed, it must be removed prior to
rebuilding a wood porch. Nlew wood
would deteriorate at a rapid rate
because of the moisture
condensation on the concrete and
brick mass.
If a porch has, been drastically
altered, or if there is no clear idea of
what the original details were, look to
a similar house for ideas regarding
porch design. Do not construct a
porch of a different house style.
As renovation occurs, take the
opportunity to restore a previously
altered porch and its features.
Design Standards for the City of Paris, Texas 107
SHINGLES ARE DISTINCTIVE FEATURES
THE ARTS AND CRAFTS DETAILING OF THIS
HOUSE INCORPORATES WOOD SIDING OF
TWO DIFFERENT WIDTHS
FEATURE OF THIS HOUSE
The most common exterior wall material
in the Residential Hlistoric District is,
horizontal wood siding of numerous
profiles. Brick, stone, and stucco were
also used as the original wall surface
material on some houses. Other siding
materials found in the district include
decorative wood shingles, which are
freq'luently seen on gable end walls and
on turrets. Board and batten siding,
which is vertical wood siding, is not
common except for some outbuildings.
The original siding material is still in
place and visible on the majority of
homes in the neighborhoods. IHowever,
some of the houses have been covered
with non -original brick, stucco, or
synthetic sidings such: as asbestos
shingles, vinyl, or aluminum.
For the integrity of the neighborhood
and the house itself, it is not
recommended that any synthetic siding
be installed over existing wood siding.
The installation of synthetic siding
changes the appearance of the house
and conceals, the original details.
Additionally, synthetic sidings trap
moisture in the wall causing
deterioration of the historic material
beneath.
A property owner is not required to
remove synthetic siding from a house in
which such siding is currently installled.
However, the removal of newer sidling
and the repair of original siidlinig and trim
are encouraged.This would help return
a building to its original character.
The exterior wall surface material is an
integral part of the original design, stype,
and character of the house. It is
Design Standards for the City of Paris, Texasl 08
THE OMUNAL CHARACTER CAN BE
RESTORED
RESIDENTIAL BUILDING COMPONENTS
important to retain the original wall
surface because of the character of its
dimension, profile, and shadow lines to
each distinctive material.
It should be noted that:
Each material requires different types of
maintenance, which can be referenced
in the residential building materials
section of this document.
If the building was constructed with
wood siding and needs repairs or board
replacement, most siding types are still
manufactured and available from
suppliers or can be milled for a nominal
setup fee.Many of the wood sidings
have been on the houses for nearly 100
years and may well last another hundred
if properly maintained and painted.
• Retain and repair original materials.
Synthetic siding is inappropriate for
installation over original siding.
Remove non -original siding and
restore original material when
possible.,
Design Standards for the, City of 'arils, Texas,l 09
PROVIDE A GRAND ENTRY
SURROUND
TRANSOM AND SIDELIGHTS REPEAT THE
SHAPE OF THE PORCH
RESIDENTIAL BUILDING COMPONENTS
The residential building stock has a
wide range of entrances corresponding
to the variety of housing styles. Even
the simplest of houses has a well-
defined entry that faces the street.
Homes constructed during the late
1800s and early 1900s usually have
front doors with gilass upper panels.
Many have transom windows above the
dolor and windows, called sidelights, to
the side of the door. A few of the older
Victorian and Neoclassical houses have
highly detailed door surrounds,, a pair of
doors in one opening, and a single
transom above.
A single round -arched doorway with a
heavy solid wvoodl door is commonly
found on Tudor style houses while
Italian Renaissance has an, arched
doorway with an elaborate door
surround and entrance, Craftsman and
Prairie style houses typically have doors
with a pattern of small glass panels in
the upper portion of the door.
Bungalows often have two "front"' doors
leading from the porch, and Modern
styles have a simple single entry door.
It is important to recognize that each time
period and style of house has a different
type or style of entrance. If an entrance
has multiple components such as glass
panel doors, transorns, and sidelights,
they should be retained, but if an
entrance simply has a door, adding
decorative features wwilll confuse the style
and create a false sense of history.
Use the, following criteria:
View the entrance as more than, a
door. Door frames, trim, and
surrounds help define the character
Design Standards for the City of Paris, Tex�asl 11
THE PORCH
THE ARCHED ENTRY IS COMMON IN TUDOR
STYLE HOUSES.
and style of the house, Retain and
repair as a unit.
Avoid altering any portion of the
entrance.
Old doors can be repaired or, if
badly damaged, can be replaced
with an old door of similar design.
Doors can also be copied and
manufactured by a skilled
woodworker.
Readymadie wood doors that are
compatible in style and design are
available.
o Avoid installing a new door that is
not of the same style as the original
to avoid changing the character and
style.
For improved energy efficiency,
install weather stripping to seal the
edges of the door. Reduce airflow at
the bottom of the door by installing a
door sweep to fit snugly against the
threshoid.
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.
THE DETAIL OF THE WINDOWS IS A
CHARACTERISTIC OF EACH HOUSING STYLE
INDICATIVE OF MANY HOUSING STYLES AND
PERIODS OF CONSTRUCTION
THE SAME SHADOW -LINES AS DOUBLE HUNG
WINDOWS
Windows play an important role iin the
character definition of the houses and
the overall neighborhood. The
proportion, material, and organization of
windows in the wall help to establish a
construction date of the house. The
detail of the window is frequently a key
characteristic in identifyiing an
architectural style.
The majority of windows in the historic
homes are the traditional wood, double
hung, rope and pulley system. Many of
the houses have a simple one -over -one
configuration while others have multiple
pieces of glass in a single window sash:.
A few houses were constructed with
casement windows: windows that open
like a door rather than slide up and
down. These windows are not known
for their energy efficiency, but can be
maintained and made more efficient by
installing weather stripping.
The following criteria are recommended:
Original windows need to be
retained as they are a strong
character -defining feature on a
house.,
It is not necessary to replace an
entire window if only a portion is in,
need of repair. Replace the
deteriorated portion only. A single
sash can, be made to replace a
deteriorated one.
Proper window fit, weather stripping,
new glazing compound at the glass,
and sealant around window frames
can improve the energy efficiency of
woodwinclows substantially while
retaining the historical character.
Design Standards for the City of Paris, Texas) 12
FACING WINDOW CHANGES THE CHARACTER OF
THE HOUSE
CHANGES THE ORIGINAL DESIGN: ITS
INSTALLATION SHOULD BE REVERSIBLE
ALUMINUM WINDOWS AND SCREENS
ELIMINATE THE SHADOWS AND DETAILS OF A
TRADITIONAL WOOD WINDOW
If windows are missing or if frames
are deteriorated beyond repair,
replace them with, a window of the
same dimension, material, and
profile, as the original. Changing the
proportions and meeting rail is not
acceptable and alters the style of the
house.
Windows were traditionally wood
framed and double hung, meaning
both sashes move up and down.
Aluminum windows are not
considered a replacement option and
have not been proven to be more
energy-efficient than a well-
maintained wood window.
Installation of aluminum or aluminum
clad windows is prohibited.
