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HomeMy WebLinkAbout5917 RESOLUTION NO. 5917 A RESOLUTION OF THE CITY COUNCIL OF THE CITY OF ARCADIA, CALIFORNIA ADOPTING DESIGN GUIDELINES FOR THE CENTRAL BUSINESS DISTRICT (CBD) ZONE. THE CITY COUNCIL OF THE CITY OF ARCADIA, CALIFORNIA, DOES HEREBY DETERMINE AND RESOLVE AS FOLLOWS: Section I That the City Council hereby refers to and adopts Exhibit A, "City of Arcadia Design Guidelines Manual - Central Business District" dated May, 1996 attached hereto and incorporated by reference pursuant to Ordinance No. 2049, to implement the design guidelines applicable to all properties set forth in the Central Business District (CBD) zone. Section 2. That the City Council finds and determines that the proposed new guidelines set forth the necessary design guidelines for the consistent promotion of high quality, well-designed developments throughout the Arcadia's downtown area and establish the design criteria and concepts for what the City considers good design and quality development. Section 3. The City Clerk shall certify to the adoption of this Resolution. Passed, approved and adopted this 21 day of May, 1996. . ~~J ~.~ Mayor of the City of Arcadia ATTEST: ~ .,J~ C' lerk of the Cit . 0 Arca~ APPROVED AS TO FORM: . 1 'f1icJ.cJ.., H r1~~ Michael H. Miller City Attorney -1- 5917 STATE OF CALIFORNIA ) COUNTY OF LOS ANGELES ) SS: CITY OF ARCADIA ) I, JUNE D. ALFORD, City Clerk of the City of Arcadia, hereby certify that the foregoing Resolution No. 5917 was passed and adopted by the City Council of the City of Arcadia, signed by the Mayor and attested to by the City Clerk at a regular meeting of said Council on the 21 st day of May, 1996, and that said Resolution was adopted by the following vote, to wit: AYES: NOES: ABSENT: Council Members Chang, Harbicht, Lojeski, Young and Kuhn None None ~<"I~~~~~ . erk of the . of Arca~ia -2- 5917 EXHIBIT A City of ARCADIA DESIGN GUIDELINES MANUAL CENTRAL BUSINESS DISTRICT May, 1996 INTRODUCTION The "CaD Design Guidelines" set forth the necessary design guidelines for the consistent promotion of high quality, well.designed developments throughout Arcadia's Downtown area. The design guidelines are composed of written It8tements and gnlphic illuatr8tiOns which express the City's goals and basic design philosophy for the Downtown are.. The guidelines establish the design criteria and concepti for what the City considers good design and quality development. "Quality development" as used within the context of this document me.ns development that is in compliance with the development standards of the City of Arcadi. Zoning Ordinance. the design guidelines set forth in this document, the City'1 General Plan and the Redevelopment Plan for the Central Redevelopment Project Are.. ApPUCABIUTY OF THE GUIDEUNES The ceo Design Guidelines are applicable to a/l development projedl within the CaD Zone that require Ihe issuance of 3 building permit in compliance with Section 9295 It al. (Architectural Design Review) of the Zoning Ordinance. An applicant remodeling only a portion of an existing building need only comply with the guidelines and standards related to that portion being remodeled and to dil'ldly related portions. In the event that proposed modifications affect more than 60% of any facade visible from a pUblic right-of-way or public parlling area, tho applicant II'IaIl be required to comply with all of the design guidelines applicable to the entire facade. In addition, activities not required to apply for a building permit, such as repairs. are encouraged to follow the guidelines to the greatest degree possible. IMPLEMENTAnON OF THE GUlDEUNES Implementation of the CaD Design Guidelines will be through the City's "Architectural Design Review" procell .. outlined in Section 9295 et al. of the Zoning Ordinance. The design guidelines may be implemented with some flexibility in their application to specific projects because not all principles may be appropriate for every project. Additionally, certain trade- offs may be necessary in order to maintain an appropriate balance between publiC and private interests. However. a guidtlline may be waived or modified by the Development Service Director, only in order to accomplish another guideline of equal or greater importance. November 1995 ,"tn:IClucuon ORGANIZA nON OF THE GUIDEUNES The CBO Design Guidelines are specifically formulated for the type and charader of buildings and building storefronts that are existing and foreseen for Downtown Arcadia. The guidelines respect the existing character of development and strive to build on the most positive aspects of that character in order to continually improve the Oo.."lo...n area. To accomplish this, the guidelines are organized into three distinct sections as follows: 1. Inflll Oe.lgn Guideline. establish criteria for how new development can successfully be integrated into the existing context of the Downtown area. Various elementa are discussed in this section such as site planning, street orientation. screening, partcing orientation. building architecture. and storefront design. 2. Facade Rehabllltltlon Guidelines suggest ways in which existing building facades can be cleaned up, rehabilitated and. in some ClIft, restored to their original character. Elements discussed include appropriate' materials, storefront proportions. entries. facade color. awnings. door and window design, canopies. and sto."frlll'lt acceelories. 3. Sign Deelgn Guldelln.. provide criteria for the effective delign of commercial signa. The guidelines suggest appropriate ways to detign sign. 10 that they are ea.y to read. portray a quality image for the bu.iness and fit within the overall character of the Downtown area. Subsections of the guidelines cover general delign consideratiom such II lettering .ize, typefaces, color. lighting. sign location. etc. 2 Novemtler 199! "'U-"~' PROJECT DESIGN REVIEW PROCESS Submit preliminary pi.". to tile Community Deve~ OiYilion Pl'ehminary conlUftation betL. ,an the projecl I~ and City lid to clilCUlI oeaign guidelines and design artef\8 appIiallle to tile lite and .... UndIr..... OOoldlll.... (I.g. ~.. ...;".cM. CUP'I). .. we reviUed and 1Plo4..