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[eDroit Park

Conserved
Government of the District of Columbia
Ivlarion S. Barry, Jr. Mayor
July, 1979
Historic Development
r'
~ .
Original boundary
of leDroit Park
McGill buildings 1873-1887
Buildings constructed
during 1880's & '90's
,.
"\
LeDroit
Conserved l
Washingtonians
OlSTRJCT OF COL .. :
PUBUC LIBRARY
prepared for the
D. C. Department of Housing
and Community Development
by
Carr, Lynch Associates
GOVERNMENT OF THE DISTRICT OF COLUMBIA
OF HOUSING A-"-0 COMMUNITY DEVElOPMENT
WASHINGTON 0 C
,, ,
SEP 1 1979
To the Citizens of the LeDroit Park Historic District:
This book is for all the residents of the LeDroit Park
Historic District who wish to improve their homes or work
places. It is not a list of regulations; it is a guide
for the historic restoration of buildings in your community.
We had these guidelines prepared because your area is
unique and has historic significance worth preserving. The
Department supports this report and intends to use it as
a guide in all discussions with your community. The guide-
lines should assist staff and homeowners by expediting
reviews and avoiding mistakes that could cause delay.
For these, or any guidelines, to work successfully , the
staff and citizens must have a mutual respect and under-
standing for each other's objectives. The prime considera-
tion of these guidelines is the maintenance of the LeDroit
Park Historic District. We include in maintenance the
stabilization of the community's existing population , which
means we hope to avoid any displacement. For this reason,
what a person can afford when he or she wishes to fix up a
property must be taken into account. We intend to remain
sensitive to the needs and economic restraints of people in
LeDroi t Park while we also attempt to fulfill our public
responsibility to the area's historic character by keeping
unwelcome or unwanted changes to a minimum.
You will note that these guidelines are grouped in three
categories. The first , the preferred category, is labelled,
"this is the preferable way to do it," and contains changes
which are best practice. In the second category, "sometimes
a good way" are changes which, under certain circumstances ,
may be good practice. The last category , "generally
unacceptable" lists changes which are discouraged. We urge
people to choose the "preferable way," if they can afford it ,
for it will give the best results to the individual property
as well as help the community. The middle category, with the
sometimes acceptable items, recognizes that not everyone
chooses or can afford the recommendations of the preferable
category. We believe that this middle category gives
maximum opportunity for the DHCD to consider the individual
Wast!ingtoniana
V'T f) COU rl\1
2
conditions of each owner and i. 1::
moderat e ly priced improvements -
of c hanges are included in a peJi
application will undergo review.'
a permit applic ation is for chan
"preferable way " or in the "gene
We in the DHCD know that every c
its own mer its . For example. so
i terns ar e always wrong whil e. de
others may occasionally be ace ep
matter of ge neral practice, any
all his or her c hanges from t ~ e '
category can generally expect prl
review by our Department.
People do not have to do any til in!'
if they don't want to. so long a ~
regulations suc h as the Building
Zoning Regulations. It is also r
improve a home such as some lands
having to get permission f rom the
no requirement that owners must r
But if you want to do something t
building whi c h requir es a buildin
should be consult ed.
Under D.C. law, this Department r
appli c ation for demolitions. exte
construction within your historic
uses one of the government prog r ru
of this book , whi c h make money av:
distric ts or community de veloprnenl
furthe r reviews , as listed. All r ~
guidelines.
All of the staff of the Departmenr
assistance to the community as its
gu idebook. The e ntire contents ar
review and eva luation and possible
and the community take int o account
or the availability of r esour ces.
explanation of our int ent will r e ~
to our objectives and methods.
Contents
A Brief History 7
The Architecture of LeDroit Park 13
How to Conserve a House 45
Basic Principles 46
Wooden Walls 55
Masonry Wails and Chimneys 61
Roofs 66
Windows and Doors 71
Porches, Steps and Rails 79
Fences, Yards and Landscaping 86
Signs and Other Modern Fixtures 90
Minor Additions 94
New Buildings and Major Additions 96
Resources 99
The Process of Design Review 100
How to Check the Condition of
a House 103
Notes on Buying a House or Getting
a Building Permit 107
Glossary 108
\\'asbingtonia a Division
DISTRICT OF COLUMBIA
PUBLIC LIBRARY
Introduction
The LeDroit Park Historic District lies just
south of the grounds of Howard University,
and above the junction of Florida and Rhode
lsland Avenues, between Bohrer Street and
2nd Street, N.W. It is an outstanding exam-
ple of the American Romantic suburb.
Having passed through many changes, it still
retains that basic character. Lying just outside
of the "Boundary Street" (now Florida
Avenue) of the original plan for Washington,
it is an early example of the growth of the
city as directed by private speculation. It is
also an example, much less frequently found,
of the successful integration of architectural
and subdivision design. The Secretary of the
Interior has formally recognized the heritage
and special qualities of the LeDroit Park
Historic District by listing it in the National
Register of Historic Places.
Historic preservation is a growing move-
ment which has shifted in recent years from
meticulously restoring individually significant
landmarks to conserving entire neighborhoods
for their residents. Change is recognized as a
necessary element of neighborhood conserva-
tion; if carefully managed, it can permit full
use and enjoyment by those who are living
today, while retaining and enhancing an
area's significant architectural and historical
qualities. This handbook is written in that
spirit, expressly for the citizens for the
LeDroit Park Historic District. Its purpose is
to help them improve their houses and their
streets.
A Brief History
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A Brief History
The LeOroit Park Historic District was origi -
nally located in Washington County just nort h
of the Federal City. This land was divided
into large tracts and was either uncultivated
or farmed. During the Civil War. the Camp-
bell Military Hospital was located in this
general area. and in 1865 it became the
Freedmen's Hospital. In 1869, Freedmen's
Hospital was moved to the grounds of
Howard University where buildings were
expressly constructed to house its needs .
Howard University, located on the northern
periphery of LeDroit Park, was chartered by
Congressional law on March 2, 186 7.
General 0.0. Howard (1830-1909), founder
of Howard, was the University's first presi -
dent, serving from 1869-73. General Howard
was also Commissioner of the Bureau of
D ~ ! - ~ - - D - ~ - ~ - - -- - _ J At_ 1 T
(the Freedmen's Bureau). This Bureau not
only assisted in providing food and work for
refugees and freedmen, but also provided
education for former slaves. General Howard
and the Freedmen. s Bureau were instru-
mental in establishing Howard University
-vvhich was to be open to all races. but has
tradionally been a black university.
Another trustee of the university, Am7.i L.
Barber, married the daughter of a successful
real estate broker named LeDroit Langdon.
resigned his trusteeship in the college and
purchased some 40 acres of University lands
on a Sl1 5,000 promissory note. without
down payment. In 1874, the Executive Com
mittee of Howard was in financial difficulties
and accepted an offer from A.L. Barber &
Company for $95.000 in full payment of
Langdon's note. Barber hired James McGill
to design his new development, and named it
for his father -in-law. The new subdivision
appears on the map in 1873, romantic in
intent and architecture, if not in its standard
street grid. Packaged for the affluent, it
emphasized seclusion, fine houses. a ''rural''
atmosphere, genteel neighbors and easy access
to the city. It was built for the "merchant,
professional man, or government clerk.'
Despite its origins and the proximity of
Hmvard University. leDroit Park was to be
exclusivelv white. It was enclosed by a wood
and iron fence along its public front. and a
high board wall at the rear (where Howard
University and a black settlement called
"Hmvard Town" lay). There were gates and
watchmen to keep out the unwanted. One
gate was at 3rd Street and Rhode Island
Avenue.
By 1877, 41 new houses had been erected.
at a cost of $200,000. Some were for clients
and some were built on speculation, but all
were designed by McGill. They were hand-
some examples of romantic eclecticism -
Italian Villa. Gothic Revival, Queen Anne,
Second Empire and Italianate -designed for
show and individuality. These buildings were
built at a time when architectural technology
was rapidly changing in the U.S. Building
'
nation, and machines could stamp, grind,
turn or cast complicated parts. McGill's cata-
logue lists such specialty services as bell
hangers, slate roofers. fresco painters and
stair builders, as well as suppliers of dumb-
waiters, bronze mantelpieces and
gas fixtures.
The houses were set back within formal
gardens. An ornamental park circle, decorated
with trees, flowers and a fountain, was estab-
lished at 3rd and T Streets as a focus for the
development. $50,000 was expended on
street improvements, including paving, water,
sewers, gas, brick walks, and ornamental
lighting, and $4,000 on planting alone.
There was a private trash collection service,
as well as the private watchmen.
The new development became the residence
of generals, professors, congressmen, busi -
nessmen, and bureaucrats, as well as McGill,
Barber, Langdon, and McClellan (one of the
original pre-war land owners). By 1887, there
were 64 houses here, but the pace of develop-
ment was slowed as LeDroit Park weathered
the economic catastrophes of the '70s.
Meanwhile, agitation arose to breaK tne
color ban. Legal action was at first unsuccess-
ful. A mob broke down the fence in 1888,
but the fence was replaced with barbed wire.
Finally. the District government took over
control of the streets and they were opened to
public access. In 1893 the first black resident
moved in. A bullet went through his window
while he was sitting at dinner, but he refu ed
to leave. Gradually, other black professionals
and officials made their entrance into the
exclusive Park, which for a time was inte-
grated. Howard professors moved in, and t h ~
area received the nickname of "Collegetown."
In these same late years of the '80s, the
areas adjacent to LeDroit Park were sub-
divided and developed, and it became an inte-
gral part of the fabric of the city. The build-
ing of single houses for wealthy clients
ceased, within the original subdivision, and
the remaining lots were sold to speculators,
who began to erect rather elaborate Queen
Anne row houses. Along Florida A venue,
residential buildings were converted to com-
mercial use, and the new apartment hou es
incorporated shops into their ground floors.
By the beginning of World War I, almost
all of the white residents had moved away,
and the last row houses had been built.
LeDroit Park had become the most exclusive
area of black residence in the city. Many
prominent people lived there: scholars, law-
yers, musicians, journalists, and professional
of many kinds; Mary Church Terrell,
women's activist and first black woman on
the Board of Education; her husband, the first
black municipal judge; the first black con
gressman after Reconstruction; Paul Lawrence
Dunbar, the poet; Ralph Bunche, leader in
the UN, and first black Nobel Prize winner;
Senator Brooke of Massachusetts; and the
first black mayor of the city, Walter Washing
ton. Older residents remember lawn and block
parties, Sunday band concerts, and the fine
.
An elegant Row on 5th Street
Just before World War II, a second shift
began. Some of the population moved to the
upper northwest section of the city and the
northern suburbs. During the war, two large
halls were built to house government
workers, and these were later converted into
Howard dormitories, one of which is located
in the historic district. The trend accelerated
after the war, as low income blacks moved in
and the well-to-do fled. Some of the old
McGill houses were divided into apartments.
One of the finest of these, the original McGill
house, was demolished in the '60s to make
way for a Safeway store and its parking lot.
Absentee landlords and a lack of maintenance
allowed some of the structures to slide toward
LeDroit Park resi dent
decay. Street maintenance and trash collection
deteriorated, and the old park circle was bi-
sected by street paving. The benign relation
with Howard University turned to conflict, as
the institution sought to expand south into its
residential neighbor. Large new University
buildings arose on the edge of the area. The
University now owns a large number of
vacant houses, and has generated a traffic and
parking burden. Today, the population of the
area is mixed with both middle-income and
low-income blacks and Howard University
students.
Wasbingtoniana Di..: .
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The brick walks are spotted with asphalt
patches, streets are broken and many alleys
are unpaved. Most of the street trees are
gone, although small new ones have been
planted on 2nd and on Florida. On the
houses, lintel arches have fallen here and
there, corners are broken, slates are loose and
roof crestings gone. Some 60 houses are
boarded up, half of which belong to the Uni -
versity. But the neglect is recent and there
are signs of more recent recovery. Many of
the McGill and row houses have been main-
tained in good condition throughout their
existence and many more are being rehabili -
tated. The buildings \vere solidly built. and
they are still sound.
The undulating walls, complex rooflines.
elaborate cornices and window frames,
wrought iron steps and carved doors, and the
rich array of materials - molded brick, stone,
slate, pressed stone, terra cotta, wrought iron,
stained glass - all catch the eye. The houses
and rowhouses are boldly made. Much of this
detail can be recovered. a restoration of
the varied 19th century color schemes and
formal gardens would still further enrich the
landscape. Utilities have already been placed
underground, and some of the old street
lights remain. The LeDroit Park streets, rela-
tively treeless, narrow, and urban, depend on
h. c __ .L _:_ . : __ __ , __ , ..
A notable concentration of McGill houses
remains on the 400 block of U Street an
area to which the somewhat more modest
single and two-family houses \vere apparently
relegated in his plans. This complete row of
houses in the Italian Villa style may be
unique in the United States. A good number
of McGill houses still exist on the 500 block
of T Street, and at the focal circle at 3rd and
T Streets. Third and T were the two show
streets of the original development, and this
focus should be recreated. In sum, LeDroit
Park is a remarkably preserved specimen of
an early romantic suburb, in which street and
house designs were coordinated by one good
hand. More than that, LeDroit Park has
played a central role in the history of the
black leadership of this city.
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The Architecture of
LeDroit Park
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The Architecture of
LeDroit Park
The late nineteenth century architect or builder could
choose from a wide variety of styles and motifs in the design
of a house or shop. Roof types, styles and house plans varied
widely, and yet there was a consistency in material and
details. Pattern books and builder's catalogues were a com-
mon source of metal work, wood trim, ornamental brick,
stone and slate. Many of these decorative details are still
intact, and are worth conserving. By understanding the style
and components of a building, we can identify those ele-
ments that are critical to its appearance.
Between 1873 and 1887, James McGill designed some
sixty houses in LeDroit Park. Most of these detached single
or two family houses were built of brick, with wood and
pressed stone details. Many are illustrated by engravings in
the promotional literature for the neighborhood published as
LeDroit Park Illustrated (1877) and The Architectural
Advertiser ( 1879).
Like many architects of his day, McGill worked in many
styles, including Italianate, Italian Villa, Second Empire,
Victorian Gothic, and Queen Anne. Some houses combine
several styles. Although the roof shapes, building outlines
and decoration vary a great deal from house to house, these
McGill houses share a common exuberance of detail. This
can be seen at the window mouldings, string courses,
brackets, cornices, cupolas and towers, ornate porches, deco-
rative metal work and patterned slates on the roof. These
decorative elements are all part of the "high styled" home.
__________ low hipped roo
patterned vari-colored
slate roof
relative absence of ___ ....... i;"'TT
ornate details at
cornice and windows
light-colored painted ---+-
brick or stucco walls
plain wooden porch --+
posts with simple
brackets (if any)
Italian Villa
tall , narrow 2/2
arch-headed de
hung windows
a surprisingly r
window such a
is an example <
McGill's own d
invention
wooden porch
heavy cornice t
--symmetrical fa<
This style was inspired by the Italian farm
house, which often included a prominent, flat -
topped, corner tower, a simple box or
L-shaped plan, a low gable roof, and a plain
light-colored wall surface. It was popularized
in books such as those by Andrew Jackson
Downing as appropriate for the "country
gentleman'', symbolizing a simple and
pastoral life. The Italian Villa style houses of
LeDroit Park have L-shaped or symmetrical
plans with long porches, arched windows, and
gable roofs with deep overhanging eaves .
Origi nally, some of these residences had roof
cresting and truss work at the gable ends .. But
there is a noticeable absence of the elaborate
detailing of cornices and door and window
heads that is seen on other houses by McGilL
Wall surfaces are plainer and the original
color scheme simple - usually cream or buff
\Vith darker trim, although varied colors may
have hcen used later. Much of the 400 block
of U Street is in the Italian Villa style. Here,
rather than on the grander 3rd and T Streets.
McGill placed his more modest houses, and
they \Vere designed in a style appropriate to
more modest budgets. The survival of this
continuous row of houses in the Italian Villa
style produces a streetscape which is possibly b
unique in the U.S.
c
a) Shown here. the U Street blo<.k between llh .md 'Sth
Streets is perhap-. one of the mtlst in ld)r.nt
Park. It the only remaming street of enllreh
,\\cGill destgncd houses and looks very much todav J\ 11 thd
when the area wa\ first de\eloped.
b) An example of the type of Italian Villa house found 111 thts
block: notice the low pitch to the rooL the wmmetmal
facade. and the relative absence of ornate detail on corniCe.
doors and windows.
c) The plam light colored wall with contrasting tl.lrk tnm ts a
characteristic feature ot the Italian Villa stvle: the umformitv
of color treatment on houses on this block helps 10 'tsu.tlly.
tie the together a special group
d
e
d) Like the Italian farm houses which inspired this "villa"
style. this McGill -designed house on Elm Street between 2nd
and 3rd Streets is modest in siz:e and relatively plain in its
decorative treatment. The low pitched roof, deep overhanging
eaves. and wooden entry porch are common features of a
house style popular in the 1800's. as suitable for the
'country gentleman of modest means''
e) Ornate detail so characteristic of other McGill designed
houses is. in these 'Italian Villa'' examples. confined to
decorative chimneys, patterned slate roofs, iron roof crestings
and finials. and an occasional wooden pendant at the gable
end. A number of these decorative features can be seen in
this photo. Notice how dramatically different the house on
the left looks, stripped of its coat of light-colored paint. Such
major alterations can be questioned not only for their incon
sistency with the original style, but also for the potential
surface damage which may occur on the newly exposed brick
walls .
low hipped (or flat) roof
asymmetncal mass1ng
and facade
paired windows and
round-headed windows
are a hallmark of this
style
projecting wooden entry
porch with decorative
carved and turned
brackets, and posts
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deep projecting cornice
ornate wood brackets
frieze
bracketed hoods over
windows and doors
large 2/2 double hung
windows of tall, narrow
proportions
seen in brick, frame
or stucco
paired wooden doors
with a glass transom
In contrast to the simple detail and balanced
mass of McGill's Italian Villa houses, his few
ltalianate houses in LeDroit Park exhibit
asymmetrical facades and a greater variety of
wooden decorative trim. A low roof and deep
overhang are still seen, but the plain cornice
is replaced by elaborate brackets often accom-
panied by carved panels in the flat wo den
boarding just below the roof edge. Brackets
under the porch roof, and under the heavy
window and door hoods, are also characteris-
tic. (These ornate brackets are the hallmarks
of the style, but they caught the fancy of the
American builder, and may often be seen in
later buildings. ) Arched and paired windows
with ornate mouldings are common. There
are cupolas and panelled, decorative doors.
The Morningstar Baptist Church at 1901
6th Street, formerly a residence, is an excel-
lent representative of the more elaborate
Italianate house. 330 T Street is a good
example of a simpler, but handsome version.
Beautifully detailed brackets under the eaves
of the gable roof frame a central round arch
window.
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b
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a
a) This impressive ltalianate McGill House. one of only a few
remaining in LeDroit Park, is on the corner of 6th and T
Streets. Although the color scheme is similar to the Italian
Villa style, (light walls with dark trim) the roof windows and
porch are all crowned with carved wooden brackets and heavy
overhanging cornices. These decorative features are the hall -
mark of the ltalianate style house.
b) Heavy brackets under the eaves, a round-headed window,
and bracketed wooden porch distinguish this brick residence
on 330 T Street as an ltalianate house.
c) A detail showing the deep over-hanging cornice and
elaborate! y caned brackets (or "consoles"' as they are some-
times called when of this shape) of the house on the corner of
T and 4th Streets.
d) Carved, lathe-turned, and sawn wooden ornamentation is
often seen on the ltalianate style house. Here. a detail of lath
turned \vooden porch posts.
d
decorative brick chimneys
with pressed brick panels
polychrome (many-colored)
patterned slate roof
narrow pointed arch windows
of modest size; a cottage" -
Victorian Gothic
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0 LeDroit Park Neighborhood '
tall , narrow proportions
to house
wooden pendant under
eave
J..<H..->.1-- sawn wooden bargeboard
along roof edge
brick (or frame)
surface and trim in
contrasting colors
The interest in medieval art began in Great
Britain in the 18th century as part of a funda-
mental shift in society and culture. The
Gothic Style caught on in the U.S. by 1830,
and was first used for churches and schools.
Few people could afford stone houses. but the
invention of the jigsaw allowed the con truc-
tion of light wooden imitations of Gothic
forms . with "gingerbread, detail. McGill
drew on the English and German Gothic
tradition as illustrated in the common pattern
books. As he promised in his advertisements,
he used his inventiveness to give each house
a unique appearance. But there are common
elements to these Gothic houses. These
include an irregular roofline, tall, pointed
gables and towers and an asymmetrical
arrangement of plan and window placement.
Pointed arches appear at windows and in the
gable. Wooden trusses and hanging pendants
at dormers or gable ends are common. Chim-
neys are often elaborate. Color was important
in the original designs: patterned roof slates
and high-contrast trim colors were used. The
colorful roofs remain today.
51 7 T Street is a perfect example of the
pattern book Gothic cottage. Many of its
original details are still intact.
b
c
a
a) Only two McGill -designed Gothic Revival houses remain.
This one, a particularly fine (and enchaming) example of the
style. is on T Street between 5th and 6th Streets. The steep.
narrow pitch to the gable roof is the most prominent dis-
tinguishing feature of the Gothic Revival style.
b) While quite different in character. this too is a Gothic
Revival house. as can be seen by the steep gable at the center
and the arch motif above the porch posts. This McGill house
is on the corner of 3rd and lJ Streets .
c) The same house on U and 3rd Streets. as originally
designed and dra\vn by architect McGill: this is reproduced
from the Arcbitectural Aduerti;;er of 1879.
d) A detail of the ,gable. The decorative carved board under
the roof edge is called a "bargeboard " (or "\ergchoard"'):
the vertical member suspended under the peak of the gable is
called a 'pendant'. T h i ~ decorate treatment at the top ut the
gable is common on Gothic Revival hou;,es. alt hough this
example is more elaborate than most.
Mansard roof
projecting entry
bay and porch
carved brackets and posts
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Second Elllpire
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LeDroit Park Neighborhood '-. ..f>c;:::::'
round-headed w1ndows
often seen
11."1t'M--- scalloped slate roofing
brackets
Second Empire architecture developed in
France under Napoleon III. His rebuilding of
Paris made it the most modern city in the
world, and two international exhibition popu-
larized French design. The style was influen-
tial in the U.S. from 1860 until the decline of
French prestige in the 1880's. The steep
Mansard root originally used to circumvent
the legal height limits in the rebuilding of
Paris, is the distinguishing feature of the
style. It will also show up in later LeDroit
Park row houses. (Today, in degraded shingled
form, it is a cliche for giving "style" to a
commercial building along many a U.S. high-
way. ) Other Second Empire details are similar
to ltalianate: window mouldings, porch
details, brackets, eaves, and prominent cor-
nices and string courses. The Second Empire
house is usually square or rectangular in plan
with a projecting bay window and an entry
porch. Ornate metalwork, patterned, multi -
colored slates, and elaborate dormers are
characteristic roof features .
The residence at 525 T is a particularly
handsome example of the Second Empire
Style. However, there are relatively few
examples of this style in LeDroit Park.
a) A page from the Architectural Advertiser, printed in 1879
to advertise for sale the early McGill houses in LeDroit Park.
A good proportion of the houses are no longer standing: this
is a fortunate survivor.
b) One of the few McGill -designed Second Empire style houses
remaining in the neighborhood. [n June 1978, when this
photo was taken, the building was boarded up. It was recently
renovated by new owners. The preservation of this McGill
building represents a major contribution towards maintaining
the features of LeDroit Park which make it a unique
Washington neighborhood.
c) A detail showing the characteristic "Mansard" roof with
its decorative slate covering. The decorative ironwork around
the edge of the small corner tower is called ''cresting''.
..
c
,.-,r--------------tall decorative chimneys
finial -----....
r /J'"."'iM-------t1--- decorative wooden gable
a Queen Anne window --+++llbl
type: small square panes
of glass in upper sash
end
double hung
windows
asymmet ri cal
facade often mixes - facade
different building
materials, textures,
colors (often different
from floor to floor)
1+-K--tl-+..-large porch with
carved wooden panels
brackets (or classical
columns)
Queen Anne
r--- _rjJo-::::: .. . 1
,' "" ""'l
<CiiL Jf--' iD ; ;f;
!

