Rehabilitating Historic Storefronts
H. Ward Jandl
The storefront is the most important architectural feature of many
historic commercial buildings. It also plays a crucial role in a store's
advertising and merchandising strategy to draw customers and increase
business. Not surprisingly, then, the storefront has become the feature
most commonly altered in a historic commercial building. In the process,
these alterations may have completely changed or destroyed a building's
distinguishing architectural features that make up its historic character.
As more and more people come to recognize and appreciate the architectural
heritage of America's downtowns, however, a growing interest can be
seen in preserving the historic character of commercial buildings. The
sensitive rehabilitation of storefronts can result not only in increased
business for the owner but can also provide evidence that downtown revitalization
efforts are succeeding (see figure 1).
Once a decision is made to rehabilitate a historic commercial building,
a series of complex decisions faces the owner, among them:
* if the original storefront has survived largely intact but is in
a deteriorated condition, what repairs should be undertaken?
* if the storefront has been modernized at a later date, should the
later alterations be kept or the building restored to its original appearance
or an entirely new design chosen?
* if the building's original retail use is to be changed to office
or residential, can the commercial appearance of the building be retained
while accommodating the new use?
This Preservation Brief is intended to assist owners, architects,
and planning officials in answering such questions about how to evaluate
and preserve the character of historic storefronts. In so doing, it
not only addresses the basic design issues associated with storefront
rehabilitation, but recommends preservation treatments as well. Finally,
although the Brief focuses on storefront rehabilitation, it is important
to review this specific work in the broader context of preserving and
maintaining the overall structure. Money spent on storefront rehabilitation
may be completely wasted if repair and maintenance problems on the rest
of the building are neglected.
Historical Overview
Commercial establishments of the 18th and early 19th centuries were
frequently located on the ground floor of buildings and, with their
residentially scaled windows and doors, were often indistinguishable
from surrounding houses. In some cases, however, large bay or oriel
windows comprised of small panes of glass set the shops apart from their
neighbors. Awnings of wood and canvas and signs over the sidewalk were
other design features seen on some early commercial buildings. The ground
floors of large commercial establishments, especially in the first decades
of the 19th century, were distinguished by regularly spaced, heavy piers
of stone or brick, infilled with paneled doors or small paned window
sash. Entrances were an integral component of the facade, typically
not given any particular prominence although sometimes wider than other
openings.
The ready availability of architectural cast iron after the 1840's
helped transform storefront design as architects and builders began
to experiment using iron columns and lintels at the ground floor level.
Simultaneous advances in the glass industry permitted manufacturing
of large panes of glass at a reasonable cost. The combination of these
two technical achievements led to the storefront as we know it today--large
expanses of glass framed by thin structural elements. The advertisement
of the merchant and his products in the building facade and display
windows quickly became critical factors in the competitive commercial
atmosphere of downtowns. In the grouping of these wide-windowed facades
along major commercial streets, the image of America's cities and towns
radically changed.
The first cast iron fronts were simple post-and-lintel construction
with little decoration. As iron craftsmen became more adept and as more
ornate architectural styles became popular, cast iron fronts were given
Italianate, Venetian Gothic, and French Second Empire details. Cast
iron storefronts could be selected directly from catalogs, which began
to appear in the early 1850's. Standardized sills, columns, and lintels
could be arranged to create fronts of all sizes, styles and configurations.
In the 1870's sheet metal storefronts became popular; they were also
sold in standardized sizes and configurations through manufacturers'
catalogs (see figure 2).
The typical 19th century storefront consisted of single or double
doors flanked by display windows (see figure 3). The entrance was frequently
recessed, not only to protect the customer from inclement weather but
to increase the amount of space in which to display merchandise. In
some cases an additional side door provided access to the upper floors.
Thin structural members of cast iron or wood, rather than masonry piers,
usually framed the storefront. The windows themselves were raised off
the ground by wood, cast iron or pressed metal panels or bulkheads;
frequently, a transom or series of transoms (consisting of single or
multiple panes of glass) were placed above each window and door. The
signboard above the storefront (the fascia covering the structural beam)
became a prominent part of the building. Canvas awnings, or in some
cases tin or wooden canopies, often shaded storefronts of the late 19th
century. Iron fronts were frequently put onto existing buildings as
a way of giving them an up-to-date appearance. Except for expanding
the display window area to the maximum extent possible and the increasing
use of canvas awnings, few major technical innovations in storefront
design can be detected from the 1850's through 1900.
