salem final design guidelines - city of salem ma

CITY OF SALEMCOMMERCIAL

DESIGN GUIDELINES


DESIGN GUIDELINES

Mayor Stanley J. Usovicz, Jr.Department of Planning and Community Development

Salem, Massachusetts


DESIGN GUIDELINES

Department of Planning and Community DevelopmentSalem, Massachusetts

Prepared by

Alan MountjoyChan Krieger & Associates, Cambridge, Massachusetts

William FinchFinch & Rose, Beverly, Massachusetts

2005

Design and Production:Carol RoseBeverly, Massachusetts

All illustrations not credited are from the collections ofAlan Mountjoy and William Finch.

All maps not credited are owned by the City of Salem.

Copyright © 2005 Department of Planning andCommunity Development, Salem, Massachusetts 01970

City of Salem Commercial Design Guidelines has been financedin part with Federal funds from the National Park Service,U. S. Department of the Interior, through the Mas-sachusetts Historical Commission, Secretary of the Com-monwealth William Francis Galvin, Chairman. However,the contents and opinions do not necessarily reflect theviews or policies of the Department of the Interior, of theMassachusetts Historical Commission, nor does the men-tion of trade names or commercial products constituteendorsements or recommendations by the Department ofthe Interior, or the Massachusetts Historical Commission.

This program receives Federal funds from the NationalPark Service. The U. S. Department of the Interior pro-hibits discrimination on the basis of race, color, nationalorigin, age, gender, or handicap in its federally assistedprograms. If you believe you have been discriminatedagainst in any programs, activity, or facility as describedabove, or if you desire further information, please writeto: Office for Equal Opportunity, U. S. Department of theInterior, 1849 C Street NW, Room 1324, Washington, DC20240.

v

Introduction:Purpose and Applicability of the Guidelines 1

Section I:Overview of the Development of Salem 4

Section II:Design Guidelines 8

Overview 8

Revitalization Approaches 10Repair and MaintenanceRemoval of Inappropriate MaterialRestorationPrevious AdditionsChecklist for Owners and Merchants

Building Façades 12Elements of the Building FaçadeArchitectural Lighting

Storefront Systems 14Storefront ComponentsSecurity Devices

Awnings 16MaterialsLighting of AwningsSigns on AwningsService Station Canopies

Signs 18Sign TypesSign LightingTrade Marks and Corporate Signs and Standards

Window Displays 20In-Window SignsTemporary Signs

Parking and Landscape 22Location of Parking AreasPaving MaterialsCurb Cuts Protecting the LandscapeSite Lighting

New Construction 24Street Wall ContinuityStand-Alone Retail BuildingsAdditionsUniversal Access MaterialsBuilding Heights

Section III:Area Descriptions 28

Bridge Street Corridor 28

North Street Corridor 30

Boston Street Corridor 32

Highland Avenue Corridor 34

Lafayette Street 36

Loring Avenue Corridor 38

Canal Street Corridor 40

Urban Renewal Areas Description 42

Local Historic Districts 46

Appendixes 49

Appendix A. Historic Storefront Styles 50

Appendix B. The Secretary of the Interior's Standards for the Treatment of Historic Properties, 1995 54

Appendix C. Additional Resources and Contacts 58

Contents

vi

LafayetteStreetEntranceCorridor

LafayetteStreetHistoricDistrict

CanalStreetEntranceCorridor

BridgeStreetEntranceCorridor

HighlandAvenueEntranceCorridor

LoringAvenueEntranceCorridor

BostonStreetEntranceCorridor

NorthStreetEntranceCorridor

SALEMSTATECOLLEGE

DERBY WHARF

SALEM HARBOR

COLL

INS

COVE

NO

RTH

RIV

ER

SALEM HIGHSCHOOL

McIntireHistoricDistrict

DerbyStreet HistoricDistrict

WashingtonStreet HistoricDistrict

UrbanRenewalAreas

1

in the process of undertaking improvements to com-mercial and retail buildings. Overall, the guidelinesare intended to provide ideas, stimulate thinking, andpromote good design in the commercial districtsthroughout the City of Salem. The purpose is not tolimit the choices of business owners but rather toprovide more options that exist for your building.Particularly, the Guidelines will be helpful to businessand property owners with buildings located in theEntrance Corridors, Historic Districts, and UrbanRenewal Areas, where the City of Salem has morespecific regulations and oversight over design deci-sions.

Who Should Consult the Design Guidelines?

Property and business owners should refer to theDesign Guidelines whenever they are consideringimprovements to their buildings or changes to sig-nage.

In addition, the Guidelines are intended to assistand guide design review in the following areas:

• Urban Renewal Areas. The Salem Rede-velopment Authority (SRA) requires that allimprovements to the exterior of a structureand any changes to signage to properties locat-ed within the Urban Renewal Areas mustundergo design review. The SRA utilizes theirUrban Renewal Plans in that design review.These updated Guidelines are intended to sup-plement the design frameworks established bythe Urban Renewal Plans.

• Entrance Corridors. The Entrance CorridorOverlay District regulations are focused on sig-nage, parking lots, fences and new non-resi-

For the past 300 years, the City of Salem hasbeen a dynamic commercial center of activity. Walk-ing through downtown Salem, one can sense the his-tory of the city from the wealth of historic buildingsto the cobblestone streets. Over the years, Salem hasheld a strong tradition of planning to protect the his-toric architectural and urban design qualities thatmake Salem distinctive and attractive. In additiondecisions by individual property and business ownershave helped to shape the look, feel, and experienceof Salem as a place—the character of the city thatattracts residents, businesses, shoppers and tourists.

The City of Salem developed these CommercialDesign Guidelines to encourage the highest qualitydesign in commercial areas that will preserve theCity’s rich history and improve the physical and visu-al environment. It is intended to prepare businessand property owners to undertake quality improve-ments that will contribute to the overall image of thecommunity and continue to make Salem a uniqueand attractive place.

What Are Design Guidelines?

Design Guidelines are just that, guidelines. Theyare not regulations or requirements.

The physical design of a commercial area con-tributes greatly to the overall image of the communi-ty. Thoughtful design improvements reinforce thepositive identity of a community’s retail core and cre-ate a sense of place that is distinct to the neighbor-hood. Furthermore, good design helps create a placewhere people want to be—to socialize, relax, andshop.

These Design Guidelines address many of the issuesthat business and property owners are likely to face

Introduction: Purpose and Applicability of the Guidelines

An example of one of the many smaller retail mixed-use areasfound along Salem’s many Entrance Corridors.

These Washington Street storefronts have been largely rebuilt inbuildings that vary in construction dates and styles.

2 City of Salem Commercial Design Guidelines

dential construction over 2,000 square feet.All signage changes in the City’s Entrance Cor-ridors must be reviewed and approved by theDepartment of Planning and CommunityDevelopment (DPCD) and Building Depart-ment. In addition, new non-residential con-struction over 2,000 square feet requiresapproval by the Salem Planning Board. TheseGuidelines will be used by these departmentsand the Planning Board in their review.

• Historic Districts. The Salem HistoricalCommission has a Guidelines Notebook that pri-marily focuses on residential properties locatedin the four Local Historic Districts, but doesnot include much information on commercialproperties. These Commercial Design Guidelineswill serve to assist the Salem Historical Com-mission in its review of commercial renovationand signage projects.

Whenever business or property owners are makingchanges to their signage or their storefront, theyshould contact the DPCD first to determine the nec-essary permits and approval processes.

What Role Will the Design Guidelines Play?

The Design Guidelines will be used by the PlanningBoard, SRA, SRA Design Review Board, HistoricalCommission and city staff in their design review ofproposed projects and signage. Each board or citystaff will refer to the recommendations discussed inthe document when suggesting design improvementsto projects or signage.

All property or business owners should refer tothis document when designing a project or signagefor their business. These Guidelines will help them tocreate a look for their business that may increasetheir number of customers and will contribute to theoverall historic and architectural character thatmakes Salem a distinct and attractive community inwhich to live and work.

How To Use the Design Guidelines?

This document is organized into three sectionsand an appendix. A description of the sections andappendix are as follows:

• Section I: Overview of the Development of Salem. Provides the read-er with a brief introduction to the historicaldevelopment of Salem that has led to the dis-tinctive pattern of current design visiblethroughout the City.

• Section II: Design Guidelines. Providesguidelines for business and property ownerscovering topics from building placement fornew construction to sign design.

• Section III: Area Descriptions. Providesoverviews of each of the Entrance Corridorsand the Urban Renewal Areas to provide anunderstanding of their development over timeas it relates to the types of buildings, uses anddesign characteristics present today.

• Appendix. Includes information on historicstorefront systems, The Secretary of Interior’sStandards for the Treatment of Historic Properties,and other resources that might be of interestto the reader.

Design Regulations

The level of design review required for a projectdepends on the location of the property. The threeareas where design review is necessary are theEntrance Corridors, Urban Renewal Areas and His-toric Districts. A brief overview of each of the areas isprovided below. However, business and propertyowners should consult with the Department of Plan-ning and Community Development (DPCD) early intheir project development to determine whether theyfall into one of these areas.

Entrance Corridors. The Entrance Corridor Over-lay District covers Salem’s major Entrance Corridors:Lafayette, Loring, Canal, Highland, Boston, Northand Bridge Streets—to protect and enhance themajor entranceways into the City. Projects located inthis district are regulated by the Entrance CorridorOverlay District Regulations found in the Salem Zon-ing Ordinance. The regulations focus on signage, park-ing lots, fences and new non-residential constructionover 2,000 square feet. Signs being installed in theEntrance Corridors are reviewed for design by theDPCD and Building Department. New non-residentialconstruction over 2,000 square feet requires approvalby the Salem Planning Board.

Urban Renewal Areas (Heritage Plazas East andWest). Salem has two designated Urban RenewalAreas: Heritage Plaza East and Heritage Plaza West.Together, these areas include most of Salem’s down-

A typical street in Salem with buildings dating from various peri-ods from the seventeenth through the nineteenth century.

Introduction: Purpose and Applicability of the Guidelines 3

town core. All properties located within the UrbanRenewal Areas are subject to regulations and designstandards administered by the Salem RedevelopmentAuthority. Projects ranging from new construction toexterior property rehabilitation to sign installationare all subject to review before the Salem Redevelop-ment Authority and their Design Review Board.

Again, property owners located within theseareas should contact the DPCD for guidance on thereview process and the Urban Renewal Area Regula-tions.

Local Historic Districts. There are four separate,city-designated Local Historic Districts in Salem:McIntire, Lafayette Street, Washington Square andDerby Street. For all properties located in Local His-toric Districts, any change to exterior architecturalfeatures that are visible from a public way requires aCertificate of Appropriateness from the Salem Histor-ical Commission before a Building Permit is issued.For work not subject to a Certificate of Appropriate-ness (i.e., ordinary maintenance that results in nochange in color, material, design or outward appear-ance or work not visible from a public way), a Cer-tificate of Non-Applicability must be obtained prior tostarting a project.

The Historic District Commission meets twice amonth to review project applications. Property own-ers initiate the review process by contacting theDepartment of Planning and Community Develop-ment (DPCD).

Other Resources

Property owners should also refer to the follow-ing documents for more information regarding theregulations for these areas.

Salem Zoning Ordinance. The City of Salem Zon-ing Ordinance controls private development through-out Salem by regulating land use, building density,size, height and signs among other things. Forinstance, zoning controls the dimensions of signs butdoes not suggest appropriate aesthetic treatments of

signs. The Zoning Ordinance is referenced in theseDesign Guidelines when relevant dimensional controlsare discussed and in some cases these guidelines willsuggest best practices that vary from minimum zon-ing requirements.

Urban Renewal Plans. As stated before, theUrban Renewal Plans regulate the Urban RenewalAreas. The following sections, within the UrbanRenewal Plans, outline the regulations for these areas:

Exhibit B: Property Rehabilitation StandardsExhibit C: Urban Design CriteriaExhibit D: Manual for Private Signs

Salem Historical Commission Guidelines Notebook . The Salem Historical Commission Guide-lines Notebook is a compilation of the design reviewguidelines used in the administration of Salem’s LocalHistoric Districts. It also provides property ownersthroughout Salem with information on the preserva-tion, repair and restoration of historic properties. TheSalem Historical Commission updates the documentregularly.

The Salem Handbook. The Salem Handbook, firstpublished by Historic Salem, Inc. in 1977, is a manualfor homeowners of pre-1950 houses. The guide offershomeowners information and recommendations forbest practices on maintaining, repairing and renovat-ing older houses, as well as a survey of historic housestyles featuring typical period details. The Handbook isintended to help homeowners maintain the historiccharacter of their houses while keeping them in goodrepair. The Handbook will be re-published with cur-rent information, resources and references, in 2005.

Owners of residential or mixed-use buildingsshould consult the Handbook, in addition to theseCommercial Design Guidelines to understand the specificissues and best practices for residential buildings asso-ciated with commercial uses.

The Secretary of Interior’s Standards for Treat-ment of Historic Properties. The Secretary of Interi-or’s Standards for Treatment of Historic Properties withGuidelines for Preserving, Rehabilitating, and Reconstruct-ing Historic Buildings (36 CFR 67 and 68) can be foundin the Appendixes of these Commercial Design Guide-lines (see Appendix B, pps. 54–57).

Examples of the distinctive and detailed storefronts and buildingentrances found throughout Salem.


Understanding the past is an essential first step for agreater appreciation of the wide range of historic andcontemporary buildings that make up present daySalem. The following section provides a brief reviewof the historical development of Salem. This will helpmerchants, property owners and city officials betterunderstand how each area’s present character anduses have evolved. The patterns of buildings, theirplacement on the property, scale and architecturalfeatures collectively define a neighborhood’s sense ofplace, and frequently can be traced to a particularera. For more detailed descriptions of Entrance Corri-dors, Urban Renewal Areas and Local Historic Dis-tricts (see Section III, pps. 28–48).

Seventeenth Century Beginnings: TheEstablishment of Primary Street Patterns

The beginning of Salem started with a smallgroup of fisherman led by Roger Conant who settledSalem on the shore of the North River in 1626. JohnEndicott arrived in 1628 with additional settlers, andmany more followed in subsequent years.

Conant’s original settlement is thought to havebeen located on the edge of the North River near thepresent location of March Street, but eventually van-

ished without a trace. Endicott’s group settled nearthe head of the South River in the vicinity of presentday Washington Street. The First Church was erectedat the present intersection of Washington and EssexStreets, and thus establishing the location that hasbeen the symbolic center of Salem ever since.

As the settlement grew and prospered, Essex andWashington Streets formed the backbone of the com-munity, while the adjacent shore of the South Riverand Front Street became the focus of the town’s fish-ing and trading economy.

Salem at that time included what is now Bever-ly, Manchester, Marblehead, Peabody, Danvers,Wenham, Topsfield, and a portion of Swampscott.As the seventeenth century progressed, these com-munities were established as separate parishes thateventually separated from Salem as individualtowns. The primary roads (really little more thanpaths) that led to these outlying parishes and otheradjacent communities were established in the sev-enteenth century.

Most of the present primary streets that are des-ignated as “Entrance Corridors” in Salem’s ZoningOrdinances follow the seventeenth century paths thatconnected Salem’s First Parish to the outlying parish-es and adjacent communities.

Section I: Overview of the Development of Salem

Salem in 1692 showing the approximate loca-tion of known buildings and streets. The hous-es are clustered along Essex Street and theedge of the South River. The settled areaappears as a narrow peninsula almost cut offfrom the mainland by the North and SouthRivers. This map is a portion of a larger mapshowing the full extent of Salem during theWitchcraft Trials of 1692. Courtesy of Marilynne K.

Roach.

