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(1)

[eDroit Park

Conserved

Government of the District of Columbia

Ivlarion S. Barry,

Jr.

Mayor July, 1979

(2)

Historic Development

r'

~. Original boundary of leDroit Park McGill buildings 1873-1887 Buildings constructed during 1880's & '90's ,. "\

(3)

LeDroit

Park

~

Conserved

l

Washingtonians Dtvi~•on

OlSTRJCT

OF COL .. : ~IA

PUBUC LIBRARY

prepared for the D. C. Department of Housing and Community Development

by

Carr, Lynch Associates

(4)

GOVERNMENT OF THE DISTRICT OF COLUMBIA

DEPAfn.-~ENT OF HOUSING A-"-0 COMMUNITY DEVElOPMENT WASHINGTON 0 C

~.p. ,,, SEP 1 1979 To the Citizens of the LeDroit Park Historic District: This book is for all the residents of the LeDroit Park Historic District who wish to improve their homes or work places. It is not a list of regulations; i t is a guide for the historic restoration of buildings in your community. We had these guidelines prepared because your area is unique and has historic significance worth preserving. The Department supports this report and intends to use it as a guide in all discussions with your community. The

guide-lines should assist staff and homeowners by expediting reviews and avoiding mistakes that could cause delay. For these, or any guidelines, to work successfully, the staff and citizens must have a mutual respect and under-standing for each other's objectives. The prime considera-tion of these guidelines is the maintenance of the LeDroit Park Historic District. We include in maintenance the stabilization of the community's existing population, which means we hope to avoid any displacement. For this reason, what a person can afford when he or she wishes to fix up a property must be taken into account. We intend to remain sensitive to the needs and economic restraints of people in LeDroi t Park while we also attempt to fulfill our public responsibility to the area's historic character by keeping unwelcome or unwanted changes to a minimum.

You will note that these guidelines are grouped in three

categories. The first, the preferred category, is labelled,

"this is the preferable way to do it," and contains changes which are best practice. In the second category, "sometimes

a good way" are changes which, under certain circumstances,

may be good practice. The last category, "generally

unacceptable" lists changes which are discouraged. We urge people to choose the "preferable way," if they can afford it,

for it will give the best results to the individual property as well as help the community. The middle category, with the sometimes acceptable items, recognizes that not everyone chooses or can afford the recommendations of the preferable

category. We believe that this middle category gives maximum opportunity for the DHCD to consider the individual

Wast!ingtoniana DI~ V'T f) COU rl\1

(5)

2

conditions of each owner and i. 1:: moderately priced improvements -of changes are included in a peJi application will undergo review.'

a permit application is for chan "preferable way" or in the "gene

We in the DHCD know that every c

its own mer its. For example. so i terns are always wrong while. de

others may occasionally be ace ep matter of general practice, any · all his or her changes from t~e '

category can generally expect prl review by our Department.

People do not have to do any til in!'

if they don't want to. so long a~

regulations such as the Building Zoning Regulations. It is also r

improve a home such as some lands

having to get permission from the no requirement that owners must r But if you want to do something t

building which requires a buildin should be consulted.

Under D.C. law, this Department r application for demolitions. exte

construction within your historic•

uses one of the government progrru

of this book, which make money av:

districts or community developrnenl

further reviews, as listed. All r~

guidelines.

All of the staff of the Departmenr assistance to the community as its guidebook. The entire contents ar

review and evaluation and possible and the community take into account or the availability of resources.

explanation of our intent will re~

(6)

Contents

A Brief History

7

The Architecture of LeDroit Park

13

How to Conserve a House

45

Basic Principles

46

Wooden Walls

55

Masonry Wails and Chimneys

61

Roofs

66

Windows and Doors

71

Porches, Steps and Rails

79

Fences, Yards and Landscaping

86

Signs and Other Modern Fixtures

90

Minor Additions

94

New Buildings and Major Additions

96

Resources

99

The Process of Design Review

100

How to Check the Condition of

a House

103

Notes on Buying a House or Getting

a Building Permit

107

Glossary

108

\\'asbingtonia a Division DISTRICT OF COLUMBIA

(7)

Introduction

The LeDroit Park Historic District lies just south of the grounds of Howard University, and above the junction of Florida and Rhode lsland Avenues, between Bohrer Street and 2nd Street, N.W. It is an outstanding exam

-ple of the American Romantic suburb.