-l by tile MoGIk.oD../l ~'.I.i"". Pl..N~~ Cv.1., . I~ or tile Clly CouncIl. If in I A.IdI. r' ~ ,Iol...l Pra;ed: Nu, tile Agency .... eIao epprove. I If'\CIOIl)Oit1e ~,~ COl.4la..... of epproyal recommenclationllCOllclltiona in - by tile ~0.81 body. d..., _ I' ~ n..'It I Formal deIign ,.;"w' appnlVeI by City 118II. If in Redr.llo!ln*ll AIM. Agency mull eIao ,......,~~. I SuIlmit -'<ing dr.....~ for ple/I cnecIt willi 8uik11ng Permit .C1~. +Jj(ll., FNI deIign ,.;"w for CClIIIiatMc:y willi tile approvll or conclltIoneIl$llloo." .. -~~ in tile formal cInign appravalll8gl. I 8uildino end 'lIIlllScaIlino conl1NCled '* Building Pennit and .. "-" on ftnaIlIlIl'OVed plain.. TIle City ""'" 'l)jlI.:l.1 any c118lll11S !rom approved pllna. 3 November 1995 GENERAL DESIGN GUIOELlNES FOR Au COMMERCIAL PROJECTS This sedion provides general design guidelines/principles which are applicable to commercial proJeds throughout the Downtown (CBD) area including retail. service. and office uses. 'MIen appropriate. these guidelines are to be used in conjundion with other. more specific guidelines for pedestrian oriented development found in a subsequent part of this document. A. Overall Design Objectives For Commen:I., Projects The design of each project should keep in mind the following objectives: 1. Consider Downtown A/Qdia's small town seale/charader and demonstrate sensitivity to the contextual influences of the surrounding area; 2. Articulate building forms and elevations to create intele.tillQ roof lines. building shapes and facades. and pattems of shade and shadow while maintaining compatibility with surrounding development; 3. Preserve the design integrity of hiatone buildings; 4. Utilize decorative _lis and landscaping to screen parking and equipment are... and to provide project amenities whenever possible; 5. Provide site .c:cess. parking, and circulation for vehicles and pedestrians that is laid out in a logical. s8fe manner; 6. Consider the need for signa and their appropriate locatiOnIearty in the design process: and 7. Design spaces for outside equipment, trash reeeptaeles, storage, backflow preventors and loading areas in the Iellt conspicuous part of the site. B. Gene,..' Site OaIgn Guide/I".. 1. Consider Neiahbarino o.v.loament a. Plans (i.e., elevations and lite development dr8Wings) should show buildings and other important physical features on adjacent properties. b. PIMa should demonstrate compatibility with lurrounding development. For example, if adj8cent buildings are not set back from the 1idew8lk. the proposed development should not be set back. e. New projects should provide links to adjacent development using sidewalks and shared access drives whenever possible. d. New projects should consider the location and type of landscaping and open space on neig!1boring properties and use theM elementa to create visual relationships between adjacent developments. 4 NOVemller 1m 2. Functional Relationshios a. Side and rear yards, when required, should be integmed into the overall site arrangement and not be Jeft as unused portions of the site. b. \^/hen multiple buildings are proposed for a site they should be clustered with parking provided at ttle rear or side of the property. This creates opportunities for pedestrian plazas and prevents long barradcl-like !'OWl of Slprefronts. 'MIen clustering is impractical, a visual link be~n buildings that may be separated by parking lots should be established. This link can be accomplished through the use of an arcade system, trellis, and speeill plvement treatments. Enc~ - ...... DIclnMO c....trI..... mc~~ 7 ~ Iii ,- ~I~ ''-' ,..'" 17.....4.." RIII.,A. o=ua -- Ottent.... ~ JL.... 10__ - ~ h'Offt ..A._.Itw.~ .~. CEC:_ 3. ParkiM and Cireul~n a. Cln:ulation patterns should provide clear definition of access, vehicle and pedestrian movements, directions to uses, and relationship of par1<ing disllibution to use ( e.g.. employee, disabled, etc.) ~ Novemller 1995 b. 'M'lenever possible. site access for comer properties should be from side streets. unless the access would impact adjacent residential uses. ~ ~ ~ i!! .. ~ r ~ ~~""___o.. .11'- - , r C. The visual impact of pal1Qng lots should be minimized by locating these areas to a portion of the lite least visible from the street and by providing adequate screening (i.e. landscaping, berml. low waUl). 4. Site Utilltlft a. Eledrical meters and tnlnlformerl. teleptlone junction boxes. and other above ground utility equipment should be located to reduce their visual impact and should be screened from public vi_ with landscaping and/or low walls. b. Newly installed utility services. and service relocations necessitated by exterior alterations should be placed underground in compliance with current City requirements. . 6 November \ 995 .....-......""". S. Landscaoina a. In the Downtown area, landscaping should be used to help define outdoor spaces (plazas. outdoor dining areas), soften a building's appearance. and to screen parlcing, loading, and equipment areas. b. The use of on-site pedestrian amenities (e.g. benches, shelters. drinking fountains, lighting, and trash receptacles) is encouraged. These elements should be provided in conjunction with on-site open spaces and be integrated into the site plan as primary features, not afterthoughts taclced on to artificially dress up a proposal. c. Landscaping should inco~rate predominantly drought tolerant plants. Turf areas should be kept to a minimum. d. The us.e of drip irrigation systems it strongly encou~. e. Plant materials should be selected with low maintenance in mind: especially, when installed near a public right-of-way. 6. Screenina a. Sc:t98ning is a technique used to protect and separate uses and site functions from one another for the purpose of deauIing adverSe noiSe or visual impacts and to proVide privacy. The need for screening should be considered earty in the design proceu 10 that screening elementa (i.e., _1'-, fences. berms. landscaping, etc.) can be property integl'lltecl into II'le overall project design and not added later as an afterthought. b. Any outdoor equipment. whether on a roof, side of a building, or on the ground. must bo appropriately saeened from view, in compliance with II'le requirements of the Zoning OrdInance. The method of screening should be architecturally integrated with the adjacent building in term, of style. materials. and color. c. 