, .U' 1;
........
....... . ..
. ....... ,__.-
LeDroit Park Neighborhood -.......
The Queen Anne style began in England in
the 1860's and \\'as popularized in this
country by the 1876 Centennial. Basically. it
was a revival based on the medieval English
country house. J\kGill designed a number of
houses in this style: 421 T Street is an
example. The Queen Anne house is
usuall y a large one. and most often a frame
structure. It includes many kinds of materials
and decorative treatments. >vhich \vork to-
get her to produce a rich. exuberant appear-
ance. The silhouette of the Queen Anne
building is complex, asymmetrical. with tur-
rets, ornate chimneys. and projecting dormers
and bays. The surface is highly modelled .
often using decorative shingles. The texture
rna v vary from floor to floor. The Queen
Anne house was multi -colored - different
colors being used to emphasize the variety of
surface materials, texture and detail. A brick
building could be elaborated with pressed or
carved stringcourses, ornate brickwork, terra-
cotta panels, and metal or wood details
chosen freely from the many pattern books of
the day. Many sizes and kinds of double hung
windows are combined. The bottom sash is
usually a single piece of glass, while the upper
one is divided into small panes of colored or
plain glass.
a
b c
a) A McGill -designed Queen Anne house on 3rd Street.
Typically Queen Anne houses are very large buildings: this
house is no exception. The variety of roof shapes, the porch.
the decorative chimneys, and the small panes in the upper
sash of the windows, are all characteristic of the Queen Anne
style.
b) Perhaps because of their large size, (and cost to heat and
maintain) many Queen Anne houses have succumbed to
decay and demolition. as has this house on U Street (between
3rd and 4th Streets). where only a portion of the original
structure remains standing.
c) Among the ruins, a few fine Queen Anne detaib remain;
this "sun burst" designed bracket is a decorative pattern
seen frequently on this style ot architecture.
d) This porch bracket on a later LeDroit Park building is also
derived from the Queen Anne "sunburst" or "fan" design.
Row Houses
In the late 1880's, the construction of the large single and
double family houses designed by McGill came to an end.
For the next three decades, row houses filled the empty
spaces, creating a higher density residential pattern. The
days of the suburban retreat were not over, but the urban
housing type was changing to accommodate the smaller,
servantless household.
Rowhouse styles ranged from the highly detailed and tur-
reted Queen Anne of the earlier years to the more austere
Georgian Revival of the final filling-in. A strong street facade
is created by the uniform setback, the long attached rows,
and the consistent two and three story elevations. The street
wall is decorated with the ornamental iron steps, handrails,
and fencing. Color and contrast are provided by the mixing
of materials and details, and by the shifting forms of window
openings, projecting bays and irregular rooflines. Small yards
at front and rear are common, although some rowhouses
(along Florida A venue in particular) are built to the lotline.
Toward the tum of the century, the LeDroit Park row-
house was noticeably less adorned. The rich wall surfaces of
the earlier Florida Avenue rowhouses, for example, with
their slate, stone, and terra-cotta details, can be contrasted
with the straightforward metal cornices and plain wall
surfaces of 2nd Street's Georgian Revival rows.
finials T1
+

projecting bays
and towers
r---, :t cresting
tall decorative ,
towers, bays project up v
from roof and out from entry to create complex facade 0 ..., [
and rhythm along street !1. r 111 double hung wind
decorative pressed brick
or terra cotta panels
. ... II" ;;;.:;.


-til--+- round-headed window
often seen

brick detailing and string course


stringcourses in high relief J..... keystone
f---JI---_.__, '!:: .._:"
1::::::: transom over entry do
- n -ro-
(often paired doors)
niT ...... ![ il::=: ;; paired doors and
windows often seen


I highly textured surfac
lsp;l J;;:;;;il i---1\
1
L often mixing brick
lt:J I \ l I 1 .. It Ll and stone
Queen Anne
Brick
-
Complex, slate-covered, steep roofs and tur-
rets with varied gables and dormers are char-
acteristic of these more ornate LeDroit Park
row houses, built in the late 1880's and early
1890's. Brick, stone, terracotta, and metal
features are imaginatively combined. Orna-
mental iron and ceramic tile frequently
enhance the entrance, which often has a tran-
som and a recessed entry bay. Basement
apartments and above grade entrances are
common. There may be a rusticated stone
base with Romanesque details.
Straight or segmental arch rusticated stone
sills and lintels, and molded brick voussoirs
(the wedge-shaped pieces that make up an
arch), frequently surround the tall, "one over
one'' window. (That is, the window has a
single piece of glass in each vertically sliding
sash. and thus has 'one over one' ' panes of
glass.) Windows and doors may be paired.
Rounded bays and oriel windows (small pro-
jecting bays) accent the front facade, in addi-
tion to stone and brick stringcourses, pressed
brick panels. and stained glass.
Characteristic Queen Anne rowhouse
streets include: the 400 to 600 blocks of
Florida Avenue; portions of the 300 block of
U Street: 1900-1921 2nd Street; the 1800
block of 5th Street: and portions of the 300
block of Elm Street.
b
c
a) This street vie\Y could have been taken in any one ot .1
number of Washington areas. since the Queen Anne brick
row house a common building type throughout the district.
on 2nd Street).
b) Two story examples on .'lrd Street.
c) Three storv Queen Anne row houses along Florida
Avenue.
d) Examples of the decorative detail characteristic of the
Queen Anne Row; one ot the earliest and mmt elaborate of
d
W'!lk"'c------"'=-t- scalloped or hexagonal
shingles in gable end
clapboard on main body paneled frame around
of house bay windows painted
contrasting color
shingles
fishscale shingles
mult i-paned upper sash
in double-hung windows
(often 6/1)
projecting 2-story bay -fll-ftH-+
wilh variety of materials
and color
QueenAnne-
Fratne
While of the same basic style, the wooden
Queen Anne rowhouses are quite different in
effect. The facade is still exuberantly
modelled, but the general appearance is sim-
pler and more domestic The walls are covered
in clapboard, with patterned shingles in the
gables or above the projecting bays. The roofs
are simpler in form. There is an entry porch,
and sometimes one on the second story, as
well. The windows are rectangular and more
uniform, with small divided panes of glass in
the upper sash. Wooden panels occur below
the first floor windows, or panelled frames
appear at the sides of windows. Textures and
colors are designed to contrast with each
other.
A good example of the Queen Anne frame
rnw I1P "PPn nn thP P::J"t "iriP of 6th Street.
a
b
a) A view of six Queen Anne wood frame houses along 6th
Street. The repetitive gable fronts and front porches make
this an unusual and particularly interesting LeDroit Park
Street.
b) Good examples of the LeDroit Park Queen Anne frame
house. Notice the small panes of glass in the upper window
sash, and the triangular panes of glass in the gable window
on the house on the right .
c) The front porch is a major feature of these houses . Porches
can go across the full front, or can be smaller entry porches,
as seen on these houses along T Street between 5th and 6th
Streets. Renovation which strips these buildings of their
decorative shingles , clapboards and small paned as
in the house at the left. can cause an irreversible change in
their character.
c
tall, narrow dormers
a distinctive Chateauesque
window type
Chateauesque
"half timbering" effect
A - - - - . . . . . 4 ~ - + - + - dark trim with light wall
surface
brick (or stone) construction
The Chateauesque st.yle was derived from the
design of middle 16th Century French build-
ings. Briefly popular around 1880 in the
USA, residences in this style are character-
ized by an inventive mixture of Renaissance
and Gothic elements.
This style in LeDroit Park is seen in a
number of developer-built, 3-story row houses.
1900- 1906 6th Street are good examples.
While modest relative to the grand New York
City Vanderbilt mansion which typifies the
style. (and modest. too. relative to the earlier
McGill houses), the Chateauesque design fea-
tures on this middle class housing type are
distinctive. These houses are always of brick
or stone, with very steep sided roofs. Some
are Hat -fronted with the upper story made to
look like a roof with a pointed gable pattern.
A tower (or "tourelle ' as they are called
when, as here, they project out from the
second story), or oriel window is the single
major feature. Gothic elements such as nar-
row windows topped by steep gables. and
Renaissance details like the low round-
headed arch, are seen freely mixed on the
same facade. Decorative panels of pressed
brick, terra cotta or metal, are common. The
floor levels are marked with horizontal bands.
Typically, the entry is close to street level.
a) Chateauesque style row houses on Florida Avenue.
bl The major features of the LeDroit Park Chateauesque row
house can be easily S('<"n on this 6th Street house: pointed
gable form. dark wooden banding around a lighter colored flat
wall surface: oriel v.:indows at the second story.
c 1 This row house on 6th Street is a fine example of the
Chateauesque style as seen in the LeOroit Park neighborhood.
T vpical of the later revival style row houses, the building is
basically a flat -roofed box. However. a builder-designer.
through the inventive addition of a few touches. has created a
building with a good deal of interest and pleasing character.
The application of a dark outlined gable form on the top of
the building recalls th<> appearance of the steeply pitched roofs
and the "halt timbering wooden bracing with light
colored swcco intill - .seen on the early English hou\('S
which inspired thi\ stvlr. The .'>ccond story hay window
lcalled an "oriel" window. when. as here. the h.l\' does nm
extend to the base of the house ). is also a hallmark of the
Ch..tteauesque stde.
b
c
d
e
d,e) Other Chateauesque style row houses in LeDroit Park.
---single house--- -::-H-:--------double house-------
deep projecting llllllllllIJ-'U i!Ut ;t rH ilt:"iUIIIJ.II'I.IUI cornice
corbeled brick 1::1 ElJ J111UI I 0 0 0 0 . d Q .0 0 D a [J tl tj [J 0 ,___ decorative brick
" brackets" under paneling below
cornice L ' . ;;;;;;;


brick (often =-- D D r--1-lll.._ - Ill _,, . 1, J oriel
pressed brick) r l o, bd
facade t ; 11 1/1 double hung
_ ll windows

transom window !.._ .. . often
above entry

-.....t ,,, = bricl


narrow recessed
f-Ht---t- entry on
entry bay ' recessed wall
2 story projecting
raised entry with bay
ll=====t story projecting
J6......W T Q CJ ( t...,_ -----4 I:J C t:=:=l_j bay
Washington Row
This is a familiar style in the City of Wash-
ington, and is given its name for that reason.
Constructed in quantity by 19th Century
builders, it is however not so frequently found
in LeDroit Park. One group is on U Street at
the corner of 4th. In essence, it is an Italian-
ate style, done in brick and in a simpler,
more severe form, which makes a more regu-
lar street wall. Probably it was designed for a
somewhat less affluent client than the Queen
Anne row. The roof is flat and therefore
invisible. There is a straight, deep projecting
cornice, whose ornate. corbelled brickwork
echoes the ltalianate wooden bracket. A one
or two story rectangular bay projects forward,
while the raised entrance with its cast iron
steps and handrails is set back on the princi -
pal plane of the facade. Doors are tall and
relatively narrow, with many panels and a
glass transom above. The windows are wide
and double hung, often "one over one" .
with a segmental brick arch across the head.
The brick walls are smooth, often painted in
light hue, while the wooden trim is m a con-
trasting dark color .
a
a) A handsome example of the Was hington Row house type.
on 5th Street. Noti ce the prominent cornice and the bracketed
wooden entr y porch.
b) Another 5th Street example. Typically the
Row house is a two story huilding.
c) The segment al arch douhle window is commonlv seen in
\Vashington Row houses. .
c
round-headed doors
and windows
often seen
decorative pressed brick
panels
rusticated stone first floor
entry typically close to
f deep decorative brick f cornice

i .
.
::. .
. . .:;. .:: . >.
corbeled brick "brackets"
1/1 (sometimes 2/2) windows
r----, ---- ..---..... l stone lintels and sills
transom over door
raised entry with iron
stair and handrail
grade __
Renaissance
Revival
The Renaissance Revival was a later imitation
of Italian building. In this case, however
modest the copy, it was the urban Italian
palace of the 16th and 17th centuries that
was the model: solid, dignified, and rather
austere. These rows are flat-fronted, two or
three stories high, and the entry is typically
nearly at grade. The facade is brick, but
usually the first floor is faced with large,
rough surfaced stones (a ''rusticated' front ).
There is a tall projecting brick or wooden
cornice. supported by brick corhelling which
may be shaped to imitate brackets. There are
decorative brick fri ezes below the cornice,
brick panels below the windows . Stone lintels
or segmental brick arches bridge the open-
ings. The windows themselves are "one over
one or two over two. and sometimes are
round-headed. Those of the top story are
often shorter than those belm.v. Examples of
the Renaissance Revival may be found on Elm
Street between 3rd and 5th Streets.
c
d
a) Unlike earlier style\, the Renaissance Revival row house
ahvays ha:, a flat front facade. In this three story example.
notice the rusticated first tloor.
b,c,d) The variety of surface texture created by demrative
brick construction detail gives strong visual interest to an
othPrwir m oitP nl,.in hnnP tvnP !ThPP Px:lmniPs ~ r P on Elm .