The first decades of the 20th century saw the growing use of decorative
transom lights (often using small prismatic glass panes) above display
windows; in some cases, these transoms could be opened to permit air
circulation into the store. Electric incandescent lights enabled storeowners
to call attention to their entrance and display windows and permitted
nighttime shopping. In the 1920's and 1930's a variety of new materials
were introduced into the storefront, including aluminum and stainless
steel framing elements, pigmented structural glass (in a wide variety
of colors), tinted and mirrored glass, glass block and neon. A bewildering
number of proprietary products also appeared during this period, many
of which went into storefronts including Aklo, Vitrolux, Vitrolite,
and Extrudalite. Highly colored and heavily patterned marble was a popular
material for the more expensive storefronts of this period. Many experiments
were made with recessed entries, floating display islands, and curved
glass. The utilization of neon lighting further transformed store signs
into elaborate flashing and blinking creations. During this period design
elements were simplified and streamlined; transom and signboard were
often combined. Signs utilized typefaces for the period, including such
stylized lettering as "Broadway," "Fino" and "Monogram." Larger buildings
of this period, such as department stores, sometimes had fixed metal
canopies, with lighting and signs as an integral component of the fascia
(see figure 4).
Because commercial architecture responds to a variety of factors--environmental,
cultural, and economic--distinct regional variations in storefronts
can be noted. Fixed metal canopies supported by guy wires, for example,
were common in late 19th and early 20th century storefronts in southern
states where it was advantageous to have shaded entrances all year long.
Such a detail was less common in the northeast where moveable canvas
awnings predominated. These awnings could be lowered in summer to keep
buildings cooler and raised in winter when sunlight helps to heat the
building.
# # #
Guidelines for Rehabilitating Existing Historic Storefronts
1. Become familiar with the style of your building and the role of
the storefront in the overall design. Don't "early up" a front. Avoid
stock "lumberyard colonial" detailing such as coach lanterns, mansard
overhangings, wood shakes, nonoperable shutters and small paned windows
except where they existed historically.
2. Preserve the storefront's character even though there is a new
use on the interior. If less exposed window area is desirable, consider
the use of interior blinds and insulating curtains rather than altering
the existing historic fabric.
3. 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.
4. Choose paint colors based on the buildings historical appearance.
In general do not coat surfaces that have never been painted. For 19th
century storefronts, contrasting colors may be appropriate, but avoid
too many different colors on a single facade.
# # #
Evaluating the Storefront
The important key to a successful rehabilitation of a historic commercial
building is planning and selecting treatments that are sensitive to
the architectural character of the storefront. As a first step, it is
therefore essential to identify and evaluate the existing storefront's
construction materials; architectural features; and the relationship
of those features to the upper stories (see figure 5). This evaluation
will permit a better understanding of the storefront's role in, and
significance to, the overall design of the building. A second and equally
important step in planning the rehabilitation work is a careful examination
of the storefront's physical conditions to determine the extent and
nature of rehabilitation work needed (see figure 6). In most cases,
this examination is best undertaken by a qualified professional.
The following questions should be taken into consideration in this
two-part evaluation:
Construction Materials, Features, and Design Relationships
Storefront's Construction Materials: What are the construction materials?
Wood? Metal? Brick or other masonry? A combination?
Storefront's Architectural Features: What are the various architectural
features comprising the storefront and how are they arranged in relationship
to each other?
* Supporting Columns/Piers:
What do the columns or piers supporting the storefront look like?
Are they heavy or light in appearance? Are they flush with the windows
or do they protrude? Are they all structural elements or are some columns
decorative?
* Display Windows and Transoms:
Are the display windows and transoms single panes of glass or are
they subdivided? Are they flush with the facade or are they recessed?
What is the proportion of area between the display windows and transom?
Are there window openings in the base panels to allow natural light
into the basement?
* Entrances:
Are the entrances centered? Are they recessed? Is one entrance more
prominent than the others? How is the primary retail entrance differentiated
from other entrances? Is
there evidence that new entrances have been added or have some been
relocated? Are the doors original or are they later replacements?
* Decorative Elements:
Are there any surviving decorative elements such as molded cornices,
column capitals, fascia boards, brackets, signs, awnings or canopies?
Is there a beltcourse, cornice, or fascia board between the first and
second floor? Are some elements older than others indicating changes
over time?
Storefront's Relationship to Upper Stories: Is there a difference
in materials between the storefront and upper stories? Were the storefront
and floors above it created as an overall design or were they very different
and unrelated to each other?
It is also worthwhile to study the neighboring commercial buildings
and their distinctive characteristics to look for similarities (canopies,
lighting, signs) as well as differences. This can help determine whether
the storefront in question is significant and unique in its own right
and/or whether it is significant as part of an overall commercial streetscape.
Physical Condition
Mild Deterioration: Do the surface materials need repair? Is paint
flaking? Are metal components rusting? Do joints need recaulking where
materials meet glass windows? Mild deterioration generally requires
only maintenance level treatments.