'Nhere screening is required at ground level. a combination of elements should be used, induding solid masonry walls, berms. trelli.... and landscaping. The use of low maintenance material, is strongly encouraged. 7. Walla and Fen,.... a. If not required for a separation of land uses or a specillc screening! security purpose, W8III and fences should not be used witIIin c:omrnerei8l arell. Vvtiere waU, are required, the intent should be to keep them a. low a, possible while performing their screening and security functions. b. Where walls are visible from a public Iight-of__V or panting tot, they should be compatible with the site's architecture. Landscaping should be usec:t in combination with wallSlfences, whenever possible, to conceal their flatness, add greenery, and dlscourage graffiti. 1 November '995 c. When security fencing is required. it should be a combination of solid wall segments and open wrought iron grille work. ~W::~~ EJeV01lon 01 Waf /WrO<JgIIl/lOtl Combinallon Elevallon 01 ~ /lOtI '""' "..,_ d. Long expanses of lIat wall surfaces ani diKouraged. Walls should be articulated and architecturally designed with o1I'Ieta and landscape pockets to prevent monotony. 8. Refuse StoraQe and EouiDment Areas a. Refuse containers. serviceIIoading areas. etc. should be located in areas out of vi_ from the general public and 10 that their UN does not interfere with parking and circulation. b. Trash storage areas that are viIibIe from the upper storieS of adjacent buildings shall have an opaque or semi-opaque horizontal coverflaeeM 10 screen unsightly viewI. The design of the roof and the materials used shall be compatible with the site's architecture. c. All screening facilities should be of adequ8te siZe for their intended PUIllOH without dominating the site, blocking light distances. or creating unnecessary barriers. 8 Novembef1995 - - - - -_.~. _.....,...II.'~ InlTOdUCllOn C. Gen.",/ ArchitfJctu",/ o../gn Guide/In.. 1 . ComDatibility Buildings should have a harmonious relationship with surrounding development. Among the fadors which contribute to the desired relationship are: a. Compalible design theme; b. Compatible building scale and proportions; c. Compatible roof shape and materials; and d. Harmonious colors. textures. and building materiall. 2. Orientation a. The design and orientation of buildingl should respond to the pedestrian or vehicular nature of the street. Buildinga on very url)an streets with high pedestrian use (i.e.. Huntington Drive and First Avenue) should face on. and be directly accessible from. the sidewalk. (Refer to the "Design Guidelines for Pedestrian Oriented Areas" later in this document.) b. Buildings in more suburtlan areal of the CBD, which rely more on the use of the automobile for accesl, should be oriented to major site open spaces and streetsCllpe elements. 4. Desion Consistency There should be a consistent use of colo/'1, material8, and detailing throughout all elevations of the building. EleIIationI which do not directly face a street should not be ignored or deIIignecl with only minimal architectural treatment. 9 November ,99S In lTOCl UCllOtl 5. Form and Mass a. Building design should provide a sense of human scale and proportion reflective of Arcadia's existing enaracter. Buildings should be designed to avoid a "box. like" appearance. Horizontal and vertical wall articulation should be expressed through a combination of wall offsetI, recessed windows and entries. awnings. full roofs with ovemangs, second floor setbacks. or covered arcades. lIIe_____ III _ loCI OI-.g_ lIIe..-~ ~1O_loCI*- A~ _".01",. ---- y ..-- ~4&A . 1M'" _lie __ at 1Ie__ U.a-,OI__ I'D c:NGte ... lit.... GItd *,101'I:. J: J -r .I-..call. b. projects containing seo.lII'II buiIdlnga IhouId provide variety in siZe and massing. A transition from smaller buildingl on Itreet frontages to larger. taller buildings on the interior of the project is encouraged. 6. Architectural Gimmic:lm a. Architectural gimmic:kl Ihould be avoided. The project designer should avoid the UN of vilual contrast from neighboring buildings as an advertiling tool or attention-getter. b. Buildingllhould be designed to reinforce the traditional challlder and small town image of Downtown Arcadia. The trademark architectural styles of some franchise uses may be incompatible with this principle and may be inappropriate if they are not consistent with the design principiel and guidelines provided herein. to Nov....".r 1 995 7. BggfJ a. The design of a building's roof contributes strongly to its image as a quality. permanent building. Full pitche<l roofs project a more small town image and reinforce the pedestrian onentation that is so prominent in Arcadia's Downtown. Buildings with flat roofs and parapets tend to appear unfinished and less permanent in their design. These buildings will usually appear out of character with the small scale image of the City. With the exception of Huntington Drive and First Avenue, where buildings are usually built to the front and side property lines. new free.tanding buildings should inCOrJlQrate full pitched roofs whenever possible. flat tOdI aI'Id __It .... dIM:~ M tOdI_ -"C~ b. Roofs may be gable, hip, or shed-type, but in all caleS should either be full pitd1ecl or should appear 110 from !he street. Any flat portions (e.g.. equipment wells) should be relatively small and not visible from streets or other areas where the public has access. Pitched roofs should be multi-planed to avoid large expanses of monotonoussingle-planed roofs. II HCN_Cler 199~ C. When flat roofs are .used. there should be a screening parapet topped with a coping, cornice. or. If determined appropriate to the project's style. a modified mansard. Mansards should have a low profile and be deep enough to create the IllUSion of being a true roof. Small, steeply-pitched mansard "eyebrows" are strongly discouraged. lowt:J//Cft _r>/fI:ft f1lC~ DtlcO<JlOged d. All roof equipment must be completely screened from a horizontal/ine of sight. in compliance with provisions of the Zoning Ordinance. Screening should be an integral part of the roof design and not appear as a tacked-on afterthought. 