Section I: Overview of the Development of Salem 5

Growth: Salem’s Architectural Image

During the eighteenth century Salem grew tobecome the second largest city in Massachusetts witha focus on Maritime trade and related industries.New wharfs and mercantile warehouses were devel-oped along Derby Street. Successful merchants tend-ed to build their houses adjacent to the their businessproperty forming a pattern of wharfs and warehouseson the south side of Derby Street with substantialhouses on its north side.

Towards the end of the eighteenth century thepattern shifted somewhat with wealthy merchantsbuilding their substantial houses along Essex Street,both north and south of Washington Street. The sidestreets developed with smaller houses occupied bypersons working in the occupations fostered by themarine industry. The maritime trading patterns shift-ed from a focus on the West Indies to trade with theOrient.

At this time the Common was essentially anopen field, and the somewhat marshy land east of itto Collins Cove was used for industrial purposesincluding several rope walks and tanneries.

The nineteenth century opened with the contin-ued expansion of maritime trade and related wealth.Many substantial new houses for the merchant classwere built around the Common which was nowfenced in, and west of Washington Street on Federal,Essex, and Chestnut Streets. Central Essex and Wash-ington Streets gradually changed from residential tocommercial and institutional uses. This period estab-lished much of the current streetscape and architec-ture that is today thought of as “Historic Salem.

Nineteenth Century Changes: The Comingof the Railroad and Filled Land

The mid-nineteenth century and the arrival ofthe industrial revolution saw major changes startingwith the arrival of the railroad to Salem in 1838. Thetracks skirted the margins of the tidal mud flats alongthe North River and the Mill Pond at the head of theSouth River. As the century progressed the trackswere followed by the filling in of the adjacent tidalflats and the development of the newly made landfor rail yards and other new industrial uses. By the

Salem in 1820 showing wharfs extending along the South River into the center of the town. Courtesy of the

Peabody Essex Museum.


early twentieth century most of the tidal mud flatsand most of the inner harbor of the South River hadbeen filled in to its current configuration, andSalem’s economy had shifted from maritime trade tofactory industries.

The boat yards on the west bank of the SouthRiver were converted to the Naumkeag Cotton Mill,which by the end of the nineteenth century was asprawling complex of large brick mill buildings. Thefilled inner part of the North River spawned largetanneries. The tracks connected with the South Riverwharfs off Front and Derby Streets. This enabled bulkproducts such as coal and lumber to be brought toSalem by ship and then transported by rail to inlandmarkets. This shift changed the complexion of thewaterfront and adjacent neighborhoods to a morestrictly industrial character.

The wealth generated by the new industrialgrowth resulted in additional large homes being con-

structed in the Chestnut and Federal Street Areas,and along former farm land on Lafayette Street inSouth Salem. The growth in population to man thenew mills resulted in the expansion of the commer-cial center of Salem along Essex and WashingtonStreets, and the construction of modest working classhousing in the less fashionable areas of the townadjacent to the newly constructed mills and near thewaterfront.

The 1914 Fire

The Salem Fire of 1914 burned a vast area ofSalem from the edge of Blubber Hollow at BostonStreet east to the Naumkeag Cotton Mill in SouthSalem and the wharfs along the inner part of theSouth River almost to Front Street. The fire resultedin the rapid redevelopment of much of South Salemincluding the “Point” and lower Lafayette Street, and

Salem in 1872 showing the extant buildings and the arrival of the railroad along the edges of the North River andcutting through the mill pond south of central Salem. The filling of the waterways is so far limited, but the locationof the rail tracks presage future changes. Map is from the 1872 Atlas of Essex County. Courtesy of Robert Murphy.

Section I: Overview of the Development of Salem 7

inner waterfront with the creation of New DerbyStreet. Much of this redevelopment focused on pro-viding housing for the workers of the reconstructedNaumkeag Cotton Mills, and services for the newlyarrived automobiles along New Derby Street.

The first quarter of the twentieth century was aperiod of prosperity that generated much redevelop-ment of downtown Salem with larger masonrybuildings along Essex and Washington Streets replac-ing wood frame buildings and houses. During thisperiod Salem looked back romantically at its colonialpast as embodied in the Federal Period mansions ofWashington Square and Chestnut Street. Thebuilders of the new commercial buildings oftenincorporated details from the much admired FederalPeriod houses into their new buildings. The resultingarchitectural style is known today as “ColonialRevival.”

Depression, Decline, and Urban Renewal:1930s to the 1960s

Starting with the Great Depression and followedby the movement of the textile industry to the southin the 1950s, Salem lost much of its industrial baseand saw a gradual decline in the physical conditionand vitality of its central core. As in many otherdeclining cities, Salem’s commercial core was desig-nated as an urban renewal area with the intent oftearing down all the old buildings and starting freshwith all new, modern buildings on the sites of the oldones.

Historic Rehabilitation and Renewal:1970s to the Present

One unique factor that separated Salem frommany other cities undergoing urban renewal was thewell-established recognition of the attractiveness ofits Colonial and Federal Period architecture. Fromthe beginnings of the twentieth century through itsperiod of mid-century decline Salem was widelyknown and publicized for its historic architecture andcultural history. At literally the last minutes of theplanning process, the thrust of the Urban RenewalProject was changed from tearing everything down

to saving and restoring as many of the sound olderbuildings as possible in order to focus the image ofthe new downtown on its historic architecture, andconstructing new buildings that were compatiblewith the old ones in design, size, and materials.

Redevelopment continues today in the down-town Urban Renewal Areas with new hotels, live-work lofts, and return of retailers to the downtownand the waterfront. Rehabilitation of historic struc-tures for new uses—frequently housing—raises issuesof additional building height, massing, and architec-tural treatment of historic façades. New retailers, bothsmall businesses and national franchises, are restoringand renovating existing storefronts with the help oforganizations such as Salem Mainstreets that encour-age preservation-based economic revitalization.

The aftermath of the 1914 fire shown in a panoramic photograph. The water in the left background is the MillPond at the head of the South River. The large ruined buildings on the right are the Naumkeag Cotton Mills.Courtesy of the Library of Congress.

The extent of the 1914 fire shown on a map published in 1914by the Holyoke Mutual Fire Insurance Company. The fire devas-tated most of South Salem and the edges of the downtownalong the South River. Courtesy of the Peabody Essex Museum.


Overview

Commercial districts display a variety of compo-nents found in an urban environment: rows of build-ings on both sides of the street, sidewalks, frontyards, street trees and an assortment of street fur-nishings. Of these elements, the block of commercialstructures that line the street define the ambiance ofthe street most significantly. They form a wall thatreinforces the visual limits of the street.

Commercial buildings define the street in a vari-ety of ways including:

Buildings placementFront yard setbacksShape and proportion of building façadesRoof formsWindow spacing, proportion and alignmentPorch or entrance projectionsSigns and awningsLightingColor and materialsArchitectural details

The commercial districts in Salem represent thevariety of the City’s long historical development. Yet,with few exceptions, most areas evoke a strong eigh-teenth and nineteenth century character of eitherresidential or commercial structures. For historicbackground on each of Salem’s Entrance Corridors,Renewal Areas, and Historic Districts (see Section III,

pps. 28–48). Regularly spaced buildings located uni-formly along streets with similar massing, height andsetbacks are the general rule along the Entrance Cor-ridors, historic districts, and within the downtown.The guidelines illustrate and describe the various tra-ditions of design and construction that make up thisunique environment.

The following guidelines begin with fundamentalapproaches to building improvements that buildingowners and tenants can undertake. Often simple andinexpensive maintenance can make a big differencein neglected buildings. Rehabilitation of a deteriorat-ed storefront need not be a precise historic restora-tion if it is done in a manner that respects the scaleand proportions of existing historic elements of thebuilding. Many downtown historic buildings havebeen renovated over the years with new ground lev-el façades that, while not original, still fit well andcomplement the street. These additions and modifica-tions have evolved over the years to better suit theneeds of new businesses.

In addition to simple maintenance, merchantscan make affordable improvements in signage, light-ing, and window displays that do not require exten-sive structural remodeling. Alterations, whether largeor small, should be respectful of the basic structuralelements that define the character of the building.Revealing original sheathing, columns and buildingdetails is a simple way to rediscover the richnessunderlying past alterations. Often removal of modern

Section II: Design Guidelines

Over the years, Salem’s historic residential streets (Derby Streetpictured here) have incorporated new retail uses into theirstreetscape.

Salem’s historic buildings have been transformed for new useswith sensitive rehabilitation that preserves significant historicelements such as this 1890’s cast iron storefront.

Section II: Design Guidelines 9

paneling or siding is the best, and most cost effective,strategy to enhance an historic building.

Parking and site design practices should reflectthe necessity for parking in commercial areas butensure that they do not dominate the visual experi-ence of the environment. Landscape treatments arediscussed with an eye toward ensuring that plantedmaterials survive the rigors of errant cars, hot sum-mers and snowplows.

The guidelines address new construction andadditions to ensure that they respect the existingscales and patterns of development that haveevolved in Salem. The introduction of larger andtaller buildings into older commercial districts pre-sents a challenge that can be addressed with designstrategies that reduce their visual impact.

Of particular concern in the entrance corridorsare modern stand-alone retail buildings. These build-ings reinforce an automobile-oriented environmentwith large setbacks, numerous curb cuts, and visibleparking areas placed between the street and thestore. Communities are increasingly able to modifythese practices with solutions that locate parkingbehind or to the side. The new buildings, built to thestreet edge, contribute to a future pedestrian envi-ronment while still providing ample parking fortoday’s customers needs.

Overall, these guidelines provide merchants andproperty owners with assistance in making improve-ments that will both protect and conserve the archi-tectural character of their buildings and enhance thecity’s commercial districts.

Restaurateurs have found creative ways to adapt an historicstorefront for outdoor dining.

New window systems can be installed that respect traditions ofstorefront design-note the transom glazing.

Old storefront systems can serve new users while preservinghistoric features.


Revitalization Approaches

Merchants and building owners have manychoices when considering options to improve theirbuildings and shops. From cleaning to historicallyaccurate restoration, the options depend upon a vari-ety of factors.

Repair and MaintenanceRepair and maintenance are two procedures that

have an immediate effect on the visual quality of thestreet and should be part of a proprietor’s yearly rou-tine. By regularly servicing and maintaining a façade,storefront or sign, store owners can avoid majorexpenses later. Repainting and refinishing wood-work, signs and trim, cleaning signs and replacingbulbs, patching concrete and brickwork, and simplycleaning the façade and windows, are a few of thesimple and inexpensive, tasks that can make a bigdifference on the street.

Masonry surfaces should not be cleaned usingabrasive methods such as sandblasting or chemicalcleansers that can damage the surface of the brick.Mild water spraying using low pressure, soft non-metallic brushes, and mild detergent is the safestmethod to remove dirt and grime. In extreme cases,chemical cleaners can be used but should be appliedby professionals and tested before use on the façade.

Removal of Inappropriate materialsIn many cases building storefronts can be

improved immediately and easily by the simpleremoval of inappropriate materials. Removing deteri-orated modern signs, fascias and paneling from pastrenovations will frequently reveal original materialsand building elements beneath. Historic elementsshould not be removed but rather restored whereverpossible. Simple cleaning and repair of damaged

details can often restore the building close to its origi-nal appearance.

Salem Zoning Ordinance: Requires that any unused orabandoned signs must be removed.

RestorationWhen substantial portions of a storefront have

been lost, restoration may be desirable to return thebuilding, or portions of the building, to a form con-sistent with its neighborhood context. In restoration,research into the historic appearance of buildings isimportant. Restoration may not be appropriate for allbuildings but should be considered for architecturallysignificant buildings and by owners who are preparedto undertake the work using good historical docu-mentation. Accurate restoration can, however, becostly if period details are no longer available andmust be specially reproduced.

Historic structures within the entrance corridorsand urban renewal areas make valuable contribu-tions to the city’s historic character and merit asmuch consideration in their maintenance, rehabilita-tion, and restoration as buildings within historic dis-tricts.

The Secretary of the Interior’s Standards for the Treat-ment of Historic Structures represent a well establishedand widely applied framework for the preservationand rehabilitation of historically and architecturallysignificant buildings and districts. The Entrance Corri-dors and Urban Renewal Areas contain many signifi-cant structures that would benefit from the Standardsrehabilitation and restoration approaches. The Secre-tary’s Standards are reprinted as a reference for thoseconsidering their options in restoring or rehabilitatingeligible historic structures (see Appendix B, pps.54–57). Commercial property owners who wish toexplore Federal Tax Incentives that may be available

During urban renewal the blue metal paneling system on this building were removed and replaced with new woodstorefronts that follow traditional design patterns for the period. Blocked-in windows on the upper floors werereplaced with new windows using an historic photograph as a guide to the original design. Courtesy of William Tinti.


for substantial rehabilitations to qualified propertiesthat follow the Standards should contact the Mas-sachusetts Historic Commission prior to initiating anywork.

RehabilitationReplacement of a storefront that is inappropriate

to a building and its neighborhood can be effectivelydone by simply rebuilding with a compatible newstorefront. The elements of the original storefrontcan often be reproduced with modern materials inproportions that are compatible with the buildingarchitecture and the researched historic information.In many cases, newer materials may be more practi-cal and require less maintenance for tenants andbuilding owners. Energy codes require more thermalprotection than the original systems and will savetenants in heating and cooling costs.

Details such as mullion and muntin widthsshould be considered when new storefronts areinstalled in buildings with historic windows. A simple modern storefront could be more appropriateand compatible than a poor reproduction of periodarchitecture.

Working with Previous AdditionsMuch of Salem’s residential architecture has

been modified over the years with commercial addi-tions. These can be found throughout the six entrycorridors. Frequently the later additions reflect thetime of their construction which is decades later thanthe original structure. There is no requirement toremove these additions or restore the original struc-ture to its former state. Often their appearance andcompatibility with the original structure can beimproved by sensitive rehabilitation.

Because the retail addition here is set forward of the historicresidence it can be treated as a separate building in color andarchitectural treatments.

The details, colors and proportions of this storefront is wellintegrated with the upper façade. (Marblehead)

The historic sign band and transom windows seen at the rightcan be used to attempt an historic restoration of the missingfaçade at left.

Checklist for Building Owners and Merchants

Wash or clean surfaces that don’t require refinishing suchas brickwork and windows.

Restore historic details rather than remove them.

Repair and refinish woodwork that is susceptible to dam-age by weather and sunlight.

Remove signs, brackets, paneling, awnings or other deterio-rated elements from previous alterations.

Restore portions of the storefront that are missing if sub-stantial areas remain that can be replicated.

If very little of the original storefront is remaining, consid-er researching archives to reconstruct the façade as it wasfor restoration.

If historic restoration is not possible, too expensive, orunsuitable to a new use, rehabilitate the façade with a newstorefront that is sympathetic to the scale and propor-tions of the remaining façade, or the neighborhood.


Building Façades

Regardless of the era, most downtown commer-cial buildings are composed of the same basic ele-ments. The importance of these elements is in theirrepetition within commercial districts. The regularityand consistency of the elements allows for creativevariation in materials, colors and architectural stylesthat share a similar vocabulary of elements. Success-ful commercial districts strive to retain and replacemissing buildings with compatible replacements thatmaintain the continuity of elements. Buildings thatfail to have these essential elements erode the cohe-sive quality of the street.

Elements of a Building Façade

RoofRoofs are not frequently seen from the street in

retail districts. However, Salem’s entry corridors haveolder residential buildings with visible roofs that helpto define their character. In districts with these struc-tures, slate, and composite shingle roofing materialsare appropriate. Avoid bright of contrasting colorsthat would call undue attention the roof itself.

