Appendix G Training Manual
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HOLMFIRTH CONSERVATION AREA DRAFT APPRAISAL Appendix G Training manual 1 HOLMFIRTH CONSERVATION GROUP GUIDANCE FOR COMPLETION OF BUILDINGS SURVEY FORM (Amended 13 June 2016) CONTENTS Completion of Building Survey………………………………………………….. Guidance for Authenticity Scoring……………………………………………… Window Styles (as per Kirklees Conservation) Website)…………………………………........... Door Styles (as per Kirklees Conservation Website) …………………………………………… Building Extensions & Dormers (as per Kirklees Conservation Website) ……………………. Glossary of Terms……………………………………………………………… 2 2-4 5 6 7 8-9 10 - 11 GUIDANCE FOR COMPLETION OF BUILDINGS SURVEY FORM 1. BUILDING INDENTIFICATION and How to use it when surveying BUILDING and PHOTO REF No Each property has been given a unique 3 letter reference, which is marked on the “Master Map”. This identifier will be used for all references to a specific building and its related photos Surveying will be allocated to volunteers in batches of between 15 and 35 buildings per volunteer. This may include garages and sheds. You will be provided with a map of the allocated properties to be surveyed, which will be an enlarged section of the conservation area map. The area to be surveyed will be outlined with a purple border. Use the map to identify the property being surveyed and enter its reference into the BUILDING and PHOTO REF No. box. NOTE: Buildings have been given their building ref. as if viewed from above. This means that in the case of “Over & Under” buildings eg some of properties in Norridge Bottom, the map will only show one identifier ref. In such cases you will need to complete surveys for both properties, entering the building ref. on the survey form but also adding a numerical ref. e.g. Building BRM may be an “Over & Under” building, in which case the ref for each property would be BRM 1 for the “Over” and BRM 2 for the “Under”. Cross off each building on the map when it has been surveyed. There is no need to survey any building that is difficult to access or is problematic for some other reason. Just leave it unmarked on your map and the office will follow up later. A supply of the building survey forms will be available for collection from Caroline Anstey at Imagine Toys. Please email Holmfirthconservation@outlook.com to say when you intend to start so we can ensure there is an adequate supply of survey forms. When you have completed your allocated batch please deliver them back to Caroline together with the annotated survey map you were allocated with. When you have done this email Holmfirthconservation@outlook.com to advise you have finished a survey and request another map. You will be provided with a badge to wear when surveying on the back of which will show your allocated volunteer reference no. for use when completing the survey forms. There is no time constraint for completion of a batch but the sooner we get some in the sooner we can begin data input. DATE Date survey completed COMPLETED BY This is the volunteer surveyor – please write clearly! 3 2. BUILDING DESIGNATION Identity Area The conservation area has been divided into 7 Identity Areas and can be obtained from the survey map you will be issued with. Building Name & No. Enter if known. If uncertain approximate if possible by reference to nearby building or landmark. Map Reference The office will complete this. Listed Building or Monument Listed buildings will be surveyed separately so there is no need to complete this. Key Unlisted Building A tick in this box indicates this property is important. If there is no indicator but you consider the building to fall within this category indicate with an X Character Period Circle the letter corresponding to the date that you think this building originates. (Reference to pages 5-6 of this guide might give you some clues by assessing windows and doors. If unsure circle letter f (Unknown) Current Building Use This identifies the building use. Circle up to 3. Building Type This indicates the general structure of the building. Circle up to 2 3. BUILDING ANALYSIS General This section is divided into two parts, Page 2 covers Domestic & Commercial & Shop buildings while page 3 is for shops only, and should be completed in addition to page 2 The purpose of the survey is to identify the status of three key factors. 