steep (almost vertical) sloped slate


u covered roof

JEffil

dormer
... wooden classical cornice with dentils
- ....
l ltr.: L=.,..l--._ light colored lintels and sills on windows
EtB B 6/6 (or 1/1) double hung windows
tm e
I

wooden porch with plam cornice and


wooden columns and rail
r
Georgian Revival
j_j_
'-multi -paned transom and door
sometimes seen
- 3 bay facade with raised entry
The Centennial celebration of 187 6 sparked
an interest in the early buildings of America,
as well as in the Queen Anne work of Great
Britain. Designers looked to early colonial
models: English, Dutch and Spanish. The
Georgian revival , which relates to the English
colonial prototype, appears in LeDroit Park
about 1900. It represents the last phase of
rowhouse building. The style is restrained
and the houses more modest than those built
previously. since now they were being built
for people of moderate means. The flat brick
facades are usually two stories high with a
short slate-covered false roof (the echo of the
Mansard form) concealing the flat roof be-
hind. There may be false cornices in sheet
metal. The cornice is of wood or pressed
mPt<IJ mith thP hP<I\1\T rlPntik nf thP r!;:J<;<;l(a]
tradition. The "six over six" double hung
windows have straight. light colored, stone
lintels and sills . Usually, there is a full length
\vooden porch, \vith a plain cornice, Tuscan
or Doric wood columns and wooden railing.
Red brick with white trim is characteristic but
light cream or lead spot brick also appear.
These rmvs are at times set back to give a
substantial front yard, which breaks the more
uniform street pattern of the earlier styles.
Porches. windows and doors of many of these b
houses have been altered, and a number of
the structures, although they are the most
recent of the "historic" buildings, are in
poor repair. 1836- 1854 2nd Street, 407-4 19
Elm Street, and 1824-1832 4th Street are
typical examples of the Georgian Row.
c
a) A row of Georgian Re\ival houses al ong 1nd Street. The
wooden tront is the prominent feat ure of t his
st vle.
bl Noti ce t he b lse dormers on the roof. adding .1 tLluch of
grandeur to ,1
r) Smaller scale \e rsinns of the hnmc type .tlong Elm
Street between .'\ rd and lth Streets. :'\Jot ice tha t the buildings
are onlv two hays wi de. The porches on these house' have
suffered an Jmoum of decay .md alt erati on due w the
moisture problems encountered in thi s design . Wood
members are in such dose comact w the earth that water
deteri oration is ine\itable.
basically a
'Georgian Revival"
builder' s row house
with a " Spanish"
curvil inear top
Spanish Revival
. : .
' 1 d
: - i' . : ! ' [i
lur-Tt,
) I
,.
' ,, ..
.
'
LeDroit Park Neighborhood ,.
I 1
r"":"
plain walls of brick or
stucco
projecting one story be
Elsewhere this was an important revival style,
using stucco walls, tiled roofs, stepped and
arched parapets and gables, round arched
brick-trimmed doors and windows, projecting
rafters and massive, heavily decorated en-
trance doors. Here in LeDroit Park the Span-
ish Revival is used primarily as a variant form
by the builders of the Georgian rows. Often it
is no more than a stepped, curvilinear gable
tacked on to the Georgian brick facade . Such
a row occurs on Elm Street at the corner of
4th.
a
a) Like most of the later row stvles tn LeDroit Park. Spanish
Revival houses are usually four{d in long repetitive rows. This
block on Elm Street between .'3rd and hh Streets is Jn
impress1ve grouping.
b) A closer look at one of the building-; in this grouping:
basically a box, with a few simple decorative features.
c,dJ This example can be found on 2nd Street, intermixed
with Georgian Revival row houses. Except for the design of
the top third of the facade. they are essentially the same
building. (Compare >nth photo on p. HJ).
b
d
c
a) G a ~ e Eckington School seen from 3rd Street
b) Howard University Hospital seen from U Street
20th Century
Buildings
Although the last substantial building activity
came to an end by 1920, change continued.
Buses and cars, the growth of Howard Uni-
versity to the north, the construction of new
institutional buildings, and the demolition of
older structures are features of this change.
The park circle and its landscaping were de-
stroyed by paving a trafficway through its
center. New buildings have broken sharply
with the character of the neighborhood.
The large-scale buildings which have
changed the appearance of the neighborhood
include two Howard University dormitories
(originally war housing), the Gage-Eckington
School, and the Safeway Store at 3rd Street
and Rhode Island Avenue (which replaced a
fine McClellan house). To the north, the
Howard University Medical School makes a
hard institutional edge of parking lots and
large buildings. To the south the former com-
mercial activities along Florida A venue are
closed. Despite all this, the core of LeDroit
Park remains in sound condition, still a most
impressive example of the 19th Century
Romantic suburb.
How to
Conserve a House
- - ~ ~ - -
-- - - - - - - ~ - - : . . . ~ _--...::..: ---. ______ _
-------
-----
- ~ ~ - - - - _ : . . _ - = - _ ~ - = - - - -
~ - - ~ ~ ~ ... ~ - - ~ = - = - ~ -
- : : : - : ~ ~ - ~ -
- ~ . . . . . : : : . -=----=_=_- _ ---=-
Arrest
Deterioration
Conserve
Improve
Function and
Appearance
Basic Principles
The first rule of conservation is to arrest deterioration, while
avoiding any changes that are irreversible, that is, which
seriously damage the original materials and structure of a
building, or which make it difficult for any future owner to
restore the building's esthetic and historic character if he
wishes to. This is the principal basis for saying that certain
changes should never be permitted.
The second rule is to restore the historic appearance of a
building, while also improving the way in which it functions
today. Buildings must change, if they are to remain useful.
We cannot exclude changes which respond to modern func-
tions or technology, but we should try to make them in
harmony with original architectural character. Past changes
in a building may also have historic meaning and can be
worthy of conservation. It is essential to see that change
connects what was and what now exists - that the area
remains eloquent of its past.
Original features should be retained and repaired where
possible, and replaced only when necessary. However, cost
may require that decorative elements be replaced with sim-
plified versions of the originals. Neighborhood character and
scale should be conserved as well. Any new additions must
respect the form of the surrounding buildings, as well as the
nature of the structure itself.
These principles must be applied with some flexibility, not
only because high costs may at times make historic accuracy
difficult to accomplish, but also because facades which are
not visible to the public can often be treated with some
individuality and freedom, just as house interiors are. More-
over, new technologies and new ways of living will in time
make some of these recommendations obsolete. Accumulated
experience will surely modify some of them. Clearly, then,
these guidelines must be reviewed periodically and applied
with judgment.
\.....uusiuer 1. our r'ieignoors
Except for some of the early houses designed
by the architect James McGill. most houses
in LeDroit park are row houses which form a
solid built edge along the street. The
individual houses were designed to have simi-
lar features - size, materials, window place-
ment, turrets, towers, porches, etc. - so that
each building works with its neighbor to
create a larger wall of buildings of uniform
height. with a regular rhythm of projections
and entries along the street.
Changes made in an individual house can
disrupt the continuity created by these design
similarities from house to house. So think
carefully about any changes to your house,
beginning first with a close look at other
houses on the block which still retain their
original character.
Elements of a LeDroit Park Street
I ,
similarity of materials
and color from house
to house unify appear-
ance of the street
uniform " setback" of
I
buildings (distance
back from street)
,
, variety of details in iron
handrails and steps,
and wooden porches
and rails add interest
to the street
uniform height of
raised first floor entry
similar size and place-
ment of door and window
openings establish
rhythm along the street.
fences continue the
edge of the sidewalk
between houses
Parts of a House
; bay
roof cornice
I' corbeled brick
" brackets"
U brick
paneling
frieze (flat area
below cornice)
lintel
__ iron entry stair
and rails
The face of this house is divided into 3 major divisions by its
windows. These major divisions are called "bays".
Roof Types
Gable Hip Mansard
Pitched Cross Flat ,
(with dormers) Gable with parapet
dormer
porch
The Facade
-
-
I
I
I
I
/)
/
/
The "facade" is the front plane, or " face" of the
house, and is its most public and important feature.
Projecting architectural features, such as porches,
dormers. towers, or bay or oriel windows. are a part
of the building' s facade.
Know Your House
LeDroit Park boasts a great variety of hand-
some buildings of different architectural styles.
To know your house you should first deter-
mine its style. But even houses of the same
style can be designed \Vit h different features,
so look closely to identify the specific design
and detail features which give your bui lding
its unique appearance. These are the elements
you will want to respect and retain as you
undertake renovation or maintenance repairs.
In this guidebook. buildings are described
using architectural terms. The drawing on
this page will help you with some of the more
general terms (cornice or transom, etc.), but if
you find an unfamiliar word. turn to the glos-
sary at the end of the book for definitions of
architectural terms .
Identify Key
Design Features
Of Your House
deep cornice gives
house a "top"
raised brick string-
courses and window
sills emphasize hori-
zontal quality of
house
raised entry gives
house a "base"
Identify Key
Design Features
Of Your House
design similarity and
relationship to adjacent
house is essential
entry porch forms
outdoor room
raised entry gives the
house a base
2/3 113
proportion of windows
and bays gives rhythm
to house
1/1 windows with dark
contrasting color on trim
window
openmgs
arch and transom houses act together
over door, and detailed along street to form
iron stair emphasizes solid wall with rhythm
importance of entry to of narrow recessed
house entries
DODD
rhythm of mass and
openings; 113 entry bay,
213 projecting bay
1/3 213
variety of different
textures and colors form
bands along vertical
face of house
heavy wooden cornice
small-paned glass adds
to the "textured " look
of this style house
scalloped shingles
panels
Renovation Simplifying Original Details
Which Respects the Character of the House
replacing shingles with clapboard
in gable
modern fewer-paned windows are
a less desirable, but acceptable,
replacement
note: the basic massing and
proportion of the house and its
features - cornice, porch, bay -
are retained. This is the key to a
successful simplification.
in painting of trim can
approximate effect of different
textures on original
simplified door, posts and rail in
_____ __,L.__ _ size and material as orig ina I
EXISTING RENOVATED
Renovations Illustrating Guidelines
The guidelines on the following pages are
designed to assist homeowners in making
decisions about renovations or maintenance
repairs to buildings in LeOroit Park. While it
is almost always best to retain the original
materials and features on your house, this is
not always possible. Original details may
already have been removed or may be deterio-
rated beyond repair. Some alterations to an
older house can be accomplished without
diminishing its attractiveness or hiding the
character set by its architectural style, as
illustrated above. Other changes or additions,
even minor ones. such as "colonial" eagles
or doors on a Victorian building, can spoil
what is special about the individual house.
Determining which changes will fit with the
design of your house and vvhich will detract
from it is not always easy. The guidelines
provide alternatives and assistance for these
decisions. Two general principles for renova-
tion of older buildings can guide you,
however. As the drawings on the next page
it is almost always a mistake to
remove, cover up or alter major features of
your bouse (such as dormers, towers, or
horizontal bands of paneling on a projecting
bay). Compare the houses illustrating altera-
tion at the right with the original houses
below. It is also almost always a mistake to
try to change the style of the building, for
instance, to ''modernize'' or '' colonialize ' a
house.
"Modernization" Completely Hiding
The Character of the House
installation of vinyl or aluminum siding
which is wider than original clapboards
should never be done
shutters as a decorative feature are always

inappropriate unless they were an original


feature of the house
r+ttH:Htit--- never install a siding material with a vertical
pattern; here the siding has covered up the
horizontal bands of different texture which
made the bay a major decorative feature
of the house
porch removed; avoid this at all cost
lrl61f3-H+--.+-H+--++++i..._.l+l++--- " colonial " eagles, lights and doors are
inappropriate for the 19th century houses
in LeDriot Park
HOUSE IN ORIGINAL CONDITION MODERNIZED AND "COLONIALIZED''
Alterations Which Can
Hide A House's Character
removing decorative
brickwork from chimneys
.--------removing finials or
crest ing
patterned
slate roofing and
replacing with metal or
asphalt
removing tops from
towers or bays f removing a dormer
using stucco or " form--f-+---+-- i
stone" over existing brick
or clapboard: decorative
detail will be lost, and
window openings will
look " swallowed up" by
the new thicker wall
ALTERED HOUSES
How to Use These Guidelines
Following a general comment on saving
energy, the guideli nes are stated briefly for
each type of structural element. After each
set of guidelines there are more detailed notes
on the reasons for them and on how to
accomplish the work suggested. A final sec-
tion, entitled "The Process of Design
Review'' , tells the owner how to go about
getting changes approved. It also suggests
where to go for help, and tells the owner
something about various subsidies that can
provide financial assistance for fixing a house.
In the appendix (at the end) there are some
useful notes on buying and judging an old
house.
The guidelines themselves are stated in
three levels. First are those actions which are
preferred, headed: ''this is the preferable way
to do it." However, the "preferable way"
may sometimes be too expensive, or would
not work in some particular case. So there is
a middle category, labelled "sometimes a
good way'': actions which may be reasonable
in some cases and not in others, or which
require special attention and design. Then
there are those actions which are almost
always damaging to any historic building,
although even here, for some very special
reason, one of these potentially damaging
actions may be the only sensible route to
take. They are labelled "this is a generally
unacceptable way.'' So these three levels can
be summarized in three words: ''yes",
"maybe" and " no," but no set of general
guidelines can be expected to cover every
contingency.
Conserving Energy
First, a note on saving heating (or cooling)
costs - no small item in the family budget.
The greatest loss of house heat is through the
openings around doors and windows. Simply
putting weatherstripping around the edges of
doors and windows is therefore a very effec-
tive heat saver. Aluminum storm windows
are a useful addition, if well fitted and caulked,
since they tend to seal those openings, and to
create an insulating dead air space between
themselves and the old window (as well as
protecting it from the weather). Storm doors,
on the other hand, save little heat (although
they may be desirable for other reasons), since
they cannot be made airtight. Weatherstrip-
ping the edges of the old door is the best way
to stop heat loss.
The next most critical element in energy
loss and gain is the roof, where much \vinter
heat escapes (since heat rises), and summer
heat penetrates (since the sun beats down on
it). Insulating batts ' (narrow rolls of thick,
matted fiberglass) may easily be laid agai nst
the inside of the roof. or between the joists of
an unfinished attic floor, to stop this energy
loss. The batts have a vapor barrier on one
side, to prevent the condensation of water
vapor \Vithin the wall, roof. or floor. This bar-
rier should always be turned toward whatever
will be the warm side of the surface. These
fiberglass batts are a simple and effective
insulation. [See Condensation, page 60]
Finally, one considers insulating the walls .
Insulating batts should be applied to the walls
of any ne\\' addition or building, as it is con-
structed. In an old house, however. putting
on those batts requires taking off either the
inside or the outside sheathing of the wall -
generally impracticable except during a major
renovation.
utner types ot msulatton can De blown mto
the cavities of an old wall without stripping
the sheathing, but this insulation has prob-
lems of its own. Blown insulation does not
allow for installing a vapor barrier. If it is a
loose. solid material , such as cellulose, it may
settle. or spread poorly. Urethane, another
loose material of this kind, disintegrates in
time. Urea-formaldehyde avoids some of those
difficulties, since it is sprayed in as a foam
which solidifies. It also has the highest
insulating value. Unfortunately, the spray
Sources of Heat Loss
single thickness
window glass
22%
uninsulated ./
walls /
30%
air
infiltration
20%
Because heated ai r rises. much of the heat loss from a house
is through the roof. Every old house will benefit from attic
insulation.
Single thickness window glass plus gaps around old window
frames account for large heat loss.
Heat is conducted through wall . Brick. wood and plaster
are good conductors of heat and so they are poor insulators.
Air leaking through small cracks and holes in a building's
exterior is a major source of heat loss. U you add together all
the small openings on the typical old house (including cracks
around doors and windo\vs), you would have a hole 3 to 4
feet square. That would be like having a \..,indo\v open.
may clog around proJecttons wttnm the wall,
and it shrinks and gives off water while
setting. Recent tests indicate that it also may
continue to give off irritating fumes inside the
house, even for years after installation. Urea-
formaldehyde is not recommended.
In short, it is good sense and saves money
to weatherstrip doors and windows, to install
storm windows, and to insulate the roof or
attic with fiberglass batts. One should get the
advise of an expert (one who has no interest
in selling insulation) before doing more.
How to
Insulate
insulate
attic
floor
vent
To prevent heat loss in an older house start at the top. A
wall vent under the eave of the roof will allow air to circulate
so that there will be no condensation of moisture in the attic.
Insulation on the attic floor will keep your heat dollars from
literally going .. out the roof." Be sure, however, that you in
stall a vapor barrier under the insulation before it is laid (or.
in foil covered roll insulation, be sure to place the foil side
down .)
Installing insulation in side walls where none originally ex
isted can be an expensive project . For an energy savings
return on money spent it is often more efficient to install
storm windows . They be tight -fitting and should
match the design of the existing windows.
Reducing air infiltration into an old house is by far the
most etfective method of controlling heat loss. Make sure that
exterior paint is in good condition. that mortar joints are
tight, and that caulking or weather stripping around windows
and doors is fillin11 any holes or 11aps in the
Installing a Vapor Barrier
Yes No
Condensation occurs in co.d MoiSt, warm atr moves
through walls and soon OO:omes cool a10ugh so that some of
the moisture wrll ;tart to condense usually on a hard sur
face. This promotes dampnl'Si insid: a wall 11hrch can rtduce
insulation value and promatc rot Visible are or
stained wallpaper and paint.
Vapor barriers m used to prmm rnoisture from
into walls. Vapcr barners should be placed on the
warm side of the :nsJiation neYer on the cold side.
Insulating a Crawl Space
floor
insulation bat t
No Yes
Insulation should bo: installed so UlJtair mo,emenl.l resulting
from infiltration are blocked. hffi thoogh the insula:ion
looks neater when stapled to the oouoms of the the air
space which is le1 allows drahs and leJks through cracks in
the floor and greJtly the insu1tion value.
Venting Excess Moisture
using wooden
wedges
using metal
vents
airflow
vent
b scme cases it is impossible to install a vapor barrier. If
condensation is a problem additional venting of the wall can
help to al.eviate it. Small wooden wedges can be inserted
under a few rows of clapboards at the top of the wall. For
Sf',ere ca,es, metal vents can be inserted into drilled holes.
The.;e should be placed at the top and bottom of a wall so
tho! ai r em circulate and carry the water vapor away.
Insulating an Attic
loose ins ulation
batt insulation
vapor barrier
cei li ng joi st
Careful stuffing and fitti ng of insulation is the only way to
reduce leaks and drafts. 6 or 8" batt insulation should be
used on the attic floor. For additional insulation, an extra
inch or two of loose insulation over the batts and ceiling
joists will reduce conduction by the joists.
Wooden Walls
If your house has the original wooden clapboard or shingle
siding, whether it is exposed or hidden under other coverings,
then:
This is the preferable way to do it:
Uncover, retain, and repair existing clapboards or shingles.
Replace missing or rotted pieces.
Retain decorative trim, including corner boards.
Install vapor barriers when applying insulation.
Repaint regularly in a color appropriate to the house and
harmonious with the neighborhood.
This is sometimes a good way:
Strip off badly deteriorated clapboard siding and replace it
with smooth aluminum or vinyl siding which, as closely
as possible, has the same lap dimension and crossection as
the original.
Replace corner boards or trim with aluminum or vinyl of
the same dimensions.
This is a generally unacceptable way:
Covering old rotted siding without correcting the cause of
rot.
Use of aluminum or vinyl siding which is textured, or
which has substantially wider lap lines than the original
covenngs.
"Burying" (apparently recessing) corner boards or trim
by applying new siding as an additional layer on top of
the old, or removing this trim without replacing it at the
same dimension.
Use of wooden shingles where they did not originally
appear.
Use of asbestos siding, asphalt shingles, formstone, or
Installing a Vapor Barrier
Vapor
barner
Yes No
Condensation occurs in cold weather . Moist, warm air moves
through walls and soon becomes cool enough so that some of
the moisture will start to condense - usually on a hard sur-
face. This promotes dampness inside a wall which can reduce
insulation value and promote rot. Visible stgns are peeling or
stained wallpaper and paint.
Vapor barriers are used to prevent moisture from getting
into walls. Vapor barriers should always be placed on the
warm side of the insulation - never on the cold side.
Insulating a Crawl Space
floor
insulation batt
joist
No Yes
insulation should be installed so that air movements resulting
from infiltration are blocked. Even though the insulation
looks neater when stapled to the bottoms of the joists, the air
space which is left allows drafts and leaks through cracks in
the floor and greatly reduces the insulation value.
Venting Excess Moisture
using wooden
wedges
using metal
vents
vent
ln some cases it is impossible to install a vapor barrier. lf
condensation is a problem additional venting of the wall can
help to alleviate it. Small wooden wedges can be inserted
under a few of clapboards at the top of the wall. For
severe cases. metal vents can be inserted into drilled holes.
These should be placed at the top and bottom of a wall so
that air can circulate and carry the water vapor away.
Insulating an Attic
loose insulation
batt insulation
vapor barrier
ceiling joist
Careful stuffing and fitting of insulation is the only way to
reduce leaks and drafts. 6 or 8' batt insulation should be
used on the attic floor. For additional insulation, an extra
inch or rwo of loose insulation over the batts and ceiling
joists \viii reduce conduction by the joists.
Siding Materials
Replace wood clapboards w1th
matching wood clapboards. When
th1s IS not poss1ble smooth
alummum Siding wh1ch matches
the origmal clapboards in
appearance and width. (provided
no details are stripped dunng
s1d1ng Installation). can be an
acceptable solution.
I
I I.
Wood I Alummum s1dmg
Clapboards
Yes l\ilaybe
Wooden Siding vs. Synthetics
Verllcal
Siding
Staggered
Butt Shmgl e
No
The original wooden siding is both durable
and beautiful. Wood siding will last 100 years
if painted regularly (about every 5 years).-
There are many varieties of this siding. Look
carefully at what you have, and try to match
it where it must be replaced. Synthetic
materials cannot fully duplicate its appearance.
While wood shingles make a good durable
surface. they are out of character in LeOroit
Park. when used to cover an entire wall.
Original! y, they were confined to gable ends
and decorative features. Corner boards and
trim, and their projection from the wall,
define the form of a building, and set its char-
acter. These features should not be lost, sim-
plified, or buried.
Formstone or
Permastone
Gra1ned vmyl
and Gra1ned
Al um1num
Asbestos
Shingle
Vmyl or Alummum
w1der than ongmal
clapboards
lt is usually cheaper to repair and repaint
wood than to cover it up. especially \Vhen the
required repair is not extensive, and the
owner can do this himself. Covering over
rotten boards, or places \Vhere moisture has
caused paint to deteriorate, \Vill simply make
matters worse. Even if a clapboard wall seems
beyond repair, it probably looks worse than it
is. JVlost clapboard can be rene\ved \Vith a
little patience. Pry open split boards. apply
waterproof glue, and hold the board back in
place with finish nails until the glue sets.
Flatten boards which are convex outwards bv
inserting screws along centerlines. and -
gradually tightening. ?.' hile periodically wet-
ting the board. Flatten concave board; by nail -
ing finish nails along edges in pre-drilled
holes . Set all nails and screws belmv the sur-
face, and fill the holes with putty. Rotten
pieces are cut out \Vith a saw and chisel after
removing the nails. Wedge up the upper
board, insert a new matching piece. and
renail. Putty all joints.
Corner and Sill Boards
///
////
/'shingles or /
board removed -
corner board replaced
with thin strip -
often seen on vinyl
siding installations
clapboards with /
no corner board -
only i f original on
Queen Anne
houses
Yes
No Maybe
Cornice and Window Trim Treatment brick or frame houses
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Yes
Maybe No
Asphalt siding can be stripped off with a
cl aw hammer and wrecking bar to reveal the
old \Vood siding below. Then proceed as
above, making sure to putty all nail holes and
to give the wall a chance to drv out before
painting. This may take six months.
Aluminum and vinyl siding do not require
painting during their life span. In fact, they
cannot easily be repainted. Aluminum fades
somewhat in time, dents easily, and is difficult
to repair. Vinyl fades and may become brittle
in sunlight, burns faster than wood and emits
poisonous fumes as it does so. Both synthetic
materials do not "breathe" as wood does, so
that moisture is trapped behind them, causing
walls to deteriorate (the moisture which
encourages rot comes from condensation
within a house as well as from outside). The
energy savings of synthetic sidings are low,
since their insulation values are lower than
wood. However, insulation can be installed,
when any new siding is being put on. Alumi -
num siding lasts about 30 or 40 years. The
life span of vinyl siding is unknown. ''Wood-
grained'' vi nyl, aluminum, asbestos and
asphalt are only parodies of the real material.
Nevertheless. if much new siding must be
installed, aluminum and vinyl are 25-3 5%
cheaper than new wooden clapboard. More-
over, since LeDroit Park is in the fire zone,
wood siding cannot be used if more than half
of the old siding must be replaced. Thus,
while not ''best practice,'' the use of syn-
thetic siding may often be the most sensible
course to take. If the lap dimensions are
matched as closely as possible with the old
siding, and if the old siding is first removed
so that the old or replaced trim is not ob-
scured in the added thickness of the new wall
covering, then the result can be quite har-
monious with the character of the old wooden
houses.
1. Con vex Boards
) screw flat