8. Paraoets a. Parapet walls should be lnIated as an integral part of the building design. They should receive architec:lural detailing consistent with the rest of the facade and should not appear as unrelated elements intended only to screen the roof behind. b. Where a mansard roof is inco'llOrated into the parapet design, views from above the building should also be considered relative to any visible structural support elements. . 12 November 1995 ..".""",~ 9. Additions Additions to buildings should be an interpretation of the existing building Wherein the main characteristics of the existing building are incorporated. This may include: the extension of architectural lines from the existing building to the addition: repetition of the structural bay, window. and entrance spacing; use of harmoniZing colors and materials; and ltle indusion of similar architectural details (Le.. window/door trim, lighting fixtures. tile/brick decoration, etc.) ~o.-. c-. -.v ~ [D rCHI -- ~l .. ,1 10. Buildino Matllrials a. False or overly decorative facade treatments, wherein one or more unrelated materials appear tacked onto I building, should be avoided. Materials should be used honestly. Produdl which attempt to imitate other materials (i.e., wood, stone. brick, etc) are discourlged. b. The following materials are discouraged IS exterior wall materials: . asphalt Shingles; . corT\lgated metal. plastic, or fibergla..; . illuminated siding and awnings; . imitation "rock wort<" veneers; . plastic laminate; . plywood (painted or otherwise); . reflective mirror-type gla... especially on the ground floor; . standing seam metal walls; . unfinished concrete Ind concrete block; and . bare aluminum (anodiZed is preferred). 13 November 1995 c. The composition of materials should avoid giving the impression of Ihinness and artificiality. Veneers. eSpecially bnck and wOOd. should turn comers. avoiding exposed edges. Change t1l 1'1_ .."" cnange in mt:ltllrlal lleeommMlded 12. Colors MtttetiaI 01_ cIIartge C/l~ oI....J........ ""....... at oUlSide comer p/Cfte _ ~ Not '-commended a. The color paletle choIen for a building should be compatible and blend with the colors of surrounding buildings. An exception is where the colors of adjacent buildings strongly diverge from these design guidelines. b. Small buildings should range from off-white to medium earth tones. Large buildings should range in the medium toned colorl. Slightly dariler tones can make large. dull buildings look smaller. Larger areas of intense white color should be avoided on all buildings. c. The number of colors appearing on a building exterior should be kept to a minimum. Generally, no more than three colors should be used. d. Primary colors (red. blue. orange) should only be used to accent small building elements. such as door and window trames and architectural details. e. New window and door frames should be a daril snodized or baked enamel finish rather than a light metallic (gold or silver) color. 14 Nov.mlle' 1 995 f. The following paint schemes/colors are strongly discouraged: 1) Plimary colors or vibrant hues as base building color, due to susceptibility to fading and clashing with neighboring buildings; 2) Light. bright colors and large areal ot white. due to their reflective qualities; 3) Fluorescent colors; 4) More than three colors tor buildings and sign., or more than two colors for awningland tile work; and 5) For painted walllignl. background lign areal different from the base building color. " NovemDer 1995 IlrUIoJ'l..I\""\.~'l DESIGN GUIDEUNES FOR PEDESTRIAN ORIENTED AREAS The fol/owing design guidelines apply in those commercial streets in the Downtown that have historical/y been developed with buildings adjacent to the sidewalk: namely. Huntington Drive and First Avenue. A. Pedestrian Oriented Oeve/opment The primary design issues related to pedestrian oriented commercial areas are issues related to compatibility with, and relationship to. adjacent buildings and maintaining a strong pedestrian orientation. It is important that the continuity of the street facade be maintained and that new buildings are not set blIck from the sidewalk. The idea of encouraging traditional "storefronts" is an important aspect of pedestrian oriented development. An9Md ^~~:I_ .nco.~_~..~ c' ,tIItd D_ .... d __ _ en inco.~...lt _1rGdN...1GI_ ~ ___.. I -' ....., -.... - 16 November 1995 B. Site Planning Guldelln.. for Pedestrian Oriented AlMa 1 . Setbacks a. Buildings in pedestrian oriented areas should provide continuous storefronts at the ground level front elevation. b. Buildings located at intersections are encouraged 10 "cut baek".their comers up to six feet along street frontages to create a diagonal lIthe ground level. Main entrances should be located on the diagonal when appropriate. ComwM"..Iof,)/J....~ on ..__..... ~ ::: ~ ~.. ........ 0 I-- I I ..... IIl111 I B - .. .. ~ .. ~ STIIEer )( 2. Par1cina and A-- a. 'The j)oerelT'8d location for off-street par1<ing ~ at the rear of the site. especially if IIIey acceas ~ Ivailable. However. if site conditions do not allow par1cing to be located lit the rear it may be providec:l on the interior side if properly screened. b. Dimensions of par1cing lotS and acceu drivel along the primary street frontage should be kept to the minimum required so as to minimiZe dill'l.lpUon of the continuous storefront facade. 17 NowemDe,1995 C. ArchlNctura/ Guidelln.. for Pedutrlan Oriented Area Since all new buildings in the Downtown area will be intill projects adjacent to existing buildings, it is important to consider the scale and architectural style of surrounding development when designing a new project. Whenever a new infill project is proposed. the I,ollowing design guidelines should be considered. 