broadway design guidelines

For Building Facades + StreetscapesCity of Camden, New Jersey

BROADWAYDESIGN GUIDELINES

This page intentionally left blank.

Acknowledgements

CLIENT TEAM

Cooper’s Ferry Partnership

Camden County Improvement Authority

Delaware Valley Regional Planning Commission

CITY OF CAMDEN

The Honorable Dana L. Redd, Mayor

Director Edward C. Williams, PP, AICP, Department of Development & Planning

Director Saundra Ross Johnson, Camden Redevelopment Agency

Historic Preservation Commission

Camden Police Department

Camden Parking Authority

Tax Assessor, Office of Assessments

PROJECT STEERING COMMITTEE

Dr. Edward C. Williams, PP, AICP, Department of Development & Planning

Andrew Levecchia, Camden County Improvement Authority

Amy Miller, Delaware Valley Regional Planning Commission

Esther Williams, City Eyes Optical, LLC

Deputy Chief Michael Lynch, Camden Police Department

Sheila Davis, Lanning Square Residents in Action

Sheila Roberts, Cooper Plaza Civic Association

Hooper Monk, Broadway Main Street Advisory Board

Ralph Ishack, Broadway Main Street Advisory Board

Tom Wilson, Historic Preservation Commission

Brian Bauerle, Cooper Foundation

Jocelyn Mitchell-Williams, MD, PhD, Cooper Medical School of Rowan University

NEIGHBORHOOD PARTNERS

Lanning Square Residents in Action

Cooper Plaza Civic Association

Crossing Over, CDC

Broadway Main Street Advisory Board

Cooper Foundation

Cooper Medical School of Rowan University

All who volunteered their time and opinions in stakeholder interviews, meetings, and public workshops.

This project was funded through a Transportation and Community Development Initiative (TCDI) grant from the Delaware Valley Regional Planning Commission (DVRPC).

I m p r o v e m e n t A u t h o r i t y GROUPmelvinDESIGNThe Honorable Mayor Dana L. Redd

Table of Contents

INTRODUCTION I-5

LOCATION + DESCRIPTION OF STUDY AREA I-7

RELATIONSHIP TO EXISTING PLANS I-9

POTENTIAL FUTURE IMPLEMENTATION STRATEGIES I-10

HISTORY + CONTEXT I-14

PUBLIC PROCESS - ANALYSIS OF EXISTING CONDITIONS I-16

PUBLIC PROCESS - ALTERNATIVES ANALYSIS + VISION I-18

PUBLIC PROCESS - PRINCIPLES FOR DESIGN GUIDELINES I-20

PURPOSE + INTENT OF DESIGN GUIDELINES II-5

PROJECT AREA+ APPROACH II-7

HISTORIC DISTRICTS, RENOVATIONS, NEW CONSTRUCTION II-8

BUILDING TYPES ADDRESSED IN THIS DOCUMENT II-10

STREETSCAPE AREAS ADDRESSED IN THIS DOCUMENT II-12

DESIGN GUIDELINES FOR BUILDING FACADES + STREETSCAPES II-13

DEFINITIONS II-28

Part

I Pro

cess

Part

II D

esig

n G

uid

elin

es

City of Camden, New JerseyPart I | Process


PROCESS

PROCESS

Table of Contents - Part I

INTRODUCTION I-5

LOCATION + DESCRIPTION OF STUDY AREA I-7

RELATIONSHIP TO EXISTING PLANS I-9

POTENTIAL FUTURE IMPLEMENTATION STRATEGIES I-10

HISTORY + CONTEXT I-14

PUBLIC PROCESS - ANALYSIS OF EXISTING CONDITIONS I-16

PUBLIC PROCESS - ALTERNATIVES ANALYSIS + VISION I-18

PUBLIC PROCESS - PRINCIPLES FOR DESIGN GUIDELINES I-20

Part

I Pro

cess

Broadway Design Guidelines | I-5 GmD

INTRODUCTION

Throughout the process of creating the Design Guidelines, a common phrase preceded many community members’ statements about Broadway: “I remember when”. Many members of the Broadway community remember a commercial street that was the center of life, commerce, and excitement that attracted people from the neighborhood, the City of Camden, and the region to a mix of shopping opportunities and theaters. The activity that many fondly remember on Broadway has since declined, as residents, businesses, and investment left the City in a trend repeated in urban areas across the country. However, many in the community see a new future on the horizon for Broadway, one that mixes the character and history of the area with new uses and activity. Today, there is ample evidence of a burgeoning resurgence on the corridor. Major institutional development, small businesses, new private development, improving residential neighborhood conditions, and capital improvement projects in recent years have contributed to the area’s revitalization. Additionally, the adoptions of the Lanning Square and Cooper Plaza Redevelopment Plans in the past decade, as well as the historic district design guidelines created for the Cooper Plaza Historic District, have laid the foundation for long-term growth and development.

These Design Guidelines are meant to supplement and enhance the vision, goals, and objectives of the Lanning Square and Cooper Plaza Redevelopment Plans by creating a unified vision for Broadway, which spans both neighborhoods, and building the foundation for a vibrant, revitalized corridor for the next generation of Camden.

I-6 | Broadway Design Guidelines GmD

PRIORITY CORRIDORS

City of CamdenCamden County, New Jersey 0 0.5 10.25

MilesO

Fairview

Parkside

Marlton

Cramer Hill

Beideman

Gateway

Waterfront South

Pyne Point

Rosedale

Dudley

CBD Stockton

Whitman Park

Centerville

Central Waterfront

Morgan Village

Bergen Square

Cooper Poynt

Liberty Park

Lanning Square

Cooper Grant

£¤30

£¤130

£¤130

§̈¦676

§̈¦76

§̈¦76

§̈¦95

WALT WHITMAN BRIDGE

BEN FRANKLIN BRIDGEPATCO

RIVERLINE

Regional context and location of the Project Area.

Project Area


LOCATION + DESCRIPTION OF STUDY AREA

The Broadway Design Guidelines are intended to provide recommendations for lots, building facades, and streetscapes that front onto Broadway between Martin Luther King Boulevard and Pine Street. This 8-block section of Broadway is located at the common boundary between the Lanning Square and Cooper Plaza neighborhoods and is immediately south of the downtown. Both of these neighborhoods make up the entirety of the Lanning Square census tract. The area is also home to Cooper University Hospital and a growing medical/university area around the northern ends of both Broadway and Haddon Ave.

This section of Broadway sits at the foot of the Walter Rand Transportation Center, which links to the PATCO line connecting to Philadelphia, PA and Lindenwold, NJ, as well as the River Line connecting to Trenton, NJ. Several New Jersey Transit Bus Lines run the length of Broadway, connecting to Philadelphia, PA and destinations south of Camden.

Neighborhood context and location of the Project Area.

Project Area

Lanning Square Redevelopment

Plan Area

Cooper Plaza Redevelopment

Plan Area

Lanning Square Park

7th & Clinton

Cooper Plaza Commons

7th

St M

edia

n

RIVERLINE Station

RIVERLINE

Broadway PATCO Station

PATCO

PINE ST

I-676

S 4TH ST

S 5T

H ST

S 6T

H STBR

OA

DWA

Y

HADDON AVE

LINE ST

S 7T

H ST

ROYDEN ST

S 9TH ST

STEVENS ST

SPRUCE ST

BERKLEY ST

HEN

RY S

T

CLINTON ST

BENSON ST

WASHINGTON ST

S 8TH ST

RAMONA GONZALEZ ST

WIL

LIA

MS

ST

MLK / MICKLE BOULEVARD

S 3R

D ST

BENSON AVE

NEWTO

N AVE

TRENTON AV

BECKETT ST

11TH ST

S 10TH ST

NNP

fr Mickel Blvd to I 676 SB

ST J

OHN

ST

NEW STRO

BERT

S ST

MT EPH

RAIM

AV

AUBURN ST

SENATE STC

HAM

BERS

ST

EDM

UND

ST

DAUPHIN

ST

BLAINE ST

CA

MDEN

CO

UNTY 605

LOC

UST ST

SILVER ST

AVO

N S

TW

HITE

ST

PRINC

ETON

AV

COMMERCE PL

LOC

UST ST

BERKLEY ST

BERKLEY ST

S 8TH ST

S 3RD ST

LINE ST

S 4T

H ST

CLINTON STCLINTON ST

WASHINGTON ST

LINE ST

LINE ST

MICKL

E BLV

D

ST J

OHN

ST

Cooper Plaza Historic District

City of CamdenCamden County, New Jersey

Source: This map was developed using New Jersey Department of Environmental Protection Geographic Information System digital data, but this secondary product has not been verified by NJDEP and is not state-authorized.

0 500 1,000250FeetOBROADWAY DISTRICT - NEIGHBORHOOD OVERVIEW

Walter Rand Transportation

Center

Neighborhood Commercial (C-2)

Residential (R-2)

Residential (R-2)

Medical & Support (MS)

Commercial-Residential (C-R)

University Support (US)

PROJECT AREA

City Center (CC)


Lanning Square Park

7th & Clinton

Cooper Plaza Commons

7th

St M

edia

n

RIVERLINE Station

RIVERLINE


PATCO

PINE ST

I-676

S 4TH ST

S 5T

H ST

S 6T

H STBR

OA

DWA

Y

HADDON AVE

LINE ST

S 7T

H ST

ROYDEN ST

S 9TH ST

STEVENS ST

SPRUCE ST

BERKLEY ST

HEN

RY S

T

CLINTON ST

BENSON ST

WASHINGTON ST

S 8TH ST

RAMONA GONZALEZ ST

WIL

LIA

MS

ST


S 3R

D ST

BENSON AVE

NEWTO

N AVE

TRENTON AV

BECKETT ST

11TH ST

S 10TH ST

NNP


ST J

OHN

ST

NEW ST

ROBE

RTS

ST

MT EPH

RAIM

AV

AUBURN ST

SENATE ST

CHA

MBE

RS S

T

EDM

UND

ST

DAUPHIN

ST

BLAINE ST

CA

MDEN

CO

UNTY 605

LOC

UST ST

SILVER ST

AVO

N S

TW

HITE

ST

PRINC

ETON

AV

COMMERCE PL

LOC

UST ST

BERKLEY ST

BERKLEY ST

S 8TH ST

S 3RD ST

LINE ST

S 4T

H ST


WASHINGTON ST

LINE ST

LINE ST

MICKL

E BLV

D

ST J

OHN

ST






Center


Residential (R-2)

Residential (R-2)




PROJECT AREA

City Center (CC)

LEGEND



Project Area


City Center (CC)

Residential (R-2)

Cooper Plaza Redevelopment PlanLanning Square Redevelopment Plan



Residential (R-2)

Diagram of existing Redevelopment Plan regulations and the Cooper Plaza Historic District in relation to the Project Area.