Moderate Deterioration: Can rotted or rusted or broken sections of
material be replaced with new material to match the old? Can solid material
(such as Carrara glass) from a non-conspicuous location be used on the
historic facade to repair damaged elements? Do stone or brick components
need repointing? Is the storefront watertight with good flashing connections?
Are there leaky gutters or air conditioner units which drip condensation
on the storefront? Is caulking needed? Moderate deterioration generally
requires patching or splicing of the existing elements with new pieces
to match the deteriorated element.
Severe Deterioration: Have existing facing materials deteriorated
beyond repair through vandalism, settlement, or water penetration? Is
there a loss of structural integrity? Is the material rusted through,
rotted, buckling, completely missing? Are structural lintels sagging?
Are support columns settled or out of alignment? Severe deterioration
generally requires replacement of deteriorated elements as part of the
overall rehabilitation.
In evaluating whether the existing storefront is worthy of preservation,
recognize that good design can exist in any period; a storefront added
in 1930 may have greater architectural merit than what is replaced (see
figure 4). In commercial historic districts, it is often the diversity
of styles and detailing that contribute to the character; removing a
storefront dating from 1910 simply because other buildings in the district
have been restored to their 1860's appearance may not be the best preservation
approach. If the storefront design is a good example of its period and
if it has gained significance over time, it should be retained as part
of the historical evolution of the building (this architectural distinctiveness
could also be an economic asset as it may attract attention to the
building).
Deciding a Course of Action
The evaluation of the storefront's architectural features and physical
condition will help determine the best course of action in the actual
rehabilitation work. The following recommendations, adapted from the
Secretary of the Interior's "Standards for Rehabilitation" and the accompanying
interpretive guidelines, are designed to ensure that the historic commercial
character of the building is retained in the rehabilitation process.
If the original or significant storefront exists, repair and retain
the historic features using recommended treatments (see following sections
on rehabilitating metal, wood and masonry storefronts as well as the
guidelines for rehabilitating existing historic storefronts found on
page 3).
If the original or significant storefront no longer exists or is too
deteriorated to save, undertake a contemporary design which is compatible
with the rest of the building in scale, design, materials, color and
texture; or undertake an accurate restoration based on historical research
and physical evidence (see section on "Replacement Storefronts"). Where
an original or significant storefront no longer exists and no evidence
exists to document its early appearance, it is generally preferable
to undertake a contemporary design that retains the commercial "flavor"
of the building. The new storefront design should not draw attention
away from the historic building with its detailing but rather should
respect the existing historic character of the overall building. A new
design that copies traditional details or features from neighboring
buildings or other structures of the period may give the building a
historical appearance which blends in with its neighbors but which never,
in fact, existed. For this reason, use of conjectural designs, even
if based on similar buildings elsewhere in the neighborhood or the availability
of different architectural elements from other buildings or structures,
is generally not recommended.
Rehabilitating Metal Storefronts
Rehabilitating metal storefronts can be a complex and time-consuming
task. Before steps are taken to analyze or treat deteriorated storefronts,
it is necessary to know which metal is involved, because each has unique
properties and distinct preservation treatments. Storefronts were fabricated
using a variety of metals, including cast iron, bronze, copper, tin,
galvanized sheet iron, cast zinc, and stainless steel. Determining metallic
composition can be a difficult process especially if components are
encrusted with paint. Original architect's specifications (sometimes
available from permit offices, town halls, or records of the original
owner) can be important clues in this regard and should be checked if
at all possible.
Iron--a magnetic, gray-white malleable metal, readily susceptible
to oxidation. Cast iron, most commonly found in storefronts, is shaped
by molds and can withstand great compressive loads. Rolled sheet iron,
sometimes galvanized with zinc, also was used in store-front construction.
Stainless steel began to appear in storefronts after 1930.
Zinc--a medium-hard, bluish-white metal, widely used as a protective
coating for iron and steel. It is softer than iron and is nonmagnetic.
Copper--a nonmagnetic, corrosion-resistant, malleable metal, initially
reddish-brown but when exposed to the atmosphere turns brown to black
to green.
Bronze and brass--nonmagnetic, abrasive-resistant alloys combining
copper with varying amounts of zinc, lead, or tin. These copper alloys,
more commonly found in office buildings or large department stores,
range in color from lemon yellow to golden brown to green depending
on their composition and are well suited for casting (see figure 7).
Aluminum--a lightweight, nonmagnetic metal commonly found on storefronts
dating from the 1920's and 30's. Its brightness and resistance to corrosion
has made it a popular storefront material in the 20th century.