Mill finish aluminum is never an
option and must be avoided even in
the installation of window screens
and storm windows. Avoid the use of
screen fabric that is bright aluminum.
Factory painted or powder coated
storm and screen windows with a
meeting rail that matches the window
are acceptable.
0 Windows that were originally metal,
as in the case of some casement
windows, need to remain metal., If
replacement is required due to the
irreparable condition of the original,
the replacement needs to match the
original in profile, dimension,
configuration, material, and
color/finish.
Imitation dividers or "snap, -in" muntinis ti
do not truly divide and hold pieces of
glass and must be avoided. They do
not have the same proportions and
shadow lines.
Design Standards for the City of Paris, Texasl 13
Replace original glass only when
broken, as the wavy quality of the
historic glass adds, to the character of
the house. If glass is broken, attempt
to replace with old wavy glass if
possible.
Design Standards for the City of Paris, Texasl 14
INCORPORATES GABLE WALL DORMERS
COMMON TO THIS STYLE
PUNCTUATED WITH A WALL DORMER
PARAPETS, HIP DORMERS, AND ARCHED
DORMERS
THE DEEP OVERHANG IS INDICATIVE OF
PRAIRIE STYLE HOUSES
Roof forms and' materials are an
important feature in defining the
character of the house and
neighborhood. House styles and periods
of construction influence the form, of the
roof. The simple gable roof form is found
on Folk Victorian, Craftsman, and
contemporary styles such as Ranch.
More complicated roof structures include
a combination of hip, gable, dormers,
turrets, and towers and are found on
Victorian period houses.
The shape and slope of a roof has a
significant impact on how the building
addresses the street. A gable roof that
faces the street has a stronger presence
and is more inviting than a gable roof
that runs parallel to the street. In the
case of the latter, the roof is sloping
away from the viewer. The amount of
slope, also known, as the roof pitch,
reflects the style of the house. Steep
pitches are found on Victorian, and Tudor
styles, while lower -pitched roofs are
found on Ranch and Craftsman style
houses.
Roof details vary from style to
architectural style. Truly ornate details,
such as consoles and dentils, appear at
the roofline of some Neoclassical and
Victorian period examples while very few
roof details appear on modest folk
Victorian and Tudor styles.
The one feature that appears on houses
of all historic styles is the dormer.
Dormers appear in different sizes,
shapes, and materials. Some have
windows while others have attic vents.
The dormer provides visual continuity to
the neighborhood and scale to the roof.
Roofs are the one part of a house in
Design Standards for the City of Paris, Texas 115
GABLE IS A FOLK VICTORIAN ROOF FORM
SPACE IN AN ATTIC
AVOID INSTALLING A ROOFING MATERIAL
WITH A PROFILE THAT DID NOT EXIST AT THE
TIME THE HOUSE WAS CONSTRUCTED
which the roofing material may need to
be repllaced when beyond repair. With
roofing materials that are short lived or
badly damaged, such as composition
shingles, repairs can extend the life of
the material! for many years, or repairs
may prove temiporary and! a new roof will
be necessary in the future.
Often it is the underlayment that has
deteriorated and not the actual roofing
material. This is frequenitly the case with
slate, and clay tile. They can be removed
and reinstalled after repairs have been
made and new roofing felt has been
installed.
A roof leak may actually be a "flashing"
leak around a chimney or vent pipe.
Flashing is usually a metal material
intended to sea] the joint where the roof
might have openings, such as vents, or
connections to another part of the roof
such as a dormer. For historical
accuracy, replace the deteriorated
roofing with a material that matches the
original in profile. A dramatic change in
the, roofing material, for example
changing from composition shingle to
corrugated metal, changes the character
of the house and' is not appropriate
unless there is evidence that metal was
an original roofing material).
However, if installing a roofing material
that was original to the house, its beyond
financial reach, it is better to have a non -
original roofing material that does not
leak rather than an original' roof that
does. Composition shingle is an
appropriate material for "temporary"
replacement. The origiinal material can
be replaced at a later time and should be
encouraged.
Select an alternative that closely
resembles the type of roof that might
have been, on a house constructed
Design Standards for the City of Paris, Texasl 16
STANDING SEAM PROFILE
R -PANEL PROFILE
U -PANEL PROFILE
d'urin,g a similar tim-p. ••
priate for installation on historicl
houses. I
It is not uncommon for one, house to
have multiple roofing materials. A house
may have a standing seam roof on one
portion and composition shingle on
another. Composition shingles should
not be installed on low -slope porch roofs
because they will leak.
A variety of roofing, materials have been
installed in the Residential! Historic
District. However composition shingle is
the most common, economical roofing
material. There are a variety of metal
roofing materials installed, including
historic standing, seam metal, pressed
metal shingle, and pre -finished
corrugated metal sheets. Clay the is a
character and style defining material as
seen on several examples in the district.
The, following criteria are appropriate
considerations:
Maintenance of the roofing material
and flashing is important. In the
event replacement is necessary,
select a roofing material that is
compatible with the design and style
of the house.
• Maintain the original details of a
house and avoid adding details that
did not exist originally.
• If attic space is converted to living
space, retain the original roof pitch
when adding: dormers and roof
additions to avoid a "pop-up"
appearance. This is especially true
on the street fagade.
• Do not install a, roofing material with a
profile that did not exist at the time
period that the house was
constructed. For houses in the
Design Standards for the City of Paris, Texasl 17
RESIDENTIAL BUILDING COMPONENTS,
Historic District, this includes metal
panel roofingprofiles commonly
referred to as R -panel, M -panel, U..
panel Z -panel, and Batten Seam
panel.,
Standing seam metal roofs and
pressed metal shingles are
encouraged as the best choices for
metal roof profiles when approved.
Acceptable profiles include standing
seam or 5-V crimp metal in a
galvalume, zinc -titanium, or an
approved color finish, as well as
approved asphalt shingles.
lit should be noted that standing -seam
and other metal roofs are not
appropriate for all building styles.
Design Standard's for the City of Paris, Texasl 18
M
COLOR PALETTE APPROPRIATE TO THE
PERIOD AND STYLE OF THE HOUSE
TAG'E: X
ALm4rNTic FxrERiOR cOL-ORS
1111 JANG'S 1820" K LJO
.. . ... .... .
RESIDENTIAL BUILDING COMPONENTS
Color is an important component of a
building's style and character. Color is
also the most emotional topic of personal
taste and historic authenticity. To find the
original color scheme of the house, gently
scrape small areas of existing paint until
you reach the first coat of paint.
Another option is to have a chemical
analysis completed by an expert. This
might be especiallly important when color
was a major part of the architecture such
as in a theater. When matchingi paint
samples, it should Ibe remembered that the
original paint color probably faded before it
was repainted, so research, areas that
were protected to find color true to the
original.
For a compatible historic color scheme,
research the colors that were being
painted in the historic areas. Then
research, the 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, just to name a few. If,
for example, the paint color selected for
the house was purple, a manufacturer
would be able to tell you the year purple
pigment was available for house paint.