Building Cornice The entire façade is capped with a decorative cor-

nice frequently of elaborate designs in masonry orwood. All too often cornices have been removedfrom older buildings as they decayed or presentedstructural problems.

Upper Façade Unless the building is a single story, a regular sys-

tem of windows and wall panels makes up the upperfloors of any façade. Steel and cast iron façades aremore uniform and tend to have larger window areascompared to older weight-bearing masonry façades.Frequently historic window frames have been“blocked-in” with smaller windows or filled entirelywith materials that don’t match the wall such as con-crete block or plywood paneling.

Building EntrancesIn multi-story buildings, a vestibule or entrance

hall is frequently located at the base of a stair thatgains access to the upper floors. Upstairs tenantsshare signs and mail delivery location within theseentrances.

Architectural LightingWell lighted and designed display windows and

signs are all the lighting that is necessary for a suc-cessful retail storefront. Architectural lighting of thebuilding façade is not necessary on commercial store-fronts or buildings. Uncoordinated architectural light-ing of façades can lead to a disjointed and disruptiveeffect within commercial districts with buildings com-peting with one another for prominence.

Down lighting under canopies and sign lightingprovides sufficient ambient light without specialarchitectural lighting. On sidewalls and rear wallssuch as around parking areas, security lighting can be

TYPICAL BUILDING ELEMENTS

building cornice

upper façade

storefront system

building entrance


RecommendedA consistent height and line for a sign band in multiple tenantbuildings.

Conservation and repair of existing upper façade windowswhen possible to preserve historical details.

Removal of old signs that no longer apply to the establish-ment.

Not RecommendedBlocked-in or ill fitting windows or solid panels set withinwindow frames that do not fully fill the original framed open-ing.

Removal of cornices from buildings: cornices should berepaired.

Brightly colored roofs unless historically documented.

Shutters on buildings unless they can be historically docu-mented.

Materials on the façade that are subject to deterioration suchas plywood or plastic.

Signs in upper floor windows that detract from the continuityof the upper façade.

Alterations to regular spaced windows or additions of extrawindows.

Architectural lighting of building façades other than for signsor window displays.

Not Recommended: The architectural lighting on thisbuilding does not improve the architecture and creates glare inthe street.

Recommended: Tenant signs set within the sign band canbe distinctive yet not overwhelm the building design. (Brookline)

Recommended: The rehabilitated storefront built into theground floor of this home uses similar proportions to therestored historic upper façade.

Recommended: The use of black paint on the sign bandhere unifies a variety of sign and awning styles on this multi-ten-ant storefront. (Melrose)

done in such a way as to accent the architecture andprovide illumination. See Parking and Landscape forrecommendations on site lighting.


Storefront Systems

Doors and display windows are often referred toas the “storefront system.” Together they establishthe visual relationship between the interior of theshop and the sidewalk. Well-maintained windowsand display areas are important to good businesspractices and their size should be maximized in orderto present an inviting appearance.

Storefront Components

Storefront CorniceStorefront sign bands are frequently topped with

smaller cornices to visually separate the storefrontfrom the upper stories. On one story commercialstructures the storefront cornice is also the buildingcornice.

Sign BandThe sign band, or frieze, is the horizontal seg-

ment of the storefront located above the display win-dow or transom windows and below the second floorwindows. In many buildings this area is distinguishedby a special siding or masonry that is intended toreceive a sign. On single tenant buildings, sign place-ment can be more creative, but on multi-tenantbuildings lining up multiple signs is an importantway to preserve order while allowing each sign to bedistinctive.

Transom WindowsMany older buildings were built with intricate

glazed transom windows over the main display win-dows. These were used to get daylight into the storesinterior and reduce the need for artificial lighting. Inthe early twentieth century transom windows weremanufactured with sophisticated prismatic glass pan-els that would “throw” light into the interior of thestore more effectively than ordinary glass.

Display WindowsDisplay windows are the heart and soul of a

retail district. They are used to display goods and pro-vide visual interest for the pedestrian. Retail areaswithout windows fail to attract pedestrians and candisrupt the continuity of a retail district.

Research into the original storefront systemshould be undertaken before renovation or restora-tion to determine previous window placement, mul-lion and muntin sizes and proportions. The PeabodyEssex Museum and the Salem Public Library aregood sources of historic photos of storefronts andbuildings in downtown Salem. For more informationon historic storefront systems found in Salem (seeAppendix A, pps. 50–53).

Recessed Store EntrancesIn most retail areas, shop doors are located with-

in recessed entrances set back from the sidewalk.This provides sheltered areas that protect customersfrom weather and prevent doors from swinging intosidewalks. Recessed entries protect doors fromweather and increase the display window areas forvisibility.

Piers and PilastersStorefront systems must provide vertical supports

for the upper building façade. Masonry, steel or woodpiers create a break in the display windows at regularintervals. These elements are frequently embellishedwith decorative columns, capitals and other details.All too frequently these details have been removed—or covered—in later attempts to modernize or “cleanup” older storefronts.

Window BasesTraditional commercial display windows sit above

a solid base called a bulkhead or kick plate. Thematerials of the base can be wood, stone, masonryand occasionally glazing, depending upon the age

TYPICAL STOREFRONT COMPONENTS

storefront cornice

sign band

transom windows

display windows

recessed store entrance

vertical piers and pilasters

window base


and style of the structure. Window bases create animportant element along the street and should not beremoved or eliminated. The use of appropriate mate-rials and detailing of window bases is important inmaintaining the appearance of historic storefronts.

Security DevicesSecurity grates, bars, and roll down shutters

reflect a fear of crime. These perceptions, whetherreal or not, adversely affect the attractiveness of aretail area. Large windows and well lighted shopsallow pedestrians and police to monitor the storeinterior.

RecommendedPreservation of original storefront components where theysurvive.

Recess buildings and shop entrances to protect door hard-ware and prevent doors from swinging into the sidewalk.

Window bases should be made of durable, cleanable surfacesthat resist damage by salt and moisture.

Not RecommendedBlocking-in or otherwise reducing the size of the originalframed opening or display window.

Materials other than glass, such as Plexiglas or non-transpar-ent materials or the use of reflective glazing in storefronts.

Removal or covering of transom windows. Awning may beplaced over transom windows if desired.

Bars, solid rolling grates and scissor type horizontal grates arenot recommended.

Not Recommended: The storefront at left was blocked in:A new storefront would greatly improve the look of this building.

Recommended: Preservation and restoration of originaltransom glazing used in many storefronts. (Melrose)

Recommended: Preservation of original brass (or othermaterial) storefront systems that are in good condition. (Andover)

Recommended: Preservation of wood bases and details instorefront systems that are in good condition. (Marblehead)


Awnings

Awnings are architectural elements and shouldcompliment the architecture of the façade. Awningsshould not obscure important architectural details bycrossing over pilasters or covering second story win-dows. Folding or retractable awnings were historical-ly common on shop fronts and should be preservedand restored if possible. Retractable awnings areadvantageous as they can be protected from weatherand vandalism. Awnings are most useful on southfacing façades where they provide sun protection forwindows and merchandise.

Multiple awnings on a single building should beconsistent in size, profile, and location. On multi-ten-ant buildings the awnings can vary in color anddetails but should be located at the same height andhave a similar profile to preserve the architecturallines of the building.

MaterialsMany materials are appropriate for awnings.

Traditional canvas is best, but glass or metal may beappropriate as part of modern storefronts, particular-ly on modern buildings. Vinyl or plastic materialsthat are shiny or translucent are discouraged as areodd shaped awnings that do not relate to the build-ing architecture.

Lighting of AwningsAwnings can have down lights set behind or

inside to light the building façade below, but shouldnot be internally illuminated as if they were a sign.Down lighting of awnings should also be avoided asit takes away from the window display area wheremost lighting should be concentrated.

Signs on AwningsSigns, lettering and logos on awnings should be

secondary to primary signs. Excessive signs on thesloped portion of the awning should be avoided. Sec-ondary messages, such as the products supplied canbe located along the valence (vertical) portion of theawning. A simple logo or pattern on the sloped areais a simple treatment that will not compete with theprimary sign.

RECOMMENDED USE OF AWNINGS

Awning does not cover the sign band or tran-som windows.

Awnings fit between vertical decorativepilasters.

Awnings are proportioned so as not to over-whelm the façade and architectural features ofthe buildings.

Awnings are not used for primary signs andallow for views to sign above.

Awnings protect the window displays fromsunlight.

Service Station Canopies

Canopies are frequently used in service stations forweather protection of pumps and customers. Largecanopies should be avoided in neighborhood commercialdistricts when they introduce elements out of scale withthe surroundings. Smaller canopies can be designed thatprovide some weather protection without blocking viewsand overwhelming the neighborhood scale. (Andover)

Sign


RecommendedAwnings placed between vertical architectural building ele-ments allow the entire façade to read together as one com-position.

Multiple awnings on a single building that are generally consis-tent in size, profile, and placement.

Canvas materials on historic buildings.

Metal and glass materials on newer buildings.

Not RecommendedContinuous awnings that cover vertical building elements andisolate the street level from the building above.

Vinyl or plastic materials that are shiny, or translucent materi-als that are backlit to create a glowing sign.

Oddly shaped awnings that do not relate to the building archi-tecture.

Corporate colors used on the canopies or as stripes onbuilding fascias or roofs except for those areas defined assigns.

Lighting from canopies that is not shielded from spilling ontothe streets and neighboring properties.

Phone numbers and web addresses on awnings.

Box lighting on the underside of the awning.

Recommended: This glass and steel awning is well integrat-ed into the traditional façade by color and proportion.

Recommended: Canvas awnings thatfit within the structural frame. (Andover)

Recommended: The lettering on these awnings is small andconfined to the vertical valence portion.The awnings are placedbelow the restored transom windows. (Andover)

Not Recommended: This awning that has oversized letter-ing, obscures the architectural details of the façade, and sepa-rates the upper façade from the storefront area. (Newburyport)

Not Recommended: This internally illuminated awningbecomes an unattractive and oversized sign at night.


Signs

A diversity of well designed signs is desirablewithin any retail area. Signs are prominent featuresand should all compliment the architecture ratherthan fight one another for attention. Limits on thesize and type of signs are important to ensure thateach shop can identify itself without being over-whelmed by larger or brighter signs.

Signs can say a lot about your business. Interest-ing and unique shapes, forms and logos are effectiveways to communicate the nature of merchandise orservices being offered. A restrained combination ofselect words and images is more effective than clut-tering the street with extraneous information.

Effective signs can be created with the use oflight colored lettering against a dark or neutral back-ground. White, gold or other bright colors call atten-tion to the words while the background blends withthe surrounding architecture.

The size and location of any sign is tightly regu-lated in the Salem Sign Ordinance and the SalemRedevelopment Authority (SRA) Sign Manual. Allsigns must be approved by the Building Inspector.Businesses located within the Urban Renewal Areasmust also have new signs reviewed by the SRA andits Design Review Board (DRB). Business ownersshould check with the Department of Planning andCommunity Development before installing a sign toensure they follow the proper procedures.

Sign Types

Wall SignsWall signs are affixed parallel to the street wall

and should be installed in the sign band area abovethe store entrance. Wall signs should not obscurearchitectural details or sit in front of windows onupper floors. Painted, raised letters, or a box sign areall possible methods for wall signs. Simplicity andcompatibility with the building architecture areimportant considerations.

Projecting SignsA projecting, or blade sign is attached perpendic-

ular to the face of the building and is the best type ofsign for pedestrians as it directs itself to the viewfrom the sidewalk below. Projecting blade signsshould be sized for pedestrian legibility. Flags andbanners, even temporary ones, are considered pro-jecting signs and should be approved in the samemanner as a projecting sign.

Free Standing SignsMonument or free standing signs are placed

independent of the building and are limited in heightand size by the Salem Sign Ordinance and are onlyallowed where buildings are set back from the street.Free standing signs are prohibited with the UrbanRenewal Areas.

Trade Marks and Corporate Signs and Standards

Unlike unique or original signs, corporate trademarkshomogenize and reduce the distinction of places such asSalem. In the not so recent past corporations offeredshop keepers free signs in order to display corporatelogos and colors. Such signs are associated with business-es that routinely ignored other sign ordinances and didnot contribute to the image of a neighborhood.

National retailers present a special challenge in historicor architecturally distinctive districts. Corporate buildingand sign standards are formulated to achieve maximumvisibility for the brand in suburban strip retail environ-ments with competing businesses. In Salem’s EntranceCorridors and the downtown, the unique architecturalcharacter of the district must come before corporatebranding.

Many chain stores are willing to modify their corporatestandards for buildings and signs when presented withclear guidelines and the understanding that all businesseswill conform equally to those standards.The use of corporate colors in architectural accents is not recom-mended.

(Freeport, ME)


Multi-Tenant SignsMulti-tenant signs reduce the need for excessive

individual signs that would otherwise clutter a façadeor entrance or the landscape. Multi-tenant signsshould clearly indicate the building address and listthe tenants in an orderly, legible, manner. The signitself should be compatible with the buildings archi-tecture and not obscure architectural details or win-dows.

Sign LightingThe most cost effective signs are simply lit by fix-

tures aimed at them from the building. This allows alimitless choice of color and materials to choose fromand simple installation and maintenance. Lightsources should be shielded to prevent glare fromshining into neighboring windows or into the eyes ofpedestrians and drivers. Only finished and shieldedfixtures should be used on building façades. The fin-ish should complement to sign and other façade ele-ments.

Internally lighted signs are not recommended inthe Urban Renewal Areas and Entrance Corridors.Business owners should check the Department ofPlanning and Community Development.

RecommendedExternally lighted blade signs oriented to pedestrians.

Carved wooden signs with neutral or dark backgrounds andbright lettering.

Architectural lighting sources to light signs.

Not RecommendedInternally lighted box signs, particularly with light coloredbackgrounds.

Trademarks for products sold within the store.

Flashing signs as per Salem Sign Ordinance.

Not Recommended: These unshielded and unfinished lightfixtures detract from the storefront. (Cambridge)

Recommended: This channel letter wall sign reads wellduring the day and is backlit with neon that creates an interest-ing halo effect on the brick wall at night. (Cambridge)

Recommended: This projecting blade sign uses simple, butprovocative, lettering and colors.The architectural lighting of thesign compliments the support bracket. (Andover)

Recommended: This free-standing multi-tenant sign empha-sizes the building address and compliments the landscape.(Manchester, NH)


Window Displays

There is virtually no limit to the impact that awell designed storefront window display can have onthe street. A good window display, like a sign, ismore a matter of taste and creativity than sheerbrightness or size. Display of the object being sold isperhaps the most effective method of advertisementas it does not rely on the use of words at all.

Displays can be organized by using large items ofmerchandise or through a system of shelves and dis-plays for similar items. Store design is the best displaydesign, providing a bright interior that can be seenfrom the street. Open display windows improve secu-rity by allowing passersby a view into the store.

Window treatments are preferable to blocking-inground level windows when storefronts are convert-ed to other than retail uses. Internal shutters andblinds can be used where window coverings are nec-essary such as in ground level offices or residentialuses.

Residential type window treatments, such as cur-tains and drapes are rarely appropriate, or necessary,for commercial storefronts and should be avoidedexcept for restaurants or taverns or if part of a the-matic window display.

In-Window SignsIt is advisable to keep major signs out of win-

dows. A limited amount of lettering in small sizes isappropriate and effective within windows to describeproducts, address, or hours of operation. Theseshould be carefully organized around the storeentrance. A proliferation of signs, temporary or per-manent, within the windows reduces the visibility ofthe store. Displays should likewise still allow forviews into the store above or between objects. Doorsshould never be obscured by signs which could cre-ate a hazard for those entering or exiting the store.