Repair and Replacement of Metal
Simply because single components of a storefront need repair or replacement
should not be justification for replacing an entire storefront. Deteriorated
metal architectural elements can be repaired by a variety of means,
although the nature of the repair will depend on the extent of the deterioration,
the type of metal and its location, and the overall cost of such repairs.
Patches can be used to mend, cover or fill a deteriorated area. Such
patches should be a close match to the original material to prevent
galvanic corrosion. Splicing--replacement of a small section with new
material--should be undertaken on structural members only when temporary
bracing has been constructed to carry the load. Reinforcing--or bracing
the damaged element with additional new metal material--can relieve
fatigue or overloading in some situations.
If metal components have deteriorated to a point where they have actually
failed (or are missing), replacement is the only reasonable course of
action. If the components are significant to the overall design of the
storefront, they should be carefully removed and substituted with components
that match the original in material, size and detailing (see figure
8).
Before going to the expense of reproducing the original, it may be
useful to check salvage yards for compatible components. Missing parts
of cast iron storefronts can be replaced by new cast iron members that
are reproductions of the original. New wooden patterns, however, usually
need to be made if the members are large. This procedure tends to be
expensive (it is usually impossible to use existing iron components
as patterns to cast large elements because cast iron shrinks 1/5 inch
per foot as it cools). In some situations, less expensive substitute
materials such as aluminum, wood, plastics, and fiberglass, painted
to match the metal, can be used without compromising the architectural
character of the resource.
Cleaning and Painting
Cast iron storefronts are usually encrusted with layers of paint which
need to be removed to restore crispness to the details. Where paint
buildup and rust are not severe problems, handscraping and wire-brushing
are viable cleaning methods. While it is necessary to remove all rust
before repainting, it is not necessary to remove all paint. For situations
involving extensive paint buildup and corrosion, mechanical methods
such as low-pressure gentle dry grit blasting (80100 psi) can be effective
and economical, providing a good surface for paint. Masonry and wood
surfaces adjacent to the cleaning area, however, should be protected
to avoid inadvertent damage from the blasting. It will be necessary
to recaulk and putty the heads of screws and bolts after grit blasting
to prevent moisture from entering the joints. Cleaned areas should be
painted immediately after cleaning with a rust-inhibiting primer to
prevent new corrosion. Before any cleaning is undertaken, local codes
should be checked to ensure compliance with environmental safety requirements.
Storefronts utilizing softer metals (lead, tin), sheet metals (sheet
copper), and plated metals (tin and terneplate) should not be cleaned
mechanically (grit blasting) because their plating or finish can be
easily abraded and damaged. It is usually preferable to clean these
softer metals with a chemical (acid pickling or phosphate dipping) method.
Once the surface of the metal has been cleaned of all corrosion, grease,
and dirt, a rustinhibiting primer coat should be applied. Finish coats
especially formulated for metals, consisting of lacquers, varnishes,
enamels or special coatings, can be applied once the primer has dried.
Primer and finish coats should be selected for chemical compatibility
with the particular metal in question.
Bronze storefronts, common to large commercial office buildings and
major department stores of the 20th century, can be cleaned by a variety
of methods; since all cleaning removes some surface metal and patina,
it should be undertaken only with good reason (such as the need to remove
encrusted salts, bird droppings or dirt). Excessive cleaning can remove
the texture and finish of the metal. Since this patina can protect the
bronze from further corrosion, it should be retained if possible. If
it is desirable to remove the patina to restore the original surface
of the bronze, several cleaning methods can be used: chemical compounds
including rottenstone and oil, whiting and ammonia, or precipitated
chalk and ammonia, can be rubbed onto bronze surfaces with a soft, clean
cloth with little or no damage. A number of commercial cleaning companies
successfully use a combination of 5% oxalic acid solution together with
finely ground India pumice powder. Fine glass-bead blasting (or peening)
and crushed walnut shell blasting also can be acceptable mechanical
methods if carried out in controlled circumstances under low (80100
psi) pressure. Care should be taken to protect any adjacent wood or
masonry from the blasting.
The proper cleaning of metal storefronts should not be considered
a "do-it-yourself" project. The nature and condition of the material
should be assessed by a competent professional, and the work accomplished
by a company specializing in such work.
Rehabilitating Wooden Storefronts
The key to the successful rehabilitation of wooden storefronts is
a careful evaluation of existing physical conditions. Moisture, vandalism,
insect attack, and lack of maintenance can all contribute to the deterioration
of wooden storefronts. Paint failure should not be mistakenly interpreted
as a sign that the wood is in poor condition and therefore irreparable.
Wood is frequently in sound physical condition beneath unsightly paint.
An ice pick or awl may be used to test wood for soundness--decayed wood
that is jabbed will lift up in short irregular pieces; sound wood will
separate in long fibrous splinters.