Having passed through many changes, it still retains that basic character. Lying just outside of the "Boundary Street" (now Florida Avenue) of the original plan for Washington,

it is an early example of the growth of the city as directed by private speculation. It is also an example, much less frequently found, of the successful integration of architectural and subdivision design. The Secretary of the Interior has formally recognized the heritage

and special qualities of the LeDroit Park Historic District by listing it in the National Register of Historic Places.

Historic preservation is a growing move

-ment which has shifted in recent years from meticulously restoring individually significant landmarks to conserving entire neighborhoods for their residents. Change is recognized as a necessary element of neighborhood conserva

-tion; if carefully managed, it can permit full use and enjoyment by those who are living today, while retaining and enhancing an area's significant architectural and historical qualities. This handbook is written in that spirit, expressly for the citizens for the LeDroit Park Historic District. Its purpose is to help them improve their houses and their streets.

(8)

A Brief History

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(9)

-A Brief History

The LeOroit Park Historic District was origi

-nally located in Washington County just north

of the Federal City. This land was divided into large tracts and was either uncultivated or farmed. During the Civil War. the Camp

-bell Military Hospital was located in this general area. and in 1865 it became the Freedmen's Hospital. In 1869, Freedmen's Hospital was moved to the grounds of Howard University where buildings were expressly constructed to house its needs.

Howard University, located on the northern periphery of LeDroit Park, was chartered by Congressional law on March 2, 186 7.

General 0.0. Howard (1830-1909), founder

of Howard, was the University's first presi

-dent, serving from 1869-73. General Howard was also Commissioner of the Bureau of · D~!··-~-- D-~-~·---·- - _ J At_ 1 T

(the Freedmen's Bureau). This Bureau not

only assisted in providing food and work for

refugees and freedmen, but also provided education for former slaves. General Howard

and the Freedmen. s Bureau were instru -mental in establishing Howard University

-vvhich was to be open to all races. but has tradionally been a black university.

Another trustee of the university, Am7.i

L.

Barber, married the daughter of a successful

real estate broker named LeDroit Langdon. resigned his trusteeship in the college and purchased some 40 acres of University lands

on a Sl1 5,000 promissory note. without

down payment. In 1874, the Executive Com

(10)

and accepted an offer from A.L. Barber & Company for $95.000 in full payment of

Langdon's note. Barber hired James McGill to design his new development, and named it for his father-in-law. The new subdivision appears on the map in 1873, romantic in intent and architecture, if not in its standard street grid. Packaged for the affluent, it emphasized seclusion, fine houses. a ''rural'' atmosphere, genteel neighbors and easy access

to the city. It was built for the "merchant,

professional man, or government clerk.·' Despite its origins and the proximity of Hmvard University. leDroit Park was to be exclusivelv white. It was enclosed by a wood and iron fence along its public front. and a high board wall at the rear (where Howard University and a black settlement called "Hmvard Town" lay). There were gates and watchmen to keep out the unwanted. One gate was at 3rd Street and Rhode Island Avenue.

By 1877, 41 new houses had been erected. at a cost of $200,000. Some were for clients and some were built on speculation, but all were designed by McGill. They were hand

some examples of romantic eclecticism -Italian Villa. Gothic Revival, Queen Anne, Second Empire and Italianate -designed for show and individuality. These buildings were built at a time when architectural technology was rapidly changing in the U.S. Building

'

nation, and machines could stamp, grind, turn or cast complicated parts. McGill's cata

-logue lists such specialty services as bell hangers, slate roofers. fresco painters and stair builders, as well as suppliers of dumb-waiters, bronze hard~vare, mantelpieces and gas fixtures.

(11)

The houses were set back within formal gardens. An ornamental park circle, decorated with trees, flowers and a fountain, was estab-lished at 3rd and T Streets as a focus for the development. $50,000 was expended on street improvements, including paving, water, sewers, gas, brick walks, and ornamental lighting, and $4,000 on planting alone. There was a private trash collection service, as well as the private watchmen.

The new development became the residence of generals, professors, congressmen, busi -nessmen, and bureaucrats, as well as McGill, Barber, Langdon, and McClellan (one of the original pre-war land owners). By 1887, there were 64 houses here, but the pace of develop-ment was slowed as LeDroit Park weathered the economic catastrophes of the '70s.