Paint colors vary according to style and
time period of house. Stylebooks offer
traditional color schemes for houses of
that style ands period. Many paint
companies have "historical" color charts
that can offer some guidance. Color
schemes should tie a building together and
create harmony in the facade. Color
schemes appropriate fora house of the
Victorian period are not appropriate for a
Prairie style house. Keep the
neighborhood and surroundings houses in
mind when selecting color.
Design Standards for the City of Paris, Texasl 19
Painted brick is not found on the houses in
the Church Street Historic District and it
would not be historically accurate to paint
them. One advantage to brick and other
masonry materials is that it avoids the
need to, be painted.
Dark colors fade and "chalk" or get a white
powder on the surface because of
exposure to the sun. Historically, paint
had a flat finish without gloss or shine due
to the chemical makeup. A "satin," finish
paint can provide the appearance of
historic paint while providing the easily
washed surface of a giloss finish. Many
homeowners assume the house needs to
be painted when it really needs to be
washed. If mildew is the problem, wash
the house with a mild bleach and water
mixture to kill the mildew. Shade from
trees, combined with the humidity, adds to
the possibility of mildew on a painted
surface.
The preparation of the surface to be
painted is, an, important step in painting.
The surface should be scraped and
sanded to remove any loose paint, but it is
not necessary to remove allpaint down to
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.
The following standards are
recommended:
• Do your research when selecting paint
colors for your house.
• Local paint stores can provide
assistance iin selecting or matching
paint colors as well as recommending
historic paint colors of the area.
• City Staff and the Historic Preservation
Commission may be able to provide
assistance in your research efforts.
Design, Standards for the City of Paris, Texas 120
.....
THE PATTERN IN WHICH BRICK IS INSTALLED
IS A CHARACTER -DEFINING FEATURE
MEDWE
la
DIISTINCTIVE TO THE TUDOR
STYLE HOUSE
RESIDENTIAL, BUILDING MATERIALS
Some of the older houses and buildings in
Paris are constructed of solid brick or have
load-bearing brick walls and are several
bricks thick. The pattern in which brick is
installed becomes a character -defining
feature, and quoins are often found at the
corners of buildings.
Brick veneer is also seen on many houses
in the district and spans all architectural
styles from Prairie, Tudlor', Italian
Renaissance, Ranch, and more.
Brick was the common material for
chimney construction on houses of alil
types of construction. Depending on the
period of construction and style, chimneys
had decorative brick detailing and
corbelling. Due to weathering and lack of
maintenance, many of the existing
chimneys have loose or missing mortar.
Most of the brick construction found in, the
area is red to reddish brown colored
because of the clays. Early brick masonry
units were made from local clays. The
color of brick is dependent on the clay
from which it is made. Buff colored brick is
found in newer construction along with red
brick. The color of brick is, inherent in the
material and must not be painted.
Brick is also found in foundations, and at a
few locations, brick has been installed as a
paving material for sidewalks and entrance
steps.
Rough -faced concrete block, which
resembles the look of stone, is
occasionally used as a residential building
material for skirting and wall construction
,around residential properties. Smooth
faced concrete block is rarely found in the
district and is not appropriate.
Design Standards for the City of Paris, Texasl 21
A DIFFERENT PATTERN THAN VENEER WALLS
ORIGINAL
THIS DECORATIVE CHIMNEY CAP IS
MADE OF BRICK AND CAST STONE
Masonry walls must be maintained. The
primary problem with masonry is
moisture, which can erode the mortar,
leave mineral deposits on the surface,
and damage the brick through freeze -
thaw cycles.
Follow the criteria listed:
• Retain and maintain the original brick
or block material.
• Replace loose or missing mortar
using a mortar of the same
composition and color as the original.
Mortar is important to the visual and
physical integrity of the brick wall.
• Avoid using mortar that is harder than
the original mortar, as it can cause
deterioration of the historic masonry
material. Historic mortar has a high
lime content; therefore, it is as soft or
softer than the material it is, joining.
Do not use ready -mixed mason's
mortar when repointing brick because
it has a strong Portland cement
content and is Ihardler than historic
brick.
• Repointing mortar needs to match the
original in color, composition,, profile,
and dimension.
• Repair or replace flashing as, needed
to ensure a watertight connection
between the chimney and the roof.
• Clean brick gently and avoid abrasive
cleaning such as high pressure water
blasting or other high pressure
blasting material. Chemical cleaning
may be required to remove some
stains. Consult a knowledgeable
contractor or the Texas Historical
Commission or Preservation Briefs
(National Park Service Website) for
more information.,
• Avoid installing brick or block where
these materials were not originally
,used, as, it changes the character of
the origiinal design.
Design Standards for the City of Paris, Texas 122
RESIDENTIAL BUILDING MATERIALS
• Do not install 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 by
funneling and trapping moisture in the
wall.
• Do not plaint brick, as it changes the
scale, texture, and detail of the
original design; and can trap moisture
in the wall.
Design Standards for the City of Paris, Texasl 23
CHARACTER -DEFINING FEATURE OF THIS
HOUSE
AND SHEET METAL SKIRTING HAVE BEEN
INSTALLED ON THIS HOUSE
DISTINCTIVE FEATURE IN THE LANDSCAPE
The primary use of metal on, historic
residential homes was as, a roofing or
roof -related decoration such as, cresting
and weather vanes. Standing seam
metal roofing is, not found on many
houses in the Church Street Historic
District. This type of metal roof was well
adapted to odd shapes or projections.
The pans were formed from metal sheets
in a sheet metal shop and could be
designed to fit roofs such as turrets. The
roofer turned the seams over and the
seams were then soldered to form a
watertight barrier.,
Pressed metal shingles were
manufactured and installed as a roofing
material in the late 1800s and are seen
on several residential buildings. These
materials, were manufactured in St.
Louis, Kansas City, and other large
industrial, areas.
Corrugated metal roofs were also
commonly used in Texas. As in standing
seam roofs, their limitation was due to
the fact that lengths were (limited to 8
feet, which caused numerous end laps,
and, on larger houses increased chances
of roof leaks. Corrugated roofing is
found on houses, garages, barns, and
other outbuildings. Newer sheet metal
profiles, such as "V" crimp and pre -
finished metal standing seam have been
added to older houses as repairs are
made. This is not an appropriate
application in most instances and should
be avoided.
Ornamental iron, although used
historically on commercial structures,
was, not commonly used for res,idential,
construction. Cast iron is not evident in
the Historic District.
Design Standards for the City of Paris, Texas124
FOR STANDING SEAM METAL ROOFING, AS THE
PROFILE IS DIFFERENT AND NOT APPROPRIATE
INSTALLED AS AWAY OF REMODELLING A
HOUSE
FROM WATER
EXAMPLE OF R -PANEL ROOFING
EXAMPLE OF ROLLED SEAM ROOFING
EXAMPLE OF U -PANEL ROOFING
Metal windows were used in residential
applications in the 1930s and are evident
on a few houses in the historic districts.
