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On this map the City of Bozeman Overlay District is identified,as well as nine historic districts.
[i]
Acknowledgments
City of Bozeman
Mayor: Andrew L. Cetraro, Jeff Krauss
City Commission Members: Sean Becker, Andrew L. Cetraro, Lee
Hietala,Kaaren Jacobson,Steve Kirchhoff,JeffKrauss,Jeff Rupp,Marcia
Youngman
City Staff: Chris Kukulski, Andrew Epple, Chris Saunders, Allyson
Bristor, Dave Skelton, Susan Kozub,
Design Review Board Members: Chairperson - Dawn Smith, Randy
Carpenter, Scott Hedglin,Mel Howe,Brian Krueger,Michael Pentecost,
Bill Rae, Elisa Ann Zavora
Historic Preservation Advisory Board: Chairman - Michael Neeley,
City staff liason - Allyson Bristor, City Commision liason - Marcia
Youngman, Warren Bauder, Clare Becker, Jane Davidson Klockman,
Todd Larkin,Ben Lloyd,Bonnie Martin,Blake Maxwell,Maire O'Neill,
Dede Taylor
Zoning Commission: Chairman - Ed Musser, Cliff Chisholm, Page
Lutes, JP Pomnichowski
Special Thanks
A special thank you to all the community members who participated in the
workshops during the design guidelines process.
Consultants
Winter & Company
1265 Yellow Pine Avenue
Boulder,CO 80304
(303)440-8445
with
Ralph Johnson
Copyright OO 2005 by Nore V.Winter
[ii]
TABLE OF CONTENTS
Introduction
Part I: Overview 1
A. Background of the Bozeman Design Guidelines Project 3
B. Preservation Goals for Bozeman 3
C. Basic Preservation Theory 4
D. Preservation Principles 6
E. Choosing an Approach Glossary 7
F. Planning a Preservation Project g
Part II: The Design Review System 9
A. Bozeman Neighborhood Conservation Overlay District 9
B. Background of Design Guidelines 11
C. Determining Compliance with the Guidelines 11
D. Which Guidelines Apply? 12
E. Policies Underlying the Design Guidelines 14
F. Components of Design Guidelines 15
G. Applying for a Certificate of Appropriateness 16
Chapter 1. Rehabilitation Guidelines For Historic Properties 19
A. Character-Defining Features 21
B. Historic Building Materials 23
C. Individual Building Features 26
D. Rehabilitation of Historic Commercial Properties 32
E. Rehabilitation of Historic Residential Properties 36
F. Secondary Structures 41
G. Adaptive Re-Use 41
H. Historic Additions 41
Chapter 2. Design Guidelines for all Properties 43
A. Topography 45
B. Street Patterns 45
C. Alleys 46
D. Streetscapes 47
E. Landscape Design 48
F. Building Form 48
G. Solid-to-Void Ratio 49
H. Materials 50
I. Architectural Character 51
J. Parking 52
K. Buffers 53
L. Site Lighting 54
M.Utilities and Services 54
[iii]
Chapter 3. Guidelines for Residential Character Areas 55
A. Hierarchy of Public and Private Space 57
B. Building Mass and Scale 58
C. Roof Forms 59
D. Secondary Structures 59
E. Multifamily 60
F. Fences and Retaining Walls 63
Chapter 4. Guidelines for Commercial Character Areas 65
A. Mass and Scale 67
B. Building and Roof Form 69
C. Building Setbacks 70
D. Horizontal Alignment 70
E. New Storefront Character 71
F. Parking Facilities 72
G. Site Furniture 73
H. Awnings and Canopies 73
I. Signs 74
Subchapter 4B Guidelines For The B-3 Commercial Character Area 4B1-4B11
Chapter 5. District Specific Descriptions and Guidelines 77
A. Northern Pacific/Story Mill Historic District 79
B. Bozeman Brewery Historic District 81
C. North Tracy Historic District 82
D. Main Street Historic District 83
E. Cooper Park Historic District 85
F. Lindley Place Historic District 86
G. Bon Ton Historic District 87
H. South Tracy/South Black Historic District 88
I. South Tracy Historic District 91
Appendix
Appendix A. The Secretary of the Interior's Standards for Rehabilitation App-1
Appendix B. Interpretation of Terms App-2
Appendix C. Benefits of Historic Preservation App-4
Appendix D. Preservation in Bozeman App-7
A. Historic Overview of the City of Bozeman
B. Architectural Styles
Appendix E. Definitions App-24
[iv]
INTRODUCTION
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Cooper Park Historic District
Introduction 1
This chapter introduces the design guidelines and describes how and
In this Chapter: when they should be used in the Bozeman community.
Part I: Overview
A. Background of Bozeman
Design Guidelines Project
B. Preservation Goals for Bozeman
C. Basic Preservation Theory
D. Preservation Principles
E. Choosing an Approach Glossary
F. Planning a Preservation Project
Part II: Design Review system
A. Bozeman Neighborhood
Conservation Overlay District
B. Background of Design
Guidelines
C. Determining Compliance with the
Guidelines
D. Which Guidelines Apply?
E. Policies Underlying the
Design Guidelines
F. Components of Design
Guidelines
G. Applying for a Certificate of
Appropriateness(COA)
2 Design Guidelines
INTRODUCTION
Part I: Overview
............................
Historic preservation and neighborhood conservation are well-established . .
parts of city planning in Bozeman. Over the past decades, the community � The overall de5ign goal for :
has initiated preservation initiatives to protect the many historic districts and � �ozeman i5 to preeerve the �
older traditional neighborhoods that remain as reminders of the City's heritage. ; i n t e g r i ty of i t 5 i n d i v i d u a I •
While change continues to occur in response to varying community goals and : hi5toric 5tructure5 and the ;
economic conditions,preserving Bozeman's heritage remains a primary goal : character of it5 5treet5cape5 ;
of the community.These design guidelines are written for use by City Staff, � that are unic�ue or irreplaceable �
property owners, residents and others to foster the preservation of historic ; a55ete to the City and it5 �
residential and commercial districts and to maintain the traditional character ; neighborhood5, ;
. .
of the broader Neighborhood Conservation Overlay District. ............................
A. Background of the Bozeman Design Guidelines
Project
The City of Bozeman resolved to create an interactive process for the Neighbar-
hood Conservation Overlay District Design Guidelines project,through which
the residents of Bozeman, the Historic Preservation Advisory Board (HPAB)
and Design Review Board (DRB) expressed their concerns and expectations
far the final product.The result has been a cooperative system of dialogue and
values-clarification from which the City determined relevant concerns and goals
for the District.This was accomplished through several public workshops.At
these sessions, participants discussed positive attributes of the City's historic
neighborhoods and identified design issues that cause concern about future
development.By completing exercises and discussions,the Bozeman residents
took an active role in shaping the guidelines for the District.
B. Preservation Goals for Bozeman
A primary design goal for Bozeman is to preserve the integrity of its individual
historic structures and the character of its streetscapes in the Neighbarhood
Conservation Overlay District.To maintain the character of a historic building,
design elements such as form,mass and materials should be considered in any
alteration. The relationship each building has with other neighborhood design
elements is also important,as well as the hierarchy of site elements,such as street
trees,front yards,walkways and accessory structures,
Introduction 3
C. Basic Preservation Theory
The Concept of Historic Significance
What makes a property historically significant?
In general,properties must be at least 50 years old before they can be evaluated
for potential historic significance, although exceptions do exist when a more
recent property clearly has historical value.A property may be significant for one
or more of the following reasons:
• Association with events that contributed to the broad patterns of history,
the lives of significant people or the understanding of a community's
prehistory or history,
• Construction and design associated with distinctive characteristics of a
building type,period or construction method.
• An example of an architect or master craftsman or an expression of
particularly high artistic values.
• Integrity of location, design, setting, materials, warkmanship, feeling
and association that form a district.
• An established and familiar natural setting or visual feature of the
communiry.
Period of Significance
In most cases,a property is significant because it represents or is associated with
a particular period in its history.Frequently,this begins with the construction and
continues through the peak of its early occupation.Building fabric and features
that date from the period of significance typically contribute to the defining
character of the structure.
Historic districts also have a period of significance. Specifically to each district,
there is a more concise "period of significance"noted in the National Register
nominations.Throughout each of these periods the historic districts have been
wimess to a countless number of buildings and additions which have become an
integral part of the neighborhood.Conversely,several structures have been built
or alterations have been made after this period which are generally considered
non-contributing and may be considered for removal or replacement.In general
keep this in mind:
4 Design Guidelines
Concept of Integrity
A property also must have integriry,in that a sufficient percentage of the struc-
ture must date from the period of significance.The majority of the building's
structural system and materials should date from the period of significance and
its character-defining features also should remain intact.These may include ar-
chitectural details such as dormers,porches,ornamental brackets,moldings and
materials,as well as the overall mass and form of the building.These elements
allow a building to be recognized as a product of its own time,
Alterations
Many historic structures have experienced alterations over time,as design tastes
changed or need for additional space occurred.In some cases,an owner would
add a wing for a new bedroom,or to expand the kitchen.Early alterations typically
were subordinate in scale and character to the main building and were often executed
using materials that were similar to those in use historically.
Some early alterations may have taken on historic significance of their own.
One constructed in a manner that is compatible with the original building and
that is associated with the period of significance may merit preservation in its
own right.
In contrast,more recent alterations usually have no historic significance.Some
later additions detract from the character of the building and may obscure
significant features,particularly enclosed porches.Removing such additions or
alterations may be considered in a rehabilitation project,
This tradition of alterations is anticipated to continue.It is important,however,
that new alterations be designed in such a manner that they preserve the historic
character of the primary structure.
Introduction 5
D. Preservation Principles
The following preservation principles should be applied to all historic properties:
• Respect the historic design character of the building.
Don't try to change its style or make it look older than its actual
age.Confusing the character by mixing elements of different styles can
weaken the appearance and historic quality of the structure,
• Seek uses that are compatible with the historic character of the
building.
Building uses that are closely related to the original use are preferred.
Every reasonable effort should be made to provide a compatible use for
the building that will require minimal alteration to the building and its
site.
Properry owners should consider the impacts that some changes in use would
have upon their historic properties,since this may affect design considerations
that are reviewed by the Department of Planning. Check the Unified Development
Ordinance(UDO)to determine which uses are allowed.
Change in uses requiring the least alteration to significant elements are preferred.
In some instances,however,a radical change in use may be necessary to keep the
building in active service.In order to adapt a building to the proposed new use,
the alterations may be too extreme and the proposed loss of historic building
fabric would require a reassessment of a more appropriate use.Experience has
shown that in most cases designs can be developed that respect the historic
integriry of the building while also accommodating new functions.Note that more
radical changes in use can make projects more expensive or result in the loss of
significant features.Carefully evaluate the cost of alteration,as adaptation for a
radical change may prove too costly or destroy too many significant features.
• Protect and maintain significant features and stylistic elements.
Distinctive stylistic features or examples of skilled craftsmanship should
be treated with sensitivity.The best preservation procedure is to maintain
historic features from the outset to prevent intervention. Protection
includes the maintenance of historic material through treatments such
as rust removal, caulking, limited paint removal and reapplication of
paint.
• Preserve any existing original site features or original building
materials and features.
Preserve original site features such as a rock retaining walls. Avoid
removing or altering original materials and features. Preserve original
doors,windows,porches and other architectural features.
6 Design Guidelines
• Repair deteriorated historic features,and replace only those elements
that cannot be repaired.
Upgrade existing material, using recognized preservation methods
whenever possible.If disassembly is necessary for repair or restoration,
use methods that minimize damage to original materials and the replacement
of original configuration,
E. Choosing an Approach Glossary
Preservation projects may include a range of activities,such as maintenance of
existing historic elements,repairs of deteriorated materials,the replacement of
missing features and construction of new additions.When planning a preservation
approach,consider the definitions of the following terms:
• Preservation. The act or process of applying measures to sustain the
existing form,integriry and material of a building. Some work focuses
on keeping a property in good working condition by repairing features
as soon as deterioration becomes apparent,using procedures that retain
the original character and finish of the features. Property owners are
strongly encouraged to maintain properties in good condition.
• Rehabilitation.The process of returning a property to a state that makes
a contemporary use possible while still preserving those portions or fea-
tures of the property which are significant to its historical,architectural
and cultural values. Rehabilitation may include a change in use of the
building or additions.
• Renovation.The process of improving by repair,to revive.In renova-
tion, the usefulness and appearance of the building is enhanced. The
basic character and significant details of a building are respected and
preserved,but some sympathetic alterations may also occur.
• Restoration.The process of reproducing the appearance of a building
exactly as it looked at a particular moment in time.This may include the
removal of later work or the replacement of missing historic features.
• Remodeling.The process of changing the historic design of a building.
The appearance is altered by removing original details and by adding
new features that are out of character with the original.Remodeling of
an historic structure is inappropriate due to the]oss of original fabric.
• Reconstruction. The process of rebuilding a structure that no longer
exists exactly as it appeared historically.
Introduction 7
F. Planning a Preservation Project
The first step in planning a preservation project is to identify any character-
defining features and materials of the structure. Retaining such details will
greatly enhance the overall quality of the project.If they are in good condition,
then selecting an appropriate treatment will provide for proper preservation.In
making the selection,follow this sequence:
• Preserve: If a feature is intact and in good condition, maintain it as
such.
• Repair: If the feature is deteriorated or damaged,repair it to its original
condition.
• Replace: If it is not feasible to repair the feature,then replace it with
one that is the same or similar in character(e.g.,materials,detail,finish)
to the original one.Replace only that portion which is beyond repair.
• Reconstruct: If the feature is missing entirely, reconstruct it from
appropriate(photographic)evidence.(This treatment is only appropriate
for small portions of a project,not the majority of the work.)
• If a new feature or addition is necessary,design it in such a way as to
minimize the impact on original features.
In essence,the least level of intervention is preferred. By following this tenet,
the highest degree of integrity will be maintained for the property.
8 Design Guidelines
Part II: Design Review System
A. Bozeman Neighborhood Conservation Overlay
District
............................
The Neighborhood Conservation Overlay District is an area that was created by . .
the City of Bozeman to recognize the historic core of the Bozeman community. � Alteration: Any act or proce55, �
It encompasses Bozeman's nine National Register of Historic Places historic � except repair and light con- �
districts, as well as the many individual National Register listings. Please see ; 5truction that change5 one �
Chapter 5 for a detailed description of each historic district. ; or more of the architectural �
; feature5 of a 5tructure or ;
All proposed alterations(including demolition)to structures and sites within the � 5ite, including, but not limited �
area are subject to design review by the City of Bozeman Department of Planning ; to, the erection, con5truction, �
and are subject to standards set forth in the City of Bozeman Unified Development ; recon5truction, relocation of, �
Ordinance(UDO),in addition to these particular design guidelines. ; or addition to a 5tructure. ;
. .
............................
As stated in the UDO, "the intent and purpose of the conservation district
designation is to stimulate the restoration and rehabilitation of structures,
and all other elements contributing to the character and fabric of established
residential neighborhoods and commercial or industrial areas."
Further,the ordinance states that while new construction is invited and encouraged,
"primary emphasis is given to the preservation of existing buildings,provided
the design of such new places enhances and contributes to the aesthetic character
and function of the property and the surrounding neighborhood or area."
The essential idea behind the Neighborhood Conservation Overlay District concept
is to protect Bozeman against alteration and demolition that might damage the
unique fabric created by the hundreds of important buildings and sites that make
up the historic core of Bozeman,
How does the City of Bozeman administer proposed alterations to structures
and sites located in the Neighborhood Conservation Overlay District?
Exterior alterations,such as a new fence or a new addition,that occur within the
Neighborhood Conservation Overlay District are largely administered through
the City Historic Preservation Office, a division of the Bozeman Department
of Planning and Community Development. The Historic Preservation Office
and Administrative Design Review Staff will use this document, in addition
to the standards set forth in the UDO,as a guide for determining the historical
appropriateness of a proposed building alteration.
Generally,interior alterations,landscaping,painting,and minor repair with like
materials are not under the jurisdiction of the City of Bozeman.However,it is
important to note that the replacement or modification of features with a new
type or material does require approval from the City. If the previous feature was
constructed before the current UDO was enacted,the Ciry may view the replacement
construction as an opportunity to bring the element into code compliance.
Introduction 9
"""""""""""""" My home is located within the Neighborhood Conservation Overlay District.
: Example5 of Alteration: : What procedures must I follow to alter my property?
; • building addition � If a resident within the Neighborhood Conservation Overlay District intends to
: • new window(5) ; alter the exterior of their home,they must apply for a Certificate of Appropriate-
� • change in roof material5 � ness,or COA, through the Department of Planning. The applicant is required
� fence � to submit application material regarding the project, including a scaled site
: � • plan, elevation drawings, and photographs of the project location. Once an
; • change in exterior 5iding ; application is deemed complete, the design review process begins. A COA,
: material5 • as the name implies,is certification that the design of a project is appropriate
"""""""""""""" for the historic neighborhood or area in which it is located. COA approval is
required for any alteration (including sign or fence construction), demolition,
or new construction within the Neighborhood Conservation Overlay District.
Interior modifications to properry within the District are not subject to COA
review,unless the properry is a National Register contributing structure that is
frequented by the general public,
What if I want to demolish,or move,a building on my property?
The demolition and movement of structures within the Neighborhood Conservation
Overlay District are considered an alteration and therefore are also subject
to review by City Staff.Application for the demolition or removal of structures
within the Neighborhood Conservation Overlay District will not be accepted
without a comprehensive plan for the subsequent development of the property.
This plan must be approved before a demolition or moving permit is issued.
Generally,if the building has been determined to be historically significant,final
authority for the demolition or movement shall rest with the City Commission.
Where can I locate further information?
The City of Bozeman provides information related to zoning and communiry
development, including the Bozeman 2020 Coinmunity Plan. Find out more
about local planning at: http://www.bozeman.net/planning.html
There are many online resources that can provide information related to
Bozeman's Neighborhood Conservation Overlay District. Additional design
standards such as"The Secretary of the Interior's Standards for Rehabilitation"
can be located online at:
http://www2cr.nps.gov/tps/standguide/index.htm
The Montana State Historic Preservation Office (SHPO) is another excellent
source for preservation information:
http://www.his.state.mt.us/departments/shpo/index.html
If the property is a "contributing" element within one of Bozeman's National
Register historic districts, and it is income-producing, it may be eligible for
preservation-related federa] tax credits. More information can be located at:
http://www2.cr.nps.gov/tps/ta�index.htm
10 Design Guidelines
B. Background of Design Guidelines
What are Design Guidelines?
............................
The guidelines convey general policies about the design of alterations to exist- . .
ing structures, additions, new construction and site wark. However, they do : It i5 important to note that the •
not dictate solutions.Instead,they define a range of appropriate responses to a : City ha5 the right to update, ;
variety of specific design issues. : change and revi5e previou5ly ;
� a55igned project typee. For �
• e�cam le the Montana HiStorical & •
Why have Design Guidelines? . p ° .
The purpose of the guidelines and the review process through which they are : Architectural Inventory filee �
administered is to promote preservation of the historic,cultural and architectural . may a55ign a property a non- ;
heritage of Bozeman.These resources are fragile and are vulnerable to inappropriate � c o n t r i b u t i n g e t a t u e; a ft e r �
. reae5e55ing the building, it .
alteration and demolition. Recognizing this concern,Bozeman established these , .
. may in fact be rea5eigned ae .
guidelines. . .
� a contributing property to the �
One purpose for these guidelines is to inform the community about the design : di5trict. Any change5 to the ;
policies the ciry holds for the overlay district. They indicate an approach to � building would then need to ;
design that will help provide information that property owners may use to • �ollow the guidelinee for that ;
make decisions about their buildings and to maintain their historic character. ; project type. �
The guidelines also provide Bozeman a basis for making informed,consistent
............................
decisions about design.
The design guidelines provide a basis for making consistent decisions about
the treatment of historic resources.They also serve as educational and planning
tools for property owners and their design professionals who seek to make
improvements that may affect historic resources.
While the design guidelines are written for use by the layperson to plan
improvements,property owners are strongly encouraged to enlist the assistance
of qualified design and planning professionals,including architects and preservation
consultants.
Known for its ongoing preservation efforts, the Bozeman Neighborhood
Conservation Overlay District is foreseeing continued investment in the area,
including renovation, additions to existing buildings and infill construction.
Therefore,a wide range of construction projects are anticipated and the pressure
on the historic district's integrity is increased,as is the need for guidelines.
C. Determining Compliance with the Guidelines
The Department of Planning and Community Development will administer the
guidelines. In doing so, they will consider how each proposed project meets
the guidelines and how the proposed work would therefore help to accomplish
the design goals set forth in this document and in the Unified Development
Ordinance(UDO).
A project may fall into a special review category because of its size or design
complexity. In this case the Historic Preservation Advisory Board (HPAB)
and/or the Design Review Board(DRB) may be consulted to advise City Staff
on the appropriateness of the project design.
Introduction 11
D. Which guidelines apply?
The guidelines apply to all wark subject to design review in the Neighborhood
Conservation Overlay District, as well as to individual National Register
properties that may be located elsewhere in the City. However, different
chapters will apply,depending upon the type of property.Those that have historic
significance will have guidelines for preservation to be considered,along with
other general standards,while more general guidelines far compatibility apply
to a new building. In addition, some guidelines vary by building type. Those
for commercial buildings,for example,are different from those for residences.
The following is a general overview of different project types and their related
guidelines:
l. Contributing Property
A building that is identified as having significance and contributing to the
character of a designated historic district is considered "contributing."These are
identified on the Montana Historical&Architectural Inventory files,but in some
cases,significance may be determined at the time that an application far approval is
submitted.For these properties,preservation of the key character-defining features
is the objective. Focus is on the rehabilitation guideline,design guidelines for
all properties,and other more context-sensitive district guidelines.
2.Non-Contributing Property
A building found within a designated historic district,but which does not contribute
to the significance of the district,is considered"non-contributing."This may be
a newer building that has not taken on significance, or it may be an older one
that has been so substantially altered that it lacks integrity as a historic resource.
For these properties,the guidelines for all properties apply,which address how
buildings may fit within a neighborhood. In addition,guidelines for the building
type apply, as well as those in the special chapter for the histaric district in
which the property lies.Rehabilitation guidelines do not apply.The objective is
to assure that if the property is altered,the result would be compatible with the
historic context. Preservation of features on the building itself is not a priority.
It is important to note that with appropriate rehabilitation,a building may move
to a "contributing" status. The Historic Preservation Office recommends all
property owners consider this approach in alteration projects.
3.National Register Individual Listing
A property that,on its own,has sufficient significance to be considered a historic
resource may be designated individually on the National Register. For these,
preservation is the objective, and the guidelines for rehabilitation are to be
applied.The design guidelines for all properties would also apply.
12 Design Guidelines
CHAPTER TO USE
�
I
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1.Alteration of a � � � � � � �
"contributing
property"in an Historic
District If If
Residential Commercial
2.Work on a"non- � � � � � �
contributing"
�[ property in an Historic
� District If If
OResidential Commercial
� 3.Work on an � � � � � � �
"individually listed
� National Register
OProperty"in If If
the Neighborhood � Residential Commercial � �
w Conservation
� Overlay District _
� 4.Work on a"historically � � � � � �
significant
� property"in the
Neighborhood if If
Conservation Overlay � Residential Commercial �
District, but outside of an
Historic District
5.Work on a"non- � � � � �
historically
significanY'property in the
Neighborhood if If �
Conservation Residential Commercial
Overlay District but �
outside of an Historic ,
District
6. New infill and � � � � �
construction in
the Neighborhood
Conservation If If
Overlay District, but � Residential Commercial � �
outside an Zone Zone
Historic District District District
7. New infill and � � � � � �
construction in
An Historic District*
If If
Residential Commercial
Note: A blank box indicates that the chapter does not apply.
*Chapter 2, Chapter 3 and Chapter 4 guidelines will be applied more rigorously on projects in these districts.
13
4.Historically Significant Property in the Conservation Overlay
Other older buildings are found within the Conservation Overlay,but outside
of any historic district.They are generally isolated buildings,in the context of
newer structures,but sometimes they exist in a small grouping.These may be
identified at the time of application for COA approval.The conservation of the
overall character of the building is the focus.The rehabilitation guidelines are
therefore applied with some flexibility. Focus is on maintaining the general form,
character and materials,but more latitude in alterations is available.When such
a building is in a context of similar construction, the rehabilitation guidelines
will be applied more rigorously.
5.Non-historically Significant Property in the Conservation Overlay
These are more recent properties, or older ones that are substantially altered,
which lie within the Conservation Overlay,but outside of any historic district.
For these, the design guidelines for all properties will apply, as well as those
for specific building rypes (commercial or residential).
6.New Infill and Construction
For new projects within a historic district,the design guidelines for all properties
will apply,as well as those for specific character areas and historic districts.The
guidelines will be applied more rigorously in this case.
For new infill projects within the Conservation Overlay, but outside of any
historic district, the design guidelines for all properties will apply, as well as
those for specific character areas.
Please see the table on page 13 for a diagram of what guidelines apply to a
project.
E. Policies underlying the design guidelines
The preservation principles outlined in Appendix C, as well as the following
policies, should be considered when applying the design guidelines to historic
properties in Bozeman,
The Secretary of the Interior's Standards for the Rehabilitation of
Historic Properties
The design guidelines incorporate principles set out in The Secretary of the
Interior's Standards for the Treatlnent of'Historic Properties with Guidelines
for Preserving,Rehabilitating,Restoring ancl Reconstructing Historic Buildings,
which are listed in Appendix B. These are a widely accepted set of general
rehabilitation standards established by the National Park Service. These
standards are policies that normally serve as a basis far more detailed rehabilitation
guidelines.The Ciry of Bozeman's Unified Development Ordinance has adopted The
Secretary of the Interior's Standards as a basis for its standards for a COA.It is
the intent of this document to be compatible with the Standards,while expanding
on those basic preservation principles as they apply in Bozeman.
14 Design Guidelines
A. Character-Defining Features
Policy: -� "�
Historic features,including ariginal materials,architectural details,window and door �
openings,contribute to the character of a structure and should be preserved when "
feasible.Continued maintenance is the best preservation method.
� �
Guidelines
1. Protect and maintain significant stylistic features.
• The best preservation procedure is to maintain historic features from � �
the outset so that intervention is not required. � � � ,
• Preserve character-defining features.Then,repair only those features �- � � � �
that are deteriorated. Finally, replace only those features that are ��
beyond repalr. Protect and maintain significaj�t
stylistic features, such as this
window detail.
Detail of Design Guideline Components
F. Components of Design Guidelines
Each chapter of the design guidelines contains the following components:
Design Element
The first is the design element category(e.g.,streetscape elements,site planning,
building materials and secondary structures) under which the design guideline
falls.