West of BroadwayLanning Square Redevelopment Plan Area

East of BroadwayCooper Plaza Redevelopment Plan Area


RELATIONSHIP TO EXISTING PLANS

The Design Guidelines are meant to supplement and enhance the vision, goals, and objectives of the Lanning Square and Cooper Plaza Redevelopment Plans by creating a unified vision for Broadway, which straddles both of the Redevelopment Plan areas. The Design Guidelines are also intended to respect and enhance the Cooper Plaza Historic District, in particular the lots of that district between Benson and Berkley Street that front onto Broadway.

The visions of both redevelopment plans, though not identical, are similar in that they call for thriving residential neighborhoods, an expanded institutional presence of both medical and educational uses, a vibrant commercial corridor on Broadway, and improved infrastructure and public space. The Lanning Square Redevelopment Plan additionally seeks to ensure that new development is compatible with existing uses and to foster this type of development through dynamic land use controls.

The goals of the redevelopment plans are to 1) Foster New and Rehabilitated Housing Development; 2) Facilitate Institutional Development; 3) Foster New and Rehabilitated Retail Commercial Development; 4) Improve Area Infrastructure; 5) Enhance Open Space Development; and specific to the Lanning Square Redevelopment Plan 6) Redevelop in an Effective and Respectful Manner.

The Broadway Design Guidelines will reinforce the visions, goals, and objectives of the Redevelopment Plans by providing clear recommendations based on a community-driven visioning process, rehabilitations, new construction, and enhanced public spaces to create a unified, unique, and vibrant commercial corridor.


POTENTIAL FUTURE IMPLEMENTATION STRATEGIES

The Design Guidelines as presented in this document are voluntary standards that are to be used to assist property owners and developers in the planning, design and implementation of both the construction of new buildings and streetscapes and the renovation of existing buildings and streetscapes along the area of Broadway between Pine Street and Martin Luther King Boulevard. They provide a set of shared community objectives and standards to be used when evaluating projects to ensure that the long-term vision of the community is met.

These Guidelines focus on the architectural elements and materials of the facades facing Broadway as well as the streetscapes within the confines of the existing sidewalks lining Broadway between Pine Street and Martin Luther King Boulevard. The Guidelines address building massing and façade rhythms, exterior façade design, entrances and ADA access, windows, awnings and overhangs, signage, lighting, security elements, upper floor facades, open space, and sidewalk design.

As voluntary guidelines, these standards are not a requirement to obtain zoning approvals or building permits from the City. Should it be a desire to implement them as a requirement of such approvals, there are several paths to creating regulatory controls. We would recommend that the City select one of two strategies, either adopting the Guidelines into the existing zoning code, mostly as-is, or alternately creating a more comprehensive Overlay Zone that includes looking beyond the front façade faces and streetscapes.

Strategy 1: If the desire is simply to make the Design Guidelines mandatory, there are some additional actions required, both to make them into regulations allowed under zoning as well as to ensure that they are requirements of their respective Redevelopment Plans:

• Most of the proposed Guidelines are in a format where the standards are measurable and therefore are in an adequate format to be an ordinance, subject to adding appropriate “section” numbers that coordinate with the existing City Code.

• A few of the Guidelines or the metrics for those Guidelines, however, may need to be more prescriptive, the less specific they are, the more open to interpretation they are by the applicant and the Planning Board.

• Additional definitions may be needed to clarify what is considered appropriate or consistent with existing or historic buildings.

• Design Guidelines would be required to be met in addition to the existing zoning bulk standards in the Redevelopment Plans.

• Redevelopment Plans would need to be amended to include that an Overlay of Design Guidelines is in place for the properties facing Broadway and that the Redevelopment Plans are subject to its requirements.


Strategy 2: Alternately, the City may choose to develop a more robust Overlay Zone for the Broadway corridor that incorporates the Design Guidelines but also anticipates redevelopment of several properties or blocks along the corridor. We suggest that this would be an opportunity to incorporate the elements of Form-Based Code to create a three-dimensional regulatory framework that integrates streets, buildings, parking, and functionality of a commercial corridor. This broader Overlay Zone District would also overlap portions of both the Lanning Square Redevelopment Plan and the Cooper Plaza Redevelopment areas. Each Redevelopment Plan would be amended to stipulate that the areas covered by the Overlay Zone District would adhere to the requirements of the new District and that said requirements would supersede underlying zoning and all other plan standards as applicable. Unlike the proposed Guidelines that are voluntary and that only address the facades and the sidewalks facing Broadway, the standards in an Overlay Zone would be a legal requirement adopted by ordinance and in addition to the Design Guidelines above, would consist of the following components:

• An Overlay Boundary - The Overlay boundary would include Broadway between Pine Street and Martin Luther King Boulevard and would extend east and west of Broadway for a distance appropriate to accommodate buildings, parking and circulation. It is estimated that the boundary would extend approximately five hundred (500) to six hundred (600) feet to both the east and the west of Broadway. The easterly and westerly boundary should not coincide with the centerline of a street, but rather the center of the second block off Broadway. The District should be large enough to accommodate circulation needed for parking, and service vehicles, while ensuring that public streets have a consistency of character from one side to the other.

• A Street Regulating and Circulation Plan – Each roadway in the Overlay Zone would be illustrated through a street cross-section with the public realm requirements. This would include not only Broadway, but also the streets perpendicular to Broadway and any service streets within the zone. The process of developing the Street Regulating Plan would explore the need to develop appropriate block structures that accommodate the vision for redevelopment while maintaining the contextual issues of concern for street edges. As an example of this condition, the Lanning Square School site and the Cooper Hospital sites are the result of vacating streets and combining blocks to create development sites dimensionally appropriate to accommodate the intended development program of their respective redevelopment plans. Rules would not necessarily dictate which blocks should be combined, but would provide rules for how blocks could be combined.

RIVERLINE Station

RIVERLINE


PATCO

PINE ST

I-676

S 4TH ST

S 5T

H ST

S 6T

H STBR

OA

DWA

Y

HADDON AVE

LINE ST

S 7T

H ST

ROYDEN ST

S 9TH ST

STEVENS ST

SPRUCE ST

BERKLEY ST

HEN

RY S

T

CLINTON ST

BENSON ST

WASHINGTON ST

S 8TH ST

RAMONA GONZALEZ ST

WIL

LIA

MS

ST


S 3R

D ST

BENSON AVE

NEWTO

N AVE

TRENTON AV

BECKETT ST

11TH ST

S 10TH ST

NNP


ST J

OHN

ST

NEW STRO

BERT

S ST

MT EPH

RAIM

AV

AUBURN ST

SENATE STC

HAM

BERS

ST

EDM

UND

ST

DAUPHIN

ST

BLAINE ST

CA

MDEN

CO

UNTY 605

LOC

UST ST

SILVER ST

AVO

N S

TW

HITE

ST

PRINC

ETON

AV

COMMERCE PL

LOC

UST ST

BERKLEY ST

BERKLEY ST

S 8TH ST

S 3RD ST

LINE ST

S 4T

H ST


WASHINGTON ST

LINE ST

LINE ST

MICKL

E BLV

D

ST J

OHN

ST





Center

PROJECT AREA

Diagrammatic example of an Overlay Boundary,

extending 500-600 feet east and west of Broadway

Conceptual diagram of an appropriately-sized generalized Overlay District Boundary.


West of BroadwayLanning Square Redevelopment Plan Area

East of BroadwayCooper Plaza Redevelopment Plan Area


• The Street Regulating Plan would establish desired design treatments by road types. For example, Broadway may have different rules, public realm dimensions, functional needs and design standards than a local neighborhood street that may run perpendicular to Broadway through the Overlay Zone. That notwithstanding, the elements of the Broadway Design Guidelines related to streetscape and open space, such as street furniture, plantings, paving materials, and other amenities would be integrated into the public realm requirements of the Overlay Zone as appropriate.

• Building Type Vocabulary – The spectrum of potential building types envisioned and permitted on the corridor would be identified. This includes everything from small historic buildings to mixed-use buildings to large institutional buildings to structured parking. Essentially, it would include all building types envisioned in the two redevelopments plans and would be designed to be consistent with the existing regulations of the two redevelopment plans and the Cooper Plaza Historic District.

• In addition to codifying bulk standards (as outlined in the two redevelopment plans) rules for building types would focus on creating pedestrian friendly street edges by regulating building materials and the rhythms of the buildings’ solids and voids. (i.e., are there windows on the first floor or are there blank facades of brick?) Typically, rules would be keyed to which street “type” a building façade faced. For example, the architectural treatment of buildings facing side streets may be different from facades facing Broadway.

• Further, the relationship of building types to the off-street parking that serves the building would be codified. For example, it may be desirable to regulate that surface parking and loading docks shall not front directly onto Broadway but must be behind buildings and accessed via secondary streets or to regulate that there should be mid-block “cut throughs” to ensure that pedestrians can safely walk from parking lots to stores fronting on streets such as Broadway.

An Overlay Zone would not limit the existing permitted uses, bulk standards or densities. It would, however, codify rules governing block structure, street types, streetscapes, the relationship of parking to buildings and street edges, architectural rules designed to foster lively pedestrian street environments and the Broadway Design Guidelines.

The steps above outline the recommended actions necessary to produce an Overlay Zone that integrates the Broadway Design Guidelines into a successful regulatory framework. If this were to be accomplished, all areas within the Overlay Zone would be subject to the new rules and regulations of the Zone. All Redevelopment Plan areas that remain outside of the Overlay Zone would not be subject to these standards.


HISTORY + CONTEXT

During the late nineteenth century up until the mid-twentieth century, business was booming in Camden. Major employers such as Campbell Soup, RCA Victor, and the New York Ship Building Company as well as a host of smaller manufacturing firms supported a robust local economy and provided good wages and steady employment for members of the community. As business and neighborhoods prospered, Camden’s commercial corridors, embedded within the seams of the city’s neighborhoods, thrived with entrepreneurial activity spurred by the culture and market of the local community.

