HomeMy WebLinkAbout1994 Northgate - Vision DocumentL.
NO HGATE
City of College Station
Planning Division May 1994
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NORTHGATE
Plannin
Division
Gali Dolev
Visiting Architect and Town Planner
May 1994
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Introduction
' This document presents our vision for the Northgate area.
First of all we review the historical background of the Northgate area. Any development in the
' area should take into consideration the history of the place.
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We also think it is important to review the literature on the relevant subjects. These subjects are
architectural background, historic preservation and facade improvement. They characterize Main
Street all over America.
The architectural background includes a presentation of the typical styles of American commercial
architecture, and the new approaches towards public space - Plaza.
Also included is general information on historic preservation, what are the necessary steps while
implementing a preservation program, and details of different facade improvement methods.
The last part of the document will have a view toward the future. The design guidelines are the
combination of design thoughts, images and specific drawings regarding the Northgate area.
These guidelines are the base for any design process that will take place in the area.
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TABLE OF CONTENTS
I.
Preface
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II.
Northgate - Local History
4 -7
III.
Northgate - Architectural Background
8 -14
IV.
Northgate - Historic Preservation
15 -17
V.
Northgate - Facade Improvement
18 -20
VI.
Northgate - Design Guidelines
21 -29
OA
Commercial
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NORTH GATE - LOCAL HISTORY
During the 1930s, ever greater numbers of students, faculty members and businessmen gravitated
towards the college community. A small business district flourished along the northern fringe of
the campus. When the post office and Boyett relocated at Northgate in the early twenties, other
business, to the satisfaction of college officials, also settled in the area. Just before incorporation,
various merchants served the college population. Students frequented the barber shops, cleaners,
military supply outlets, and tailors. Residents could purchase medical supplies at Aggieland
Pharmacy or Lipscomb's Pharmacy and groceries at Luke's Campus Grocery or Charlie's Food
Market. Occasionally, families enjoyed a meal out at The College Inn or at the Texas A and M
Grill.
' On February 25, 1939 the College Station City Council held its first council meeting in the
Administration Building on campus. Instead of continuing to rely on campus space, College
Station officials decided to establish their own office, one which would be used solely for Council
meetings and City business. Joe Sosolik had an available room over his Aggieland Studio at
Northgate which rented for $17.50 per month, with utilities and furniture. The Council agreed to
the terms and met for the first time in the new quarters on May 18, 1939.
Three distinct sections of the City expanded during the 1940s. Each section had its own
residential area with accompanying shops. Northgate continued to serve as the main business
' district. New additions to that area included a theater, hardware store, dentist office, and a
Methodist Church.
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A newspaper article from 1944 described College Station as, "The fastest growing city for its size
in the state of Texas." The newspaper went on to describe "...the thriving business center of
College Station is located at the northern end of the A &M campus, better known as the North
Gate' to both students and towns people. It consists of cafes, drugstores, grocery stores,
confectioneries, tailors, cleaning and pressing establishments, shoe repair shops, men's furnishings,
jewelers, photographers, barber shops, a dentist and a post office. Recently a new $65,000 theater
has been added to the many business establishments at 'the gate'. It has a seating capacity of 628
people and has the most modern movie equipment obtainable."
In December 1947, residents celebrated the opening of College Station's first City Hall. Although
the City office had moved and expanded in 1942 from one room at Northgate, to two rooms in
the Burgess Building on the south side, officials were delighted to have their own building for
transacting City business. The modern one -story structure, designed by architecture students
under Langford's guidance, was located in Northgate across Wellborn Highway adjacent to the
railroad tracks.
College Station Bank opened its doors on May 1, 1946 in a small, two -room wooden building in
Northgate, and the Council authorized the transfer of the City's banking business from Bryan to
College Station. The institution became a national bank in the next decade, changing its title to
University National Bank.
Residential
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Housing for faculty and staff was rapidly constructed from the 1890s on. The formal
incorporation of the City of College Station in October 1938, conditions were propitious for the
disposition of campus housing. The old Texas A &M campus houses were sold and moved to
different locations.
The houses are frame construction, and the sizes vary from large two -story structures to small
cottages of perhaps 1,200 square feet. The styles of the existing structures can be grouped into
four main types:
1. Queen Anne: containing neo- classical features, constructed between 1890- 1910. This
was the predominant style in the area.