The following guidelines are
recommended:
Replace deteriorated metal with new
primed or pre -finished metal of the
same or compatible material.
Pressed metal shingles are still
manufactured and can be replaced in
localized areas as needed.
• Re -install decorative roof details,
such as cresting, when, replacing the
primary roofing material.
m Avoid installing an inappropriately
scaled metal roofing material on, a
house that did not have a metal roof
originally. Many of the current metal
roofs have an industrial appearance
and need to be avoided.
• Fabricated metal must not replace
other materials such as wood
columns.
• Metal windows must not replace
wood windows.
• Avoid installing decorative metal iron
work over windows that did not
include them in the original design.
• Avoid installing a pressed metal skirt
where one did not previously exist.
Design Standards for the City of Paris, Texasl 25
INSTALLED ON THIS HOUSE
THE DISTINCT CHARACTER OF THE HOUSE
RESIDENTIAL BUILDING MATERIALS
91M=T��
Locally quarried stone is seen as wall
surfaces, foundations, retainingwalls,
and curbs on a number of residential
buildings in Paris. Dressed stone and
field or rubble stone (stone not cut into a
rectangular shape) are the most common
forms. The material between the stones
is a soft lime mortar.
Follow the standards listed:
• Replace deteriorated stone with stone
that matches the original in color and
texture.
• If a wall has deteriorated or is missing
mortar, it needs to be replaced with
mortar of the same material as the
original in composition and color.
Portland cement, or mason's mortar,
is too Ihard and will cause the stone to
deteriorate and crumble.
• It is not recommended that stone be
added to the foundation or face of a
house because this changes the
original integrity of the house.
• Retain stone walls and posts, as they
are character -defining features.
Cleaning of Stone Masonry
m Do not sandblast, use abrasive
methods or high pressure water
sprays to clean, stone masonry.
• Chemical cleaniing may be required
for difficult stains or graffiti, but such
cleaning must be prescribed or
conducted by a knowledgeable
professional. Great care must be
given if a chemical cleaniing solution
is to be used. Some chemicals burn
the face of stone.,
• Water washing is the gentlest method
of cleaning simple dirt and grime from
stone masonry surfaces.
Prior to any water washings methods,
make certain that all mortar joints are
sound and that the building is
Design Standards for the City of Paris, Texas 126
watertiight. This will decrease the
likelihood of water reaching metal
anchors or interior wails.
• If stone shows evidence of dirt and
grime, it can be cleaned with a mild
solution of soap and water and a stiff
brush of either natural or synthetic
bristles. Never use a metal -bristled
brush,.
• Cleaning needs to start at the bottom of
the building and progress upwards,
keeping the lower levels wet or
frequently rinsed. This will prevent the
dripping water from upper cleaning
areas streaking or staining the lower
areas.
Repair of Stone Masonry
m The material between, the stone is
called mortar and is important to the
integrity of the wall.
• Before replacing missing or damaged
mortar (repointing), determine any
other causes for the deterioration of the
mortar or stone walll: leakingi roofs or
gutters, buildings settlement, or extreme
weather exposure. This will ensure
that the new mortar is not subjected to
the original sources of deterioration.
• If the mortar is simply missing or
deteriorated, it needs to be replaced
with mortar to match the original in
color, composition, and profile.
• Use a sand -lime recipe for mortar,
which is compatible with the old stone.
Modern masonry imortar has Portland
cement as a main ingredient, which
cures considerably harder than the
stone. A preservation professional, can
determine an appropriate mortar.
• Missing or severely damaged stone
may be repaired with a stonepatch.
Dutchman or soap may be cut to repair
or a stone may need to be replaced
with stone matching the original in
material and dilmensions,
Design Standards for the City of Paris, Texas 127
DETAILS UN,QUE TO THIS PRAIRIE STYLIE
HOUSE
EARLY HOUSES OF P I AIRIS HAD HORIZONTAL
WOOD SIDING
DROP WOOD SIDING
DISTINCTIVE DETAILS ARE WOOD
rwr
Wood was the primary building material
in residential construction. It was readily
available, did not require the skills of as
many craftsmen, and was used for
structural elements as well as skin.
The majority of houses built during the
early boom period of Paris are covered
with horizontal wood siding. Wood with a
tapered profile is seen in clapboard or
lap siding while a milled profile has a
more decorative shape. Board and
batten, which is a vertical siding, is
commonly used on outbuiildings such as
garages, barns and sheds, and
occasionally on smalll houses.
Another common use of wood is
decorative wood shingles, used as a
siding), which was relatively easy to use
as a decorative feature on gable ends,
turrets, or dormers. Patterns included
fish scale, diamond, square cut, and
rounded. Wood shingle roofs, although
common, are not often found on historic
houses in the area. This may be the
result of previous replacement due to
deterioration.
Wood details are found on all houses
from all styles and periods of
construction. Victorian and Classical
styles include ornate turned columns,
spindles, box columns, columns of
classical order, brackets, bargeboards,
cut and turned frieze details, elaborate
doors, and door surrounds. Less ornate
details of the Craftsman, Folk Victorian,
and Colonial Revival styles include box
columns, brackets, and simple porch
railings. Wood was the most common
material used for porch flooring and is
prone to decay because of the exposure
to weather conditions. Flooring was
Design Standards for the City of Paris,, Texas128
AND VENTS ARE SEEN ON TWS MISSION STYLE
RESIDENCE
CREATES A DISTINCT SHADOW PATTERN
CARVED WOOD
"GINGERBREAD" DETAILING, AND FENCING
usually a high qu�ality wood that was
painted on all sides and edges prior to
installation to prolong the life of the
wood.
Wood is the primary skirting material on
historic houses. Because houses were
built above ground on posts, and beams,
a skirt was constructed from the floor
level down to the ground. This skirting
,usually reflected the same siding profile
as the house, was a wider horizontal
board, or was a wood lattice, which
allowed, for ventilation. This wood lattice
was commonly installed as a
horizontal/vertical grid, rather than the
wood lattice which is available today.
Solid skirt materials must be vented to
allow air to pass under the house and
eliminate moisture from, the foundation.
The following guidelines are
recommended:
Retain and repair wood siding and
details.
• Replace missing or badly
deteriorated wood features with
wood of the same dimension and
profile.
• Refrain from installing synthetic
materials over existing wood
materials because they frequently
cause the historic material to rot.
• Refrain from replacing a deteriorated
wood feature with another material.
• Explore the use of epoxy wood
repair materials ins lieu of replacing
an entire wood member. This has
proven of on rotted column
bases, window sills, sashes, etc.
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, Treated wood can be
used to rebuild lattice
Design Standards for the City of Paris, 'Texasl 29
ACHIEVED BY USING STUCCO
......... .
�N HAVE SCULPTED DETAILS
STUCCO OF THE BAY WINDOW CONTRAST THE
BRICK WALL
Stucco, also called cement plaster, is a
hardened cementitious paste which is
applied over a wire mesh or lath. It
creates an exterior wall surface that can
be made smooth or can have a sculpted
texture. Stucco has no dimension or
shape of its own but can be used to form
many shapes.