Repair and Replacement of Wood
Storefronts showing signs of physical deterioration can often be repaired
using simple methods. Partially decayed wood can be patched, built up,
chemically treated or consolidated and then painted to achieve a sound
condition, good appearance, and greatly extended life.
To repair wood showing signs of rot, it is advisable to dry the wood;
carefully apply a fungicide such as pentachlorophenol (a highly toxic
substance) to all decayed areas; then treat with 2 or 3 applications
of boiled linseed oil (24 hours between applications). Afterward, fill
cracks and holes with putty; caulk the joints between the various wooden
members; and finally prime and paint the surface.
Partially decayed wood may also be strengthened and stabilized by
consolidation, using semirigid epoxies which saturate porous decayed
wood and then harden. The consolidated wood can then be filled with
a semirigid epoxy patching compound, sanded and painted. More information
on epoxies can be found in the publication "Epoxies for Wood Repairs
in Historic Buildings," cited in the bibliography.
Where components of wood storefronts are so badly deteriorated that
they cannot be stabilized, it is possible to replace the deteriorated
parts with new pieces (see figure 9). These techniques all require skill
and some expense, but are recommended in cases where decorative elements,
such as brackets or pilasters, are involved. In some cases, missing
edges can be filled and rebuilt using wood putty or epoxy compounds.
When the epoxy cures, it can be sanded smooth and painted to achieve
a durable and waterproof repair.
Repainting of Wood
Wooden storefronts were historically painted to deter the harmful
effects of weathering (moisture, ultraviolet rays from the sun, wind,
etc.) as well as to define and accent architectural features. Repainting
exterior woodwork is thus an inexpensive way to provide continued protection
from weathering and to give a fresh appearance to the storefront.
Before repainting, however, a careful inspection of all painted wood
surfaces needs to be conducted in order to determine the extent of surface
preparation necessary, that is, whether
the existing layers of paint have deteriorated to the point that they
will need to be partially or totally removed prior to applying the new
paint.
As a general rule, removing paint from historic exterior woodwork
should be avoided unless absolutely essential. Once conditions warranting
removal have been identified, however, paint can be removed to the next
sound layer using the gentlest method possible, then the woodwork repainted.
For example, such conditions as mildewing, excessive chalking, or staining
(from the oxidization of rusting nails or metal anchorage devices) generally
require only thorough surface cleaning prior to repainting. Intercoat
peeling, solvent blistering, and wrinkling require removal of the affected
layer using mild abrasive methods such as hand scraping and sanding.
In all of these cases of limited paint deterioration, after proper surface
preparation the exterior woodwork may be given one or more coats of
a high quality exterior oil finish paint.
On the other hand, if painted wood surfaces display continuous patterns
of deep cracks or if they are extensively blistering and peeling so
that bare wood is visible, the old paint should be completely removed
before repainting. (It should be emphasized that because peeling to
bare wood--the most common type of paint problem--is most often caused
by excess interior or exterior moisture that collects behind the paint
film, the first step in treating peeling is to locate and remove the
source or sources of moisture. If this is not done, the new paint will
simply peel off.)
There are several acceptable methods for total paint removal, depending
on the particular wooden element involved. They include such thermal
devices as an electric heat plate with scraper for flat surfaces such
as siding, window sills, and doors or an electric hot-air gun with profiled
scraper for solid decorative elements such as gingerbread or molding.
Chemical methods play a more limited, supplemental role in removing
paint from historic exterior woodwork; for example, caustic or solvent-base
strippers may be used to remove paint from window muntins because thermal
devices can easily break the glass. Detachable wooden elements such
as exterior shutters, balusters and columns, can probably best be stripped
by means of immersion in commercial dip tanks because other methods
are too laborious. Care must be taken in rinsing all chemical residue
off the wood prior to painting or the new paint will not adhere.
Finally, if the exterior woodwork has been stripped to bare wood,
priming should take place within 48 hours (unless the wood is wet, in
which case it should be permitted to dry before painting). Application
of a high quality oil type exterior primer will provide a surface over
which either an oil or latex top coat can be successfully used.
Rehabilitating Masonry
Storefronts
Some storefronts are constructed of brick or stone, and like their
metal and wooden counterparts, also may have been subjected to physical
damage or alterations over time. Although mortar may have disintegrated,
inappropriate surface coatings applied, and openings reduced or blocked
up, careful rehabilitation will help restore the visual and physical
integrity of the masonry storefront.