Meanwhile, agitation arose to breaK tne color ban. Legal action was at first unsuccess-ful. A mob broke down the fence in 1888, but the fence was replaced with barbed wire. Finally. the District government took over control of the streets and they were opened to public access. In 1893 the first black resident moved in. A bullet went through his window while he was sitting at dinner, but he refu ed to leave. Gradually, other black professionals and officials made their entrance into the exclusive Park, which for a time was inte-grated. Howard professors moved in, and th~ area received the nickname of "Collegetown."

In these same late years of the '80s, the areas adjacent to LeDroit Park were sub-divided and developed, and it became an inte-gral part of the fabric of the city. The build-ing of sbuild-ingle houses for wealthy clients ceased, within the original subdivision, and the remaining lots were sold to speculators, who began to erect rather elaborate Queen Anne row houses. Along Florida A venue, residential buildings were converted to com-mercial use, and the new apartment hou es incorporated shops into their ground floors. By the beginning of World War I, almost all of the white residents had moved away, and the last row houses had been built. LeDroit Park had become the most exclusive area of black residence in the city. Many prominent people lived there: scholars, law-yers, musicians, journalists, and professional of many kinds; Mary Church Terrell, women's activist and first black woman on the Board of Education; her husband, the first black municipal judge; the first black con gressman after Reconstruction; Paul Lawrence Dunbar, the poet; Ralph Bunche, leader in the UN, and first black Nobel Prize winner; Senator Brooke of Massachusetts; and the first black mayor of the city, Walter Washing ton. Older residents remember lawn and block parties, Sunday band

.

concerts, and the fine

(12)

An elegant Wa~hington Row on 5th Street

Just before World War II, a second shift began. Some of the population moved to the upper northwest section of the city and the northern suburbs. During the war, two large halls were built to house government

workers, and these were later converted into Howard dormitories, one of which is located in the historic district. The trend accelerated after the war, as low income blacks moved in and the well-to-do fled. Some of the old McGill houses were divided into apartments. One of the finest of these, the original McGill house, was demolished in the '60s to make way for a Safeway store and its parking lot. Absentee landlords and a lack of maintenance allowed some of the structures to slide toward

LeDroit Park resident

decay. Street maintenance and trash collection deteriorated, and the old park circle was bi-sected by street paving. The benign relation with Howard University turned to conflict, as the institution sought to expand south into its residential neighbor. Large new University buildings arose on the edge of the area. The University now owns a large number of vacant houses, and has generated a traffic and parking burden. Today, the population of the area is mixed with both middle-income and low-income blacks and Howard University students.

Wasbingtoniana

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(13)

The brick walks are spotted with asphalt patches, streets are broken and many alleys are unpaved. Most of the street trees are gone, although small new ones have been planted on 2nd and on Florida. On the houses, lintel arches have fallen here and there, corners are broken, slates are loose and roof crestings gone. Some 60 houses are boarded up, half of which belong to the Uni -versity. But the neglect is recent and there are signs of more recent recovery. Many of the McGill and row houses have been main

-tained in good condition throughout their existence and many more are being rehabili

-tated. The buildings \vere solidly built. and they are still sound.

The undulating walls, complex rooflines. elaborate cornices and window frames,

wrought iron steps and carved doors, and the rich array of materials - molded brick, stone, slate, pressed stone, terra cotta, wrought iron, stained glass - all catch the eye. The houses and rowhouses are boldly made. Much of this detail can be recovered.

~nd

a restoration of the varied 19th century color schemes and formal gardens would still further enrich the landscape. Utilities have already been placed underground, and some of the old street lights remain. The LeDroit Park streets, rela

-tively treeless, narrow, and urban, depend on

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A notable concentration of McGill houses remains on the 400 block of U Street an area to which the somewhat more modest single and two-family houses \vere apparently relegated in his plans. This complete row of houses in the Italian Villa style may be unique in the United States. A good number of McGill houses still exist on the 500 block of T Street, and at the focal circle at 3rd and T Streets. Third and T were the two show streets of the original development, and this focus should be recreated. In sum, LeDroit Park is a remarkably preserved specimen of an early romantic suburb, in which street and house designs were coordinated by one good hand. More than that, LeDroit Park has played a central role in the history of the black leadership of this city.