Policy Statement
Second is a policy statement explaining the Bozeman Department of Planning's
basic approach to treatment of the design element.This statement provides the
basis far the more detailed design guidelines that follow underneath. In cases
where special conditions in a specific project are such that the detailed design
guidelines do not appear to address the situation,this general policy statement
shall serve as the basis for determining the appropriateness of the proposed work.
Policy statements are shown as large typeface statements.
Design Guidelines
Third is the design guideline statement itself, which is typically performance-
oriented,describing a desired design treatment.The specific design guidelines are
numbered and presented in bold face statements under each policy statement.
Additional Information
The design guideline statement is followed by supplementary information that is
treated as sub-points of the guideline.These sub-points may include addirional
requirements, or may provide an expanded explanarion. These sub-points are
listed as bulleted (•) statements.
Introduction 15
Illustrations
Design guidelines are further explained through the use of photographs and
illustrations. Examples given should not be considered the only appropriate
options, but rather used as a guiding reference. In most instances, there are
numerous possible solutions that meet the intention of the design guidelines,as
well as the needs of the property owner.
In order to help the reader determine design approaches that are appropriate,
many of the illustrations are marked with either a✓ or an X.Those illustrations
marked with a✓are considered appropriate solutions to the design issue,whereas
those illustrations marked with an X are not appropriate.
G. Applying for a Certificate of Appropriateness
(COA)
A Certificate of Appropriateness,as its name implies,is a certification that the
design of a project is appropriate within the neighborhood or area in which it
is located. It is required for any alteration, demolition or new construction in
the Neighborhood Conservation Overlay District as defined in the UDO. Use
the following steps for recommendations on how to proceed with a COA
application:
Step 1.Consider Professional Design Assistance.
Property owners are strongly encouraged to engage licensed architects and other
design and planning professionals to assist them in developing their concepts.
Doing so may facilitate a quick review process,
Step 2.Check Other City Regulations.
The guidelines supplement other adopted Bozeman ordinances.The Department
of Planning can provide information about these regulations, which also may
affect the design character of a project.Examples include:
• The Bozeman Unified Development Ordinance
• The City of Bozeman 2020 Community Plan
• Design Objectives Plan
Step 3.Become Familiar with the Design Guidelines.
Review the basic organization of this guidelines document and determine which
chapter(s)will apply to a project.The chart listed on page 13 is a great illustration
to help see which chapters are applicable.
Step 4.Review the Site Context.
Consider immediately adjacent properties and also the surrounding character of
the project site. Understanding the desired character of the area is vital to the
development of an appropriate design.
16 Design Guidelines
Step 5.Develop a Design Concept Using the Guidelines.
The guidelines form the basis for the city's design review decisions.Following
the guidelines from the outset of the project will facilitate a smooth process.
Step 6.Preliminary Review (optional).
Prepare materials for preliminary review by the Historic Preservation Office
prior to creating drawings for final submittal.This step is highly recommended
for new construction,accessory buildings and major alterations and additions.
Even if preliminary material are not created,an initial meeting with City Staff
is encouraged befare an application is submitted,
Step 7. Prepare and Submit a Complete Application Packet for
Formal Review.
A complete application packet should be prepared,which includes the contents
that are listed on the checklist form for a Certificate of Appropriateness,
available at the Department of Planning and Communiry Development.A clear
presentation of the proposed project to the City is necessary to obtain a COA.
The presentation should focus on how the proposed project complies with these
design guidelines and the standards setforth in the UDO.(See section 18.78.090
of the UDO.)
Introduction 17
18 Design Guidelines
CHAPTER 1
REHABILITATION GUIDELINES FOR
HISTORIC PROPERTIES
;. �
� -:�
. ��,
,- ________ _ _ _ _____ ; _,
��� - - - _
- - - - - - - - - _,..�_
_ - _ _ __� _ �_ T:
- , _-�=-_-_- �.�
�� � . -_-3t-�
- -- ' - . � y� ` __ ..•.✓
■ - - - - _
_ ■
_ ._ _ r ,I � � '
1
�
�' r
�
--=- � -
--- r - - , .- - -- �
_ _ - � _ - -�
,
Original architectural details shall be preserved during rehabilitation.
Chapter 1 19
This chapter focuses on rehabilitation guidelines for historic buildings. The
�fl tf'lIS Cf'lapt@P: guidelines are divided into sections discussing the overall character-defining
features,the materiality of those features and the individual building features.
A. Character-Defining Features Guidelines also address specific issues in regards to historic residential and
B.Historic Building Materials commercial building types,including additions.
C.Individual Building Features
D. Rehabilitation of Historic Com- �
mercial Properties ���
E.Rehabilitation of Historic Residen- ��
tial Properties
F.Secondary Structures '
G.Adaptive Re-Use r�__ '� o
H.Historic Additions � � �
' �� � . fs
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- .'}r3'. � - .._� r ...
By following the design guidelines presented in this
document a homeowner can reasonably expect results
similar to the before and after conditions shown here.
20 Design Guidelines
CHAPTER 1 .
�Y
REHABILITATION GUIDELINES FOR w'��
t � -
HISTORIC PROPERTIE5 — � "
r�
� i
Design Guidelines: •
,
A. Character-Defining Features `�
Policy:
Preserve � � � � -
� �� �
Historic features,including original materials,architectural details and window
and door openings contribute to the character of a structure and are referred to
as character-defining features. They are often closely associated with specific
architectural styles.They should be preserved when feasible.Continued main- Historic features, including original
tenance is the best preservation method. materials,architectural details and window
and door openings contribute to the
Guidelines: character of a structure and are referred
1. Preserve and maintain significant st�listic and architectural to as character-defining features.
features.
• Porches,turned columns,brackets,exposed rafter tails and jigsaw
ornaments, if historic, are examples of architectural features that -� .�
should not be removed ar altered. �- ___ � _� _
• The best preservation procedure is to maintain historic features from
the outset so that intervention is not required. Employ preventive '- -- _ �_ : ; ��
measures such as rust removal,caulking,limited paint removal and _---,-�-� � «-_�
reapplication of paint. These should not harm the historic materi- : �
als. —�
• Maintain character-defining features. ��
• Do not remove or alter architectural details that are in good condi- �
tion or that can be repaired. Details such as these should be preserved
in order to avoid the need for replacement
in the future.
2. Avoid adding elements or details that were not part of the original
building. - : _ �
• For example,details such as decorative millwork or shingles should . -
not be added to a building if they were not an ariginal feature of - � �
that structure. � ,�� "=�
� i 1
3. Protect architectural details from moisture accumulation that may � � ,
cause damage. __ � I I I I I
Re ularl check details that have surfaces which can hold moisture �' � =
. g y �
for long periods of time. — �� � ' _
_—�����
Protect and maintain significant stylistic
features,such as these porches,roof lines
and window details.
Chapter 1 21
� Policy:
, Repair
�
- ` �" In some cases, original architectural details may be deteriorated. Horizontal
� surfaces such as chimney caps and window sills are likely to show the most
— deterioration because they are more exposed to weather. When deterioration
occurs,repair the material and any other related problems. It is also impartant
to recognize that all details weather over time and that a scarred finish does
not represent an inferior material,but simply reflects the age of the building.
h;.�ti ,.: Therefore,preserving original materials and features that show signs of wear is
't•��r''��ti referred to re lacin them,
�,.0 . '�' � P P g
��'�3u;::4�. . �
�.- �
�r�r._'� Guidelines:
Before: A deteriorated railing should be 4. Repair only those features that are deteriorated.
repaired,rather than replaced. • Patch,piece-in, splice, consolidate or otherwise upgrade existing
�,---,. ---------
materials,using recognized preservation methods.
� � • Isolated areas of damage may be stabilized or fixed using consoli-
dants.Epoxies and resins may be considered for wood repair.
� � -- • Removing damaged features that can be repaired is not appropri-
� � ate.
J I • Protect features that are adjacent to the area being worked on.
�
' S. When disassembly of a historic element is necessary for its
� � �_ ' � restoration, use methods that minimize damage to the original
materials.
� • When disassembly of a historic feature is required during restoration,
� _ - document its location so it may be repositioned accurately.Always
._ ... . _
devise methods of replacing disassembled details in their original
After:A successful preservation effort will
configuration.
result in a product shown in the example
above.
6. Use technical procedures for cleaning, refinishing and repairing
� architectural details that will maintain the original finish.
• Consult with the City of Bozeman for techniques that are generally
� � considered appropriate.
• When choosing preservation treatments, use the gentlest means
{ � possible that will achieve the desired results,
�'�` � �, • Employ treatments such as rust removal, caulking, limited paint
� ` � ,t removal and reapplication of paint or stain,
.
1 Policy:
� Replace
`'�, While restoration of the original feature is the preferred alternative, in-kind
� replacement is also an option. In the event replacement is necessary, the new
material should match that being replaced in design, color, texture and other
When disassembly of a historic feature visual qualities.Replacement should occur only if the existing historic material
is required in a restoration procedure, is beyond repair.
document its location so that it may be
repositioned accurately.
22 Design Guidelines
Guidelines:
7. Replacement of missing or deteriorated architectural elements
should be accurate. -� �
• The design should be substantiated by physica]or pictorial evidence �
to avoid creating a misrepresentation of the building's history, . � —
• Use the same kind of material as the original when feasible.How- ��-
ever, a substitute material may be acceptable if the size, shape,
texture and finish conveys the visual appearance of the original.
8. When reconstruction of an element is impossible, develop a new Replace missing original details in kind.
design that is a simplified interpretation of it.
��,_ �eplacement
• This is appropriate when inadequate information exists to allow for �
. iece
an accurate reconstruction. --��
• The new element should be similar to comparable features in general `_`. i`,,
size, shape,texture,material and finish, ���:�?>�;�,
`. ` . ���'
`� ,,;t', i
� +'�1,ti;
B. Historic Building Materials �1;�' i �,
�
roli�y: �` `
Primary historic building materials should be preserved in place whenever fea- �_ �
sible.When the material is damaged,then limited replacement which matches �__
the original, should be considered. Primary historic building materials should ��'
never be covered or subjected to harsh cleaning treatments. Where replacement of an element is
required, remove only those portions that
Refer to the city for an appropriate material resources for the rehabilitation of are deteriorated beyond repair.
historic properties. ,
Guidelines: � � w
1. Preserve original building materials. , -
• Avoid removing siding that is in good condition or that can be '' •
repaired in place. .� -��
• Remove only siding which is deteriorated,and must be replaced. � �
• Masonry features that define the overall historic character, such ���
_ ' �
as walls, cornices, pediments, steps and foundations, should be - �
preserved. � �s� •
• Avoid rebuilding a major portion of exterior masonry walls that �
Protect wood siding and other wood
could be repaired. Reconstruction may result in a building which surfaces with a painted fin�sh.
is no longer historic.
2. Protect wood features from deterioration.
• Provide proper drainage and ventilation to minimize rot.
• Maintain protective coatings to retard drying and ultraviolet damage.
If the building was painted originally,it should remain painted.
Chapter 1 23
I '"","'''.' 3. Plan repainting carefully.
' • Always prepare a good substrate.Remove damaged or deteriorated
� ' paint only to the next intact layer,using the gentlest means possible,
�`- - -- � prior to painting,
"� ���-��'` - • Use compatible paints. Some ]atex paints will not bond well to
,;; -,
'� earlier oil-based paints without a primer coat,
�
� -
� , �� 4. Brick or stone that was not painted historically should not be
I�se approved technical procedures for painted.
cleaning,refinishing and repairing historic • Masonry naturally has a water-protective layer,or patina,to protect
rnaterials.Harsh cleaning methods,such it from the elements.Painting masonry walls can seal in moisture
as sandblasting, can damage the historic already in the masonry;thereby not allowing it to breathe and caus-
rnaterials and change their appearance. ing extensive damage over the years.
� 5. Repair deteriorated primary building materials by patching,
y � � piecing-in,consolidating or otherwise reinforcing the material.
• Avoid the removal of damaged materials that can be repaired,
� �� - • Isolated areas of damage may be stabilized or fixed,using consoli-
� � dants. Epoxies and resins may be considered for wood repair and
� _�1► special masonry repair components also may be used.
�' � 6. Repoint mortar joints where there is evidence of deterioration.
�� � • Duplicate the old mortar in strength, composition, color and tex-
� ture.
�� • Avoid using mortar with a high portland cement content,which will
� , be substantially harder than the original.
a
• Duplicate the mortar joints in width and profile.
� � �
I � �r� 7. Use the gentlest means possible to clean the surface of a structure.
� �� r • Perform a test patch to determine that the cleaning method will cause
When reconstruction of an element is
no damage to the material surface. Many procedures can actually
impossible,develop a new design that is have an unanticipated negative effect upon building materials and
a simplified interpretation of it. result in accelerated deterioration or a loss of character.
• Harsh cleaning methods, such as sandblasting, can damage the
historic materials,changing their appearance.Such procedures are
� inappropriate.
� � � • If cleaning is appropriate,a low pressure water wash is preferred.
- � � � _ �� Chemical cleaning may be considered if a test patch is first reviewed
� - � and negative effects are not found.
l�-` ^� � 8. Match the original material in composition,scale and finish when
�-�'' - replacing materials on primary surfaces.
• If the original material is wood clapboard, for example, then the
� replacement material should be wood as well.It should match the
f original in size,the amount of exposed lap and in finish,
Do not remove damaged materials that can • Replace only the amount required. If a few boards are damaged
be repaired. In this case, loose shingles beyond repair, then only they should be replaced, not the entire
may be re-secured while missing ones may Wall.
be replaced.
24 Design Guidelines
9. Do not use synthetic materials,such as aluminum or vinyl siding or � _
panelized brick,as replacements for primary building materials. ' �
• In some instances, substitute materials may be used for replacing '�- -
architectural details,but doing so is not encouraged.If it is neces-
sary to use a new material, such as a fiberglass column, the sryle � � ,
and detail should match that of the historic model.
• Primary building materials,such as wood siding and brick,should � �-_
not be replaced with synthetic materials. �
• Modular materials should not be used as replacement materials. -
Synthetic stucco and panelized brick,for example,are inappropri- _ � � � � �
ate. �_ _ _ ---- i __ � '
- _ - �� � ' �`r' - -
10. Covering original building materials with new materials is
inappropriate. � - �-�t�,..�
• Vinyl siding, aluminum siding and new stucco are inappropriate Commence with building cleaning af'ter
on historic buildings. Other imitation materials that are designed any repointing has completely cured.
to look like wood or masonry siding,but that are fabricated from
other materials,are also inappropriate,
• If a property already has a non-historic building material covering
the original,it is not appropriate to add another layer of new mate-
rial,which would further obscure the original.
11. Consider removing later covering materials that have not achieved
historic significance.
• Once the non-historic siding is removed,repair the original,under-
lying material.
• If a house has a stucco finish,removing the covering may be dif-
ficult, and may not be desirable.Test the stucco to assure that the
original material underneath will not be damaged.
� Q ° '�`,� �_ .�
� :. �� ■� �,�. �
;
- - - �,
� � . - �
'���n .�`� ."
r': ''� � ` �i
Consider removing later covering materials ';� �� , �
� - �:,
that have not achieved historic significance. ���.� -
Compare the left photo with the photo orc ��� � � , � 1
:�::. � t •
the right, after the synthetic siding was ' �� r
removed.Note how the lap dimensions orc � � ����,� �
' ' {Il��ti�`S�,
the origircal siding are inuch sm�zller. � � ,. -. � � p �? •"j�"���'
� Y��2��� �� ��.� ,,,,� � Ilill.���.�
. '.Sy��M � ___- -- -
i, � '
� �r._ _ � �
Chapter 1 25
C. Individual Building Features
�
. ' Windows
� � Policy:
' . � � The character-defining features of an historic window and its distinct materi-
I �
- als and placement should be preserved. In addition, a new window should be
' � ' in character with the historic building.This is especially important on primary
�� facades.
If stucco covers original siding, then its
removal is encouraged. Guidelines
1� - - - - _ �
1. Preserve the functional and decorative features of a historic
_ _ =�: , � i .�� window.
-____- = �� x - � • Features important to the character of a window include its frame,
_ �� sash, muntins, mullions, glazing, sills, heads, jambs, moldings,
- _ _ '� operation and groupings of windows. Repair frames and sashes
_ `a �,� rather than replacing them,whenever conditions permit,
� � � � • Window awnings and shutters are appropriate in limited circum-
stances. They are only appropriate on specific architectural styles
and commercial building types. Shutters were found on colonial
style buildings.
_,f,d��y=-- _: 2. Preserve the position,number and arrangement of historic windows
Repair wood features by patching or in a building wall.
piecing-in new wood elements that match • Enclosing a historic window opening in a key character-defining
the original. facade is inappropriate, as is adding a new window opening.This
-- is especially important on primary facades where the historic ratio
� � of solid-to-void is a character-defining feature.
-- • Greater flexibility in installing new windows may be considered on
., - rear walls.
1�;;� �C�
3. Preserve the size and proportion of a historic window opening.
�� � • Reducing an original opening to accommodate a smaller window
or increasing it to receive a larger window is inappropriate,
. � — 4. Preserve the historic ratio of window openings to solid wall on a
= primary facade.
Protect and maintain the srylistic features • Significantly increasing the amount of glass on a character-defining
and proportions of a historic window facade will negatively affect the integriry of the structure.
opening.
5. Match a replacement window to the original in its design.
• If the original is double-hung,then the replacement window should
also be double-hung,or at a minimum,appear to be so.Match the
replacement also in the number and position of glass panes.
• Matching the original design is particularly important on key char-
acter-defining facades.
26 Design Guidelines
6. In a replacement window,use materials that appear similar to the �
originaL � -- �-
• Using the same material as the original is preferred,especially on y���� -�� ^�
character-defining facades.However,a substitute material may be F`����, �� �
considered if the appearance of the window components will match ' I I�!� �'� � 2
those of the original in dimension,profile and finish. ����I i� , ,
li�� ;�� �� �
7. Match, as closely as possible, the profile of the sash and its `�� I ���''-'�-
components to that of the original window.
• Ahistoric wood window has a complex profile.Within the window's Protect and maintain stylistic features
casing, the sash steps back to the plane of the glazing (glass) in and proportions of a historic window
several increments. These increments, which individually only opening.
measure in eighths or quarters of inches,are important details.They
distinguish the actual window from the surrounding plane of the ' �
wall. -���-
. , .
-* - ��
8. Use a storm window to enhance energy conservation rather than
replace a historic window. � �= .��
• Install a storm window on the interior,when feasible.This will al- -
low the character of the original window to be seen from the public � � +'� , �
way. —
• If a storm window is to be installed on the exterior,match the sash P �
design of the original windows.A meta] storm window may be ap-
propriate if the frame matches the proportions and profiles of the Preserving the proportions of a historic
original window. It should fit tightly within the window opening structure helps ensure continuity within
without the need for sub-frames or panning around the perimeter. a district.
Match the color of the storm window sash with the color of the
window frame;do not use an anodized or a milled(a silvery metal- �� __ -
lic)finish.Finally,set the sash of the storm window back from the :� �'-�
plane of the wall surface as far as possible, .� "�—
�
i i ( �,
1 I
�- -- I
� I �
i 'i �
�-- 1� -
•---_-------•
_ i
�
_ �
� � _
�" �J�`
I j��
/
�--
� Z..__ �t.
The appearance of'the window comporcents
Typical primary window types seen on historic structures. should rnatch those of the original in
dimension,profile and finish.
Chapter 1 27
� Doors
, — — Policy:
� ''ti,� � � The character-defining features of a historic door and its distinct materials and
=�:;�'`.'� placement should be preserved.In addition,a new door should be in character
:�1�� ^ � ' with the historic building.This is especially important on primary facades,
.��"� , ,`� �
�,. � � I �� � ' Guidelines:
9. Preserve the decorative and functional features of a primary
� � � entrance.
- • Maintain features important to the character of a historic doorway.
� _��- These may include the door, door frame, screen door, threshold,
— glass panes,paneling,hardware, detailing, transoms and flanking
� — sidelights.
Preserve the decorative and functional • Avoid changing the position and function of original front doors
features of a primary door. and primary entrances.
� 10. Maintain the original proportions of a significant door.
�� �� • Altering its size and shape is inappropriate.
�C.1� 1 11. When a historic door is damaged,repair it and maintain its general
�� �� �� I��, historic appearance.
Door with Paneled Paneled Half GIa55
tran5om�nd Door �oor W;th �oor 12. When replacing a door,use materials that appear similar to that of
Sidelight5 g1a55 pane5 the original.
-� — • A metal door, if seen from the street, is inappropriate where the
C�CT D �� original was wood.
� �� 13. When replacing a door,use a design that has an appearance similar
� to the original door,or a door associated with the style of the house
f eriod Revival CraftSman
coion��i or commercial building.
���r ���r �eV1Vai • Very ornate doors are discouraged, unless photographic evidence
can support their use.
Typical primary door types seen on historic
residential structures. 14. If energy conservation and heat loss are a concern,consider using
a storm door instead of replacing an historic entry door on a resi-
dential building.
,�., • Generally,wood storm doors are most appropriate.
, ' - • A metal storm door may be appropriate if it is simple in design and
� 1 _ if the frame is painted so that raw metal is not visible.
- � �
_�
��
—`—f �
)
��
� . . �
- � I
i � �.
i -
If'a door requires replacement keep the
original door proportions.
28 Design Guidelines
ROOfS Typical Residential Roof Types
.-�—_
Policy: <"� ,T�
The character of a historica] roof should be preserved, including its form and �'� I ���
materials,whenever feasible. ��
Guidelines: Gabled roof Cross-Gabled roof
15. Preserve the original roof form of a historic structure. �`� ____
• Avoid altering the angle of a historic roof. Instead, maintain the --����� ��
perceived line and orientation of the roof as seen from the street. - �
• Retain and repair roof detailing. - - -
Shed roof Garrcbrel roof'
16. Preserve the original eave depth of a historic structure. _
• The shadows created by traditional overhangs contribute to one's �!~�_
� �
perception of the building's historic scale and therefore,these over- �'`��
hangs should be preserved.Cutting back roof rafters and soffits or � �
in other ways altering the traditional roof overhang is therefore
inappropriate. Clipped Gable roof Hipped roof
17. Minimize the visual impacts of skylights and other rooftop ��- -�
devices. ��
• The addition of features such as skylights or solar panels should --�-�_.__� _____-
not be installed in a manner such that they will interrupt the plane
of the historic roof.They should be lower than the ridgeline. Mansard roof Flat roof
• Flat skylights that are flush with the roof plane may be considered
on the rear and sides of the roof.Locating a skylight or a solar panel `� l
on a front roof plane should be avoided, _ _ _ \
_, � . �
� ,.
18. When planning a rooftop addition,preserve the overall appearance - �,�
of the original roof. � ..� ,
• An addition should not interrupt the original cornice or ridgeline. � _ '
� .
��
19. Preserve original roof materials. Y��� �
• Avoid removing historic roofing material that is in good condition. j
When replacement is necessary,use materials that are similar to the `
original in both style as well as physical qualities and use a color Continuing the traditional roof line will
that is similar to that seen historically. preserve the integrity of the historic
Specialty materials such as tile,slate or concrete should be replaced district.
� with a matching material.
20. Avoid using conjectural materials or features on a roof. _- �_ - - - _ _- _ _
• Adding a widow's walk(an ornate railing around the roof ridge)on
a house where there is no evidence that one existed creates a false � � � � � � 4
impression of the home s original appearance,and is inappropriate, �
for example.
�.-
r �
Flat roof'ed buildings are common[y f'ound
in the downtown district.
Chapter 1 29
21. New or replacement roof materials should convey a scale and texture
similar to those used traditionally.
• Composite shingles work best for many types of buildings.
• Roof materials should be generally earth tones and have a matte,
non-reflective finish.
• When choosing a roof replacement material the architectural style
of the structure should be considered,
22. If they are to be used,metal roofs should be applied and detailed
in a manner that is compatible with the historic character and does
not distract from the historic appearance of the building.
• Metal roof materials should be earth tones and have a matte,non-
reflective finish.
• Seams should be of a low profile.
• The edges of the roofing material should be finished similar to those
seen historically.The edges of standing seam metal roof were simply
bent downward at the edges of the roof with a very slight overhang.
In most cases the gutters hide this detail,
• Note that metal roofs work best on homes with front-facing gable
roofs,small homes and/or homes with simple roof forms,
• Stamped metal panels should appear similar to those seen histori-
cally,
• Many modern metal roofing materials do not have proportions that
are appropriate to the historic character of many local neighbor-
hoods.
Foundations
Policy:
There is one policy for the preservation of building foundations that serves as
the basis for all related design guidelines and supporting information.The Ciry
will use this policy and associated design guidelines in making its decisions for
a Certificate of Appropriateness.In cases where special conditions of a specific
project are such that the detailed design guidelines do not appear to address the
situation,this general policy statement will serve as the basis for determining the
appropriateness of the proposed work.Keeping moisture away from a founda-
tion is the primary objective.
Guidelines:
23. Vines and other plants should not be allowed to grow on foundation
walls.
• Plants tend to retain moisture and keep damp walls from drying.
• Weeds and shrubs should not be allowed to come in contact with
foundation walls.
• Avoid piling items such as firewood, trash, or mulch against a
foundation wall, since these can hold moisture too and let it into
the wall.
30 Design Guidelines
24. If the foundation walls have ventilation openings,be sure these are
kept clear.
• These help the walls dry out after getting wet(they also help keep
moisture from building up in basements and crawl spaces).
• Ventilation openings or basement windows should not be filled in
with permanent materials such as brick or concrete block;try wood
or metal panels in place of window glass if windows must be blocked
up,but retain the wood or metal framing and sash.
25. Make sure the soil or pavement next to the foundation wall slopes
away and not toward the wall.
• Provide positive drainage away from foundations to minimize rising
moisture.
• This will keep water from soaking down into the wall and surround-
ing soil.Wet soil can lose its weight-supporting capaciry and result
in foundation and wall cracks.
• Watch for open joints between pavement and foundation wall where
water flowing down the wall can get into the soil,
26. Gutters and downspouts should not be clogged or leaking and should
carry water away from the foundation wall.
• During heavy rains, watch to see if water is flowing or dripping
down the building wall and into the foundation.
• Downspouts should be connected to underground drains if possible
(check to be sure these are clear,too),or at least should empty onto
splash blocks which carry the water away from the foundation
wall.
27. Avoid cutting new window and door openings in foundation walls,
or enlarging existing ones.
• This can weaken the foundation significantly.If you need to make
these alterations, get qualified advice on how the foundation will
be affected.
28. Avoid covering foundations with inappropriate materials.
• Materials such as composite"brick" wallpaper diminish the char-
acter of the structure.
• These coverings can also hold moisture in the foundation wall and
cause damage to the structure.