2. Concave Boards
screw flat
3. Replacing Boards
wedge
chisel
new board
seam

wood block
1. Convex Boards
To flatten convex boards, drill several holes along center of
board, insert wood screws and tighten gradually. Keep board
wet to avoid splitting.
2. Concave Boards
To flatten concave boards, drill two sets of holes along top
and bottom of board. Insert wood screws and tighten gradual-
ly. All screw holes should be countersunk.
3. Replaci ng Boards
To replace damaged board, make saw cuts with small saw.
Remove nails in damaged board and board above. Remove
damaged board and insert wedges under board above. Chisel
out excess pieces of damaged board. Patch any holes in tar
paper underlay with asphalt cement. Remove wedges and in
<:: P rt nPn in nl"lrP flA nnt h'lf"T'H"TH:> r hn -:lrrl rltrPr tlu -
Use of Color
The color of your house
establ i shes its " person-
al ity' '. Although many 19th
Century houses were poly-
chrome (many-colored),
great care must be taken
when using more than
two main colors on your
house. The best way to
use color is to use a neutral
matte color for the body of
the house- #1, and a
lighter or darker shade of
the same color for the trim
- #2. Often bright contrast-
ing colors were used to
further emphasize archi -
tectural features- #3. This
extra color should be used
sparingly; otherwise the
house can soon look too
busy! Bright gloss paints
should be limited to the
door- #4.
Painting
Paint is the essential and traditional weather-
proofing of the outside of a wooden walL It
can be done by the owner over a period of
time. Since the cost of paint is small com-
pared to the labor of painting, always use the
best grade of paint. Latex and alkyd resin
paints have replaced the traditional linseed oil
paints. Latex is best on new wood, since it
allows trapped moisture to escape. However,
do not use it on old oil paint since the paint
will lift off the wall. For that reason, it is best
to use an alkyd resin over previous coats of
oiL Scrape off all loose paint by hand, with a
putty knife or scraper (never by sanding with
power tools, or by using a torch or paint
removers made from lye or alkali, all of which
may damage the wood surface). Scrub off any
mildew or dirt. Treat the bare wood with
pentachlorophenoL Paint only when the sur-
face is drv and clean and the temperature
between 50 and 90 F. Do not work in
direct sunlight on a hot day.
The choice of color is personal, but that
choice affects the entire street. Use colors
which do not clash with neighboring build-
ings, and which might have been used on
yours. White and yellow paint was favored by
early 19th century builders. But the builders
active when most of LeDroit Park was devel-
oped liked to use many colors, particularly
earth tones with contrasting trim. Typically,
the wall paint was a matte surface (that is dull
or without gloss) while the trim was glossy or
semi -glossy. Occasionally, two trim colors
were used. A number of good colors for 19th
century wooden houses are indicated below.
The attached number refers to the code of
that color, as manufactured by the Benjamin
Moore Paint Co. This is only for better iden-
tification of the hue, since other good paints
are available. These are not the only
"correct" colors, but they are attractive and
reliable. If an owner is interested, he can
often discover the original color of a house by
carefully scraping off the successive layers of
paint on a small patch of wall and trim.
The following color combinations are for
frame houses. Few LeDroit Park brick houses
were meant to be painted. In general, painting
brick is not recommended, since it is not his-
torically appropriate and will create a sub-
stantial and unnecessary maintenance cost.
A wide variety of colors are appropriate for
doors and window and cornice trim on brick
houses. Matte or semi-gloss paints are best for
trim; bright-colored high gloss paints are best
used only on doors . Some attractive colors for
trim on brick houses include black. forest
green, slate blue. bronze, chinese red, deep
brown and buff.
>th Century Colors Schemes
tie bei)<e lxxh CB .36 ( 1 7 9)
arkertrim CB34 (17-12)
tutters (opt. ) CB )) ( 17 1-1)
arm brown
>ody
ghter trim
tutters (opt. )
ght golden
>rown body
trim

OP 32 (.1 -46)
OP 33 (.1 45)
OP 31 (3 47)
GB I 5 (2 69)
GB 11 ( 2 71 )
GB I 'l l2 72)
gray body G:\ lj8 ( H1 9)
trim lj(, ( I(, 12)
tutters (opt. ) 15 ( 1(, 14)

ghter trim GN 3(, ( 19-41 )
;utters (opt. ) GN 33 ( 1946)
.ive body GB (,8 (188)
m trim GB 71 ( 18 13)
own body CB 57 (18- 104)
trim CB 12 ( I 7 I 0)
.ive shutters GB 6 7 (31 10)
ght yellow
>Ody
own tnm
YL 22 (1 26)
CB if9 ( 17 16 )
Light vellow
body
\Vhite trim
Blue sash
Umber shutters
YL 2) ( I 26)
ow 1!\ ( 1 5 19)
Aj 52 l!O 59)
(opt. ) ST )7 (!JAR)
Rose bod\ OP 52 (
0
1 3)
Pale OP 51 (I l )
Peach body OP I (1 H I
Pale peach trim OP 6 ( 1 5 lOA)
Light olive body GB 68 ( I 8 8)
Straw trim YL 10 ( 1-291
Sorrel bodv CB 39 ( 18-116)
Tan trim GB-70 ( 18 13)
(Queen Anne)
Brown body
( 1st fl. )
Deep rose body
(2nd fl. )
Rose gable
Beige trim
Pumpkin body
Brown trim
ET 25 (18-8!\)
ST 37 (4-48)
ST 39 (lt -16)
CB 65 ( 18113)
OP 3 1 (348)
ET 2 (31 8)
Deep rose body ST 37 {IJ 18)
Golden tan trim CB M ( I 8 1 ()!I )
:.Jte: All Benjamin Moore color numbers in parentheses refer to old
tmbering system, due to expire in 3 year\.
Condensation
Paint seals the wall from outside moisture,
but a wall must also be protected from the
water vapor generated within the warm in-
terior of the house. When this invisible vapor
strikes a cold wall, it condenses and encour-
ages rot. So, a vapor barrier - aluminum
foil, aluminum base paint, or a polyethylene
plastic sheet - is installed on the warm side
of the wall . Installed by itself, impermeable
synthetic siding acts like a vapor barrier on
the wrong side of the wall (the cold side), and
simply catches the condensing moisture be-
tween itself and the wooden framework of the
house. If a vapor barrier is not installed at the
same time on the inside of the wall, then this
impermeable synthetic siding must be vented
to the outside.
Since insulation increases the difference in
temperature between the two sides of a wall,
condensation is more likely after it is in-
stalled. So insulating should always be accom-
panied by a vapor barrier.
The earth beneath a house is also a source
of moisture, and so vapor barriers are placed
on any dirt surface in the crawl space or
cellar beneath a house. [See Water and
Masonry, page 63] Another way of combat-
ing damp is to be sure that enclosed but
unheated spaces - like cellars and attics -
have small screened openings to the outside,
through which the water vapor can escape.
Persistent blistering of paint can sometimes
be stopped by installing small ventilation
plugs, to vent the air space within the wall .
Masonry Walls
and Chitnneys
If your house has brick walls, foundations, or chimneys or a
stucco finish, then:
This is the preferable way to do it:
Arrest any settlement of the wall, and repair arches and
lintels above the openings.
Identify the source of any leaks, to stop further damage.
Prevent water from lying against the foundation wall.
Repair the minor cracks in brickwork and stucco.
Patch any gaps with new bricks of matching size, color
and porosity, laid in the same way (that is, in a matching
brick pattern, or ''bond,'' and with a matching mortar
joint).
If necessary, repoint the old brick joints (that is, replace
loose and lost mortar) with a lime-cement mortar of
proper color and composition.
Paint where the brick or stucco was previously painted, or
if it requires that protection, using a porous masonry
paint.
Retain original chimney details.
Increase the height of the chimney if needed, to improve
draft or to meet code requirements.
This is sometimes a good way:
If needed, clean the brick, but only with a non-abrasive
cleaner.
Remove a small internal chimney which is no longer
needed.
Use bricks of a different size, or bond, or a different color
and then paint the entire wall.
Replacing Brick
This is a generally unacceptable way:
Sandblasting the brick, or using any other abrasive
treatment.
Covering brick with wood, synthetic siding, stucco, or
permastone.
Patching brick with asphalt, concrete, or other materials.
Use of cement mortar, or mortar of a color which does
not match the original mortar.
Coating brick with silicone, or the use of caulking or
sealants to fill open joints.
Coating chimneys or walls with roofing cement, asphalt or
tar.
Using paint which will not adhere to brick, or which seals
in its moisture.
Painting stone trim.
l
GOODMATCH
OFOLDANDNEW
mortar joi nts and bricks
are matched i n original
and new sections
Yes No
Water and Masonry
Moisture is the principal enemy of masonry,
and indeed of most structural materials. If
foundation walls are wet, water will rise with-
in the wall and destroy the brick above. Wet-
ness is indicated by spalling (or the cracking
off of pieces of the surface), cracking, the
rusting of fasteners or an appearance of white
salts coming to the surface. The outside
ground should be sloped away from the
building. Better, a drainage ditch can be dug
along the wall, a collector pipe laid at the
bottom, and the ditch refilled with crushed
rock.
When a wooden frame is set on a masonry
foundation, it should be at least 8 inches
above the ground, to prevent its rotting from
soil moisture. A crawl space should be at
least 18 inches high and a vapor barrier be
laid on the exposed ground below. The
ground may have to be dug away to accom-
plish this. Any wood that is close to the
ground should be pressure treated with
preservatives, and should not be a structural
ptece.
The diagonal shear cracks often seen under
windows in a brick wall are the normal resuh
of expansion and contraction. They need only
be repainted as described below. But long
vertical cracks mean that a foundation is
giving way. This is serious, and the move-
ment must be stopped. The most frequent
cause of foundation failure is due to water
lying against the walJ, but major structural
flaws of this kind must be diagnosed and dealt
with by experienced builders.
Types of Brick
Mortar Joints
--- ' deep raked' joi nt -
poor water resistance
:..: :. -- overlap j oint
J"' .-_,. .... poor water resistance
Maintaining a Masonry Wall
Brick walls must occasionally be repainted,
that is. the loose mortar in the joints must be
picked out and replaced. Corbelled brick cor-
nices are an important feature of many
LeDroit Park structures. (Corbels are the pro-
jections made by stepping each course of
brick out beyond the one below.) The exter-
nal brick chimneys add much to the character
of the houses, particularly those chimneys
with corbelling and recessed brick panels. The
old soft lime mortar must be repainted occa-
sionally because it absorbs the effects of vibra-
tion, expansion and settlement (which is just
as it should be). Usually, a safe mortar mix
for old brick walls is a matching composition
of lime, cement, and sand. Old mortar colors
can be matched with color agents available at
masonry supply stores. Joints should be raked
with hand tools to match the old form of the
joint, which should be shaped to shed water.
Modern mortars contain a high proportion of
Portland cement. Since this cement is stronger
than old brick. any movement of the wall
may cause cracks in the bricks themselves. a
damage that is expensive to repair.
Properly maintained. stucco is a durable
finish. appropriate to some late 19th and
early 20th century buildin.gs (but sometimes
it was added onto earlier buildings. at the
expense of much decorative trim, a mistake
that should not be repeated). If there are
minor cracks in the stucco surface, thev can
simply be filled with a mortar of c e m e ~ t ,
lime. and sand. If a larger patch needs repair.
then the old stucco in that patch should be
removed down to the lath. and the new stucco
applied in two base coats and a finish coat.
The work should be done in "\\'eather warmer
than 50 a F. and the fresh stucco kept damp
for a few days while curing. Whether patch-
ing or filling cracks, the composition of the
old stucco should be analyzed and matched.
Matching the old weathered color is improba-
ble. It is best to paint the stucco. to achieve a
uniform wall.
Cleaning, Painting and
Coating Masonry
Brick has a warm. rich appearance and a
long, weatherproof life. However, brick is
attacked by water, air poll uti on, and plant
tendrils. In particular, its hard outer surface
must be protected. Sandblasting and other
harsh chemical and abrasive cleaning tech-
niques destroy this skin, and the brick \viii
then disintegrate in the \veather. Even '''ater
cleaning may have undesirable effects, and
should never be done under high pressure or
in cold \Yeather. Cleaning may be desirable,
due to the dirty appearance of the wall , but is
not a structural necessity.
While brick was often painted originally,
such treatment is usually not necessary. How-
ever, when brick is porous and thus not
weather-tight. it does require repainting.
Because old paint on brick or stucco is not
easily removed, walls previously painted will
look shabby unless paint is reapplied. In that
case. the loose paint must first be removed.
Many LeDroit Park brick rowhouses were
painted a muted Venetian red. In general,
darker tones, such as forest green, rust,
ochre, and gray, are preferable to the bright
hues, on bricks. Stone trim, on the other
hand, was never painted, and should be left
bare. Paint can peel off, or seal in moisture, if
not properly applied on brick or stucco.
Special masonry paints are available which
allow the brick to "breathe." A porous alkyd
resin paint should be used on walls formerly
painted, after all loose paint is removed. Latex
masonry paint is better on virgin brick. But
remember that, once painted, brick or stucco
must be repainted about every five years .
Cement and tar coatings on brick are messy
and, once applied, they are irreversible.
Furthermore, tar coatings on a chimney may
be a fire hazard. However, low brick founda-
tions (and also chimneys which are invisible
from the street) can be coated with cement
("parged" ) to protect them from water. The
same treatment may be necessary for party
walls made of soft, common brick, once they
have been exposed by the demolition of an
adjacent building.
Brick is a fine material. Unfortunately, its
repair is labor-intensive and thus expensive,
unless done by the owner, who must have
some training to do so. Since it is time-
consuming, it makes no sense to skimp on
materials. Avoid cheap, fast treatments that
do not.solve the basic problems of water
damage or wall movement. Ask a mason to
diagnose your problem. There are no short-
cuts to the good conservation of brick.
Repairing Mortar
To Repair Mortar:
1) Carefully remove old mortar to depth of 1 or more with
hammer and cold chisel. or appropriate tool, to avoid break-
ing brick.
2) Wash out joint with hose.
3) Use trowel and 'rod' to best match the existing joint.
4) Remove excess mortar from bricks with stiff scrub brush
after allowing to set.
Roofs
Whatever the type of roof on your house:
This is the preferable way to deal with it:
Retain the original roof, and repair it with the original
material.
If the roof is badly deteriorated, replace an original steep
metal or slate roof with the same material. Install a new
metal roof on slopes below 3 on 12 (that is, a roof which
drops less than 3 inches for every 12 inches of horizontal
run) and a tar and gravel roof on very flat slopes.
Replace galvanized iron flashing with lead, lead-coated
copper, or an alloy of lead and tin (teme metal). Never
put dissimilar metals in contact with each other.
Replace or repair damaged gutters.
Paint metal roofs every five years.
Repair and retain original cornices, whether of wood or
pressed metal.
Retain or replace crestings, finials and other decorative
details at the roofline.
This is sometimes a good way:
Replace a badly-deteriorated metal or slate roof of over 3
on 12 slope with asphalt shingles of a color similar to the
original roof.
Replace a badly-deteriorated metal roof of under 3 and 12
slope with roll roofing.
Replace a badly-damaged cornice with a simplified one,
which has the same form, visual texture, and scale as the
original.
Remove damaged gutters, and provide for drainage around
the house at grade.
Remove badly-deteriorated crestings, finials and other
roofline details.
Where Water Will
Attack An Old House
It's always a good 1dea to do an
annual spring check.-up"' of your
house. The moisture and freezmg
temperatures of w1nter can cause
cracks and deteriorat ion which, if
unchecked. will leave the house open
to serious and costlv detenoration.
Most of these " t rouble spots" can be
detected by careful visual inspec tiOn.
If necessary to add usable space, add dormers where they
cannot be seen from the street, or, if visible, see that they
do not break the ridgeline, and are compatible with the
character of the original roof.
But this is a generally unacceptable way:
Sealing major leaks in metal or slate with tar or asphalt.
Removing a cornice without replacing it .
Blocking up or removing original dormers, or changing
the roofline.
Use of bright colored or patterned asphalt shingles.
Vhere to Flash
and any
vent openings