The historic district has several stucco
houses. This would have been a
building material of the 1920s and 1930s
and appears on Tudor style houses,
Prairie and Craftsman style, and as detail
treatment on, a few other examples.
Small cracks are an inherent property in
stucco due to the shrinkage of the
plaster. Small cracks can be concealed
by applying an elastomeric paint, which,
has the ability to stretch, and return to its
shape. Large cracks can be repaired
and deteriorated or missing stucco can
be replaced with: stucco that matches the
texture and composition of the original
material.
Stucco is a material:, to be used as the
initial, exterior wall surface of a building.
It is not intended to be installed over
another wall surface material,. Installing
stucco over a wood siding will cause the
wood beneath to deteriorate and will
change the overall appearance of the
house by eliminating the original detail
and shadows of the boards.,
The following guidelines are
recommended:
• Retain and maintain original stucco.
• Installing stucco over another
material is prohibited.
• Repair deteriorated stucco and match
the composition and texture.
CONJUNCTION WITH THE TEXTURE OF
STONE ARE CHARACTERISTICS OF
ENGLISH STYLE HOUSES Design Standards for the City of Paris, Texas, 9
�N HAVE SCULPTED DETAILS
STUCCO OF THE BAY WINDOW CONTRAST THE
BRICK WALL
Stucco, also called cement plaster, is a
hardened cementitious paste which is
applied over a wire mesh or lath. It
creates an exterior wall surface that can
be made smooth or can have a sculpted
texture. Stucco has no dimension or
shape of its own but can be used to form
many shapes.
The historic district has several stucco
houses. This would have been a
building material of the 1920s and 1930s
and appears on Tudor style houses,
Prairie and Craftsman style, and as detail
treatment on, a few other examples.
Small cracks are an inherent property in
stucco due to the shrinkage of the
plaster. Small cracks can be concealed
by applying an elastomeric paint, which,
has the ability to stretch, and return to its
shape. Large cracks can be repaired
and deteriorated or missing stucco can
be replaced with: stucco that matches the
texture and composition of the original
material.
Stucco is a material:, to be used as the
initial, exterior wall surface of a building.
It is not intended to be installed over
another wall surface material,. Installing
stucco over a wood siding will cause the
wood beneath to deteriorate and will
change the overall appearance of the
house by eliminating the original detail
and shadows of the boards.,
The following guidelines are
recommended:
• Retain and maintain original stucco.
• Installing stucco over another
material is prohibited.
• Repair deteriorated stucco and match
the composition and texture.
CONJUNCTION WITH THE TEXTURE OF
STONE ARE CHARACTERISTICS OF
ENGLISH STYLE HOUSES Design Standards for the City of Paris, Texas, 9
WHEN DETAILS, SUCH AS WINDOW TRIM, IS
LOST
RETAINED WHEN ASBESTOS SIDING WAS
INSTALLED
POPULAR IN THE 19405
THE HOUSE DETRACTS FROM THE ORIGINAL
CHARACTER
Synthetic Materials
With the advent of plastics and modern
methods of forming materials, which
were not available until after World War
11, home owners have been influenced by
the promise of never having to paint or
perform routine maintenance. In the late
1930s, asbestos shingles were the first
modern no -maintenance products,
followed by alumiinum siding andl vinyl
siding for the main skin of a house.
There are several houses in the historic
districts which have asbestos-shing]e
siding and many with other, more recent
synthetic siding materials.
Asbestos shingles that were installed
over existing siding have not been
detrimental to the siding underneath
because they breathe. Asbestos siding is
only hazardous if it is removed, and then
special disposal precautions must be
observed.
However, steel, aluminum, and vinyl are
so, air -tight they can trap moisture
causing the material underneath to rot.
The installation of a foam insulation
before the vinyl causes even greater
damage because all moisture is sealed
into the siding envelope.
Houses within a historic district which
may have a synthetic material applied to
them may retain the synthetic material
without penalty. However, they would
not qualify individually for state or federal
historic designation. As renovations
occur, consider removing the synthetic
siding and restore the original siding.
Stucco is nota synthetic material, except
in the most recent advent of so-called
synthetic stucco which is, made as an
insulating and finish system. This product
Design Standards for the City of Paris, Texas 131
ELIMINATES THE DETAIL OF A HOUSE, SUCH AS
WINDOW TRIM AND TRADITIONAL
CORNERBOARDS
CHARACTER OF A HOUSE
has proven to cause a great deal of
damage when installed over origilnall
wood. Synthetic stucco does not appear
to be a commonly used material,
although there are a few examples.
Synthetic stucco system brands are
EIFS, TEIFS,, etc.
The following standards apply:
• Retain and repair the original
building material of a house.
• Replace only that material which
is beyond repair.
• Replace deteriorated material
with compatible new material.
• Installing, any synthetic building
material on top of original
material is prohibited. It can also
trap moisture in the insulation,
which reduces the effectiveness
of'the insulation.
• Installing synthetic siding on top
of existing siding as a means of
"modernizing"' the house or
attempting to make the house
more energy-efficient is
prohibited. This changes the,
character of the original design
and frequently destroys the
character -defining features of the
house and neighborhood.
• Installing stucco over existing
materials is prohibited.
• The use of synthetic stucco
materials (EIFS, TEIFS, etc.) as
an additional layer over existing
and original sheathing materials
is prohibited.
• Avoid installing "wood grained"
materials in historic districts.
Wood used in historic houses
was smoothly sanded with no
obvious grain.
Design Standards for the City of Paris, Texasl 32
XI
s
APPURTENANT FEATURES OF THIS
HOUSE INCLUDE THE PORTICO,
BALUSTRADE, PORCH RAILING, AND
URNS
ARCH
ASBESTOS ROOF SHINGLES
ASHLAR MASONRY
M11150-11MUM
ELM
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 affixing one object to another, such as
specially formed metal connectors used to fasten
together timbers, masonry, trusses, etc.
Appurtenant features — accessories which
define 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.
Arcade — a line of counterthrusting arches raised
on columns or piers; a covered walk with a line of
arches along one or both sides.
Arch — a curved opening in a wall, usually
constructed of stone or brick, as in the top of a
window opening.
Asbestos shingle — a dense, rigid roofing
shingle containing a high percentage of asbestos
fiber (a noncombustible, flexible fiber able to
withstand high temperatures) bonded with
Portland cement, known for distinctive patterns.
Ashlar masonry — masonry Composed of
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
buildings, immediately below the roof.
Design Standards for the City of Paris, Texas 1 4
AVVNINGS OVER FHE WINDOWS
Awning — a roof -like covering of canvas or rig
material over a window or a door to provide
protection, Similar to a canopy providing a
covered area. I
Awning window — type of window consisting of
top -hinged horizontal sash with the bottom edges
swinging outward.
mp
Band course a horizontal element, usually of
.... . . .. .. .. . .
masonry, dividing upper and lower portions of the
1/7
building but unifying the facade.
Baluster — one of a number of short vertical
BALUSTRADE COMPOSED OF
members, often, circular, in section, used to
MANY BALUSTERS
support a stair handrail or a copiing, forming a
balustrade.