At the turn of the twentieth century, Broadway was experiencing a shift from a residential thoroughfare with pockets of commercial uses to a destination retail street. At the northern end, Broadway was partially cut-off from the downtown by the elevated Pennsylvania Railroad, which along with the 100 block of Broadway, was demolished to make room for Martin Luther King Boulevard. Between Mickle and Stevens Street on the east side of Broadway, a collection of residential homes converted to commercial uses formed the Holl Block, a collection of Victorian homes ringed by a continuous iron awning, and converted to commercial use with a uniform 25 foot setback that greatly widened the sidewalk once paved. Further south on Broadway, the street was primarily residential, and contained many of the well-known institutional structures that still exist on the corridor, such as the Broadway Public School (Lanning Square Elementary School), the Carnegie Library, and Saint John’s Episcopal Church.

By mid-century, Broadway had become a destination shopping street, with local retail, offices, and some residential structures punctuated by large department stores and movie theaters. Many members of the local community remember the “big city” feel of going with parents or grandparents to Broadway around this time; recalling the busy streets filled with pedestrians, ample shopping, and attractions. However, as the automobile became the primary source of transportation for many Americans, and as new stores and shopping malls were built to accommodate parking and access via private cars, Broadway began to lose its shoppers, visitors, and residents. Compounding this exodus was a general decline in welfare, in a trend that was repeated and well-documented in urban areas around the country.

View of the 200 block of Broadway, looking north from Stevens - 1906 (courtesy of dvrbs.com)

View of the 200 block of Broadway, looking south near MLK Boulevard - late 1950’s (courtesy of dvrbs.com)

The Tower (Top - Broadway + Pine) and Grand Theater (Bottom - 200 block of Broadway) in the early-mid 20th century (courtesy of dvrbs.com)


Though the Broadway that many members of the local community remember may not resemble Broadway today, there are many strengths and encouraging signs that may point to a bright, new future for the corridor. This 8-block section of Broadway sits adjacent to downtown and the Walter Rand Transportation Center, a major transit hub that acts as a gateway to the corridor. Broadway still contains a mix of local serving stores, restaurants, cafes, and offices, especially along the northern-most two blocks. Though Broadway has lost many of its older buildings, there are many still standing and in use, and successful rehabilitations of structures in the Cooper Plaza Historic District showcase the types of positive improvements possible that incrementally could greatly improve the look and feel of the corridor. Major institutions have chosen to invest in Broadway and the immediate surrounding area in the form of new buildings and uses and capital improvements, and have formed partnerships with the local community to ensure that new developments and projects benefit both institutional anchors and the neighborhood. Perhaps most importantly, many residents, business owners, and institutional employees are active participants in efforts to improve the surrounding area and have committed their time, resources, and energy to the betterment of the neighborhood and the Broadway corridor.

Local serving retail building at the corner of Broadway and MLK Boulevard - 1959

Corner pharmacy at the corner of Broadway and Line Street - 1959

Residences on the east side of Broadway, between Auburn Alley and Washington Street - 1959

Bottom: Sanborn Map of the 8-block Broadway corridor - 1906

Material Type Legend

Brick

Wood Frame

Stone

Special category of construction of use


PUBLIC PROCESS - ANALYSIS OF EXISTING CONDITIONS

The public outreach process for the Broadway Design Guidelines consisted of two components. The first was a series of stakeholder interviews in small groups with various organizations from the business community, local neighborhood, institutions, and the City of Camden. The purpose of this phase of the project was to gain insight into what these various groups saw as issues and opportunities on Broadway, as well as to better understand the roles, actions, and future plans of various stakeholders on the corridor.

The second component of the public outreach process consisted of an evening public meeting, which included a presentation about the project and an interactive public workshop where members of the community analyzed existing conditions, commented on alternative images representing possible futures for Broadway, and created a group vision statement for the long-term future of the corridor.

During the first portion of the interactive workshop, participants were given a map of the corridor with corresponding photographs of typical existing conditions on each block. Participants were then asked to spend half of their time identifying issues/problems along the corridor today, and half of their time identifying areas where they saw opportunity.

Workshop participants during the public meeting discussing and evaluating existing conditions on the corridor.

Workshop participants examine a map and photographs of existing conditions along the corridor.

At right: Diagrams of both public realm and building specific comments received during the public process.


STEVENS ST

BENSON ST

WASHINGTON ST

CLINTON ST

ROYDEN ST

LINE ST

PINE ST

BERKLEY ST

AUBURN ST

MLK BOULEVARD

STEVENS ST

BENSON ST

WASHINGTON ST

CLINTON ST

ROYDEN ST

LINE ST

PINE ST

BERKLEY ST

AUBURN ST

MLK BOULEVARD

Planned Parenthood building is positive example of a modern building with an appropriate brick facade

Auburn Alley could be a unique active street with kiosks, etc.

Nice building facade but ground-floor not working

Clean, well-mainted facades important - Need smaller, better designed signs

Like Reliance Medical Group’s renovations and awning

Old Elementary School could be transformed into a community center or college dorms

Domino’s new facade is a positive example of a historic renovation

Need new facade, windows should not be blocked off, colors not right

Hand-lettered signs not good

Beautiful brickwork on building

Carnegie Library an important anchor for the neighborhood

Would like to see improvements that make the MLK Boulevard to Clinton St corridor more inviting

MLK Boulevard an important gateway to Broadway, difficult pedestrian crossing conditions

Public Realm Public Comments

Buildings Public Comments

Auburn Alley could be a unique active street with kiosks, etc.

Mid-block crosswalk needed to control jay-walking

Lighting not sufficient in lower half of the district

Would like to see the southern gateway reinforced with public art, more lighting, etc.


GROUP 1“Broadway is Back! Where Historic meets Contemporary!”

Like earth-tones, open storefront design, looks warm & inviting, uniform colors

Like lighting and open space, grass, wide sidewalks, school transforming neighborhood

Like curved, organic planters, could see them paired nicely with lighting

PUBLIC PROCESS - ALTERNATIVES ANALYSIS + VISION

During the second and third portions of the interactive workshop, participants were asked to examine a collection of photographs in their group, showing a range of images that related to building façade and streetscape elements relevant to Broadway. These photographs included examples from streets in Philadelphia and Camden that were identified as positive examples for Broadway during the stakeholder interview process, as well as historic photographs of the corridor from the City of Camden’s

Also like earth-tones, open storefront design, looks warm & inviting, uniform colors - we should be trying to build a place to come and hang out, a rival to Collingswood

GROUP 2“Broadway celebrates its 20th Anniversary as the place to meet and be seen at its huge

selection of restaurants and shopping destinations.”

Like lighting and green open space, kinetic, attracts students and activity

Like green and open space

Group members presenting their vision statement and representative photographs during the public workshop.


GROUP 4“New Teahouse, Sassafras Market/Cafe Opens!

Beautiful new sidewalks, landscaping, open tables outside, afternoon or evening for tea. Warm & inviting ambiance! Contemporary meets Historic!”

Need for benches and trash cans outside Would like to see a cafe, teahouse like Sassafras, tables outside for afternoon or evening use

Like curved planters, clean, nice, inviting

Tax Assessor’s office. Participants were asked to write their comments on the back of each photograph, and then amongst the group, write a “Headline!” for a fictional newspaper article written 20 years from today about Broadway’s transformation. Participants were asked to present their vision to the room, and to pick their top three alternative photographs that best represented their vision.

Warm & inviting, lots of glass, pulls you into the shop, historic details intact

Lots of green, places to sit, places to put trash, warm and vibrant

GROUP 3“Broadway is Back, Baby!”

This building isn’t too modern, but not strictly historic, nice details but still very clean.

Below: The vision statements, representative photographs, and photograph commentary selected by each group at the end of the public workshop.


PUBLIC PROCESS - PRINCIPLES FOR DESIGN GUIDELINES

The stakeholder interviews and public workshop yielded a wealth of information regarding the community’s vision for Broadway, resulting in over 170 comments about the corridor and the project. The final step in the process was to synthesize these comments into design principles to guide the objectives of the design guidelines, as well as into common façade or streetscape elements so that comments were reflected within the actual recommendations.

The following seven design principles represent a summary of the common themes that emerged from the public visioning process, and are reflected in the objectives and recommendations of the design guidelines in Part II of this document.

Design Principles for Building Facades + Streetscapes

1. A Vibrant Street. Restore Broadway’s historic role as an active and vibrant commercial corridor at the heart of the City of Camden.

2. Where Old Greets New. Make Broadway a street where new buildings and contemporary design meet and complement the style and scale of historic development patterns.

3. Welcome to Broadway. Make Broadway a memorable, accessible, and inviting destination for residents, workers, and visitors.

4. A Signature Look and Feel. Promote a warm and coordinated feel for the corridor through a common palette of materials and colors.

5. A Street for Pedestrians. Encourage the scale, placement, and types of design elements that serve and enhance the pedestrian experience.

6. Safe and Enjoyable. Create an atmosphere of comfort, transparency, and safety on the corridor, day or night.

7. Honor History. Celebrate the area’s rich and unique history in creative ways throughout the public realm.


BROADWAY DESIGN GUIDELINESPublic Outreach + Visioning Response

DRAFT - 3.22.2012

Workshop participants during the public meeting presenting their group’s vision statement and accompanying images

Graphic representation of all the commentary gathered during the public process, with the largest words representing topics most often repeated


City of Camden, New JerseyPart II | Design Guidelines

DESIGNGUIDELINES

DESIGNGUIDELINES

Table of Contents - Part II

PURPOSE + INTENT OF DESIGN GUIDELINES II-5

PROJECT AREA+ APPROACH II-7

HISTORIC DISTRICTS, RENOVATIONS, NEW CONSTRUCTION II-8

BUILDING TYPES ADDRESSED IN THIS DOCUMENT II-10

STREETSCAPE AREAS ADDRESSED IN THIS DOCUMENT II-12

DESIGN GUIDELINES FOR BUILDING FACADES + STREETSCAPES II-13

DEFINITIONS II-28

Part

II D

esig

n G

uid

elin

es

Broadway Design Guidelines | II-5 GmD

PURPOSE + INTENT OF DESIGN GUIDELINES

The Broadway Design Guidelines are meant to complement and enhance existing regulations and plans in the project area by creating a unified and distinct image for the corridor. The Design Guidelines represent the vision and goals of the local community, and are reflective of the desired character for Broadway as expressed during the public outreach and visioning portion of this project. They are intended to assist individual small business owners, homeowners, private developers, and large institutional entities pursue improvements or new development that will contribute to Broadway’s revitalization. These guidelines present recommendations in an easy-to-read, highly graphic format, so that the concepts and intent of the guidelines are illustrated clearly too all potential users. The images presented, unless otherwise noted, are for illustrative purposes only.