1. The Building Materials & Key Features 2. A Measurement of Architectural Authenticity 3. A Measurement of Building Condition. An analysis of the data collected will provide a foundation for assessing the overall status of buildings in the conservation area. NOTE: There will also be a survey of the public realm i.e. Parks and Gardens, Car parks, Riverscape and Bridges, Street furniture, signage and roads, which will feed into the overall conservation survey Each building feature is numbered and listed in the left hand column against which the relevant information is recorded. Guidance for each section is as follows: Building Materials & Key features Circle one attribute that fits best Authenticity Score This is to identify those characteristics that most truthfully reflect and embody the cultural heritage values of Holmfirth. Enter the authenticity percentage for each feature by reference to guidance notes on page 5 of this manual which provides guidance on the score to choose. (note; Authenticity score for Dormer/Roof Lights is not required) 4 Building Condition Tick the box that most accurately describes the condition of each feature. NOTE: If a particular feature does not apply i.e. there is no chimney, or it is not visible place a tick in the box “Not visible N/A” Use the following guidelines to help make your assessment. Very good Feature well-maintained and in excellent condition Good Feature in good condition, is structurally sound, weather tight and no significant problems Fair Feature is structurally sound but in need of minor repairs, or suggests a lack of maintenance Poor Feature is in poor condition if there are obvious faults likely to lead to structural failure Very bad Feature is ruinous and derelict NOTE: The data analysis will calculate the overall condition status from these scores 4. SHOP FEATURES Shop Features Circle as many features as apply Impact What is your overall impression of the impact presentation of shop front? Comment Any other points you may think relevant 5 GUIDANCE NOTES FOR AUTHENTICITY SCORING (Courtesy Bradford City Council planning Department) 1 Chimneys a Full height with pots 100% b Minor alterations including the removal of pots 75% c d Significant alterations including render, paint cornice removal Lowered significantly or combination of multiple alterations 50% 25% 0% e Unauthentic/ Removed 2 Roof a b c d e Traditional roof material, including original dormer windows Minor alterations inc. large or multiple roof-lights, alterations to dormer Significant alterations, inc. modern dormer, tar or partial artificial covering Major alterations, inc, artificial roofing materials and significant alterations Full width dormer window extra storey or artificial roofing material with box dormer 100% 75% 50% 25% 0% 3 4 Dormer/Roof Lights – Do not Fascia Boards (Bargeboards) N/A a b Traditional painted bargeboards Replacement painted timber bargeboards which lack moulding 100% 75% d e Replacement of ornate bargeboards with ones that lack all original detail or part traditional and part PVC or missing or modern stained Stained replacement timber replacement bargeboards PVC bargeboards/bargeboards removed 5 Rainwater Goods a b c d e Traditional timber, stone or cast iron Minority of PVC or missing rainwater goods Half traditional, half authentic Majority PVC/unauthentic Unauthentic/ Removed 6 Wall/Stonework a b c d e Original materials and pointing style and colour Minor alterations inc. excessive clutter, poor pointing, limited paint (eg heads/sills), stone cleaning Significant alterations inc partial paint/render and or multiple minor alterations Major alterations inc. majority render/paint or multiple significant alterations Completely painted, rendered or clad 7 Boundary Wall a c d e Authentic boundary feature/appropriate replacement Minor alterations to traditional boundary feature including use of paint/render, replacement or removal of coping. Significant alterations inc partial removal or multiple minor alterations Only fragments of boundary feature remain Unauthentic/ Removed 8 Door Style a b c d All traditional doors More than ½ traditional doors Some traditional doors No traditional doors 100% 75% 50% 25% 0% c b Score 50% 25% 0% 100% 75% 50% 25% 0% 100% 75% 50% 25% 0% 100% 75% 50% 25% 0% e No traditional doors and original opening altered (eg removal of opening or part/enlargement) 9 Window Style a All traditional windows 100% b More than ½ traditional windows or all PVC sash windows or minor inappropriate 75% c Some traditional windows 50% d No traditional windows 25% e No traditional windows, original opening altered, (eg complete removal anf filled in, removal of mullions, or part enlargement of opening) 0% 6 - .- .a- Common Late Eighteenth and Nineteenth Century Windows . .. ~eoi=~ib Regency & a n d Victorian Periods: Sliding Sash Windows Georgian, Regency and Victorian Periods: Sliding Sash Windows Sash Window Styles kC Common e .