2. Cottages: smaller houses with a small porch and simple lines.
3. American Four - Square: relatively plain and square two -story structure with one story
front porch; erected between 1910 -1920.
4. Bungalows of varying sizes, but most were small, erected between 1910 -1925. This style
comprised the second largest group.
Old Texas A &M campus houses located in the Northgate area:
318 First
Owner: Estate of A.P Boyett, Sr.
Erected 1911, Sold 1941
Identification by George H. Boyett, Feb, 1, 1986; Caroline Mitchell, Jan, 16, 1986.
Style: Small sized Queen Anne with minor modifications
Previous residents on campus: R.F. Smith, 1922, professor of Mathematics
E.P.Humbert, 1924, Department Head - Genetics
400 Boyett
Owner: Charles E. Harris, Jr., 307 Greenway, Bryan
Erected 1902, Sold 1954
Identification by Dr. Bardin Nelson, Sr. retired TAMU Sociologist
Style: medium -sized Queen Anne, considerably modified in recent years
Previous residents on campus: R.P. Marstellar, 1924, former Dean of School of Veterinary
Medicine.
402 Boyett
Owner: Charles E. Harris, Jr., 307 Greenway, Bryan
Erected 1902, Sold 1955
Identification by Dr. Bardin Nelson, Sr. retired TAMU Sociologist
Style: originally a medium -sized Queen Anne, but badly burned in the 1960s and then renovated
It is difficult to tell that it was once a twin to the house at 400 Boyett
Previous residents on campus: Designated both in 1913 and in 1921, as the "surgeon's
house" in the minutes of the Housing Committee
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500 College Main
Owner: Donald Eppley, 18210 Spellbrook Drive, Houston
Erected: date and campus location uncertain; style suggests around 1900
Sold: date uncertain, probably 1948 -49 according to records in Tax Assessor - Collector's office
Identification: as a campus house by George H. Boyett, whose father purchased the house and
moved it.
Style: small size, Queen Anne with neo- classical features; apparently in close to original condition,
few modifications
Previous residents on campus: ?
415 Tauber
Owner: Howard C. Nelson, 12410 Cobblestone, Houston
Erected perhaps 1910 -15; this dating is from design evidence
Sold probably 1953 -54 according to tax records
Identification by Bardin Nelson
Style: cottage, considerably remodeled and modified since moved
Previous residents on campus: ?
Churches
St. Mary's Catholic Church The Bryan Council Knights extension efforts lead to the
construction and dedication of St. Mary's Chapel in 1926 on University Drive. The expansion of
enrollment and increased faculty and staff at Texas A &M University resulted in the construction
of a Catholic Student Center at St. Mary's, 103 Nagel in 1954. A new St. Mary's Chapel on
Church Streeet was dedicated four years later in 1959.
A &M United Methodist Church The first structure of the church's physical plant was the
Wesley Foundation. It was built in late 1923. It was used as a temporary structure to serve until
suitable facilities could take its place. This occurred 40 years later, giving a new interpretation to
the word 'temporary'. The educational building was occupied in 1946. The Gothic sanctuary was
completed in 1951. The fellowship hall and connecting link between the educational building and
the sanctuary were completed in 1967. The three live oak trees on University Drive and the two
on Lodge Street near the church sanctuary were donated and planted by Prof. A. Mitchell. The
approximate date of planting was 1936.
' First Baptist Church In process of collecting information.
University Lutheran Church In process of collecting information.
A &M Presbyterian Church The present sanctuary was originally a U.S. Army Chapel in
Victoria, Texas. In 1948, the church building was moved to its present location. The present
educational wing was built in 1950. In 1962, the sanctuary was remodeled, using a design
provided by Preston Bolton, architect and former member of the congregation. In 1980, extensive
work was done on the educational wing and the congregation voted to remodel the sanctuary and
the office wing.
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A &M Church of Christ The building is currently owned by the Methodist Church.
' Professor Ernest Langford, then the Head of the Department of Architecture, prepared plans for
the structure. Mrs. Woodward thought the plans were too modest and thus provided $35,000 to
construct a brick building with a 210 -seat auditorium, a library and a parsonage. The structure
' was topped with a 65 -foot steeple which was later removed when the building was enlarged.