Chapter 1 31
-: D. Rehabilitation of Historic Commercial Properties
( � Preservation of Commercial Storefronts
+ ,
Policy:
� � - Many storefronts in Bozeman have components seen traditionally on commercial
'� buildings.The repetition of these standard elements creates a visual unity at the
:'�' street that should be preserved.
��
► -��
i I� Guidelines:
— ! 1. For a commercial storefront building,a rehabilitation project should
� preserve these character-defining elements:
This is an appropriate addition to the rear . Display windows: The main portion of glass on the storefront,
of a historic commercial building.
where goods and services are displayed.
• Transom: The upper portion of the display window,separated by
� a frame.
'�'��- ;� _ • Kickplate: Found beneath the display window. Sometimes called
- i - " ` a bulk-head panel.
� � � �1���i �,. • Entry: Usually set back from the sidewalk in a protected recess,
� 1 • Upper-story windows: Windows located above the street level.
�� � � These usually have a vertical orientation,
i� ,� "'—� � • Cornice molding: A decorative band at the top of the building.
1
; ��� � � • These features should not be altered,obscured or removed.
� • This will help maintain the interest of the street to pedestrians by pro-
� viding views to goods and activities inside first floor windows.
- : ,��
•� � � 2. If a storefront is altered, restoring it to the original design is
preferred.
� � • If evidence of the original design is missing,use a simplified inter-
' pretation of similar storefronts.
-` �', � • Historic photographs of Bozeman and its commercial buildings are
� 1,-- � i � � widely available and should be used when determining the original
� ���ti�;� � r � character of a storefront design.
'�I.�.(.�I � '�' ,
�� „'�
� 3. Alternative desi ns that are contem orar inter retations of
�� � .. � ��. i g P Y P
- traditional storefronts may be considered where the historic facade
These images show buildings with is missing and no evidence of it exists.
alternative designs that are appropriate • Where the original is missing and no evidence of its character ex-
interpretations of a traditional storefront. ists,a new design that uses the traditional elements may be consid-
ered,
• However,the new design should continue to convey the character
of typical storefronts, including the transparent character of the
display window.
• Greater flexibiliry in treatment of rear facades is appropriate.How-
ever,care should be taken to preserve storefronts on those buildings
which have traditional commercial storefronts on more than one
facade,such as a carner building.
32 Design Guidelines
4. Retain the kickplate as a decorative panel. ,. �
• The kickplate,located below the display window,adds interesting .�,�; _`'-
detail to the streetscape and should be preserved. � : � � �
• If the original kickplate is covered with another material,consider = ��� , , `�
exposing the original design, - - _
� �.
5. If the original kickplate is missing, develop a sympathetic �`� '�� �
. � i
replacement design. , -
• Wood is an appropriate material for replacements on most styles. ��, t � �!
However,ceramic tile and masonry may also be considered when - ' �
appropriately used with the building style. � ��F � s _
6. Preserve the character of the cornice line.
Preserve the historic character of a
• Most historic commercial buildings have cornices to cap their storefront when it is intact.
facades. Their repetition along the street contributes to the visual
continuity on the block.
• Many cornices are made of sheet metal,which is fairly lightweight
and easy to repair.Areas that have rusted through can be patched � �
^ �1
with pieces of new metal. � � �j��, �
� � � i•�
� _ ' -
���� ,� f�?..,,:ic. ,� .
ediment � ���p�r t:�'
'�� p - - '� _
L L Ll L L C U�-�L L V C L L-C L� � � GOI"YIIGB �
__ _ Traditional Main Street building facade.
upper
� 5tory
� window5
� - � ' ` � �� midbelt
�cornice
i � traneom
�,�,.
�' di5play
/window
I
I � pier5
� �� '.��' _� \rece55ed
entry
kickplate
Typical commercial components.
Chapter 1 33
7. Reconstruct a missing cornice when historic evidence is available.
• Use historic photographs to determine design details of the original
cornice.
- - ��'�' . _ • Replacement elements should match the original in every detail,
- - - especially in overall size and profile.Keep sheet metal ornamenta-
� ���-- , - tion well painted,
-., -� � �n,<«n��t
��`�y • The substitution of another old cornice far the original may be
1 � �4�4� �.:�� ~_TJ r . .
��.-'
�����' � � r-������ � considered,provided that the substitute is similar to the original.
_- -� - ,
,, ,
8. A simplified interpretation is also appropriate for a replacement
" ' � �_- cornice if evidence of the original is missing.
• Appropriate materials include stone,brick and stamped metal.
_�
t . _ _ 9. Retain the original shape of the transom glass in historic
-_ �` storefronts.
� - • Transoms,the upper glass band of traditional storefronts,introduced
' � - _
r`.� �- �t;I'� �� light into the depths of the building, saving on light costs. These
J � �' '� �- � �w•Ti-�-, h:�, bands should not be removed or enclosed.
�i- - - _ - • The shape of the transom is important to the proportion of the
'' --� storefront,and it should be preserved in its historic configuration.
�" - `� - � '�' � � • If the original glass is missing, installing new glass is preferred.
When the reconstruction of an elernent is However,if the transom must be blocked out,be certain to retain
impossible, a si�nplified interpretation is the original proportions. One option might be to use it as a sign
also appropriate. pane] or decorative band.
10. A parapet wall should not be altered,especially those on primary
elevations or highly visible facades.
• When a parapet wall becomes deteriorated, there is sometimes
a temptation to lower or remove it.Avoid doing this because the
flashing for the roof is often tied into the parapet,and disturbing it
can cause moisture problems.
• Inspect parapets on a regular basis.They are exposed to the weather
more than other parts of the building, so watch for deterioration
such as missing mortar or excessive moisture retention.
• Avoid waterproofing treatments, which can interfere with the
parapet's natural ability to dry out quickly when it gets wet,
34 Design Guidelines
Additions to Commercial Properties
_�
Policy: _ - - - -�---
Three distinct types of additions to historic commercial buildings may be con- -
sidered.First,a ground-level addition that involves expanding the footprint of �; . �
, ��-' ' � . �
a structure may be considered.Such an addition should be to the rear or side of ' �� i
a building. This will have the least impact on the character of a building,but ��r�t=-,
_ ,�
there may only be limited opportunities to do this. `: -.
�-_,- _ �
t� ��' __ _
Second,an addition to the roof may be designed that is simple in character and -�-� � _ --
set back substantially from the front of a building. In addition, the materials, ---`
window sizes and alignment of trim elements on the addition should be compat-
ible to those of the existing structure, An original three-story building,before an
addition. Compare with sketches below.
A third option,which only will be considered on a case-by-case basis,is to design
an addition within the wall plane of the existing building.This option is the most New ddition to the eide
difficult and requires the most care to respect the relationship of the building
to the street. Such an addition should provide a visual distinction between the ------__
existing structure and its addition.This may be accomplished through the use -�-__ --_
of a belt course element or a subtle change in building materials. l��-`-`_`:: _�� �
� �� C� -
l
Guidelines: �-��: r� F��t��
11. An addition should be compatible in scale,materials and character - �� �r_��.
with the main building. �, -;;ti�'
• An addition should relate to the building in mass,scale and form. ���� �
It should be designed to remain subordinate to the main structure. `--� �� �-'� _- -
• An addition with a pitched roof is inappropriate for a building with ' �_
a flat roof. --
t-�="
• An addition to the front of a building is inappropriate.
12. An addition should not damage or obscure architecturally important New addition to the rear
features.
• For example,loss or alteration of a cornice line should be avoid- - �
-- �
ed. ----- -- :�
�'�:--: `---
_,� r---
13. An addition may be made to the roof of a building if it does the - � �._�
following: _ �.�C� ~-,
• An addition should be set back from the primary,character-defin- �-'� l� ��
ing facade, to preserve the perception of the historic scale of the �-`" f=-�
building, -�� �
• Its design should be modest in character,so it will not attract atten- �� - -��
�r� ' 'l
tion from the historic facade. �� ,
• The addition should be distinguishable as new, albeit in a subtle ���-, I
way. -��_ =� , ��
r_ ..--..�-. . �
1�I �J �LT . �
I"" , f'.� -_ ___-
.�{
�-�--':-
Appropriate alternative approaches to
additions.
Chapter 1 35
14. In limited circumstances,an addition may be made to the roof of a
• ,-� building and not be set back from character-defining facades,if it
'_ ;,�,:
,_�, ;� does the following:
� %� � � �; ,' • An addition should be distinguished from the existing building.A
-�,� " change in material or a decorative band can be considered to ac-
� complish this.
� L
� • An addition should maintain the alignment of storefront elements,
� �
s' - moldings,cornices and upper-story windows that exist on the main
part of the building,
• The addition should also be compatible in scale,texture and materi-
als with the original.
Signs
Policy:
Historically,signs that were mounted and/or painted on the exterior of a build-
ings advertised the primary business conducted there.Many of these signs still
stand today and should be preserved when feasible.
Guideline:
15. Preserve an historic sign where it exists,when feasible.
Preserve an original porch.Avoid using a
poY�hsuppoYrtharWouiabesubsranr�aily E. Rehabilitation of Historic Residential Properties
srnaller than other supports on the porch
or than seen historically. POPCh@S
Policy:
Preserve
;��J r Preserve a porch in its original condition and form. A porch is one of the most
'�ti _.�- important character-defining elements of a facade.Porches help to provide visual
�---____ _'�, ___:_�� interest to a building, and can influence its perceived scale,protect entrances
���� � -�` and pedestrians from rain and provide shade in summer.
`j �� _ ___
'-`=- ==- Guideline:
��� �r
� 1. Maintain an original porch,when feasible.
Any new additions should not take away • Maintain the existing location, shape, details and posts of the
from the original historic structure. An porch.
addition on the back of a structure is . Missing or deteriorated decorative elements should be replaced to
acceptable. match existing elements; e.g., match the origina] proportions and
spacing of balusters when replacing missing ones.
• Avoid using a porch support that would be substantially smaller
than other supports on the porch or than that seen historically.
• Do not remove an original porch from a building,
2. Enclosing a porch with opaque materials that destroy the openness
and transparency of the porch is inappropriate.
• Where a porch must be enclosed,use transparent materials(such as
glass)and place them behind the balusters and balustrade to preserve
the visual character of the porch,
36 Design Guidelines
3. Where building codes stipulate that new porch railings lower than �L=�� �
36 inches in height be augmented or corrected to raise their effec-
tive height to 36 inches,consider the following: - - --_ —
^
• Provide a smaller railing above the historic railing to achieve a � � .
greater overall railing height. — �
��
Policy: � ,
Repair ��
Repair a deteriorated porch instead of removing or replacing it.The preferred �-� � '
treatment for an altered porch is to repair it, rather than replace it altogether. � � ,;�;,,�
This approach is preferred because the original materials contribute to its his- _ � � `
4 C� i� ��
toric character. Even when replaced with an exact duplicate, a portion of the �, � x- r _�I
�',�
historic building fabric is lost; therefore, such treatment should be avoided �
when feasible. ' � �
� �
Guidelines: While a siinple design solution,the use of
4. Repair those elements of a porch that are deteriorated. metal pipes as replacement porch rails is
• Removing damaged materials that can be repaired is not appropri- inappropriate.
ate.
5. Consider restoring an altered porch back to its original design and
configuration.
• If the historic design of the porch is unknown,then base the design
of the restoration on other traditional porches on buildings of a
similar architectural style,
• If the original porch steps have been replaced with concrete,consider
restoring them to their original,wood condition.If termite control
is of concern,then consider only making the bottom step concrete
and not the entire stair assembly.
;:►. ___ _
� -
,.
/. _
-" � � � C
�r �---._—� ,
� r �
i _ ��
The porch on the left has experienced an inappropriate alteration; enclosed railing.
Cornpare it with its "rehab" in the photo to the right.
Chapter 1 37
Policy:
Replace
Replace a missing porch with one that appears similar to that seen historically.
When a porch is to be replaced, the first step is to research the history of the
house to determine the appearance and materials of the origina]porch.The most
important aspects of a replacement design are its location, scale and materials.
Unless reconstructing a porch from historical documentation, it is not neces-
sary to replicate the details of the original porch or a porch design copied from
a similar style house. However, it is important that new details be compatible
(similar form, scale and materials)for the design of the porch and the sryle of
the house.
Guidelines:
6. When porch replacement is necessary, it should be similar in
character,design,scale and materials to those seen traditionally.
• The size of a porch should relate to the overall scale of the primary
structure to which it is attached,
• Base the design of a replacement porch on historical documentation
if available.
• Where no evidence of the historic porch exists,a new porch may be
considered that is similar in character to those found on comparable
buildings.
��_- `fi. __� � __��� � _ ,-J�'���-J:
-�-Ju � L --- ---�� 'r�._ � . � �!�WU,�- --
...�� . �.._ _� � �� I .. _ . . . � . .. ... . - �
n �I - A ,
''1 :' , . I• I .. I .
— - ---- I I �r ° � __ + :- --� '
1 1`r � ,
I i � �
Existing Condition: Craftsman style Preferred Approach, when historical Acceptable Approach, when historical
house with an enclosed porch. documentation is available: Craftsman documentation is notavailable:Craftsman
style house with a replacement srylehousewithasimplifiedinterpretation
porch designed similar to that seen of a traditional porch design.
historically,
� .�
/ .� :, :��, ,\ ;A;
� - � �� � � � .
.� �. � �: �. ,�. - � :�..
, _ --- " -- _-- ;r - _ —1
'I J. � � II �_� � �
� � � ��
- - 1 lT
t � � :�
i,j- � r_
Existing Condition:A folk or vernacular Preferred Approach, when historical Acceptable Approach, when historical
style house with the original porch documentation is available: A folk or documentation is notavailable:Afolk or
removed. vernacular sryle house with a replacement vernacular style house with a simplified
porch designed similar to that seen interpretation of a traditional porch
historically. design.
38 Design Guidelines
7. Porch supports should be of an appropriate size to compliment the neW ra;i - - ,
entry and existing structure. �-_:==----��-
• Wood columns are best for most structures in Bozeman, �'� - �"=-�
Brick or stone may be appropriate for some architectural styles. � � �_� -
• ,-J--,__ _
• See the style section of the guidelines far further recommenda-
tions.
8. A porch should use similar materials to that seen historically. __�
• Use materials similar to those seen historically.Wood decking,steps, ___ - _ -_ _
balustrades and porch supports were most common. -��—
• While matching original materials is preferred, when detailed
correctly and painted appropriately, fiberglass columns may be Consider providing a sr,2aller railing
considered. above the historic railing to achieve a
• Do not replace a wood porch decking and steps with concrete, greater overall railing height.
Additions to Residential Properties � ___-- -
.—- - _,�
Policy: _ -
When planning an addition to an existing building, consider the effect it will ,��/��M��� '
have on the structure.The following guidelines avoid any negative impacts of •f�� �
an addition:While the choice of a style is not a concern of these principles,there
is an awareness that each property has some style that helps define its character. ? ���
Additions that reflect elements of the existing predominant style reinforce the �` , ,
positive character.Those elements that seem unintentionally foreign to the in- This detail shows ornate rafters which
dividual property and detract from the overall design should be minimized and should be preserved during a rehabilitation
not considered positive elements to base the design of an addition on. process.
Guidelines:
9. The loss of historically significant features,where they exist,should
be minimized.
• When preserving original details and materials,follow the guidelines
at the beginning of this chapter.
10. Place an addition at the rear of a building or set it back from the
front to minimize the visual impacts.
• This will allow the original proportions and character to remain
prominent.
• A roof top addition should be set back at least 10 feet from a
primary facade.
Chapter 1 39
�_-� ll. A new addition should respect the mass and scale of the original
t-._�� structure.
� • While a smaller addition is visually preferable,if the addition would
•-.�, -' be significantly larger than the original building, one option is to
' - � ��-_--� separate it from the primary building,when feasible,and then link
� ' it with a smaller connector.
� • In some cases,adding vertically,through construction of dormers,
These additional structures are set back wil] help to minimize the impacts of additions and preserve rear
from the facade of the original historic y�'ds.
home. • A new addition should fit within the range of stories that help define
the character of the neighborhood.
• For a larger addition,break up the mass of the addition into smaller
modules that relate to the historic house.
� =-- � • An addition should be simple in design to prevent it from competing
� ���`�� with the primary facade.
� _:�,
�� _- -,
� -_
---- ' - - 12. The roof form of a new addition should be in character with and
�__----�:�'�;:-=-��
--_, ti��� - �� - subordinate to that of the primary building.
1� 1 ���__._``"���� It is im ortant to re eat the roof lines and slo es found on the ri-
=:1J_� � .- ' P P P P
-��;�--�-=`"' mary structure.Typically,gable,hip and shed roofs are appropriate
for residential-type building additions.Flat roofs may be appropriate
for commercia]buildings or International style structures,
This addition is set back behind the
original structure and the new addition is
accessed by a connector. 13. When constructing a rooftop addition, keep the mass and scale
subordinate to the primary building.
• The addition should not overhang the lower floors of the primary
_ ��`� building.
_ .�
- �� 14. When adding a dormer,it should be in character with the primary
�- :�- i structure's design.
�`:����- "�� ' • A dormer should be subordinate to the overall roof mass and should
` l ���� -� "�� � � be in scale with ones on similar historic structures.
,
-'�]��\`"="'��. . ��`��j .�_= • The dormer should be located below the ridge line of the primary
f=-�__ ' ' � � -=-- structure.
��� �] -
� -� � [� �� • The number and size of dormers should not visually overwhelm the
- =' -�:===='� .
�-z____ � -_-=- scale of the primary structure,
-�
• Dormers are rypically added to a structure to increase the amount
This roof top addition is not subordinate of headroom in upper floors. Traditionally, dormers are designed
to the existing structure. as smaller elements. If significant increases in space are desired,
do not consider oversized dormers.Rather,develop an addition to
the rear of a structure,
15. Raising a building may be considered only if significant features
are preserved.
• The historic porch design must remain intact.
• Minor alterations to porch stairs may be considered,but the overall
design must be preserved.
• Window and door locations and alignments should remain intact,
40 Design Guidelines
F. Secondary Structures
Policy:
Preserving the historic fabric along an alley in a historic district is important.This f -
includes sheds,garages and carriage houses.They are traditionally subordinate '�
in scale and character to the primary structure and are typically located to the - ��
rear of the lot.These features should be retained,
� _ ��;
•
Guideline: ' y �
1. Preserve an existing secondary structure when feasible. ,, ' �'
• Retain original materials when feasible. ' ��
• Maintain the subordinate character of the structure also.
,�
G. Adaptive Re-Use
Policy:
Converting a building to a new use that is different from that which its design
reflects is considered to be"adaptive re-use."For example,converting a residen- This building has been successfully
tial building to an office is adaptive re-use.A good adaptive re-use project retains �apted from a single-household home to a
bed and breakfast in the Bozeman Brewery
the historic character of the building while accommodating its new function. Historic District.
Guideline:
1. Seek uses that are compatible with the historic character of the
building.
• Building uses that are closely related to the original use are preferred.
An example would be the conversion of a residential-rype building
to an office. This can be accomplished without radical alterations
to either the interior or exterior of the structure.
• Avoid altering porches and original windows and doors.
H. Historic Additions
Policy:
Some early additions may have taken on historic significance of their own.One
constructed in a manner that was compatible with the original building and that
is associated with the period of significance may merit preservation in its own
right,these additions should be evaluated.
In contrast,more recent additions that detract from the character of the building
should be considered for removal.
Guideline:
1. Preserve an older addition that has achieved historic significance
in its own right.
• For example, a porch or a kitchen wing may have been added to
the original building early in its history.Such an addition is usually
similar in character to the original building in terms of materials,
finishes and design.
Chapter 1 41
42 Design Guidelines
CHAPTER Z
DESIGN GUIDELINES
FOR ALL PROPERTIES
_ - �
i
. � e � � � , �
T • � , � ' ��I�
I � I ' , � �
�� `+ � "
i - �
. . - � - . _" � �
r � �� -
� I�
1 �� �
I
_ �r _ - -
Appropriate new infill building.f'or the corrimercial character area.
Chapter 2 43
This chapter covers design guidelines for all properties. It includes a
Ifl thlS ChapteP: variety of topics that may arise in rehabilitation projects,new build-
ing designs and site improvements.
A.Topography
B.Street Patterns
C.Alleys
D.Streetscape
E.Landscape Design
F.Building Form
G.Solid-to-Void Ratio
H.Materials
I.Architectural Character
J.Parking
K.Buffers
L.Site Lighting
M.Utilities and Services
44 Design Guidelines
CHAPTER Z �`��� �
� �
_f�� ` ✓�;,
DESIGN GUIDELINES � `�� �-� �
�;,� �"
� �»9�
�;` �4`
FOR ALL PROPERTIES " �
';��;.,�--���` -_
�� � `:`Vf.� � �
_•.'L1'.t� � '.
EStabli5hed '�r���';
Q. Topography 5etback range �'�.,�`
Where there is uniform alignment, a new
building should match the existing build-
PO11Cy: ings on a block.ln other cases,where there
Site work should be planned to protect the assets of the existing topography. is a narrow range of variation in setback,
then new building may fit within that es-
Guldellries' tablished range.
1. Minimize cut and fill on a site.
• Divide large grade changes into a series of benches and terraces,
where feasible.
2. Design a building foundation to conform to the existing topography,
rather than creating extensive cut and fill.
• Step the foundation of a building to follow site contours, when
feasible.
• If stepping the foundation is not possible, disguise the cut with
building placement and/or building walls,and provide a landscape
buffer system at the top of cut,
3. Minimize the visual impacts of cut and fill on a site.
• Regrade the site as a stable,"natural" slope,when feasible,
B. Street Patterns
Policy:
Historic settlement patterns seen in street and alley plans often contribute to the
distinct character of the historic district and therefore they should be preserved.
These street plans influence the manner in which primary structures are sited
and they also shape the manner in which secondary structures and landscape
features may occur on the site.
Guidelines:
1. Respect historic settlement patterns.
• Site a new building such that it is arranged on its site in a way simi-
lar to historic buildings in the area.This includes consideration of
building setbacks and open space,
Chapter 2 45
;'.�� �, , C. Alleys
�,.
"' �• 1fii �. Policy:
�,. �.,
'` ' � Alleys accommodate service functions and provide pedestrian connections and
- secondary vehicle access.All alleys,both paved and unpaved,contribute to the
�-' � �'`'' � character of the district.
.i,,,
�
��- r.
` Guidelines:
;� . _ -_� ;�� , �� � 1. Unpaved lanes contribute to the distinct character of the
+ � ' ' � � neighborhood; therefore, they should continue in their "rustic"
' " state,when feasible.
, �� � • In some instances where it is necessary to keep dust levels down,
' i • and it is necessary to pave the alley,recycled asphalt is the preferred
.,• , ti � '" ' material.
I� lw��� ''
' . - -- 1 2. The traditional scale and width of alleys should be continued.
��- _ _ � - �C • Maintain the traditional character and scale of an alley by locating
. - - buildings and fences along the a11ey edges to maintain the a11ey
Maantazn the traditional character of the edge.
streetscape. The character changes be-
tween coininercial and residential areas. .r � �
In coininercial areas street trees, light �% � � .
: .,
fixtures and furnishings accent the public -- --- ' . �
sidewalk. In residential areas planting � � � � �
strips are rypically found between the curb ' �'- �
..� . -.. �.
and.ridewalk. - - _�_,�.�i�
\ ' ,,,��-' ���'
.��,
, l � � ��_� , � � ����r���
�'� • � •
•' �� �_ r
� �� .I
:� c. - ���'� � �i � _
� , I
� ~t � � ~ �
� - - �� A+' �',�
�.��;� . ' � `r �`���� •
�� ��� ►��' 't�� F �
•� _`� . I� >�S
i + ' ' •�
_ -� `
_ .`y • . _ � � �J � �
- r• .
The traditional scale ancl width of alleys can be viewed in this 1940 photograph.
Note the secondary structures that line the alley edge,rreuch like they do today.
(Photo credit:Gallatin County Historical Society)
46 Design Guidelines
D. Streetscape ��•_�. - �
r
.�,_ ._� - . .
Policy: ` �
Maintain the traditional character of the streetscape.This includes a rich col- -- �`'�'
lection of varying street designs,sidewalk types and street trees. � '
. �� ,(� �,
�. _�__ . -
Guidelines: �_ I r -� � ���p��
1. Maintain the variety of street paving designs. ���:' "= s1 —�-^�'
• Most streets in the neighborhood are paved and have both curb and �
gutter.However,some streets lack sidewalks or paving.Thus,they
possess their own character and serve as informal pedestrian ways. Bozernan should preserve the mature trees
that line the street.
This tradition of unpaved streets should continue when it is not a
hazard to pedestrians or bicyclists. -- ��'3�
t =t L
2. Maintain the variety of sidewalk designs. ,�, ::�
Y� �� , ,�-
• Where a detached (sidewalks separated from the street by a strip � �r1 � .�� -
.T _ , J �
of grass) sidewalk exists,it should be preserved. ��, �� � � y�'- ��'
Where no sidewalk exists a new sidewalk is required;it should be �-�'� _ _--f�' �
• constructed to be in character with the traditional sidewalks in the '' � ' � Frant yard
neighborhood, `--'�� Detached 5�dewalk
>'� Planting 5trip
3. Continue the use of planting strips. - = ����.��
• Planting strips should act as a transition between public and semi-
public spaces. Streetscapes such as these should be con-
tinued throughout the neighborhoods.No-
• Where planting strips between the curb and sidewalk exist they tice the lack of fences in the front yards and
should be maintained. the use of sidewalks and planting strips.
• If new detached sidewalks are installed in the neighborhood,new
planting strips should be provided. -- ' �: :'
` i` ,�,
t �r �"'' — '--
4. Continue the pattern of street trees in a block.Because street trees .��'�
serve various aesthetic and practical functions, they should be ,-
maintained. _ �c
• Existing street trees should be preserved,when feasible. , ,y.+�
• If a new detached sidewalk is to be created, street trees should be �` , • � � �,�� �
� an accompanying feature, �����:
If a new sidewalk is to be mstalled,it should detour around mature �
street trees,when feasible.
• When an existing street tree dies,it should be replaced. .'
Any new developments should include street trees, �
• The historic urban design character for street tree placement should
be considered when enforcing city street standards,
Continue the pattern of street trees in resi-
dential neighborhoods.
Chapter 2 47
.� Y�,tiy�
E. Landscape Design
•,�.•_ _
���_�---_ ., PoliCy:
: ���'� Traditionally, plant beds were located around building foundations, along
.._
� �� �'I ;�� � '� �� walkways and sometimes in front of fences.Some of these plantings may have
' historic significance and should be retained,to the extent feasible.Some mature
�__ , �� _���� � trees may also contribute to the historic landscape and should be preserved,
Guidelines:
—� 1. Preserve and maintain mature trees and significant vegetation within
Notice the traditional gabled roof used all corridors.
as well as the porch; these make up the Include existing vegetation as a part of a landscape design scheme
overall building form. �
where appropriate.