The Design Guidelines are meant to bridge the gap between the Lanning Square Redevelopment Plan, which controls development on the west side of Broadway, and the Cooper Plaza Redevelopment Plan, which controls development on the east side of Broadway. They are also meant to respect and enhance those lots within the Cooper Plaza Historic District. While the vision, goals, and objectives of both of the redevelopment plans are generally compatible, the permitted uses, area and bulk regulations, and design standards differ. To create a unified vision that bridges these redevelopment plans and is compatible with the Historic District, the Design Guidelines provide a voluntary template and guide for enhancing the façade and streetscapes in this area consistent with the community’s desired vision for the street.

The Design Guidelines primarily consist of two categories, recommended and not recommended improvements. In general, the types of improvements recommended are those that make Broadway more accessible, inviting, attractive, and that reflect the unique spirit, history, and character of the corridor. Similarly, the types of improvements that are not recommended are those that detract from the character of the corridor, remove or hide architectural features, create uninviting or insecure spaces, are poorly constructed or designed, or that are overly defensive in nature (such as barbed wire fencing or solid security grilles).

These guidelines are not mandatory, and are not a substitute for existing regulations. As such, they do not propose required standards for land use, bulk, or density as in a zoning ordinance. Instead, they provide voluntary recommendations and a guide for improvements that will enhance the character of Broadway. Interested parties are responsible for securing necessary permits and meeting any relevant Historic Preservation requirements, as well as to obtain any necessary Zoning or Planning Board approvals.

II-6 | Broadway Design Guidelines GmD

Lanning Square Park

7th & Clinton

7th

St M

edia

n

RIVERLINEStation

BroadwayPATCO Station


Center

PINE ST

S 4TH ST

S 5T

H ST

WES

T ST

S 6T

H ST

LINE ST

S 7T

H ST

ROYDEN ST

BERKLEY ST

HEN

RY S

T

CLINTON ST

WASHINGTON ST

RAMONA GONZALEZ ST

WIL

LIA

MS

ST

BENSON AVE

STEVENS ST

ST J

OHN

ST

NEW

ROBE

RTS

ST

AUBURN ST

CHA

MBE

RS S

T

EDM

UND

ST

BLAINE ST

AVO

N S

TW

HITE

ST

PR

S 4T

H ST


MLK BOULEVARD

BRO

ADW

AY

University & Support (US)

(See pages 24-25 of the Redevelopment Plan)

NeighborhoodCommercial (C2)




Commercial - Residential

(C-R)(See pages 24-25 of the Redevelopment Plan)

Commercial - Residential (C-R)


+Cooper Plaza Historic

District(See Section A590, Article II and Section 577-159 of

the City’s ordinance)

MLK Boulevard MLK Boulevard

EXISTING REGULATIONS (Parcels fronting the west side of Broadway)

EXISTING REGULATIONS (Parcels fronting the east side of Broadway)

1. Lanning Square Redevelopment Plan

1. Cooper Plaza Redevelopment Plan

2. Cooper Plaza Historic District(Benson to Berkley St.)

Benson Ave.

Berkley St.

Pine St.

Royden St.

Pine St.

Cooper Hospital Parking Garage

Cooper Medical School of Rowan

University

Coo

per H

ospi

tal

Planned Site of Lanning Square

ElementarySchool

CarnegieLibrary

ExistingElementary

School

CooperPlaza

CommonsNew Open Space

PATCO

RIVERLINE

Cooper Plaza Redevelopment Plan

Lanning Square Redevelopment Plan

DRAFT



Project Area


Redevelopment Plan Boundaries

Cooper Plaza Redevelopment Plan

Lanning Square Redevelopment Plan



BROADWAY DISTRICT OVERLAY


FeetO 0 100 200 400

ST

WASHINGTON ST

AUBURN ST

CooperoCC eoooCoCCCCo repoo poperoPlazaPlPPla aaazzzaal

CommonsmCoCCCoomm som nnm som omceeOpewewNeNe SpacSpacn Sn Spenpen ee

pper PCoCoCCoooo azazaPlazPlazopopriric DisisHiistosto ctcricricDistrDistroror

Diagram of existing Redevelopment Plan regulations and the Cooper Plaza Historic District highlighting only the lots in the Project Area (fronting on Broadway).

Project Area


PROJECT AREA+ APPROACH

The Broadway Design Guidelines are intended for those lots that front on Broadway between Martin Luther King Boulevard and Pine Street in the Lanning Square neighborhood. Existing regulations within this area include the Lanning Square Redevelopment Plan, The Cooper Plaza Redevelopment Plan, and the Cooper Plaza Historic District.

Standards contained in this guide were developed with a special attention towards existing design standards found in the Lanning Square Redevelopment Plan, the Cooper Plaza Redevelopment Plan, and the Cooper Plaza Historic District Design Guidelines. Where applicable, those design standards have either been directly included in this document, or at the least, the intent of those standards have been integrated into the recommendations.

Additionally, these standards are meant to be compatible with Broadway’s evolution over time. As such, historic photographs and tax records from the City of Camden’s Tax Assessor’s office were invaluable references in developing an understanding of the traditional form, materials, and overall impression of the corridor. Throughout the public process, participants expressed a strong desire to respect the historic elements and cultural heritage of the corridor while allowing for contemporary uses and design. The images to the left represent three relatively new structures that participants felt did an excellent job of blending contemporary with historic.

For more information on existing City of Camden regulations, please see Section III: Regulatory Controls of the Lanning Square and Cooper Plaza Redevelopment Plans for specific use, area, bulk regulations, and required design standards. Additionally, please see Section 577, Article XXIX of the City’s ordinance for relevant design standards not directly addressed in the Redevelopment Plans. If your property is within the historic district, please see Section A590, Article II of the City’s ordinance for the Cooper Plaza Historic District Guidelines and Section 577-159 for sign standards in historic districts. Property owners within the historic district are advised to consult with the Historic Preservation Commission early in the planning process for assistance with their projects.

The parking garage between Stevens and Benson Street adapts itself to the surroundings through the use of brick and by providing active ground-floor uses.

Planned Parenthood’s use of brick, clear entrances, upper-floor details and facade rhythm relate to its neighbors on the block.

The Cooper Medical School of Rowan University adapts a new, large-scale structure to the surrounding context through the use of brick, upper story setbacks, and large amounts of ground-floor and upper-story glass.


BROA

DW

AY D

ISTRICT O

VERLA

Y BASE M

AP

City of C

amd

enC

amd

en County, N

ew Jersey

City of C

amd

en Project No.: G

MD

-----D

raft Date: June 2011 D

rawn By: BB

Source: This map w

as developed

using N

ew Jersey D

epartment of Environm

ental Protection G

eographic Information System

d

igital data, but this second

ary product

has not been verified by N

JDEP and

is not state-authorized

.

0150

30075

Feet

O

S 6T

H ST

LINE ST

ROYDEN ST

BERKLEY ST

CLINTON ST

WASHINGTON ST

WIL

LIA

MS

ST

BENSON AVE

ST J

OHN

ST

AUBURN ST

BRO

ADW

AY

STEVENS ST

BENSON ST

WASHINGTON ST

CLINTON ST

ROYDEN ST

LINE ST

PINE ST

BERKLEY ST

AUBURN ST

MLK BOULEVARD

CA

RNEG

IE LIBRARY

LAN

NIN

G SQ

UARE

ELEMEN

TARY SC

HOO

L

APPRO

XIMA

TE FOO

TPRINT O

F PRO

POSED

LAN

NIN

G SQ

UARE ELEM

ENTA

RY SCHO

OL

CO

OPER HO

SPITAL PA

RKING

GA

RAG

E +G

ROUN

D-FLO

OR O

FFICE/RETA

IL

CO

OPER M

EDIC

AL SC

HOO

L OF

ROW

AN

UNIV

ERSITY

Walter Rand

Transportation Center +

City Hall

Bergen Square + W

aterfront South

S 6T

H ST

BRO

ADW

AY

Co

op

er

Pla

za H

isto

ric

Dis

tric

tSTEVENS ST

BENSON ST

WASHINGTON ST

CLINTON ST

ROYDEN ST

LINE ST

PINE ST

BERKLEY ST

AUBURN ALLEY

MLK BOULEVARDLegend1884

1886

1888

1889

1890

1900

1909

1910

1920

1928

1929

1930

1935

1939

1957

1995

2007

2012

Vacant Lot

No Record


BROA

DW

AY D

ISTRICT O

VERLA

Y BASE M

AP

City of C

amd

enC

amd

en County, N

ew Jersey

City of C

amd

en Project No.: G

MD

-----D

raft Date: June 2011 D

rawn By: BB

Source: This map w

as developed

using N

ew Jersey D

epartment of Environm

ental Protection G

eographic Information System

d

igital data, but this second

ary product

has not been verified by N

JDEP and

is not state-authorized

.