Construction began on the first building in January 1935. The site was a grassy field bounded by
an artery to Bryan (College Main Street) and a gravel road which was later to be called Church
Street when the Baptist, Methodist and Catholic churches were located along this street.
Architect Ernest Langford patterned the building after the New England meeting house of the
Pilgrim period. He told the audience at the first evening service in the building of his plans for the
' structure: "The keynote of the building is simplicity with beauty, in keeping with the religious
ideal of the Church of Christ ". The building at 301 College Main was enlarged in 1947 when a
classroom center and a nursery were added. In 1954, the facade of the building was altered to
remove the steeple and the auditorium was enlarged to hold 400 permanent seats. A new
education building was also added, and the parsonage was converted into classrooms and a new
' home was constructed for him.
I References:
' Brazos County History, Rich Past - Bright Future Family History Foundation, Bryan, TX 1986.
College Station , Texas 1938 -1988, Deborah Lynn Balliew, College Station, Texas, 1987.
The Old Texas A &M Campus Houses Van -Riper P.Paul.
' A History of The A &M Church of Christ, 1921 -1988, Joe Buser.
The A &M United Methodist Church, The First Fifty Years 1923 -1973, Fred R. Brison, College
Station, Texas, 1973.
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NORTH GATE - ARCHITECTURAL BACKGROUND
' "Main street is to America what the Piazza is to Italy." Richard Lon streth
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r No two commercial districts look the same, at least in general terms. People in towns wanted
their commercial buildings to look urban. Commercial architecture was a common language that
' transcended size and location. The facade is only a small portion of a building's fabric. So why
focus on the facade? Several factors are related to explain the choice. Between the early 19th and
mud -20th centuries, most commercial buildings were designed to be seen from the front. From the
' exterior, it is the facade that gives commercial architecture its distinctive qualities and
distinguishes one building from the next. Side walls are often party walls, shared with or secured
to those of the adjacent structure.
I One part commercial block
' The one -part commercial block consists of a single story, which is treated in much the same
variety of ways as the lower zone of the two -part commercial block. The one -part commercial
block is a simple box with a decorated facade and is thoroughly urban in its overtones. These
' buildings could generate income, yet they represented a comparatively small investment. Grouped
units are a ubiquitous feature along what once were streetcar lines, where commercial
development often grew to be quite extensive. While composed in an orderly manner, most
' examples from this period have few, if any historical references. Particularly with retail stores , the
configuration permits little embellishment except near the roof line.
' Art Deco examples of the one -part may be quite elaborate. Horizontal emphasis predominates
with most larger examples of the streamlined one part commercial block. Many theaters of the
period have few, if any, shops, and their streamlined vocabulary is used to enunciate their role as
' an entertainment center.
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Sr PROWOUCE
c. 1910's, San Francisco, CA
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c. 1930's, College Station, TX
Built between 1936 and 1940, the Campus Theatre is one of style. A pylon containing the name of the theatre risesabove the
the few examples of Art Deco style architecture in the area. main entrance. The form of the building is simple and
The building illustrates several characteristics of the Art Deco streamlined.
c. 1930's, College Station, TX Campus Theatre
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Two- part commercial block
The two -part commercial block is the most common type of composition used for small and
moderate sized commercial buildings throughout the country. Generally limited to structures of
two to four stories, this type is characterized by a horizontal division into two distinct zones. The
two part division reflects use differences inside. The single story lower zone, at street level,
indicates public spaces such as retail stores, a banking room, insurance office or hotel lobby. The
upper zone suggests more private spaces, including offices, hotel rooms or a meeting hall. This
type has been used to accommodate a wide range of functions and is readily found in almost all
forms of commercial development. The two -part commercial block dominates the core of small
cities and towns.
The academic approach was the dominating style during 1920s and maintained a strong following
1 for at least another decade. Academic work tends to emphasize unity, order and balance. The
conviction is that the classical tradition provides the basis for principles of design, and that these
principles apply not just to individual buildings, but also to groups. Some buildings from this
period are extremely plain, bearing certain affinities to their early 19th century predecessors.