� �_ -�1 • In development areas,healthy trees and vegetation clusters should
�.r--=��1' - - '1. be identified for preservation.Special consideration should be given
Q� - to mature trees,6"or greater in diameter,and to vegetation clusters
��"� �
,� ,. _ . with significant visual impact.Vegetation designated for preserva-
- :;�ti �� tion should be incorporated into new development site design to
-- _ ��;1,�� �{����;--� the maximum extent possible.
' � .
; _, . r�fr
� � :�, r
�'---�__ . ����. F. Building Form
-
Avoid using exotic roof forms such as this
A frame exainple.Notice the discontinuiry PoliCy:
in building forms along the street. A similarity of building forms also contributes to a sense of visual continuity.
In order to maintain this sense of visual continuity,a new building should have
basic roof and building forms that are similar to those seen traditionally.Overall
facade proportions also should be in harmony with the context.
Guidelines:
1. Use building forms that are similar to those seen traditionally on
the block.
• Simple rectangular solids are typically appropriate.
2. Exotic building and roof forms that would detract from the visual
continuity of the street are discouraged.
• Geodesic domes and A-frames are not generally considered tra-
ditional building forms and should not be used in the designated
historic districts,
• Sloping roof forms such as gable and hip roofs are appropriate in
most residential and transition areas.
• Flat roofs are appropriate in most commercial and transition areas,
and in some cases may be appropriate in residential areas,
48 Design Guidelines
G. Solid-to-Void Ratio
Policy: - _
_ 'i , � :_�
A typical building appeared to be arectangular solid,with small holes"punched" ,<� ' � ��� �
�__:
in the walls for windows and doors. Most buildings had similar amounts of y�� --� � f''�-;, �i'
glass,resulting in a relatively uniform solid-to-void ratio.This ratio on a new � �a�i<� - ��a�:.,�"�p;.�`"�
building,the amount of facade that is devoted to wall surface, as compared to _ �_��1� �
that developed as openings,should be similar to that of historic buildings within ---_= -'
the neighborhood. -
Guideline:
Using too much glass in areas visible from
1. Use a ratio of solid-to-void(wall-to-window)that is similar to that the street is out of character in a residential
found on historic structures in the district. neighborhood.
• Large surfaces of glass may be inappropriate. Divide large glass
surfaces into smaller panes similar to those seen traditionally.
�__
-J� ��
� -
�s
'� I
�. . ,�
�� __ - ,�,,I-.
�_.
This new infill commercial building uses a traditional solid-to-void(wall-
to-window)ratio that is found on commercial structures in the downtown
district, which is appropriate.
Chapter 2 49
H. Materials
Poi��y:
� Building materials of new structures and additions to existing structures should
contribute to the visual continuity of the neighbarhood. They should appear
��� similar to those seen traditionally to establish a sense of visual continuity.
�` ,
�� Guidelines:
1. Use building materials that appear similar to those used traditionally
- -�- �I - in the area.
Use building materials thatappear sirnilar • Horizontal lap siding is appropriate in most residential neighbor-
to those used traditionally in the area. hoods.Brick and stone are also appropriate in most areas.
• All wood siding should have a weather-protective finish.
• The use of highly reflective materials is discouraged.
�� 2. The use of masonry that appears similar in character to that seen
historically is appropriate.
• Brick should have a modular dimension similar to that used tradi-
� � � tionally.Brick larger than the nominal2-3/8" x 8"is discouraged.
�-�. • Stone,similar to that used traditionally,is also appropriate.
, � � 3. New materials that are similar in character to traditional materials
• � ` - may be acceptable with appropriate detailing.
• Alternative materials should appear similar in scale, proportion,
i texture and finish to those used traditionally.
4. Use building materials that contribute to the traditional sense of
scale of the block.
i • This will reinforce the sense of visual continuity in the district.
The use of hardiplank horizontal lap siding _
is appropriate in most residential neigh- ��
borhoods outside of the historic district. _ ,
�._. ,
_ . - .�,�. .
-`_,�: ; . � l .
..�.- • -� _
i�l t'T
I Ii
r. �'
1
. 1 �
^7 .��\ `
w�l. • � _
, �
. ' .
�� .
�
The use of masonry that ' - ��
appears similar in charac- � - ;
, �
ter to that seen historically ,
is appropriate. � �
50 Design Guidelines
I. Architectural Character �
,�
Pou�y: � � ��' --
New construction should distinguish itself from historic structures. , �'�r
-'�= .�. `,
� ,�
Guidelines: � •
�
1. The imitation of older historic styles is discouraged for newer ''
structures.
• One should not replicate historic styles, because this blurs the �' -=—���
distinction between old and new buildings, as well as making it Contem�orary interpretations of traditional
more difficult to visually interpret the architectural evolution of the details are encouraged.
district.
2. Contemporary interpretations of traditional details are
encouraged.
• Interpretations of historic styles may be considered,if they are subtly
distinguishable as being new.
• New designs for window moldings and door surrounds,for example,
can provide visual interest while helping to convey the fact that the
building is new. Contemporary details for porch railings and col-
umns are other examples.New soffit details and dormer designs also
could be used to create interest while expressing a new,compatible
sryle,
Chapter 2 51
; J. Parking
1 4�� '-�'' �
� ��' � -' �` Policy:
� • '� _ �_ The visual impact of surface parking should be minimized. On site parking
, ..�_ -_ --
� � ''� should be subordinate to other uses and the front of the lot should not appear
- F� - - - to be a parking area.
- L
Guidelines:
�,_ _ ,._ x 1. Minimize the visual impact of surface parking in residential
Where a parking lot abuts a public side- neighborhoods.
walk,provide a visual buffer. • A parking area should be located to the rear of a site,
• Do not use a front yard for parking.Instead,use a long driveway,
•-�
�_ or alley access,that leads to parking located behind a building.
I I • Consider using ribbon paving in residential neighborhoods to mini-
� �-
mize the amount of hard surface paving,
� ti � 2. Locate a surface lot in the interior of a block whenever possible.
, • This acknowledges the special function of corner properties,as they
, are generally mare visible than interior lots,serve as landmarks and
� �� provide a sense of enclosure to an intersection.
I ' 3. Site a surface lot so it will minimize gaps in the continuous building
wall of a commercial block.
� � • Where a parking lot shares a site with a building,place the parking
�-� � � at the rear of the site or beside the building.
I I � ' - -
� ' � � � ,� � I
I � � � � I �
� � �` - - `� ' �
� -- `� I I � ��
� I � �
I ��� - r � .--,-
, kIn residential neighborhoods where alley � � � i I �
access is possible the use of parking off the � �
alley is preferred and appropriate.Mark- � � �
ing the parking spaces with a different type � I ' �
of material is appropriate as well. � � � � ����� I
� (j1; �
I ,� � � ��- � I � � �
�L, � � � .. - �� �--� � �---_l
-��-.1 1�
� � �
Bef'ore After:option 1 After:option 2
In commercial or adaptive re-use areas parking is preferred to be set to the rear of the
structure.
52 Design Guidelines
� --- - - - �- - 1
_ ___ 1
� 1
.� �
' � �r � � ��� 1 l� ,
� ,. �
� ; ,,,, �
Where a parking lot abuts a public sidewalk,provide a visual buffer.
4. Where a parking lot abuts a public sidewalk, provide a visual
buffer.
• This may be a landscaped strip or planter. A combination of trees
and shrubs can be used to create a landscape buffer.
• Consider the use of a wall as screen for the edge of the lot.Materials
should be compatible with those of nearby buildings.
K. Buffers
Policy:
When site development such as parking, storage and equipment areas create
an unavoidable negative visual impact on abutting properties or to the public
way,it should be mitigated with landscaping that may buffer or screen it.The
landscape design should complement the existing natural character and context
of the site.
Note that these guidelines supplement the city standards in Title 18,BMC,that
define the minimum amounts of land area to be landscaped and of plant units
to be used.
Guidelines:
1. Landscape buffers should be provided along edges of parking
and service areas.
• Provide a landscape buffer at the edge of a parking lot and between
parking lots,
• In some cases it may be desirable to provide a landscape buffer
between a recreation trail and/or open space.These should comple-
ment the natural character of the site.
• Finally,it may be desirable to provide an evergreen landscape buffer
at ground mounted mechanical equipment, service and/or storage
areas.
Chapter 2 53
- L. Site Lighting
� ,� ��
Policy:
,� T--'f� � Standards for outdoor lighting are provided in the Unified Development Ordi-
�y ' �� nance.This section addresses some of the qualitative aspects of lighting design
��� tf..� ��: � ' � ', that should also be addressed.
I�l,1 ,�.,�
Light spill onto adjacent properties and into the night sky should be minimized.
� The light level at the property line is a key design consideration.This is affected
Minimal shed structures,such as this may by the number of fixtures, their mounting height, and the lumens emitted per
be utilized at the alley edge. fixture. It is also affected by the screening and design of the fixture.
► � Guidelines:
1. Lighting shall be shielded to prevent any off-site glare.
� • Light fixtures should incorporate cut-off shields to direct light
' � downward.
' • Luminaires (lamps) shall not be visible from adjacent streets or
� � ����� � +�� . � properties.
„ 1 .
' � ��h
� ; M. Utilities and Service Areas
Policy:
Service areas should be visually unobtrusive and should be integrated with the
r. � � � design of the site and the building.
Service areas should be visually unob-
trusive and should be integrated with the Guldellries:
design of the site and the building. 1. Orient service entrances, waste disposal areas and other similar
uses toward service lanes and away from major streets.
• Screen service entrances with walls,fences or plantings.
• When it will be visible from a public way, a service area screen
should be in character with the building and site it serves.
• Locate areas for outdoor storage,truck parking,trash collection or
compaction loading,or other such uses so as not to be visible from
abutting streets.
2. Position service areas to minimize conflicts with other abutting
uses.
• Minimize noise impacts by locating sources of offensive sounds
away from other uses.
• Use an alley system to locate service areas,when feasible.
54 Design Guidelines
CHAPTER 3
GUIDELINES FOR
RESIDENTIAL CHARACTER AREAS
� .._r.�
�
�
� � _.�
, -�-�
�.h�' *: ,. - .,
.�
, .r. � � �:�
�" �• ��
�' `r` � � ♦
.,..� � ; �.J -
`t�. ' �-
� r• ,�:
'� ► � _L.
_.�
� �] �;r= , - ;
_]
-� � , ; `
- - ' , t�i.
I �1 _�r
,1.�� r_ y � 11� • --
�' ��j'�fr rk�°
:i� �1t3 ''��+� �
K ' I* i.^J.��:�
�. - -
� -_ �' .
, - ��� ��I� � . _ �
i� _- :� ; -
_ r
While the porch serves as a transition area from the street to the house, it is also an
essential element of the streetscape: It provides human scale to the house; it offers
interest to pedestrians;and it is a catalyst for personal interaction,
Chapter 3 55
111 thlS ChapteP: This chapter discusses the guidelines for residential character areas. It
applies to new infill projects in the residential neighbarhoods in both
the Neighborhood Conservation Overlay District and individual His-
A. Hierarchy of Public and
Private Space tor1C DistriCts.
B. Building Mass and Scale
C. Roof Form
D. Secondary Structures
E. Multi-Household
F. Fences and Retaining Walls
56 Design Guidelines
CHAPTER 3. � �� � �
��� .': ,..
GUIDELINES FOR ''� - �
� �-- `�- ►
� ' •� ` �'�',I .
RESIDENTIAL CHARACTER AREA5 �-��_.�
�'��
A. Hierarch of Public and Private S ace " - -
Y p
Policy:
The hierarchy of public and private space is a progression that begins at the street, The overall set back must be consistent to
which is the most public space,proceeds through the front yard,which appears Provide a uniform streetscape.
"semi-private," and ends at the front door, which is the "private" space. This . ��•-�
sequence enhances the pedestrian environment and contributes to the character �`:�. �
of the neighborhood; it should be maintained. � ,��► � `• �'
i �
� �� • ��
Guidelines: ��' � .�v�i
1. Provide a front yard similar in character to its neighbors when ��'�
possible. ' I �;;
• The front yard should be maintained in a traditional manner,with � �r ,
planting material, and not covered with paving or large outdoor p
decks. �;�
�-.
2. Provide a walkway from the street to the building. �
• A walkway running from the street to the front porch provides uniry provide a walkway frorr� the street to the
to the streetscape. Where a walkway has been an element of the building.
hierarchy,this should continue.
3. Orient the front porch to the street. 1 � -,;,,�
► � � -+�.
• While the porch serves as a transition area from the street to the _
house,it is also an essential element of the streetscape:It provides � ' � �� .► �,�
human scale to the house;it offers interest to pedestrians; and it is � •. _ �
a catalyst for personal interaction, 11111�I���1
• This should not be interpreted to exclude side porches. --� '
4. Clearly define the primary entrance by using a front porch.
• The porch should be "functional," in that it is used as a means of
access to the entry. Clearly define a priinary entrance with a
front porch.
Chapter 3 57
B. Building Mass and Scale
, Poi��y:
-' U - " The mass and scale of a building is also an important design issue in a residential
� j �� �. [� � H � — character area.The traditional scale of single household houses dominates the
neighborhood,and this similarity of scale also enhances the pedestrian-friendly
S�`�1��� '� ' character of many streets. Similarities in scale among prominent building fea-
tures, such as porches and fences, are also important. In many cases, earlier
buildings were smaller than current tastes support;nonetheless,a new building
The drawing on the left shows a structure should, to the greatest extent possible, maintain this established scale. While
which does not relate well in �nass and new buildings and additions are anticipated that may be larger than many of the
scale to the adjacent structure. earlier structures,this new construction should not be so dramatically greater in
scale than the established context that the visual continuity of the neighborhood
:.
- would be compromised.
=- Guidelines:
-- -: 1. Construct a new building to be similar in mass and scale to those
--�-�`' -=-- single household residences seen traditionally.
_== • Traditional features that convey a human scale should also be used.
-�,, -- -
�`��� _= Consider these techniques:
- __ ���; �:�:_""�� -- - Use building materials that are of traditional dimensions.
` '_�'- _--- -- - Provide a one-story porch that is similar to those seen tradition-
__ - ally.
_ -- -_-- -__ -- 2. On larger structures, step down a building's height toward the
'_�,_. ' - - _
---- - - street,neighboring structures and the rear of the lot.
y ~� v • When zoning regulations permit,the back side of a building may
In order to minimize the perceived scale
of a building,step down its height toward be taller than the established norm if the change in scale will not
the street,neighboring structures and the be perceived from public ways,
rear of the lot.
3. On larger structures, subdivide larger masses into smaller
it "modules" that are similar in size to single household residences
i 1� seen traditionally.
• Other,subardinate modules may be attached to the primary build-
S ing form.
f� ��', -
� 4. The front wall of a new structure should not exceed two stories in
I!�■ a,
: height.
_ _ � , • The primary plane of the front should not appear taller than those
On larger structures, subdivide larger of typical historic structures in the block.
rnasses into smaller "modules" that • A new multi-household structure should not overwhelm existing
are similar in size to single household single household structures,in terms of height.
residences seen historically.
5. A facade should appear similar in dimension to those seen
traditionally in the neighborhood.
• Typically, a residential building front ranges from 14-30 feet in
width. Additional widths were accomplished with a setback or
change in building plane,
Sg Design Guidelines
C. Roof Form ���
-•= .,; .'�.
. �„ y ;: ,' •.
PoliCy: ' �� `� �;�'�r;,. � ,
In most neighborhoods, a similariry of roof form also contributes to a sense � ``.•� �� � ,
of visual continuity.In arder to maintain this sense of visual continuity,a new ,�- �J
building should have basic roof form that is similar to those seen traditionally. ' ' ��� '
�
Guideline: � ` #
�� < , , �
1. Use roof forms that are similar to those seen traditionally on the � ��, ��_
block. .�
• The primary ridge line of a residential structure should not exceed _ - - _
the typlcal maxlmum for the block. A facade should appear similar in
dimension to those seen traditionally in
�. SeCO11C�aP�/ StPUCtUP@S the neighborhood.
Policy: _ -`- ,
Secondary structures are traditionally subordinate in scale and character to the _ _ -- ������, -_';�� _�
primary structure and are rypically located to the rear of the lot,they are primar- _.-�`�� -�� -_ -
ily used for parking garages and storage.While structures in the rear generally F `; __
have little impact on the character of the street they do have an impact on the �Y ?`� ' _-
._',..J '�'
character of the a11ey and the neighbors to the rear, this character should be --- '
maintained, -
Guidelines: Locate secondary buildings to the rear of
1. A new secondary structure should be subordinate in height to those the lot.
buildings seen traditionally along the street front.
t
• Secondary structures that are no more than one or one-and-one-half i 1�
stories in height are preferred, �''� �
. ,. _
-�
2. Locate secondary buildings to the rear of the lot. -
• Locating a secondary structure to the side of the primary structure, �--_,__� _:�� _-.
but set back significantly from the front wall plane is also appropri- ��'�-- _-- � '
_ ..� _
ate - , -
• A secondary structure should be oriented similar to those seen tra-
ditionally along the a11ey,where they are available, This secondary structure is notsubordinate
to the original structure because the new
3. Locate a garage such that its visual impacts will be minimized is structure is of�equal height.
encouraged.
• If a garage must be accessed from the street, set it back from the ;�-�
front wall plane when feasible. � _
• When a garage must be located on the front wall plane,the percent-
age of building front allocated to it should be minimized.
�;
` - ,_� :, __-
,--� �,' " t
M. -_
���_�
This secondary structure is only one story
and therefore is subordinate to the original
structure.
Chapter 3 59
- =�' E. Multi-household
`-�r �ti `.,Y.
� ' ^`f-'_`�� ,„„'t� .
J �.
� Y/�:�'.1� POI1C3':
� �: �-'., r
�:_ � ` r -- -
�,�� r ;�Y}:� - ; The underlying goal of the guidelines in this section in regards to multi-house-
-�.-�� ._ hold construction is that,to the greatest extent feasible,the buildings should be
- `�- '�� - _ compatible with the context of the neighborhood.Historic structures associated
���''' with the multi-household projects should be retained when feasible.
' ' The guidelines in other sections of this chapter also apply to multi-household
- _� ``- buildings.
.: ' �� '. ,-��
r ' ' Guidelines:
`I f ` �� � �=- � 1. Retaining an existing single household building that contributes to
~ ��'� ��, the established character of the neighborhood in a multi-household
� -
- - ` " '' - project is encouraged.
'.;;.,� t' • This will help maintain the traditional scale and character of single
- - household houses as seen from the street,
' • In particular,an existing structure that is listed as a historic property
The proportions of window and door should be preserved,when feasible.
openings should be similar to those used • When proposing a new design for a multi-household structure that
traditionally in the neighborhood. must replace an existing building,however,also continue the rhythm
that is established by the even spacing of building fronts along the
street
2. Minimize the perceive scale of a multi-household building.
• In order to minimize the perceived scale of a building,one method
is to step down its height toward the street,neighboring structures
and the rear of the lot.
• In order to break up the perceived mass of a structure,one method
is to divide it into °modules" that are similar in size to buildings
seen traditionally in the neighborhood.
3. Use traditional features that will convey a human scale.
• The ratio of wall-to-window, as seen from the public way, should
appear similar to that of traditional single household structures.
• Provide a one-story porch,or similar element,which will define a
front door or entrance and be oriented to the street.
4. A new multi-household building should be within the range of
heights seen traditionally in the neighborhood.
• A new multi-household structure should not overwhelm existing
single household structures,in terms of height.
• Maintaining a consistency of building height will contribute to the
visual continuiry of the streetscape.
• The back side of a building may be taller than the front, and still
appear to be in scale,if zoning regulations permit and the change
in scale will not be perceived from public ways.
60 Design Guidelines
5. A primary building face should not exceed the width of a typical - , -
single household building in a similar context (see illustrations). , - - '
• Divide a ]arge facade into subordinate wall planes that have di- '�-�. �-`� �_'� �,
mensions similar to those of single household buildings, when � �=,_� __`_•�� �
feasible. - -
• Develop a large lot with several buildings, rather than one large ' ' - - '
single structure,when feasible. �
• When a building is perpendicular to the street,on a lot perpendicu-
lar to the street,the typical range of front facade widths is 20 to 40 This new multi-household household
feet. building is not consistent with the
• When a building is parallel to the street,on a lot perpendicular to traditional width of the surrounding
the street,the typical range of front facade widths is 30 to 40 feet,
• When a building is paralle]to the street,on a lot parallel to the street, ,. � ,
the rypical range of front facade widths is 40 to 75 feet. Note that � ' � --
a
this is more rypical of corner lots, _ --.--- �- �
___--,�
6. The proportions of window and door openings should be similar to ' 'F� '�� -- I-
those used traditionally in the neighborhood. ,' ��'�-` '-
7 -
• This will help maintain the established ratio of wall-to-window and = ' � . _,
reinforce the traditional scale of the building. • ' �
• Large expanses of glass are discouraged. � �
• Divide large glass surfaces into smaller windows to reduce their
perceived scale. The new multi-household building is
similar in width to the traditional buildings.
7. Brick, stone and painted wood are preferred primary building This also illustrates the use of dormers to
materials. better break up the space.
• A much wider range of secondary and trim materials (including
wood,metal,glass and synthetics)occurs.
-_ �:,.
_ _- °-�_ - _ -- --
- — ''.
_ __ -.,� _-- _ _ �:.-
— - - -_ -- -- �_l.
_ � n ,_�, -_ --- {;i
-t--� --'�:1 �� ' �
i'� I I ��,. I � �
r � ��i - �
,�—�--t, -- _,1 _ a =- - 1
—�: . ._, ,,._� - - - ��
� _. -��
.,,
_ �
I 4 �
-_ - �--_ •
Traditional materials include brick,stone and wood lap siding.
Chapter 3 61
8. Orient a primary entrance to the street,when feasible.
� ��:r-�_ • This should be similar in scale to traditional single household en-
�-t.- � tries.
�. �.-
�� . `�-�
.., f-;, ' ' . `� , .
' :•T.',' • � 9. Provide some useful, functional common open space that can be
� - enjoyed by all residents in the development.
-�'�� ' • Functional and useful open space should be designed to meet the
• activity needs of residents and should have dimensions and design
treatments that accommodate these activities.It should not be left
This multi-household garage is well over space,not considered in the design,
integrated into the surrounding garage • The building forms should be arranged to define private yards,
structures.Notice the space being broken • This space should be provided in addition to the more public front
up into many units. y�d,
10. Minimize the visual impacts of multi-household garages.
• If enclosed parking is provided,consider locating it in a detached
garage on the alley,when feasible.
• In a larger structure that includes parking, consider breaking up
the mass of the building and its roof forms to minimize its visual
impact.
• Locating enclosed parking in the front facade of a multi-household
building is inappropriate.Doing so may increase the perceived mass
and scale of the structure as a whole,
11. Design a surface lot with landscaping.
• In a case where more than three parking spaces must be accommo-
dated in the rear yard off the alley,landscaping should be provided
between every second car to provide visual relief and to maintain
pedestrian access to the alley from rear yards,
• Where more than one parking space is located parallel to the alley,
a landscape buffer should be provided between the alley and the
parking space.
• Also, minimize the amount of area that is paved for parking and
consider using a variety of paving materials to distinguish parking
spaces.
62 Design Guidelines
F. Fences and Retaining Walls = ` ' '" . � '
=�` '- �- -
Policy: �
Traditionally front yard fences were relatively low in height and had a"transpar- � � '� r �
ent"character that allowed views into yards,providing interest to pedestrians. � ����. ���- ,,, �'�_ �
Sohd plank wood fences were used occasionally along alley edges, but also ,,,�. . � ,�� �
were relatively low in height.A new or replacement fence should be similar in � i' '�:�� +���,�,��
character with those used traditionally in the neighborhood.In addition,fences _ �: '�--__ -J�� �`'���
!i��--= �-.
should relate in character to the principal structures on the lot. �'�f=
�'�-_.�� •���'
In some areas retaining walls are also found. They typically align along the � _
edges of sidewalks,and help to establish a sense of visual continuity and should ,�`
be maintained. �� ��
_ _- ,`;_,�` �y, _��' � �r
Guidelines: ;' ��- ���"� •- -�"'� •�`_
;. ..., �.,�, •_ :,_H.
1. A new fence should be in character with those seen traditionally. ` ; -• - '�;� ��
• A fence that defines the front yard is usually low to the ground and -` � ,� _ ,�— l� � - .
,-�.�
"transparent" in nature. �� i,.; (� '��'� '�' � i:�f�.i
• Chain link and solid "stockade " fences are discouraged in front - - "` � ----- -
�=J��..�^�-�"`.
yards. — —
• Painted wood picket, simple wire and `wrought iron" fences are ""'"•" •``•"` '""""'�•"'•'."""'"..`,. .'. J
appropriate materials. .
' � "r"�-
2. A new retaining wall should be in character with those seen =�� ' ���►T�� �y � �'
traditionally. !� `'� y _ '�� ��� `�'- \
�, '��r� r},�y-I►.; ��. � �f :
• A retaining wall that defines the sidewalk edge or is used in the ��3�,;r, .�-: i� ' � `,`;,r`.. '�
front ard should not exceed 36 inches. ;��;�� ��� '��' �
Y - . �i � , -� � ,_; �. ., t _
• Use similar materials that are similar to those used traditionally, ,� � �'�-Y-: � ,
such as cut r ck and st ne. In s me cases c ncrete ma be an a - - 1 .�-�-:'-_ ��1w� �
0 0 0 o Y P .--.irr- - ,_�:'�.,► _ _
propriate material. _--'-'�""!�
� POSt u�:n.uu r:�.+v Me,; u. +..i�.•�.v.....,• .
Fence boards
t--rr.
_,�._ , _ �
� r �j . .-
. i
Plan A View through , ' �„�,,��'. # � � ---
- - � �.'�,. � = �
�..�,� - - -
�'�'' � ' �
'� ��-'^
�� ,
Post Fence boards s�'� ¢' _ � '`-
_-� --�,.
� �_��Yy� �- ��
� Plan B Uiew through Traditionally front yard fences were
relatively low in height and had a
The fencing plans show how a side or rear yard fence can appear more "transparent". "transparent" character that allowed
Plan A shows the fence boards slanted at a 45 degree angle.Plan B shows the fence views into yards, providing interest to
boards altering between front and back plane.Both plans allow for views into yard. pedestrians as shown in these early
sketches.
Chapter 3 63
t
- ' .ti
i - .
.� ��
` � '4r
� � �. �
f . t .
. +' • �
' I,:-.,r
.
.