1, Facade Comoosition a. The characteristic proportions of adjacent buildings (i.e., mus and facade composition) should be respected. Whenever a new building ~ proposed that is wider tIIan the existing typical storefront module, the new building should be visually divided into moclules of 50 feet or leu in order to maintain the rhythm and scale of the block face. Modules may be created by door and window groupings, projecting or receuing wall surfaces, changes in roof lines. placement of piers and pilasters, changes in materials, and similar architectural design techniques. New Il'-QllIIIould 1Wlec' ",..., r "r"led myfl\lllondocale ot~ lINe,..,. 18 Nov_r 1995 b. The ground level facade should provide a minimum of 60% transparency with a maximum 01 85% transparency lor visual penetration of the storefront. Upper stories should be a minimum of 35% transparent. 60'10 WIrtOO.. Itl'OidJ AtwG En~~ 2. Soecial Arcnitedurlll Elftments JOS _ r____ DWOil ... The use of special architectural elements (i.e..vertical towers. and comer cut-offs) is encouraged at major street comers to accent building. and provide visual interest. These elements should be kept in SClIIe with the overall building. It is not the intent to have such elements dominate the building', architecture. c 19 NOY._ 1 99~ 3. Storefront DesiQn a. Main Entranees The entrance is one of the most important parts of the facade and should be easily identifiable. The customer should be invited into the store by a pleasant entry. Doors and entryways should follow a traditional storefront design (usually recessed) and should be designed to be compatible with the architectural style of the building. EHB ~ -_ I --_ I -, I , I --- --- --- ,.,., - - ''''''''0- ~- -- --- -- - -... - -... b. Windows Windows. u an architectural element are of critical importance to the storefront design. 'Mndowa aeate a visual rtlythm of building openings. as well as views of the interior. 1) Storefront windows should be square or vertical in proportion; as large as possible; and not dOHr to the ground than 18 inches. For new conltnldion. and/or remodels, the height of the bottom of the window (bulkhad) should not exceed 30 incl'lel. By limiting the height of the bulkhelld. visibility to the storefront displays and into the retail interior is mllCimized. 2) Clear g\aIa. with minima' tint. should be used on all ground floor windows. Tinted glass allowing a minimum of SO% light transmission will be considered only for use in second floor windows. The use of reflective glass is prohibited. except on larger buildings abOve the second floor where its use may be considered. 20 NOlI_tier 199~ ...-.....-. 3) If privacy is desired for certain uses (i.e., restaurants or private offices). the use of cafe-style cunains may be an effective mean. of blodting vi8W1 at lower levels while still allowing some vi8W1 and light into the interior. C4~__ .. JaeodiI' Utte_......._ 4) If aluminum window frImea are used, they should be either factory painted (coated) or anodiZed a dart color. Bare aluminum or gold color window frames are strongly discouraged. c. Buildina Material. 1) The palette of wall material. should be kept to a minimum, preferably no more than two, with a third possibly for accent. Using the same wall materials (if appropriate) a. adjacent or neart)y building. will help strGngthen the overall eIl.rac:ter of the Downtown area. 2) F.lc&-looIcing veMel'l that appear to be "added-on" to a building should be avoided. 21 NovemDer 1995 rrIU,,^,U\..uun d. AwninQs Awnings can be an important element of a commercial building. Awnings are encouraged because they add "visual interest" and help reduce a building's "apparent scale" and the impression of height by adding a strong horizontal element at the ground level. Awnings also proVide protection. for pedestrians from sun and rain. 1) Awnings used along a row of contiguousstorefrontl in the same building should be of the same color, form, and genel'lllOCltion. 2) A minimum 8 foot vertical c1eal'lnce betl.\lean the aidllWllk and the lowest portion of the awning should be maintained. 3) Heavy canvas, matte finish vinyl. and fabric: awnings are encouraged. Plastic, shiny vinyl, metal, and plexiglaI awnings should be avoided. Metal awnings may be appropriate if they were part of the original design of the building. 4) Internally illuminated awnings are not allowed. When lettering is applied 10 these typeS of awnings they become large iIIumin-*! signs and the effect of the awning is lost. 5) On multi.ltolY buildings, the highest point of an awning ahoulcl not be higher than the midpoint of the IPK8 between the lMICOnd stOlY window sills and the top of the firM fiaar lito. _to on! window or tnInIom. Thil leaves a comfortable space between the top of the awning and the windows and will maintain the proper proportion of awning size to storefront area. "m/ft. __. wam ~_ to /0__ politi UU J I C___ONItiP w?" IOl>>n~J~_ 6'..0- mea. dI/OrIc. Q~, .~ IItdI pto;.d """'~'.~'JO. 22 Novemllet 1995 , nll1Xluc:tJOn 6) Breaking awnings at the vertical divisions of the building (i.e.. the break between the display windows and the entrance) is encouraged in order to oliminate long expanses of awnings that can have a monotonous appearance. ~ s_ awnlllO /I eon_ ",t'" _16I1Ieat tNIJd1ng/Olm Eneou~ 7) Signs may be placed on awnings but are limited to the awning flap (vzlance) and end panels only. 8) The awnings' shape and style should be compatible with the character of the building and with the shapes of the openings they are placed over. Awnings should not be placed 10 that they cover important design features. if at all possible. l/oUtld awning" tttJl eon_' "'"" _/tOn.." bfJIJdtng/Olm DlleoUlOf1<<l 23 November 1995 e. Sigol Business identification signs are an integral part of any commercial building. The size. location. and type of signs to be used should be considered in the initial design of the project. Specific design guidelines for signs are provided later in this document. 