(14)

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The Architecture of

LeDroit Park

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(15)

The Architecture

of

LeDroit Park

The late nineteenth century architect or builder could

choose from a wide variety of styles and motifs in the design

of a house or shop. Roof types, styles and house plans varied

widely, and yet there was a consistency in material and

details. Pattern books and builder's catalogues were a com

-mon source of metal work, wood trim, ornamental brick,

stone and slate. Many of these decorative details are still

intact, and are worth conserving. By understanding the style

and components of a building, we can identify those ele

-ments that are critical to its appearance.

Between 1873 and 1887, James McGill designed some

sixty houses in LeDroit Park. Most of these detached single

or two family houses were built of brick, with wood and

pressed stone details. Many are illustrated by engravings in

the promotional literature for the neighborhood published as

LeDroit Park Illustrated (1877) and The Architectural

Advertiser ( 1879).

Like many architects of his day, McGill worked in many

styles, including Italianate, Italian Villa, Second Empire,

Victorian Gothic, and Queen Anne. Some houses combine

several styles. Although the roof shapes, building outlines

and decoration vary a great deal from house to house, these

McGill houses share a common exuberance of detail. This

can be seen at the window mouldings, string courses,

brackets, cornices, cupolas and towers, ornate porches, deco

-rative metal work and patterned slates on the roof. These

decorative elements are all part of the "high styled" home.

(16)

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low hipped roo patterned vari-colored ---=~~~

slate roof

relative absence of --~:::::"...._ _ _ _ ...

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ornate details at

cornice and windows

light-colored painted

---+-brick or stucco walls

plain wooden porch - - + posts with simple

brackets (if any)

Italian Villa

IP"''~-l--tall, narrow 2/2 arch-headed de hung windows II~~J-4-+--*-+4f----1-~-*---J--a surprisingly r window such a is an example < McGill's own d• invention wooden porch • heavy cornice t - -symmetrical fa<

This style was inspired by the Italian farm house, which often included a prominent, flat

-topped, corner tower, a simple box or L-shaped plan, a low gable roof, and a plain light-colored wall surface. It was popularized in books such as those by Andrew Jackson Downing as appropriate for the "country gentleman'', symbolizing a simple and pastoral life. The Italian Villa style houses of LeDroit Park have L-shaped or symmetrical plans with long porches, arched windows, and gable roofs with deep overhanging eaves.

Originally, some of these residences had roof cresting and truss work at the gable ends .. But there is a noticeable absence of the elaborate detailing of cornices and door and window

(17)

Wall surfaces are plainer and the original color scheme simple - usually cream or buff \Vith darker trim, although varied colors may have hcen used later. Much of the 400 block of U Street is in the Italian Villa style. Here, rather than on the grander 3rd and T Streets. McGill placed his more modest houses, and they \Vere designed in a style appropriate to more modest budgets. The survival of this continuous row of houses in the Italian Villa style produces a streetscape which is possibly b

unique in the U.S.

c

a) Shown here. the U Street blo<.k between llh .md 'Sth

Streets is perhap-. one of the mtlst interestin~ in ld)r.nt Park. It represent~ the only remaming street of enllreh ,\\cGill destgncd houses and looks very much todav J\ 11 thd

when the area wa\ first de\eloped. ·

b) An example of the type of Italian Villa house found 111 thts

block: notice the low pitch to the rooL the wmmetmal facade. and the relative absence of ornate detail on corniCe. doors and windows.

c) The plam light colored wall with contrasting tl.lrk tnm ts a

characteristic feature ot the Italian Villa stvle: the umformitv

of color treatment on houses on this block helps 10 'tsu.tlly. tie the hou~es together a~ a special group

(18)

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d) Like the Italian farm houses which inspired this "villa" style. this McGill-designed house on Elm Street between 2nd

and 3rd Streets is modest in siz:e and relatively plain in its decorative treatment. The low pitched roof, deep overhanging

eaves. and wooden entry porch are common features of a house style popular in the 1800's. as suitable for the

·'country gentleman of modest means''

e) Ornate detail so characteristic of other McGill designed houses is. in these ·'Italian Villa'' examples. confined to

decorative chimneys, patterned slate roofs, iron roof crestings and finials. and an occasional wooden pendant at the gable end. A number of these decorative features can be seen in

this photo. Notice how dramatically different the house on the left looks, stripped of its coat of light-colored paint. Such major alterations can be questioned not only for their incon·

sistency with the original style, but also for the potential surface damage which may occur on the newly exposed brick walls.