where two roofs
meet - "valley"
joint between
wall and
porch roof
joint between
wall and window
or door hood
The Different Types of Roofing
Slate is virtually permanent , and so is a
copper or a lead roof. but all these are ex-
tremely expensive today. On a slate roof, the
old flashing and fastenings may eventually
corrode. but this can be corrected bv a skilled
craftsman without damage to the
Individual slates can be replaced. although an
entirely new slate roof would now be prohibi -
tive in cost. It is also possible to take slates
from invisible rear slopes to repair the street
front of the roof. while re-roofing in the rear
with asphalt shingle. Never remove a slate
roof before it has been checked by a roofer
with experience in slate. Do not walk on it
the slates are thin and brittle. '
Today. mineral-coated asphalt shingles are
usually installed on roofs whose slope is
greater than 3 on 12 (that is, which drop
more than 3 inches for everv 12 inches of
horizontal run). Asphalt are moder-
ate in cost, and last 30 to 40 years.
Kidge t lashtng
minimum overlap
A galvanized iron roof is substantially
cheaper than slate, while more expensive than
asphalt shingle. It must be painted everv five
years. Metal roofs, unlike shingle or sla-te, can
be used where the slope is less than 3 on 12
(so can asphalt roll roofing. but it has only a
10 to 15 year life). Do not step on the
ing seams of a metal roof. Major repairs of
slate or metal with tar are short-lived, arid
tend to make an unmanageable mess in time.
However. small leaks in metal can reasonably
be patched with three layers of fabric and
asphalt roofing compound.
Finally, when a roof is flat, it is best
covered by a completely sealed surface, made
up of layers of roofing felt mopped with tar or
asphalt, and finished with a layer of slag or
gravel. This "built-up" roof is put on bv
specialists, and has a 20 to 40-year life. -
On any roof. the flashing (the metal strips
that seal the valleys and the joints between
wall and roof) is the weakest point and justi -
fies the best material. Rusted flashing should
be replaced immediately. Lead-coated copper
is best. if it matches the existing metal. Its
apparent high cost is small compared to its
value. the small quantity needed and the cost
Flat Roof Repair
1. Cut out damaged section of roofing - remove only as
many layers as are damaged.
2. Shape matching patches from new roofing felt . Cover the
edges of the hole liberally with asphalt. Lay in patches one at
a time, coating the edge before each additional patch. Each
patch should be well set into asphalt - stand on the patch to
remove air bubbles and to seal the edges.
3. When the patch has been built back up to existing roof
level, nail last patch with special roofing nails.
4. Cut a final patch that is 2" longer and wider than the
opening. Spread asphalt under the edges and nail in place.
Cover the edge with asphalt once more and pour sand over
as phalt to protect it from weather.
In summary, an existing slate or metal roof
is best conserved. If it is hopeless, and has a
slope which is over 3 on 12, replace it with
modern asphalt shingle. If the slope is less
than 3 on 12, the effective substitute is a new
galvanized iron roof, which will require paint-
ing every five years. Or asphalt roll roofing
can be used, but it will be short-lived. On a
flat roof, however, a built-up roof is the
correct solution. In general, the repair or
replacement of the roof is best left to skilled
workmen.
Flashing
Gutters
AN ALTERNATE
TREATMENT FOR ROOF
WATER RUN-OFF
IT--- gutter
c====;ff:::::::._ __ soffit
PEELING PAINT AT
UNDERSIDE OF SOFFIT
CAN MEAN ROTTING WOOD
GUTTERS.
ron Roof Cresting Patterns From 1880's Pattern Books & Catalogues
Cornices and Gutters
The elaborate historic cornices, which appear
just below the edges of the roofs, are essential
features of these old houses. Removing them
causes a marked change in character. But
cornices can be simplified, if the replacement
is of the same size and general appearance. If
pressed metal cornices are only partially
rusted, scrape off paint and all loose scale
without damaging the metal underneath and
prime them with an iron oxide primer (one
designed to cover firm rust - not red lead or
other primers which are for clean metal).
Then repaint with two coats of good enamel.
Roofline decorations and picturesque turret
roofs are part of the charm of the houses in
LeDroit Park. The roofline is second only to
the cornice in establishing character. Most
elaborate roof finials and crestings are made of
iron (although they are painted copper green),
and so they will rust. A good ornamental
metal shop can duplicate them, or they can
be made of wood or plastic, which is cheaper.
The wood must be treated with penta-chloro-
phenol, and given three coats of paint.
Gutters protect trim and walls, but must be
promptly repaired, and cleaned twice a year.
If clogged, they cause serious leaks within the
building. Wood gutters can be repaired by fill -
ing cracks and joints with an epoxy filler and
then treating the gutter with a 50/ 50 mix of
pentachlorophenol and water repellent. If the
damage is substantial, new wooden gutters
Cornice Flashing
cap flash1ng where
cornice flashing meets
base flashing
built
up
roof
gravel
tar
felt
cornice flashing
roof
cornice
Gutters may also be made of aluminum or
vinyl with an enamel finish. Never use gal -
vanized steel, since when it is cut in the field
for installation, a break is made in its defenses
against corrosion. Gutters must have down-
spouts, and the concentrated flow from the
spout must also be led away from the house,
or, where possible, connected to a storm
sewer.
It is also possible to remove the gutter en-
tirely. Take care that no cracks are opened in
the wall in this process. The roof water will
then fall directly to the ground, and must be
drained away from the foundations. If that
drainage can be provided, removing the gutter
is a trouble-free strategy.
W tndows ana uoors
In dealing with your windows and doors:
This is the preferable way to do it:
Retain the original size of the openings.
Retain and repair original wooden sash, and the original
doors, transoms, and sidelights wherever possible.
If beyond repair, replace the sash with new wood sash
which is identical in size, and in the arrangement of the
panes of glass.
Retain and repair original trim, including decorative
cornices, brackets, lintels, pediments and hoods with their
columns and mouldings.
Replace a missing or deteriorated door hood with one
which reproduces the material, scale and detail of the
original .
Weatherstrip doors and caulk and weatherstrip windows.
Retain and repair any stained glass, covering it with a
shatter resistant plastic if necessary.
This is sometimes a good way:
Replace a door which is beyond repair with one of similar
material and design, reducing the door openings only if
absolutely necessary.
Add a new door hood where none previously existed, if it
can be designed to be compatible with the original facade.
Add a screen or storm door of simple design, painted to
match the trim, which does not obscure the door behind
it.
Alter window and door openings, if necessary, and if not
visible from the street.
Replace wooden windows with new vinyl-clad sash of
similar dimensions.
Install aluminum storm windows made of two single
panes of glass.
Install burglar bars of simple design.
Use canvas awnings for sun protection.
Add wooden or synthetic slatted shutters to a house
which might have had them originally, if the shutters are
attached to the window frame and would fit the windows
when closed.
Plain glass may replace stained glass which cannot be
repaired.
This is a generally unacceptable way:
Replacing an original door with one of substantially differ-
ent material or design.
Adding a door hood which disrupts the old facade.
Removing or blocking existing glass, sidelights, or
transoms.
Changing the size of window openings, or enlarging or
substantially reducing a door opening, on the facades
visible from the street.
Replacing wooden windows with new metal sash, or with
sash of a different design.
Removing original trim and detail around openings with-
out replacement.
Installing aluminum awnings.
Adding shutters which do not fit the window opening
when closed.
Traditional Doors Appropriate for Older Houses
~ ~ . ~ ~ - . ~ ~
DO
DD DO DO
double doors
Door Types To Be Avoided on Older Houses
~
.
.

0

DOD
ODD
oao
ooq
DOC
DOC
DCC
DO
D ~ ~
DO
screen
screen
Window and Door Openings
Window and door openings are the most
expressive features of any building. Entrance
doors, in particular, are the feature that we
take most notice of in our daily life. Altering
openings, or removing their decorative trim,
sadly reduces the character of a house. Block-
ing them up gives a house a look of boarded-
up vacancy.
Old wooden sash which has rarely been
repainted may be in poor condition. But since
a new window is quite expensive, the old one
is well worth repairing. Rotted sash can be
repaired by an experienced carpenter. He can
take it apart, cut out and replace the damaged
part, and reassemble the whole. The bottom
bars are often in poorer condition than the
remainder of the sash, and frequently only the
corner joints need to be tightened. If needed,
new wood sash of the right size and glass
arrangement may be in stock. Sash can be
made up for special cases, but this costs
money.
Window frames usually suffer less damage
than the sash, but sills may need to be re-
placed or repaired. Generally, it is enough to
remove the old paint, apply linseed oil to the
cracks, fill them with putty or an epoxy wood
filler, and repaint. If worse, the whole sill can
be taken out and replaced.
)oors- Avoid These Alterations to the Doorway
l J t:;"::: _-_-_-_-
!

/ '
I ,. \
I
\
'
I I
r--
DO
f
DO
1---
DO
c::J
DO
remov1ng deta1l
and bricking up
transom
removing
lintel or
door hood
When sash are so badly damaged that they
must be replaced, then install new wood or
vinyl -clad windows of the same dimensions
and color as the original. Modern metal win-
dows should not be used, however . They
have thin frames, and look wrong even when
painted. Moreover, unlike the wood or vinyl-
clad windows, much heat is lost to the out-
side by transmission through the metal
frames. The pattern of the panes of glass is
also specific to each style, and should be
copied in the replacement. In some cases in
LeDroit Park, these matching replacement
windows are still standard items today. Thus,
it may not be necessary to have a window
custom made, which is costly. In any case,
the window opening should not be altered,
unless it is invisible from the street.
brickmg up entry or
wmdow opening
0
lowering entry
level and changing
door proportion
Stained glass adds beauty to a window and
should be conserved. Shatter-resistant plastic
(' 'Lexan'' is one brand) can protect it from
breakage, but this will change its exterior
appearance. Broken stained glass is very
expensive to replace, and clear glass can be
substituted for it.
Unfortunate! y, it is more difficult to replace
an old door than an old window, if the
original size and pattern is to be maintained.
Door sizes and designs are far less standard-
ized. You may check the salvage and
wrecker s yards to approximate an original, if
you have the time for it. Keep the old hard-
ware if it is still usable. A slightly bigger door
can at times be cut down to fit an opening. A
new or used door which is slightly smaller
than the original opening can be fitted by
blocking out behind the door frame, and
adjusting the trim around the door. It is
usually a mistake. however, to enlarge the
opening by cutting away the wall, or to block
it down by means of large top or side panels .
Original sidelights and transoms should be re-
tained. Of course, a new custom door can be
made to any design to fit any opening, but
Traditional
Windows
for houses after 1850
~ Q u e e n - [ill
Anne ITIJ
Parts of a Window
wooden
lintel
upper sash
molding
lower sash
si ll
-
-
-
-::-:_
Decorative Trim
-
rn
pane (single
piece of
glass)
mul lion
a "212" window
(2 panes
per sash)
In these 19th century buildings, ornament
was concentrated around windows and doors ,
as well as at the cornice line. [See Cornices.
page 70, and Porch Features, page 83.]
Window and door trim can be replaced with
stock that approximates its width and scale.
New ornate detail is very expensive, yet it is
part of the rich character of these buildings.
What you have should be conserved. Scrape
off loose paint, and glue in any missing parts
tffi
~ I- ~
~ ~ - .....
r- Georgian
Revival
only
s=r=B 1- Queen
H:::rfJ Anne
D
-double
hung
window
with new wood carved to approximate the
original bulk and form. Fill cracks and gouges
with an epoxy woodfiller ("Marine-T ex " or
equal), treat bare wood with 5% pentachloro-
phenol in mineral spirits, and give the whole
two coats of good exterior alkyd resin paint.
On the other hand, when ornate detail is
almost completely rotted away, be sure to
photograph it and save characteristic pieces as
a basis for designing its replacement, even if
this investment cannot be made until later.
Door hoods (the small decorative canopies
which project above doors) were original to
some houses, and serve the useful function of
protecting both the opening and also the
person who stands before it from the weather.
Existing hoods should therefore be retained
and repaired, and replaced if lost. It may also
be desirable to add a hood to a house that
never had one, when that house has no porch
to protect the entrance. Such an addition is
difficult to do in a way that will not disrupt
the old facade. It requires a careful design.
in dow Types to be A voided
1s1der carefully window replace-
lis for your 19th century or
y 20th century house.
Don' t use
" snap-in"
plastic muntins,
or multi-paned
windows if
they were not
original to your
house.
door or
window hood
Wood details can
often be buill by the
homeowner from a
combination of stock
lumber pieces.
D
-
D
1----
-picture
windows
Weather Stripping
felt strip
between
upper and
lower sash
if possible.
(or on top
edge of
lower sash)
felt
behind
track
foam strip
along bottom
of sash
- casement
window
awning window
Replacing Putty Around Windows
1. Chip out all loose putty with
putty knife. (Use wire brush
to remove dust and dirt.)
2. Next, paint exposed areas
with linseed oi l.
3. Lay in a bed of new fresh
putty and smooth flat with
putty knife.
Storm Windows, Storm Doors,
and Other Accessories
Modern aluminum storm windows are a
useful addition to a house, if well fitted and
since they save energy, protect the
mner sash and make the openings more
secure. The bare metal is at first glaring on
an old house, but it is thin, and soon oxidizes
to dull grey. If one wishes, they can be
painted to match the trim when they have
for two to three years, or even
Immediately, after a treatment with zinc
chromate. A single panel of glass in each
storm sash will obscure the old sash behind
them as little as possible. Storm doors, on the
other hand, save little heat, since they cannot
be made airtight. They obscure what is the
focal point of the house, particularly if they
are of elaborate design, and are best left off
entirely. If wanted for security or other
re_asons, they should be a single pane of glass,
Wlth a narrow bottom rail. Weather-stripping
the edges of the main door is a more effective
way to save heat.
. Aluminum awnings are garish and obtru-
stve. They call too much attention to them-
selves and may cover interesting features of
the building. They dent and fade and are
Oiffirn]t tn rPn-:.ir -:.nrl n-;,jnt r-:.nl;<><: -:.nmino<:
are easier to repair, can be rolled up when
not in use, and are in better keeping with an
historic facade. Unfortunately, they only last
for a few years.
Shutters were originally used on colonial
houses for weather protection and security.
Later, in the late 19th and early 20th cen-
turies, they were used as decoration. Shutters
are appropriate to certain styles, but in
LeDroit Park they may have been used on
other house styles. They are still enjoyed for
their symbolic connotations, and will even
ward off sun and snow, if they are louvered,
hinged and sized to fit the window. If made of
wood, they require rather intricate painting,
so that permanently colored plastic is often
preferred. Some windows are spaced so that
operating shutters are either impossible or
must be hinged in sections as they fold back
against the wall.
Burglar bars also alter the look of a house,
but may be a necessity. They can at least be
simple in form and painted to match the trim.
Awnings, shutters, and bars have one merit:
they do not permanently damage an historic
building. If values and conditions change in
the future, they can easily be removed.
indow openings
D
full height and
widt h of original
opening should
be retai ned
I
Shutters
ra1l
louvers
rn
-..,........
II T 1
......,
v
avoid DODD
upsettmg _
rhythm of
openings
avoid
blocking
down
avoid
enlarging -----+---tt-
opening
size
shutters
should fasten
to window
casing. not
to wall .
shutters
should be
able to lie
flat against
the wall .
k
1
0
0
1
[[]
D
II \ J D
shutters should
be the same size
as t he window
opening and should
cover window
when closed.
No
Porches, Steps and Rails
H your house has a porch, or front steps:
This is the preferable way to do it:
Retain and repair the original porch.
Keep and repair original trim, railings, posts and brackets,
or replace parts to match the originals.
Repair or rebuild the wooden floor and apron to match
the original, and isolate it from any contact with the
earth.
Retain and repair original steps and railings.
Add a new front porch to a house which had one
originally.
This is sometimes a good way:
Install a concrete slab floor if the wooden porch is badly
rotted or cannot be isolated from contact with the earth,
provided that other elements of the porch are retained.
Replace missing wooden posts, brackets and porch railings
with simplified parts which reproduce the proportion,
form and character of the originals.
Enclose a porch with glass or screens which run behind
the posts, brackets and rails. The new framing members
should not draw attention from these original features.
Enclose a porch at the rear, while retaining the porch
roofline.
Change the porch to admit light or access to the base-
ment, but retain porch roofline, and other key features
such as posts and railings.
Replace deteriorated original steps with new steps and
hand rails of similar material and proportions, or with
brick or concrete steps fitted with hand rails similar to the
original ones.
Consider
Porch Post
Alterations
Carefully
But this is a generally unacceptable way:
Removing the original porch, unless completely deterior-
ated and unsafe.
Changing the roofline of the porch.
Enclosing a front porch with opaque material, or so as to
obscure its design.
Replacing wooden columns with masonry piers or metal
trellis.
Replacing porch railings with metal, masonry, or wood of
incompatible pattern.
Removing brackets and detail without replacement.
Replacing original steps with masonry alone.
Yes Maybe Maybe No
THE " VICTORIAN" PORCH simplication approximation replacement
Yes
THE " CLASSICAL"
PORCH
Yes No No No
not on frame house wide masonry base masonry replacement
(brick houses only
if an original feature)
Porch Treatments
Yes
ong1nal
porch
re ta1ned
heavy
corn1ce
simple
wood
posts
concrete
Restoring Porch Spindles
AFTER:
t d