Repair and Replacement of Masonry
If obvious signs of deterioration--disintegrating mortar, spalling
bricks or stone--are present, the causes (ground moisture, leaky downspouts,
etc.) should be identified and corrected. Some repointing may be necessary
on the masonry surface, but should be limited to areas in which so much
mortar is missing that water accumulates in the mortar joints, causing
further deterioration. New mortar should duplicate the composition,
color, texture, and hardness, as well as the joint size and profile
of the original. Badly spalling bricks may have to be replaced. Deteriorated
stone may be replaced in kind, or with a matching substitute material;
in some cases where not visually prominent, it may be covered with stucco,
possibly scored to resemble blocks of stone.
Cleaning Masonry
Inappropriate cleaning techniques can be a major source of damage
to historic masonry buildings. Historic masonry should be cleaned only
when necessary to halt deterioration or to remove graffiti and stains,
and always with the gentlest means possible, such as water and a mild
detergent using natural bristle brushes, and/or a non-harmful chemical
solution, both followed by a low-pressure water rinse.
It is important to remember that many mid-19th century brick buildings
were painted immediately or soon after construction to protect poor
quality brick or to imitate stone. Some historic masonry buildings not
originally painted were painted at a later date to hide alterations
or repairs, or to solve recurring maintenance or moisture problems.
Thus, whether for reasons of historical tradition or practicality, it
may be preferable to retain existing paint. If it is readily apparent
that paint is not historic and is a later, perhaps unsightly or inappropriate
treatment, removal may be attempted, but only if this can be carried
out without damaging the historic masonry. Generally, paint removal
from historic masonry may be accomplished successfully only with the
use of specially formulated chemical paint removers. No abrasive techniques,
such as wet or dry sandblasting should be considered. If nonhistoric
paint cannot be removed without using abrasive methods, it is best to
leave the masonry painted, although repainting in a compatible color
may help visually.
Removing unsightly mastic from masonry presents a similarly serious
problem. Its removal by mechanical means may result in abrading the
masonry, and chemical and heat methods may prove ineffective, although
solvents like acetone will aid in softening the hardened mastic. If
the mastic has become brittle, a flat chisel may be used to pop it off;
but this technique, if not undertaken with care, may result in damaging
the masonry. And even if total removal is possible, the mastic may have
permanently stained the masonry. Replacement of these masonry sections
marred by mastic application may be one option in limited situations;
individual pieces of stone or bricks that have been damaged by inappropriate
alterations may be cut out and replaced with new pieces that duplicate
the original. However, since an exact match will be nearly impossible
to achieve, it may be necessary to paint the repaired masonry in order
to create a harmonious facade. Replacement of a large area with new
materials may not be acceptable as it may give the building a new, nonhistoric
appearance inappropriate to the building style and period.
Designing Replacement Storefronts
Where an architecturally or historically significant storefront no
longer exists or is too deteriorated to save, a new front should be
designed which is compatible with the size, scale, color, material,
and character of the building. Such a design should be undertaken based
on a thorough understanding of the building's architecture and, where
appropriate, the surrounding streetscape (see figure 10). For example,
just because upper floor windows are arched is not sufficient justification
for designing arched openings for the new storefront. The new design
should "read" as a storefront; filling in the space with brick or similar
solid material is inappropriate for historic buildings. Similarly the
creation of an arcade or other new design element, which alters the
architectural and historic character of the building and its relationship
with the street, should be avoided. The guidelines on page 8 can assist
in developing replacement storefront designs that respect the historic
character of the building yet meet current economic and code requirements.
# # #
Guidelines for Designing Replacement Storefronts
1. Scale: Respect the scale and proportion of the existing building
in the new storefront design.
2. Materials: Select construction materials that are appropriate to
the storefronts; wood, cast iron, and glass are usually more appropriate
replacement materials than masonry which tends to give a massive appearance.
3. Cornice: Respect the horizontal separation between the storefront
and the upper stories. A cornice or fascia board traditionally helped
contain the store's sign.
4. Frame: Maintain the historic planar relationship of the storefront
to the facade of the building and the streetscape (if appropriate).
Most storefront frames are generally composed of horizontal and vertical
elements.
5. Entrances: Differentiate the primary retail entrance from the secondary
access to upper floors. In order to meet current code requirements,
out-swinging doors generally must be recessed. Entrances should be placed
where there were entrances historically, especially when echoed by architectural
detailing (a pediment or projecting bay) on the upper stories.
6. Windows: The storefront generally should be as transparent as possible.
Use of glass in doors, transoms, and display areas allows
for visibility into and out of the store.
7. Secondary Design Elements: Keep the treatment of secondary design
elements such as graphics and awnings as simple as possible in order
to avoid visual clutter to the building and its streetscape.
# # #
A restoration program requires thorough documentation of the historic
development of the building prior to initiating work. If a restoration
of the original storefront is contemplated, old photographs and prints,
as well as physical evidence, should be used in determining the form
and details of the original. Because storefronts are particularly susceptible
to alteration in response to changing marketing techniques, it is worthwhile
to find visual documentation from a variety of periods to have a clear
understanding of the evolution of the storefront. Removal of later additions
that contribute to the character of the building should not be undertaken.