(19)

low hipped (or flat) roof

asymmetncal mass1ng and facade paired windows and round-headed windows are a hallmark of this

style

projecting wooden entry porch with decorative carved and turned brackets, and posts

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deep projecting cornice ornate wood brackets frieze

bracketed hoods over windows and doors

large 2/2 double hung windows of tall, narrow proportions

seen in brick, frame or stucco

paired wooden doors

with a glass transom

In contrast to the simple detail and balanced mass of McGill's Italian Villa houses, his few ltalianate houses in LeDroit Park exhibit asymmetrical facades and a greater variety of wooden decorative trim. A low roof and deep

overhang are still seen, but the plain cornice

is replaced by elaborate brackets often accom

-panied by carved panels in the flat wo den

boarding just below the roof edge. Brackets under the porch roof, and under the heavy

window and door hoods, are also

characteris-tic. (These ornate brackets are the hallmarks

of the style, but they caught the fancy of the

American builder, and may often be seen in

later buildings.) Arched and paired windows with ornate mouldings are common. There are cupolas and panelled, decorative doors.

(20)

The Morningstar Baptist Church at 1901 6th Street, formerly a residence, is an

excel-lent representative of the more elaborate

Italianate house. 330 T Street is a good example of a simpler, but handsome version. Beautifully detailed brackets under the eaves

of the gable roof frame a central round arch

window.

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a

a) This impressive ltalianate McGill House. one of only a few remaining in LeDroit Park, is on the corner of 6th and T

Streets. Although the color scheme is similar to the Italian Villa style, (light walls with dark trim) the roof windows and

porch are all crowned with carved wooden brackets and heavy

overhanging cornices. These decorative features are the hall

-mark of the ltalianate style house.

b) Heavy brackets under the eaves, a round-headed window, and bracketed wooden porch distinguish this brick residence

on 330 T Street as an ltalianate house.

c) A detail showing the deep over-hanging cornice and elaborate! y can•ed brackets (or "consoles"' as they are some

-times called when of this shape) of the house on the corner of

T and 4th Streets.

d) Carved, lathe-turned, and sawn wooden ornamentation is

often seen on the ltalianate style house. Here. a detail of lath turned \vooden porch posts.

(21)

decorative brick chimneys

with pressed brick panels

polychrome (many-colored)

patterned slate roof

narrow pointed arch windows -+-~Loll

of modest size; a ··cottage"

-Victorian Gothic

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J..<H..->.1--sawn wooden bargeboard along roof edge

brick (or frame)

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The interest in medieval art began in Great Britain in the 18th century as part of a funda-mental shift in society and culture. The Gothic Style caught on in the U.S. by 1830, and was first used for churches and schools. Few people could afford stone houses. but the invention of the jigsaw allowed the con truc -tion of light wooden imitations of Gothic forms. with "gingerbread, detail. McGill drew on the English and German Gothic tradition as illustrated in the common pattern books. As he promised in his advertisements, he used his inventiveness to give each house a unique appearance. But there are common elements to these Gothic houses. These include an irregular roofline, tall, pointed gables and towers and an asymmetrical

(22)

arrangement of plan and window placement. Pointed arches appear at windows and in the

gable. Wooden trusses and hanging pendants

at dormers or gable ends are common. Chim

-neys are often elaborate. Color was important in the original designs: patterned roof slates

and high-contrast trim colors were used. The

colorful roofs remain today.

51 7 T Street is a perfect example of the pattern book Gothic cottage. Many of its original details are still intact.

b c

a

a) Only two McGill-designed Gothic Revival houses remain. This one, a particularly fine (and enchaming) example of the style. is on T Street between 5th and 6th Streets. The steep. narrow pitch to the gable roof is the most prominent dis

-tinguishing feature of the Gothic Revival style.

b) While quite different in character. this too is a Gothic Revival house. as can be seen by the steep gable at the center and the arch motif above the porch posts. This McGill house is on the corner of 3rd and lJ Streets.

c) The same house on U and 3rd Streets. as originally designed and dra\vn by architect McGill: this is reproduced from the Arcbitectural Aduerti;;er of 1879.

d) A detail of the ,gable. The decorative carved board under the roof edge is called a "bargeboard" (or "\·ergchoard"'): the vertical member suspended under the peak of the gable is called a ·'pendant'·. Thi~ decorate treatment at the top ut the gable is common on Gothic Revival hou;,es. although this example is more elaborate than most.

