Building in Historic
Districts can be a challenging, yet rewarding undertaking. The following is a quote from the National
Parks System from 1967, but still remains true:
“… a modern addition
should be readily distinguishable from the older work; however, the new work should be
harmonious with the old in scale, proportion, materials, and color (Dilsaver,1994).”
In other words, a new
building should be discernible as a new construction, but it should be designed
using ratios, patterns, and materiality that allow it to become a harmonious
part of its context. Done right, contemporary
urban infill projects can fill voids and provide a unique contrast within
historic city blocks.
The following are some
considerations to designing new construction in historic districts. As an example, we will use our recently
completed Jersey City project at 93 Bright Street.
Site,
Setting, and Height
Although there are some
voids in the streetscape, there remains a fairly consistent street wall. A proposed building should be set at the
front property line to maintain this condition.
Design decisions can be lead and subsequently justified by using lines
and proportions from neighboring buildings.
In the diagram below, the brick massing is flush with the property line
in plan. In elevation, the top of the
brick form matches with the neighboring building’s cornice. The taller, recessed aluminum façade then
adds an additional floor to the building while bridging the height gap between
its immediate neighbor and the height of the tallest neighbor on the opposite
side.
Façade
Openings
Openings and
fenestrations are a simple way to make a new building congruent with the
historic context. Again, it is important
to look at proportions and patterns from the immediate surroundings to help
guide the design. The heights and sizes
of the openings should be designed with consideration and relation to its
neighbors.
At 93 Bright it was
decided to make the windows appear vertical to match the existing window
shapes, but they are actually wide horizontal bays that allow in much more
natural light. The bays are disguised
with wood screens to make the bay appear as separate vertical-oriented windows.
At street level a store front concept was
borrowed and adapted from a local building.
Scale
Scale is a very apparent
feature for the pedestrian. In the
proper scale, the building will seamlessly mesh with its surroundings. Done poorly, the building will distract,
perhaps overwhelm and be detrimental to the district's character. Height-to-width ratios should be considered
for suitable scale. A square facade of equal
height and width will have a height-to-width value of 1. A value above 1 implies verticality and
conversely, a value under 1 signifies horizontality (See example below).
Materiality
Often times when
building in a historic district, you may have to use the predominant material
used throughout. Decisions can still be
made with regards to level of articulation in order to make the project unique
from its older neighbors. With this project, we decided to use the principal material, which in this
case was brick. It was accented with
wood and aluminum, which could be found sparsely throughout the immediate
area. The level of ornament on the
façade was simplified to serve as a complementary, modern gesture to the
existing buildings. You can borrow a
material from the context and still have the ability to design your building.
Summary
In the end, it is
crucial to do your research and address the necessary considerations in order
to build in historic districts. While
historic districts can be restrictive and challenging, once the limiting
factors have been identified, solving them with innovative design can be quite
a fulfilling process. The final result
should be a building that complements and improves the context and inspires
future projects to meet the same high standards of design.
Citations:
Dilsaver, L. M. (1994). Administrative Policies for Historic Areas. America's national park system: the critical documents (). Lanham, Md.: Rowan & Littlefield Publishers.
Contrast this to 1950's America. With national defense as a guiding factor and the rising popularity of the automobile, highways are beginning to cut through urban centers. This dissected once vibrant neighborhoods, and destroyed walkability. It happened across the country and my hometown of Kansas City was no exception. The 'Downtown Loop' while convenient for drivers, is still a burden on the urban fabric of the city. The neighborhoods carved are but a semblance of their former selves and are just beginning to improve half a century later. Proposals have come forward to 'Cap the Loop' by hiding it with a park which does seem like a perfect remedy to the situation, but could you imagine anyone ever wanting to hide the Champs-Élysées? .jpg)
Now, the U.S. Interstate highways are much different from the beautiful boulevards of Paris. But Paris did something else right. Where highspeed thoroughfares are needed, Paris went underground and away from the city center to do so. This prevented the destruction of neighborhoods and street life. Yes there are cost implications, but it makes you wonder how much business was lost by destroying or isolating whole neighborhoods that never recovered with the method the U.S. chose. 