Other Considerations
Pigmented Structural Glass
The rehabilitation of pigmented structural glass storefronts, common
in the 1930's, is a delicate and often frustrating task, due to the
fragility and scarcity of the material. Typically the glass was installed
against masonry walls with asphaltic mastic and a system of metal shelf
angles bolted to the walls on three-foot centers. Joints between the
panels were filled with cork tape or an elastic joint cement to cushion
movement and prevent moisture infiltration.
The decision to repair or replace damaged glass panels should be made
on a case-by-case basis. In some instances, the damage may be so minor
or the likelihood of finding replacement glass so small, that repairing,
reanchoring and/or stabilizing the damaged glass panel may be the only
prudent choice. If the panel is totally destroyed or missing, it may
be possible to replace with glass salvaged from a demolition; or a substitute
material, such as "spandrel glass," which approximates the appearance
of the original. Although pigmented structural glass is no longer readily
available, occasionally long-established glass "jobbers" will have a
limited supply to repair historic storefronts.
Awnings
Where based on historic precedent, consider the use of canvas awnings
on historic storefronts (see figure 11). Awnings can help shelter passersby,
reduce glare, and conserve energy by controlling the amount of sunlight
hitting the store window, although buildings with northern exposures
will seldom functionally require them. Today's canvas awnings have an
average life expectancy of between 4 and 7 years. In many cases awnings
can disguise, in an inexpensive manner, later inappropriate alterations
and can provide both additional color and a strong store identification.
Fixed aluminum awnings and awnings simulating mansard roofs and umbrellas
are generally inappropriate for older commercial buildings. If awnings
are added, choose those that are made from soft canvas or vinyl materials
rather than wood or metal; be certain that they are installed without
damaging the building or visually impairing distinctive architectural
features and can be operable for maximum energy conservation effect.
Signs
Signs were an important aspect of 19th and early 20th century storefronts
and today play an important role in defining the character of a business
district. In examining historic streetscape photographs, one is struck
by the number of signs--in windows, over doors, painted on exterior
walls, and hanging over (and sometimes across) the street. While this
confusion was part of the character of 19th century cities and towns,
today's approach toward signs in historic districts tends to be much
more conservative. Removal of some signs can have a dramatic effect
in improving the visual appearance of a building; these include modern
backlit fluorescent signs, large applied signs with distinctive corporate
logos, and those signs attached to a building in such a way as to obscure
significant architectural detailing. For this reason, their removal
is encouraged in the process of rehabilitation. If new signs are designed,
they should be of a size and style compatible with the historic building
and should not cover or obscure significant architectural detailing
or features. For many 19th century buildings, it was common to mount
signs on the lintel above the first story. Another common approach,
especially at the turn of the century, was to paint signs directly on
the inside of the display windows. Frequently this was done in gold
leaf. New hanging signs may be appropriate for historic commercial buildings,
if they are of a scale and design compatible with the historic buildings.
Retention of signs and advertising painted on historic walls, if of
historic or artistic interest (especially where they provide evidence
of early or original occupants), is encouraged.
Paint Color
Paint analysis can reveal the storefront's historic paint colors and
may be worth undertaking if a careful restoration is desired. If not,
the paint color should be, at a minimum, appropriate to the style and
setting of the building. This also means that if the building is in
a historic district, the color selection should complement the building
in question as well as other buildings in the block. In general, color
schemes for wall and major decorative trim or details should be kept
simple; in most cases the color or colors chosen for a storefront should
be used on other painted exterior detailing (windows, shutter, cornice,
etc.) to unify upper and lower portions of the facade.
Windows
Glass windows are generally the most prominent features in historic
storefronts, and care should be taken to ensure that they are properly
maintained. For smaller paned windows with wooden frames, deteriorated
putty should be removed manually, taking care not to damage wood along
the rabbet. To reglaze, a bead of linseed oil-based putty should be
laid around the perimeter of the rabbet; the glass pane pressed into
place; glazing points inserted to hold the pane; and a final seal of
putty beveled around the edge of the glass. For metal framed windows,
glazing compound and special glazing clips are used to secure the glass;
a final seal of glazing compound then is often applied. If the glass
needs replacing, the new glass should match the original in size, color
and reflective qualities. Mirrored or tinted glass are generally inappropriate
replacements for historic storefronts. The replacement of cracked or
missing glass in large windows should be undertaken by professional
glaziers.
Code Requirements
Alterations to a storefront called for by public safety, handicapped
access, and fire codes can be difficult design problems in historic
buildings. Negotiations can be undertaken with appropriate officials
to ensure that all applicable codes are being met while maintaining
the historic character of the original construction materials and features.