Further modifications of the two part commercial block took place between the two world wars
under the influence of European modernism, now known as Art Deco or Modern. The initial
phase of Art Deco design popular during the late 1920s and 1930s, is characterized by a
' sculptural use of rectilinear geometric forms dramatize rather than reflect the structure beneath.
Verticality tends to be emphasized by piers spaced at regular intervals and extending the full
height of the facade to form a jagged silhouette. In some cases, smaller piers further divide the
upper zone to enliven the staccato compositional rhythm
The second, or streamlined, phase of Art Deco design was introduced during the 1930s and
1940s. Its slick machine - inspired imagery became a popular means to create a new appearance for
businesses during and after the Depression. These buildings emphasize the facade's horizontality
with such devices as decorative banding, long stretches of windows, smooth wall surfaces and
rounded corners. Some examples from the 1930s combine the verticality and ornamental richness
of the first phase with the sleek, machine imagery of the second phase. In the 1940s, on the other
hand, designs were often more reserved, still imparting the idea of architecture as a practical art
enhanced by industrialization, but without the ebullient character wrought by streamlined massing
and details.
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c. 1927, Auburn, NE
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c. 1930's, College Station, TX
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c. 1927, Auburn, NE
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c. 1930's, College Station, TX
Public Spaces
' The back -to- the -city movement accelerates the urge for more (and more lively) public spaces.
And as more projects are shaped by public comment, committees and compromise, cities demand
' more from developers. "One of the important things you can give back is open space ", says a
landscape architect. Americans have passed beyond appreciation, the first phase of awareness of
public space. However, it is not clear whether we are into the second phase, which integrates
' human public space into our urban network. The urban plaza demands a human orientation that
springs from the sense of a total city. The less planned the environment, the less democratic the
public space.
t References:
The Buildings of Main Street Longstreth Richard, The Preservation Press, 1987.
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New Life for Public Spaces Jane H. Kay, Landscape Architecture August 1989.
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NORTHGATE - HISTORIC PRESERVATION
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"Historic preservation helps bring out the soul of the community; it shows that the
community has pride and self - awareness."
"No community can create an historic architectural legacy."
The unique artistic and human qualities of historic neighborhoods cannot be recreated. Such
neighborhoods are the ones most Americans feel loyalty towards, showing them visitors, and feel
that someone ought to be saving them. Often, however, local citizens fail to recognize that their
own cities contain architecturally valuable neighborhoods. Local architecture and history are
what is valuable in the context of the city. Unless specially protected, a building may be
demolished at any time if the real estate market urges demolition. This creates the need for an
Historic District.
There is a growing recognition by citizens and governments at all levels that historic resources
have value and should be retained as functional parts of modern life. The historic resources of a
community give it its special character and cultural depth.
An Historic District is a group of buildings that physically and spatially comprises a specific
environment. It is a group of related buildings that represents the standards and tastes of the
community during a particular period of history.
Why preserve a historic district?
1. Practical -The cost of massive demolition is too high. Preservation, on the other hand recycles
the existing structures. In more utilitarian terms, each historic building and structure represents
an investment that should not be merely discarded. Maintaining and rehabilitating older buildings
and neighborhoods can mean savings in energy, time, money, and raw materials.
2. Preservation renews the human spirit. "Your neighborhood has great architectural and cultural
value to our city and we must find a way to upgrade it."
3. Aesthetic satisfaction
Historic Zoning
4. Financial benefits- increased taxes, tourism.
Conventional zoning limits the volume or use of a building. Historic district zoning differs in
that it requires conformity to a norm set by the historic architecture within specified boundaries of
the district. Existing buildings are chosen to be left unaltered on the exterior , and the standards
of maintenance and repair are sometimes prescribed, while new construction is limited, not only in
volume and land use, but also in appearance. Historic zoning does not occur spontaneously.
There is a need to demonstrate that the community has things worth saving. If a whole area of
the community should be protected, a definition of the boundaries is needed.
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Easements are another means of protecting historic properties. A facade easement, for example,
' protects the front of a historic building while allowing the owner unimpaired enjoyment of the
remainder of his property.
' When new construction appears in a historic neighborhood, it must observe a special discipline.