0150

30075

Feet

O

S 6T

H ST

LINE ST

ROYDEN ST

BERKLEY ST

CLINTON ST

WASHINGTON ST

WIL

LIA

MS

ST

BENSON AVE

ST J

OHN

ST

AUBURN ST

BRO

ADW

AY

STEVENS ST

BENSON ST

WASHINGTON ST

CLINTON ST

ROYDEN ST

LINE ST

PINE ST

BERKLEY ST

AUBURN ST

MLK BOULEVARD

CA

RNEG

IE LIBRARY

LAN

NIN

G SQ

UARE

ELEMEN

TARY SC

HOO

L

APPRO

XIMA

TE FOO

TPRINT O

F PRO

POSED

LAN

NIN

G SQ

UARE ELEM

ENTA

RY SCHO

OL

CO

OPER HO

SPITAL PA

RKING

GA

RAG

E +G

ROUN

D-FLO

OR O

FFICE/RETA

IL

CO

OPER M

EDIC

AL SC

HOO

L OF

ROW

AN

UNIV

ERSITY

Walter Rand

Transportation Center +

City Hall

Bergen Square + W

aterfront South

S 6T

H ST

BRO

ADW

AY

Co

op

er

Pla

za H

isto

ric

Dis

tric

t

STEVENS ST

BENSON ST

WASHINGTON ST

CLINTON ST

ROYDEN ST

LINE ST

PINE ST

BERKLEY ST

AUBURN ALLEY

MLK BOULEVARDLegend1884

1886

1888

1889

1890

1900

1909

1910

1920

1928

1929

1930

1935

1939

1957

1995

2007

2012

Vacant Lot

No Record


HISTORIC DISTRICTS, RENOVATIONS, NEW CONSTRUCTION

As part of the research component of this process, data on the approximate age of existing structures as well as photographs showing the state of these structures earlier in the century were gathered from the Tax Assessor’s office and through internet research. Though most buildings on Broadway are not in a Historic District, it is strongly recommended that property owners investigate the history and context of their buildings when planning renovations, and restore or retain architectural details of significance where possible. It is additionally recommended that new construction, or renovations to buildings with few or no historic architectural details of significance take into consideration the character and appearance of existing structures on Broadway when planning for new buildings or renovations. Those structures that fall within the Cooper Plaza Historic District (properties between Benson and Berkley Street on the east side of Broadway) and those within 500 feet of the Historic District should consult with the Historic Preservation Commission prior to planning renovations or new construction. For existing regulations and guidelines, please see Section A590, Article II of the City’s ordinance for the Cooper Plaza Historic District Guidelines and Section 577-159 for sign standards in historic districts. For additional information on recommended standards for rehabilitations of historic structures, property owners may wish to reference the Secretary of the Interior’s Standards for Rehabilitation, which can be found online at: http://www.cr.nps.gov/hps/tps/standguide/index.htm.

Broadway reflects a diverse range of old and new structures. In general, many existing buildings south of Auburn Alley date from the late nineteenth to early twentieth century. The 200 block of Broadway, including the 300 block on the west side of the street, was largely rebuilt or extensively renovated in the mid-twentieth century, and the building stock here includes older shopfronts with residences/offices above as well as the Holl Block (east side of the 200 block), a single-story structure built in the 1950’s. In the last decade two new structures, the parking garage between Stevens and Benson Street and the medical school between Benson and Washington Street, have been built or are currently under construction.

The photographs to the right are provided to illustrate some of the resources available through the City to aid property owners and stakeholders along the corridor who would like to learn more about the history and form of existing structures on Broadway.

Map of approximate age of structures in the project area. (Generated from data obtained from the Tax Assessor’s Office)

The rehabilitation of this block, within the Historic District, was accomplished through close consultation with the Historic Preservation Commission, and adherence to the Cooper Plaza Historic District Design Guidelines.

Shapiro’s Shoes, on the 200 block of Broadway

This strip of storefronts is in the historic district, and has recently been renovated

Local serving retail with residential above, south of Berkley

Luncheonette between Benson + Stevens, west side of Broadway

The current home of Uniform City, between Line + Pine

A 50’s look was the original design for the gas station at the corner of Broadway + Pine

The NE corner of Broadway + Mickle/MLK Boulevard

Mixed-use building between Auburn + Washington

Local serving retail on the west side of Broadway just south of Royden


CIR

CA

195

9C

IRC

A 1

959

TODA

YTO

DAY


BUILDING TYPES ADDRESSED IN THIS DOCUMENT

The design standards in this guide relate to all potential uses and building types allowed on the corridor, but may vary dependent on the use, scale of the building, and architectural style. Additionally, some recommendations in these guidelines are applicable only to certain types of uses at the ground-floor, and not to others. Ground-floor uses are given special consideration in this guide, as the ground-floor of the building directly addresses the street and the pedestrian, and is a critical component of creating a successful commercial corridor. As such, it is recommended that buildings front the street and that parking be provided either on-street or in the rear of the buildings with limited driveway access from Broadway in all cases. The following four photographs and descriptions below are presented here to represent a range of possible ground-floor uses permitted on the corridor, and the special design considerations recommended for each type.

Ground-Floor Retail: Buildings with retail uses on the ground-floor are typically characterized by the features that draw customers into the store, such as high-quality façade materials, high ceilings, large and clear ground-floor windows, and pedestrian-scaled features. These facades help reinforce street-level activity and also function as ‘eyes on the street’, by promoting activity, openness, and light from storefronts at night. If there is an active upper floor, there is often a second door on the ground-floor façade to gain access to the upper level. Wall openings, such as doors and windows, should comprise a minimum of 60% of the ground-floor façade. Setbacks may be used as spaces for outdoor cafes, planters, and may be shaded by awnings or overhangs. Because of Broadway’s role as a primary commercial corridor in the City, retail is the preferred use for ground-floor treatments within the project area.

Ground-Floor Office: Buildings with offices uses on the ground-floor are similar to retail buildings in design, with the largest exception being that ground-floors built for office uses may have smaller and less transparent facades. Wall openings, such as doors and windows, should comprise a minimum of 25% of the ground-floor façade. If there is an active upper floor, there is often a second door on the ground-floor façade to gain access to the upper level. Setbacks may contain porches, landscaping, planters, and may be shaded by awnings or overhangs. Because of Broadway’s role as a primary commercial corridor in the City, it is recommended that retail uses be located at the ground-floor with other uses on upper floors in a mixed-use building format.

Example of an appropriate ground-floor retail design.

Example of an appropriate ground-floor office design.


Ground-Floor Residential: Buildings with residential uses on the ground-floor, such as townhouses, duplexes, or apartment buildings, should provide an attractive street frontage, have windows and entrances facing the street, and be designed to be accessible for a wide-range of residents and visitors of differing physical abilities while providing a reasonable level of privacy. Wall openings, such as doors and windows, should comprise a minimum of 25% of the ground floor façade. Setbacks may contain porches, landscaping, planters, window boxes, low walls or fences as both buffering devices and as beautification elements. Because of Broadway’s role as a primary commercial corridor in the City, it is recommended that retail uses be located at the ground-floor with other uses on upper floors in a mixed-use building format.

Ground-Floors of Large Format Buildings: The ground-floors of large format buildings, which might typically contain institutional, office, or other uses may differ from other ground floor-uses in that they may have deeper front setbacks and wider frontages, but to the greatest extent possible, should incorporate active commercial uses, such as retail, to occupy the ground-floors of the building. Pedestrian entrances for the primary use and other uses on the ground-floor should have clear, well-marked entrances from Broadway. Setbacks may contain landscaping, planters, outdoor cafes, and may be shaded by awnings or overhangs. Associated activities such as parking, loading, waste removal, and utilities should not be located or accessed from Broadway. These building types may also consider integrating public art into their streetscape or architectural plans.

Upper-Floors of All Buildings: In general, upper-floors of buildings should complement ground-floors with respect to massing, materials, colors, window openings, and appurtenances. However, upper-floors should be visually distinguishable from the ground-floors of buildings and may contain different uses, and therefore different needs in respect to form, than may be found on the ground-floor.

Example of an appropriate ground-floor residential design.

Example of an appropriate ground-floor design for a large format building where elements relate to the scale of the street.


STREETSCAPE AREAS ADDRESSED IN THIS DOCUMENT

Streets are more than just utilities, they are the outdoor spaces of social, cultural, and commercial exchange. They function both as the front door to businesses, institutions, and residences, and provide valuable open space for residents and workers. As such, it is as important to address the qualitative aspects of what makes a safe, enjoyable, and memorable streetscape as it is to address its width and general dimensions.

In order to help create a functional understanding of the whole streetscape, and to regularize a streetscape pattern whose dimensions may vary from one block to another, the streetscape design guidelines reference three distinct “zones” within every sidewalk.

Building Zone: The portion of the sidewalk closest to the front building façade, which may be in the public right-of-way or within the lot frontage. Typically, this area may include features such as landscaping, café seating, or other elements maintained by the owner of the lot depending on the use of the building.

Pedestrian Zone: The portion of the sidewalk used primarily for the movement or passage of pedestrians. These areas are generally kept clear of elements that would impede pedestrian movement, such as tables, displays, low-hanging tree branches, etc. These areas should also provide sufficient width for individuals and groups of pedestrians to comfortably pass each other.

Amenity Zone: The portion of the sidewalk that sits between the pedestrian zone and the curb. Typically, this area may include street trees, planters, pedestrian and automobile-scaled lighting, bicycle racks, trash receptacles, benches, and creates a space for amenities that serve pedestrians, cyclists, and automobiles.

Diagram of the three sidewalk zones addressed in these guidelines.

Am

eni

ty Z

one

Ped

est

rian

Zone

Build

ing

Zo

ne


DESIGN GUIDELINES FOR BUILDING FACADES + STREETSCAPES

Elements Addressed in this Document

1 - Massing + Facade Rhythms

2 - Exterior Facade Design

3 - Entranceways + ADA Access

11 - Building Zone

12 - Pedestrian Zone

13 - Amenity Zone

8 - Security Elements

14 - Temporary Uses(Not shown in image)

4 - Windows

10 - Open Space + Public Art

6 - Signage

7 - Facade Lighting

5 - Awnings + Overhangs

9 - Building Cap + Upper Floor Facade


1 - MASSING + FAÇADE RHYTHMS

1.A - Objective: Promote building massing that respects the surrounding context of older structures and enhances the pedestrian experience.

1.B - Recommended

1. Façade designs that use material variety and changes in massing to break up the scale of the building.

2. The use of entryways, windows, window mullions, material changes, building offsets, or appurtenances to break up the horizontal width of a large structure. These horizontal breaks are recommended every 20-40 feet of a building’s façade to relate to the scale and rhythm of existing buildings along the corridor.

3. Horizontal variation that reflects changes in the building uses of the structure. For example, using different materials and window dimensions for a ground-floor commercial use with residential above.

4. The use of material changes, windows, horizontal bands or entablatures, balconies or balconettes, or offset rooflines to break up the vertical height of a large structure. These vertical breaks should distinguish a building’s base, middle, and top and should relate to the scale and rhythm of existing buildings along the corridor.

5. The use of design techniques, such as setbacks or material changes on upper stores to allow larger buildings to be compatible with 2-3 story structures on the corridor.

1.C - Not Recommended

1. Long monotonous horizontal surfaces without windows or articulation to break up the façade.

2. Vertical surfaces that do not distinguish between ground-floors, upper floors, and building tops.

3. New buildings which do not make provisions to be compatible with existing structures in size, scale, color, building materials and texture.