dry area
1
<;;
1

part1al rot
d d res ore en s\

former tops;
new bottoms

i
s;
_....
Ill
concrete
bl ock
No
remov1ng
porch
When you are painting your porch trim, or are giving your
house an annual spring "check-over ", don' t forget to look
for evidence of dry rot at the bottom of porch balasters (or
"spindles"). As their bottoms come in contact with rain
water (the tops are protected by the handrails), they are prone
to water deterioration. If you find this is the case with your
porch spindles, consider removing them: treating the partially
rotted ends with penta; and reinstalling them upside down. If
the design of your spindles is symmetrical, there will be little
visual change, and the reinstalled spindles, with proper paint-
ing, should last for up to 70 years.
The Role of the Porch
The porch is a prominent feature of many
LeDroit Park houses. It is highly visible, and
still useful today. II the porch is stripped
away, the house looks bare, scars remain on
the walls, and an important social function is
lost. II the porch is enclosed, particularly on
the front or sides, the whole mass of the
house is altered. However, screening or glass
set behind the posts and rails has a less dras
tic effect, especially if the new framing is co-
ordinated with the original porch supports. In
some cases, new functions demand light and
access to the basement, and the porch and its
floor must be disrupted to do so. This can at
least be done without removing such key
features as the posts, railings, and roof. While
a porch may sometimes be successfully added
to a house that had none originally, and to
whose type it was appropriate, it requires a
careful design to do so.
Screening A Porch
If a screen porch is to be added. it is important that the porch
reflect design features of the house. The width of screens. for
instance, should reflect the positioning of the house window\.
Handrail height can be the same as window sill height. And
if there are small panels on top of the screens, they can reflect
the size of the transom panels over the front door.
Porch Features
)f all the parts of the porch, the roofline and
:he columns are its most visible features , and
.he ones most sensitive to alteration. Wooden
:olumns are handsome, easily repaired, and as
iurable as brick. They are more durable than
netal trellis, and more easily maintained.
iVhile the general form, proportion, and
risual texture of the detail is important, its
:xact form is less so. When parts must be re-
.Iaced, there is some room for individual
nvention if it would be expensive to make
xact duplicates . The original details were
hemselves copied pattern books and
roduced by craftsmen of modest skill. Haw-
ver intricate, they were a mechanical pro-
uct - having been turned on lathes, or
3.Wn from flat pieces, or assembled from
[mpler parts. Their form can be approxi -
1ated by similar means. Journeyman carpen-
- even owners, given a little train[ng
nd invention - can make their own details,
sing lathes or handsaws, or by assembling
:ock mouldings. Replacement trim of period
can also sometimes be found in salvage
:trds.
The wooden porch floor is characteristic
1d pleasant, and it is preferable to retain it.
nfortunately, it will rot if near the earth and
a favored attack point for wood-eating in-
:cts. It will also rot, if more slow I y, from
.inwater lodged in its crevices. It must be re-
tinted yearly. If replaced with pressure-
eated lumber, it will last longer. The con-
ete slab is less handsome, less gracious to
e feet, but more practical. If used, its edge
auld not look massive, but have the dimen-
)flS and shadow line of a wooden floor.
Check for Evidence of
Your Houses's Enemies
Dry Rot:
Try the Pick Test (on Damp Wood)
use
awl or
angle
Sound Wood
Wood-
Eating
Insects:
If you find evidence
of these insects,
call in an exterminator!
Lyctus
(or " Yonder
Post Beetle" )
wood-Eating Ant
Decayed Wood
Old House Borer
Anobid Beetle
Termite
Porches are Essential!
Front Steps
On brick row houses, the metal steps and
ornamental rails are prominent decorative fea-
tures. They act as small porches, intermediate
zones between the private and the public
space. The steps may be deteriorated beyond
repair, but handrails can often be salvaged,
repaired, and fitted to new steps of metal
or concrete.
Removing a porch
on a house - particularly
on a row house -
has a detrimental
impact on both
the house and
the streetscape.
Avoid it at all costs.
Ornamental cast iron is a beautiful material
and durable if repainted regularly. Modem '
wrought iron work lacks the same weight and
flourish. To prepare old iron for painting, it
should be cleaned by wire brushing. If cleaned
to bare metal, prime it with red lead or zinc
chromate. If only the loose rust is removed,
prime it with iron oxide. Then paint it with
two coats of glossy black enamel. Broken
parts can be welded. Replacement parts can
sometimes be found in salvage yards. Cast
iron can still be made to order, but this is
quite expensive. Cast aluminum is a less cost-
ly substitute.
Existing Conditions
- - - - - - - - d ~ ~ -
Plan for Basement Entry
Without Destroying
Existing Porch
~ A-
Uf'
Proposed Basement Entry Treatment
Fences, Yards
and Landscaping
When your house has a fence, or a yard, or there is a green
strip in front of it:
This is the preferable way to deal with it:
Plant and maintain the yard with grass, small flowering
trees, flowers, vegetables, and shrubs. In LeDroit Park,
formal gardens are appropriate.
Water trees and protect them from vandals, especially
while they are small.
Take informal charge of the street trees and street verges
(the strip between sidewalk and street) in front of your
house. See that they are planted, protected and main-
tained.
Keep and repair an ornamental iron fence if you have
one, consolidating the remaining parts to make a front
fence, and adding iron replacements where necessary.
This is sometimes a good way:
Fence with brick or stone or use a low chain link fence
colored dark green or black, and backed with shrubs. New
fences should be less than 3 feet high in front yards.
This is a generally unacceptable way:
Allowing a yard to run to waste, or to collect trash, or to
erode.
Destroying healthy trees, or allowing them to be
destroyed.
Parking cars on your front lot, in such a way as to
obscure the building.
Destroying a salvageable iron or stone fence, or building a
new front fence over 3 feet high, or one made of solid
wood, fiberglass, concrete blocks or bamboo.
Yards: Planting & Parking
When possible, cars
are best removed
from street view.
-.
Landscaping
Landscaping is a fundamental element of
neighborhood character. Elaborate planting is
not necessary. Evidence of use and care is the
important thing. Since young trees are sensi-
tive to vandalism and to drought, they must
be protected by those who live next to them
and care about them. If deciduous trees are
planted on the south or west sides of houses.
they will help to keep them cool in the sum:
mer, and yet allow the sun to warm them in
winter. Trees and plants are inexpensive
luxuries, and they demand commitment.
Flowers. herbs and vegetables are useful to
residents, and they add humane interest to
the street. Formal gardens were originally
I
I
well-placed planting
for a large yard
Think carefully about size
of plantings when full-grown!
planted in LeDroit Park, and they should be
open to view from the front. But there is no
reason why rear yards should not be enclosed
by high fences or planting, if their owners
want privacy. Fences over six feet high in
residential zones - or ten feet in commercial
zones - are prohibited by the building code,
however, or require special approvals.
Concrete Blocks can
Make a Driveway
section through driveway
concrete block
For an s deep block, excavate 10' of soil and then lay in a
2" deep gravel base. Place blocks with 4 between them and
fill around blocks and in cores with soil. Sprinkle grass seed
over area and wet down with hose.
Fences and Walls
Ornamental iron fencing lends richness and
variety to the street scene. The treatment of
ornamental iron has been discussed above.
When parts of an iron fence are gone, old sec-
tions can often be brought together to make a
continuous run along the front side of the lot.
The fence, along with the planting and the
walk, sets the character of the street. If too
high in front, it blocks the view of the house
and the yard. Low hedges, brick and stone are
good materials available today. Chain link is
secure and widely available, but ugly. Giving
it a dark color, and backing it with shrubbery,
all tend to improve its appearance.
\Vhen a section of masonry retaining wall
begins to collapse, it must be removed and
replaced. When replacing a section of wall, be
sure to tie it in to the remaining sections on
either side. Put small weep holes through the
lower portion of the wall for drainage, and see
that the foundations go at least 18 inches
below grade.
Parking
Parked cars are intrusive enough when placed
at the curb; they demean the street and the
house if they sit on the lot directly in front of
the building, or block the walk. On the other
hand, most people want their cars close by,
for security and for convenience. There is
sharp competition for curb space in LeDroit
Park today, and few alternative locations. The
best location for any additional private park-
ing on the lot is at the rear or side of a
house, rather than in front of it. Perforated
paving blocks will support parked cars and
serve as house driveways, and yet allow grass
to flourish between them - a much more
handsome solution than asphalt. Ordinary
hollow concrete blocks, buried flush with the
ground and set four inches apart, can be used
in this way if no special blocks are available.
Fences
Cast
Iron
post
top
Wrought
Iron
Yes
Masonry Walls
Yes
Yes
Wood
Yes
Mild Steel
....-
.....
No
Chain Link
painted
dark
color
-"'"-"""'" low
planting
Maybe
behi nd
fence
Concrete Blocks can
Make a Driveway
section through driveway
concrete block
For an s deep block, excavate 10' of soi l and then lay in a
2' deep gravel base. Place blocks with 4 between them and
fill around blocks and in cores with soil. Sprinkle grass seed
over area and wet down with hose.
Fences and Walls
Ornamental iron fencing lends richness and
variety to the street scene. The treatment of
ornamental iron has been discussed above.
When parts of an iron fence are gone, old sec-
tions can often be brought together to make a
continuous run along the front side of the lot.
The fence, along with the planting and the
walk, sets the character of the street. If too
high in front, it blocks the view of the house
and the yard. Low hedges, brick and stone are
good materials available today. Chain link is
secure and widely available, but ugly. Giving
it a dark color, and backing it with shrubbery,
all tend to improve its appearance.
When a section of masonry retaining wall
begins to collapse, it must be removed and
replaced. When replacing a section of wall, be
sure to tie it in to the remaining sections on
either side. Put small weep holes through the
lower portion of the wall for drainage, and see
that the foundations go at least 18 inches
below grade.
Parking
Parked cars are intrusive enough when placed
at the curb; they demean the street and the
house if they sit on the lot directly in front of
the building, or block the walk. On the other
hand, most people want their cars close by,
for security and for convenience. There is
sharp competition for curb space in LeDroit
Park today, and few alternative locations. The
best location for any additional private park-
ing on the lot is at the rear or side of a
house, rather than in front of it. Perforated
paving blocks will support parked cars and
serve as house driveways, and yet allow grass
to flourish between them - a much more
handsome solution than asphalt. Ordinary
hollow concrete blocks, buried flush with the
ground and set four inches apart, can be used
in this way if no special blocks are available.
Signs and Other
~ o d e r n Fixtures
If you have, or intend to add, a sign, antenna, air condi-
tioner, solar panel, meter, or other modern fixture:
This is the preferable way to do it:
Install a room air conditioner at the side or rear, where it
is least visible. Where this cannot serve the necessary
function, put the device in an existing window, without
disturbing the trim.
Put a solar panel on the ground or wall at rear, or on a
porch roof or a rearward sloping roof, if these positions
are not shaded and face in the correct direction. Failing
that, and if the panel must face forward to the street, put
it on the ground, or on the wall where it blocks no open-
ing or architectural feature, or on the roof, below the roof
crest if possible.
Put utility meters on foundation walls, or low on house
walls where they block no architectural feature, or replace
them with small digital readers connected to a meter
inside the building.
Keep trash cans covered, and put them out of sight when
not set out for collection.
Use security gratings which are fixed in place, to cover
openings of moderate size. They should be of simple
design and painted to match the trim. Large gratings for
shop windows should be able to be removed or to be
swung clear during business hours.
Put TV antennas on roofs toward the rear, and do not let
them project above the roof crest if possible.
On commercial buildings, use small signs which are flat
to the building wall and obscure no architectural features ,
which refer to the premises or give historic information,
and which are lit, if at all, by a steady white light.
Modern Fixtures
But this is a generally unacceptable way:
Placing a solar panel or meter where it blocks an opening,
or obscures or cuts across an architectural feature.
Allowing such a feature to project above a roof or cornice,
or far out from a wall.
Covering a shop facade or window with a fixed metal
mesh or grating.
Use of signs which are too large or brightly colored or
intensely lit, or which flash or move, or which cover a
window or project above a cornice or roof or far out from
a wall.
Putting an air conditioner in a wall.
l l
J
D
Do not cut holes into wal ls
for air condit ioner installa-
t ion! Place air conditioners
in side and rear windows
rather than front where
poss i ble.
- meters should be
placed in an
inconspicuous
locat ion -on side of
house i f possible
thi nk careful ly about extras on the entrance-
especially so-cal led " Colonial" items- too
many can give the house a cluttered look
No
:ommercial Signage
~ , < i ~ m u ~ ~
ALPHABETS
Signs using any one of the great variety of Victorian
letter styles can add interest to your 19th century building.
The Apparatus of Daily Life
Modern fixtures of the kind we have listed
are generally considered to disfigure an his-
toric area. Clearly, they are very visible
features of the urban landscape. But they
have important functions, and, if well de-
signed, need be no more disturbing than the
fixtures of the past. To deny the visible pres-
ence of such things is to become involved in
endless camouflage. Trash cans must be set
out for collection, which is such a crucial
problem in LeDroit Park. Public cleanliness
depends on visibility and vigorous upkeep.
Similarly, meters (or at least the small read-
out devices attached to them) must be out
where they can be read; air conditioners are a
boon to sleeping rooms; and so on. We must
be especially careful not to legislate away any
potentially useful new technology, such as
solar energy.
Signs
Signs are always a special problem. The shop
signs, street signs, billboards traffic signals,
and public warnings are a dominant element
of the urban landscape in commercial areas.
Their function is to be seen, and so they can-
not be made invisible. Signs convey necessary
information, and, if harmonious, add to the
visual character of a place. They should be
controlled so that they are easy to read and
yet unobtrusive. They should not obscure the
quality of the buildings. The modern, inter-
nally-lit, plastic sign is visible at night, and
often furnished free of charge by large dis-
tributors. It is often ugly, and it is easily
broken. The traditional wooden sign board
can be duplicated at modest cost.
!jnght colors, tntense ltghts, and large stgn
sizes are disturbing in the normal urban land-
scape, and are unnecessary for legibility if all
signs are controlled in the same way. Moving
or flashing signs capture one's attention
involuntarily, a characteristic that should be
reserved for public emergency messages. On
the other hand, certain signs must be visible
at night, such as those dealing with traffic or
those connected with stores and services
available at night. In any event, billboards and
general advertisements which do not refer to
the locality are intrusions and should be
banned.
The shop sign should be integrated with
the commercial facade. This requires careful
individual design. Directly above the shop
window is a good location for a sign, and so
is lettering stencilled on the shop window.
Victorian letter styles were ornate and richly
varied. The use of one of them will give a
storefront a distinctive image. But many
modem type faces are equally handsome. A
harmonious lettering style or set of sign loca-
tions can easily be developed for a block
front.
Commercial Signage Should
Enhance, Not Overwhelm,
the Building
Minor Additions
If you intend to make an addition to your building, rather
than simply to rehabilitate it, it becomes more difficult to lay
down specific and yet general guidelines. Each addition must
be considered in its context. Each requires careful design. So
the list begins:
This is sometimes a good way:
Add to the rear or to sides which do not face on a street,
or add an open porch to the front and any sides, if the
porch is appropriate to the original style of the building.
Keep the bulk and height of the addition in scale with the
original building.
As far as possible, use the same covering material, and
the same character of roof and trim as the original build-
ing. However, the building code may require the use of
non-combustible materials.
Keep window and door openings similar in scale to the
original ones, except that a larger glassed opening may be
inserted where it is invisible from the street.
Add dormers if similar in form and scale to those appro-
priate to the original style of the building, and if they do
not project above the crest of the roof.
Build small balconies and roof terraces which add usable
space to roofs or upper rooms at the rear.
Add a new basement entrance to a row house, if this can
be done without seriously disrupting the existing facade or
porch, and if the new door is compatible with existing
doors.
This is a generally unacceptable way:
An addition which by its size overwhelms an old build-
ing, or extends above it.
Raising a roof, breaking the crest line of a roof, or adding
a story or penthouse .
. r - _ . ~ . . . L __ .... L ... _ ---- ----h"'r-
Use of a dissimilar material or building form where not
absolutely necessary.
Use of an altered rhythm of openings on facades visible
from the street.
Blocking the light of any adjacent building.
Additions
add1t1ons here
will require
great design care
to be successful
--,
Maybe No
addtttons should respect theongmal character of the house - 10 roof
form, matenals wmdow stze and placement - tf they are to be successful
Additions in an Historic District
The public, visual character of an historic dis-
trict might most easily be maintained if no
external additions were allowed, but flexibility
is necessary if modern styles of life and the
needs of growing families are to be accom-
modated. As far as possible, residents should
be encouraged to enlarge buildings to meet
their own needs, rather than to be forced to
move. Changes which allow a fuller use of a
building are the important ones to accom-
modate. Indeed, buildings which show a sue-
cession of harmonious adaptations are often
those most interesting to look at, and the
most "historic" , since they reveal the
passage of time. Thus these guidelines permit
conservative kinds of additions, largely unob-
trusive to the public, not domineering in
scale, and as harmonious as possible with
existing structures. Since the form of an addi -
tion is always a sensitive problem, additions
will necessarily be subject to careful review
and an owner should get design assistance as
early as possible.
Ne-w Buildings
and Major
Additions
The design of new buildings and substantial
additions in an historic district is a delicate
subject. They will be necessary to meet hous-
ing and commercial needs, to re-establish the
vitality of the district, and to fill gaps in the
visible landscape. It is clearly a mistake to
disrupt the harmony of any historic area by
inserting new structures whose form has no
sympathy to existing buildings. It is also a
mistake to build elaborate historic frauds,
especially if they are imitations of building
types that never existed in LeDroit Park, such
as colonial houses. The general aim is clear
enough: to make new buildings which pre-
serve the continuity of the historic district,
while re-interpreting its spirit for modern pur-
poses and modern ways of building. The most
interesting areas of our cities have just this
quality.
But this is easier to say than do. Rules do
not guarantee new buildings of excellent
quality, nor automatically prevent poor ones.
They cannot directly communicate the spirit
of a place. The possibilities inherent in crea-
tive design are always unpredictable, and can-
not be confined within a set of written state-
ments. Each proposed new building and each
major addition to an old building must be
considered on its merits, in the particular
context in which it will be placed. Any owner
who intends to build such a structure should
use professional design services, and enter
early into a dialogue with professional ad-
visers in the Department of Housing and
Community Development.
Thus it is not possible here to make a list
of specific ''best ways' ' , ''good ways '' , and
''mistakes. '' A few general considerations are
possible, however. New buildings should be a
modest part of the visual background of the
area. They should not compete with the older
structures, although new and interesting
detail can be a contribution to the scene.
Normally, one would look for a building
which has the same bulk and height as sur-
rounding historic buildings, and whose use is
similar or compatible to them. The scale of
the street should be preserved: that is , the
visually apparent width, height, and con-
tinuity of the street space. The prevailing set-
back of the buildings, the continuity of the
facades , the roof forms and cornice heights
should be respected.
New buildings might well employ the pre-
vailing red brick of LeDroit Park. Town
houses can be raised on half-basements, with
front stoops and steps. A richer modelling of
wall and roof than would be desirable in a
more austere neighborhood could be accepted
here. Facades with large glass areas, or con-
versely. which shut themselves off from visual
contact with the street, would not be wel-
come. Colors could be varied, however, if
within the ranges recommended on page 60.
These are no more than starting points.
The accompanying drawings illustrate a
possibility for sympathetic infill in LeDroit
Park but each possibility must be judged for
itself.
Four Bay Rowhouse- Brick Facade
Floor Plans
...,._,
d-
_ ...
concrete block party walls
porch roof on square
section steel columns
Resources
- ~ I ~ - _ - c - ; - - - -
- ~ ----
-..=...----::--_ ------
--==-=. .
- .-:--:_
-----
/
--
The Process of
Design Review-
Since Le Droit Park is listed in the National
Register of Historic Places, all applications for
permits involving demolition, new construc-
tion and exterior alterations within the His-
toric District must be reviewed by the Mayor
or the Mayor's Historic Preservation Agent.
The Mayor ' s Agent is also the Director of
the Department of Housing and Community
Development and the State Historic Preserva-
tion Officer for the District of Columbia.
Under the recently enacted D.C. Law 2-144,
known as ''The Historic Landmark and His-
toric District Protection Act of 1978'' *, if
the Mayor's Agent finds that a proposed
change is (I ) consistent with the purposes of
this act, (2) necessary to permit construction
of a project of special merit. or (3) that failure
to issue a permit wili result in undue econom-
ic hardship to the owner, the Mayor ' s Agent
will then determine that the permit can be
issued. The Mayor ' s Agent would be advised