There are several points of comparison between new and existing buildings:
Building height, proportions of facade (height to width), proportions of openings, relative width
of voids and solids, relative width of buildings and spaces between buildings, relative width of
entrance features and remainder of facades, type of material, texture of material, color of material,
' similarity of detailing, type of roof, presence of garden walls or fences, landscaping if any, paving,
scale, and compositional emphasis on verticals or horizontals.
' The Survey
A good, detailed architectural survey is almost 1 -- dispensable.
Survey means a process of identifying and gathering data on the community's historic resources.
' It includes planning and background research before field survey begins, organization and
presentation of survey data as the survey proceeds, and the development of inventories.
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Survey data refers to the raw data produced by the survey; that is, all the information gathered on
each property and area investigated.
An inventory is an organized compilation of information of those properties that are evaluated as
significant.
Evaluation is the process of determining whether identified properties meet defined criteria of
historical, architectural, or cultural significance.
Survey data can be used to construct a preservation plan.
Details of the survey
Existing building signs
Existing "street furniture" such as street lamp, utility poles, road signs and traffic signals
Detailed lists of existing building materials
Indication of the present occupancy and use of the buildings
Notes on existing problems, evidence of deterioration, and design defects
Common problems
Brick disintegration and deterioration
Surface cosmetic deterioration
Inappropriate signs
Air condition units in doors and windows
Inappropriate design features
Vacant, under -used structures
Empty lots within the historic area
Inappropriate new store front design
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A Preservation Plan
' An official preservation plan, prepared and adopted by the community and its planning agency,
should provide a basis for integrating survey information with other planning data. It should be an
' important part of comprehensive community planning. It can establish priorities for dealing with
historic resources within the framework of existing local planning programs and present specific
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recommendations for meeting these priorities.
A preservation plan may present specific ways to maintain and enhance the positive character of
an area. First of all preservation plan can identify legal and financial tools: Easements, tax
incentives, historic preservation commissions, preservation ordinances and land use controls, and
revolving funds that aid in the conservation of historic resources. Secondly, it will present
design standards for new construction and for the enhancement of environmental amenities. A
preservation plan will also illustrate the effect of revitalizing historic resources through the
application of standards for restoration and rehabilitation. Establishment of a preservation
planning program can help a local government qualify to participate in federal historic
preservation grants such as in -aid programs, once it is certified by the state Historic Preservation
Officer and the Secretary of Interior.
References:
' Historic Preservation in Small Towns Ziegler, Arthur. P, 1980.
Historic Preservation in Inner City Areas Ziegler, Arthur. P, 1974.
' Guidelines for Local Surveys: A Basis for Preservation Planning National Register Bulletin 24,
1977.
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NORTH GATE - FACADE IMPROVEMENT
How to Improve your Facade
The old stores that line Main Streets across the country have typically changed appearance over
the years not once, but several times. Ways to improve your facade include a new paint job, a
new plastic sign covering earlier lettering, the boarding up of old window openings, the
construction of new wide display windows, the replacement of a carved wooden door by one of a
glass and aluminum, and the covering of a detailed brick front with metallic panels. All too often
the changes have been unsympathetic to the original character of the building and street.
Fortunately, merchants, property owners and architects in increasing numbers are coming to
realize the value of rehabilitation schemes that reveal, rather than conceal, the architectural
qualities of existing facades. Some of the key components affecting facade renovation are signs,
paint, ornaments, cleaning, and financing. Budget constraints on Main Street must be faced
realistically. These projects are low in cost. Some schemes require little more than a fresh coat of
paint or removal of previous improvements. Each rehabilitation respects the integrity of the
building front. The intent is not to create preservation show pieces. These are not historically
accurate restorations, but rather practical rehabilitations.
Renovation should be seen as the crucial element in the general effort to improve store or
downtown business.
Five factors are significant in evaluating a facade renovation project:
1. The sensibility and the commitment of the owner to the renovation project.
2. The construction and design quality of the original facade.
3. The size of the budget.
4. The resources available in terms of design advice, materials and skilled workmen.
5. The relationship between the owner, tenant, and others who are responsible for the
building's appearance and upkeep.
' The Patch Up Approach
This method of renovation is not a comprehensive or planned approach. Over a period of years
' the building owner commissions a variety of workmen to repair or modify the building as needed.