BARGEBOARD WITH A FINIAL AT
ROOF RIDGE
BUILDING HAS 5 BAYS
BAY WINDOW
Balustrade — an entire railing system (as 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
decoratively carved or scrolled.
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 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 finish with a milled bead along the
centerline and along the edge adjoining the
tongues.
Design Standards for the City of Paris, Texas 1136
BOXED EAVE
BRACKETS
BOX COLUMN ON A BRICK BASE
BRICK COURSE I PATTERN
BULKHEAD
Bearing wall — a wall capable of supporting mom -
than, its own weight, such as a roof or floor. —
Belvedere — a rooftop pavilion from which a vista
can be enjoyed.
Bllanker Panels - a window covered by a
temporary weather tight covering constructed
from painted fiber -cement board or other similar
material, which has been sealed off but is still
visible; intended to be a temporary solution to
make a damaged opening weather tight.
Board and batten siding — a siding consisting of
long vertical boards and thin strips, or battens;
the battens are used to conceal the gaps
between the siding boards.
Bond — an arrangement of masonry units to
provide strength, stability, and beauty through
setting a pattern by lapping units over one
another.
Bow window — a rounded bay window that
projects from the wall.
Box column — a hollow, built-up column
constructed of wood and 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 roofing system covering a
relatively flat roof, consisting of several layers of
a saturated felt where each layer is mopped with,
Design Standards for the City of Paris, Texas 136
BUNGALOW
CANOPY
CASEMENT WINDOW
CAST IRON STOREFRONT
COLUMN CAPITAL OF CUT STONE
NW.M."21HO
hot tar or asphalt finished 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 horizontal cover which extends from
the wall of a building, protecting an entrance.
Cantilever — a projecting bracket used for
carrying the cornice or the extended eaves of a
building; a beam, girder, or other structural
member which projects beyond its supporting
wall or column.
Capital — the topmost member of column,
usually decorative.
Carriage blocks — a stone block originally used
to step into a carriage or used in mounting a
horse.
Casement window — a window having at least
one sash which swings open along its entire
height; usually on hinges fixed to the sides of the
opening into which it is fitted.
Carved stone — rough natural stone shaped by
the controlled removal of stone pieces with tools
to create decorative d!etailingi.
Cast iron storefront — the front of a commercial
building that is made up of prefabricated cast iron
parts.
Cast stone — a mixture of stone chips or
fragments, usually embedded in mortar, cement,
or plaster, treated to simulate stone; also known
as "artificial stone."
Design Standards for the City of Paris, Texas 137
CAST STONE BUILDING SIGNAGIE
CLASSICAL ORDER COLUMNS
CLERESTORY WINDOWS
CLIPPED GABLE
TA
lwx• ' M
Caulking — a resilient compound of silicone,
bituminous material, or rubber base used to seal
cracks and fill joints.
Certificate of Appropriateness (COO) — a
certificate received from a historic review
commission which states that specified exterior
work on a building can be conducted! because it is
an appropriate application.
Certified Local Government (CLG) —a program
established through the 1980 amendment to the
National Historic Preservation Act of 1966 that
encourages the participation of local government in
the identification, evaluation, registration, and
preservation of historic properties within their
jurisdiction and promotes the integration of local
preservation interest and concerns into local
planning and decision-making processes. The
CLC program is a partnership amongi local
governments, the State Historic Preservation Office
(SHiPO), and the National Park Service.
Chamfer — a beveled edge, usually at a 45' angle
at the edge of a board or masonry surface.
Cladding — a finish covering the exterior wall of
building.
Clapboard siding — a wood siding commonly used
as an exterior covering on a building of frame
construction; applied horizontally and overlapped,
with the grain iruniniing lengthwise; thicker along the
lower edge than along the upper.
Classical order — a particular style of column with
its lentablature having standardized details; Greek
order includes the Doric, Ionic, and Corinthian and
the Roman order includes the Tuscan and
Composite.
Clerestory window — an upper window that admits
light to the center of a lofty room.
11 IK'Ilr,111i . N1
Design Standards for the City of Paris, Texas 133
into a sharp intermediate between a gable and a
hip.
Coffering — ceiling with deeply recessed panels,
often highly ornamented.
COMBINATION HP ROOF Column — a vertical structural member such as
post or pillar.
COMPOSITION SHINGLE ROOF
CONSOLE
Combination hip roof — a composition of mol"N
than one hipped element at the roof or a
combination of hipped and gable roof forms
Composition shingles — shingles made from a
mixture of binder materials with fibers, also called
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.
Console — a decorative bracket in the form of a
vertical scroll, projecting from a wall to support a
cornice, a door, or window head, etc.
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 or,
reflective of a historic design.
Context — the setting lin which something exists or
Contributing property — a property that is 50
years old or older which contributes to a district's
historical significance through location, setting,
design, construction, workmanship, or association
with historical persons or events, based on
guidelines set forth by the National Park Service in
Design Standards for the City of Paris, Texas 139
CORBEL
CORBELLED, CHIMNEY CAP
CORINTHIAN COLUMNS
CORNICE
CRAFTSMAN STYLE HOUSE
rejte_,�
the National Register of Historic Places Criteria
for Evaluation.
Coping — A protective cap, top, or cover of a
wall,, parapet, pilaster, or chimney. May be flat,
but commonly sloping, double beveled, or curved
to shed water so as to protect masonry below
from penetration of water above.
Corbel — in masonry, a projection, or one of a
series of projections, each, stepped progiressively
farther forward with height anchored in a wall,
story, column, or, chimney.
Corbelled chimney cap — a brick or stone,
capping at the top of a chimney that has a series
of projections, each stepping out farther than the
one below it.
Corinthiian order — the most ornate of the
classical orders, characterized by a bell-shaped
capital with scrolls and acanthus leaves.
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 a rosette.,
Corner board — a trim board used at an exterior
corner of a wood -frame structure.
Cornerstone— a stone which is located near the
base of a corner in a building and displays
information recording the dedicatory ceremonies;
a foundation stone.
Cornice — a molded projection; or masonry which
crowns or finishes the top of a buildings wall.
Craftsman — an architectural style, inspired by
the Arts and Crafts movement of the early 20th
century, reflecting attention to cletaill. The low-
pitched roof forms have wide exposed overhangs
and roof rafters. Porches with box columns or
tapered box columns extend one full side or wrap
a corner of the house.
Design Standards for the City of Paris, Texas 140
Cresting — a decorative element located at the
top of a parapet or roof ridge.
Cross gable — a gable that is set parallel to the
ridge of the roof.
DENTILS Cupola — a dome-shaped roof on a circular base,
often set on the ridge of a roof.
Cut stone — finished stone block which has been
shaped by cutting.
Demolition — the intentional destruction of alll or
part of a building or structure, may include
removal of structural elements, partitions,
mechanical equipment, and electrical wiring and
fixtures.
Demolition by neglect — the destruction of a
structure caused by failure to perform
maintenance over a long time period.