4. Blank facades without window or doorway wall openings.

Consistent Window Rhythm

Consistent Storefront Rhythm

Consistent Facade Rhythm

This large mixed-use building in Collingswood uses material changes, building offsets, and bay windows to break up the horizontal width of the facade.

The design of the facade of this building in downtown Camden creates a monotonous, uninteresting street frontage that detracts from pedestrian activity.

Inconsistent Facade Rhythm

Inconsistent Storefront Rhythm


2 - EXTERIOR FAÇADE DESIGN

2.A - Objective: Create, enhance, or preserve an attractive building exterior that complements the building façade and commercial corridor.

2.B - Recommended

1. Building facades should be oriented to face onto Broadway, and elements such as windows, primary entrances, awnings, and signage should be oriented to Broadway so as to create an inviting street wall for the pedestrian.

2. The use or upgrade of brick, stone, or cement board as primary façade materials and wood or high quality, durable material with minimal maintenance requirements for trim, storefronts, and window surrounds. Painting or sealing of brick is acceptable.

3. Colors in the earth tones for primary elements and whites, browns, blacks, reds or earth-tones for trim materials, window frames or mullions, security elements or appurtenances.

4. Existing architectural details on a building’s façade should be maintained and restored if applicable. Materials and colors should complement the existing architectural details of the building façade. Where information regarding the original details of the building is lacking, repair or replacement should be designed to conform to the characteristics of the era in which the structure was built, and the design characteristics of the area as a whole.

5. Where appropriate, storefronts should be distinguished from upper floors with larger display windows, enhanced lighting, characteristic storefront window moldings and surrounds.


1. The use of vinyl, aluminum, stucco, T-111, or CMU (Concrete Masonry Units) as primary materials.

2. Covering any part of the building façade with vinyl, aluminum, stucco, false-brick veneer, T-111, or any other sheet material that will cover original architectural materials or obscure openings or detailing such as molding.

3. The removal or covering up of quality materials and details from a building.

4. Filling in or sealing existing windows or entranceways.

5. The use of materials or addition of details that simulate a history other than that of the original building.

6. Colors and graphic detailing that clash with the architectural details of the building or the context of the entire corridor.

7. The use of high intensity, metallic, black, or fluorescent colors.

8. Mechanical equipment located along the primary façade.

Maintained & restored architectural elements.

Appropriate material usage.

Use of signage that doesn’t obscure original building features.

Use of earth-tone colors for primary facade materials.

Storefront with large display windows and transoms.

This facade restoration incorporates restored original materials and architectural features, as well as attractive window trim and signage for a contemporary chain business.

Covered vinyl siding of existing cornice.

Window openings blocked.

Inappropriate color usage.

Oversized sign that obscures original architecture of the building.

Partially filling in and reducing the size of an original window opening.

The original detailing of the bay windows and cornice of this facade have been covered over with bright, neon green vinyl siding.

SIGN

SIGN


3 - ENTRANCEWAYS + ADA ACCESS

3.A - Objective: Provide an attractive, inviting entrance accessible to all users.

3.B - Recommended

1. Implement improvements according to the ADA standards for Handicapped Accessibility.

2. Handicap ramp designs that use masonry and metal railings that match the existing architectural character of the overall design of the building facade.

3. When possible, original entranceways and associated architectural details should be retained and restored.

4. Doors or entranceways that are compatible in form, materials, color, size and architectural detailing with the overall design of the building façade.

5. Building entrances should be oriented so that primary pedestrian access points are oriented towards Broadway. Parking entrances/exits and drop-off areas should be accessed from side streets or from the rear of buildings where possible.

6. Doorways composed primarily of clear, transparent glass are advised for all uses with the exception of residential.

7. The use of clearly demarcated, well-lit, and inviting entrances.

8. The use of non-enclosed porches on residential buildings that are at least 8 feet in depth.

9. Entranceways of non-residential uses should consist primarily of clear, transparent glass.


1. Wood or Trex type materials for Handicap Ramps or railings.

2. Pulling back an original entranceway from the building façade.

3. Making the entrance door smaller than the original door.

4. Boarding up or sealing off any original doorways or entrances.

5. Use of slippery materials on walking surfaces.

6. Crowding entranceways of retail uses with merchandise.

7. Entranceways of non-residential uses that do not consist primarily of clear, transparent glass.

8. Porches constructed of cinder block or plywood.

9. The use of pipe railings on stoops or porches.Don’t go

from this...To this

This storefront invites shoppers in by allowing merchandise and the store’s interior to be clearly seen by pedestrians along the sidewalk.

Handicap ramps may be integrated with facades by using simple, classic designs for Handicap ramps that incorporate quality materials, masonry, and railings.

An example of a doorway that was reduced in size over the years, and lost architectural features and character after the doorway was reduced.

SIGN

SIGN

SIGN

SIGN


4 - WINDOWS

4.A - Objective: Enhance the appearance of building facades, add to the vibrancy of commercial corridors, and provide light and air to buildings.

4.B - Recommended

1. For ground-floor and upper floor windows, the original style, dimensions, architectural details and architectural character of windows should be maintained.

2. FOR NON-RETAIL USES: In general, ground-floors of uses other than retail are recommended to have a minimum of 25% of the façade as transparent windows.

3. FOR RESIDENTIAL: Residential units with individual entries should have windows at the ground-floor that face onto Broadway.

4. FOR RETAIL USES: In general, ground floor storefronts are recommended to be a minimum of 60% transparent. Windows composed of clear, transparent glass are advised. Pop-out, café type windows are encouraged where appropriate.

5. Divided light windows, if used, should match the original architectural history of the building and be compatible with the overall design of the building façade.

6. Window frames are to adhere to color section recommendations.

7. The restoration of original window openings if such openings were previously sealed off.

8. The use of wrought iron or cast iron window grilles on cellar windows.


1. Large areas of glass curtain walls or strip windows of more than 15 feet in length are discouraged, as are tinted and highly reflective glass.

2. Reducing window size to an area smaller than its original form.

3. Covering up, filling in, sealing, or boarding up windows or doors with any material.

4. Use of ground floor or upper floor window space for storage.

5. Use of tinted, opaque, smoked, glass block, or otherwise non-transparent glass.

6. The use of metal window griiles easily visible from the street on first story windows.

The windows on this facade have been sealed up, which detracts from the streetscape and makes the building feel partially vacant.

Retail uses function better when a high percentage of the storefront surface area is clear glass.

Non-retail uses, such as offices, need not have as much glass as retail uses, but should still appear inviting to pedestrians.

This storefront showcases a good example of how clear, transparent glass along a majority of the storefront creates an inviting atmosphere.

Non-transparent materials, such as glass block, are not recommended for use.


5 - AWNINGS + OVERHANGS

5.A - Objective: Provide shade, visual richness, space for signage, and enhance the character of building facades and public walkways.

5.B - Recommended

1. Awnings and overhangs should be self-supporting, without the need for poles, posts, or columns within the street right-of-way.

2. Awnings or overhangs should be securely attached to the building so that the lowest part of the awning or overhang is a minimum of 8 feet and a maximum of 12 feet above the sidewalk at the storefront.

3. Awnings should have fixed or retractable metal framework.

4. Non-retractable overhangs should be constructed of wood or metal framing, architectural shingle or standing seam metal roof, and molded millwork trim.

5. Awnings should be composed of fabric, real or synthetic, weather resistant materials and should complement the building’s design, style, color and materials. Standing seam metal roofs should adhere to an earth tone color palette.

6. Overhangs should incorporate materials, color, and detail that match the rest of the building’s façade.

7. Awnings or overhangs may incorporate signage, down lighting, and security grille housing. Signage on awnings should be limited to the vertical edge of the awning or overhang.


1. Covering architectural details with continuous awnings or oversized awnings.

2. Use of back-lit or internally illuminated awnings.

3. Any visible or moving parts or flashing and animated lighting.

4. Use of aluminum, vinyl, or other plastic materials.

5. Horizontal enclosures on the underside of awnings.

6. The use of awnings on residential properties.

Allowing for a min. 8 feet of clearance between the bottom of an awning and the sidewalk allows for pedestrian clearance.

Awnings and canopies should be compatible with the overall design of the facade.

Vertical Edge of awning or overhang.

Oversized awnings that cover or obscure architectural details of the building should be avoided.

Horizontal enclosures on the underside of awnings are not recommended.

This overhang with shingles blends into the overall design of the building facade, and provides a place for storefront signage.

This awning is oversized for the storefront, and hides the architectural character of the building.

SIGN

SIGN

SIGN

SIGN

SIGN

SIGN

SIGN

SIGN


6 - SIGNAGE

6.A - Objective: Signage should be designed to convey the identity of the tenant, enhance the architectural features of the building façade, and add visual interest to the street.

6.B - Recommended

1. Signs that complement a building’s architectural features and character, and that are consistent in terms of form, materials, color, quality/durability, and size with the subject property.

2. Signs that use consistent and legible fonts, colors, and icons or logos.

3. Signs at the ground-floor that fit approximately 1 foot above the top of the ground floor window frame and 1 foot below the second floor window sill or parapet, whichever is the lower of the two.

4. Lettering should consist of less than 75% of the total surface area of the sign, and be between 8 to 18 inches in height.

5. Blade signs that project off the façade that sit high enough on the building to allow for comfortable pedestrian clearance, generally 10 to 15 feet above grade.

6. The use of indirectly lit or halo signs.

7. Signs should be limited in size to a total area or ratio of 1 square foot of sign area for every 2 lineal feet of building street frontage, with an upper limit of 40 square feet as a maximum aggregate.

8. Signs should be at least 1 inch thick if mounted directly to the surface of the building.

9. Wall signs shall project no more than 10 inches from the façade wall surface that it is mounted upon.


1. Obscuring architectural features or original detailing of a building’s facade with signage.

2. Signs that use exposed neon, luminous vacuum-formed type plastic letters, or that use elements that flash, blink, twinkle, rotate, animate, move, or that present the illusion of movement.

3. Signs painted directly upon a building surface, other than window glass.

4. Signage that is handmade, or constructed of non-durable materials (i.e. plastics, vinyl) or that use highly reflective finish materials (i.e., polished brass, chrome, etc.).

5. Signs that obscure the majority of an upper floor façade or extend higher than the building’s cornice or eave, or be mounted on roofs, dormers, or balconies.