1. Storefront A...r..ssories The following guidelines should be considered for storefront accessories to ensure that they contribute to, !'lither than detract from, the building's appearance. 1) Mechanical appurtenances attached to a facade should be concealed by pladng them under an awning (when available) or endosing them in a housing compatible with the building's ardliteetl.lre and painting them to match the facade. 2) Vent fans. and similar equipment placed in windows. above door entrieS. or other conspicuous places on the primary facade are strongly discouraged. 24 November 1995 IntrodUCtIon GUIDEUNES FOR THE RENOVA nON OF ExtsnNG BUILDINGS The renovation or remodeling of an existing building requires that care be t.ken to complete the work in a manner that respects the building's original design. The appropriate design guidelines in this sub-section are to be implemented whenever a building in the Downtown area is to be renovated. A. Respect Original Design When an existing building is to be renov.ted. care should be laken to comptete the work in a way that respectS the original design integrity of the building. To attempt to "mOdemize" an older building will most certainty destroy its inherent aesthetic value. Put modemizations of the City's oldest storefronts have often covered significant architectural features that can and should be restored when the building is renovated. Existing building materials and elements that are incompatible with the original design of the building should be removed during renovation. The facade should then be remodeled or restored to reflect its original appearance. The remodeling/restoration should stress the conservation of any unique Stylistic features of the original building. B. Preserve Existing Deeo,.tioNDemlls Many times. in a previous remodeling of . storefront. origin.1 decorative details are left partially intact as visual "Ieflov.,." or simply covered over with ~ construction. During renovation. these forgotten details should not be wasted. If enough details remain. they should be restored as part of the original design. If only . few remain. they can be incorporated as design feature. in a new storefront. In either case, the design of new improvements should grow out of the building'. remaining detail. and create a hannonious background which emphasizes them. Exi.ffng 'MOdemJzed' 'geOd. lletlOl'fJlfon of 0IIQfncJJ Ifotetronl ,. monfIIY -0lIIGQ8d 2' November 1995 C. Storefront Renovation 1. Where the original storefront remains (little or no remodeling has occurred). it Should be preserved and repaired with as little alteration as possible. Changing storefront features just 10 "modemize" can sometimes do more damage than good. 2. Where only part of the original storefront remains (limited remodeling has OCCUlTed). the storefront should be repaired. maintaining original materials where possible. including the replacement of extensively deteriorated or missing parts with new pans based upon surviving examples of entries, bulkheads, pilasters, signs, etc. Ir- V- .1.1"'- I. ,.... 1 .-- t t 1" I o . o' '10 WIndow and door pIa~ .rnent dup/Jcalel otIgInaI....,n..n. 3. Where the original storefront has undergone extensive remodeling, it is recommended to reconstruct the storefront based upon historical. pictorial, and physical documentation. If that is not practicable, the design of the new storefront should be compatible with the size, scale, proportion, material, and color of the existing buildings, and if appropriate, adjacent buildings. 26 NoyemDer 1995 , nlrOdUCllOn Keep the following design principles in mind: a. Consider the seale and proportion of the existing building in the new storefront design; b. Select building matenals that are appropnate to the anginal storefront and. if possible. matenals that were available during the lime the building was constructed: C. Maintain the anginal relationship between the storefront and the entire faeade. Respect the horiZontal separation between the storefront and the upper stories: d. Differentiate the entrance to commercial UUI on the iii'll floor from the secondary entrances to upper fIooB. Entrances ItloulcI be placed wnere original entrances existed, especially when delineated by arthitectural detailing; and e. Make tho storefront 81 transparent as possible with the use of glasa in doors, transoms. and display areas to allow for maximum visibility into and out of the store. Do not cover over or fill in upper story windows. D o DODD - I'rOI)CItIotI 01 0PM*tQ sa. to tl~ _1111:Io IIfItI6 ~~- mmmm AtllC_ opentlQl "-"''''--...- 27 Noyemller , 995 IntrOClUCDOn D. Window Replacement The effect of windows on the overall design of the facade is determined by the siZe. shape. pattern of openings. spacing and placement within the facade. When altering or reconstructing windows. consideration of these elements is crucial to retaining the building'S briginal architectural balance and integrity: 1. Retain original window openings, or at least do not make them smaller. 2. If possible. save and restore the original windows and tram... Replace missing, rotting, or broken sash, trames, mullions. and muntin. wittlsimilar material: 3. If the original window openings have been altered. restore the openings to their original configuration and detail. Avoid blocking or filling the window openings that contribute to the overall facade design; and . I I OR/QINAt NOT ACt:mMU NOT ACt:mAIU AJwnmn c~mefd &Iock.._ II ~"I~~"'- OIl/QlNAJ. ..".~_. fIIWI ".-- NOT AcernMU AIlImInum _ w/____ NOT AcemMU -"..,.... - -- 4. Do not eliminate windows for taverns or private ofIIces that are adjacent to the public sidewalk. Blank walls are not pedestrian friendly and they make a downtown appear vacant. If privacy is reqUired. use blinds, shad.. or cafe curtains to partially block views. 21 November 1 m ..._-~, E. 000, Replacement , . Original doors and door hardware should be retained. repaired. and refinished provided they can comply with ADA requirements. 