(23)

Mansard roof

projecting entry

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bay and porch

carved brackets and posts

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Second

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Second Empire architecture developed in France under Napoleon III. His rebuilding of Paris made it the most modern city in the world, and two international exhibition popu -larized French design. The style was influen -tial in the U.S. from 1860 until the decline of French prestige in the 1880's. The steep Mansard root originally used to circumvent the legal height limits in the rebuilding of Paris, is the distinguishing feature of the style. It will also show up in later LeDroit Park row houses. (Today, in degraded shingled form, it is a cliche for giving "style" to a commercial building along many a U.S. high

-way.) Other Second Empire details are similar to ltalianate: window mouldings, porch

details, brackets, eaves, and prominent cor-nices and string courses. The Second Empire

(24)

house is usually square or rectangular in plan with a projecting bay window and an entry porch. Ornate metalwork, patterned, multi -colored slates, and elaborate dormers are characteristic roof features.

The residence at 525 T is a particularly handsome example of the Second Empire Style. However, there are relatively few examples of this style in LeDroit Park.

a) A page from the Architectural Advertiser, printed in 1879

to advertise for sale the early McGill houses in LeDroit Park.

A good proportion of the houses are no longer standing: this is a fortunate survivor.

b) One of the few McGill-designed Second Empire style houses

remaining in the neighborhood. [n June 1978, when this photo was taken, the building was boarded up. It was recently

renovated by new owners. The preservation of this McGill building represents a major contribution towards maintaining

the features of LeDroit Park which make it a unique

Washington neighborhood.

c) A detail showing the characteristic "Mansard" roof with its decorative slate covering. The decorative ironwork around

the edge of the small corner tower is called ''cresting''.

.

.

(25)

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a Queen Anne window --+++llbl type: small square panes

of glass in upper sash

end

H-4~-+-6/1 double hung windows

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colors (often different from floor to floor)

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brackets (or classical

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The Queen Anne style began in England in the 1860's and \\'as popularized in this

country by the 1876 Centennial. Basically. it

was a revival based on the medieval English

country house. J\kGill designed a number of

houses in this style: 421 T Street is an

example. The Queen Anne house is

usually a large one. and most often a frame

structure. It includes many kinds of materials

and decorative treatments. >vhich \vork to

-gether to produce a rich. exuberant appear

-ance. The silhouette of the Queen Anne

building is complex, asymmetrical. with tur

-rets, ornate chimneys. and projecting dormers

and bays. The surface is highly modelled .

often using decorative shingles. The texture rna v vary from floor to floor. The Queen

(26)

Anne house was multi-colored - different

colors being used to emphasize the variety of surface materials, texture and detail. A brick

building could be elaborated with pressed or

carved stringcourses, ornate brickwork, terra

-cotta panels, and metal or wood details

chosen freely from the many pattern books of

the day. Many sizes and kinds of double hung

windows are combined. The bottom sash is

usually a single piece of glass, while the upper

one is divided into small panes of colored or plain glass.

a

b c

a) A McGill-designed Queen Anne house on 3rd Street.

Typically Queen Anne houses are very large buildings: this house is no exception. The variety of roof shapes, the porch. the decorative chimneys, and the small panes in the upper sash of the windows, are all characteristic of the Queen Anne

style.

b) Perhaps because of their large size, (and cost to heat and

maintain) many Queen Anne houses have succumbed to decay and demolition. as has this house on U Street (between 3rd and 4th Streets). where only a portion of the original structure remains standing.

c) Among the ruins, a few fine Queen Anne detaib remain; this "sun burst" designed bracket is a decorative pattern

seen frequently on this style ot architecture.

d) This porch bracket on a later LeDroit Park building is also

(27)

Row Houses

In

the late 1880's, the construction of the large single and

double family houses designed by McGill came to an end.

For the next three decades, row houses filled the empty

spaces, creating a higher density residential pattern. The

days of the suburban retreat were not over, but the urban

housing type was changing to accommodate the smaller,

servantless household.