6. Signs that are more than 5 feet in height or are closer than 24 inches to the end of the storefront or the corner of the building.

7. Storefronts with more than two signs: 1 primary, 1 secondary.

8. Blade signs that project more than 4 feet from the face of the building.

9. The use of more than 1 projecting or blade sign per street frontage.

10. The use of internally illuminated “box” or cabinet type signs.

Primary storefront signs should sit comfortably between the first and second stories of the building.

Primary signs and directory signs for non-retail buildings should express simple messages such as the name, function, and address of the building.

Signs should not sit above the roof of a structure to which they are affixed, and should be compatible in materials and colors to the building facade.

Signs should not project above the cornice of the structure to which they are affixed. The cornice line is highlighted in red in the diagram to the left.

This sign is oversized, obscures architectural features of the building, is secured by metal armatures, and has a handmade appearance.

This sign expresses the store’s character through the use of a logo and interesting type face, and is appropriately lit with gooseneck lighting.

SIGN

SIGN

This storefront uses neon tubing and lighting in the storefront window that is incompatible with the facade.


7 – FAÇADE LIGHTING

7.A - Objective: Make the street feel lively, inviting and secure day and night.

7.B - Recommended


1. The use of flashing, pulsating, or moving lights.

2. The use of lighting and light fixtures that clash with the style and character of the building’s façade and the character of the corridor.

3. The use of lighting, such as floodlighting, that is overly bright for the surroundings or that produces glare onto adjacent properties.

4. Framing the display window with neon tubing.

1. The use of indirect lighting to highlight window displays, signs, doorways, and a building’s architectural details.

2. Exterior light fixtures that complement the character of the façade.

3. The use of lights that keep window displays well lit after business hours.

4. The use of direct lighting onto the display itself.

5. If otherwise unoccupied, upper floor windows should be lit even after business hours.

6. Use of a timer to turn lighting fixtures on at dusk and off at dawn.

7. Security lighting recessed in soffits and directed down.

8. Lights should be composed of soft or warm colors.

9. L.E.D. lighting should produce soft white lights, no greater than 2,300 lumens.

Example of light coming from a recessed fixture in the soffit.

Example of indirect, gooseneck lighting on a storefront sign.

This sign uses indirect lighting fixtures that blend well with the building architecture, and do not obscure or destract from the architectural features of the building.

Signage, though not part of the structure, can reinforce or detract from a building’s character. Using neon tubing and bright neon colors can detract from the architectural character.

SIGN

SIGN


8 - SECURITY ELEMENTS

8.A - Objective: Provide necessary security of the building without detracting from the character of the building façade and the corridor.

8.B - Recommended

1. Installation of security grilles that sit inside the display glass and that are completely concealed during regular business hours.

2. Conceal grille box or housing unit under awnings and signs.

3. Use open grilles that allow lighted window displays to be seen at night.

4. Explore various types of transparent security grilles and find the one that best fits the look of your store.

5. Grilles should be at least 50% transparent.

6. Fences made of wrought iron, extruded aluminum or the like.

7. Fences that are black in color.


1. Installation of new security grilles that do not meet the recommended standards.

2. Use of opaque, solid security gates.

3. Fences that incorporate razor ribbon, barbed wire, or chain link.

4. Wooden fences, PVC or plastic.

5. Plastic slats in chain link fences.

This security gate dominates the building facade and makes the store appear vacant, or at the least not well-maintained.

Solid security gates and chain link fencing detract from the feel of the overall street and neighborhood.

This security grille still functions as a gate to keep potential intruders out, while still maintaining an overall positive appearance seen by pedestrians from the street.

Awnings can be used to hide security grille boxes from view.


9 - BUILDING CAP + UPPER FLOOR FAÇADE

9.A - Objective: Enhance the overall design of the building façade and the character of the street by maintaining or creating upper floor facades and building caps.

9.B - Recommended

1. Maintain or restore existing architectural details around upper floor windows.

2. Preserve and restore historical features. Repair upper façade with material that is the same as, or that complements the existing construction.

3. The use of appropriate colors or indirect lighting to accentuate the architectural details of the building.

4. If installing a storm window in an older building, consider installing it inside of the original window so it will not be seen.

5. The screening of mechanical equipment located on building roofs so as not to be visible from the ground level or from adjacent developments.

6. Cornice line heights for new or remodeled buildings that respect the cornice line heights of the two existing adjacent buildings.


1. Covering any part of the building façade with vinyl, aluminum, stucco, false-brick veneer, or any other sheet material that will obscure openings or detailing.

2. Filling in windows or doors with any material.

3. Creating windowless blank walls or destroying original architectural details.

4. Removing existing quality materials and details from a building.

5. Using materials or adding details that simulate a history other than that of the original building.

6. The alteration of the architectural style and form of the original roof shape.

7. The removal of the original upper floors of a building.

This storefront has boarded up upper floor windows, covered the original cornice line with siding, and painted blue over the lower portion of the original brick facade.

The upper floors of these buildings have been restored with care and attention to architectural detail, and maintain an active and “lived-in” look and feel.

Window openings are maintained/restored and use appropriate colors and trim details for the overall building facade.

Window openings are permanently sealed, creating a “boarded-up” or vacant appearance to the facade.

The cornice line of this building is maintained/restored and uses appropriate colors for the overall building facade.

The cornice line of this building has been covered up with siding, obscuring the original details and detracting from the overall character of the building.


10 - OPEN SPACE + PUBLIC ART

10.A - Objective: Create inviting, usable green spaces and plazas that extend the public realm, provide places for passive and active recreation, and that beautify the corridor.

10.B - Recommended

1. Locate plazas, open spaces, or green spaces along Broadway to allow the public to benefit from privately financed open spaces, and to connect open spaces into the larger pedestrian network.

2. Convey openness through clearly delineated pathway entrances and generous amounts of seating and lighting.

3. Create plazas and open spaces that are level and integrated with the sidewalk, both to make open spaces accessible and visible from the street.

4. Design plazas and open spaces that allow for diverse functions throughout the year, such as café seating, farmer’s markets, concerts, outdoor events, room for kids to play.

5. Design plazas and open spaces with places that can accommodate use in a variety of weather conditions.

6. Design plazas and open spaces with functions for users of all ages.

7. Design plazas and open spaces that incorporate public art that references the history of Broadway, the City of Camden, and/or the work of local artists.

8. The use of concrete or brick pavers for pathways.

9. Engage the local community in the planning, design, and creation of public art.


1. Plazas and open spaces that do not include a plan and funding for regular maintenance.

2. Sunken or raised plazas, or parks with elevation changes greater than 2-4 feet.

3. Plazas that are not ADA accessible.

4. Poorly lit plazas and open spaces.

5. Plazas or open spaces that face onto Broadway which are fenced off or otherwise inaccessible by pedestrians.

6. Plazas or open spaces that do not provide amenities for pedestrians, such as seating, lighting, or weather protection.

7. Pathways that are not paved or linked in at grade with the sidewalk.

8. Plazas, open spaces, or green spaces, that will permanently occupy otherwise developable parcels on Broadway.

This partially raised plaza connects to the sidewalk, but incorporates so much vegetation that it is difficult to see in and out of the space.

This plaza on Drexel’s campus creates a mid-block pedestrian connection between Chestnut and Market Street with amenities that activate the space during the day and night.

Plaza not at the same level as the sidewalk.

Public space integrated with the sidewalk.

Water/play feature that activates the space.

Seating and shade amenities provided for visitors.

On-site cafe to activiate the space.

Poor overall design and few pedestrian amenities provided in the public space.


11 – BUILDING ZONE

11.A - Objective: Create an inviting space at the building entrance to allow building functions to meet the sidewalk.

11.B - Recommended

1. Public and private setbacks should be used to create a flexible streetscape for pedestrians and commercial activity that is consistent with existing setbacks along Broadway.

2. Private setbacks for non-residential uses that are open and accessible to the public.

3. The use of café tables, awnings, and planters to create areas for outdoor dining and pedestrian activity on the street.

4. The replacement of landscaping in front yards with hardscape surfaces.

5. The use of landscaped or paved setbacks, or a combination of the two.

6. Setbacks that create a space of at least 5 feet between the building edge and the pedestrian zone.


1. Utilities and related appurtenances that are visible from the street or screened from public view through appropriate architectural materials or landscaping.

2. Private setbacks that do not include a maintenance plan to ensure upkeep by the property owner.

This space near the Walter Rand Transportation Center is a poorly defined space that is not well-connected to businesses with active uses on the ground floor, creating a hang-out rather than a comfortable space.

The private setback of a lot provides space to activate storefronts and ground-floor uses, and when properly maintained by property owners, creates a valuable semi-public space.

Private setback for a commercial use that is accessible from the public sidewalk.

On-site cafe maintained by property owners.

Amenities provided that benefit both businesses and pedestrians.

Poorly defined setback with few amenities and little visual appeal.

No integration of storefronts with the design/use of the private setback.


12 - PEDESTRIAN ZONE

12.A - Objective: Create an inviting and interesting space to walk along the corridor.

12.B - Recommended

1. The general continuation of streetscape improvements recently completed between MLK Boulevard and Benson Street, and between the eastern side of Benson to Berkley Street throughout the corridor.

2. A horizontal clear space of at least 6 feet and a vertical clear space of at least 8 feet to facilitate pedestrian movement.

3. The use of simple concrete pavement, or unique paving patterns that reflect the history of the area.

4. The use of brick pavers or concrete in walkways.


1. Pedestrian Zones that are poorly defined.

2. The use of single, monotonous textures along the pedestrian pathway.

3. Pedestrian pathways that do not provide visual interest to the corridor.

This pedestrian zone of this sidewalk is overly narrow, and does not facilitate higher levels of pedestrian traffic found on urban main streets.

An example of the 5x5 brick paving pattern recently constructed on several of the blocks on Broadway.

An adequately wide and clearly defined pedestrian space facilitates better pedestrian movement.

Inadequate width, and poor definition of the pedestrian walkway can overtime lead to narrow, unpleasant walkways.

This streetscape looking north on Broadway is devoid of amenities for pedestrians.

Low-level greenery and planters can have a clean, vibrant look in a variety of creative forms to create a unique look and feel for a street.


13 - AMENITY ZONE

13.A - Objective: Create a space for amenities, functional elements, and an attractive transition between the sidewalk and roadway.

