GENERAL GUIDELINES FOR REHABILITATING EXISTING
HISTORIC STOREFRONTS
When possible review archival
photos of your building. Don’t “early up”
your building front. Avoid purchasing off the shelf “old world”
representations such as lanterns, wood shakes, nonoperable shutters and
small paned windows, unless they existed historically.
Preserve the storefront’s character defining elements even when there
is a new use on the interior. If less exposed window area is desirable,
consider the use of interior blinds rather than altering the building.
Avoid use of materials that were unavailable when the storefront was
constructed; this includes vinyl and aluminum siding, anodized
aluminum, mirrored or tinted glass, artificial stone, and brick veneer.
Choose historical paint colors. In general do not coat surfaces that
have never been painted.
AN INTRODUCTION TO PAINT
Although now most colours are made using synthetics that give us every
colour in the rainbow, it is helpful to revisit the evolution of paint
colours in order to help guide colour choices. Synthetic manufacturing
of colours had already started prior to the construction of Hartney’s
Main Street, but paint colours were still more limited than today. Keep
in mind, this was a railway town, built quickly with readily available,
common building materials. This includes paint colours.
PROTECTOR
Paint protects exterior finishes from sun, wind, rain and snow, and it
is the first layer of defense for your building envelop. Often paint’s
aesthetic qualities are more highly valued than this first humble task.
Without the protective, sealing qualities of paint, exterior wood and
metal finishes would quickly deteriorate, causing repair or replacement
costs to be very high.
PERSONALITY
The colour of paint is likely what draws your first emotional response.
Is the colour an eye-catching red, or a subtle and sophisticated
neutral? Colour can strategically draw attention to character-defining
elements and cause other features to fall back into more of a
supporting role.
COLOUR
The number of colours on the building, what they reveal or conceal, and
how these colours fit with neighbouring buildings are the key factors
to consider when repainting your building. Look to archival photos for
colour clues (in black and white photographs, look at the contrast with
a known colour, such as the brick).
Typically, a neutral colour was used on storefront windows so as not to
detract from the merchandise displayed. To be sure of this generality,
one could take paint scraping samples.
FINISH
A traditional protective coating for most exterior finishes such as
wood and metal is required as protection from sun, wind, and water.
Without it, wood would rot and metal would oxidize very quickly. For
durability, high gloss finishes are used on sashes, while trim has a
glossy finish. The higher the gloss, the harder and more durable the
paint. For this reason, places that experience the most wear and tear
from the elements or because of more frequent cleaning should have a
higher gloss finishes.
WHAT PARTS OF MY BUILDING SHOULD BE PAINTED?
Paint is applied to exterior finishes, and because it acts in a
supporting role to the more dominant features of a building like the
cornice, storefront, windows and doors, it must be considered in
conjunction with these more dominant features. Using archival
photographs and clues from the building itself, determine which parts
of your building originally had painted finishes. Which of these parts
give most of the overall character to your building?
Which of these parts play a role on the streetscape and the larger
social scene in the historic district? If, by reading the other
sections of the Design Guidelines, these prominent characters can be
picked out, then deciding what to paint with an eye catching colour,
what to downplay with neutrals.
Wood and metal need to be painted to be protected from rot and rust.
Brick should not be painted unless it already has been and is in need
of maintenance.
Stone should not be painted.
PAINT: QUESTIONS TO ASK
THE BRICK ON MY BUILDING HAS BEEN PAINTED. CAN I REMOVE THE PAINT?
Although the intention to go back to the original brick finish is good,
removing paint from old brick is not recommended. Bricks from the early
20th century were hard on the outside surface, but softer on the
inside. If paint removal is undertaken with severe methods such as sand
blasting, the bricks will be damaged, the soft interior exposed, and
deterioration of the brick will be quick and inevitable. If it is the
paint colour that does not suit the character of the building and
streetscape, the brick could be painted a similar colour to the natural
brick under it. Paint can be removed chemically, but this is a costly
invasive process.
IS THERE A HERITAGE PALETTE FROM WHICH I CAN MAKE
COLOUR CHOICES?
Yes. Your local hardware store’s paint line has colours based on those
available in the early 20th century.
I THINK I ONLY NEED ONE COLOUR FOR MY STOREFRONT, IS THAT ACCEPTABLE
TOO?
Yes. Often three colours are used on houses for trim, siding and
gables, but storefronts usually have only trim. Many storefronts will
use a trim colour and perhaps another colour on the door.
WINDOWS
EYES TO THE STREET
Storefronts use large windows for display and advertising. Small
openings are more private and well suited for professional offices.
TRANSMITTERS OF AIR AND LIGHT
Operable windows allow for the passage of air and light. The glass used
in historic windows was clearer than the glass made today, allowing
more light to pass through the same size aperture. For this reason,
among others, it is recommended that repairs to existing windows are
considered rather than replacement.
WINDOW REPLACEMENT & ENERGY EFFICIENCY
A common concern with retaining original windows, even after repair, is
that they will not be as efficient as newer windows. This myth has been
refuted by conservation research which reveals:
“A double pane aluminum window performs much like a properly maintained
single pane wood window that has an interior or exterior storm window
in place.”
Wood windows require much less energy to produce, are often a character
defining element of a historical building and can be repaired using
simple methods by home or building owners. A Windows Assessment
Checklist available from the Historic Resources Branch can be of
assistance in evaluating the condition of your windows.
Most important to the character of the window is the size of the
opening and the materials of which it is made. Keep these two primary
concerns in mind when deciding upon windows for your historic building.
SIZE
Investigating your building for clues as to the original size of
windows is very important.