>Q Local Vernacular Window Types e Early Georgian . Early Victorian Lafe Georgian Stone liniol Stone cill Yorkshire Horizontal Siding Sash Window The above sashes can be: @ fixed sash @sidehung casements@Yorkshire jack sash . . Edwardian Late Vidorian ~ Common Local Vernacular Window Types @@ Common local windows are of two common types: theTypes Yorkshire sliding sash (now Common Local Vernacular Window Georgian andvernacular Regency (~1 7 5 c1830) 0 double hung sliding sash windows are recognised by their . quite rare) and the side hung casement windowsglazing are found weavers' cottages. elegance of proportions, slenderness andwindows. profiles ofThese late Georgian barsin and the sparkle of Stone liniol in,that the earlier window hadofmore smaller Their glazing follow(ripples) other historic windows historic glasspatterns with its reams and seed (small air bubbles). There are a variety designs depending upon the the proportions which govern the number pane. (See This leaflet considers pariei. In Kirkleeo Victorian pattern is commonly seen and withsize twoofpanes. ilkstration althougti the gr~.excimples most commonlyofobserved types.to be found.) there 'earlier types Early Georgian windows hadsash', small apanes to the limits sash on glass size. Thus, theweights numbersand of The so-called Yorkshire 'jack smallowing vertically sliding window without panesis infound each of sashes could be dwellings as high asin sixteen in each (see illustration). As the period pulleys, inthe some vernacular west Yorkshire. ' d v e F developed, the number of panes reduced to classic 'six over six' (six panes in each sash). & Similarly, I*"' Yorkshire Horizontal Siding Sash Window Stone cill . thickness * the glazing bars became extremely slender in a variety of mouldings (see below). The of Inappropriate Windows for Historic Buildings glazing bars could be as slender as 12mm. The above sashes can be: @ fixed sash @sidehung casements@Yorkshire jack sash Inappropriate Windows for Historic . . Buildings ~ 1 TheTop sliding balanced with lead weights so that they ;odd be easily slid up and hung sashes needed to Topbe hung @ Common local were vernacular windows are of two common types: theof Yorkshire sliding sash (now . down. The weights enclosed in timber enclosures to the side the panes. (see constructional quite rare) and the side hung casement windows. These windows are found in weavers' cottages. details on accompanying Technical Sheets.) Their glazing patterns follow other historic windows in,that the earlier window had more smaller d pariei. In Kirkleeo the Victorian pattern is commonly seen with two panes. (See ilkstration althougti - @ Victorian: (c1830 ~ 1 9 0 0vertically ) sliding sash windows carried on the tradition of the Georgian there gr~.excimplesof 'earlier types to be found.) period in basic'construction, but are noted for the larger sizes of pane (two over two or one over The so-called 'jack sash', a small vertically sliding sash windowsliding withoutsashes weightswere and installed in one) owing to theYorkshire improvements in glass pane produdion. Victorian pulleys, is found in some vernacular dwellings in west Yorkshire. both neo Classical and neo Gothic buildings.Horns (the proiections below the top sliding sashes) &I*"' * came into 'fashion' in mid century and are not seen on Georgian or Regency. windows. ' d v e F Inappropriate Windows for Historic Buildings @ Edwardian (c1900 191 5) sliding sash windows were little different from their Victorian forebears Top hung Top hung except that the panes were larger often being a single g l a a pane above another. Insert mullions 1 PVCu plastic - double glazed d -- .' Stained timber double glazed Other styles @ During Common the latter halfLate of theEighteenth twentieth century, has become the fashion toDoor replace hrstorlc WlndOWS anditNineteenth Century Types with mass manufactured double glazed windows of which there are three basic types: -aluminium frames Insert mullions PVCu plastic 7 . (1960's 1 970's) Stained timber Other styles . ;)MIU Common Types of Panelled Doors Georgian Six Panels c. 1 750- 1 830 Five Panels nul 00. ran Flat or Raised Panels with Bead or lnset Mouldings Fielded, Raised and Chamfered Panels with delicate Mouldings Chamfered Panels with delicate Moldings Victorian Four Panels c. 1 830- 1 900 Three Panels 1 Flat or Raised Panels with Bead or lnset Mouldings Fielded, Raised and Chamfered Panels with Bolection Mouldings ChamferedPanels with Bolection Mouldings Typical Victorian Door with Upper Panels Glazed Edwardian c. 1 900- 1 9 1 5 ornomentol stained DORMERS 8 Victorian Semi-detached House: Victorian Semi-detached House: Ornate character and original detail retained. Unspoilt roof-line without dormer Traditional rooflight possibly to rear pitch. Flat roof dormers to front and rear Dormer windows large and dominating Dormers spoil symmetry of dwellings Georgian Terrace House: Georgian Terrace House: J Elegant character and original detail retained. Unspoilt roofline without dormer. Traditional rooflight possibly to rear pitch. Large flat roof dormers spoil roof line. Dormer windows large and dominating. Dormers out of character. West Yorkshire Vernacular Dwelling: West Yorkshire Vernacular Dwelling: Strong local character: Stone slate roof: Large stone quoins.