Salem Sign Ordinance: Signs located in windows may notexceed 30% of the window area, or more than 20% of win-dow area in Urban Renewal Areas. Signs may not be illumi-nated in either location.

Temporary SignsTemporary signs are important methods to call

attention to a store event. When temporary signagebecomes permanent it fails to provide the impact andbecomes forgettable. Temporary signs are subject tosign controls with limits on the amount of windowthat can be obscured.

Salem Sign Ordinance: Temporary signs are limited to fif-teen days per year and require no permits.Temporary signsshould not occupy more than 30% of the window area.

Recommended: Interior design within the store thatbecomes a display as seen from the street. (Cambridge)

Recommended: Interior design within the store thatbecomes a display as seen from the street. (Cambridge)


RecommendedUncluttered window displays that are organized and welllighted.

Product displays that do not obscure the store interior.

Interior design that replaces the need for window signs.

Lettering in windows near the entrance to describe products,hours of operation.

Not RecommendedCurtains or blinds in windows.

Temporary or permanent signs that obscure more than 30%of the window area.

Blocking-in display windows for taverns, offices, or residentialuses.

Interior electronic reader boards with flashing or movingmessages.

Recommended: The use of small-light colored-lettering onthis cafe window is unobtrusive.The decorative typeface adds tothe design quality. (Andover)

Recommended: Window displays that cleverly describe theproducts offered within. (Newburyport)

Not Recommended: Translucent window signs that com-pletely cover the store window.

Recommended: Window displays that describe the productwith a minimum of words. (Newburyport)

Recommended: Backlighted displays that allow the pedestri-an to see into the store through the displays. (Cambridge)


Parking and Landscape

Parking lots and driveways are necessary ele-ments in a commercial area, yet they should notvisually dominate the environment. A landscapedbuffer strip separating the sidewalk from adjacentparking areas maintains the sidewalks edge and pro-vides safety and comfort for the pedestrian. Screen-ing of parked cars and paved areas builds a positiveimage for the district, provides color and shade, andscreens nearby residents from commercial uses. Incases where historic fencing must be altered to locatenew driveways, consider replacing with gates ratherthan removal of the fencing entirely.

Location of Parking AreasAll too frequently parking areas have been locat-

ed in front of automobile oriented retail stores. Exist-ing parking lots can be improved by increasing thewidth and planting between the back of sidewalk andthe parking lots itself. Fences, walls, and hedgesshould respect the prevailing setbacks of those ele-ments within the district. Introducing hedges andwalls in areas with front yard setbacks is just as detri-mental as building structures within that zone.

In historic residential districts, parking areas thatare placed within front yards or prevailing setbackscan significantly alter the pattern of development.Residents should consider petitioning the city for on-street parking as an alternative to off street require-ments in these cases.

Paving MaterialsIf driveways or parking must be installed within

the building setback area, the appropriate pavingmaterials and planting design can reduce the visualimpact on the street. Within residential or historicareas brick, washed or crushed stone, granite cobbles,or modular pavers should be used where the surfaceis visible from the street. Treatments such as rollingcrushed rock into hot asphalt (top seeding) can beemployed to lighten and add texture to asphaltpaving areas.

In commercial areas, asphalt can be used as apaving material, but granite curbs should be usedrather than asphalt or concrete curbs. Granite curbsare more durable and help to protect planting areasfrom overrunning vehicles.

Curb-cuts

Salem Zoning Ordinance: The Maximum width of a drive-ways within Entrance Corridors is 24 feet. One curb cut isallowed within residential districts while two are permittedwithin commercial zones.

Recommended: The use of crushed stone, brick, or stonepavers and cobbles for parking areas is more appropriate thanasphalt in residential areas.

Wide driveways are unsightly, reduce opportuni-ties for perimeter planting areas and create hazardsfor pedestrians who need to cross them. Narrowentrances and driveways encourage slower drivingspeeds as they do on streets. Wide driveways andoversized parking areas increase the “heat islandeffect,” raising surface temperatures to uncomfortablelevels for pedestrians and planted materials.

Protecting the LandscapeMany planting areas are not designed for the

planted materials to thrive. In far too many cases,minimal planting areas result in poor plant perfor-mance. Salt, and oil runoff, piles of plowed snow,and cars that drive over plants are just some of themany perils that threaten a healthy landscape.

Use of larger planters provides better protectionfor planted materials. Sprinklers or a drip irrigationsystem may be necessary for narrow planters locatedin large expanses of asphalt where summertime tem-peratures can be extreme. Planting trees can provideshade for lower shrubs and reduce the need for fre-quent watering and maintenance.

In areas where insufficient width remains forplanting, trees or living screens, the use of architec-tural elements is essential to screen parking fromadjacent sidewalks and other uses. Fencing or lowwalls should be used between parking areas and pub-lic sidewalks so as to preserve views and maintainsecurity.

Lighting of Parking AreasLighting of parking areas is essential for safety

and usability. However, sufficient lighting levels canbe achieved without bright glaring lights shining ontoadjacent properties or into the eyes of motorists andpedestrians. The use of cut-off fixtures can directlight to the ground plane where it is most useful and


Recommended: I areas with narrow planting areas, the useof low fences screens the parking and protects the landscapematerials. (Andover)

Recommended:A functional lighting fixture, asshown above, directs light down-ward onto the site. Historic fix-tures, as shown on the left,should be used only with lowwattage lamps to reduce glare.

Not Recommended: These planting areas are too small tosupport healthy plant growth and asphalt curbs don’t protectplanting areas from errant drivers.

avoid spilling light in other directions where it is notdesirable. Low fixtures, between 14 and 17 feetshould be used rather than high-mast fixtures in resi-dential areas. Many attractive cut-off fixtures areavailable. Historic fixtures or fixtures without shield-ing can be used with low wattage lights sources toreduce glare. The use of bollard lighting can be aneffective way to light pedestrian pathways.

RecommendedParking areas located behind or to the side of buildings.

Parking areas screened with hedges, fences and evergreenplanting.

Driveways of crushed stone, brick or exposed aggregatepaving in residential areas.

Designated snow pile areas that save planted areas from useas snow storage.

Sprinkler or drip irrigation systems to ensure plant health.

Granite curbs or wheel stops in parking lots to prevent carsfrom overrunning planting areas.

Planting strips at least 5 feet wide for trees.

Low mast and cut-off light fixtures to reduce glare and spill-over into adjoining areas.

Bollard lighting for pedestrian areas.

Not RecommendedNew parking areas located in front of stores.

Multiple curb cuts for drive-through businesses if loop circula-tion could be accommodated internally to the site.

Asphalt driveways and parking areas for smaller parking lotsin residential areas.

Asphalt curbs except for temporary situations.

High-mast lighting in residential areas. Recommended: The use of architectural elements hereextend the building edge along the street frontage and visuallyscreen parking areas. (Cambridge)


New Construction

Salem’s Entrance Corridors, Renewal Areas, andHistoric Districts reflect a wide variety of architec-tural styles, often in close proximity to one another.New construction within historic contexts (or alter-ations on historic buildings) requires a careful bal-ance of respect for the integrity of older structuresyet reflecting the best design of the day.

New buildings need not, nor should they, imi-tate the styles or details of the past. It is inevitablymore interesting to match materials, proportions andscale while using modern simple materials. Newerbuildings, for instance, use more glass than historicstructures, yet the use of similar compatible materi-als and matching cornice lines and setbacks canensure that new structures contribute to the charac-ter to the district.

Streetwall ContinuitySalem’s streets display a strong street edge with

buildings set uniformly along the streets. In residen-tial areas, such as Lafayette Street, larger homes arespaced along the street with uniform setbacks oflandscaped yards. In retail areas, shops are set alongthe back of sidewalks with common walls and nogaps. Introducing large gaps between structures candiscourage shoppers by depriving pedestrians ofstorefronts displays.

Maintaining the same scale and proportion ofstructures helps to unify the appearance of thestreet. In Salem’s residential entry corridors, land-scape plays a larger role in establishing the characterof street environments. Front yards and landscapetreatments become as important as architectural fea-

tures as buildings are set further back from thestreet. Fences and driveways can impact the primari-ly green environment if not sufficiently controlled.

Urban Renewal Plan: No setbacks shall be allowed forproperties abutting on a publicly provided open space.

Stand-Alone Retail BuildingsPlacement of stand along buildings often results

in parking areas dominating the street experience.Many communities have successfully negotiatedwith retailers to modify typical plans that vary theplacement of buildings and parking areas. Placingthe primary building closer to the street preservesthe prevailing street wall environment without sig-nificantly compromising the visibility or accessibilityof parking areas.

Building entrances should be located so thatpedestrians can reach the front door from both thestreet and the parking areas. Insisting upon aentrance on the sidewalk encourages pedestriansand provides an active use along the sidewalk.Stores can also have multiple entrances with oneserving the parking areas and another facing thestreet.

Display windows should be provided along thestreet wall to enliven the pedestrian experience andprovide security. Windows should preferably beopen to the store interior rather than just functionas display space.

In locations where a stand-alone building will beplaced adjacent to taller buildings in the area, addingoffice space or residential uses above the retail levelshould be considered as a way of making the newbuilding fit into the neighborhood scale.

Recommended: The new multifamilyhousing at right matches the scale, heightand proportions, and setbacks of thetriple deckers along the street.(Cambridge)

Not Recommended: The modernbuilding shown on the right encroachesupon the predominant historic setback ofthe homes Lafayette Street.


RecommendedIn areas that feature separated residential structures, newdevelopment should match the spacing and proportions ofbuilding massing and open spaces.

Landscaped setbacks of streets should be recognized andrespected.

Buildings should neither project beyond the adjacent build-ings or be set far behind them. In cases of transition betweenbuildings on either side, a new structure should provide thetransition within the building façade.

New construction should respect the existing predominantrelationship of buildings to the street, including setbacks andopen spaces between buildings.

New free standing commercial buildings should reestablishthe street edge and locate parking behind and to the sides.

Not RecommendedOutbuildings or additions that fill-in historic landscapedareas, such as side-yards, should be avoided when visible fromthe street.

New buildings that intrude into established setbacks or dis-rupt the predominant character, scale and rhythm of a street.

New buildings that sit far behind the established building line.

Stores that do not have entrances facing onto the street.

Not Recommended: This stand-alone retail building in theEntrance Corridors is built behind parking areas.

Recommended: This commercial in fill building reinforcesthe street edge and places parking to the side with an entrancethat serves the street and parking areas.

RECOMMENDED PLACEMENT OF STAND ALONE RETAIL BUILDINGS

Typical Condition:

Building is placed away from the corner.

Single story structure in multi-story district.

Curb cuts are too close to the corner.

Signage is freestanding on the corner for visibility.

Best Practice:

Building is placed on the corner up to the street conforming totypical setbacks found on each street.

Two story structure has offices or residential uses above.

Curb cuts are further from corner.

Free standing sign is replaced with building mounted sign.


AdditionsAdditions to existing buildings should respect

the existing predominant relationship of buildings tothe street, including setbacks and open spacesbetween buildings. Additions that fill in side yardsbetween buildings should be avoided in areas whereseparations between buildings defines the rhythm ofthe street.

Additions should use materials, sizes, details, andproportions that are compatible with the existingstructure. If possible, the original building’s primarystreet façade should remain clearly delineated whilethe addition is set behind or to the side.

Universal AccessIn 1990 the US Congress enacted the Americans

With Disabilities Act (ADA) , which mandates thatbuildings open to the public be accessible to personswith disabilities. As most retail and offices are con-sidered public facilities, most storefronts will beaffected by the new requirements when permits arerequested for substantial work or a change in use.Local building officials are charged with enforcingcompliance.

Historic buildings, or those eligible for historicdesignation can be can be exempted from the provi-sions if alterations require extensive restructuring orburdensome expense. If strict compliance requiresremoving or destruction of historic elements, such asgranite steps or historic doorways found in manystorefronts, the city should allow alternative meth-ods that achieve comparable accessibility. In mostcases, a professional can be hired to find alternativesthat satisfy the intent of the regulations to provideequal access and conserve the historic integrity ofthe building.

MaterialsThe appearance of a development and its com-

patibility with neighboring buildings depends greatlyon the choice of materials. Using materials not com-monly found in the immediate surroundings willmake the development stand out and appear jarring.Salem has a long history of wood and masonrybuildings. At the same time, new materials can beincorporated into projects as secondary elementsthat bring architectural excitement to the projectand speak of our own time.

As with additions or renovations, historicaldetailing of traditional materials is not always thebest approach for new construction. Modern instal-lation of quality materials is often preferred, particu-larly if the materials are commonly found in theneighborhood already. Honest and good qualityinstallation and detailing should be used to distin-guish new construction from old.

Some materials should be avoided when theyare either incompatible with the area or attempt to

imitate natural materials. The use of artificial stoneand brick veneers should be avoided as should mate-rials that will deteriorate quickly such as plywood.Yet the use of composite siding and lightweight com-posite panels on newer buildings is possible withproper detailing and finishing.

Building HeightsDifferences in building heights from one lot to

the next can be disturbing and reduce the coherenceof a district. The best way to fit in to a district is tomatch the height of existing adjacent structures andline up cornices and floor heights. If a few additionalstories are now permitted, setbacks of the upperfloors can effectively shield the added height frommost street level pedestrians. A change of material atthe upper floors can also reduce the visual impact ofthe upper floors by breaking up the mass of thebuilding.

In cases where extreme differences in heightsand density are considered relative to neighboringdevelopment, masking taller buildings with lowerscaled buildings along the edges of the site can effec-tively screen the taller development. The transitionfrom one height to another will then fall within theconfines of the new development where similaritiesof material and architecture can artfully create acomposition of elements. Many modern-era build-ings, built with little deference to historical patterns,can benefit from new additions that restore the tra-ditional street edge and match the scale and archi-tectural elements of the neighborhood.

The upper two stories of this newbuilding is stepped back away from thestreet and neighbors to reduce thevisual impact of it height.(Cambridge)


RecommendedNew additions should use materials, sizes, details and propor-tions that are compatible with the existing structures.

The original building’s primary façade should remain clearlydelineated while the addition is set behind or to the side.

Setting new additions away from the street can reduce theirvisibility and ensure the pattern of buildings is maintained.

Filling parking areas or plazas with lower buildings along thestreet to reestablish the street line and scale.

Taller buildings, or rooftop additions that are set back fromthe street.

New quality materials are acceptable when mixed with othermaterials found in the area.

Not RecommendedOutbuildings or additions that fill-in historic landscapedareas, such as side-yards, should be avoided when visible fromthe street.

Additions that cover or obscure the shape and proportionsof an original building’s façade.

Materials that attempt to replicate historic, or aged stone,brick or wood.

Recommended: The new addition, center, is properly setbehind the primary historic façade, to the right. (Portland, ME)

Recommended: The use of lower residential scaled build-ings along the street, added recently, reduces the visual effect ofthe taller, modern-era, building on the street. The four storyapartments on the right were added to match the scale andmaterials typical of the historic district on the left. (Boston)

Recommended: New materials such as this steel awningcan be appropriate when carefully proportioned and placed withrespect to the older structure.

Recommended: New buildings that match the height, set-backs, and cornice lines of adjacent buildings. (Portland, ME)


Section III: Area Descriptions

Introduction

A better understanding of Salem's developmentwill help inform decisions so that valuable historiccharacteristics and features of a property will beretained, preserved, or restored. For persons who arecurious about the past history of their property, thisoverview of Salem Historic Development will alsoprovide a starting point for further research.