�1 - ��� � , ►
' .,,�,,, ;,�� �;,�,� �,�::���;�� ��, �,��. ., ,��,�i�ir;;,���it���i�����
���iut�,y� � ��1��11A4�a�litv�iuil�lu
�_�,_T 1��LI�
The fence in the i�nage above is in character with those seerc
traditionally.
64 Design Guidelines
CHAPTER 4
GUIDELINES FOR THE
COMMERCIAL CHARACTER AREA
� �'�~rI�' �'~T
���'��r c ��T��►
��•!��";��`� ~�
� r
. � � �_
, �1 ` �� � r - ' �
� 1 ►. _ � , '\ � � — ��'�. __ -
_ ' ; �� � ��t� i_ ..y�,.�s--- ��.
� ._� ! � !'01'Uf�
� �--� '
�.
��'G 1 '
..�� ' ( l �-
. �
Mai�7 Street Historic District
Chapter 4 65
This chapter discusses the guidelines for new commercial properties.
In this Chapter:
A. Mass and Scale
B. Building and Roof Form
C. Building Setbacks
D. Horizontal Alignment
E. New Storefront Character
F. Parking Facilities
G. Site Furniture
H. Awnings and Canopies
L Signs
66 Design Guidelines
CHAPTER 4
GUIDELINES FOR THE - T' � �1' ��� ��.
:�r.., , ' 1 '
COMMERCIAL CHARACTER AREA . �! ' �■ �' ,
� � , 1I � � �! �:.
A. Mass and Size .�, , ,��., �
PO11Cy: New construction should appear similar
Patterns are created along the street by the repetition of similarly-sized build- in mass and scale to nearby historic
ing elements. For example,uniform facade widths evenly spaced along Main structures.
Street create a rhythm that contributes to the visual continuity of the district.At
a smaller size,the repetition of upper-story windows across most building fronts
also creates a unifying effect. These features and similar patterns are some of -�
the most important characteristics of the commercial character areas and should �z 1� - �
be respected in all new construction, �'-� � �� �
�
._.�- ' 1�
L Maintain the average perceived size of buildings at the sidewalk. , �,�_ �1�i-'-� �
• Facade heights of new buildings should fall within the established ���� �
range of the block,and respect the historic proportions of height to
width. Use building forms similar to those found
• Floor-to-floor heights should appear similar to those of historic traditionally. Rectangular shapes are
buildings in the area,
typical and are encouraged.
2. Traditional spacing patterns created by the repetition of uniform
building widths along streets must be maintained.
• In most cases, a facade should not exceed 50 feet without a clear
expression of this standard module.One of several exceptions may
be a one-story warehouse type buildings that could be located along
Mendenhall and Babcock.
• Where a building must exceed this width, use a change in design
features to suggest the traditional building widths.Changes in facade
material, window design, facade height or decorative details are
examples of techniques that may be considered. These variations
should be expressed through the structure such that the composition
appears to be a collection of smaller building modules.
Chapter 4 67
3. A new building should incorporate a base,middle and a cap.
• Traditionally, buildings were composed of these three basic ele-
ments.Interpreting this tradition in new buildings will help reinforce
the visual continuiry of the area,
O �L�LL�.:-L�L����l:LLLL
�� �� �� O � �
_t�'_�L-�LLLLL�I:L"r���
O
O
[ �- � �' -■- �� �� ���.
_t - t
1 �1�'�� 1 J��_�.��
� � 0 I
� I
�.�-_� '�--�� � �
These two building models incorporate these basic building elements: (1) base, (2)
middle and(3)cap.
68 Design Guidelines
B. Building and Roof Form _ �
, ,.
Policy: , - �
s - - I
One of the most prominent unifying elements of the commercial area �•
is the similarity in building form. Commercial buildings were simple �� �� . ��
rectangular solids,deeper than they were wide.This characteristic is ► � � ( � � ' ���
important and should be continued in new projects. ����� ,�,,��
1. Rectangular forms should be dominant on commercial facades in --
the Main Street Historic District. Buildings located in the transition zone
• Rectangular forms should be vertically oriented. between Main Street commercial buildings
• The facade should appear as predominantly flat,with any decorative and the residential neighborhood have
elements and projecting or setback"articulations" appearing to be more flexibility in their roof form. For
subordinate to the dominant form, example, gable roofs in these areas are
appropriate.
2. Use flat roof lines as the dominant roof form in the Main Street
Historic District.
• Gabled roofs on the main building may also be used if a false front - -
or parapet with horizontal emphasis obscures it.They may also be �
used on upper story additions if they are set back from the primary „_�. I ' �
facade, - ^' -
• Gable roof forms may also be appropriate along buildings that face
Mendenhall and Babcock. ---
.�
3. Along rear facades that abut residential neighborhoods,a building _
form should step down in size, and not be a continuous facade
plane.
• Consider using additive forms, such as sheds, stairs and decks. _� _
These forms must, however, remain subordinate to the primary - -
structure.
• Use projecting roofs at the ground floor over entrances,decks and
separate utility structures to establish a human scale that invites
pedestrian activity.
Express the distinction in floor heights
between the street and upper levels through
�_ _ detailing,inaterials and fenestration.The
�' presence of a belt course is an iinportant
�� feature in this relationship.
� -� ~� T
_ (` � ' ��l ' � _ �
i�
� �
� � ..I I. ,- — � � t
— ' � � �I � I
__ _ ��_ _1 . �
_..__ .
Maintain the distinction between the street level and the upper
floor.Also to note is the transition of the building to residential
character.
Chapter 4 69
C. Building Setbacks
�""�� ' Policy:
� �. .
�� � Buildings create a strong edge to the street because they traditionally
._� ,� �. �
�_; � �� , �f�: ��� �� aligned on the front lot line and were usually built out the full width of
y , � � �,t- - �
� n ��-� - . the parcel to the side lot l�nes.Although small gaps do occur between
r.
some structures,they are the exception.These characteristics are vitally
�+ - ��•• ��. :• � I i� important to the Main Street Historic District and in areas abutting the
���-��-.._. �
district where a street wall is a prominent feature,
1. Maintain the alignment of facades at the sidewalk's edge.
�— • Place the facade of the building at the property line. This should
A strong alignment of horizontal elements
exists along the street, this qualiry should only vary in special circumstances.
be maintained. • Locating entire building fronts behind the established storefront
line is inappropriate.
D. Horizontal Alignment
-"��} Policy:
_ � A strong alignment of horizontal elements exists along the street. Alignment
.. '� is seen at the first floor level with moldings that are found at the top of display
Z N� � � t � windows; at upper floor levels, alignment is found among cornices, window
� sills and headers.This alignment of horizontal features on building facades is
one of the strongest characteristics of the street and should be preserved. It is
important to note, however, that slight variations do occur, which add visual
Maintain the alignment of buildings at the interest.Major deviations from these relationships,however,disrupt the visual
sidewalk edge. continuity of the street and are to be avoided.
1. The general alignment of horizontal features on building fronts
must be maintained.
• Typical elements that align include: window moldings, tops of
display windows, carnices, copings and parapets at the tops of
buildings.
• When large buildings are designed to appear as several buildings,
there should be some slight variation in alignments between the
horizontal facade elements.
._� �
� 1
The alignment of horizontal features on -- �.,. � , • � . I
building facades is one of the strongest � � - . __ � �- - _ - �, �
characteristics of the street and should � _ � � � �
be rnaintained. It is important to note, � t� �� ��� ��� �
however, that slight variations do occur, �__ _ - - _ _ _
which add visual interest. For example, � ` —3�
the third floor and main entrance in this � � _ �
building show where a variation has - -� �_i�
occurred. �'
70 Design Guidelines
E. New Storefront Character
- � -_ -_ �
Policy:
The street level floors of historic Bozeman commercial buildings are clearly
distinguishable from the upper floors.First floors are predominantly fixed plate _ -- � j
glass with a small percentage of opaque materials with recessed entries.Upper _ _ �� 7
floors are the reverse—opaque materials dominate, and windows appear as �
smaller openings puncturing the solid walls.These windows are usually double- � �1,� � .
hung.The street level is generally taller than the upper floors.Stare fronts of 12 � �
to 14 feet high are typical,whereas second floors of 10 to 12 feet are typical. '�' � �
This typical storefront character should be maintained. �
_ .�
1. Maintain the traditional spacing pattern created by upper story
windows. � � �
• Maintain the historic proportions of windows. The first floor of a commercial huilding
• Headers and sills of windows on new buildings should maintain the should be primarily transparent.
traditional placement relative to cornices and belt courses.
2. Maintain the distinction between the street level and the upper
floor. -
• The first floor of the primary facade should be predominantly trans- � " � �� .. R
parent glass. �-� _ _ _
• Upper floors should be perceived as being more opaque than the � . �
lower floor. �� � �
• Highly reflective or darkly tinted glass is inappropriate. _ '
• Express the distinction in floor heights between street levels and �'�=--•��� ''-���
, �
upper levels through detailing,materials and fenestration.The pres- — - � - �._�
ence of a belt course is an important feature in this relationship, �' _��,
; tc
,
, �
3. Maintain the pattern created by recessed entryways. ; , '� 4 ', �'
• Set the door back from the front facade an adequate amount to �,� � 1 � '��ta
establish a distinct threshold for pedestrians.A recessed dimension ' � _ ' �i
of four feet is typical. r __ _.__ - - _ -- -
• Where entries are recessed,the building line at the sidewalk edge
should be maintained by the upper floor(s).
Use transoms over doorways to maintain the full vertical height of Maintain the pattern created by recessed
� the storefront, entries.
• Oversized(or undersized)interpretations are discouraged.
Chapter 4 71
F. Parking Facilities
' Poi��y:
� ' �
''r �` � � s � New parking facilities should be designed to be attractive,compatible additions
��`��� ' ' � ` to the streetscape. Using high quality materials,providing a sense of scale in
����� ;'� �r �� � � architectural details and providing active uses at the sidewalk edge are methods
t that can mitigate the potentially negative impacts of new parking facilities. In
'� .. l • � -
general, a new parking facility should remain subordinate to the street scene.
�- '�� ( Parking structures should be designed to enhance the activity of the streetscape.
� ; '�- � �� At a minimum, a parking structure should help to animate the street and be
- ',��' �
' "— compatible with the surroundings. The visual impact of the cars themselves
Design a parking structure so that it should be minimized.
creates a visually attractive and active
street edge. Guidelines:
1. Design a parking structure so that it creates a visually attractive
:■ and active street edge.
��� �� ��� � ' When feasible, a parking structure in the area should be wrapped
- �� — - with retail,commercial or another active use along the street edge
� �� r� �� ta� ■
to separate the facility from the street and to add activity to the
� �� �� �� �� ■
� i� �i �/�� ii ii i Stl'eet.
� ��� �� ���� �� �� ' Other methods of accomplishing this include but are not limited
.
.. .. .�.� .. �. . ,
, ' to:
� - -Retail/commercial wrap
�' ' -Murals or public art
. -
� � -Landscaping
-�R� � � -Product display cases
r ' _
2. A parking structure should be compatible with traditional buildings
in the surrounding area.
New parking,facilities should be designed • Respect the regular window pattern and other architectural elements
to be attractive, compatible additions to of adjacent buildings.
a commercial area. Using high gualiry . Maintain the alignments and rhythms of architectural elements,as
materials, providing a sense of scale in
architectural details and providing active seen along the street,
uses at the sidewalk edge are methods ' Continue the use of similar building materials.
that can mitigate the potentially negative • Avoid multiple curb cuts.These complicate turning movements and
i�npacts of new parking facilities. disrupt the sidewalk.
• Express the traditional widths of buildings in the area.
New parking facilities
� should be designed
� � �- - � �� �� " to be attractive,
� � � �� � compatible additions
� - , � _. , � � �� to the streetscape.
� r�
i� � �- � _ _ --- � ! � -
�� --� �_
_-_� ,� . � 11� ���
� = �-�- ,t,���y�� �����- ���� � - - ..
in- �� . . � � r�i+
� ,;.�t;L -
A successful method in creating an � ��
attractive street edge includes providing ��
display cases. . _
72 Design Guidelines
G. Site Furniture `� SP
i �
Policy: '-�
Site furnishings,including bicycle racks,waste receptacles and light standards,
,
are features of contemporary life in Bozeman.Few of these elements appeared +'
historically in the community and it is important that the character of these ele- w � ; i�
ments not impede one's ability to interpret the historic character of the area. `�'�� ' �
- tl ll ll�
il ll ll l
Guidelines: �������
II11111
1. Site furniture should be simple in character. � ii r��j�
• Avoid any highly ornate design that would misrepresent the history U������ -
of the area. '�" - �
• Benches,bike racks and trash receptacles are examples of site fur- - __ �
nishings that may be considered. ,�
• In public open spaces within a project,trash and recycling recep-
tacles should be placed near seating areas and at points of entry. A fi�ed awning is appropriate.
H. Awnings and Canopies !�►�,,r'�'�'`�'� '�
Policy: �"'
Traditionally, awnings and canopies were noteworthy features of build-
Z` C��
ings in the downtown core and their continued use is encouraged. � '
�.1,, i
Guidelines: '-
1. A fabric awning is encouraged.
• Operable awnings are appropriate.
2. A fixed metal canopy may be considered.
• Appropriate supporting mechanisms are wall mounted brackets and
chains.
3. The awning and canopy should be in character with the building
and streetscape.
• Mount an awning or canopy to accentuate character-defining fea-
tures.The awning or canopy should fit in the opening of the build- -
ings.
• Use colors that are compatible with the overall color scheme of the An awning should fit within the storefront
facade.Solid colors are encouraged. opening.
• Simple shed shapes are appropriate for rectangular openings. Odd
shapes,bullnose awnings and bubble awnings are inappropriate.
• Internal illumination of an awning is inappropriate,
Chapter 4 73
, I. Signs
_ � -� roi��y:
,
- -- � All signs should be developed with the overall context of the building and the
- --- __ � area in mind.
. �—'
- � . - The placement or location of a sign is perhaps the most critical factor in main-
����i ,���� taining the order and integrity of a commercial building.Consistent placement
-�-- � � � � of signs accarding to building type, size,location and even building materials
� , � creates a visual pattern that the driver, or pedestrian, can easily interpret and
""" _ utilize to the mutual benefit of inerchants,tourists and customers.
� Guidelines:
� �si
A.�lush-mounted sign should be subordinate 1. A flush-mounted or letter sign should be subordinate to the overall
to the overall building composition. bu11d1ng COmpOS1t10n.
• A sign should appear in scale with the facade.
' r� • Locate a sign on a building such that it will emphasize design ele-
ments of the facade itself. On a historic building a sign should not
�.%� „� obscure architectural details or features.
�, �, ��` '� • Mount a sign to fit within existing architectural features. Use the
� � r shape of the sign to help reinforce the horizontal lines of moldings
-- ��������i'����4�,� and transoms seen along the street.
�' ��'• � 2. A window sign may be considered.
� • A window sign may be painted on the glass or hung just inside a
�, ,;,;- d -�� window.
- � ,�'
� '���'_"_�„� 3. A projecting sign,which projects from the building front, may be
A window sign may be painted on the considered.
glass. • A small hanging sign is easier for a pedestrian to read than other
sign types and is encouraged,
• A small hanging sign should be located near the business entrance,
��s�s: just above the door or to the side of it.
���r-- • A hanging sign should be mounted perpendicular with the building
- � facade.
• A hanging sign should provide clearance between the sidewalk
__ � surface and the bottom of the sign.
--_ ' ,� �
- i � _ � 4. Awning and canopy signs may be considered.
�.y� i • Consider a canopy or awning sign where a flush-mounted sign would
� ' - �-- � obscure architectural details.
�
� ; - _ - _
� -`",��, � ,�, � 5. A directory sign may be considered.
�; �� � '; ' -- • Where several businesses share a building, coordinate the signs.
�� �=.�!.j � ���� Align several smaller signs,or group them into a single panel as a
- - �-- directory.
• Use similar forms or backgrounds for the signs to tie them together
Where several businesses share a building, visually and make them easier to read.
coordinate the signs in a directory.
74 Design Guidelines
6. A pole mounted or monument sign may be considered.
• A freestanding sign may be used in areas where buildings are pri- �
marily set back from the street edge. For example, a freestanding , -
sign may be used in the front yard of a residence with an accessory -` �
commercial use. �
• A monument sign may be used in areas where buildings are primar- � �
ily set back from the street edge. � __ � ,�->�: ,.�.- _
• Apole mounted or monument sign in the Main Street historic district � '�
would be inappropriate. _ 1i
if
7. Using a symbol for a sign is encouraged. '
• A symbol sign adds interest to the street,can be read quickly and �
is remembered better than written words. '
.��
- Locate a sign on a builcling such that it will
� emphasize design elements o f the,facade
� ��, � � irc a subordinate manner.
I ` �`�, ............................
, ,. � . .
:� �,� , I / , : SignS which have hi5torical or :
, . .
'� � �' • cultural 5ignificance to the •
�,, t-` I . .
� �' � City but do not conform to the �
, �`y,, j"I . =��f�� . .
►:�, ' � .
provi5ion5 of the UDO may be �
,�;.;, ��' : permitted provided that the ;
�' �� �`�� � ,,��, : city CommiSeion adopt5 find- :
� ' � \ . .
-�� ' � � ing5 5upporting the hi5torical or �
�--- � � � '�ti; � cultural 5ignificance of the 5ign �
� v� �, �� � � and i55ue5 a eign permit. For �
; more information contact the ;
� " �. _ - ' Department of I'lanning and :
� ,
�; s+�.'.- �� � '
: I �,\ : Community Development. :
� . .
.
�., � �� . .
Q' 1 •_L1 •��������������������������•
� - � � �!� .
y� , `' ] � � � � �
� . , �
�"'� ' �', t� ,�;-, � ,r� �_ ,l;� .
. ,- � �...i� .
�, �:�. ,,�r ,� , ' ,
, , � � _� ,, ,_,� .
�� ��'�!i���< i,�,���~�
•.
, ; a � , � � � ,.,� �
A � F� '' ' � -, � � ,
- � � I,
� • I
:.
�
Many good examples of old and new projecting signs are located along Main Street.
Chapter 4 75
1
SUBCHAPTER 4-B
GUIDELINES FOR THE
6-3 COMMERCIAL CHARACTER AREA
Downtown Bozeman should be the location of buildings of greatest height and intensity in the
community. The following guidelines apply to properties zoned B-3 (Central Business District) that
serves as a transition between the Main Street Historic District and residentially zoned
neighborhoods. Underdevelopment of this transitional zone is a major concern. The downtown
district is planned for continued intensification over time with building additions as well as new
construction replacing dilapidated and underutilized older structures on underdeveloped properties.
Housing—for all income levels—should be encouraged by a variety of inethods to support the
continued economic vitality of the Downtown Bozeman business district, which is broadly
recognized as one of Bozeman's strongest assets.
This chapter contains guidelines for new commercial, residential and mixed use development
located within B-3 zoned areas outside of the defined Main Street Historic District, as shown in
Figure 1.1. Note that buildings individually listed on the National Register of Historic Places or within
designated historic districts are subject to chapters one, two and four, but not this subchapter.
T�" �`„�- . � � v..'�- a` , r 9 N�� y�r r \
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- #
Figure 1.1 B-3 District surrounding the Main Street Historic District
NCOD Design Guidelines, Chapter 4-B
z
In this Subchapter:
A. Mass and Scale G. Street Patterns
B. Building Quality H. Landscape Design
C. Building Roof Form I. Site Lighting
D. Site Design J. Utilities and Service Areas
E. Parking Facilities K. Site Furniture
F. Signs
r�� '�
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�•
4� _ '' i' .�'- 11 .��■���� -
3
A. Mass and Scale
Policy: The scale and character of the Main Street Historic District should be protected. The area
covered under this subchapter, should be able to accommodate compatible contemporary
development of greater height and density. Varied mass and scale along a streetscape and block is
inevitable and can contribute to a more interesting urban pattern that continues to evolve over
time.
1. Provide density to meet the goals and objectives of the Downtown Bozeman Improvement
Plan. .
• Floor area ratio for any new construction project shall be a minimum of 1.0 FAR.
Lower FAR ratios are acceptable with renovation or remodeling of existing
structures.
• Floor-to-floor heights for commercial and mixed use buildings shall be designed to
accommodate a variety of current and future uses. The first floor level of new
commercial and mixed use buildings shall maintain a minimum floor-to-floor height
of 15 feet.
• Buildings with 100 percent residential uses are exempt from the 15 foot floor-to-
floor height requirement but are encouraged to consider taller first floors to provide
flexibility for a variety of uses over time.
2. Innovative development and diversity of design is encouraged.
• Buildings and streetscapes should be of high quality and reflect a variety of
architectural styles.
• Decorative architectural adornment or other architectural patterns that convey a
false sense of historic period are discouraged.
• Buildings and additions should undergo a critical and rigorous design process by
design professionals that includes an emphasis on best practice designs to address
sustainable development.
• Innovative use of varied materials is encouraged.
3. A new building should exhibit clear order and comprehensive composition on all
elevations.
• Entire facades of a single surface are discouraged. A combination of materials and
articulation of building elements shall be expressed in the proposed architectural
character.
• Layering of design elements is encouraged.
• A clear narrative of the design process and intent and compliance with these
guidelines shall be included in the application. The narrative shall address these
guidelines and may propose alternative method(s) of compliance that clearly meet
the intent of these guidelines. Alternate proposals may be approved by the Director
of Community Development.
NCOD Design Guidelines, Chapter 4-B
4
4. Building interface with residential zone properties.
• Building facades along alleys shall incorporate a variety of materials and incorporate
elements, including windows, to provide visual interest to minimize the massing and
scale of the building.
• Building sites that abut or are across an alley from a residential zone district shall be
sensitive to the interface where the properties meet by meeting the required
setback from the residentially zoned property and providing a transition zone.
o Along the interior side or rear property line, commencing at a vertical height
of 44 feet the building shall step back at an angle no greater than 45
degrees.
o Commercial zoned properties that abut residential zoned properties shall be
exempt from the step back and height transition zone requirements if: the
commercial and residential zoned lots are under unified ownership and are
being developed under a master site plan.
• Primary entries to buildings shall be clearly identifiable from the street.
• Large expanses of glass as a building fa�ade treatment is discouraged.
5. Building Quality
Policy: New buildings shall be designed to a high level of permanence and quality.
1. New buildings shall be designed to the level of permanence and quality appropriate for
Downtown Bozeman.
2. Sustainable methods and techniques shall be applied to building design but also integrated
with site layout and infrastructure design.
C. Building Roof Form
Policy: Roof forms should be primarily flat roofs with other roof forms that fit to the architectural
character of the application.
1. Use flat roof lines as the primary roof form.
• Rooftop balconies and decks are encouraged.
• Green roofs are encouraged.
• Mechanical equipment should be located on the roof when feasible. Solar
applications are encouraged to screen other mechanical equipment.
NCOD Design Guidelines, Chapter 4-B
5
�� ,
, �� �:
r
l
�� ��� .
� „r
I/r,�, �` '� ���� :�
. -- 7 �� i �
- .�� __ �� ;
�; �
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�.
�+„ � �' II: .� ' '
� ,.��"'"'� .�w � i 1� ,!
..
� --� _ - -_ _
2. The use of other roof forms.
• Depending on the architectural style and site context, a variety of other roof forms
may also be appropriate.
D. Site Design
Policy: All sites in downtown should be designed to make the experience of pedestrians and
bicyclists safe, comfortable and visually appealing.
1. Create strong connections between downtown's sub-districts, and between downtown and
the surrounding neighborhoods.
• Place the facade of the building at the minimum front setback line except when
creating a public space.
• Commercial building facades along secondary (local) streets shall enhance the
pedestrian experience by providing street level facades with a minimum of 50%
transparent windows.
2. Public spaces should be made active through programming or utilizing opportunities with
adjacent uses that promote vitality and safety.
NCOD Design Guidelines, Chapter 4-B
6
r
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I j
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.p� _ j .. � � '�r " �
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•� � '�`4� � �d�t�y! •►
��:'G.'�',�..:• '� .�' �;''C r 4��.,. ':
��1r� . � � ' �
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_� �' '� � �. . .a —� � — ��-:—=�
� fi �iii �_� , �� ,�:,;.;,;�� �`' ��r��n�� __ :.�.:;���a����� —��
�,� �. , ,� � � �. '�,,ti,:�,� � — �����
� � � � _ - :�tr' �'�_ �� -- � - -
� � � �� 'I `II�I �',i,',���II!� - - I'��ill'�� - - — e-
s � � �J�',�S�- _ .�
E. Parking Facilities
Policy: Minimize the visual impacts of parking.
1. Enclosed parking, integrated into individual new buildings as well as additions (if feasible), is
preferred whenever possible to surface parking lots.
• Considerations should be given to both on-grade or subgrade options.
2. Shared parking structures are preferred to surface parking lots. A parking structure should
be designed so that it creates a visually attractive and active street edge.
• A parking structure in the area should enhance the streetscape by being
wrapped with commercial uses or another active use along the street edge to
separate the facility from the street and to add activity to the street.
• Other methods of accomplishing this include, but are not limited to
- Murals or public art
- Landscaping and urban plazas
3. For residential projects, enclosed parking is preferred to surface parking lots.
• If individual enclosed parking is provided, consider locating it in a garage accessed
internally or from an alley, when feasible.
NCOD Design Guidelines, Chapter 4-B
7
• Locating enclosed parking on the front facade of a multi-household building is
inappropriate. Doing so may increase the perceived mass and scale of the structure
as a whole.
\
I �� . I �
_ ., � � _--� '�- `'�--� --_��'_�
- _� �i.�f-,
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--- �t � e�r• � �i � ; � ,�� �"�1 �__', __ 2�_h.
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Q o..�,
Q��� Secdon
F. Signs
Policy: All signs should be designed to fit the overall context of the building and the district.
1. Commercial and Mixed Use projects should include a variety of creative and clear signage.
• Wall-mounted and projecting signs, as well as canopy and awning signs in some
circumstances are preferred.
• Directory signs support a pedestrian scale and are strongly encouraged where
appropriate.
• Artful, whimsical and creative signage is encouraged. A comprehensive sign plan may
be required; however, it is not intended to promote monotony.
2. Residential projects are encouraged to include building identification signage to add to
Bozeman's overall sense of place.
• Wall-mounted signage is most appropriate.
• Artful, whimsical and creative signage is encouraged.
NCOD Design Guidelines, Chapter 4-B
8
3. All signs should be developed with the overall context of the building and the area in mind.The
placement or location of a sign is a critical factor in maintaining the order and integrity of a
building. Consistent placement of signs according to building type, size, location and even building
materials creates a visual pattern that enhances the streetscape experience.
a. A flush-mounted or letter sign should be subordinate to the overall building composition.
• A sign should appear in scale with the facade.
• Locate a sign on a building such that it will emphasize design elements of the facade itself.
• Mount a sign to fit within existing architectural features.