2. If new replacement doors are necessary they should be compatible with the enaracter and design of the building. F. Painting ,. The cotor palette should be conliltent throughout the facade. even if more than one business occupies the space. 2. Exterior colors should compliment the colors of neighboring building. and should be selected to suppon the ovenlU charader of the DowntOM!. 3. Avoid using paint on materiall that Ililtorically were not painted (i.e.. gl.... brick. terra cotta. and tile). 4. Refer to the subsection on colors in the previous section (page 14.) 29 Novemller 1995 IIIU"""'~I SIGN DESIGN GUIDEUNES Of all the design elements used in commercial architecture, signs have the strongest impact on the quality and appearance of individual buildings and businesses, and on the .h...stsc:ape as a whole. Although signs can be designed and located to complement a building's arthitecture. they can also be a major contributor to an area's visual chaos because of improper placement, too large of siZe, or use of loud, garish colors. Well designed signs that are property placed to compliment a building's architecture can contribute to an area's image of quality business establishments. A sign's primary function is to 'identify' a particular business. Too often, signs take on the function of "advertising' and attracting attention. When this occurs. design quality usually takes a backseat to bright colors and crowded. ovel'liZed signs, creating a visual image of dutter and chaos. The Sign Design Guidelines are intended to provide direction to busi"... OWMI'I and project designers in understanding the City's goaJs for maintaining high quality bulinesl identification that is sensitive to the character of Arcadia's Downtown area. The guidelines encourage signs that: 1. Provide clear identification for businesses and other activities: 2. Hannonite with surrounding buildings and streetscapes: end 3. Incorporate high-qu8lity design and meteria/s. The following guidelines apply to a111ign development projeda within the CaD Zone. Arry addition, remodeling, relocation, change of copy, or construction of signl snall adhere to these guidelines. A. Color Color is one of the most important aspeds of visual communication. It can be used to catch the eye or to communicate ideas and feelings. Too many colol'l used simultaneously can confuse and negate the ~sage of a sign. Even the most carefully planned sign may look unattractive due to poor color selectiOn. Conlicler the following: 1. Contrast is an important influence on the legibility of signs. Ught letters on a dark background or dark letters on a light background are most legible. For intemally illuminated cabinet li9l'l1, UI8 white letters on a black or dark color opaque background. 2. Umit the number of coIol'I to 2 or 3 on anyone sign. Small accents of several colors may make a sign unique, but the competition of large areas of many different colol'l dea .... readatlility. 3. Colol'I or color combinationl that interfere with legibility of the sign copy or that compete for attention and, therefore, interfere with viewer identiftcation of other signs should be avoided. Bright day-glow (fluorescent) colol'l and color combinations of yellow. orange and red should be avoided as they are distr8c:ting and do not usually blend well with other background colol'l. 4. Sign colors should complement the colol'l used on the adjacent buildings and the area as a whole. 30 November 1995 - ~ --.-...''''- InlrOduction B. M.teri./s Signs can be fabricated from many materials: brick. concrete. glass. metal. plastic. stone. wood. and even doth and paper in certain circumstances. 'Mlile there is nothing Inherently wrong with any of these materials. insensitive u.. of materials can cau.. a deterioration of the City's visual environment. 1. Sign materials should be compatible with the materials on the facade where they are placed. 2. The selected materials should contribute to the legibility of the sign. For example. glossy finishes are often difllcult to re8d becau.. of glare and reflections. Consider how the sign will be illuminated. 3. Except for individually-mountecl ctlannelletterl. intemally-lighted plastic-faced cabinet signs are discouraged. However. plastic-fIIced cabinet signa may be appropriate if existing similarly situated signs on the same building are allo of the same or similar constr\JClion. In these cases, new cabinet sign. .hould incorpol'llte White letters on a dark opaque background. 4. Paper and doth sign~Ml"I are not Ippropriate for prolonged exterior u.. becau.. they deteriorate quickly and do not present a quality buaineaI image. Paper and doth signs are appropriate for interior temporary u.. only. 5. Neon tubeS are a popul.r sign material and can contribute to the night time ambiance of the are.. However. care mUll be llIken to not over do the UM of neon signs. becauae of their brightnesa and attention Ittr8ding properties. Not more tIl.n one neon sign should be used on the same fllcade of a building. C. Sign Legibility An effective sign should do more than attr8ct attention, it .hould communicate its message. Usually. this is a question of the relldability of worda and phra.... The most significant influence on legibility i. lettering. 1. Use a brief mossage whenever POSlijble. The fewer the worda and letters. the more effective tile sign. A sign with a brief and dear message il ealier to read and looks more .uractivtl. 2. Avoid "'lQletlefs and words too dole together. Crowding of lettet'l. worda or lines will make.ny sign more difllcult to read. Conversely, over-spacing the.. elements causes the viewer to IUd eactl item individually, again obscuring tile message. !u a general rule, letters should not occupy more than 75" of sign panel area. IDELlCATESSENJ DELICATESSEN ,.~ 0Ct1oO, __ 'J~ of ",. lip _ (maa.l ,.".,. ,.".. 4lP 100 muelt 01"'."'<1_ 3\ Nov_ 199! 3. limit the number of lettering styles in order to incre... legibility. A general nJle to follow is to limit the number of different letter types to no more than two for small signs and th,.. for larger signs. 