If, for instance, doors opening inward must be changed, rather than
replace them with new doors, it may be possible to reverse the hinges
and stops so that they will swing outward.
Summary
A key to the successful rehabilitation of historic commercial buildings
is the sensitive treatment of the first floor itself (see figure 12).
Wherever possible, significant storefronts (be they original or later
alterations), including windows, sash, doors, transoms, signs and decorative
features, should be repaired in order to retain the historic character
of the building. Where original or early storefronts no longer exist
or are too deteriorated to save, the commercial character of the building
should nonetheless be preserved--either through an accurate restoration
based on historic research and physical evidence or a contemporary design
which is compatible with the scale, design, materials, color and texture
of the historic building. The sensitive rehabilitation of historic storefronts
will not only enhance the architectural character of the overall building
but will contribute to rejuvenating neighborhoods or business districts
as well.
Additional Reading
Bryan, John M. and the Triad Architectural Associates. Abbeville,
South Carolina: Using Grant-in-Aid Funds for Rehabilitation Planning
and Project Work in the Commercial Town Square. Washington, D.C.: Technical
Preservation Services Division, U.S. Department of the Interior, 1980.
Gayle, Margot and Edmund V. Gillon, Jr. Cast Iron Architecture in
New York. New York: Dover Publications, Inc., 1971.
Gayle, Margot and David W. Look and John G. Waite. Metals in America's
Historic Buildings: Uses and Preservation Treatments. Washington, D.C.:
Technical Preservation Services Division, U.S. Department of the Interior,
1980.
Gelbloom, Mara. "Old Storefronts." The OldHouse Journal VI, No. 3
(March 1978), pp. 2534.
Grimmer, Anne E. "Dangers of Abrasive Cleaning to Historic Buildings."
(Preservation Briefs 6), Washington, D.C.: Technical Preservation Services
Division, U.S. Department of the Interior, 1979.
Guthrie, Susan. Main Street Historic District, Van Buren, Arkansas:
Using Grant-in-Aid Funds for Storefront Rehabilitation. Washington,
D.C.: Technical Preservation Services Division, U.S. Department of the
Interior, 1980.
Hartmann, Robert R. "Design for the Business District, Part I." Racine,
Wisconsin: Racine Urban Aesthetics, Inc., 1979.
Hensley, Tom. "The Preservation of Historic Pigmented Structural Glass
(Vitrolite and Carrara Glass)." Denver: Rocky Mountain Regional Office,
National Park Service, 1981.
Marsh, Ellen. "An Introduction to Storefront Rehabilitation." Conserve
Neighborhoods, No. 7 (Summer 1979).
Mintz, Norman. "A Practical Guide to Storefront Rehabilitation." Technical
Series No. 2.: Albany, N.Y.: Preservation League of New York State,
1977.
Myers, John H. The Repair of Historic Wooden Windows. (Preservation
Briefs 9). Washington, D.C.: Technical Preservation Services Division,
U.S. Department of the Interior, 1980.
Park, Sharon C. Storefront Rehabilitation: A 19th Century Commercial
Building. Washington, D.C.: Technical Preservation Services Division,
U.S. Department of the Interior, 1980.
Phillips, Morgan W. and Dr. Judith E. Selwyn. "Epoxies for Wood Repairs
in Historic Buildings." Washington, D.C.: Technical Preservation Services
Division, U.S. Department of the Interior, 1978.
Rifkind, Carole. Main Street: The Face of Urban America. New York:
Harper and Row, 1977.
The Secretary of the Interior's Standards for Rehabilitation and Guidelines
for Rehabilitating Historic Buildings. Washington, D.C.: Technical Preservation
Services Division, U.S. Department of the Interior, 1980.
Weeks, Kay D. and David W. Look. "Exterior Paint Problems on Historic
Woodwork." (Preservation Briefs 10). Washington, D.C.: Technical Preservation
Services, U.S. Department of the Interior, 1982.
Special thanks go to Kay D. Weeks and Sharon C. Park, AIA, for providing
technical and editorial direction in the development of this Preservation
Brief. The following individuals are also to be thanked for reviewing
the manuscript and making suggestions: Norman Mintz, New York, N Y.:
Judith Kitchen, Columbus, Ohio: Jim Vaseff, Atlanta, Georgia,: and Tom
Moriarity, Washington, D C. Finally thanks go to Technical Preservation
Service Branch staff members, especially Martha A. Gutrick, Michael
J. Auer and Anne E. Grimmer, whose valuable comments were incorporated
into the final text and who contributed to the publication of the brief.
Washington, D.C. September, 1982
Last Modified:
January 30, 1998
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