• Use the shape of the sign to help reinforce the design elements of the building.
b. A window sign may be considered.
• A window sign may be painted on the glass or hung just inside a window.
c. A projecting sign, which projects from the building front, may be considered.
• A small hanging sign is easier for a pedestrian to read than other sign types and is
encouraged.
• A small hanging sign should be located near the entrance,just above the door or to the
side of it.
• A hanging sign should be mounted perpendicular with the building facade.
• A hanging sign should provide clearance between the sidewalk surface and the bottom of
the sign.
d. Awning and canopy signs may be considered.
• Consider a canopy or awning sign where a flush-mounted sign would obscure
architectural details.
e. A directory sign may be considered.
• Where several businesses share a building, coordinate the signs. Align several smaller
signs, or group them into a single panel as a directory.
• Use similar forms or backgrounds for the signs to tie them together visually and make
them easier to read.
f. A pole mounted or monument sign may be considered.
• A freestanding sign may be used in areas where buildings are primarily set back from the
street edge. For example, a freestanding sign may be used in the front yard of a residence
with an accessory commercial use.
• A monument sign may be used in areas where buildings are primarily set back from the
street edge.
g. Using a symbol for a sign is encouraged.
• A symbol sign adds interest to the street, can be read quickly and is remembered better
than written words.
NCOD Design Guidelines, Chapter 4-B
9
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G. Street Patterns
Policy: Historic settlement patterns seen in street and alley plans often contribute to the distinct
character of the downtown and therefore they should be preserved. These street plans influence
the manner in which primary structures are sited and they also shape the manner in which
landscape features may occur on the site.
Alleys
Policy: Alleys accommodate service functions and provide pedestrian connections and secondary vehicle
access. All alleys contribute to the character of the district.
1. The traditional scale and width of alleys should be continued.
Maintain the traditional character and scale of an alley by locating buildings and fences along
the alley edges to maintain the alley edge.
Streetscape
Policy: Maintain the character of the streetscape.This includes a rich collection of varying street designs,
sidewalk types and street trees.
Guidelines:
1. Maintain the variety of street paving designs.
2. Consider utilizing the variety of sidewalk designs.
• Where a detached (sidewalks separated from the street by a strip of grass) sidewalk exists, it
should be preserved.
NCOD Design Guidelines, Chapter 4-B
10
• Where no sidewalk exists a new sidewalk is required; it should be constructed to be in
character with the traditional sidewalks in the neighborhood.
2. Use of planting strips is encouraged.
• Planting strips should act as a transition between public and semipublic spaces.
• Where planting strips between the curb and sidewalk exist they should be
maintained.
• If new detached sidewalks are installed new planting strips should be provided.
3. Continue the pattern of street trees in a block. Because street trees serve various aesthetic and
practical functions,they should be maintained.
• Existing street trees should be preserved, when feasible.
• If a new detached sidewalk is to be created, street trees should be an accompanying
feature.
• If a new sidewalk is to be installed, it should detour around mature street trees,when
feasible.
• When an existing street tree dies, it should be replaced.
• Any new developments should include street trees.
• The historic urban design character for street tree placement should be considered when
enforcing city street standards.
H. Landscape Design
Pou�y:
Landscaping enhances the built environment. Plant beds near and around building foundations and
along walkways are encouraged. Some sites may containing plantings that have historic significance and
should be retained,to the extent feasible. Some mature trees may also contribute to the historic
landscape and should be preserved.
Guidelines:
1. Preserve and maintain mature trees and significant vegetation that are a direct enhancement of the
pedestrian streetscape environment.
• Include existing vegetation as a part of a landscape design scheme where appropriate.
• In re-development areas, retention of healthy trees and vegetation clusters should be
given consideration for retention to the maximum extent possible, especially mature
trees, 6" or greater in diameter, and to vegetation clusters with significant visual impact.
1. Utilities and Service Areas
Policy: Service areas should be visually unobtrusive and should be integrated with the design of the site
and the building.
Guidelines:
1. Orient service entrances, waste disposal areas and other similar uses toward service lanes and away
from major streets.
NCOD Design Guidelines, Chapter 4-B
11
• Screen service entrances with walls, fences or plantings.
• When it will be visible from a public way, a service area screen should be in character with the
building and site it serves.
• Areas for outdoor storage,truck parking,trash collection or compaction loading, or other such uses
shall be located so as not to be visible from abutting streets.
2. Position service areas to minimize conflicts with other abutting uses.
• Minimize noise impacts by locating sources of offensive sounds away from other uses.
• Use an alley system to locate service areas,when feasible.
J. Site Furniture
Policy: Site furnishings, including bicycle racks, waste receptacles and light standards, are features of
contemporary life in Bozeman. Few of these elements appeared historically in the community and it is important
that the character of these elements not impede one's ability to interpret the historic character of the area.
Guidelines:
1. Site furniture should be simple in character.
• Avoid any highly ornate design that would misrepresent the history of the area.
• Benches, bike racks and trash receptacles are examples of site furnishings that may be considered.
• In public open spaces within a project,trash and recycling receptacles should be placed near
seating areas and at points of entry.
NCOD Design Guidelines, Chapter 4-B
76 Design Guidelines
CHAPTER S
DISTRICT SPECIFIC DESCRIPTIONS
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Story Mill Historic District
Chapter 5 77
111 thlS ChapteP: This chapter includes brief district-specific descriptions as well as maps
outlining the regions described.These apply in additional to the general
design guidelines in the proceeding chapters.
A.Northern Pacific/Story Mill
Historic District
B.Bozeman Brewery Historic
District
C.North Tracy Historic
District
D.Main Street Historic District
E.Cooper Park Historic District
F. Lindley Place Historic District
G.Bon Ton Historic District
H.South Tracy/South Black
Historic District
I. South Tracy Historic District
78 Design Guidelines
CHAPTER S
. ->
;
DISTRICT SPECIFIC DESCRIPTIONS
,
A. Northern Pacific/Story Mill Historic District
-- ,
The Northern Pacific/Story Mill Historic District is located in the northeast -� � "'
corner of Bozeman, Montana, and contains the Northern Pacific Main Line,
the Northern Pacific Rail Yard,the Story Mill Spur Line and several associated
buildings, structures and sites.The district is L-shaped and contains industrial The Historic Story Mill co�nplex uses many
warehouse structures,rail yard structures and rural building types. One of the different materials such as wood, �netal,
few industrial areas in the Gallatin Valley, the Story Mill Historic District is and stone.
clearly distinguished from its surroundings by its patterns of development and
association. The rural property and the light industrial area are linked by the
Northern Pacific's Story Mill Spur Line.
The industrial area along Front Street has heavily impacted the surrounding
area.Within a two block corridor centered along the spine of the railway,light
industry has been established. Many of the structures are located outside of
the district but influence the context in which the Story Mill district is located.
The warehouse buildings are arranged in a grid formation and come in contact
with the Bozeman creek in the north section of the warehouse industrial area.
Many of these structures are historically significant and their integrity should
be preserved.
Within the northern "rural" arm of the district, the Story Mill Complex adds
great historical value to the area. The structures consist of inetal clad, wood
frame,stone and stucco.As the undisputed transportation hub of southwestern
Montana's impressive agricultural economy, the Story Mill Historic District
.i
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"� � I �.,
� Story Mill Historic District
Chapter 5 79
is reflective of broad historic patterns of commerce, travel, and settlement,
and, therefore, qualifies for National Register listing. The Story Mill Historic
District is a well-preserved example of a historic center of transportation and
� commerce.
� •��
Period of Significance: 1882-1945
�� District Character:
Build upon the "industrial style" • variation in]ot sizes
architecture that exists along the Story . industrial and rural "backroad" setting
Mill Historic District. • simple building forms
• clustered mill buildings in rural setting
• industrial buildings located within an established grid
Guidelines:
1. Build upon the"rural and industrial style"architecture that exists
in and around the Story Mill Historic District.
• Consider the use of wood cladding,corrugated sheet metal,concrete
or brick materials.
• Consider developing a design palette for new construction that draws
from design elements and materials found in traditional ranch,mill
or industrial building types, use these elements in the appropriate
context.
• Use simple rectangular building forms,
2. Reduce the visual impact of industrial operations.
• Provide landscape buffers for equipment and product storage,
• Service areas that involve the transfer of goods should also be
screened from view.
• Emphasize street frontage landscaping and its protection from truck
movement by installing curbs in any new development or redevel-
opment.
3. Retain the existing mill complexes as dominant buildings within the
district area.
• New construction should remain subordinate in mass, scale and
height to historic mill complexes within the district area,
-�
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Maintain the rural character within the north arm of the district.
80 Design Guidelines
B. Bozeman Brewery Historic District � "
.i- '� ��-
The district is located in the northeastern corner of the city near the Northern � �� �, �
Pacific Railroad depot.The Bozeman Brewery Historic District is composed of = �'�� �
six historic buildings that are directly associated with the Julius Lehrkind mansion �
��u�.�d�i�l��i ���,
and the family owned and operated Bozeman Brewery business.The remains of e�
the brewery,a four-story brick structure,stands at the north end of the district. � ,,, ,,,,�,,,.,,� , ' '�
Across the street is the one-story,brick bottling plant.To the south of these two , ,,.,,,,.,,,. . � ''�
industrial buildings is the Lehrkind family compound,consisting of the large, """' `
I �
Queen Anne style Julius Lehrkind House,and the more modest houses of Henry ' '�"�`"
Lehrkind and Edwin Lehrkind,which were built a decade later. . %
; I� ( ��s! � � r ,, � ,.
� � _
All of the buildings included within the district retain a high degree of historic ; � � ��� �
..,., ,
integrity, with the exception of the Brewery building. The other structures in f- o- � ii� w_ �r
the district are important to Bozeman's industrial,social and ethnic history.The � '� '� �
district is representative of the heightened technological developments in the ' �#
beer making industry at the time. Bozeman Brewery Historic District.
Period of Significance: 1895-1925
District Character:
• variation of building types; simple masonry building forms for
industrial uses �
• buildings address the street _
r �`Guidelines: ' — �__<�. � � �
— ��
1. Reflect the district character when building within and around the
district.
• Consider the use of brick materials.
• Consider developing a design palette for new construction that
- �
draws from design elements and materials found in the area.
• Use simple rectangular building forms.
2. Retain the existing Lehrkind mansion as the dominant residential The Queen Anne Style Julius Lehrkinct
building within the area. House.
_ -.M 0 - �- ;
_ � _�-
This building reflects the district s industrial
character. Brick was the predominant
material on the brewery building.
Chapter 5 81
. '�,,,,�;•.`,x., ��` � - "''" C. North Tracy Avenue Historic District
_ � - - - --- %j
1
�u� , � — � � The North Tracy Avenue Historic District contains the most significant concen-
�x ' r �� tration of historic residential architecture north of Main Street, and is a repre-
� - , ��
�� - � -�� - sentative portion of what was once a quite extensive historic residential area.
�� �� �> 3� Some of the houses in the district are among the most significant examples of
� �� �.
- vernacular architecture in the city.
.. ,�u..ki, � � i1' .t�.;, ,�
N��R7�llt��c'1� .►�F:�l'E The North Tracy Avenue Historic District consists of 28 diverse,modest resi-
I
_'_"�''`�-`-`� . , _ _ � F ����_ ` dences spanning two blocks,from Villard to Peach Streets.Although nine of the
� ,���" � �t �,���ir buildings are either neutral or non-contributing to the historic district,the district
� � - is nevertheless defined by its high overall architectural integrity and cohesiveness
North Tracy Historic District. compared to surrounding streets.In addition,most of those nine retain enough
- of their original designs to maintain the historical continuity of the street.Of the
' �r,,�• �' r contributing buildings in the district,eleven are Bungalow style and bear similar
� '' � � - ornamentation,which helps to unify the district overall.The remaining nine are
� �=. , ,
- r � �- of diverse, 19th century forms,which display no specific stylistic elements.All
,�".„ �,��, but two houses are of frame construction,although several of them are covered
�� '" � with aluminum or asbestos siding.
� � _
The houses vary in size,design,and integrity,but are regularly spaced along the
_ street and create a strong sense of rhythm along the full length of the historic
�""� � district.
Here the sense of'rhythm is seen through a
consistent set back frorrt the street.
Period of Significance: 1890-1930
� District Character:
v � �. '�'r � • residential neighborhood setting
� �. � .
similar front yard setback
+� �� ` - • simple one-story wood frame residential buildings
"•�+�! +1. " _ • porches address the street
�� � • secondary structures &garages to the rear of the lot
_ _ _�� • automobile access is provided by two track driveways
Guideline:
Preserve original porch materials. 1. Reflect the district character when building within and around the
district.
• Consider the use of wood frame & siding materials,
/� = { • Consider developing a design palette for new construction that
f �� � � draws from design elements and materials found in the area.
� _ �� � • Use simple rectangular building forms with sloping roofs.
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- k= �
,�_
f--
Garages should remain subordinate to the
primary structure on the site and should be
located to the rear of the building.Note the
character of the two-track driveway.
82 Design Guidelines
D. Main Street Historic District . - ' " ' ,
,�
►„ �,�.�,� ., . --
. ,�� . _ r_ ,
The Bozeman Main Street Historic District is the heart of the city of Bozeman .,�.w,,, s-, � � �M+�����1
and the Gallatin Valley. The district is composed of a virtually uninterrupted �-.—� �-__.__ ,-�
streetscape of commercial buildings along both sides of four blocks.The district � ;,-����„ut t � �
stretches along a segment of the primary east-west thoroughfare in the city. It
..
is bounded at either end by the two major city landmarks,the six-story Baxter
and four-story Bozeman Hotels.With the exception of a few buildings on Tracy 4 " „
Avenue, a cross street, the entire district is visible from most points on Main -' �
Street. ' ' '
:= 'i �
i i.ui���ri u�
The district consists of primarily two-story, 19th and early 20th century brick � - � '� � �����n
„�� ��i�uu �,Wu'nini.xr
commercial blocks of varied design. Bands of colorful, irregular storefronts, _ t - ��•, ��
canopies and signage unify all the buildings at street level.While few structures � 1 � _
retain 100°Io integrity, most have regularly spaced windows and considerable ,�„�� ,,,�� � � ���`�
ornamental detail,such as cornices and belt courses which lend a strong visual !'�'� `
cohesion to the district overall. Main Street Historic District
' �- A 1947 Sanborn Fire Insurance map
�
__: _.�.._._.,,.,..._._....----._..+._�:__r shows many planning characteristics that �
� � ' � �„� y � still define downtown Main Street today. - `� � ,
�'��-',:�•�� �� '� This includes: buildings that align at the � � � � �-�-_,_,
, �`�� • �_„_ , . ,
sr �, I" ;� sidewalk, similar building facade widths, �_�.� �� � �
�, , ..�.-• � -� -- -
� �- ��- z'� —.{ ; � alley access and two-story buildings.Also �
. �� �
� �'�� . . � ; � note the transition zone between the alley ; � � ' � �
� � ~ � �i - —`—` ' j � behind Main Street, where large one-story � � � � � � � �� J
� -� ��;• � - �'' � � warehouse buildings are located that ��
� �- �
�- ��:. -����-� T �" - " � � typically abut staging or parking areas. � - -' - -
. '� '- ' � Institutional buildings can also be f'ound
; : �,.�� • here,they are set back from the street and The National Bank of'Gallatin valley(1 W.
r �
' .._ +� � � sit rominentl on there site, the also
- P y Y Main)exhibits another unusual material-
'- . ""'� �'� � � ��������� have significantly less lot coverage,as do concrete blocks molded in imitation of'
, --�--•- -.....
: ' .�'
� , nearby residential buildings. rusticated masonry.
. � •^ �•�~ . 1
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• �� , - + at-`_: 3'r � - - i �; �.�
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, One of the most notable building examples
- - -- .. ... ,,�.
from the 1900 -1930 is the glazed brick
Baxter Hotel, an eclectic Art Deco form
which dominates the western end of the
district by its sheer size.
Chapter 5 83
Several suspended signs in the district,while not eligible for the national register
as contributing elements due to age,have significance of their own.These signs
add color and relief to the streetscape,several signs of note include:Powderhorn
'�� Sporting Goods,Cosner Apartments and the famous revolving horse,
_ �
i
1 �' The Main Street District, with its tremendous diversity of architecture, has
retained a high degree of cohesiveness overall,
Period of Significance: 1880's-1940
� District Character:
' ' • main street commercial setting
• buildings align at the sidewalk
_ __.., • simple rectangular building forms
- ' • primarily flat roofs
�ARM�Y� * • primarily masonry building materials
t ��Q * N�� i ��� • first floor storefront
1� � -� ��Y ��.�,' �'� • large one-story warehouse buildings in transition area
— �...
• automobile and service access is provided off side streets &alley
Guideline:
1. Reflect the district character when building within and around the
The famous revolving horse. downtown area.
• Consider the use of masonry materials,
• Consider developing a design palette for new construction that
draws from design elements and materials found in the area.
• Use simple rectangular building forms with flat roofs.
• A diversity of building rypes is encouraged in the transition area
between the Main Street District and nearby residential neighbor-
hoods.
84 Design Guidelines
E. Cooper Park Historic District ���H�����y���
The Cooper Park Historic District, a large early 20th century residential area, �""".'"-�'` � -___
contains about 250 diverse, one to two story frame houses with even spacing " �- �
and setbacks,along level,tree-lined streets. The Bungalow style is clearly pre- - `� � �' " "=��' `i _
. , j-
dominant in the district,though the eclectic Queen Anne and Colonial Revival �f
,.;-�"`"u��,�
sryles,promoted by early 20th century pattern books,are also well represented. �
Architectural features such as exposed rafter tails,truss brackets,bay and oriel r` >
windows, porches, and a variety of surface textures and roof types lend both . : r��„i�F k���u�, z
a strong visual cohesion and a distinctly Progressive Era character to the dis- � ,� _ � I
- t. _ -
trict. � -
� � :
.��sd_ ` —�, -
While the district contains no examples of high style design,there are numerous � �' "
x �!l�F r �
excellent examples of vernacular architecture found within it.The architectural -�-'-`�-- -
quality and integrity throughout the district is quite good,there being high per- �i
centage of significant buildings,and few gaps of non-contributing structures in ��� u �
the streetscapes. However, the level of architectural qualiry and pretension is t
highest in the immediate area of Cooper Park. A verdant,2-block square open Cooper Park Historic District.
area in the western part of the district, Cooper Park is surrounded by large,
well-spaced houses. The park serves as a focal point for the surrounding area �-.. �-_�, -�
and helps to break up the grid. �� _
. � ! .
The Cooper Park Historic District,with its tremendous inventory of vernacular ;� ,�,�� 1:�r� _ __�
architecture has retained a high degree of cohesiveness, �,•• � b
r' ,'
Period of Significance: 1885-1936
District Character: Building setbacks are uniform on this block
• residential neighborhood setting in the district, therefore new buildings
• similar front yard setback should conform to this aligninent.
• simple one-story wood frame residential buildings
• porches address the street s �
• secondary structures &garages to the rear of the lot _ ��; ,� -
• automobile access is primarily from the alley �� � ./���-Z � �
' �., ;�,, a�-
. _,_ � �-_ �,.,,�
1
' si
� ��
'4� � �` -
_ ��
�s-+ �
The bungalow style is the predominate
building style found within the district.
Chapter 5 85
Cooper Park Historic District
Guideline:
1. Reflect the district character when building within the district.
• Consider the use of wood frame & siding materials,
• Consider developing a design palette for new construction that
draws from design elements and materials found in the area.
• Use simple rectangular building forms with sloping roofs,
��.. :�� .�..
....1 ' � _ . . ea�F►:,�„ �../
ae r t
� �.� ��+ �� �—� ' ��R� �
' � ' '� _� t�' i �f
t� , , � -
e •') � �� � �� _ � ��" � � �! �i
�:i. �___� � : r � „�_ : � �— -i
. � ;
0 `� �
� � � 1� i R__� 1 �� ■ � �'
�i � .—i �—� , �� `' . �I �— -� � � �� � •R
� �.; .����� �- .��•� � �• � � - a � ti�
• �.,T_
_ r..•�---r- * � � .-- �' — �-,-.a.
`-- --- ----.�.-- •--.r.'_. .r---i. _.r..--�--. .-_.��
��. . �.r� - -�. ._ . � .._ .� _
::� � � ,� � � � �, * � � �� � ���„�'�� �
.� � , �
: � � � �.
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; I � � , I s � ■ � . I �'"�r �r .
■ �
, . �
�� � � �;� � � �� f � � � � , �
—�---�_ � �„ - ., ,.1 �-
- - -`=--~ ' - - -"''-•' .
' .- ' - -- � - •, --�.�
;,,� � � p A I I � �_ � � '
., :,
A 1927 Sanborn Fire Insurance map of the Cooper Park Historic District shows many
planning characteristics that still define the neighborhood today.This includes:buildings
set back.froin the sidewalk,similar building facade widths and alley access.Building
heights range.from one, one and one-half and two-stories. Most buildings also show
porch fronts and secondary buildings off the alley,
86 Design Guidelines
F. Lindley Place Historic District �+��� ��k� ��� _
, , . ,,
The Lindley Place Historic District consists of a dense,very cohesive grouping � � �� �
of late 19th and early 20th century vernacular houses that line both sides of Lind- _ � ,s �_ � �
ley Place - an isolated,two block long street (which has no cross street) at the � s
�s >
eastern edge of the city's residential grid. In addition,three simple Bungalows , � � �
on the north side of Olive Street terminate the north end of the district.Behind '� : �
the lots on the east side flows Bozeman Creek. East of that is the broad,open � ����� �.� ��,� �� �.
space of Bogart Park.While some houses have lost a degree of significance due _ - Ztfk;S KT 17
to alteration such as application of non-original siding or removal of original ' ���� Tt 1 l��Cl'l���7'FI BI.ACK
features such as porches, the district in general is characterized by very high � ��i"�:'� =:r �
.�
architectural integrity. There is a diversity of architectural styles found here Lindley Place Historic District
including: Bungalows,Italianate, and Vernacular Queen Anne.
The ever-audible sound of Bozeman Creek,as well as amenities such as regularly �
spaced shade trees,concrete sidewalks imprinted with"Lindley Place- 1906"at � �, �
the corner,a cast iron hitching post in the form of a horse head,together augment �
the unique,cohesive character of this small residential historic district.
.
Period of Significance: 1880-1922 - ��.�� �t �,_ .
� t �� •�y� �
�f��District Character:
• residential neighborhood setting
Regularly spaced trees define the
• similar front yard setback
canopy.
• simple one and two-story wood frame residential buildings
• porches address the street
,
• secondary structures &garages to the rear of the lot ��� '�
• automobile access is primarily from the alley �- �,_.
�.�
Guideline: , , � ��'
1. Reflect the district character when building within the district. �;' , � � ��
• Consider the use of wood and masonry materials. r�`'� �'
• Consider developing a design palette for new construction that , , �
draws from design elements and materials found in the area. i �� '� �
• Use simple rectangular building forms with sloping roofs. �j '
- � �-,
\ � �.
� a � �,`
i• ` '�` � �
� � �Q Diversity in building heights occur along
- � _ the block.
I11UI11�, I _, � ' ���
� �
= ,...,,,. ., _
Front porches address the street. Variety of lot sizes can be found.
Chapter 5 87
G. Bon Ton Historic District
w. .r -
. , ._ � Bozeman's finest examples of historic residential architecture, spanning from
� ` the early 1880's to the early 1930's,form the bulk of the 260 buildings in the
,,•F k,•�kti - � ����"�` Bon Ton Historic District.Italianate,Queen Anne,Colonial Revival,Bungalow
- - " u�+ ��+� and other styles are well represented in the district.Many houses display towers,
_ -
� Y i E wrap-around porches,and elaborate ornamentation in brick and wood.
�. .�
I f """"`�� � In 1935,elegant concrete lamp posts were installed lining both S.Willson Av-
-,
J enue,a major thoroughfare through town which is wider than the others,and W.
- � �" ""'" �` � Cleveland Street,the location of many fine Depression-period houses. These
. 1 �7
.��� ��+ �u�� ti �ti F lamp posts help to establish,the southern and eastern borders of the district.
�� �,.�.�_,,. „ � L
_" '�°�'F'��1^_.:� ' Because of this combination of both vernacular architecture,which is similar
� �I to that found elsewhere in the city, and high style architecture,which is found
� I�� nowhere else in the city,the Bon Ton District possesses a character that is unique,
Bon Ton Historic District but that is nevertheless consistent with the character of the two bordering historic
districts. The Bon Ton Historic District is therefore the centerpiece of a vast
� � � historic,residential area in Bozeman.
1',
` �� �� �, � ' r— ! � � �� r
� � �1 -� - -- �
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The preservation of the architectural � � � ; �
features has made this home significant . � �• � � �� ���;� � � � ?
'� � I
to the district. �
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The Story Mansion is a historic structure _ _�� � ���� '��3 � ' �
located on Willson Avenue. � . �� � � �{� � ��:� �
� -� . .o....
A 1947 Sanborn Fire Insurance map shows many planning characteristics
that still define the Bon Ton historic district today. This includes:
buildings that are set back at a similar distance from the street,similar
building facade widths and lengths, alley access, secondary buildings
located to the rear,and front porches.Lot coverage is similar throughout
the neighborhood.
88 Design Guidelines
District Character:
• residential neighborhood setting
• similar front yard setback
• combination of elaborate and vernacular building styles
• porches address the street
• secondary structures &garages to the rear of the lot
• automobile access is primarily from the alley
Guideline:
1. Reflect the district character when building within the district.
• Consider the use of wood and masonry materials,
• Consider developing a design palette for new construction that
draws from design elements and materials found in the area.
• Use simple rectangular building forms with sloping roofs.
�, � r
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Regularly spaced trees define the A diversity of building rypes can be found
streetscape canopy. throughout the district.
Chapter 5 89
.� H. South Tracy/South Black Historic District
! ---- � r
� x , The South Tracy-South Black Avenue Historic District consists of 93 diverse,
" � I vernacular houses lining S. Tracy and S. Black Avenues between Olive and
, _ I I�I�� M:ti'f .�C'_ Alderson Streets,as well as a large school building and a neighborhood grocery
1 � store. It is distinct from the two large, adjacent residential historic districts in
- � � .��� ��I t k'��c'l�i u�Ull1 BI I Bozeman due to its greater building density and its high concentration of signifi-
- �- ` �,.0 s �r
�� �, - _ cant architecture of generally more modest scale and ornamentation. Many of
�_ � " the most significant buildings occur in pairs or groups of three,which heightens
;� �- � � the overall visual impact of the district.Although many 19th century houses are
��� � .
� � � found here,the numerous excellent examples of the Bungalow style are visually
���� predominant. Overall, a continuous rhythm of regularly spaced houses along
� �� tree-lined streets act as a strong unifying element in the district.