13.B - Recommended

1. The use of planters to add low-level greenery to the streetscape.

2. Plantings should by tolerant of urban environments and should require low maintenance.

3. Double-headed pedestrian scaled lighting with banners, as is already in place on the corridor.

4. Pedestrian level-lighting, which should be mounted at a height of 12 to 14 feet above the sidewalk, should be provided throughout the entire corridor.

5. Pedestrian lighting a minimum of 75 feet on center, and no less that 1 foot candle in brightness.

6. Bicycle racks should be provided for every 200 linear feet of street frontage, and should be oriented so that bicycles are parallel to the street when locked.

7. Trash receptacles should be provided for every 200 linear feet of street frontage.

8. The use of signs, maps, banners, or other elements to mark and celebrate the district.


1. The use of fencing along the perimeter of planters.

2. Streetscapes that provide little to no greenery.

3. Streetscapes that only provide light for the roadway, and not at the pedestrian scale.

4. Long stretches of streetscape with little visual variety or pedestrian amenities.

5. SPECIAL NOTE ON STREET TREES: Due to current restrictions with Camden’s Eye in the Sky program, future tree installations should be vetted with the Camden Police Department to account for the visibility needs of the program.

The use of planters to provide greenery while Camden’s Eye in the Sky program is in use.

Lack of pedestrian-scaled lighting makes the street uninviting at night.

Street trees that are not properly limbed up, and spaced too close together, can obscure the visibility of businesses on the corridor.

The provision of pedestrian amenities and pedestrian level lighting throughout the corridor.

This vacant lot on Broadway could be temporarily stabilized (weeds removed, temporary pathway installed, etc.) while awaiting development.

Uses like the farmer’s market at the Walter Rand Transportation Center are an example of positive “pop-up” uses that could enhance the corridor on vacant lots or in existing open spaces.


14 - TEMPORARY USES

14.A - Objective: Create standards for “pop-up” uses, vacant lot stabilization, and construction staging that enhance the look, feel, and functionality of the corridor.

14.B - Recommended

1. “Pop-up” uses, such as farmer’s markets, temporary art installations, craft fairs, festivals, and the like that enliven the street and can be easily set up and disassembled.

2. Vending units (such as food trucks) that meet the requirements of the City’s “Peddlers and Vending Units” ordinance.

3. Tables, canopies, and vending units that leave a clear space of at least 6 feet along the sidewalk.

4. Vacant lot stabilization, such as passive open spaces, active gardening, beautification greening, etc.

5. Vacant lot stabilization that incorporates beautification elements, such as gardening, murals, flowers, etc.

6. Vacant lot stabilization that includes a regular maintenance plan.

7. Vacant lot stabilization that, if enclosed by fencing, utilizes wrought iron fencing with clearly demarcated entrances.

8. Construction fencing that sits within the lot line of the site, or otherwise provides a safe, clean walkway.

9. The display of pedestrian level signage showing relevant project information and renderings of the future finished development.


1. Vending units (such as food trucks) that do not meet the requirements of the City’s “Peddlers and Vending Units” ordinance.

2. Vacant lot stabilization sites that utilize elements that are not easily moved, such as trees.

3. Vacant lot stabilization sites that are not regularly maintained.

4. Vacant lot stabilization sites that utilize chain-link fencing.

5. Construction site ingress/egress from Broadway.

6. The storage of construction vehicles, equipment, or materials along the frontage facing Broadway.

7. Construction fencing for a site that reduces the usable width of the sidewalk to a dimension of less than 6 feet.

Photo courtesy of user Frankie Fame, Flickr.com

Blank building facades.

Underutilized vacant lot.

Murals along blank facade walls facing the street.

Black, wrought iron fencing.

Chain link fencing and weeds lining the edge of the site.

Uses that enliven the space, such as community gardens.


DEFINITIONS

ADA ACCESS – Refers to accessibility standards prescribed under the Americans with Disabilities Act.

AMENITY ZONE – The area of the sidewalk between the roadway and the pedestrian zone. It acts as a buffer between pedestrians and vehicles, and may contain landscaping, street furniture, transit stops, signage, utilities, etc.

APPURTENANCES – The visible, functional, or ornamental objects accessory to and part of a building. These might include light fixtures, awnings, shutters, decorative cornices, or other elements accessory to the underlying structure of the building.

ARCHITECTURAL CHARACTER – The overall style or image of a building that is defined by the style of the building’s architectural details or elements. May refer to a historic style of architecture, or may be more general in nature.

ARMATURES – The structural element that holds a sign that projects out from the building façade.

ARTICULATION – The differentiation by material, offsets, or openings of a building to emphasize different elements of the overall design.

AWNINGS – An ancillary lightweight structure usually of canvas, cantilevered from a façade providing shade to the fenestration and spatial containment to the pedestrian.

BALCONIES / BALCONETTES – A platform that projects from the wall of a building and is surrounded by a railing or balustrade.

BLADE SIGNS – A type of projecting sign mounted perpendicular to the building façade.

BUILDING CAP – The upper-most portion of the building façade that sits above the top story of the building and defines the roof line along the top of the building.

BUILDING OFFSETS – A change in elevation or depth of the primary façade.

BUILDING ZONE – The area between the pedestrian zone and the building façade or property line. It may contain landscaping, street furniture, signage, merchandise displays, etc. This area may also be used for street cafes.

CLEARANCE – The distance between the ground-plane and the bottom-most edge of the protruding element.

CORNICE – The uppermost horizontal molded projection or other uppermost horizontal element located at the top of a building or portion of a building.

COMMERCIAL CORRIDOR – A street with a high concentration of commercial uses.

DISPLAY WINDOWS – Windows on the ground floor of a building that allow visibility into and out of a commercial space and are used for display.

The images above represent two different representations of architectural character possible for retail buildings.

Maintained/restored cornice on an older structure.

Example of divided light window used in a commercial structure.

Example of large display windows for a retail storefront.


DIVIDED LIGHT WINDOWS – A window that is crossed by thin vertical or horizontal bands. See ‘Mullions’.

DURABLE – Able to exist for a long period of time without significant deterioration.

EARTH TONES – Generally, this represents a color scheme that draws from colors found in nature. May be described as warm, vibrant, or muted colors.

EAVE – The bottom-most portion of the roof line that extrudes outward from the building façade.

ENTABLATURES – Sometimes referred to colloquially as just the “cornice”, the entablature is the building cap often found on flat roofed or classical structures, consisting of three parts, the architrave, frieze, and cornice.

FAÇADE – Generally one side of the exterior of a building.

FLOODLIGHTS – A high-intensity artificial light providing illumination over a wide area.

GATEWAY – An element that signals the approach or arrival into a new district or destination.

GOOSENECK LIGHTS – Often used on the exteriors of commercial buildings to provide indirect illumination for signs and architectural accent points.

GRILLE BOX – The protruding upper portion of a security grille where the grille itself is rolled up and stored.

HALO SIGNS – A sign whose letters are back-lit in such a way that the edges of the letters themselves are lit by the surrounding light.

HARDSCAPE – The paved areas of a plaza, pathway, or sidewalk.

INTERNALLY-LIT (OR BACK-LIT) – A sign whose light source does not shine directly outward onto the street and is otherwise diffused or reflected to provide illumination.

L.E.D. (Light Emitting Diodes) – A form of lighting that emits visible light when electricity when applied, similar to a light bulb. However, the practical application of L.E.D.’s in signage is usually to have many L.E.D.’s lined up side-by-side, where they can create pictures or moving text or images, across a wide range of colors in the visual spectrum.

MASSING – The three dimensional bulk of a structure: height, width, and depth.

MOLDING – A continuous projection or groove, used for ornamentation or finishing.

MULLIONS – A slender structural element that forms a division between units of a window, door, or screen for practical or decorative purposes.

OVERHANGS – A protruding element of the building façade.

Existing gateway branding on Broadway.

Example of gooseneck lights used to provide indirect illumination for signage.

A typical range of “earth tone” colors.

An example of a hardscape plaza along a public right-of-way.


PARAPET – The portion of a wall that extends above the roofline.

PEDESTRIAN-SCALED – The proportional relationship between the dimensions of an architectural element and the scale of a typical human body, taking into account the perceptions and walking speed of a typical pedestrian.

PEDESTRIAN-LEVEL LIGHTING – A light fixture of a scale, placement, design, and luminosity that is meant to provide light primarily for the benefit of pedestrians on the sidewalk.

PEDESTRIAN ZONE – The walkway or throughway that should maintain a clear space horizontally and vertically for the movement of pedestrians.

PENT ROOF – A roof sloping one way only, also called a Shed Roof.

POP-OUT CAFÉ WINDOWS – A type of window, often found in cafes and restaurants, with window panes that open and close similar to accordions. These are often used to break-down the separation of indoor/outdoor.

RHYTHM – A pattern of façade and streetscape elements that discourages monotony and creates an inviting pedestrian environment and visual compatibility with buildings and places.

SECURITY GRILLES – A metal grating that rolls down a window, door, or ground-floor facade to provide protection against unwanted entry.

SETBACKS – The distance between the property line and the building wall.

SCALE – The relative size of an object in the built environment to its surroundings.

SILL (WINDOW) – A horizontal element that sits below a window frame.

SOFFITS – The underside of an architectural element such as an eave or overhang.

STANDING SEAM METAL ROOFS – A roofing material made up of vertically-oriented sheet metal panels secured in place by concealed fasteners, and connected to adjacent panels through an overlapping locking mechanism forming the raised rib/standing seam.

SURROUNDS (DOORS) – A load bearing or decorative frame surrounding a doorway that denotes the primary entrance, similar to an architrave.

TEMPORARY USE – A use that only exists for a short period of time, generally from a few weeks to a year.

TRANSPARENCY – The degree, measured as a percentage of the overall façade space, to which a façade has clear, transparent windows on each story.

TRIM – The framing or edging of openings and other features on a façade or indoors. It is usually of a color and material different but compatible with the adjacent wall surface.

This pop-out cafe window shows how these large, open windows can break down the barrier between indoor and outdoor space.

An example of a window sill sitting below a divided light window.

A classically styled door surround framing a wooden doorway.

Example of a security grille completely obscuring a storefront.

broadway design guidelines

Documents

public process analysis

broadway design guidelines

public process principles

broadway community

public workshops

existing conditions

existing plans

commercial street