on these permit applications by the Historic
Preservation Review Board, a citizen group
with expertise in historic preservation mat-
ters, established by the Act. The Mayor's
Agent and Board would be assisted by the
Historic Preservation Staff of the Department
of Housing and Community Development.
How will the normal design review process
work? In trying to answer this question, we
must exercise caution. Since the D.C. Law
2-144 has only recently been put into force,
new procedures are still to be firmly estab-
lished. Further, these guidelines must be
formally submitted to the Historic Preserva-
tion Review Board for review and comment.
In the interim, we have discussed this matter
with DHCD staff and what we indicate below
is our best estimate - based on present pro-
cedures - of the steps which would be fol -
lowed when an application for an alteration is
submitted for review.
Say that a homeowner, who knows that
Le Droit Park is an Historic District, is
thinking of repairing or changing his or her
house in some way; the first step would be to
refer to the guidelines in this book in formu-
lating plans. Such a review by the homeowner
would be to see whether the proposed altera-
tions correspond with the "preferable way",
a ' ' sometimes'', or an ' 'unacceptable way' '.
Homeowners should exercise caution in their
analysis since some guidelines may not be
appropriate for a given building. The staff of
the Office of Historic Preservation will help
interpret regulations, suggest possible solu-
tions to problems, and show how to prepare
material for the historic review process.
The formal process would begin when the
owner applies for a building permit from the
Permit Branch located in Room 105, 614 H
Street, N.W. In addition to the usual permit
material. photographs of the house and plans
of what is proposed would have to be sup-
plied. In the past, it was not unusual to have
engaged a contractor for work by that time,
or to have agreed to buy certain materials to
do it. Should that be so, the owner should
make sure that the contract allows him to
drop or modify the work, if the review
process should require some change.
The permit office would check for compli-
ance with the Building Code and Zoning
Ordinance, ''sign off'' on those requirements
if all were well, and would pass the permits
on to the Mayor's Agent and his staff. If a
community preservation group is active, the
staff would notify them of the proposal and
could call in its representative if there is some
question. If the staff should find that the pro-
posed change is compatible with the character
of the Le Droit Park Historic District, and is
authorized, through delegation by the Histor-
ic Preservation Review Board to do so, they
could then forward the application, with a
recommendation for favorable action, to the
Mayor ' s Agent. Such delegation is presently
limited to minor alterations or those not
significantly visible from public space. All
other cases must come before the Board
which will make a recommendation to the
Mayor's Agent.
If the change should be questionable, the
Historic Preservation Staff would call in the
owner or architect to see if the plans could be
modified to make them compatible with the
character of the Historic District. If all then
agree, and it is within the delegated authority
of the staff, the permit could be approved.
Should the Board recommend that the permit
not be issued, the Mayor's Agent may then
hold a public hearing on the application, and
must hold a public hearing if the applicant
requests it. The Mayor's Agent may, after
such a hearing, agree to the issuance of a
permit upon finding that it is (1) consistent
with the purposes of the act , (2) necessary to
permit the construction of a project of special
merit, or (3) that failure to do so would result
in economic hardship to the owner. Alterna-
tively, the Mayor ' s Agent may also deny the
issuance of a permit. *
Staff at the Department of Housing and
Community Development can assist the
owner in applying for some special grant or
subsidy, if needed, such as a NIP or NHS
loan, a 312 loan or some 2 3 5 mortgage assis-
tance, a Home Purchase Assistance or a
Weatherization Grant. Owners should also
apply directly to the Historic Preservation
Staff for information on certain special federal
subsidies for historic rehabilitation.
All federally-assisted undertakings deriving
from the above programs also require review
by the Director of the DHCD, in his role as
the State Historic Preservation Officer for the
District of Columbia. The purpose of these
reviews is to assure that Federal programs do
not adversely affect the qualities which qualify
LeDroit Park for listing in the National
Register.
To supplement this review process, we have recommended
that a Le Droit Park Design Committee be set up, consist-
ing of local residents who are particularl y interested in the
issues of historic conservation. That committee would publi -
cize the guidelines and make people aware of the special
qualities of Le Droit Park . It woul d be available to help ci ti -
zens with the review process, should be notifi ed of all appli -
cations for hi!>toric rehabi litati on in Le Droit Park. and
would be represented ar meetings in which applicati ons are
considered .
We have also recommended that t he Department make
avai lable a professional, preferabl y an architect famili ar with
rehabil itation and historic st yles. to serve the hiswri c dis-
tricts of Anacosti a and Le Droit Park . This staff member
coul d help homeowners to establish their needs and priori-
ti es. interpret the guidelines for them, show them how to
restore hi storic details. put them in touch with sources of
materi al, and in general he lp them through the process of
histori c revi ew. Such technical assistance should be available
to all propert y-owners in Le Droit Park .
The principal special programs for historic
preservation are:
Historic Preservation Grants-in-Aid
These grants, from the Heritage Conservation
and Recreation Service of the U.S. Depart-
ment of the Interior, can provide up to 50
percent of the cost of purchase and/or rehabili-
tation of a building in the historic district.
The remaining 50 percent can come from
private funds or from other sources of public
funds, such as an NIP Loan. The proposed
rehabilitation must meet the Secretary of the
Interior's 'Standards for Historic Preserva-
tion Projects.' ' Applications are selected for
funding by the State Historic Preservation
Officer, then sent to the Department of the
Interior for final approval.
Historic Preservation Loans
These loans are available from banks and sav-
ings and loan institutions and are FHA
insured. They can be used for rehabilitation,
preservation or restoration of residential struc-
tures within the historic district, providing
that the State Historic Preservation Officer
finds that the structure's integrity is main-
tained or enhanced. Amounts of up to
$15,000 per dwelling unit. not to exceed
$45,000 per structure, can be borrowed at
market rates of interest, with up to 15 years
to repay.
Tax Incentives for Rehabilitating
Historic Buildings
The Federal Tax Reform Act of 1976 pro-
vides incentives to stimulate rehabilitation of
historic commercial or income-producing
buildings. These provisions permit a five-year
amortization of eligible rehabilitation costs or
an accelerated depreciation of the value of a
substantially rehabilitated building. To qualify,
the property owner must receive certification
from the Secretary of the Interior that the
property contributes to the historic signifi-
cance of LeDroit Park and that the rehabilita-
tion is consistent with the historic character
of LeDroit Park.
The array of special financial boosts to
homeowners is bewildering in its varied, shift-
ing requirements. They are summarily de-
scribed in the "Plan for LeDroit Park "
which accompanies this book. DHCD staff
can point out the one which will fit a particu-
lar owner's need, and show him how to apply
for it.
Like any regulatory process, historic review
requires some time and effort from the home-
owner. On the other hand, it is essential, if
LeDroit Park is to be conserved and improved.
These guidelines are meant to smooth and
speed that process as much as possible. In
addition, they should make it easier for the
owner to improve his building in a way that
is sometimes cheaper. and surely more practi-
cal, more handsome. and longer-lasting. Thus
we can be sure that LeDroit Park will be
saved for the pleasure of present, as well as
future generations .
How to Check
the Condition of
a House
If you are restoring or buying an old build-
ing, the following checklist may be helpful.
Of course, any defect can be corrected with
enough time and money. But a building is
the single most important investment that
most people will make. Measure your pocket
against the task, so as not to tax your patience
or deplete your savings.
The Roof
A sound, tight roof is the first line of defense
of a building. If the roof is in bad shape, you
should plan on repairing or replacing it right
away.
1. Pitched roof. Any sign of missing, broken
or warped shingles or slates? This could
mean that there is water damage inside.
2. Asphalt shingles. Are the mineral gran-
ules getting thin, and do edges of shingles
look worn? Does roof look new but lumpy?
The new roof"may have been applied directly
over old shingles, and some sins covered
over.
3. Flat roof. Any sign of bubbles, separation
or cracking in the asphalt? The roofing
should be flat and tight to roof.
4. Flashing around chimneys and in
valleys. Any sign of rusty, loose or missing
flashing? Flashing is the weakest part of any
roof. Copper is the best flashing, and will
show a green patina.
5. Chimneys. Is the masonry cracked or
crumbling? Do the chimney flues have a tile
lining? If not, they could be a fire hazard.
6. Gutters. Are there any loose, rotted or
missing gutters?
7. Does the ridge of the roof sag? This
could be normal settling that comes with age,
or it could be caused by rotted rafters or a
lack of roof ties. Check further.
8. Cornice. Is there badly peeling paint on
the cornice- especially on its underside?
This can be a sign of a roof leak that is spill-
ing water into the cornice.
The Attic
1. Any sign of leaks (such as dark wate:
stains) on the underside of the roof, espeCially
around chimneys, valleys and eaves?
2. Is the attic adequately vented? Check
for signs of mildew on the underside of the
roof boards.
3. Is any insulation visible between the
attic floor joists? This is the best place for
attic insulation.
Exterior Walls
1. Do exterior walls seem plumb? You can
check this with a weighted string. Out-of-
plumb walls can be a sign of serious_ founda-
tion problems. Sight along the extenor walls.
Any sign of major bulges? This could be due
to major structural flaws.
2. Do doors line up squarely in their
frames? Out-of-square doors can be another
sign of possible foundation trouble. Signs of
sag are not necessarily a major drawback, but
it does mean that an investigation should be
made to find the cause. Some sags require no
remedy: others can be cured with a few. sup-
ports. Still others require major foundat10n
surgery.
3. Is paint peeling, curling and
ing? This could mean a water et_ther
a leak or a lack of sufficient vapor barrter m
the wall.
4. Are there open joints around door
frames, window frames and trim? These
will have to be caulked.
5. Clapboards. Are many loose, cracked or
missing?
6. Masonry walls. Any signs of cracks?
Horizontal and hairline cracks in bricks are
not a major problem. Cracks that run verti-
cally through bricks and mortar are more
senous.
7. Is the mortar soft and crumbling, are
bricks missing or loose? Loose masonry is
vulnerable to attack by water. Having a
masonry wall repainted with fresh mortar is
expensive or time-consuming.
8. Has the masonry been painted? It will
have to be repainted about every 5 years . If it
is not porous brick, it may be stripped, in
order to make further painting unnecessary,
but this is a major task.
9. Has insulation been blown into the
side walls? In cold weather you can tell how
good the wall insulation is by feeling the
inside of an exterior wall, and comparing with
temperature of an interior partition. They
should feel about the same.
Termites and Rot
1. Termites. Any sign of vertical tubes of
dirt on interior or exterior walls? These are
termite tunnels. Look for them on founda-
tions, under porches, steps and on cellar
walls.
2. Wood near the ground should be
probed with a pen knife to test for sound-
ness. Check elements such as cellar window
frames, sills, floor beams, posts, porches and
steps. Spongy wood can be caused by termites
or by rot. Rot can be arrested by shutting off
the sources of moisture. Termites call for
chemical warfare. If unsure about the cause of
spongy wood, call in an expert.
3. Is all exterior wood at least 6-8 in.
above the ground? If not, this is an inviting
target for termites and rot.
4. Anv signs of rot in the cornice or attic
beams? Leaking roofs and gutters often spill
water into the top of a house, where it goes
undetected for long periods.
The Attic
1. Any sign of leaks (such as dark
stains) on the underside of the roof, espeoally
around chimneys, valleys and eaves?
2. Is the attic adequately vented? Check
for signs of mildew on the underside of the
roof boards.
3. Is any insulation visible between the
attic floor joists? This is the best place for
attic insulation.
Exterior Walls
1. Do exterior walls seem plumb? You can
check this with a weighted string. Out-of-
plumb walls can be a sign of serious_ founda-
tion problems. Sight along the extenor walls.
Any sign of major bulges? This could be due
to major structural flaws.
2. Do doors line up squarely in their
frames? Out-of-square doors can be another
sign of possible foundation trouble. Signs of
sag are not necessarily a drawback, but
it does mean that an invesugatwn should be
made to find the cause. Some sags require no
remedy: others can be cured with a few. sup-
ports. Still others require major foundatwn
surgery.
3. Is paint peeling, curling and
ing? This could mean a water et_ther
a leak or a lack of sufficient vapor barrter m
the wall .
4. Are there open joints around door
frames, window frames and trim? These
will have to be caulked.
5. Clapboards. Are many loose, cracked or
missing?
6. Masonry walls. Any signs of cracks?
Horizontal and hairline cracks in bricks are
not a major problem. Cracks that run verti-
cally through bricks and mortar are more
serious.
7. Is the mortar soft and crumbling, are
bricks missing or loose? Loose masonry is
vulnerable to attack by water. Having a
masonry wall repainted with fresh mortar is
expensive or time-consuming.
8. Has the masonry been painted? It will
have to be repainted about every 5 years. If it
is not porous brick, it may be stripped, in
order to make further painting unnecessary,
but this is a major task.
9. Has insulation been blown into the
side walls? In cold weather you can tell how
good the wall insulation is by feeling .
inside of an exterior wall, and companng wtth
temperature of an interior partition. They
should feel about the same.
Termites and Rot
1. Termites. Any sign of vertical tubes of
dirt on interior or exterior walls? These are
termite tunnels. Look for them on founda-
tions, under porches, steps and on cellar
walls.
2. Wood near the ground should be
probed with a pen knife to test for sound-
ness. Check elements such as cellar window
frames, sills, floor beams, posts, porches and
steps. Spongy wood can be caused by termites
or by rot. Rot can be arrested by shutting off
the sources of moisture. Termites call for
chemical warfare. If unsure about the cause of
spongy wood, call in an expert.
3. Is all exterior wood at least 6-8 in.
above the ground? If not, this is an inviting
target for termites and rot.
4. Any signs of rot in the cornice or attic
beams? Leaking roofs and gutters often spill
water into the top of a house, where it goes
undetected for long periods.
Interior Spaces
1. Are there any signs of water stain or
damp plaster? This means leaks coming
either from the roof or internal pipes. Check
top-floor ceilings, the inside of exterior walls,
and the ceilings and partitions under bath-
rooms.
2. Is there a noticeable bounce to the
staircase when you jump on it? Substantial
vibration may mean structural problems that
will be quite costly to correct.
3. Is the flooring in good repair? Floors
covered with carpet or linoleum can harbor
problems. Do floors have a pronounced sag or
tilt? Place a marble on the floor and see if it
rolls away. This could be normal settling, or
a serious structural flaw. Do floors vibrate
when you jump on them? Possible causes:
undersized beams, inadequate bridging,
cracked joists, rotted support posts. Often this
can be cured fairly simply with a few new
supports.
4. Windows. Does the sash move up and
down smoothly? Do window frames show
signs of water leakage? Chipped and curling
paint at bottom of sash and sills is unsightly,
but it can be cured with caulk, putty and
paint.
5. Are the fireplaces in working order?
Evidence of recent fires is reassuring. Are
there smoke stains on front of the mantel? A
smokey fireplace can be cured, but it is a
bother.
Foundation
1. Is there a dug cellar, with wood sills
resting on a masonry foundation well
above ground level? Some old structures
have heavy beams resting directly on the
ground. These eventually have to be replaced,
which is a major undertaking.
2. Is mortar in the foundation soft and
crumbling? This is not necessarily serious as
long as there is no sign of sag in the struc-
ture: ditto for foundation walls laid dry with-
out mortar. Are there any vertical cracks in
the foundation wall? This could be serious, or
it could be from settling that stopped years
ago. Have an engineer check it.
3. Does the ground slope away from
foundation, so that rain water drains off?
Do downspouts have splash blocks to divert
water away from house? If the downspout
goes into the ground, be sure that it isn't
pouring water into the earth next to the
foundation - a flooded basement is a likely
result.
4. Any sign of dampness on the underside
of floors around pipes? If leaks have gone
undetected for some time, there could be sub-
stantial wood rot.
5. Does the basement show signs of
periodic flooding? It is a good sign if the
current owner stores tools and papers on the
cellar floor. It is a bad sign if there are rust
spots, efflorescence or mildew on walls, or
material stored on top of bricks to raise it
above floor level.
6. Any sign of sagging floors, rotted sup-
port posts or temporary props to shore up
weak flooring?
Electrical System
l. Does the wiring in the cellar appear to
be a rat's nest of old frayed wires? This is
a serious fire hazard, and the wiring must be
redone.
2. Does the main power box in the cellar
have at least 100 ampere capacity? An
up-to-date installation will have its capacity
marked on it. An old fuse box with only 3-4
fuses in it means that there may only be
30-40 amperes - far too little. A re-wiring
job will be needed.
3. Are there enough electrical outlets in
every room?
4. Is there any sign of surface-mounted,
lampcord extension wiring, or multiple
cords plugged into a single outlet? This is
a tell-tale sign of underwiring.
Plumbing
1. Are water pipes copper or brass?
Copper and brass are longer-lasting. Galvan-
ized iron or lead will need replacing. A
magnet sticks to iron. Lead is soft and silvery
when scratched with penknife.
2. Is the water pressure adequate? Test
this by turning on the top floor sink faucets.
Then turn on bathtub, and flush the toilet. If
the water slows to a trickle, the piping may
be inadequate or badly clogged.
3. Is the water supply from a city main?
Is the plumbing connected to a city sewer
system?
4. Are the water pipes and large waste
pipes in good condition? The cellar is the
best place to evaluate the plumbing. Look for
patches on the waste pipes; that is an indicator
of advanced age. Replacement is expensive.
5. Ask to see a water bill for the latest
year. If it is very high (the bill for a small
family might normally be about $70 every six
months). then a leakage of water is likelv.
Heating System
1. Was the heating plant originally de-
signed to burn coal? If so, it is more than
30 years old and will need replacement.
2. Does the heating system operate satis-
factorily? You can test the system even on a
summer day. Move the thermostat setting
above the room temperature. Heat from a
hot-air furnace should appear at the registers
within a few minutes. In a steam or hot-water
system, the radiators should heat up in 15-20
minutes. Copies of fuel bills from the last
heating season are a good measure of the
heating system's efficiency.
3. In a steam heating system, do the floor-
boards around radiators show signs of
black stains and rot? This comes from
leaks, and indicates that the system has not
been well maintained.
4. Is the capacity of the hot water heater
at least 40 gallons? This is minimum re-
quired by a family of four with an automatic
clothes washer. Any sign of leaks or rust
spots on the hot-water heating tank? Check
by peeking through the small door that gives
access to the pilot light.
Taken and rc,ised trom: Inspection check list for Vintage
A Guide for Buyers and Owners. New York : The
Old House Journal. c. 1977. Reprinted with permission from
The Old House Journal, 199 Berkeley Place, Brookl yn.
11217.
1 ~ U l t : ~ U.lJ. UU y .1..1.15
a House or
Getting a
Building Perlllit
There are several things you should do before
signing an agreement of sale. Agree on a
price. A fair price is based on building condi-
tion, and the zoning and code situation. See
that the building is free from all violations of
housing, construction, electrical, plumbing,
zoning and health codes. If violations are
found, the price will be affected. Make sure
that the agreement of sale shows at whose
expense they are to be corrected.
Check the zoning regulations of the District
of Columbia, and look at a zoning map to see
what uses are permitted in your area. If you
plan to change the use or structure of the
buildings, see if a variance is necessary. Get-
ting a variance is a lengthy and uncertain
procedure. Ask about the City property,
water and sewer taxes .
Check the ownership of land and buildings.
Your lot may not be officially recorded. If
not, it may have to be surveyed if you are
erecting an addition or a new building. Find
out if there are any liens or claims against the
property. This is normally checked through a
title insurance company. Encumbrances on
the deed or title should be resolved before the
sale.
Find out the mortgage cost - the total
amount of interest to be paid over the entire
term of the mortgage. A broker may find a
mortgage source for you, or you can find one
of your own. There are four normal sources
for home mortgages in the District of
Columbia: a savings and loan association
(which is the most common source). a bank
construction loans than in long-term mort-
gages), a mortgage company (which may
require a lower down payment but corres-
pondingly higher annual payments), and,
most recently, a federal credit union (which
may offer the best rates). Brokers tend to use
preferred sources for mortgage money, and
these may not always be best for the buyer.
Compare costs.
If you want to make physical changes to an
existing building, or build a new structure,
you will have to get a building permit in most
cases, and fulfill the requirements of a num-
ber of city agencies before starting work.
Permits are required for the construction,
enlargement, alteration, demolition, or
moving of a structure, a major change in its
use, or the installation or alteration of certain
equipment. Permits are not required for ordi-
nary painting or maintenance, such as fixing
a faucet or patching a roof, or for small, non-
structural additions such as affixing shutters,
adding an air conditioner in a window, or
replacing a door or window without changing
its form. They are not required for minor
electrical or plumbing repairs, done by a single
family homeowner in his own dwelling. Per-
mits are required for work on the basic struc-
ture of the building, such as cutting into a
wall; major plumbing, such as the relocation
of a waste vent pipe; or work on electrical
service wiring and distribution of power. They
are also required for removing or adding
porches or fences, or for blocking exterior
windows and doors. Questions as to what re-
quires a permit should be addressed to the
Building and Zoning Regulation Administra-
tion of DHCD.