...�.. .
South Tracy/South Black Historic
District Due to the scale,rhythm,and high concentration of significant historic architec-
ture found along S.Tracy and S.B1ackAvenues,this district is visually distinct
from all other residential areas in Bozeman. It also contains several fine examples
, � � of the earliest residential architecture in the city. Two of these are a pair of small,
, � � � originally identical, 3x1 bay,jerkin head-roofed T-houses built in 1879 one of
,� which retains its original Victorian period detailing. By the second decade the
�r' � Queen Annes gave way to Bungalow style homes in this neighborhood.
�1 i � �'
. �
.,
�• ,A � t'� � ' I � I I "�- � I� ��
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- � -� p ���1 � i _ r �3
The entrance into this house is an exception � 1
to the general front facing entrances as �;, � � � � � � � '� � � � ����
shown below. - -— "' '�T'�' ' —T�T ' ,�. � .
----w�a+ ------w• --s- ---+ • . . .- ---- -. •-
_._ •
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� ; � � � - � �"� :'� -
A 1927 Sanborn Fire Insurance map shows many planning characteristics that still
define the South Tracy/South Black historic district today.This includes:buildings
that are set back at a si�nilar distance from the street,si�nilar building facade widths
and lengths,alley access behind some blocks,secondary buildings located to the
rear,and front porches.Lot coverage is siinilar throughout the neighborhood.
90 Design Guidelines
Period of Significance: 1872-1939 . t :, :
� _,,
District Character: � '
• residentia] neighborhood setting ' � � �'
• similar front yard setback j����
• simple one and two-story wood frame residential buildings .�-- ,+�;- 1 �,�`,_�
• porches address the street � � .
• secondary structures &garages to the rear of the lot _� _
• automobile access is primarily from the alley Regularly spaced trees def'ine the
streetscape canopy.
Guideline:
1. Reflect the district character when building within the district.
• Consider the use of wood and masonry materials, . : �
• Consider developing a design palette for new construction that ..,y'
draws from design elements and materials found in the area. -
• Use simple rectangular building forms with sloping roofs � � � :� _-
� �
r _ - -
: T�--i� _
Numerous excellent examples of' the
Bungalow style are visually predominant.
Chapter 5 91
, � .
I. South Tracy Historic District
� ,�� An island of Bungalows from the time of its initial construction in 1917 and well
- .__ into the 1930's, the South Tracy Avenue Historic District remains a cohesive
. , � � � ' �" architectural unit, and a particularly vivid example of Bozeman's rapid early
,.� _ 20th century expansion.The seven similar,modest Bungalow style residences
- -�
' - that make up the district,each of which has a separate garage behind it,represent
the work of four local carpenters.Despite the extensive construction occurring
throughout the city in the early 20th Century,this district remained an isolated
Bungalow styles are visually predominant unit, until the mid-1930's when construction began filling in the surrounding
in the South Tracy district. blocks.
��,+ The South Tracy Avenue Historic District,despite its sma11 size,remains a strong,
clearly defined group of buildings representing both the earliest period of au-
� � i tomobile use,and a period of exponential growth in the city.Being surrounded
/� by houses of much later and more diverse time periods, many of which have
�� � undergone extensive alteration in the past 20 years,the historic district retains
I - • � � • a sense of its original isolation on South Tracy Avenue.
•; L�� z
Period of Significance: 1919-1923
A shared drive lessens the impact of paving
in the front yard, this is an appropriate District Character:
approach. • residential neighborhood setting
• similar front yard setback
• simple one-story wood frame residential buildings
'I • porches address the street
• secondary structures &garages to the rear of the lot
. U .:
��'J'� � � ' �`�`� � ' ' # Guideline:
�N��. , ' _1� ,�j �
1. Reflect the district character when building within the district.
� ' �,�. • Consider the use of wood materials,
- - - -��� • Consider developing a design palette for new construction that
�
Raised lawns contribute to the streetscape draws from design elements and materials found in the area.
character of this historic neighborhood. • Use simple rectangular building forms with sloping roofs.
L�• �r��►:� �
7 I `� - �- •-T� -
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Y 1 � 1�
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.`
South Tracy Historic District
92 Design Guidelines
APPENDIX A
The Secretary of the Interior's Standards for
Rehabilitation
1. A property shall be used for its historic 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 historic character of a property shall be retained and preserved. The
removal of historic materials or alteration of features and spaces that char-
acterize a property shall be avoided,
3. Each property sha11 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 time;those changes that have acquired historic
significance in their own right shall be retained and preserved,
5. Distinctive features, finishes, and construction techniques or examples of
craftsmanship that characterize a historic property sha11 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. New additions, exterior alterations, or related new construction sha11 not
destroy historic materials that characterize the property.The new wark 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.
Design Guidelines App- 1
APPENDIX B
Interpretation of Terms
These definitions apply to terms related to compliance in the preceding text,
Appropriate. In some cases,a stated action or design choice is defined as
being"appropriate"in the text.In such cases,by choosing the design ap-
proach referred to as"appropriate,"the reader will be in compliance with the
guideline.However,in other cases,there may be a design that is not expressly
mentioned in the text that also may be deemed"appropriate."
Consider.When the term"consider"is used,a design suggestion is offered to
the reader as an example of one method of how the design guideline at hand
could be met.Applicants may elect to follow the suggestion,but may also
seek alternative means of ineeting it.In other cases,the reader is instructed
to evaluate the ability to take the course recommended in the context of the
specific project.
Context. In many cases,the reader is instructed to relate to the context of the
project area.The"context"relates to those properties and structures adjacent
to,and within the same block as,the proposed project.
Contributing Property. A building that is identified as having significance
and contributing to the character of a designated historic district is considered a
"contributor."These typically appear on an official survey of historic resources,
but in some cases,significance may be determined at the time that an application
for approval is submitted.Preservation of key defining features is the goal,
Historically Significant Property. Other older buildings that are found within
the Conservarion Overlay,but outside of any historic district.They are generally
isolated buildings,in the context of newer structures,but somerimes they exist
in a small grouping.If such a properry is not of landmark quality,and it is not
in the context of other similar properties,"conservation"of the overall character
of the building is the focus.
Non-historically Significant Property. These are more recent properties, or
older ones that are substantially altered,which lie within the Conservarion Over-
lay,but outside of any historic district.The objective is to assure that,if altered
or scraped,the result would be compatible with the context of the neighborhood,
but preservation of features on the building itself is not a consideration,
Historic Resource.In general,a"historic resource"building is one that is 50
years old or older,associated with significant people or events or conveys a
character of building and design found during the period of significance.
App-2 Design Guidelines
Inappropriate.Inappropriate means impermissible.When the term"inap-
propriate"is used,the relevant design approach will not be allowed.For
example,one guideline states: "Enclosing a porch with opaque materials that
destroy the openness and transparency of the porch is inappropriate."
Individual Listing.A property that,on its own,has sufficient significance to be
considered a historic resource may be designated an individual historic landmark.
For these,preservation is an objective,and the guidelines for rehabilitation are to
be applied rigorously.The design guidelines for all properties would also apply.
And,if the landmark also lies within a historic district,the special neighborhood
chapter would also apply.
Non-historic. Recent buildings and those 50 years old or older which have
lost their integrity are considered"non-historic."These buildings do retain
property value,but do not possess the significance and/or physical integrity
necessary to be considered a historic resource.
Non-contributing Property
A building found within a designated historic district,but which does not con-
tribute to the significance of the district,is in this category.This may be a newer
building that has not taken on significance, or it may be an older one that has
been so substantially altered that it lacks integrity as a historic resource. The
objective is to assure that,if altered or scraped,the result would be compatible
with the historic context,but preservation of features on the building itself is
not a consideration,
Preferred. In some cases,the reader is instructed that a certain design ap-
proach is"preferred."In such a case,the reader is encouraged to choose the
design ,other approaches may be considered.
Primary facade. The primary facade is the principal elevation of a building,
usually facing the street or other public way,
Should. If the term"should" appears in a design guideline,compliance is
required.In cases where specific circumstances of a project make it impracti-
cal to do so,the City may determine that compliance is not required if the
applicant demonstrates how the related policy statement still will be met,
Traditional.Based on or established by the history of the area.
Design Guidelines App- 3
Appendix C
Benefits of Historic Preservation
A. Why Preserve Historic Resources?
Across the nation, thousands of communities promote historic preservation
because doing so contributes to neighborhood livability and quality of life,
minimizes negative impacts on the environment and yields economic rewards.
Many property owners are also drawn to historic resources because the qual-
ity of construction is typically high and the buildings are readily adaptable to
contemporary needs.These same reasons apply in Bozeman,
Livability and quality of life
When groups of older buildings occur in a conservation or historic district,they
create a street scene that is"pedestrian friendly,"which encourages walking and
neighborly interaction.Mature trees,decorative sidewalks and architectural fea-
tures also contribute to a sense of identity that is unique for the neighborhood,an
attribute that is rare and difficult to achieve in newer areas.This physical sense
of neighborhood can also reinforce desirable community social patterns and
contribute to a sense of security.Many residents of these districts,for example,
note how easily they get to know their neighbors and praise the fact that they
are recognized by others who live in their districts.
Environmental benefits
Preserving a historic structure is also sound environmental conservation policy
because "recycling" saves energy and reduces the need for producing new
construction materials.Three types of energy savings occur:First,no energy is
consumed to demolish the existing building and dispose of the resulting debris.
Second,energy is not used to create new building materials,transport them and
assemble them on site.Finally,the"embodied"energy,that which was used to
create the original building and its components,is preserved,
By"reusing"a historic building and the materials it was constructed with,pres-
sure is also reduced to harvest new lumber and other materials that also may
have negative effects on the environment of other locales where these materials
are produced.Because older buildings can be quite energy efficient,heating and
cooling needs may be reduced as well.
Living in traditional neighborhoods also helps reduce Bozeman's dependence
upon automobiles.Because these older places are in close proximity to the origi-
nal downtown,they provide opportunities for many people to work, shop and
seek entertainment close to where they live,and because commuting distances
are reduced, so are vehicle miles traveled.A reduction in gasoline consumed
and in air pollution from emissions discharged are therefare positive results of
living in these neighborhoods,
App-4 Design Guidelines
Economic benefits
Historic resources are finite and cannot be replaced,making them precious com-
modities that many buyers seek.Therefore,preservation adds value to private
property.Numerous national studies document where local historic districts are
established,property values rypically rise or at least are stabilized.In this sense,
designation of a district appears to help establish a climate for investment.
Property owners within the districts know the time and money they spend on
improving their properties will be matched with similar efforts on surrounding
lots; these investments will not be undermined by inappropriate construction
next door.
The condition of neighboring properties also affects the value of one's own
property: people invest in a neighborhood as much as the individual structure
itself and,in historic and conservation districts where investment is attracted,
property owners recognize that each benefits from the commitment of their
neighbors.An indication of the success of historic preservation is that the number
of designated districts across the country has increased, due to local support,
such that an estimated 1,000,000 properties,both as individual landmarks and
in historic districts,are under local jurisdictions.
Preservation projects also contribute more to the local economy than do new
building programs because each dollar spent on a preservation project has a
higher percentage devoted to local labor and less to the purchase of materials. By
contrast,new construction typically has a higher percentage of each dollar spent
devoted to materials that are produced outside of the local economy. Therefore,
when money is spent on rehabilitating a building, it has a higher "multiplier
effect,"keeping more money circulating in the local economy,
Depending on the extent of work needed,rehabilitating a historic building can
cost less than constructing a new one.In fact,the guidelines for rehabilitation
of historic structures presented in this document promote cost-saving measures.
They encourage smaller and simpler solutions, which in themselves provide
savings. Preserving building elements that are in good repair is preferred, for
example,rather than replacing them.This typically is less expensive.In some
instances,appropriate restoration procedures may cost more than less sensitive
treatments.In such cases,property owners are compensated for this extra effort,
to some extent,in the added value that historic district designation provides.
Incentives for preservation
While these economic benefits are substantial, special incentives also exist
to help offset potential added costs of appropriate rehabilitation procedures.
Income tax credits are offered at the federal level,investment tax credits and
properry tax incentives are offered at the state level for appropriate rehabilitation.
Contact the ciry historic preservation planner for more information regarding
these incentives.
Design Guidelines App-5
Responsibility of ownership
Ownership of a historic property carries both the benefits described above and
also a responsibiliry to respect the histaric character of the property and its set-
ting.While this responsibility does exist,it does not automatically translate into
higher construction or maintenance costs.In the case of new construction,for
example,these design guidelines focus on where a building should be located
on a site and what its basic scale and character should be.The guidelines do not
dictate the style of the new building or the degree of detail that it should have,
factors which could affect building costs.(In fact,imitating historic styles is dis-
couraged in these design guidelines.)Ultimately,residents and property owners
should recognize that historic preservation and neighborhood conservation are
long-range community policies that promote economic well-being and overall
viability of Bozeman at large and that they play a vital role in helping to imple-
ment that policy through careful stewardship of the area's historic resources.
App-6 Design Guidelines
Appendix D
A. Historic Overview of the City of Bozeman
(Courtesy of the Gallatin Historical Society)
Prior to the Lewis and Clark Expedition in 1805,the Gallatin Valley was a favored
hunting ground far migratory bands of Indians. As the century progressed,
trappers and explorers continued to use Bozeman Pass as a gateway to the
Missouri River Basin.
It was not until the discovery of gold in Bannack and Virginia City in the early
1860's that the Gallatin Valley began to experience significant change. When
the gold in the west bank was found to be unsatisfactory,miners began looking
for new ways to find their fortunes.Among the disappointed miners was John
Bozeman.A Georgian by birth,Bozeman,like the legendary Jim Bridger,had
turned to guiding immigrant trains to the gold fields by passing on the east side
of the Big Horn Mountains, over the plains and west through Bozeman Pass,
dropping into the Gallatin Valley and then southwest to Bannack.John Bozeman
soon realized that more gold lay in the fertile soil of the Gallatin Valley than in
either mining or guiding.While passing through the valley in 1863,Bozeman met
two men,William J.Beall and Daniel E.Rouse,who had spent an unsuccessful
year near Gallatin City trying to farm the poor soil. Bozeman arranged with
Beall and Rouse to lay out a townsite the following spring when he planned to
return with another immigrant train. That townsite would become Bozeman,
Montana.
b ?:.(NAN DA�IYCr+RONKIE,Sudov Oc�oDer��.�981
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Bozernan Main Street-Ellen Theater patrons in line in f'ront of Chambers-Fisher store.
(Courtesy of Gallatin Historical Society.)
Design Guidelines App-7
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623 North Tracy residence.(Courtesy of Gallatin Historical Society.)
William Beall and Daniel Rouse laid out the townsite with Main Street as the
major east-west axis and Rouse and Bozeman Avenues as the north-south cross
streets. In 1870 W.W.DeLacy surveyed the townsite and it was formally platted,
as was Rouses's First Addition adjacent to the east of the townsite. Main Street
was platted to be 93 feet wide to conform to the existing buildings and all other
streets were to be 60 feet wide.The townsite covered forty acres and adjoining
landowners agreed to donate enough ground for streets and alleys in order to
"preserve the symmetry and uniformity of the town."
Developers in the early years of the ]870s-before the economic depression of
the middle and late seventies set in-optimistically filed new plats,expanding
mostly to the southeast to higher and drier ground. During this time William
Alderson touted his new Fairview Addition as the fashionable place to live and
made Central (Willson) Avenue extra generous in width. Hoffman's Addition
and Park Addition were platted soon after.Park Addition was owned by Nelson
Story,Walter Cooper and John S.Dickerson.Two strips of land were taken from
the tracts and set aside for a park,later called Cooper Park. Later additions to
the north were platted in anticipation of the railroad depot.These developments
were plotted in the swampy northeast area that other residents had avoided.The
new developments were not fast growing, and were used mostly as industrial
sites.The lure of the depot could not lessen the mire of mud and swamp.
Bozeman boosters believed that their ciry might have a chance to become the
site for Montana's state capitaL In anticipation of the capital election in 1892,
an addition aptly named Capitol Hill was platted in 1890. The same year the
ButteAddition was platted.By that time all additions,with the exception of two
in the northwest corner of the survey area,were formally platted.
App- 8 Design Guidelines
From 1864 to 1950 Bozeman's architecture and urban development underwent
a series of transformations. Certain growth patterns were established well
before the turn of the century,influenced by available materials,and prevailing
technology and custom.When viewed within a historical context these changes,
and those which followed, represent Bozeman's shifting patterns of social,
economic and cultural relationships with local, regiona] and national events
and conditions.
Far purposes of examining Bozeman's architectural resources within their
historical context, the community's development is presented here in five
phases: the Townsite Phase,Village Phase,Civic Phase,Progressive Phase and
Nationalization Phase.
Townsite Phase 1864-1872
Bozeman's Townsite Phase may be defined as the period immediately following
the origination of the townsite,brought on by the need for a supply center for the
newly booming mining camps of Montana Territory.The period is characterized
by the discovery and initial development of agricultura] and timber resources,
which promised stability for the settlement in light of uncertainties associated
with transportation and supply routes through Indian territory.Although a few
architecturally precocious structures were built during the Townsite Phase,most
buildings were constructed of simple materials and by simple methods; log
and wood frame buildings predominated.Commercial and industrial structures
commanded attention and manpower,thus establishing early the importance of
commerce and agricultural manufacturing to the future of the communiry.
Village Phase 1873-1885
The Village Phase represents for Bozeman the beginnings of urbanization,and
culminated in the arrival of the transcontinental railroad and incorporation of
the City of Bozeman.The economic base became secure enough to sustain more
permanent structures: including churches,schools and public buildings.While
many Victarian commercial buildings were constructed of brick, industrial
buildings continued to be constructed of wood,and distinctive frame residences
of the Carpenter Gothic builders' tradition were prevalent. Sawn ornament
in the Carpenter Gothic mode was utilized as an integrative element in rural
vernacular house forms. The commercial and industrial potential of Bozeman
and the surrounding area emerged as sufficient for continued growth,
Civic Phase 1884-1912
The Civic Phase corresponds to the city's development as a regiona]center.Much
of the development of this time relates to the attainment of social and economic
diversity in the form of the Agricultural College, improved transportation
networks, expanded ciry services and public utilities and fledgling industries
related to agricultural and mineral resources. Victorian Reviva] architecture
built during the Civic Phase encompassed Victorian Gothic, Romanesque
revival,Ruskinian Gothic,Queen Anne and Colonial Revival.Eclecticism and
individualism characterized both commercial and residential architecture,even
when house pattern books were the source of designs.
Design Guidelines App-9
Progressive Phase 1913-1929
Bozeman's Progressive Phase was a period of transformation in relation to
emerging twentieth century business and professional values.Growth continued
steadily as before,but the nature of growth distinguished the Progressive Phase
from earlierperiods.City governance andpolitics were transformedby adoption
of the Commission-Manager form of government. The Agricultural College
increasingly attracted a population which,in accord with national trends, was
sympathetic to efficiency and modernization in government as well as in other
sectors, such as business and agriculture. Other twentieth century phenomena
such as the automobile and tourism changed the face of Bozeman. Newer
buildings were built in Arts and Crafts or Mission styles. Civic organizations
mediated social and economic change as Bozeman weathered fluctuations in
conditions prior,during and following World War I.
Nationalization Phase 1930-1950
The Nationalization Phase represents Bozeman's emergence into the national
milieu associated with the Great Depression,the New Deal,World War II and
the post-war eras.The influence of the Agricultural College in the state's rural
counties increased dramatically,leading to expansion of all three phases of the
institution:research,instruction and extension.Military science and engineering
vied with agriculture and other traditional concerns of the land grant college
as war and economic transformation made their mark on the institution. New
forms of communication and entertainment, such as radio and the "talkies,"
altered social patterns in Bozeman,just as the New Deal and later national events
altered economic,political,administrative and cultural patterns.Idealization of
national industrial culture took architectural form in Art deco and Moderne sryles
based on the industria] age. Simultaneously, the contrast between such urban
ideals and the natural setting of Bozeman enhanced the community's appeal to
residents and visitors alike.
-, •
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_ ���--�W � �-�f ����j t�-
� �:
�y�`�- -�_._.���_ .
Bozeman Main Street, with.freight wagons loaded
with sacked wheat,circa 1905.(Courtesy of Gallatin
Historical Society.)
App- 10 Design Guidelines
B. Architectural Styles
As well as providing a visuallink to Bozeman's history,the architectural heritage
creates a strong "sense of place."In order to maintain the architectural history
of Bozeman it is important to understand the specific styles and characteristics
that were utilized throughout the ciry's history.
This section provides a brief overview of various historic styles found in the
city. While this section makes reference to a wide range of styles found here,
it is not exhaustive.Certain architectural styles may exist that are not included
in this section.
Property owners should review these descriptions carefully.In many cases the
design guidelines make reference to the characteristics of styles presented in this
chapter.In some cases,specific design guidance is included in the style descrip-
tion, depending on the prevalence of the style being described. For example,
the section on Bungalows provides special guidance because the bungalow is a
prevalent building type in many historic districts in Bozeman.
The homeowner is encouraged to use the styles section in analyzing the overall
historic character of his/her building, as well as distinguishing its character-
defining features. Ultimately, this should aid the home-owner in choosing an
appropriate design solution for any proposed work.
Architectural Styles Table of Contents
Page
Settlement Vernacular App-12
Log and Frame App-12
Picturesque Styles App-13
Gothic Revival App-13
Italianate App-14
Second Empire App-15
Victorian Styles App-16
Victorian Eclectic App-16
Queen Anne App-17
Revival Styles App-18
Colonial Revival App-18
Dutch Colonial Revival App-18
Neo-Classical App-19
Bungalow Styles App-20
Modernist Styles App-21
International Style App-21
Art Deco App-22
Post-War Cottage App-23
Design Guidelines App- 11
� _��7� Settlement Vernacular
� ,
_�„�. ._, -
_ �, Log and Frame (c. 1860)
��`''a:a_Y E_ In the early history of Bozeman the buildings were mainly log and timber
},�.�..'. ; :j.•-., . : �-.
� �i��;-��r;;�� � r. construction as a result of the timber resources available in the area. The first
-�� �r���$f-�.�:•��,���`�`'��'��.,' structures,and many of the subsequent buildings associated with the agricultural
� �� ' � ' '- ��`'�'�"'�-' tradition of Bozeman, are wood construction. The are also t icall sim le
ri � �-.�� Y YP Y P
'� � �� "�'-�'�-"�"""-�"- -"- forms reflectin function rather than a s ecific st le or era.
_ .�;s�i., _ _ _ .- , g P Y
: '-�yf:i .,c . �r�+;�i�_j,
L' �
—' `'i' `':- � -•,-=-�" ---' Today characteristics of log and frame building can be seen throughout Bozeman
This traditional�home and�barn represent in its historic barns and farmsteads and several early log homes.
the agricultural and architectural begin-
nings of Bozeman, Montana. (Co�rresy of Characteristics:
�aua�tn x�sror��a[so�te�y� • simple shed,gable or hipped roof forms
--.�—• _ --- ; • limited openings for entrances and windows
�'� ��� -. - �� • one story structures
�-! _ ' �' ,
� • wood construction
- -�:-�
,',�r.,-c��� �,�,� ��
� �' � : � � + '
�,�`_�.c:,�e�; _� 11^,�+�-.�
�.;.f►. ��I�,L.� �
i. .� � � ... . , _ , . .. ..�,. , . .
The residence of General L.S. Willson
was the,first building erected in Bozeman.
(Courtesy of Gnllatin Historical Sociery)
App- 12 Design Guidelines
Picturesque Styles -
c. 1865-1885 _ ... �_�
�.�' - - �, -,
Nationally,Picturesque styles — especially the Gothic Revival and the Italianate - � �'3;, . •�' _-
'�`' �i�,` ,1� i- ;
— represented in part a rejection of the Greek Revival,which was seen as be- . ����' __ ��-�"� �}
. .- . ..,__ .--- , , �i -
ing too discordant with the landscape and not easy to remodel, especially for ,. "_ � �
_`�.--� _-- , _.
additions.During the 1830s,a group of influential reformers called for a house '- _. '_ ,�_� ��
style that would reinfarce righteous living,that would help shore up Americans - �= --.-- -�-_: ---
in the face of social upheaval caused by westward expansion and industrializa- Gothic Revival residence c.1893�couYre.ry
tion. Reformers wrote about residential architecture in terms of morality, and of cauartn xtsroYt�ai so��ery�
different styles were described as dishonest or honest.Locally,residents might _
have been aware of the theory behind the promotion of these styles,but it is more ;�� 4-' �T
likely they represented something fashionable that was newly available. The � - ' "'
use of the Picturesque styles including Gothic Revival,Italianate and Second -- � ' 'fr:,�_ ' �
�M� � = . � t
Empire brought Bozeman citizens a little closer to the American mainstream ✓.#-�,�+ � 4� ��,��.`�� , � �
des ite their h sical isolation. '� �-"-�_?��"�����.
P P Y '.r�•�,;�� -,���"�i`;�,i,��___,
_ �� .,!�� -
� ___
Gothic Revival (c. 1865-1880) �r� - �
- � ��:
The Gothic Revival sryle was quite popular circa 1880 amongst the early,wealthy _ _��,-_3;�y.--- - - -
residents of Bozeman.Examples of a rustic Gothic Revival can be seen in im- ' '
Gothic Revival residence(Co�Yte.sy ofGallattn
ages of the residences of Walter Cooper,W.W.Alderson and M.M.Black,all xtsroYt�al so�tery�
influential residents of Bozeman.In a broader context,Gothic Revival was part
of the Romantic movement that valued emotion over rational thought. As a
rejection of classicism the most vocal proponent of this style,Andrew Jackson
Downing,emphasized vertical lines, deep colors and the use of applied orna- .
tis
ment. Few such homes exist in Bozeman's historic districts, but because this ^�;� '
:+
style is so unique in this area they greatly contribute to the architectural texture . _ .• '�
and richness of the city. `' -�
r �-�' - �j
� r ,-
Characteristics: '
stee 1 itched roof �
' PYP ` � ' ' �'`� :
• cross gable roof plan,or �� •� . � y�•�
• side gable roof plan with central cross gable over the door �' �� •,�
• clapboard siding �` � �
�,,
• quoins �
• decorative barge board along eaves of main gables and dormers
• two-over-two,double-hung sash windows
• pediments over windows . _
• bay windows —
• lancet windows Gothic Revival Church
• elaborate porch railings: turned posts,cut-out boards
Design Guidelines App- 13
Italianate (c.1870-1895)
_ The Italianate style was introduced by Andrew Jackson Downing in his 1850
� -" �� � publication, The Architecture of Country Houses.He extolled the virtues of the
'� �:•_.__�, ��j ry�- Gothic Revival,but offered the"villa,"a version based on Italian country houses
.;�,�-�'�� ;r-+��; �.:�i-_��u,,- _ b
��s�'��>.:- ; �"� � � �i that veered more toward classicism and did not have the religious overtones of
..,-.�. -_ ,
,,,p L,..� ,� z' I��� � .. ,;.J;., .