One of the most common and unfortunate patch -up alterations is the partial blocking of display
windows.
The New Image Approach
' This approach is too comprehensive. In accordance with one of the several themes, the building
is suddenly and completely altered, often by an overlay that entirely obscures the original facade.
In all of the new look approaches, either historic, exotic, or contemporary, the underlying
assumption is that the original facade is not worth preserving. Coupled with this notion is a
failure to see a distinction between a Main Street shop and a contemporary highway side
franchise. Main Streets were built to appeal to the pedestrian, while the strip was built to attract
' attention of the highway driver at forty five miles per hour. What works for one does not
necessarily work for the other. Most Main Streets already have a particular underlying
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architectural distinction, and a richness of detail meant for pedestrian viewing. It is easier and far
' more successful to achieve a cohesive image by rehabilitating a building in a sympathetic fashion,
than by attempting to smother it with a new image.
I The Enhancement Approach
This approach retains as much as possible of the original facade. Preserving the building as it
originally appeared is one option within this approach, but often this is not possible. The task
instead is to rehabilitate, with respect to the building's character, while accommodating current
use. The Enhancement Approach often involves removing years of additions, although some
caution should be exercised here.
' The Typical Commercial Facade
No two facades are precisely alike. Nevertheless, there are certain characteristics that surviving
' Main Street buildings have in common. The prototype consists of brick, stone or cast iron and
stands two or three stories high. On the ground floor is a retail business. There is a distinct visual
difference between the two stories. While the first floor is almost transparent, the second floor is
contained and solid. The shop entrance is recessed from the store front plane, and the sides of the
display windows lead to the entrance.
' Additions to the basic facade are typically awnings, canopies, window boxes, architectural
ornaments and shutters. Each of these elements can serve to emphasize the lines and the shapes
of the facade itself. When the majority of the buildings on a Main Street have these similar
components, the street scene has a visual continuity and a strong quality of cohesion. If one or
more buildings disturb these characteristics, the entire street may suffer. The enhancement
approach takes into consideration the overall character of the street and seeks to enhance its
continuity. The continuity of the street can be reinforced by working within a vocabulary
developed from existing characteristics.
' Signs
' A sign is often the primary identifying feature of a business. It is the link between a building's
exterior and the business inside. A good sign can help a business by making it distinctive. It
pinpoints a store's location on the street, makes the business easy to find, creates an attractive
' image for the store, and encourages passers -by to venture inside. Many merchants, however, do
not know what criteria to apply when selecting a sign. The result is a clutter of poorly designed
signs that not only disfigure the street, but also fail to convey the desired information.
' There are three important aspects of signs:
' 1. Size and Position - A sign that is individually designed for a specific storefront creates
a more cohesive facade.
' 2. Materials and Design - A custom made sign, rather than a mass - produced one, can take
advantage of a wide range of materials and flexibility of styles.
' 3. Illumination - Illumination can come from either inside or outside the sign. Both types
of lighting are acceptable, depending upon the size of the sign and other available light.
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Paint
' A fresh coat of paint on doors, trim, and sometimes an entire facade, is good for a building's
appearance and essential for its upkeep. Color choice is largely a matter of personal taste.
' However, the colors should be appropriate to the building materials, style, and to other buildings
on the block. Usually very bright colors and garish combinations should be avoided where they
will contrast too strongly with adjacent buildings. No more than two or three colors should be
' used to keep the scheme simple.
1. Ornaments and details - Decorative wooden moldings and brackets are usually the first
' casualties of facade deterioration.
' 2. Cleaning - Cleaning a facade can visually bring it back to life. However, if done
improperly, cleaning can also damage the material and cause structural problems. If a
cleaning method is too severe, it will remove not only the dirt and paint but also the outer
' surface of the construction material, especially brick. Sandblasting should never be used
for this reason.
' 3. Maintenance -
Financing
Financing facade renovations is often the most difficult element in Main Street projects. Absentee
landlords, marginal businesses, and conservative shopkeepers all contribute to a reluctance to
' change the status quo, no matter how tawdry it may be. Financial incentives combined with on
the street design guidance can accelerate successful results within a short period of time. The
proper package of financing depends on the scale and specific situation of the building as well as
' an overall analysis of the condition of the street. Many cities and towns have established facade
renovation programs providing loans well below the prime lending rate. Often these programs are
established using federal funds such as CDBG or UDAG.