Dentil — 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 regulating agency.
Design Standards — a list of recommendations
for control of new coinstruction, as well as
alterations and additions, to existing buildings
and structures in historic towns or districts that
are typically adopted and published by the local
regulating agency.
District — an area designated by the City of Paris
possessing a significant concentration, linkage, or
continuity of sites, buildings, structures, or objects
united historically or aesthetically by plan: or
physical, development.
Design Standards for the City of Paris, Texas 141
DORMER
M-1040JOURM
ENGAGED COLUMNS AT THE BACK
OF THE PORCH
xxe_""` Iffil
Divided light sash — a window with glass divided
into small panes.
Doric order — the simplest of the classical
orders, sturdy in proportion, with, a simple cushion
capital.
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.
Drainagie beds — stone lined ditch used to
transport water runoff.
Drop siding — a type of wood claddling
characterized by overlapping boards with varying
profiles.
Dropped ceiling — a nonstructurall, ceiling
suspended below the overhead structural slab or
from the structural elements of a building and not
bearing on walls.
Eave — the lower edge of a sloping roof that
projects beyond the wall.
Ell — a building form that creates an, L-shaped
floor plan.
Engaged column — a column partially built into a
wall, not free-standing.
Entablature — in classical architecture, the
elaborate beam member carried by the columns.
Escutcheon — a protective or ornamental cover
Design Standards for the City of Paris, Texas 142
ENTABLATURE
ESCUTCHEON PLATE
FABRICATED METAL COLUMN
FASCIA BOARDS
FLAT ARCH
plate, attached to a wall with, a hook or eye to
hold a canopy support or anchor a tie rod.
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 the building material and
the type and style of all windows, doors, light
fixtures, signs, other appurtenant features, and
significant trees. For signs, the term exterior
features refer to the: style, material, size, and
location of alll signs.
Fabricated metal — any kind of building
component manufactured of metal, often
decorative in nature and frequently used as
columns and railings.
Facade — the exterior face of a building.
Fanlight — a semi -circular window over the
opening of a door with radiating bars in the form
of an open fan.
Fascia— flat, vertical member that forms the trim
of a roof.
Fenestration — the arrangement and design of
openings in a building.
Finial — a pointed symmetrical ornament that is
circular and found at the peak of a 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
roofing materials and elements such as chimneys
and dormers that break the roof plane.
Flat arch — an arch that is horizontal or nearly
horizontal; also callied a jack arch.
Fluting— shallow concave grooves running
vertically on the shaft of a column.
Design Standards for the City of Paris, Texas 143
FLUTING
FRETWORK
FRONT FACING GABLE WITH
GABLE END WALLS
GLASS BLOCK IN SIDEWALK
GAMBREL'ROOF
Fent — an assortment or set of type or characters
all of one style.
Footing — the portion of the foundlat on which
transfers lauds directly to the soiilr 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 rack, usually
below ground level; the lowest exposed portion of
the building wall.
French doors -- a pair of doors having top rails,
bottom rails, and stiles, with glass panes
throughout the entire lengith.
French window — a casement window extending
down to the floor.
Fretwork — ornamental wood which is usually
carved or turned and Installed over doorways and
other openings.
Front facing gable -- the end wall of a building
with a gable roof that faces the street.
Gable roof — a roof that slopes on two sides from
the ridge.
Gambrel roof — a ridged roof with two slopes on
both sides.
Garden hoop fence — a woven wire fencing
which is distinguished by the loop at the top and
mid height.
Glass block — a holllow block of glass, usually
translucent and often with textured faces, used
for decorative purposes in non -load-bearing walls
and in sidewalks to permit light transfer to
basement floors..
N 0 w 0 - 0
Design Standards for the City of Pariis, Texas 144
HIP ROOF
10NiC COLUMN
KEYSTONE
Grade — the height of the surface of the ground in
relationship to a structure (buillding).
Hip roof — a roof which, slopes upward from all
four sides of a building.
Historic District — a definable 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 registers.
Historic Property — any site, building, structure,
or object determined to be historically significant.
Aood mold — a projecting Moil
a window.
Hopper window — a window which opens inward
and is hinged at the bottom,.
Ionic — the classical order of architecture
characterized by its capital with large scrolls, less
heavy than the Doric and less elaborate than the
Corinthian.
Infill — the development of property or the
construction of buildings on land that is adjacent
to existing buildings.
Joint — the material between brick or stone.
Jalousie window, — a window consisting of a
series of overlapping horizontal glass louvers
which pivot simultaneously.
Keystone — in masonry, the center piece of an
arch, often of contrstingi 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.
�Design Standards for the City of Paris, Texas 145
WINDOWS WITH MULTIPLE LIGHTS
12/12
CAST STONE LINTEL ABOVE WINDOW
LOGGIA
LOUVER
LTd
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.
Light — a single pane of glass in a window or
O.00r.
Lintel — a structural member installed in a wall to
create an opening for a door or window.
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 rolof.,
Local historic district or districts — a
geographically andl locally defined area which
possesses a significant concentration, linkage, or
continuity of buildings, objects, sites, or structures
united by past events or periods or styles of
architecture, and which, by reason of such
factors, constitutes a distinct section of the city.
All sites, buildings, and structures within a district,
whether contributing properties or not, are subject
to the regulations of the district.
Local historic landmark or landmarks — any
site, including a significant tree, building, or
structure, of historic or aesthetic significance to
the city, the state, or the nation.
Loggia — an arcaded or colonnaded structure,
open on, one or more sides.
Louver — an assembly of slolpling�, overlappling
blades or slats, fixed or adjustable, designed to
awrees and to
2 9 1 lip
Alesign Standards for the City of Paris, Texas 146
MARQUEE
BRICK AND CAST STONE
MASONRY BONDED WITH MORTAR
MOLDING
MODERN MINIMALIST HOUSE
Mansard roof — a roof with a double slope on all
four sides, with the lower slope being much
steeper.
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.
Marquee — a projecting exterior structure placed
over the entrance of a building, common for
theaters and hotels, that displays the name of the
building and/or relative information typically in a
large font and surrounded by lights.
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.
Meeting rail — either the bottom rail of the top
sash or the top rail of the bottom sash; closes the
joint completely when the window is shut.
Modillion — a horizontal bracket that supports a
cornice on its underside, often has the form of a
scroll; called a Nock modillion when a flat block.
Molding — linear decorative trim in various
geometric profiles.
Modern Minimalist — housing built from 1935 to
1950, largely constructed immediately following
World War 11, in large tract -housing
developments. The houses are relatively small
one-story structures with low or intermediate roof
pitches with the eave or rake near the exterior
wall, There is a lack of decorative detailing and
typically a front facing gable.
Mortar — a paste -like mixture installed between
masonry units such as brick or stone. It is usually
made of cement, lime, water, and sand.
Design Standards for the City of Pariis, Texas 147
MOSAIC TILE DETAILING
MULLION BETWEEN THE WINDOWS
MUNTINS
OCULUS
Mosaic — a pattern formed by inlaying small
pieces of stone, glass, tile, or enamel into a
cement, mortar, or plaster mix.