Bridge Street Corridor

H i s t o r i c a l D e v e l o p m e n tBridge Street dates back to the seventeenth-cen-

tury when it was known as the Ferry Lane leadingto the ferry between Salem and Beverly (then partof Salem). The earliest settlement of Salem isthought to have been near Bridge Street at the endof March Street in the form of Planter’s huts. Duringthe seventeenth century the Skerry House, whichstood until recently at the end of Conant Street, wasone of the few houses in the area. The Ferry Laneturned up present day Winter Street to avoid thetidal flats of the North River.

In 1788 a bridge was constructed to replace theferry to Beverly. By the early nineteenth century anumber of substantial three story Federal style hous-es had been constructed in the section between Win-ter Street and Skerry Street, along with some smallerhouses on the side streets.

By the 1850’s the area east of Skerry Street hada number of ropewalks, more houses were beingconstructed on the section west of Skerry Street, thestreet had been extended along the edge of theNorth River tidal flats to North Street, and the rail-road had been constructed along the North Rivertidal flats.

By the late nineteenth century, stables and othercommercial uses occupied the area along the tidalflats as well as much of the eastern end of the street.The railroad was a major factor, with rail yards atthe present day station and on Bridge Street at Lath-rop Street. Smaller houses and multi-familydwellings had been added to the mid-section, andthe ground floors of some residential buildings nowincluded neighborhood stores. Bridge Street hadbeen extended west of North Street along side therailroad to Boston Street, and this section of theNorth River had been filled for new industrial land.The filling of the North River was completed in theearly twentieth century when the last remnants oftidal flats were filled to form the land occupied bythe former Parker Brothers’ factory.

C u r r e n t C h a r a c t e r a n d U s e sThe present land uses along Bridge Street follow

the pattern set in the second half of the nineteenth-century. The eastern end is a mixture of commercialuses and pockets of late nineteenth century residen-tial structures. Many of the commercial uses occupylarge lots that evolved from early nineteenth centuryropewalks into stables and rail yards, and then tothe current automobile oriented uses. Some of theresidential buildings have been converted to com-mercial uses.

The middle section remains largely residentialwith a number of the Federal and Greek Revivalperiod houses surviving along with many late nine-teenth century dwellings. Houses are typically sitedclose together on the side walk or with narrow set-backs. A few of the larger houses are set back andretain more generous side yards. Most of the houseshave been converted to multi-family use, some withground floor alterations for retail use. Many havebeen cosmetically altered with artificial siding andchanges to windows and entries. Automobile orient-ed commercial uses have developed on several keycorner locations.

The section occupied by the former North Rivertidal flats has recently been redeveloped into largescale multi-family housing, and will shortly be fur-ther changed by the construction of the BridgeStreet by-pass road through the site. The southernside of Bridge Street in this section is largely in insti-tutional use with most of the structures being sub-stantial nineteenth century masonry buildings.

This corridor has been severely impacted byheavy automobile traffic and related congestion.The planned construction of the Bridge Street By-Pass should provide some traffic relief and an oppor-tunity to encourage cosmetic improvements to boththe streetscape and commercial structures.

Section III: Area Descriptions 29

Bridge Street in 1856.The eastern end islargely open with a number of ropewalks,houses are scattered along the central sec-tion, and small wharfs extend into the NorthRiver basin enclosed by the railroad.Courtesy of the Peabody Essex Museum..

Bridge Street at the corner of Arbella Street c. 1900 showingthat some residential buildings were already being converted tocommercial use.The design and materials of the storefronts arecompatible with the older buildings. Courtesy of the Peabody Essex Museum.

South side of Bridge Street near Lothrop Street c. 1900 showingthe front of the railroad repair yard that extended almost backto Collins Cove. Other commercial uses such as stables hadreplaced the ropewalks along the eastern portion of BridgeStreet by this period.This site is currently occupied by a truckrental business. Courtesy of the Peabody Essex Museum.

Original details such as this elaborate Victorian entry canopy re-main on many Bridge Street buildings and should be preserved.

Bridge Street at the corner of Arbella Street today showing thatmost of the residential buildings remain. More of the buildingshave commercial ground floor uses, and the design of the store-fronts no longer fits in with the original buildings.

Current map of Bridge Street area.TheNorth River basin has been filled in, and theriver has been confined to a narrow canalwest of the North Street Overpass.


North Street Corridor(North of the North River Bridge)

H i s t o r i c a l D e v e l o p m e n tLike most of the other entry corridor streets,

North Street had its beginnings in the seventeenthcentury as a route connecting the sparsely populated“North Fields” to the road leading north to SalemVillage (modern Danvers) and Wenham. It was con-nected to the center of Salem by a ferry at the site ofthe current North Street bridge as early as 1636. TheSymonds family kept the ferry and had one of thefew homesteads on the north side of the North River.

The first North Street Bridge was constructed in1744 by a private group of North Fields land owners.It had a draw bridge opening of 18 feet over thecentral channel and was approached from eachshore over the shallow mud flats by a causeway sev-eral hundred feet long.

By the early nineteenth century the NorthFields, then called North Salem, was becoming morepopulated. The number of late eighteenth and earlynineteenth century houses that remain along thesouthern end of North Street today are testaments tothis growth. The causeway portions of the NorthRiver Bridge had been enlarged to include wharvesand related commercial uses.

By the mid-nineteenth century the shores onthe north side of the bridge had been partially filledin and industrial uses started up including severaltanneries. By the 1880s the river west of the bridgehad been reduced to the current narrow canal, andthe newly filled land was being used for industrialpurposes. North Street was solidly built up with resi-dences nearly to Dearborn Street, with sporadic clus-ters of houses north of that intersection to thePeabody line.

The remaining open spaces north of DearbornStreet gradually filled in with houses during the latenineteenth and early twentieth century.

C u r r e n t C h a r a c t e r a n d U s e sCurrently, the immediate northerly approach to

the bridge is occupied by automobile oriented com-mercial uses, and the filled lands further east andwest of the bridge are occupied by a variety lightindustrial uses including a large scrap metal yard onthe site of the former tanneries.

North of Franklin Street to Dearborn Street is inpredominantly retail usage with a mixture of earlyhouses that have ground floors converted to store-fronts, a strip of mid-twentieth century one storystorefronts, and several recent automobile orientedconvenience stores and service stations.

From Dearborn Street north to the Peabody line

Current map of North Salem with North Street in red.The bridge and the North River are inthe lower right corner.


Late eighteenth and early nineteenth century houses near FosterStreet that have first floor commercial uses. Sited directly on thesidewalk and retaining their original form and some detailing,these houses provide substantial historic character to thestreetscape.

A typical mix of nineteenth century houses along the middlesection of North Street. The 1 1/2 story building in the center isa c. 1900 commercial building.With its early storefront largelyintact and wood sign its fits in well with the neighborhood.

Large commercial parking lot without any planting or otherscreening and new retail building set at the back of the parkinglot breaking the prevalent pattern of building setbacks are prob-lems North Street shares with the other entry corridors.

Photograph c. 1890 looking north from North Street bridge. Courtesy Historic New England.

Detail of 1883 Salem birdseye view showing wharves on the North River Bridge and factories on the shore.Courtesy of the Peabody Essex Museum.

current uses are predominantly residential with amixture of mid-nineteenth century to early twenti-eth century styles. There are several small clusters ofsmall one story commercial structures from the midto late twentieth century, mostly at major intersec-tions that provide some neighborhood commercialservices.


Boston Street Corridor

H i s t o r i c a l D e v e l o p m e n tBoston Street originated in the seventeenth-cen-

tury and functioned as the road to Lynn and Bostonuntil Highland Avenue was constructed in 1802 asthe Salem Turnpike. The street follows the narrowarea of flat land bounded by Gallows Hill and Nor-man Rocks on the west and the North River on theeast. In the seventeenth and eighteenth centuriesthe North River was a large tidal basin extendingright up to Boston Street. The road divided in pre-sent day Peabody with the route to Boston branch-ing off sharply to the south following the line ofWashington Street. The route that continued straightled to Danvers and Wenham.

The land along Boston Street was sparsely popu-lated with a few farms and flour mills on the NorthRiver. Robert Moulton, who came to Salem in 1629as a shipwright, owned land at the head of theNorth River basin in what is now “Blubber Hollow”where he likely constructed boats.

Danvers, including what is now Peabody split offfrom Salem in 1757, and Peabody separated fromDanvers in 1855. During this period Boston Streetevolved into a wide boulevard that was largely resi-dential in character except the area at the head ofthe North River basin. There, and along the NorthRiver in Peabody, the leather industry had started toform by c. 1800.

Boston Street initially traversed the low marshyland at the head of the North River basin over acauseway known as the “Town Bridge”. With thegrowth of the leather industry, these low lands hadbeen filled in by the 1850s to become “Blubber Hol-low” with factories along Goodhue Street fromBoston Street to over the North River.

Late nineteenth century photographs showBoston Street between Blubber Hollow and thePeabody line to be a broad tree lined street with sub-stantial houses on both sides and a street railway

running down its center. Commercial uses were lim-ited to small soap factory and a few stores set intothe ground floors of residential buildings. BlubberHollow was densely built up with tanneries includ-ing several on the west side of Boston Street. Fromthere to its intersection with Essex Street and High-land Avenue, the street had a mixture of commercialand residential uses. By 1890 the North River basinhad been completely filled in to provide more spacefor industrial uses and reduced to the present canal.

The Salem fire of 1914 started at the edge ofBlubber Hollow on the southwest corner of Procterand Boston Streets, burning out both sides of BostonStreet to its intersection with Essex Street. This sec-tion was quickly rebuilt with a combination com-mercial uses and brick apartment buildings.

With the advent of automobile traffic in thetwentieth century and its function as the primaryroute between downtown Peabody and Salem,Boston Street evolved into a mixture of light com-mercial and multi-family residential usage, with theheavy industrial usage continuing along the NorthRiver Canal and Goodhue Street.

C u r r e n t C h a r a c t e r a n d U s e sCurrently, many late eighteenth century and

nineteenth century houses with substantial historiccharacter remain between Goodhue Street and thePeabody line. Many are now multi-family homesand some have modern siding and other alterationsthat diminish their historic character. A numberhave been converted to retail uses on the groundfloor, and in some cases the entire structure is acommercial use. This section also has a number ofrelatively modern light commercial structuresincluding several gas stations randomly interspersedwith the residential buildings. Although the currentzoning for most of this section is automobile orient-ed commercial, its actual character is closer to neigh-borhood commercial interspersed with historic resi-dential structures.

To Boston

Peabody LineGallows Hill

Boston Street (shown in red) and the North River c. 1692showing the natural features that dictated its route.The bridgeover the North River tributary at the lower right remained untilthe 1820s. Courtesy of Marilynne K. Roach.

Current map of Boston Street area with Boston St. in red,Goodhue Street in lighter pink, and the green circle indicatedBlubber Hollow.The North River has been filled in to a narrowcanal.

Peabody Sq.

Essex St.Essex St.


The leather industry has been gone from Blub-ber Hollow and Goodhue Street for many years.Only a few of the mill buildings remain on GoodhueStreet. Some have new industrial uses, while othersare empty. Much of the land has been cleared and isnow vacant.

The area from Blubber Hollow to Essex Street isa mixture of early twentieth century brick multi-sto-ry apartment blocks, masonry one story storefrontstructures, and a few modern automobile orientedstructures set back on open lots behind large parkingareas. The intersection with Essex Street forms a dis-tinct neighborhood oriented commercial core, andincludes the architecturally distinctive ColonialRevival style Essex Street Fire Station. Some of theapartment blocks originally included storefronts onthe first floor that have recently been closed in forresidential or office usage.

Looking down Goodhue Street from Boston Street c. 1900.showing one of the many leather factories formally in this area.Courtesy of the Peabody Essex Museum.

Boston Street near Nichols Street c. 1900 showing it as a widetree lined street with houses dating from the late eighteenthcentury to the mid-nineteenth century. Most of these housesare still present. Courtesy of the Peabody Essex Museum..

Juxtaposition of modern commercial uses and historic housesdating from the nineteenth century that is characteristic ofmuch of the street.

Looking up Goodhue Street towards Boston Street showingremaining under utilized mill buildings.

Eighteenth century house insensitively remodeled for commer-cial use with oversized modern windows. House at left retainstraditional style windows.

An attractive Greek Revival style house dating to the 1840s thathas been carefully restored as a residence with its original exterior features intact.


Highland Avenue Corridor

H i s t o r i c a l D e v e l o p m e n tHighland Avenue was constructed as a new pri-

vate toll road to Lynn and Boston called the SalemTurnpike in 1802–3 at a cost of $182,000 by a pri-vate group of investors. The route, a nearly straightline through the ”Salem Great Pastures,” was chosento significantly shorten the circuitous path taken byBoston Street, but had to overcome the difficulttopography of the highlands with its many rockyoutcrops and swamps.

The Turnpike made a profit with average netreturns of about 5 percent until the railroad openedto Boston Street in 1838. Profits then fell in halfuntil the turnpike was made a public highway in1868.

The road began at the intersection of Boston andEssex Streets. In the 1850s there was a small clusterof houses with a tannery behind them at the begin-ning of the road, and another cluster near the pre-sent site of the High School. Beyond that there wereonly a very few farmhouses scattered through thehighlands. A tollhouse was located about two milesfrom the start of the road.

The fire of 1914 burned across the southern endof the road. Reconstruction resulted in the ColonialRevival style Essex Street Fire Station and the twoand three family houses that now line this end ofHighland Avenue. The new Salem High School andSalem Hospital were built on the east side of theroad during this period along with some adjacentsingle and multifamily wood frame houses. Beyondthe Hospital the landscape remained largely openuntil after World War II.

Street railways were added to most major roadsduring the late nineteenth century, and HighlandAvenue was no exception. The right of way consist-ed of a narrow two lane road with railroad tracksbeside the road to the right.

Sporadic commercial and residential growthfrom the Hospital to the Lynn Line started afterWorld War II, and has continued to the present day.

C u r r e n t C h a r a c t e r a n d U s e sToday, Highland Avenue south of the Hospital is

a divided highway dominated by automobile orient-ed “big box” mall construction housing regionalchain retailers, fast food restaurants and car dealer-ships. There are also several short sections of 1950s–80s single family housing and older, smallerscale commercial structures as well as natural openspace interspersed between the mall areas. In addi-tion, there has been some recent large scale apart-ment development along the corridor.

A number of the curbcuts and parking in theolder commercial strips along Highland Avenue arepoorly defined broad areas of asphalt.

The newer commercial developments have welldefined curbcuts that are often accessed from inter-secting feeder streets, very large parking areas, andin some cases broad planting areas separating theparking from the road. Much of the signage is largescale internally illuminated pylon signs using stan-dard corporate logos and colors.

The area closer in to Essex Street is dominatedby the institutional uses of the hospital and publicschool on the east side of the street, and older, moreclosely spaced housing on the west side. The road isa little narrower without a center divider in this areaand is somewhat more pedestrian friendly.

Current map with Highland Avenue in red.


Recent automobile oriented large scale mall construction andauto dealerships characterize much of the western portion ofHighland Avenue.

Older commercial construction along Highland Avenue oftenlacks well defined curb cuts and landscaped buffers, and it’ssometimes interspersed with residential uses.

Portions of Highland Avenue still retain a natural landscape andsingle family homes.

The eastern end of Highland Avenue has institutional uses on it’ssouth side like the old High School building seen here on theleft. On this street’s north side is early twentieth century multi-family housing.

Aerial photograph of HighlandAvenue c. 1920s showing howundeveloped the road wasbeyond the recently con-structed Salem Hospital.Courtesy of The Peabody Essex Museum.