4. Avoid h8rd-to-read. overly intricate typefaces and symbols. Typefaces and symbols that are difficult to read reduce Ihe sign'. ability 10 communicate. "llt1lb tr e 1elD ~_. _ft..._",_ F M ~-- 01____- . 5. The use of pidographs is strongly enc:ouI'lIged in order to iOuItnItII the type of business graphically and without the use of words. Pictographic im.. will usually register more quickly in the viewer's mind thsn I Wlitt8n m....ge. 32 NOV8mller , 995 IntroducOon D. Sign Illumination The way in which a sign is to be illuminated should be considered carefully. Like color, illumination has considerable value for visual communication. 1.' First. consider if the sign needs to be lighted at all. Lights in the window display may be sufficient to identify the business. This is particularly true if good window graphica are used. Often, nearby street lights provide ample illumination of a. sign after dant 2. If the sign can be illuminated by an indil'8d source at light. tt1ia is usually the best arrangement because the sign will appear to be better integrated with the building's architecture. I..igl1t fixtures supported in front at the .ign will cast light on the sign and generally a portion of the facade a. well. Thus, indil'8d lighting emphasizes the continuity of the building', surface and the sign becomes an integral part of the facade. 3. Whenever indil'8d lighting fbttures are used (fluorescent or inc:andnC8nt). care should be taken to properly shield the light source to prevent glare from spilling over into residential areas and any public right~-way. Sign. should be lighted only to the minimum level required for nighttime readability. 4. Internally illuminated (light fixtures. usually fluorescent tubes. placed within . translucent sign) have an advantage over indirect/external sign illumination in that tM fixtures are protected from weather and vandals, and the sign cabinet has a deanet profile. uncluttered by the struts at most indirect lighting systems. Although there are these advantllgeS, there is the disadvantage that when lighted, the sign alone becomes bright. sepal'llting it from the building'. surface. The sign then becomes an element that is obviou.1y attached to the flIc:ade at the building rather than a part at it. As a result, this type of sign can disrupt the continuity at the facade and i., therefore, discouraged. 5. Individually illuminated 1etterI, either intemally illuminated or back-lighted solid letters. are a preferred alternative to internally illuminated catlinet sign.. Sign. comprised of individuallette" mounted diredly on a building can often use a diStinctive element of Ihe building" facade u a ~rop, thereOy providing a better integration of the sign with the building. E. Sign Placement Signs should be placed consistent with the proportion. and scale at the elements within Ihe building'S r.c.de. A particular sign may fit well on a plain wall area, but might overpower \he finer scale Md proportion at a lower storefront. A sign which is appropriate near an entry may look tiny and out at place above the ground level. 1. Look at the facade of the building. Are there any architectural feature. or details tnat suggest a location, size. or shape for the sign? These could be band. or frames at brickwortc or stone, indentation. in the face mewl, gaps betWeln columns, or other permanent feature.. If these details Ixist, use them to locate the sign. )J Novemller 1995 Introductron 2. Look at the facade of the building in relation to where adjacent businesses have placed Ihelr SIgns. It may be that Ihere is already an established pattern of sign locations. thiS can establish visual continuity among Ihe storefront.. and at the same time provide uniform sight lines for viewers. ~ O~mO ^ SUNSHINE'S nw.. .. 010I:. ~ ".__WI ... c_ II c_....... _"'C"'I,_It""~_"-' a men 0f'dIffy .P J J _"'.. 3. Along Huntington Drive and First Avenue sign. should relate to the sidewalk and pedestrians instead at motorists. In Ihil case. small projecting lignl or signs under awnings in conjunction with wall signs are most appropriate. 4. When the architectural details of a building do not .uggest the Ihape of the sign, choose simple shape.. Squares. circles. rectangles and ovals are considered to be most effective for visual communication. Avoid sign. with strange shapes. Signs that are unnecessarily narrow or oddly shaped can restrict the legibility of the message. H November 1995 ...u.................., F. Promotional Devlc.. Promotional device. are elements of advertising used for the purpose of attracting attention and promoting sales events and locations. Such devices include lemporary signa. banners. pennants. flags. balloons and similar attention getting objects. Because these devices are intended 10 attract attention, they are usually brightly colored and often provide wind activated movement as in the case of balloons. flags, and pennants. These attributes add additional clutter 10 an already visually crowded environment and therefore, promotional devices need to be controlled so that their impact will not degrade the community's visual environment. The use of promotional devices is considered a temporary use for special occasions only. The following guidelines lIhoulcl be followed whenever promotional devices are used: 1. The use of temporary promotional sales and advertising de\.ioes should be limited to no more than 20 days within a 90 day period. The use at permanent promotional displays (e.g. window signs and banners) is prohibited. 2. Temporary window signa should not cover more than 30 percent of \he window ilrea including any existing permanent window signs. 3. Banner signs should not cover any portions at windows or doors and should have rigid frames on at lealt 2 sides. 4. Balloons should not exceed 12 inches in diameter. 5. No temporary promotional device shall be placed upon \he public sidew8lk or other pUblic right-of-way and such devices shall not be attached to any utility pole, traf'Ilc signal/sign. tree. or other similar objects located within the public right~..ay. 6. Portable, temporary signs are permitted in compliance with \he requirements of the CaD Zone sign standards. H Novemller 1995'