' � "`- � � the Gothic Revival. The sryle was used in Bozeman between 1882,the W. H.
�„� ���.�:.,�'t��r,u }:_ . "." �=.�s� ,
�����l-'�""�_��"� -�t--- '' � Tracy residence, and 189], The J. H. Taylor residence,but it was not widely
't•I---� - " �
'�`�� "1.. � - °f�� used and few examples remain,
- �_ �
..:_.�_ _ - �
Italianate Residence c. 1885 (courresy of� Characteristics:
Gallatin Historical Society) • bI'1C�C,WOOCI ClapbOaTCl,p1aSt0T
• double-hung,narrow windows,often with round arch heads
• window panes are either one-over-one or two-over-two
�-=s�-�_:�--t� ` • protruding sills
�} � • ornate treatment of the eaves,including the use of brackets,modillions
� 8 �;I � O � � and dentil courses
r `'� ]ow-pitched,hipped roof
� • blocky,cube shape,with a side-passage plan,or cross-gable
� �� • bay windows,often rectangular shape
� • quoins
^ • bay windows
Italianate Commercial Building . cresting
• transom,often curved,above the front door
• ornate porch treatment, with round columns or square posts, and
.•'�.. -- bargeboard ornament
■ � <l
. ,..
�� �i -- . � �
� rl ■ -- �- . \ ` _.�� �
; , _ � , _ f-, , _ ,
_ � _ 1 1 ���A
��4;,nk ti �! � r ��,�.�:
> > � ' ► " � . •�
/talianatc Commcrcial Building - upper � - -� -� "=
facade. ' _ - _, -
' ��- �.� r - �v��.�: � � �
- � � : ,-�. - -- ;
� - ►
� - - �j �^
, , �,
��,�,
- ,, , , ;� _ __ � � �
� ,
�_ -
Italianate Commercial Building
App- 14 Design Guidelines
Second Empire (c. 1870-1890)
The Second Empire refers to the French reign of Louis Napoleon, the grand-
nephew of Napoleon Bonaparte,who ruled from 1852 to 1870.In both France ��"�-_- .r-�.�__,�_ �
and America, the Second Empire sryle coincided with a period of prosperity ,: ��:.�Yr'�,.�;�";-"��
_ . �.i��J. �r-`--,.,-_� f
and materialism, and was associated with urbanity and cosmopolitan society. � �?� .-:=���"_�'
._ ----z =�`�--'.�.� .
In many cities in the United States it was used for government structures,but � � � --,,,�
'1• �_ � t � .
it was popular for residences as well. Classical details, such as quoins, round �:�'������� ��� .�;;, S ��
columns and heavy friezes were often used;however,there was usually so much .,-:-�-��_ � ��
�" �K��_ . _ . _- ,.�_
going on that Second Empire buildings, at least high-style examples, took on �-�'`��-_ - "` '` �
a life of their own. Second Empire was seen in grand historic structures such �{fi'�'���t��'�" � }li'�P-�'�'��.t'�
� �'� ,
as the Nelson Story residence,c. 1885,and"The Castle," (both of which have - - _ , "�`_ .�""� „_�;
been destroyed).Second Empire can also be seen in houses in Bozeman.These ��� ��"' ' � ''
were generally constructed of brick and wood, and thus do not have the rich, Second Empire Residence c.1885�cource.sy
of Gallatin Historical Sociery)
sculptural wall texture found in examples in other parts of the country.Instead,
builders and architects achieved the exuberance of this style by using asym- � �
metrical and complicated massing and by applying plenry of ornament: cresting, , -.�',
railings,and moldings, �''�i
,: �
Characteristics: -
• steeply pitched,mansard roof � � ��
• roof can be either straight or concave,and is interrupted by - � '
dormers
• complex massing forms _
• brick,stucco or wood clapboard Second Empire Residence
• wrought-iron ornament,such as cresting on roof or heavy,or-
nate fencing
• wide eaves,often with modillions
• corbelled chimney
• dormers with heavy moldings
• double-hung windows,either one-over-one or two-over-two
lights
• hood moldings over the windows
• sandstone foundation,porch steps
Design Guidelines App- 15
� Victorian Styles
, ,, c. 1870-1910
,. ,� ' � ,
T '� Technically the word "Victorian" refers to the long reign of Queen Victoria,
�- �-�-- � ' which lasted from 1833 to 1901 and encompassed the rich variety of architec-
- �' � f - tural styles that were popular during the nineteenth century.Architecturally the
_ � ��
' word"Victorian"evokes the complexity and irregulariry seen in the massing and
- materials of modest homes to large mansions.The use of Victorian era styles in
Bozeman became popular in the late nineteenth century.
Uictorian Eclectic residence
Specific styles popular during this period are discussed below. The majority
�- ._ of Bozeman's "Victorian"houses do not represent pure examples of anything;
�.�� `Y� ' simply describing a house built in Bozeman after 1890 as "Victorian" can be
:,_�' misleading because residents and builders tended to take elements from one
� �R �;� sryle and mix it with another. Still, among most Bozeman residents the term
r
-- ' conjures up the image of a house built about 1890,either one or two story,with
.:
���� an asymmetrical form,a steeply-pitched roof and"lots of gingerbread."
►w�w�..
Victorian Eclectic (c. 1885-1910)
Victorian Eclectic is not a specific style,but rather a conglomeration of elements
Victorian Eclectic residence of Victorian architecture that are combined to create a single structure.It often
has a massing defined by a central cube with a hipped roof from which a shallow
gabled wing projects.A multitude of examples of the one-story form can be seen
throughout Bozeman,but many two-story examples can be found as well.
Characteristics:
• simple asymmetrical massing
• gable or hipped roof over the main block; projecting wing with front-
facing gable
• porch with shed roof on one-story; often a gable on two-story exam-
ples
• turned columns
• tripartite division of windows on projecting wing
• bay windows and double-hung sash,made of wood
• horizontal siding can be seen on the first story and shingles are used on
the second.
• common combination is the use of stone for the foundation,the use of
fired brick on the walls,and wooden shingles in the gable ends.
• fancy scroll cut wood work,especially around gables and porches.
• ornamental brick work, such as corbelling and rows of soldiers bricks
as lintels on masonry examples
App- 16 Design Guidelines
Queen Anne (c. 1885-1905)
Proponents of the Queen Anne style found their inspiration from the medieval � �
art and architecture that proceeded its namesake's reign (1702-1714),growing � �z.,;�
out of recognition of vernacular,modest,pre-industrial structures and a desire �� � �
to bring about a close relationship of architecture and ornament, � - I
In the United States,it developed from a desire to identify a national style.Both
the Centennial Exposition,held in Philadelphia in l 876,and the populariry of � 7
New England coastal towns exposed Americans to their colonial, vernacular ,'
architectural past.The wood clapboard and shingle houses that were constructed
in eastern Massachusetts during the seventeenth and early eighteenth centuries '" ��
brought about the usual longing of securiry and simplicity that earlier ages
always evoke,and were all the more appealing because they were seen as pure -
"American." The new Queen Anne style used the broad gables, long sloping � � � \ _ __
roofs and small pane windows of these early houses for the exterior, while gi- �" � �
ant hearths, inglenooks and spacious,inviting halls influenced interior design.
The style introduced a new kind of open planning and a new way of massing
volumes of space;it was inherently eclectic and became available to homeown- Victorian Detail
ers of all income levels,
Characteristics: `�
• irregular,asymmetrical massing,through the use of a cross-wing floor
plan and roofs with a variety of planes and slopes
• use of bay windows,towers,turrets,dormers, gables — anything that
protrudes from the wall and the roof �
• use of varying wall textures,horizontal siding can be seen on the first
story and shingles are used on the second. •` ' ��
1 - � , J i
• common combination is the use of stone for the foundation,the use of '
fired brick on the walls,and wooden shingles in the gable ends, � �� �' �
• use of ornament: wooden scroll work on porches and gables,complicated
brick patterns,ornate metal railings
,
• a large,plate-glass window with a fixed transom,often with]eaded - � ;'
or stained glass,is commonly used in the front of the house,sometimes
flanked by narrower windows that are usually in a one-over-one con- -
figuration. .
• palladian windows are frequently in the gable ends.
• bay windows and double-hung sash,made of wood Queen Anne victorian
• fancy scroll cut wood work,especially around gables and porches -� - _ _
• ornamental brick work, such as corbelling and rows of soldiers bricks - _ - -
as lintels on masonry , - - '-
• turned porch columns -- � � -
• tall brick chimneys - � �- - -__
• wrought or cast iron as cresting along ridge lines or as railings and fenc- _ � '
ing I I ���
r�r � ,�
��`
�f � -
—.�:�,
Queen Anne Victorian Detail
Design Guidelines App- 17
t ,;� Revival Styles
, ��r :
--_- Colonial Revival(c.1890-1940)
r r ��i r : "Colonial Revival"encompasses many variants of residential architecture used
� � " � from about the turn of the century through the 1930s,and was especially popular
j during the teens.It can apply to a Georgian Revival mansion, a Neo-classical
�. � � home,a Dutch Colonial house or a structure in which elements of several of these
sryles were used.With the exception of the Neoclassical,which was generally
reserved for mansions, period revival styles lent themselves well to designs
for modest homes and offered an alternative to the bungalow. Developers and
Colonial Revival (Courtes�� of�rhe Gulluzzn builders found that evoking a cozy image of the past sold well,and that revival
Historic Society) sryles satisfied the need of home buyers to conform to tradition while making
use of contemporary convenience and floor plans, such as the "L-shaped"liv-
� . �: "•" ing room.
•A�I_
1 � �� !��` Dutch Colonial Revival (c.1890-1915)
__ ������� The examples shown at the right portray a style known as "Dutch Colonial
� . Revival,"because of the use of a gambrel roof.This style is closely allied with
the Shingle and the Queen Anne styles.The details,such as the window pattern,
parches and materials are very similar.
Colonial Revival Characteristics:
• gambrel roof.Both side-and front-facing variations can be found.
• shingle gable end
• two story
� • prominent front porch,with classically-detailed porch supports and plain
, O - balustrades
�' ` • double-hung sash windows,with either single panes or multiple panes
� ' in the upper light.
. .
> • lunette windows in the upper gable
_ • large,single pane windows with a fixed transom on the first story
Dutch Colonial Revival � •
ti l
a ,.. 1� ' ` 1 c,�` ��� "
- .�—��— r�• � ,��
. .; ��
-� --
�w �r - __
. �a,
_ - �
rr, � - -
Dutch Colonial Revival Dutch Colonial Revival
App- 18 Design Guidelines
Neo-Classical (c. 1895-1925)
This style is based on Greek or Roman order. They are almost always sym-
metrical and have classical details,such as dentil moldings,pediments over the .� � �
_ --�- �
doorways and round columns. � � � .l
;�.
r�'�" �
Characteristics: , � �� � � 1 7 � '
• full-height porch with a pediment,round columns with complex capitals. �- � � � � � � � �� �
In some instances the porches are curved porticoes. �
• hipped roofs � �� ' '�'
• eaves with dentils,modillions,prominent frieze —
• shutters Neo-Classical
• panelled doors surrounded by pilasters and a pediment
• double-hung windows;usually one-over-one,but sometimes six-over-six
or six-over one
• low porch rails with turned balusters
. �=' �`1" _f
Many public buildings, such as the Carnegie Library building, the National - �
Bank of Gallatin Valley and many other commercial buildings along Main Street ."
exhibit elements of Revival Styles. '
,
. ` �.
R l�
�
+, -
_e� _ -
Neo-Classical
Design Guidelines App- 19
.��� � Bungalow Styles
�'` � c. 1905-1925
: ��.
��--
Y, . ,
-�c_.
� The word"bungalow" denotes a type rather than a style.It is believed that the
� �—'�"" �' �- word comes from a type of East Indian dwelling with broad verandas. Its im-
_. ' mense popularity in the United States springs from a rejection of the constraints
— '-� ��� � of the Victorian era,from the Arts and Crafts movement,and from the fact that
- it lent itself well to both modest and impressive house designs.
` Although bungalows display a variety of materials and details,they are easily
Bungalow recognized by their wide,low-pitched roofs and broad front porches that create
a deep, recessed space. Many bungalows fall readily into the Arts and Crafts
categories,with exposed brackets and rafters,the use of"art"glass in windows
.��'���t� and the combination of different textures, such as cobblestone and shingles.
� � - Others represent scaled-down Prairie-sryle versions, with low-pitched roofs,
broad eaves and simple geometric shapes that provide an overall horizontal
' appearance,
. _ ��� -
� - - A number of Craftsman Style Bungalows seen in Bozeman originated in pattern
books and were modest, functional homes. Many of these can be seen along
Bungalow South Tracy.Although these homes are not unique to Bozeman,they represent
� an important era in the city's architectural development, continuing to evoke
� their original intent: comfortable,informal living,
�' �
.` �
i -t�. '�i Characteristics:
� � "` ! a rectangular plan with one or two stories
.
-� ' ��� • different roof types: a steeply pitched roof with the ridge line parallel
? �..� to the street that covers a porch extending the full width of the house
- +�� and hip-roofs with a shallow pitch
�-� � - • exposed rafters,brackets — anything to evoke the structural composition
of the building
Arts and Crafts Style Bungalow • brick,wood shingle or clapboard siding
• broad eaves
-� . • thick,tapered porch posts
^ • rectangular bay windows
� ��, • casement windows
.�
,��_ • large,plate glass windows
� �� ' • small paned windows,frequently seen in attic windows,in transoms and
`� ' - ��-` in the upper sashes of single hung windows.
� • wing walls from the porch
��� • dormers that follow the line of the roof
_�- '� • use of cobblestone
Bungalow with Cobble Porch • concrete cap around porch wall
• both sandstone and concrete foundations were historically used on
bungalows. Concrete foundations generally extend one to two inches
beyond the wall
• doors are wooden with panels and windows in the upper third,
App-20 Design Guidelines
Modern Styles � -
c. 1930-1940 —
. �
The modern styles discussed below derive their origin from a variety of sources, t -
but overall the impetus to the"modern" styles was generated by a rejection of `'
�'.�.—..
all historical references. Proponents of modernity did not differ from reform- �, � i �
ers of other eras in their desire to use design to address social issues,but they � � � �-- - -
distinguished themselves by shunning the past as well as cultural or national � _
contexts.Additionally,modern architects stressed the emphasis on volume and I
the inherent value and elegance of materials.Architects had new structural op- Modern Building Downtown
tions,primarily the steel frame and reinforced concrete,so that flat roofs,greater
window space and cantilevered elements could be used. They embraced new ..�
technology and"the machine age," and their imprint has had a profound effect ��
on American architecture and urbanism. �
International Style(c. 1930-1940) � • ' �
The use of the words "international style"refers to the title of the exhibit pro- r_
moted by the Museum of Modern Art in New Yark City in 1931 presenting the �_ ��
work of forty architects from fifteen countries.It has become synonymous with �_ __
modern styles and post-World War II architecture,
International Style Residence
Characteristics:
• flat roofs
• an emphasis on volume,rather than mass,most often expressed through
an extensive use of glass and angular,horizontal shapes
• asymmetrical facades
• corner windows
• metal casement windows,often with small panes.
• metal pipes used for balusters
• no surface ornamentation
• an attempt to create smooth wall surfaces
Design Guidelines App-21
Art Deco
� � c. 1925-1940
.,...__ �
„� , The Art Deco style is often characterized by linear, geometric compositions
,,.,:,r, , emphasizing verticality.Windows and material relief are also used to reinforce
� � the geometric composition of the facade. The material palette of this style is
,.
��� often stone,metal,and glass.
�,.
-,. ' � '
.�• •,., i f -- (�� � � Characteristics
' . '� • geometric forms, with a combination of rounded corners and angular
shapes
f: I • stepped or setback facade elements
�. • use of inetal sash windows with small panes
Art Deco Building � • references to abstract natural motifs such as a sunrise
• horizontal bands at the cornice,referred to as"speed bands"
��
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Art Deco Builcling
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Art Deco Building
App-22 Design Guidelines
Post-War Cottage
c. 1930-1950 �
The Post-War Cottage (sometimes referred to as a "Cape Cod cottage" or a '""'� ..,
"World War II-Era cottage)is often considered as a sub-category of the Colonial •� i� �■ � !
Revival.They mark a transition between the Colonial Revival examples con- _ � �
structed before the war and the ubiquitous ranch type homes built afterwards. '-
Because of their relatively recent construction many people have a difficult time
thinking of them as "historic," but in most instances they have met the fifty- �
year mark establishing significance,and their distinctive characteristics (listed Typical Post-War Cottage
below)make these buildings worthy of a sensitive and appropriate preservation
approach.
Characteristics:
• brick,shingles or wood clapboard
• panelled door,surrounded by pilasters and an entablature
• small entrance porch with round columns with a simple capital
• double-hung windows,often with six-over-six lights
• multi-pane metal sash windows
• shutters
• dormers on front roof slope
Design Guidelines App-23
APPENDIX E
Definitions
Alignment. The arrangement of objects along a straight line,
Appurtenances. An additional object added to a building; typically includes
vents,exhausts hoods,air conditioning units,etc.
Asphalt Shingles. A type of roofing material composed of layers of saturated
felt,cloth or paper,and coated with a tar,or asphalt substance,
and granules. ' � ��
Baluster. A short,upright column or urn-shaped support of a -
railing. (Figure 1) - ---� - --__ -
Balustrade. A row of balusters and the railing connecting them. --
Used as a stair rail and also above the cornice on the outside of �i�. �
a building. (Figure 1)
.,\
Bargeboard. A projecting board,often decorated,that �-
acts as trim to cover the ends of the structure where a
pitched roof overhangs a gable. (Figure 2) R`���-;- -
Board and Batten. Vertical plank siding with joints Fig.2
covered by narrow wood strips,
Bracket. A supporting member for a projecting element ` `' .�
or shelf,sometimes in the shape of an inverted L and � , '��' �
� j'
sometimes as a solid piece or a triangular truss. (Figure �, I
�
3) i-�, �',
;
Fig.3 '
Building.A resource created principally to shelter any
form of human activity,such as a house, �--��
I1
Clapboards.Narrow,horizontal,overlapping wooden i '
boards,usually thicker along the bottom edge,that form the
outer skin of the walls of many wood frame houses.The I
horizontal lines of the overlaps generally are from four to six
inches apart in older houses. i i
Column. A slender upright structure,generally consisting of ,
a cylindrical shaft,a base and a capital;pillar: It is usually a
supporting or ornamental member in a building. (Figure 4) l
�
Composition Shingles. See asphalt shingles,
Fig.4
App-24 Design Guidelines
Conservation Area. Conservation areas are typically �_ �
used in newer areas or older areas with less integriry where � -
historic district designation is not feasible.Maintaining �,
overall character is the focus. �- C
;
Coping. The protective uppermost course of a wall or �
parapet. (Figure 5) fig.5
Cornice. The continuous projection at the top of a wall.
The top course or molding of a wall when it serves as a - --- �
crowning member. (Figure 6) _
Door frame.The part of a door opening to which a door -
is hinged.A door frame consists of two vertica] members
called jambs and a horizontal top member called a lintel or � __
head. fi�.6
Double-Hung Window. A window with two sashes (the
framework in which window panes are set),each moveable r � __ �
by a means of cords and weights. (Figure 7) '�,.�
Dormer. A window set upright in a sloping roof.The term _
is also used to refer to the roofed projection in which this ���
window is set. �
,_ ,.
Eave. The underside of a sloping roof projecting beyond the -_- '
wall of a building. (Figure 8) � `-
.f�g. 7
Elevation. A mechanically accurate,"head-on"drawing
of a face of a building or object,without any allowance for
the effect of the laws of perspective.Any measurement on -'�������
�,.
an elevation will be in a fixed proportion,or scale,to the �:;' ��-
�" <;
corresponding measurement on the rea]building. .
Facade. Front or principal face of a building,any side of a �� 8
building that faces a street or other open space.
Fascia. A flat board with a vertical face that forms the
trim along the edge of a flat roof,or along the horizontal,
or"eaves," sides of a pitched roof.The rain gutter is often �-
mounted on it. (Figure 9)
�
Fenestration.The arrangement of windows and other �
exterior openings on a building, fig,g
Form. The overall shape of a structure (i.e.,most
structures are rectangular in form).
Design Guidelines App-25
Frame. A window component. See window parts. ;
Gable. The portion,above eave level,of an end wall of �
a building with a pitched or gambrel roof.In the case of a ;���'��� i
pitched roof this takes the form of a triangle.The term is
also used sometimes to refer to the whole end wall, �
' ; :
Glazing. Fitting glass into windows and doors. � �
� ;
i
Head.The top horizontal member over a door or window j i '
opening. (Figure 10) '
Historic District. A geographically definable area �
of urban or rural character,possessing a significant '�`
concentration or continuity of site,building,structures or `�
objects unified by past events or aesthetically by plan or �� ��
physical development,
Historic House or Resource. A structure or streetscape that is unique to its
period of significance and as such is to be wisely managed for the benefit of
present and future generations.
In-Kind Replacement. To replace a feature of a building with materials of
the same characteristics,such as material,texture,color,etc.
Integrity. A property retains its integrity,if a sufficient percentage of the
structure dates from the period of significance.The majority of a building's
structural system and materials should date from the period of significance
and its character defining features also should remain intact.These may
include architectural details, such as dormers and porches,ornamental
brackets and moldings and materials,as well as the overall mass and form of
the building.
Landmark. Any of the following which have a special historical,
architectural,cultural,aesthetic or engineering interest or value of a historical
nature:
1. An individual structure or portion thereof;
2. An integrated group of structures on a single lot;
3. A site,or portion thereof; or
4. Any combination thereof.
Lap Siding. See clapboards.
Mass. The physical size and bulk of a structure.
Masonry. Construction materials such as stone,brick,concrete block or tile.
App-26 Design Guidelines
Material.As related to the determination of"integrity"
of a property,material refers to the physical elements �'�
that were combined or deposited in a particular pattern or � �
configuration to form a historic resource,
Module. The appearance of a single facade plane,despite �
being part of a larger building.One large building can _
incorporate several building modules.
.�g. »
Molding. A decorative band or strip of material with a
constant profile or section designed to cast interesting
shadows.It is generally used in cornices and as trim
around window and door openings. (Figure 11)
Muntin. A bar member supporting and separating panes -__
- ,
of glass in a window or door. --- ___ :
Opaque Fence. A fence that one cannot see through. ���•12
(Figure 18)
���
Orientation. Generally,orientation refers to the manner �--- '--�
in which a building relates to the street.The entrance to the -- �-j
building plays a large role in the orientation of a building; � �
whereas,it should face the street. ��_ �
.f�K.13
Panel.A sunken or raised portion of a door with a frame-
like border.
Parapet. An upward extension of a building wall above
the roofline,sometimes ornamented and sometimes plain,
used to give a building a greater feeling of height or a �
better sense of proportion. (Figure 12) � �_
Pediment. A triangular section framed by a horizontal ----
molding on its base and two sloping moldings on each of fig.14�
its sides.Usually used as a crowning member for doors,
windows and mantles. (Figure 13)
Period of Significance. Span of time in which a property
attained the significance.
Porch Piers. Upright structures of masonry which serve '
as principal supports for porch columns. (Figure 14) %'�
Post. A piece of wood,metal,etc.,usually long and square - -•-
or cylindrical,set upright to support a building,sign,gate, f�x•IS
etc.;pillar;pole. (Figure 15)
Design Guidelines App-27
Preservation. The act or process of applying measures to sustain the existing
form,integriry and materials of a building or structure,and the existing form
and vegetative cover of a site.It may include initial stabilization work,where
necessary,as well as ongoing maintenance of the historic building materials.
Protection. The act or process of applying measures designed to affect
the physical condition of a property by defending or guarding it from
deterioration,or to cover or shield the property from danger of injury.In the
case of buildings and structures,such treatment is generally of a temporary
nature and anticipates future historic preservation treatment; in the case of
archaeologica] sites,the protective measure may be temporary or permanent.
Reconstruction. The act or process of reproducing by new construction
the exact form and detail of a vanished building,structure or object,or part
thereof,as it appeared at a specific period of time.
Rehabilitation. The act or process of returning a properry to a state of utility
through repair or alteration which makes possible an efficient contemporary
use while preserving those portions or features of the properry which are
significant to its historical,architectural and cultural value.
Renovation. The act or process of returning a properry to a state of utility
through repair or alteration which makes possible a contemporary use,
Restoration. The act or process of accurately recovering the form and details
of a property and its setting as it appeared at a particular period of time by
means of the removal of later work or by the replacement of missing earlier
work,
Sash. See window parts,
Scale. The size of structure as it appears to the pedestrian,
Semi-Transparent Fence. A fence that one can see partly through. (Figure
18)
Shape. The general outline of a building or its facade.
Side Light.A usually long fixed sash located beside a door �
or window; often found in pairs. (Figure 16)
Siding. The narrow horizontal or vertical wood boards ��
that form the outer face of the walls in a traditional wood
frame house.Horizontal wood siding is also referred to as
clapboards.The term "siding" is also more loosely used to ��g• 16
describe any material that can be applied to the outside of a
building as a finish.
App-28 Design Guidelines
Sill. The lowest horizontal member in a frame or opening
for a window or door.Also,the lowest horizontal member
in a framed wall or partition.
Size. The dimensions in height and width of a building's
face.
Stile. A vertica]piece in a panel or frame,as of a door or
window,
Stabilization. The fact or process of applying measures
designed to reestablish a weather resistant enclosure and �ig.l7
the structural stability of an unsafe or deteriorated properry
while maintaining the essential form as it exists at present.
Streetscape. Generally,the streetscape refers to the character of the street,or
how elements of the street form a cohesive environment.
Transom Window. A small window or series of panes above a door,or
above a casement or double hung window. (Figure 17)
Transparent Fence. A fence that one can see through. (Figure 18)
Side Fence: Semi-tran5parent
(25% TranSparent - 75% Opac�ue)
.f�g. 18
Front Fence: TranSparent
Vernacular. This means that a building does not have details associated with
a specific architectural style,but is a simple building with modest detailing
and form.Historically,factors often influencing vernacular building were
things such as local building materials,local climate and building forms used
by successive generations.
Visual Continuity. A sense of unity or belonging together that elements of
the built environment exhibit because of similarities among them.
Window Parts.The moving units of a window are known as sashes and
move within the fixed frame.The sash may consist of one large pane of glass
or may be subdivided into smaller panes by thin members called muntins or
glazing bars. Sometimes in nineteenth-century houses windows are arranged
side by side and divided by heavy vertical wood members called mullions.
Design Guidelines App-29