Lafayette Street Corridor(Route 114)

H i s t o r i c a l D e v e l o p m e n tLafayette Street originated in the seventeenth

century as the route to Marblehead. It entered thecenter of Salem by following Mill Street over theSouth River on the Mill Bridge at the current southend of Riley Plaza, and then up High Street to Sum-mer Street. It was not extended over the South Riv-er to Central Street until about 1800 because theinner part of the South River (now completely filledin) was a major component of Salem’s harborthroughout the eighteenth century. Otherwise, itspath to Marblehead is unchanged today. It wasknown as South Street until its name was changedto Lafayette Street following General Lafayette’s visitin 1824. Lafayette, also known as the Marquis deLafayette, was a French citizen who played a pivitolrole as a volunteer in Washington’s army during theAmerican Revolution.

The portion of South Salem fronting the SouthRiver was used for ship building and related com-mercial activities in the eighteenth and early nine-teenth centuries, but most of Lafayette Street wasrural. In the early nineteenth century wealthy Salemmerchants who lived in town started to build countryestates on Lafayette Street, the most famous beingthe Derby Farm near present day Laurel Street.

As the nineteenth century progressed, the areawest of Harbor Street developed into a fashionablesuburban neighborhood of substantial Federal,Greek Revival, and Victorian style homes. The streetwas broad, lined with large mature trees, and hadgenerous sidewalks. The houses had uniform land-scaped setbacks with fences at the edge of the side-walk. By the end of the century, the fashionabledevelopment had progressed to Loring Avenue.

A few residences were scattered beyond LoringAvenue, but full residential development to the Mar-blehead line waited for the twentieth century.

The Salem Leadworks was established at theMarblehead line in the early nineteenth century and remained active until well into the twentiethcentury.

The 1914 Salem fire completely destroyed SouthSalem from the South River to Holly Street. Thearea was rapidly rebuilt with multi-story masonrycommercial structures from the river to HarborStreet, and a mixture of single and multi-familyhousing including moderate sized brick apartmentblocks west of Harbor Street to Holly Street. Smallclusters of neighborhood oriented retail developed atthe Holly Street and Loring Avenue Intersections.The rest of Lafayette Street remained largelyunchanged except for the establishment of the StateNormal School (now Salem State College) at theintersection with Loring Avenue.

C u r r e n t C h a r a c t e r a n d U s e sToday, Lafayette Street has a diverse range of

uses and building types. The street retains substan-tial historic character that warrants thoughtfulpreservation.

The first few blocks are an extension of down-town Salem made up of early twentieth centurymulti-story brick buildings with retail uses on theground floors. Although the original storefronts havebeen altered, the overall buildings are handsomestructures that retain their historic character andwarrant preservation.

The section of Washington Street from LafayetteStreet to Riley Plaza is a mixture of c. 1920s mason-ry and wood frame apartment buildings. Some ofthe buildings originally had ground floor retail usesthat have now been converted to office or residentialusage.

From Harbor Street and the St. Joseph’s Churchcomplex to Holly Street, the street retains thediverse range of structures constructed following the1914 fire, including several handsome ColonialRevival style brick apartment blocks as well as singlefamily wood frame dwellings. There are also a fewnewer one story commercial structures and a largemodern apartment building that do not conform tothe building setbacks and massing that characterizethe older buildings. The intersection with HollyStreet is punctuated with a larger scale c. 1920sapartment building with ground floor retail.

The three blocks from Holly Street to ForestAvenue comprise a well preserved group of mid-tolate nineteenth century single family homes withuniform setbacks and side yards. These blocks aredesignated as the Lafayette Street Historic District.

The block from Forest Avenue to Loring Avenuealso contains a number of distinguished Victorianperiod dwellings as well as an out of scale modernapartment building that does not respect the set-backs and massing of the adjacent buildings. TheLoring Avenue intersection is dominated by the largescale institutional buildings of Salem State College. Asmall group of storefronts are present at this inter-section.

The buildings from Loring Avenue to the Mar-blehead line are all residential except for the struc-tures of Salem State College on the north side of thestreet.


Lafayette Street in an 1852 print looking towards the South River from Harbor Street. Courtesy of The Peabody Essex Museum.

Current view of Lafayette Street looking towards downtownfrom Harbor Street showing the well designed commercialbuildings constructed after the 1914 fire.

View of Lafayette Street c. 1890 showing fenced front yards withuniformly spaced trees and wide sidewalks.

Lafayette Street today. The distinctive architectural character ofthe houses and the uniform front yards remain, although most ofthe fences are gone and the trees are now at the street line.

Retail block originally designed to fit into the neighborhood withan attractive balustrade and pitched slate roof now obscured bysignage.

Current map with Lafayette Street Corridor marked in red.


Loring Avenue Corridor

H i s t o r i c a l D e v e l o p m e n tAlthough modern day Lafayette Street originat-

ed in the seventeenth century as the route to Mar-blehead. It is not clear when Loring Avenue was firstestablished as a road to Swampscott branching offLafayette Street. The earliest map it appears on isdated 1832. It derived its name from the mid-nine-teenth century country estate of George B. Loring,which was sited on the hill overlooking the ForestRiver. The site is now the southernmost part ofSalem State College.

Loring Avenue remained as largely undevelopedfarm land until the early twentieth century and theestablishment in 1896 of the State Normal School(now Salem State College) at its junction withLafayette Street. The section from the Forest Rivercrossing back to Lafayette Street gradually filled inwith a variety of houses on small lots during the firstquarter of the twentieth century. The houses acrossfrom the college tended to be stylish single familyhomes, while those south of Canal Street were more

utilitarian two and three family structures. The junc-tion with Canal Street took on a commercial flavorwith a gas station located at the fork between thetwo roads. The large area of land on the south sideof Loring Avenue near the Canal Street was devel-oped for industrial use in the 1920s and 30s.

The section west of Forest River was not built upuntil the post–World War II period. There, singlefamily homes set back from the street on moderatesized lots predominate until the junction with Par-adise Road where the zoning changes to “Neighbor-hood Commercial.” This last area has developedwithin the last twenty-five years with automobileoriented shopping strips and fast food restaurants,and merges seamlessly into similar commercialdevelopment in Swampscott.

C u r r e n t C h a r a c t e r a n d U s e sCurrently, the growth of Salem State with a

number of large scale institutional buildings havingbeen added to the campus in recent years has had amajor impact on the eastern end of Loring Avenue.The industrial area south of Loring Avenue at theCanal Street intersection has recently been beenconverted to educational use by Salem State College.

Small one story strip malls set back from thestreet have been built in the area between the Col-lege and Canal Street. The modern automobile ori-ented commercial uses continue to the intersectionwith Jefferson Avenue. From there to Forest River,there are a few commercial uses that likely predatezoning sprinkled in with the predominate earlytwentieth century houses.

The immediate surroundings of the Forest Rivercrossing remain as natural open space with densetrees screening recent development on the adjacenthighlands from view.

The single family residential area between ForestRiver and Vinnin Square is now fully built up andappears to be reasonably stable.

Current map of South Salem with Loring Avenue in red.


Early 1920s view of Loring Avenue at the junction with Canal Street (in foreground). Courtesy of the Peabody Essex Museum.

Recent automobile oriented development at Vinnin Square. Signage at left is strident, and curbcuts are chaotic.Planting strip at right is minimal.

Recent strip malls below Salem State College with minimal planting strip on right and continuous curb cutwith no planting strip at left.

Salem State College dominates the eastern end of Loring Avenue.


Canal Street Corridor

H i s t o r i c a l D e v e l o p m e n tCanal Street is the newest of all the entry corri-

dor streets. It was constructed adjacent to the rail-road right-of-way up to Ocean Avenue in the 1880s,but was not completed to Loring Avenue until some-time after the Salem fire of 1914. Much of its path ison filled land that was previously occupied by thelarge tidal pond at the head of the South Riverknown as the “Mill Pond.”

Throughout the eighteenth and much of thenineteenth centuries there was a mill situated on abridge at about the western end of the current RileyPlaza at the head of the pond. The coming of therailroad in the late 1830s initiated the gradual pro-cess of filling in the pond and converting the newlymade land for use as a railroad freight yard and oth-er industrial uses that took advantage of the proxim-ity to the railroad.

The 1914 fire burnt out the mills at the head ofthe pond and the eastern end of Canal Street, pre-cipitating redevelopment that led to further filling inof the pond to its current very limited extent nearJefferson Avenue.

C u r r e n t C h a r a c t e r a n d U s e sToday, the railroad yards have been greatly

reduced in extent, and the adjacent large mills torndown and replaced with a variety of small industriesand warehousing uses in relatively modern one andtwo story buildings accessed from Jefferson Avenue.

Canal Street functions as a boundary betweenthe residential neighborhood located on the rise ofland on its east side, and the railroad and industrialuses beyond on its west side. Its eastern end is zonedfor wholesale and automotive uses, while most of itswestern end is zoned as “business highway” and

Current map of South Salem with Canal Street in red.

Map from 1872 showing Mill Pond before it was filled in andCanal Street constructed.The current path of Canal Street isindicated in red.


Eastern end of Canal Street looking west showing typical mix ofmodern commercial and early twentieth century residentialbuildings. Railroad is just beyond fence at right.

The residential uses on South Salem cross streets extend to theeast side of Canal Street.

Photo c. 1900 of shoe factory at western end of Canal Street.Note part of Mill Pond in foreground. Courtesy of the Peabody Essex Museum.

Western end of Canal Street looking south towards Loring Avenue showing chaotic mixture of commercialbuildings, parking lots, and lack of sidewalks.

Middle portion of Canal Street looking north showing recent fast food franchises and other automobile oriented uses.

“industrial.” Except for a short strip of mid-twenti-eth century single family residences opposite theSalem State College Athletic Center and some multi-family c. 1920s houses scattered along its easternportion between commercial uses, most of the build-ings are utilitarian one and two-story commercialstructures built within the last fifty years. Residentialstructures are present on the streets coming intoCanal Street from South Salem. In recent years anumber of automobile oriented fast food franchises,service stations, and a small shopping plaza havebeen constructed along the western portion of thestreet. Property owners considering new construc-tion on Canal Street should be sure to consult the“New Construction” section of these Guidelineswhen planning their project.


Urban Renewal Areas: Description

B a c k g r o u n d o f R e n e w a l E f f o r t sSalem’s two Urban Renewal Areas – Heritage

Plaza East and Heritage Plaza West – were initiallyconceived in the 1960s as a mechanism to revitalizethe downtown by demolishing most of the olderbuildings in order to construct new buildings accord-ing to “modern standards” of the time.

As the process of acquiring properties by emi-nent domain and clearing the buildings started inearnest, a number of prominent citizens realized that many of the buildings designated for removalhad substantial historical value. They recognized thatdespite their dilapidated appearance and laterchanges, many of these buildings could be restored.Salem had been a tourist destination for many yearsbecause of its historic homes on Chestnut Street andmuseums such as the House of the Seven Gablesand the Essex Institute. They reasoned that a downtown that focused on its historic buildingswould add to the attraction of Salem as a tourist site, while a downtown of all brand new buildingswould not.

As a result of these efforts, the focus of theUrban Renewal Areas was changed to preservingand rehabilitating as many remaining historic com-mercial buildings as possible, and constructing newbuildings on sites that had already been cleared thatwould be modern but visually compatible with thehistoric buildings in exterior materials and scale.

The City developed the Urban Renewal AreaPlans for both Heritage Plaza East and Heritage PlazaWest to guide the restoration and rebuilding of thedowntown.

The general principals guiding the renewalefforts of the 1970s and 80s are evident in looking atthe downtown today, and remain valid for futurework. While a lot of effort was concentrated on the1800–1840s buildings around Market Square,many Victorian and early twentieth century build-ings were also saved and rehabilitated to preservetheir own unique architectural character.

On historic buildings that received majorrestoration efforts, all surviving original featureswere preserved, and on upper stories significant ear-ly features that had been altered were reconstructedaccording to available evidence. Historic photographsat the Peabody-Essex Museum Library providedguidance for much of the restoration work. On theground floors, the storefronts were treated as reha-bilitations with what preservationists call a “periodtypical” treatment rather than as strict restorations.The goal was to reflect the likely appearance of thestorefronts during the earlier years of the building’sexistence. The basic structural framework such asthe granite posts and lintels on many Front Streetbuildings were accurately reconstructed while more

latitude was allowed in window infill systems. Thussome early buildings utilize large single panes ofplate glass, while others use the small panes thatwould have been common during the first half ofthe nineteenth century.

New buildings constructed on infill lots betweenremaining historic buildings are usually brick withcornice lines similar to the adjacent buildings. Detailssuch as windows and storefronts, whether modernor traditional, are usually simple and done in a wayto insure that the new building does not visuallystand out in relation to the historic buildings.

On larger lots more removed from the corestreets, new buildings are modern with larger mass-ing, but still employ traditional materials such asbrick or wood clapboards with detailing to reducetheir overall scale.

Through the renewal areas, there has been asubstantial investment in high quality landscaping toprovide an appropriate setting.

C u r r e n t C h a r a c t e r a n d U s e sWashington Street forms the major north-south

spine of the downtown core, and is the primaryvehicular route. It also is the boundary between theHeritage Plaza East and Heritage Plaza West RenewalAreas. Essex Street forms the east-west spine andhas been historically the focus of retail activity.

Washington Street is lined on both sides by rela-tively large scale late nineteenth and early twentiethcentury commercial buildings, many being fineexamples of Colonial Revival architecture. Mosthave retail storefronts on the ground floor. It is alsodistinguished by the Greek Revival style graniteSalem City Hall and Essex County Courthouse, andthe brick Georgian style Joshua Ward House.

Essex Street has a more eclectic mix of buildingsin architectural style, age, and scale ranging from thewood frame c. 1761 Timothy Orne House to therecent Essex Apartments and East India Mall. Theeastern portion is dominated by the brick pedestrianmall and the many early to mid-nineteenth centuryrestored brick buildings on its south side. The west-ern portion is more eclectic and dominated by sever-al larger early twentieth century buildings that havenot been substantially rehabilitated.

Front Street was directly on Salem’s inner har-bor in the eighteenth and early nineteenth cen-turies. Today it is a pedestrian oriented street focus-ing on the late Federal style brick commercialbuildings with granite storefronts that were restoredin the 1970s and the brick paved Market Square infront of the Old Town Hall.

Derby and New Derby Street did not take theircurrent form and character until after the fire of1914 when the area was rebuilt with a number ofautomobile dealerships, garages, and light industrialuses. The lumber, coal, and fish market businesses


Late nineteenth century photograph of17–23 Front Street showing the originalstorefront system of granite piers and lin-tels framing large multi-pane display win-dows. The buildings was constructed c.1845. Courtesy of The Peabody Essex Museum.

Photograph from the 1970s of 17–23 FrontStreet showing its condition prior torestoration. The granite store front system ismissing and some of the second floor win-dows have been replaced by a picture win-dow. The splayed lintels on the remainingwindows and the surviving dormers servedas models for the reconstruction of themissing features. Courtesy of William Tinti.

Current photograph of 17–23 Front Streetshows the windows and dormers of the upperfloors have been restored.The granite pier andlintel storefront system has been reconstruct-ed following the evidence provided by the his-toric photograph. The glazing uses a modernsystem of insulated glass rather than restoringthe small pane wood storefront windows visi-ble in the historic photograph. In other similarbuildings restored on Front Street, small panewindows were used to create a more accurateappearance.


that were previously in this area were all destroyedby the fire. The current commercial buildingsinclude the former auto dealership structures withlarge plate glass windows now used for retail busi-nesses, as well as several larger, multi-story buildingsfrom the same period. There are also several modernauto service stations. This section of Derby Streetcarries a high volume of auto traffic and functions asan entry corridor.