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References:
Facade Stories Ronald L. Fleming, The Townscape Institute, Inc, 1982
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NORTH GATE DESIGN GUIDELINES
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The Northgate area is bounded by Wellborn Road on the west and College Avenue on the east,
University Drive. on the south and the city limits on the north.
This is a very complicated area with a great variety of architectural fabrics. Several sub -areas can
be identified, (see map "North Gate Sub - Areas "):
1. Modern Commercial buildings
2. An. area mainly for new development
3. Residential area
4. "The District" - Commercial district mixed with public and religious facilities
Each area has its own characteristics. Therefore, each area will have specified design guidelines,
and regulations in the ordinance. However, a general and comprehensive outline will apply to the
whole area. The area is accessible to the university by pedestrian circulation. This is the main
advantage of the area and its uniqueness. Students live, eat, use different services, spend their
free time and park in the area. The whole area serves as the most accessible service area to the
university, and it projects the image of the city.
The main concept for design in this area should relate to the pedestrian!
The architectural distinction and richness of details should appeal to pedestrians. Car circulation
will be in the rear. There should be enough parking spaces in different locations, but not at the
front streets.
Here are some preliminary thoughts regarding the different areas:
1. Commercial
This area is one of the main gates into the university (see map "North Gate Commercial "). In a
sense, this commercial area is the image of the city as seen by students and visitors. Although
little can be changed in the existing commercial buildings, (we cannot change the architecture and
parking problems). There should be a difference between this area and other C -1 commercial
areas in the city. The guidelines will apply to new development that will occur in the future. The
' guidelines should refer to the street elevation along University Drive and the intersection of
University Drive and College Avenue. Parking should be less on the front and more in the rear.
' 2. New Development
Most of the new development is owned by two major owners: TAMU and Boyett, (see map
' "North Gate New Development "). The rest of the area has many different owners. New residential
development in the north part will encourage pedestrian movement to the university and to the
"hang out" area of Patricia Street. A mix of residential and commercial use, with very clear
orientation towards Nagle Street and Church Street, can be in the south portion of the area. (See
map for circulation paths).
' Much more input is needed to develop the design concept, although it is clear that an unusual
development is needed.
' 21
3. Residential
This area is located north of "The District ", and includes a variety of residential houses: single
family houses, duplexes and apartment complexes. The current physical situation of most of this
' area requires a substantial renovation program for buildings, streets, landscaping, etc. Some of
the properties are worth preserving. One can identify in the area some of the first multi - family
development in the city built from 1955 to the present, (for example, several duplexes, and
apartment building on First St.) There are also four old Texas A &M professors' houses (see map
"North Gate Residential ").
' This area should be maintained as residential area. The residential development should have
specific guidelines for the volumes, sizes and proportion of any new building. Renovation
guidelines should be specified. Streets, sidewalks, light fixtures, landscaping and utility updates
would have some unique specifications in addition to the general streetscape. This area has a
special atmosphere.
' 4. The District
' This sub -area represents the core of Northgate. It marks the beginning of all development in the
area from the 1920's to the present. Most of the buildings in the district were built during the
1930's and 1940's.
F1
1
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Commercial, institutional and other public facilities have been the main land uses in the area (see
map "North Gate The District "). This fabric mix remains relatively free of major alteration
through the decades, and makes the area so unique. This sub -area needs protection from
demolition and uncontrolled new development.
Many buildings in the district have historic significance to the community, (see "North Gate -
Local History", and the map). An application for local Historical Marker is needed.
The general cohesive atmosphere of the district should be the main concept for the design
guidelines. Sidewalks, light fixtures, benches and all the other street furniture in the area should
be in the same spirit of the whole, (not the same as in the streetscape book).
Different axes are identified (see map "North Gate The District "). Each axis has its own
meaning, or different character which leads to different designs.
College Main Axis
This axis is the Main street of the City of College Station, the business core, (from University Dr.
to Patricia St.).