alkyd resin paint
apron
asphalt siding
awning
baluster
handsaw
bargeboard
(or vergeboard)
bay
bay window
bond
bracket
broker
building permit
bungalow
burglar bars
cast iron
caulking
cellulose
chain link fence
clapboard
column
concrete block
corbel
corner board
cornice
crawl space
Glossary
A modern paint made from a synthetic resin which is compatible with old oil based
paints.
The trim under the projecting sill of a window.
Thin asphalt -coated sheets or rolls used to cover buildings for weather protection.
This material can be cut to approximate the look of shingles, or patterned to
approximate the look of brick or stone, but it is a poor imitation.
A projecting canopy providing shade over window or door openings. Early awni ngs
were of canvas and were adjustable. Fixed aluminum awnings are now available, in
addition to canvas.
An upright, like a miniature column, which, in series, supports a handrail.
A power saw in the form of an endless steel belt running over pulleys, allowing
elaborate cut-out wooden details to be made easily.
The decorated board following under the roof edge of a gable.
A principal vertical division of the facade of a building, usually that contained benveen
adjacent piers or columns.
A window or windows that projects from the wall.
The particular pattern in which bricks appear to overlap in the face of a wall.
An overhanging, usually decorative, member which projects from a wall to support
something above.
An agent who negotiates contracts to buy and sell property and receives a percentage
of the sale price for his services.
A permit issued by the city, to construct or alter buildings. The permit certifi es that
the intended construction will conform to building and fire codes.
A small one-story house, \Vith a low sweeping roof and usually with a veranda in
front; first adapated from cottages used in the colonial occupation of Indi a and
Southeast Asia.
Bars installed over window openings to make them inaccessible to burglars.
A hard, brittle form of iron, cast in a mold.
A non-hardening waterproof material used to fill cracks at the intersection of wood or
metal with masonry.
The fibrous material that makes up the cell wall of woody plants and can be used for
building insulation.
A modern fencing materi::>! of open woven wire, fastened to metal or wooden posts.
Horizontal boards which are overlapped to form a weatherproof exterior wall.
A supporting pillar.
A building block, usually 8 x 8 x 16 inches. made of cement and sand.
Successive courses of masonry which extend, one beyond the other, from a wall.
A flat vertical board running up the outer corners of clapboard or shi ngle-covered
walls: or the metal or plastic imitation of this feature.
The decorated projecting horizontal member at the top of a wall .
Space under the ground floor which allows access to pipes, ducts, etc.
cresting
cross section
cupola
curb
dentils
development
Doric
dormer
double-hung window
downspout
Eastlake
eaves
efflorescence
engaged column
entablature
epoxy filler
facade
fiberglass batt
finial
flashing
Flemish bond
(see bond)
foliate
forms tone
(or "permastone"
or "pressed stone")
framing
frieze
gable
galvanized metal
gauge
grade
grating
gutter
Decorations along the ridge of the roof, made ot wood or 1ron.
A graphic representation of a section of a building or building element taken across its
shorter dimension.
A small structure, usually square or round in plan, rising above a main roof.
A low stone or concrete edging between street and planting strip.
Small square blocks running along the underside of a projecting cornice.
Here, a large-scale new building construction or land subdivision project.
The simplest of the classical orders of architecture, without ornamentation.
A minor gable in a pitched roof, providing a window on its front vertical face.
A window having two balanced sashs, one sliding over the other vertically.
A rain leader or vertical pipe to conduct water from the gutter at the eaves.
Heavy Victorian lathe-turned furniture or architectural decoration whose columns and
details were modeled after the decorative style of the architect Charles Eastlake
(1833- 1906).
The edge of a roof which projects over an outside wall.
A surface powder or crust which appears due to internal chemical processes of
crystaliz.ation, solution. or deposition.
Column attached to, and projecting from. a wall.
In classical architecture, the combination of architrave, friez.e and cornice, which
rested on the capitals of the columns, and supported the roof or pediment above.
A modern polymer material which is flexible and rot-resistant, used as a filler in repair
of deteriorated wooden elements.
A face of a building, usually the front .
Insulating material made of a mat of thin glass fibers. which usually comes in 16'
wide rolls and various thicknesses. Typically, one side is covered with an aluminum
foil paper which serves as a vapor barrier.
A decorative terminal form at the top of a spire. pinnacle, or other high point.
Sheet metal strips which make weathertight joints between a chimney or wall and a
roof, between wall and window head, or in the valleys of a roof.
A brick pattern in which the ends and sides of the bricks appear alternately in each
course.
Shaped like a leaf, or used in reference to tracery employing a series of small curved
indentations that meet to form points or cusps.
A material applied over brick or clapboard surfaces in a pliable wet state. which
hardens upon drying. It can be grooved and colored to resemble stone work.
The horiz.ontal and vertical wooden members (beams, columns, studs. joists, etc.)
which form the structural "bones" of a building.
A sculptured or ornamented band on a wall.
The vertical, triangular face of the end of a building, under a pitched roof.
Metal coated with z.inc.
The measure of the thickness of sheet metal or of the diameter of wire.
The level of the ground about a building.
An iron framework of crossed bars.
A channel for water, at the roof edge or at ground level.
half-timbered
handrail
hood
hydrofluoric acid
iron oxide primer
jigsaw
joist
latex paint
lathe
lattice
L'Enfant Plan
lime
lintel
loggia
lot line
louver
mantelpiece
Mansard roof
masonry paint
meter
modillion
molded brick
mortar
moulding
(or molding)
mullion
oil-based paint
one-over-one
opening-to-wall ratio
A type of medieval English construction where the wooden structural members are
exposed on the outside of the building, and the wall between them is surfaced with
stucco.
The horizontal member at hand height which tops a railing.
A projecting shelter above a doorway.
A poisonous acid \vhich when diluted with water will attack silica and silicates. It is
used in polishing and etching glass and, in very weak solutions, for cleaning masonry
walls of dirt and stains from air pollutants.
Paint made of iron oxide (or rust), used as a flat coat on rusty iron surfaces.
A thin, narrow saw blade, operated mechanically up and doVI.- n, which can saw along
curved lines.
A horizontal member in the framing of a floor or ceiling.
A modern paint based on a water emulsion of synthetic rubber. It is excellent for new
interior or exterior work, but should not be used to cover old oil -based paints.
Thin strips of wood sheets or of a perforated metal upon which plaster or stucco is
spread: also a machine in which wood or metal is held and rotated while being shaped
by a tool.
An openwork grille with interlacing strips.
The street plan for the new federal city of Washington, designed by the French
engineer, Maj or Pierre Charles L' Enfant. in 1 791.
Calcium oxide, mixed with water and cement to make plaster and mortar.
Horizontal structural member spanning an opening - door lintel. window lintel.
A passage or gallery, colonnaded on one or both sides.
The line describing the legal limits of a piece of landed property.
One of a series of horizontal slats. tilted to exclude rain and snow. but allowing air to
pass.
The shelf above a fireplace opening.
A roof sloping in two planes, the lower of which is much steeper . Named for the
French architect, Francois Mansart ( 1598-1666 ).
Paint which will adhere to. and protect, masonry surfaces. while allo\ving the
necessary 'breathing'' action of moisture in the masonry to continue.
A device for measuring the flow of gas or electrical current.
A decorated block or horizontal bracket used in series under a cornice.
Bricks or structural clay panels which are imprinted with three-dimensional decorative
patterns.
A mixture of sand. water, lime and cement, used to bind together the units of
masonry.
A continous decorative strip of rectangular or curved profile, used to make a
transition between surfaces, or for obtaining a decorati\e play of light and shade.
The narrow members which divide separate panes of glass.
A paint that contains a drying oil as the basic vehicle. This is the traditional exterior
paint used before modern latex and alkyd resin paints.
A window with only one pane of glass in each sash.
On a building facade, the relative amount of window or door openings versus
solid wall.
ornamental iron
panel
parapet
parging
party wall
patina
pattern books
paving
pediment
pendant
pentachlorophenol
penthouse
permastone
pier
plan
picket fence
pointed arch
pointing
polyethelene sheet
Portland cement
post
pressed brick
pressed metal
(or "stamped metal")
pressed stone
pressure-treated
wood
quoins
rafter
red lead primer
roll roofing
Cast or wrought tron '-''-""".5-' .... --- -, -
flower and leaf-like patterns.
In general, any flat sheet of construction material , but here refers to a thin board set
in a thicker frame (as on a door), or to a sunken or raised surface set off by a molding
(as on a wall ).
A low, retaining wall at the edge of a roof, porch. or terrace.
The rough plastering of a masonry wall with cement plaster to smooth it or make it
watertight.
A wall between two properties, owned in common. which each owner can use to
support his or her adjacent building.
A handsome surface appearance which has developed with age or use.
Books of house and house detail designs published during the 19th century for use by
house builders.
The surface covering of the ground, usually with cobblestones, brick or granite pavers;
or by concrete, or asphalt.
The triangular face of a roof gable, especially its classical form.
An ornamental member suspended from above.
A crystalline compound (C.,C 1 used as a wood preservative, fungacide and
disinfectant.
Enclosed space above the level of a main roof. as the top of an elevator shaft or above
roof apartment.
See ' 'forms tone.''
A vertical structural support of masonry, usually rectangular in plan, whether isolated
or attached to a wall.
A graphic representation of a building as it would be seen if cut by a horizontal plane.
A fence of upright wooden members supported by upper or lower rails between posts.
Arch form which comes to a point at its top.
The final filling and exterior finishing of the mortar joints between bricks and stones.
A thin plastic sheet which is resistant to chemicals, impervious to moisture, and, in
certain installations, can provide good insulating qualities.
A finely ground calcareous material which, when added to water, forms the binding
agent and chief ingredient for concrete.
An upright supporting member.
Brick subjected to pressure before firing, to increase its density and to free it from
imperfections of shape or texture.
Metal sheets used for decoration or as a siding material, which has a raised pattern
stamped onto its surface during its manufacture.
See '' forms tone. ' '
Wood which has been impregnated under pressure with chemicals, such as
pentachlorophenol, to increase its resistance to insects and dry rot.
The corner stones of a wall when these are emphasized by size, by more formal
cutting, by more conspicuous jointing or by difference in texture or materiaL
The supporting member of a roof. running from eave to ridge.
Textroxide with lead, widely used for the first coat in painting bare metal as a
protection against rust.
Rolls of sheet roofing made of felt and asphalt which are laid in overlapping rows to
r
roofing cement
roofline
roof slope
row house
rustication
salvage yard
sash
section
segmental arch
semi-detached house
setback
sewer
shingle
shutter
sidelight
silicone
sill
slate
solar panel
spalling
span
stained glass
stoop
storm door
storm window
story
streetscape
stringcourse
strut
stucco
A water-resistant tar-like substance spread between layers of roofing felt on flat-roofed
buildings.
The profile of the roof at its uppermost part.
The degree of slant of the roof surface. For example, a roof slope of 1 in 12 refers to a
roof which rises one foot vertically for every 12 feet it extends horiz.ontally.
House which is one of a row, joined sidewise to its neighbors by party walls.
Masonry whose surface or edges are roughened or otherwise textured to emphasize
the material or its joints.
Storage yard where used materials or building features (doors, windows, fireplace
mantels, etc.) are kept for eventual reuse or sale.
The (usually movable) frame in which the glass is set in a window.
Drawing representing what would be revealed by an imaginary vertical plane cutting
through a building.
A round arch whose curve is less than half a circle.
One of a pair of d\\.-ell ings in a two family house in which the dwellings are arranged
side by side.
The distance between the front of a building and the street or lot line.
Conduit for sewage and storm water.
A wedge-shaped piece of wood used in overlapping courses to cover a roof or an
outside wall surface; the name is also given to similar units made of other materials .
A movable cover for a window, usually of wood, hinged to the outside jambs.
One of a pair of narrow windows flanking a door.
A water-resistant polymer often used as a surface sealant. It should not be applied to
exterior masonry as it prevents the "breathing" action of brick or stone.
1) Horizontal member immediately supported by a foundation wall or piers, and
which in turn bears the upright members of a frame; 2) A horizontal piece at the
bottom of a door or window frame .
Thin split pieces of rock, here used in shingle form for roofing.
The heat -absorbing component exposed to the sun as part of a solar energy heating
system.
A splitting off of the surface of brick or stone.
The distance between the supports of a beam, arch. or the like.
Colored glass held in decorative patterns by lead cames and metal frames.
A broad platform step at the entrance of a house.
An additional door placed outside the principal external door to protect it against the
weather.
An additional window sash covering the ordinary window for better insulation and
weather protection.
The space in a building between successive floor levels.
The general appearance of a street encompassing ail its features: sidewalks,
landscaping, wires, houses, etc.
A plain or molded horizontal continuous band on an external wall.
A short post designed to resist compression, used to stiffen a framework or to hold
apart some of its elements.
Plaster of cement, lime. and sand, used to cover exterior walls.
stud
subdivision
suburb
synthetic siding
tar and gravel roof
terne metal
terrace
terra cotta
tile
transom
trellis
trim
truss
Tudor arch
turned work
turret
Tuscan
two-family house
(or "duplex")
utilities
vapor barrier
vent
vinyl
voussoir
wrought iron
Vertical member of the wood frame of a wall.
A plot of ground divided into building lots.
An outlying section of or near a city, predominantly for residential use.
Vinyl or aluminum sheeting used to cover the exterior wall, and made to imitate
wooden clapboard.
A flat or slightly sloping roof covered with alternate layers of roofing felt and tar. and
finished with a gravel coating.
Sheet steel coated with an alloy of 80% lead and 20% tin; used chiefly for roofing.
A level space raised above the adjoining land, and usually flanked by a building.
Molded and fired clay units used for roofing, facing or ornament.
A unit of baked clay in various forms, for roofing or for wall or floor covering.
Structural tile are units of baked clay. usually hollow, for self-supporting walls or
partitions.
An opening over a door or window, for light or ventilation, usually glazed ahd often
hinged or pivoted.
A lattice work used as an outdoor screen or for the support of plants . Now imitated in
the manufacture of thin metal posts for porches.
The decorative framing of door and windows.
A combination of straight members. typically triangular in form, which forms a rigid
framework and is used to bridge large spans.
A type of arch whose sides begin with a curve at the bottom, become strai,<jht along
the mid-points, and end in a point at the top.
Woodwork cut on a revolving lathe.
A small tower, usually corbeled, at the corner of a building, and extending above it.
Relating to one of the five classical orders of architecture that are of Roman origin and
plain in style.
Dwelling structure built for two separate households . whether side by side or with the
second unit above (see "semi -detached house").
Equipment connected to a st ructure in order to provide such services as water,
electricity or gas.
Material, usually in thin sheet form. designed to prevent the passage of moisture
through a wall or to avoid condensation within the wall.
An outlet for ventilation.
A modern polymer product used as a siding material in a form resembling wooden
clapboards, or as a sheathing for wooden windows.
One of the wedge-shaped stones that make up an arch or lintel.
Iron containing little carbon. which is rolled and hammered into shape.
[A principal source of these and other definitions of architectural terms is: Henry H. Saylor, Dictionary of
Architecture. New York: John Wiley and Sons, 1963.]
Bibliography
History and Architectural History
Condit, Carl W.y American Building Art: Tbe 19th
Century. New York: Oxford University Press, 1960.
Ferro, Maximilian L., Evolution of Masonry Construc-
tion in American Arcbitecturaf Styles. Published by
Service Master Industries, Inc., Downers Grove.
lllinois 60515, 1976.
Fitch, James Marston, American Building: The His-
torical Forces Tbat Shaped It. Boston: Houghton
Mifflin Company, 1966.
___ , American Building 2: Tbe Environmental
Forces That Shaped It. Boston: Houghton Mifflin
Company. 1972.
Glassie, Henry H., Victorian Homes in Washingt on.
Washington: Columbia Historical Society. 1966.
Gutheim, Frederick, and Washburn. Wilcomb E., The
Federal City: Plans and Realities. Washington. D.C.:
Smithsonian Institution Press. 1976.
Hitchcock, Henry-Russell, Architecture of the 19th and
20tb Centuries. Baltimore. Maryland: Penguin
Books. Inc .. 1958.
Jackson. Loretta, Oral history presentation on LeDroit
Park to the Columbia Historical Society on October
15. 197 4. Available at the Columbia Historical
Society, Washington, D.C.
Lewis. Arnold. and Morgan. Keith. American Vic-
torwn Arcbitecture: A Survey of tbe '70's and '80's
in Contemporary Pbotograpbs. New York: Dover
Publication, Inc., 197 5.
Loth. Calder, and Sadler, Julius Trousdale. Jr., Tbe
Only Proper St)'fe, Boston: New York Graphic
Society, 1975 (on Gothic Revival architecture).
Maas, John, Tbe Gingerbread Age: A View of Vic-
tori<Jn Arcbitecture. New York: Bramhall House.
1957.
___ , The Victori<Jn Home in America. New York:
Hawthorn Books, 1972.
Poppeliers, John, et. al., Wbat Style Is /(? Washington.
D.C.: The Preservation Press, National Trust for
Historic Preservation, 1977.
Whiffen, Marcus, American Architecture Since 1780:
A Guide to tbe Styles. Cambridge. Massachusetts:
MIT Press, 1969. Concise guide to historic sources
and major design characteristics of American archi -
tectural styles.
Renovation and Restoration Practice
Crump, Allison, Paint Colors for Your 19th Century
House. Cambridge, Massachusetts: Cambridge His-
torical Commission, 1978. Lists varieties of house
color combinations appropriate for styles of the
1800's and early 1900's.
Dietz, Albert G.H., Dwelling House Construction,
Cambridge, Massachusetts: MIT Press, 1971. A
thorough description of all aspects of house building;
very helpful as background reading before beginning
rehab work.
Gladstone, Bernard (ed.), The New York Times Com-
plete Manual of Home Repairs. New York:
Macmillan Publishing Co., Inc., 1966.
Old-House Journal Buyer's Guide. Sources for 205
Hard-to-Find Products and Services for the Restora-
tion, Maintenance and Decoration of Vintage
Houses. Brooklyn: The Old-House Journal, 1976.
Phillips, Morgan W., ''The Eight Most Common
Mistakes in Restoring Historic Houses ( . .. And
How to Avoid Them).'' Yankee Magazine
(December. 1975).
Preservatio11 and Building Codes. Washington. D.C.:
National Trust For Historic Preservation, 1975.
Reader's Digest Association. Inc.. Reader's Digest
Complete Do-It-Yourself Manual. Pleasantville, New
York: The Reader's Digest Association. Inc. , 197 3.
Stanforth, Deirdre. and Stamm, Marsha. Buyir1g and
Renovating a House in tbe City. :"Jew York: Alfred
A. Knopf, Inc. , 1974.
Stephen. George, Remodeling Old Houses Witbout
Destroying Tbeir Cbaracter. New York: Alfred A.
Knopf, Inc., 1973.
Thomas. James Cheston, Restoring Brick and Stone:
Some Do s and Don 'ts. Technical Leaflet No. 8 I .
Nashville. Tennessee: American Association for
State and Local History, in History News, Vol. 30,
No. 1 (January, 197 5 ).
Turner, R.].. How to Find a House to Renoz,ate in
Wasbingtotl. D.C. Washington, D.C.: Turner
Publishing, 1977.
Periodicals
American Preservation. Little Rock, Arkansas: The
Bracy House. Bimonthly magazine ($12/year) on
historic and neighborhood preservation.
Historic Preservation and Preservation News. Washing-
ton, D.C.: The Preservation Press. Quarterly and
monthly publications covering preservation issues
and projects across the country. Available free to
members of the National Trust for Historic Preserva-
tion, 740-748 Jackson Place, N.W., Washington,
D.C. 20006.
Old-House journal, Brooklyn, New York: The Old-
House Journal Company. (Subscriptions $12/year.
c/o The Old-House Journal, 199 Berkeley Place.
Brooklyn, NY 11217 .) Monthly newsletter of help-
ful advice on different renovation projects and
sources for useful supplies . An index to articles is
available and back issues can be ordered.
Related Materials
Guide to Federal Programs (and Activities Related to
Historic Preservation). Washington, D.C.: National
Trust for Historic Preservation, 1974.
Harris, Cyril M ., Dictionary of Architecture and Con-
struction. New York: McGraw-Hill, 1975.
Neighborhood Preservation: A Catalogue of Local
Programs. Washington, D.C. : U.S. Government
Printing Office, 1975. (Stock Number 023-000-
00285-0: price: $5.15). A selection of one hundred
locall y initiated neighborhood preservation programs
compiled as a guide for local decision makers and
community leaders.
Saylor, Henry H., Dictionary of Architecture. New
York: John Wiley and Sons, Inc., 1963.
Solo, Dan X., Victorian Display Alphabets. New York:
Dover Publication, 1976.
Ziegler, Arthur P .. Jr., Hist oric Preservation irl Inner
City Areas. Pittsburgh: Ober Park Associates, 1974.
.... b
'rD rrrr r
Credits
D.C. Department of Housing and
Community Development
Robert L. Moore, Director
Division of Planning and Resea rch
Lawrence Press, Acting Chief
Stanley M. Sherman, Architect
Office of Historic Preservation
Lucy Franklin, Acting Chief
Sulanne Ganschinietl , Staff Historian
Community Program Services
Reginald M. Green, Acting Area Director
Carr, Lynch Associates
Stephen Carr, Principal
Kevi n Lynch, Principal
Gerald Robi nson, Managi ng Pl anner
Louis Fisher, Community Architect
Carole Zellie. Preservation Pl anner
Cynt hia Howard. Preservation Architect
Photos
Cynthia Howard
Kenneth Savage
Carole Zellie
Illustrations
Cynthia Howard
Louis Fisher
Isabel J\.l ancinelli
Support Staff
Rut h Barratt
Lily Myers
John Messervy
Isabel Mancinelli
Martha Pemenik
A. L. Nellum and Associates
Pat rici a Wright, Project Director
lmani Kalana, Community Planner
Community Planning Staff
Carolyn Garland, Planning Aide
Booth Simpson Designers
Kathryn Sumpter. Graphic Designer
LeDroit Park Community
We gratefully acknowledge the many hours of time
contributed by those residents of leDroit Park who
participated in the review of these guidelines during
their development. Many other individuals and organi -
lations gave valuable advice and support to the historic
preservation pl anning project. In particular we would
like to recognile the following organi lations for thei r
contributi ons and support.
LeDroit Park Historic Preservation Society
LeDroit Park Historic Project Inc.
LeDroit Park Civic Association.
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