Mullion — a vertical element between two window
or door frames, typically not a structural support
for the building.
Muntin — one of the small framing members
within a single window sash that hold the
individual pieces of glass in place.
National Register of Historic Places — a list of
U.S. places of significance in American history,
architecture, archeology, engineering, and culture
on a national, state, or local level. The register
was established in 1935 by act of Congress and
expanded upon by the, National Historic
Preservation Act of 19,66.
�flew construction — the process, or completed
product, of building a new structure or building, or
portion thereof, to an existing building
neighborhood or district.
Niche — a recessed space in a wall typically
semicircular in plan and commonly used for the
placement of statuary.
Non-contributing property — a property which is
less than 50 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 configuration — a wiindow with a
single sheet of glass in the top sash and a single
sheet in the bottom sash,.
............
Orientation — the relationship of a structure to
the compass points or a site feature such as a
street or the direction a facade faces.
Nesign Standards for the City of Paris, Texas 148
- .. A- A. I 1 .0- .- NI
PARKWAY
PEDIMENT
PILASTERS AROUND THE ENTRY
Outbuilding — a building detached from the main
house or structure bust located on the same lot.
Palladian window — a Classical Revival style
window with a center window, often with an
arched top and flanked by two rectangular
windows.
Paneled door — a wood door composed of flat
anN 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.
Parting strip — any thin element used to
separate two adjoining members.
Partition wal�l — a dividing wall within a bul:ildine
. . . . . . . . . . .
••
an ornament or hood mold over a door or
I
window.
Pier and, 'beam — a foundation system consisting
of rows of posts, spaced at appropriate intervals
and supporting beams which form a base or
which a building is built.
Pilaster — a projection from the wall construction,
(like a half column, often decorated or
accentuated with a half capital.
Pillars — a simplle, massive, vertical structural
support such as a collumn or post.
Pinnacle — a turret or part of a building elevated
above the main building.
Pitch — the slope of a roof that is not flat or
horizontal.
Design Standards for the City of Paris, Texas 149
PORCH
PORTE COCHERE
PORTICO
PRESSED METAL CEILING
PRESSED METAL SHINGLE ROOFING
GLOSSARY
Pitched roof — a roof that has a slope and is not
flat or horizontal.
Pivoted window — a window having a sash
which rotates about fixed vertical or horizontal
pivots, or points, located at or toward the center,
in contrast to one hung on hinges along an edge.
Plaque — a decorative or commemorative flat
plate attached to a wall or surface.
Plaster — a paste -like substance of sand, water,
and lime installed over another material to
provide a finished surface.
Plinth block — a small, slightly projecting block at
the bottom of the door trim, extending to the
finished floor.
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. It may also be called a veranda.
Porte cochbre — a covered area over a driveway
at a building entrance.
Portico — a columned porch formiing the entrance
and centerpiece of the facade of a building.
Preservation — the act of applying measures to
sustain the, existing form, integrity, and material of
a 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.
Pressed metal shingle roofing — a roofing unit
or shingle which is pressed from sheet metal and
frequently has a decorative pattern.
Profile — the outline of a building or an element of
that building that is usually shown as a cross
Design Standards for the City of Paris, Texas 150
[0111431
RETAINING WALL
RETRACTABLE AWNING
TILE ROOF WITH A TILE RIDGECAP
Eel WOTQ�A - �
7441,
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.
i
Quoin — a large stone or block of brick used to
reinforce an external corner or edge of a wall and
often dist�inguiished decoratively from adjacent
masonry.
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 specific period of
time.
Rehabilitation — the process of returni'ing a
property to a state of utility through: repair or
alteration which makes possible an, efficient
contemporary use while preserving those
portions of features of the property which are
significant to its historical, architectural and
cultural values.
Repointingi — 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.
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 earllier work.
Design Standards for the City of Paris, Texas 151
RUBBLE STONE WALL
RIBBON DRIVEWAY
R -PANEL METAL ROOFING
RUSTICATED STONE
SCUPPER
IVA
Retaining wall — a wall, freestanding or laterally
braced, that bears against an earth, or other fill
surface and resists lateral and other forces from
the material in contact with the side of the wall.
Retractable awning — a roof -like covering of
canvas or rigid material over a window or door
that is movable, and can be opened and closed.
Ribbon driveway — a drive providing access
between the street and onsite parking that
consists of two parallel strips of paving with grass
between.
Ribbon window — one of a horizontal series of
windows, separated only by mullions, which form
a horizontal band across the facade of a building.
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 -panel metal roofing — a galvanized or paint
metal rfing material with a riile usd
primarily in commercial applications.
oobbed profe
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.
Design Standards for the City of Paris, Texas 152
SHINGLES
SHIPLAP SIDING
SIDE LIGHTS AT FRONT ENTRY
Ce["i
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, andl the
relationship to the street or nearby buildings.
L a,
i'M7b-UT---=fTria�,e sioAlrit In onry TrIT
plane or direction,
Shingles — thin, overlapping pieces of wood,
asphalt material, slate, tile, clay, or other material
cut to stock lengths, widths, and thicknesses
I
used as an exterior covering on a sloping roof or
wall.
Shiplap — horizontal wood sheathing which butts
together. When used on the interior walls, it was,
frequently covered with cheesecloth and
wallpaper.
Shotgun house — housing first built in New
Orleans in the 1830s that spread across the
country through the early 1900s. The housing
was affordable to build and provided the
necessary living requirements at a minimal cost.
The structures are narrow (12'-0" wide),
rectangular forms with a flat or gable roof with a
Linear room arrangement consisting of a living
room, bedroom(s), and kitchen. The houses
were typically built on narrow lots and located
close to the street without a porch!.
Side light — a narrow window adjacent to a door
or wider window, and the heigiht the door or
window, most often one of a pair flanking an
entrance door.
Siding — the finish covering of an exterior wall on
a frame building.
Sign/ signage — a permanent or fixed graphic or
display that provides information. It may be
freestanding or integrated into the building.
Design Standards for the City of Paris, Texas 153
CAST STONE WINDOW SILL
SKIRT
POP
/Ik
V.
SOFFIT
SPINDLES
SPIRE
Significant trees — trees which measure twenty-
four caliper inches four feet above the ground, or
those which are identified with historic
personages, or important events in local, state, or
national history and protected by local ordinance.
Sill — the bottom portion of a window which often
contrasts with the material of the wall.
Singile hung window — a window having a single
movable sash.
Site — the land on which a buildling is located.
For historic purposes, the location of a significant
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 around
level.
Slate — a hard, brittle metamorphic rock that is
split into thin sheets for flooring andl roofing
panels and chalkboards.
Sliding window — a window which moves
horizontally in grooves or between runners.
Slope — the amount of degree of incline.
Soffit — the exposed, often flat, underside of a
roof overhang.
Spire — a steep pointed roof form common, on
church towers.
Splash block — a small masonry block laid on
the ground below a downspout to prevent soil
Design Standards for the City of Paris, Texas 154