Archive photos help with deducing what the original size of opening
was, and by comparing this with what you see now on your building, you
can easily tell if these openings have been altered. Due to the cost of
windows, it may benefit you to look at doing other storefront
improvements at the same time.
If metal or vinyl siding or any other inappropriate finish has been
added to your building that you want to remove, consider this at the
same time as windows. If you have original windows in original
openings, retain these with proper maintenance and repair.
WINDOW TYPE
Window type should match the original window. For example, original
double hung units should only be replaced with new double-hung window
units. The sizes of sashes and location of meeting rails should match
the original windows. Replacement windows should incorporate any
special features of the original windows, such as transom windows.
WINDOW FRAMES
Retain and restore original window frames wherever possible.
If parts of a window are deteriorated, but other parts can be salvaged,
consider replacing only those elements that are damaged. This type of
“selective replacement” should be done with pieces milled to match the
original as closely as possible.
Replacement window frames for wooden windows should be of wooden
construction and dimensions should match the original windows. Any
decorative detailing on the original windows should be accurately
duplicated.
SASHES
Replacement sashes for wooden windows should be of wooden construction
and dimensions should match the original windows. Any decorative
detailing on the original sashes (such as muntins, mullions, and sash
frames) should be accurately duplicated. Similarly, replacements for
metal windows should be of metal construction.
GLAZING
Although low-e coatings are fine, other treatments such as mirrored or
tinted glass are not recommended.
HARDWARE
Window locks, latches, hinges, and cranks are made differently today
than in the past. The patina that develops on old hardware, or the
shine on a well used door knob, is irreplaceable once lost. Consider
the heritage value of these holders of memory before discarding them.
SHAPE
Storefront windows are as large as possible, which means they were
often rectangular windows. The transoms above the large display panes
were sometimes operable.
Upper storey and office windows are typically one of three shapes:
squared, arched, or segmented arch. Upper storey windows that have an
arch should keep this shape. Covering the arch with a solid finish is
not recommended. Doing this would substantially change the character of
the facade.
MATERIAL
The original windows were made of wood. Whenever possible, the
originals should be retained and repaired. If the originals are not
there, and other non - recommended windows were installed (such as pvc
windows), look to archival photos to determine where muntins were, and
how the window operated.
Second floor windows were likely hung windows, sometimes with a single
vertical muntin bar. Wood windows that are constructed from clues from
the originals are the best replacements.
Aluminum windows can also be used, provided they are made with a dark
exterior colour, and operate in the same way. If choosing an aluminum
window, do not have internal muntin bars that imitate what they would
do in a wood window (that is, provide a way for smaller panes of
glass). Imitation muntin bars come across as exactly that: an
imitation, and are therefore not recommended.
DOORS
The location of the door sets the tone for its character. Is it
recessed? Is it flush with the rest of the storefront? Is it solid?
Does it have a window in it? Ask these questions when assessing your
entryway.
EASY TRANSITION FROM STREET TO STORE
A recessed door with windows that are in proportion to the rest of the
storefront is welcoming. Standing in the entryway, you are surrounded
by displays and are, in some ways, already inside. This makes the
transition between in and out more gentle.
Glazing provides a more transparent and open relationship between the
inside and outside. Recessing the entrance gives the store more
viewable display area from the sidewalk, helping to entice pedestrians
into the store.
ENTRANCES AND LOCATION
Recessed entrances were typical in commercial districts. This type of
entrance helped to show off goods to pedestrian traffic outside, luring
them into the store. Entrances flush with storefront were for privacy
and security. These entrances were typically found at banks and
professional or public offices. Often there is a transition space
within the building, such as a foyer or waiting room, to make the
transition from outside to inside less abrupt.
MATERIAL
Wood and clear glass are the materials of choice for an exterior door.
For recessed entrances, wood doors often have clear glass panels which
continue the storefront pattern of windows with transoms above. For
doors flush with the facade, solid wood doors are recommended. Look to
archival photographs for design (how many panels, flat or raised
panels).
STYLE
Raised panel, flat panel, and glass panels are common styles. These
vary in specific situations, and for this reason archival photographs
should be consulted. Often the panel design on doors will play off the
panel design of bulkheads (the section below storefront windows,
between the window and the ground).
HARDWARE
Weight and material set the tone, as this is usually the first part of
a building you touch. Whenever possible, use original hardware. If old
hardware has been lost, look for something made of brass, i.e., use the
same material as would have originally been used.
QUESTIONS ABOUT DOORS:
I WANT TO KEEP THE ORIGINAL DOOR I HAVEß, BUT I’M WORRIED THAT IT WILL
NOT SEAL AS WELL AS A NEW DOOR WOULD. IS THIS TRUE?
No.
A wood door is a good insulator, better than a metal door, but may
require work done to improve the weather stripping. Good metal weather
stripping lasts much longer than plastic, foam or
rubber. Check to ensure that there is weather stripping along the=
bottom of the door, and a piece attached to the outside of the door
called a door sweep. All sides of the door should have weather
stripping.
WHAT SPECIES OF WOOD SHOULD I CHOOSE FOR MY NEW WOOD DOOR?
Fir, pine and oak were likely the species most readily available for
use in construction at the time Hartney was built.
IF I FIND A DOOR WITH A MATERIAL THAT IMITATES A WOOD FINISH IN THE
STYLE THAT IS APPROPRIATE TO MY BUILDING, CAN I USE THAT MATERIAL
INSTEAD OF WOOD?
No.
A lot of the character that is
found in the specific features of the
heritage buildings comes
from the aging of materials. Although other materials may be able to
imitate a new wood door, they will not age in the same way. For this
reason, imitations are not recommended.
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