(not illustrated) Gable kneelers. Picture window dormer obtrusive and detracting from local character. J 9 BUILDING EXTENSIONS Unsympathetic House Extensions: Roof slope same as host building. Catslide roof to single storey extension. Traditional rooflight possibly to rear pitch Matching roof materials to retain character. Flat roofed side extensions do not harmonise with host building. Extensions dominate the host building. Felt flat roofs requiring maintenance. rear view J Sympathetic House Extensions: Unsympathetic House Extensions: Roof slope same as host building. Valleys conned to pitched gable roofs. Side extension set back and lower than main roof. Matching roof materials to retain character. Flat roofed side extensions do not harmonise with host building. Extensions dominate the host building. Felt flat roofs requiring maintenance. Flat roof dormers spoil roof line. -v J 8 rear view Sympathetic House Extensions: Unsympathetic House Extensions: Roof slope same as host building. Possible catslide to rear. Traditional rooflight possibly to rear pitch. Matching roof materials to retain character. Flat roofed side extensions do not harmonise with host building. Single storey extension out of character. Felt flat roofs requiring maintenance. rear view 10 GLOSSARY OF TERMS Parapet wall Low ,usually enclosing a roof or a protective barrier at the edge of a terrace or on the side of a bridge Coping Capping stones eg on walls Hip Roof (hipped roof) A hip roof, hip-roof or hipped roof, is a type of roof where all sides slope downwards to the walls, usually with a fairly gentle slope (although a tented roof by definition is a hipped roof with steeply pitched slopes rising to a peak). Thus a hipped roof house has no gables or other vertical sides to the roof. In architecture a corbel or console is a structural piece of stone, wood or metal jutting from a wall to carry a superincumbent weight, a type of bracket. A corbel is a solid piece of material in the wall, whereas a console is a piece applied to the structure. Corbels Bracket Gabled Roof gable is the generally triangular portion of a wall between the edges of intersecting roof pitches. The shape of the gable and how it is detailed depends on the structural system used, which reflects climate, material availability, and aesthetic concerns. Fanlight A fanlight is a window, semicircular or semi-elliptical in shape, with glazing bars or tracery sets radiating out like an open fan. It is placed over another window or a doorway, and is sometimes hinged to a transom 11 DESIGN AND MAT To minimise the visual impact, the following points should be considered: Fascia Fascia is an architectural term for a vertical frieze or band under a roof edge, or which forms the outer surface of a cornice, visible to an observer. • The dormer should not dominate the existing roof. It is recommended that the top of the dormer be set below the ridge of the existing building, the bottom of the dormer be set above the gutter line, the dormer be placed centrally and not take up more than 50% of the original roof. • The design of the dormer is important. Whilst flat roof dormers may be acceptable in some locations pitched roof dormers are usually preferable and need less maintenance. • The materials used should harmonise with the existing ones. The roof, cheeks and frontage of the dormer should have tiles which match those already there. Large areas of PVCu can look out of place on some buildings, especially those which are traditional in character. • The characteristic features of the roof such as chimneys and ridge tiles should be kept. Dormer A window that projects vertically from a sloping roof. Inappropriate style of dormer extension surrounded by more appropriate dormers. 12 POLICY BE13: Extensions to dwel respect the design existing house and buildings, including I. materials of II. window ope III. roof styles; IV. architectura Extensions to dwel conservation areas which are listed as architectural or his should, where the p already comply wit or BE5, be designe intrinsic value of th building and its sur retained and the or remains the domina POLICY BE15: Dormer extensions main elevations of normally be permit that: I. the original covering rem predominan II. the extensio exceed more the width of roof, and is placed; III. when measu vertical plan 1.0m approx achieved be gutter line o and the base wall of the d 0.5m approx achieved be ridge of the the junction and IV. the extensio project abov the dwelling case of a hip beyond the s change in ro unless the ro redesigned t any resultan
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