Many factors give this little business district richness and charm: combination of the area's
buildings, setting, heights, volumes, and relation between openings and walls, (see details and
research result in the "North Gate - Architectural Background "). Therefore, it is important to
establish guidelines for the whole area. The individual buildings will be discussed under these
guidelines.
22
Design guidelines should refer to a detailed facade renovation program that will include several
' issues such as signs, colors, openings, and discovering the original facade. Examples are
illustrated in the drawings. (See drawings for example of street furniture like sidewalks, light
fixtures, benches etc.)
' University Dr Axis
' The business district extends along University Dr. from the Campus Theater to the A &M
Methodist Church. The same approach of facade preservation and renovation should apply here
also.
' The following wo issues should be addressed specifically:
g
Urban image - This is the facade of the North Gate towards the university.
Pedestrian access - Since traffic is heavier, the sidewalk problem is more crucial.
Design guidelines regarding new development should follow guidelines for new development
adjacent to the preservation area (see "North Gate - Historic Preservation ") i.e. size and height
' limitation and many other details.
Patricia St. Axis
' Patricia St. is the place for the plaza of the city.
' This street will become a pedestrian area containing the main core activities. The plaza will
contain places to seat, drink , listen to music and hold special events. This will become a fun
place to go. A new development will take place in the north part of the area. On the plaza level
' there will be specialty shops area, with a covered arcade. The upper stories will be a mix of a
special residential development, like studio apartments, and offices. A fountain and a amphitheater
will create a place for more activities. The architectural design should be very simple and not out
' of the contexts (not very modern), its role is to give the right background for the human activity
to happened (see architectural drawings). Adjacent to the new building will be a parking garage
three stories high which can provide approximately 150 parking places. According to the
' architectural concept in the drawings, it should not be a parking street. Parking problems will be
solved in the adjacent areas , five minutes walking distance. The benefits of this approach are
' tremendous for the people of the city! The activities are already established in Northgate. What
is needed is an adequate place, space for it to grow.
' Church Avenue Axis
Church Avenue is comprised of public facilities. It was named "Church" because of the churches
' located along the Avenue. These were the first churches to be built in the city, from 1936 to the
beginning of the 1950's. All of them should be designated for local Historical Markers (see
research result in the "North Gate - Local History" document). The first city hall was also located
' along this axis.
Today Church Avenue is a major arterial in the area. It serves as the backup for University Dr,
' access to the present and future parking facilities, an entrance to Patricia pedestrian major event.
1 23
Thus, the main function of Church Avenue is to provide access and representation as the first
public district of the city.
Sidewalks, light fixtures, street furnitures will be the main improvements on the street.
Boyett St. Axis
Mainly a connection street between the major axis, i.e. Church, Patricia and University.
SCOPE OF WORK
The Northgate Master Planning area is divided into several major sub -areas to address in the
design process.
District sub -area
' The District sub -areas need immediate detailed designs. This detailed design shall include a survey
of existing conditions (buildings, streets, utilities, and property ownership). The survey should
include detailed maps with the basic information necessary for detailed design for construction.
' Part of the survey will be documentation of the buildings that are to be considered for designation
for a Local Historical Marker.
' Construction drawings for Patricia St. should include specific guidelines or even detailed drawings
for the new development. Street furniture details, sidewalks, paving materials, light fixtures,
' banners, benches, garbage cans, signs, planter boxes will be part of the detailed design.
Renovation guidelines for the private owner should include detailed cleaning processes, examples
of signs, colors, openings, additions, awnings etc. The guidelines will have examples of the
' existing building situation and the propose. The streets in the area will be part of the construction
drawings. Sidewalks along University Dr., Church Avenue and Boyett. Street furnitures for the
overall area.
Commercial/Residential Sub -Area
' In the Commercial and Residential sub -areas a survey is essential. The survey should include
existing conditions of the buildings, streets, utilities and property ownership. The product should
include zoning and ordinance considerations with different approaches regarding new
' development in each area and a special attitude towards parking. The product will include a
design for the streets in the area.
' New Development Sub -Area
' The new development sub -area will need a land use map and examples of conceptual site plans
and building elevations with specific guidelines regarding buildings heights, facades, parking
requirements (avoid huge parking lots), etc.
24
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