This Brief outlines a three-step approach that can be used by anyone
to identify those materials, features and spaces that contribute
to the visual character of a building. This approach involves
first examining the building from afar to understand its overall
setting and architectural context; then moving up very close to
appreciate its materials and the craftsmanship and surface finishes
evident in these materials; and then going into and through the
building to perceive those spaces, rooms and details that comprise
its interior visual character.
Identifying the overall visual character of a building is nothing
more than looking at its distinguishing physical aspects without
focusing on its details. The major contributors to a building's
overall character are embodied in the general aspects of its setting;
the shape of the building; its roof and roof features, such as
chimneys or cupolas; the various projections on the building,
such as porches or bay windows; the recesses or voids in a building,
such as open galleries, arcades, or recessed balconies; the openings
for windows and doorways; and finally the various exterior materials
that contribute to the building's character.
Step One involves
looking at the building from a distance to understand the character
of its site and setting, and it involves walking around the building
where that is possible. Some buildings will have one or more sides
that are more important than the others because they are more
highly visible. This does not mean that the rear of the building
is of no value whatever but it simply means that it is less important
to the overall character. On the other hand, the rear may have
an interesting back porch or offer a private garden space or some
other aspect that may contribute to the visual character. Such
a general approach to looking at the building and site will provide
a better understanding of its overall character without having
to resort to an infinitely long checklist of its possible features
and details. Regardless of whether a building is complicated or
relatively plain, it is these broad categories that contribute
to an understanding of the overall character rather than the specifics
of architectural features such as moldings and their profiles.
Step Two involves looking at the building at close range or arm's
length, where it is possible to see all the surface qualities
of the materials, such as their color and texture, or surface
evidence of craftsmanship or age. In some instances, the visual
character is the result of the juxtaposition of materials that
are contrastingly different in their color and texture. The surface
qualities of the materials may be important because they impart
the very sense of craftsmanship and age that distinguishes historic
buildings from other buildings. Furthermore, many of these close
up qualities can be easily damaged or obscured by work that affects
those surfaces. Examples of this could include painting previously
unpainted masonry, rotary disk sanding of smooth wood siding to
remove paint, abrasive cleaning of tooled stonework, or repointing
reddish mortar joints with gray portland cement.
There is an almost infinite variety of surface materials, textures
and finishes that are part of a building's character which are
fragile and easily lost.
"Architectural Character" an Historic Preservation Brief