Heritage Plaza East includes the South River

Current photograph of east side of Washington Street showing a rehabilitated late Federal Period building onright and a new infill building in center (marked with arrow). The cornice height of the new building has beensensitively located midway between the cornices of the flanking buildings. It uses brick with simplified tradi-tional detailing in a manner that does not visually compete with the adjacent Colonial Revival bank building.

between Congress and Lafayette Streets. Most of thiswaterfront is bordered by vacant land or light indus-trial uses, and is not readily accessible.

Heritage Plaza West is characterized by a mixtureof nineteenth century residential and a few smallscale twentieth century commercial structures onsmall lots. The northern edge of the area is dominat-ed by the Essex County Courthouse complex. Thecourthouse has also resulted in some of the residen-tial buildings being converted to office usage.

The 1761 Orne House on Essex Street in1980 with its original architecture obscuredby artificial siding and oversized windows.The ground floor was converted to retailuse in the early twentieth century. Thestorefront in this picture dates to the 1950s.Courtesy of City of Salem.

Removal of artificial siding reveals theoriginal rusticated board siding and theoriginal window placement of theupper stories. Courtesy of City of Salem.

Restoration of the upper stories as com-pleted in 1983 with 6/6 windows based onhistoric photographs of the building. Seepage 13 for a photograph of a recently completed rehabilitation of the storefrontsection. Courtesy of City of Salem.


Late nineteenth century photographlooking east on Essex Street fromWashington Street.The currentSalem Five Bank building is markedwith an arrow.

Photograph from the 1970s lookingeast on Essex Street from Washing-ton Street.The current Salem FiveBank building is marked with anarrow. Courtesy of William Tinti.

Current photograph looking east onEssex Street showing pedestrian malland rehabilitation of the buildings inthe foreground.The current SalemFive Bank building is marked with anarrow.


Local Historic Districts

There are four Local Historic Districts in Salem.Except for Derby Street, the properties within thesedistricts are predominantly residential. In each dis-trict a few residential properties have been convert-ed to office or institutional uses, but still retain theirresidential character. For all properties within thesedistricts, any change to features that are visible frompublic ways must be reviewed and approved by theCity’s Historic District Commission. Refer to page 2and 3 of the these Guidelines for more informationabout review procedures for the Historic Districtsand there location on a Salem City map.

McIntire Historic DistrictThe Mcintire District is the largest of the Local

Historic Districts. It includes properties on Federal,Essex, Chestnut, Warren, and Broad Streets andcontiguous cross streets from Summer Street southalmost to Boston Street.

Lafayette Street Historic DistrictThis is a small, entirely residential district along

Lafayette Street for three blocks from Holly Street toForest Street.

Washington Square Historic DistrictThis District comprises the properties that front

directly on the Salem Common along with the adjacent properties on the upper end of WinterStreet, and the Peabody-Essex Museum propertybetween Essex and Brown Street.

Derby Street Historic DistrictThis district includes all the properties on both

sides of Derby Street from Herbert Street to FortAvenue except the Power Plant.

Unlike the other Local Historic Districts, the Derby Street District includes a substantial numberof properties in retail usage. Several of these retainlate nineteenth or early twentieth century store-fronts with most of the original detailing still intact.Retail and commercial owners are cautioned thatreview of proposed changes to their property by theHistoric Commission may require more detailedpreservation measures than the treatments describedin these guidelines.

The west end of Derby Street is not within theHistoric District, but does function as an entry corri-dor and is largely within the designated UrbanRenewal Area. The following paragraphs provide abrief description of the development of the fulllength of Derby Street.

H i s t o r y o f D e r b y S t r e e tDerby Street is believed to have first been laid

out as a street around 1762. Prior to that Essex

Street was the major thoroughfare and the water-front was serviced by the many small streets runningeast from it to the waterfront wharves and ship-yards.

In the early nineteenth century Derby Streetbecame Water Street at what is now HawthorneBoulevard. Water Street then followed the edge ofthe South River wharves turning sharply north upto Front Street which was then directly on thewaterfront at the head of navigation.

In the eighteenth and early nineteenth cen-turies, Derby, Water, and Front Streets focused onmaritime trade and related commercial activities.The nucleus of that activity was Derby and Centralwharves and the adjacent Customs House.

As the century progressed and Salem’s maritimeactivity shifted to the coastal lumber and coal trade,the South River wharves were gradually filled in toprovide space for lumber storage and related indus-trial uses. The 1914 fire burnt out the South Riverwaterfront and Derby Street up to Derby Wharf. Thelast remnant of the South River between LafayetteStreet and Riley Plaza (then the railroad station) wasfilled in to build New Derby Street. Lower DerbyStreet was then rebuilt focusing on automobile deal-erships, garages, and industrial uses including thePickering oil tank farm on what is now PickeringWharf.

In recent years lower Derby Street has becomeincreasingly retail in character, but still retains a fewautomobile service stations.

Derby Street and the Salem waterfront in 1820.


Photograph c. 1890 of Derby Street nearPickering Wharf. This area was burnt out bythe 1914 fire. Courtesy of The Peabody Essex Museum.

Photograph c. 1890s of DerbyWharf From Derby Street Courtesy of The Peabody Essex Museum.

Photograph c. 1890s from wharfslooking towards Derby Street show-ing shipping that was the focus of the Derby Street area in the nineteenthcentury. Courtesy of The Peabody Essex Museum.


Photograph from the 1920s of New Derby Street looking towards the railroad station (now Riley Plaza)showing the automobile oriented light industrial character of this street that was created after the area wasleveled by the 1914 fire. Courtesy of The Peabody Essex Museum.

Derby Street east of the Custom House is characterized by amixture of eighteenth and nineteenth century residential build-ings and early twentieth century retail conversions.

The Derby Street waterfront east of Union Street is character-ized by recent redeveloped for a mixture of commercial andresidential uses.

Lower Derby Street showing former industrial and automobile showroom buildings from the 1920s rehabili-tated for retail uses.

49

APPENDIXES

Appendix A. Historic Storefront Styles 50

Appendix B. The Secretary of the Interior's Standards for the Treatment of Historic Properties, 1995 54

Appendix C. Additional Resources and Contacts 58


A typical late eighteenth century storefront design from abuilder’s guide published in Boston in 1796 (The Practical HouseCarpenter by William Pain).

Photograph taken in the 1840s of c.1800 storefronts in Philadel-phia.These are similar to the example from the Pain’s bookabove.Although no images of such storefronts are known forSalem or Boston, similar storefronts would likely have been usedin some downtown buildings. Images like these provided inspira-tion to early twentieth century architects in Salem who con-sciously evoked eighteenth and early nineteenth century archi-tecture in buildings constructed in the Colonial Revival style.Courtesy of The Library of Congress.

Appendix A. Historic Storefront Styles

Like buildings, the design of storefronts hasevolved over the last two hundred years followingchanges in architectural style and building technology.

The prime functions of storefronts have alwaysbeen to display the merchandise for sale inside thestore to passers-by, and to provide natural light tothe interior. Throughout the evolution of storefrontdesign, providing as large an area of glass as possiblewithout compromising the structure of the buildinghas been a major goal. Glass has therefore alwaysbeen a major element in storefront design.

In the eighteenth and early nineteenth cen-turies, the size of individual glass panes that couldbe used in storefront windows was constrained byglass making technology. Window glass was pro-duced by hand blowing large round disks (calledcrown glass) or cylinders that were sliced and flat-tened. (called cylinder glass). The disks or flattenedcylinders were then cut up into individual glasspanes. Panes as big as about 14"x20" were possible,but very expensive. Smaller pieces were less expen-sive and therefore more widely used. Most housesused 12 pieces of 7"x9" glass in each window sash,except expensive houses might use six panes of10"x14" or larger glass in each sash.

As the nineteenth century progressed improve-ments in making cylinder glass made larger panesizes cheaper and therefore more widely used inwindows. By the 1820s many houses were using sixpane sash, and by the 1860s two panes of even larg-er glass per sash were being used.

The size of the panes used in storefront windowsfollowed the same pattern except that window sizeswere larger and merchants often used the largestpane size they could afford.

Plate glass was also made in the early nineteenthcentury but was extremely expensive. Improvementsin production methods gradually made larger sizesavailable and less expensive. By the 1850s and 60s the most fashionable urban stores were some-times using large sheets within elaborate cast ironfaçades.

By 1900 plate glass was commonly available inlarge sizes and became the norm except for inexpen-sive wood storefronts on less pretentious storeswhere cheaper cylinder glass continued to be used in4 or 6 pane windows.

The development of Queen Anne style architec-ture and its evolution into the Colonial Revival stylefrom the 1880s through the 1920s looked to theeighteenth century for inspiration and reintroducedsmall panes of glass into storefronts. However, inthese styles the small panes are usually confined tothe upper sections or transoms, with plate glass stillbeing used for the main window.

Appendixes 51

A wood storefront showing two alternative designs for multi-paned windows from a millwork manufacturer’s trade catalogueoriginally published in 1893 (The Muliner Catalogue of 1893,1995). Simple wood storefronts with either four or six light win-dows common from the mid-nineteenth century right into the1930s.

A similar wood storefront with more elaborately decoratedpiers and typical nineteenth century signs inserted in a FederalStreet house. Courtesy of The Peabody Essex Museum.

Late nineteenth century photograph of an early storefront onDerby Street that is an example of the type of simple storefrontthat was probably used on many small wood commercial build-ings during the first half of the nineteenth century. Courtesy of

Historic New England.

A wood storefront on a “stick style” building from an 1880builder’s magazine.

An original storefront similar to the example above on DerbyStreet.


An elaborate cast iron or possibly stone Victorian storefront onWashington Street in an 1890s photograph (building demolished).

A storefront in the Queen Anne style featuring transom win-dows with many very small panes from an architectural maga-zine published in 1887 (Shoppell’s Modern Houses).The QueenAnne style was popular in the 1870s–90s.

An exuberant example of a Queen Anne style store window onthe Daniel Lowe Building in Salem.The early twentieth centuryColonial Revival style also used similar details.

A storefront using slender cast iron columns and fashionableplate glass windows on a Second Empire style building from anarchitectural magazine published in 1870 (The Architectural Reviewand Builder’s Journal, by William Sloan). Such storefronts werepopular in the 1860s–80s. Cast iron columns are still present ina number of downtown storefronts, although other details haveusually been changed.

The design of the structural elements of thestorefront followed changes in architectural styleand innovations in building construction technology.In the 1860s, building façades made of decorativecast iron elements were developed and widely usedin upscale Victorian commercial buildings.

Innovations in sheet metal fabrication, glazingmethods, and the desire for thinner lines in the earlytwentieth century led to the use of extruded copperand stainless steel window glazing systems from the1900s through the 1940s.

Appendixes 53

A plate glass storefront from a millwork manufacturer’s tradecatalogue originally published in 1903 (The Universal Design Book,Reprinted by Lee Valley Tools,1984).

A plate glass storefront showing alternative designs for transomglazing from a millwork manufacturer’s trade catalogue originallypublished in 1903 (The Universal Design Book, Reprinted by LeeValley Tools,1984).

A storefront framed with extruded copper on a marble base,and using a prism glass transom to bring light deeper into theinterior.The sign is done in stained glass (Image is from a Pitts-burgh Plate Glass Company, 1923 trade catalogue). Copperstorefront systems and prism glass were widely used from c. 1900 through the 1930s. Courtesy of The Pittsburgh Plate Glass Company.

A storefront framed with copper in an Art Deco style (from aPittsburgh Plate Glass Company, 1923 trade catalogue). Courtesy of

The Pittsburgh Plate Glass Company.

An original c. 1920 storefront with a prism glass transom on theMasonic Building on Washington Street. Several other store-fronts with prism glass and copper framing remain in Salem.

A original c. 1920 storefront with an elaborate curved transomon Washington Street. Typical of Salem’s more substantial earlytwentieth century commercial buildings, this is in the ColonialRevival style with traces of Art Deco.


Appendix B. The Secretary of the Interior'sStandards for the Treatment of Historic Prop-erties, 1995

IntroductionThere are Standards for four distinct, but interre-

lated, approaches to the treatment of historic proper-ties—preservation, rehabilitation, restoration, andreconstruction.

Preservation focuses on the maintenance andrepair of existing historic materials and retention ofa property's form as it has evolved over time. (Pro-tection and Stabilization have now been consolidat-ed under this treatment.)

Rehabilitation acknowledges the need to alter oradd to a historic property to meet continuing orchanging uses while retaining the property's historiccharacter.

Restoration depicts a property at a particularperiod of time in its history, while removing evi-dence of other periods.

Reconstruction re-creates vanished or non-surviv-ing portions of a property for interpretive purposes.

Choosing an Appropriate Treatment Choosing an appropriate treatment for a historic

building or landscape, whether preservation, rehabil-itation, restoration, or reconstruction is critical. Thischoice always depends on a variety of factors,including its historical significance, physical condi-tion, proposed use, and intended interpretation.

The questions that follow pertain specifically tohistoric buildings, but the process of decision makingwould be similar for other property types:

R e l a t i v e I m p o r t a n c e i n H i s t o r yIs the building a nationally significant resource—

a rare survivor or the work of a master architect orcraftsman? Did an important event take place in it?National Historic Landmarks, designated for their"exceptional significance in American history," ormany buildings individually listed in the NationalRegister often warrant Preservation or Restoration.Buildings that contribute to the significance of a his-toric district but are not individually listed in theNational Register more frequently undergo Rehabili-tation for a compatible new use.

P h y s i c a l C o n d i t i o nWhat is the existing condition—or degree of

material integrity—of the building prior to work?Has the original form survived largely intact or has itbeen altered over time? Are the alterations animportant part of the building's history? Preserva-tion may be appropriate if distinctive materials, fea-tures, and spaces are essentially intact and conveythe building's historical significance. If the building

requires more extensive repair and replacement, orif alterations or additions are necessary for a newuse, then Rehabilitation is probably the most appro-priate treatment. These key questions play majorroles in determining what treatment is selected.

P r o p o s e d u s eAn essential, practical question to ask is: Will the

building be used as it was historically or will it begiven a new use? Many historic buildings can beadapted for new uses without seriously damagingtheir historic character; special-use properties suchas grain silos, forts, ice houses, or windmills may beextremely difficult to adapt to new uses withoutmajor intervention and a resulting loss of historiccharacter and even integrity.

M a n d a t e d c o d e r e q u i r e m e n t sRegardless of the treatment, code requirements

will need to be taken into consideration. But if hasti-ly or poorly designed, code-required work may jeop-ardize a building's materials as well as its historiccharacter. Thus, if a building needs to be seismicallyupgraded, modifications to the historic appearanceshould be minimal. Abatement of lead paint andasbestos within historic buildings requires particularcare if important historic finishes are not to beadversely affected. Finally, alterations and new con-struction needed to meet accessibility requirementsunder the Americans with Disabilities Act of 1990should be designed to minimize material loss andvisual change to a historic building.

Standards for Preservation

R e s e r v a t i o n D e f i n e dPreservation is defined as the act or process of applying

measures necessary to sustain the existing form, integrity,and materials of an historic property. Work, including pre-liminary measures to protect and stabilize the property,generally focuses upon the ongoing maintenance andrepair of historic materials and features rather than exten-sive replacement and new construction. New exterior addi-tions are not within the scope of this treatment; however,the limited and sensitive upgrading of mechanical, electri-cal, and plumbing systems and other code-required work tomake properties functional is appropriate within a preser-vation project.

1. A property will be used as it was historically,or be given a new use that maximizes theretention of distinctive materials, features,spaces, and spatial relationships. Where atreatment and use have not been identified, aproperty will be protected and, if necessary,stabilized until additional work may beundertaken.

2. The historic character of a property will beretained and preserved. The replacement of

Appendixes 55

intact or repairable historic materials or alter-ation of features, spaces, and spatial relation-ships that characterize a property will beavoided.

3. Each property will be recognized as a physicalrecord of its time, place, and use. Work need-ed to stabilize, consolidate, and conserveexisting historic materials and features will bephysically and visually compatible, identifi-able upon close inspection, and properly doc-umented for future research.

4. Changes to a property that have acquired his-toric significance in their own right will beretained and preserved.

5. Distinctive materials, features, finishes, andconstruction techniques or examples of crafts-manship that characterize a property will bepreserved.

6. The existing condition of historic features willbe evaluated to determine the appropriatelevel of intervention needed. Where theseverity of deterioration requires repair orlimited replacement of a distinctive feature,the new material will match the old in com-position, design, color, and texture.

7. Chemical or physical treatments, if appropri-ate, will be undertaken using the gentlestmeans possible. Treatments that cause damageto historic materials will not be used.

8. Archeological resources will be protected andpreserved in place. If such resources must bedisturbed, mitigation measures will be under-taken.

P r e s e r v a t i o n a s a Tr e a t m e n tWhen the property's distinctive materials, fea-

tures, and spaces are essentially intact and thus con-vey the historic significance without extensive repairor replacement; when depiction at a particular peri-od of time is not appropriate; and when a continu-ing or new use does not require additions or exten-sive alterations, Preservation may be considered as atreatment.

Standards for Rehabilitation

R e h a b i l i t a t i o n D e f i n e dRehabilitation is defined as the act or process of mak-

ing possible a compatible use for a property through repair,alterations, and additions while preserving those portionsor features which convey its historical, cultural, or architec-tural values.

1. A property will be used as it was historicallyor be given a new use that requires minimalchange to its distinctive materials, features,spaces, and spatial relationships.

2. The historic character of a property will beretained and preserved. The removal of dis-tinctive materials or alteration of features,spaces, and spatial relationships that charac-terize a property will be avoided.

3. Each property will be recognized as a physicalrecord of its time, place, and use. Changesthat create a false sense of historical develop-ment, such as adding conjectural features orelements from other historic properties, willnot be undertaken.

4. Changes to a property that have acquired his-toric significance in their own right will beretained and preserved.

5. Distinctive materials, features, finishes, andconstruction techniques or examples of crafts-manship that characterize a property will bepreserved.

6. Deteriorated historic features will be repairedrather than replaced. Where the severity ofdeterioration requires replacement of a dis-tinctive feature, the new feature will matchthe old in design, color, texture, and, wherepossible, materials. Replacement of missingfeatures will be substantiated by documentaryand physical evidence.

7. Chemical or physical treatments, if appropri-ate, will be undertaken using the gentlestmeans possible. Treatments that cause damageto historic materials will not be used.

8. Archeological resources will be protected andpreserved in place. If such resources must bedisturbed, mitigation measures will be under-taken.

9. New additions, exterior alterations, or relatednew construction will not destroy historicmaterials, features, and spatial relationshipsthat characterize the property. The new workwill be differentiated from the old and will becompatible with the historic materials, fea-tures, size, scale and proportion, and massingto protect the integrity of the property and itsenvironment.

10. New additions and adjacent or related newconstruction will be undertaken in a such amanner that, if removed in the future, theessential form and integrity of the historicproperty and its environment would be unim-paired.

R e h a b i l i t a t i o n a s a Tr e a t m e n tWhen repair and replacement of deteriorated

features are necessary; when alterations or additionsto the property are planned for a new or continueduse; and when its depiction at a particular period of


time is not appropriate, Rehabilitation may be con-sidered as a treatment.

Standards for Restoration

R e s t o r a t i o n D e f i n e dRestoration is defined as the act or process of accurately

depicting the form, features, and character of a property asit appeared at a particular period of time by means of theremoval of features from other periods in its history andreconstruction of missing features from the restoration peri-od. The limited and sensitive upgrading of mechanical,electrical, and plumbing systems and other code-requiredwork to make properties functional is appropriate within arestoration project.

1. A property will be used as it was historicallyor be given a new use which reflects theproperty's restoration period.

2. Materials and features from the restorationperiod will be retained and preserved. Theremoval of materials or alteration of features, spaces, and spatial relationshipsthat characterize the period will not beundertaken.

3. Each property will be recognized as a physi-cal record of its time, place, and use. Workneeded to stabilize, consolidate and conservematerials and features from the restorationperiod will be physically and visually com-patible, identifiable upon close inspection,and properly documented for futureresearch.

4. Materials, features, spaces, and finishes thatcharacterize other historical periods will bedocumented prior to their alteration orremoval.

5. Distinctive materials, features, finishes, andconstruction techniques or examples ofcraftsmanship that characterize the restora-tion period will be preserved.

6. Deteriorated features from the restorationperiod will be repaired rather than replaced.Where the severity of deterioration requiresreplacement of a distinctive feature, the newfeature will match the old in design, color,texture, and, where possible, materials.

7. Replacement of missing features from therestoration period will be substantiated bydocumentary and physical evidence. A falsesense of history will not be created byadding conjectural features, features fromother properties, or by combining featuresthat never existed together historically.

8. Chemical or physical treatments, if appropri-ate, will be undertaken using the gentlest

means possible. Treatments that cause dam-age to historic materials will not be used.

9. Archeological resources affected by a projectwill be protected and preserved in place. Ifsuch resources must be disturbed, mitigationmeasures will be undertaken.

10. Designs that were never executed historical-ly will not be constructed.

R e s t o r a t i o n a s a Tr e a t m e n tWhen the property's design, architectural, or

historical significance during a particular period oftime outweighs the potential loss of extant materials,features, spaces, and finishes that characterize otherhistorical periods; when there is substantial physicaland documentary evidence for the work; and whencontemporary alterations and additions are notplanned, Restoration may be considered as a treat-ment. Prior to undertaking work, a particular periodof time, i.e., the restoration period, should be select-ed and justified, and a documentation plan forRestoration developed.

Standards for Reconstruction

R e c o n s t r u c t i o n D e f i n e dReconstruction is defined as the act or process of depict-

ing, by means of new construction, the form, features, anddetailing of a non-surviving site, landscape, building, struc-ture, or object for the purpose of replicating its appearanceat a specific period of time and in its historic location.

1. Reconstruction will be used to depict van-ished or non-surviving portions of a propertywhen documentary and physical evidence isavailable to permit accurate reconstructionwith minimal conjecture, and such recon-struction is essential to the public under-standing of the property.

2. Reconstruction of a landscape, building,structure, or object in its historic locationwill be preceded by a thorough archeologicalinvestigation to identify and evaluate thosefeatures and artifacts which are essential toan accurate reconstruction. If such resourcesmust be disturbed, mitigation measures willbe undertaken.

3. Reconstruction will include measures to pre-serve any remaining historic materials, fea-tures, and spatial relationships.

4. Reconstruction will be based on the accurateduplication of historic features and elementssubstantiated by documentary or physicalevidence rather than on conjectural designsor the availability of different features fromother historic properties. A reconstructedproperty will re-create the appearance of the

Appendixes 57

non-surviving historic property in materials,design, color, and texture.

5. A reconstruction will be clearly identified asa contemporary re-creation.

6. Designs that were never executed historical-ly will not be constructed.

R e c o n s t r u c t i o n a s Tr e a t m e n tWhen a contemporary depiction is required to

understand and interpret a property's historic value(including the re-creation of missing components ina historic district or site); when no other propertywith the same associative value has survived; andwhen sufficient historical documentation exists toensure an accurate reproduction, Reconstructionmay be considered as a treatment.


Appendix C. Additional Resources andContacts

Local Resources

Peabody Essex Museum Library

The library has an extensive collection of historicphotographs of Salem including many commercialbuildings. The photographs are organized bystreet names. Historic photographs often provideinvaluable information on the earlier appearanceof buildings. The library also has an extensive col-lection of Salem maps and Insurance Atlases thatcan be useful in tracing changes to buildings.

City Building Permits

Building permits for original construction or pastbuilding renovations can provide important infor-mation for planning new renovations. The Officeof the Building Inspector maintains files of pastbuilding permits.

City Planning Department and Salem Urban Renewal Authority

Records, plans and sometimes photographs forrenovation work done since the late 1960s tobuildings in the downtown area may be on file atthese City of Salem offices.

Essex County Registry of Deeds

The Registry maintains deeds and other materialspertinent to past property transactions in Salem.

State Resources

Massachusetts Historical Commission and Massachusetts State Archives

220 Morrissey Boulevard, Boston, MA 02125(617) 727-8470

http://www.state.ma.us/sec/mhc/mhcidx.htm

Historic New England (Formerly SPNEA)

141 Cambridge StreetBoston, MA617-227-3956

http://www.historicnewengland.org

The archives of Historic New England has anextensive collection of historic photographs ofmany communities including Salem.

National Resources

The following organizations can be contacted forfurther information on enhancing and improvingcommercial properties within historic downtownsand neighborhoods.

National Park Service U.S. Department of the Interior,Heritage Preservation Services

www.cr.nps.gov/hps

NPS administers the Secretary of the InteriorStandards for the Treatment of Historic Propertieswith guidelines for preserving rehabilitatingrestoring and reconstructing historic buildings. Avariety of programs are in place to assist commu-nities and individuals in preservation of historicbuildings, landmarks and landscapes. On-line edi-tions of the Secretary of the interior Standards forthe Treatment of Historic Properties with Guide-lines for preserving rehabilitating restoring andreconstructing historic Buildings can be found aswell as an Illustrated Guidelines for RehabilitatingHistoric Buildings.

National Park Service; Historic Preservation Briefs

http://www2.cr.nps.gov/tps/briefs/presbhom.htm

Of particular value for planning the rehabilitationand repair for historic buildings is a series of 42pamphlets published by the Park Service titledPreservation Briefs. These provide basic technicalinformation about appropriate repair and con-struction activities for historic buildings such asmasonry cleaning, masonry pointing, paintremoval, etc. These pamphlets are available online as well as in print versions.

National Main Street Center of the National Trust for Historic Preservation

www.mainstreet.org

Since 1980, the National Trust’s national MainStreet Center has helped business districts acrossthe country building strong downtown economicdevelopment programs through historic preserva-tion. The Center provides on-site technical assis-tance in downtown and neighborhood commer-cial revitalization to communities of all sizes. Italso sponsors workshops and conferences, pub-lishes training materials, office a certificate pro-gram in professional Main Street managementand operates the National Main Street Network, aprofessional membership program that helps com-munities learn from each other’s revitalizationexperience. Guiding Design on Main Street is a use-ful document with topics that describe elementsof storefront design, compatible design featuresand a brief overview of historic commercial styles.

Appendixes 59

Published Resources:Historic Building Materials and Repair

Twentieth Century Building Materials: History and Conser-vation. Thomas C. Jester, Ed., McGraw Hill, 1995.

This book provides valuable information on thehistory and appropriate repair of many modernbuilding materials commonly found on commer-cial buildings.

Cheap, Quick, and Easy: Imitative Architectural Materials,1870-1930. Pamela H. Simpson, The University ofTennessee Press, Knoxville, 1999.

Discusses the development of some materials usedin early twentieth century commercial buildingssuch as concrete block and pressed tin, but doesnot deal with repair issues.

Victorian Exterior Decoration. Roger W. Moss and GailCaskey Winkler, Henry Holt and Co., New York,1987.

Discusses appropriate paint color treatment forhistoric buildings.Although the emphasis is resi-dential buildings, much of the information is alsoapplicable to historic commercial buildings.

Historic Building Façades: The Manual for Maintenanceand Rehabilitation. The New York Landmarks Conser-vancy, William G. Foulks, Ed., John Wiley & Sons,Inc., 1997.

Detailed technical information focusing on com-mercial masonry buildings.

Repair Old and Historic Windows. The New York Land-marks Conservancy, The Preservation Press, NationalTrust for Historic Preservation, Washington, DC,1992.

Respectful Rehabilitation: Masonry. Mark London, ThePreservation Press, National Trust for Historic Preser-vation, Washington, DC, 1992.

Walls and Molding: How to Care for Old and HistoricWood and Plaster. Natalie Shivers, John Wiley &Sons/Preservation Press, 1990

The three titles above provide information on thecare and repair of historic building materials on apopular level.

Conserving Buildings: A Manual of Techniques and Mate-rials. Martin E. Weaver, John Wiley and Sons,Inc./Preservation Press, 1997.

A detailed technical book oriented towards archi-tects and building professionals discussing themost appropriate techniques for conserving andrepairing historic building materials.

Façade Stories, Changing Faces of Main Street Storefrontsand How to Care for Them. Ronald Lee Fleming, The

Townscape Institute, Inc., Cambridge, MA and Hast-ings House Publishers, New York, 1982.

An informative collection of case studies of sensi-tive restorations and renovations of storefrontsfrom around the country.

Old and New Architecture Design Relationship. NationalTrust for Historic Preservation, 1980.

A variety of authors discuss methods of incorpo-rating new architecture into historic environ-ments in ways that respect traditions and historicresources. From a conference on design issues.

Published Resources:History of Salem

Images of America: Salem. Kenneth C. Turino andStephen J. Schier, Arcadia Publishing, Dover, N.H.,1996.

A collection of historic photographs of Salemincluding some showing commercial buildings.

Salem: Maritime Salem in the Age of Sail. National ParkService for the Salem Maritime National HistoricSite.

Traces the roll of maritime activities in the devel-opment of Salem in a readable style.

Architecture in Salem: An Illustrated Guide. Bryant F.Tolles, Jr., The Essex Institute, Salem, MA, 1983.

Discusses and illustrates many commercial build-ings as well as notable residential houses.

Salem in the Seventeenth Century. James DuncanPhillips, Houghton Mifflin Co., Boston, 1933.

Salem in the Eighteenth Century. James DuncanPhillips, Houghton Mifflin Co., Boston, 1937.

The above two books are the primary accessiblescholarly sources regarding the early history ofSalem. There are also several nineteenth centurythat are now extremely rare.

Published Resources:Historic Storefront Designs and Details

Turn-of-the-Century Doors, Windows and Decorative Millwork: The Mulliner Catalogue of 1893. The MullinerBox & Planing Co., Dover Publications, Inc., NewYork, 1995.

The Victorian Design Book. Lee Valley Tools, Ltd.Ottawa, Ontario, 1984.

The above two books are reprints of trade cata-logues issued by millwork manufactures. Theyinclude numerous storefront designs and moldingtrim details commonly used in turn of the century


commercial buildings. Dover also has reprinted anumber of late nineteenth century Carpenter’sGuide books. Although these focus on residentialbuildings, some also include a few storefronts andcommercial building designs.

Shop Fronts. Alan Powers, Chatto & Windus Ltd.,London, 1989.

A series of photographs and drawings ofshopfronts form the eighteenth century to themid-twentieth century. Although all the examplesare English, the examples illustrate the widerange of creative storefront designs that haveevolved historically.

Architecture in Context: Fitting New Buildings with Old.Brent C. Brolin, Van Nostrand Reinhold Co., NewYork, 1980

A critical discussion with many illustrations abouthow new buildings fit in well or poorly with adja-cent historic buildings. Oriented towards designprofessionals.

Published Resources:Periodicals

Traditional Building. Traditional Building Magazine,69A Seventh Avenue Brooklyn, New York 11217

www.Traditional-Building.com

A bi-monthly magazine for architects and designprofessionals showcasing a wide variety of special-ized products and services focusing on historiccommercial and institutional buildings. The pub-lisher also maintains a website with extensivelinks to most of the products and services thatadvertise in the magazine. Primarily useful forlocating products and services for building reno-vations that are not readily available from localsuppliers.

salem final design guidelines - city of salem ma

Documents