Rowhouse styles ranged from the highly detailed and tur

-reted Queen Anne of the earlier years to the more austere

Georgian Revival of the final filling

-

in. A strong street facade

is created by the uniform setback, the long attached rows,

and the consistent two and three story elevations. The street

wall is decorated with the ornamental iron steps, handrails,

and fencing. Color and contrast are provided by the mixing

of materials and details, and by the shifting forms of window

openings, projecting bays and irregular rooflines. Small yards

at front and rear are common, although some rowhouses

(along Florida A venue in particular) are built to the lotline

.

Toward the tum of the century, the LeDroit Park row

-house was noticeably less adorned. The rich wall surfaces of

the earlier Florida Avenue rowhouses, for example, with

their slate, stone, and terra-cotta details, can

be

contrasted

with the straightforward metal cornices and plain wall

surfaces of 2nd Street's Georgian Revival rows.

(28)

finials T1

+

1~

/A~~---projecting bays

/~

~

and towers

r---,

1~~~~~~~J.~,J..~l~:~.l'

:t

cresting tall decorative chimneys-~ ~ , •

towers, bays project up

v

~~\jF~D

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from roof and out from entry to create complex facade

~~~~~~~~~~~~~l-l

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and rhythm along street !1. r 111 double hung wind·

decorative pressed brick or terra cotta panels

. ~~ ... II" ;;;.:;.

~~~~

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

-

~~--~~~~~~~==~~~~~~~~~~bc~:!~::~~-brick detailing and string course

stringcourses in high relief ~\ J... keystone

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1::::::: transom over entry do

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-ro-

·~ (often paired doors)

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paired doors and

-f--HR=~IFU=It-tRITitt-windows often seen

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.

It Ll and stone

Queen Anne

Brick

-

Complex, slate-covered, steep roofs and tur

-rets with varied gables and dormers are char

-acteristic of these more ornate LeDroit Park row houses, built in the late 1880's and early

1890's. Brick, stone, terracotta, and metal

features are imaginatively combined. Orna

-mental iron and ceramic tile frequently

enhance the entrance, which often has a

tran-som and a recessed entry bay. Basement

apartments and above grade entrances are common. There may be a rusticated stone base with Romanesque details.

Straight or segmental arch rusticated stone

sills and lintels, and molded brick voussoirs

(the wedge-shaped pieces that make up an

arch), frequently surround the tall, "one over

(29)

single piece of glass in each vertically sliding sash. and thus has ·'one over one' ' panes of glass.) Windows and doors may be paired. Rounded bays and oriel windows (small pro-jecting bays) accent the front facade, in addi-tion to stone and brick stringcourses, pressed brick panels. and stained glass.

Characteristic Queen Anne rowhouse streets include: the 400 to 600 blocks of Florida Avenue; portions of the 300 block of U Street: 1900-1921 2nd Street; the 1800 block of 5th Street: and portions of the 300 block of Elm Street.

b

c

a) This street vie\Y could have been taken in any one ot .1 number of Washington areas. since the Queen Anne brick row house i~ a common building type throughout the district. (House~ on 2nd Street).

b) Two story examples on .'lrd Street.

c) Three storv Queen Anne row houses along Florida Avenue.

d) Examples of the decorative detail characteristic of the Queen Anne Row; one ot the earliest and mmt elaborate of

(30)
(31)

W'!lk"'c---"'=-t-scalloped or hexagonal shingles in gable end

clapboard on main body

~~~~~:~~~~!;~llilll~l:lll[~

paneled frame around

of house bay windows painted

contrasting color

shingles

fishscale shingles

multi-paned upper sash

in double-hung windows (often 6/1)

projecting 2-story bay -fll-ftH-+

wilh variety of materials and color

QueenAnne-Fratne

While of the same basic style, the wooden Queen Anne rowhouses are quite different in

effect. The facade is still exuberantly

modelled, but the general appearance is sim-pler and more domestic The walls are covered

in clapboard, with patterned shingles in the gables or above the projecting bays. The roofs are simpler in form. There is an entry porch, and sometimes one on the second story, as

well. The windows are rectangular and more uniform, with small divided panes of glass in the upper sash. Wooden panels occur below the first floor windows, or panelled frames

appear at the sides of windows. Textures and colors are designed to contrast with each other.

A good example of the Queen Anne frame

(32)

a

b

a) A view of six Queen Anne wood frame houses along 6th Street. The repetitive gable fronts and front porches make this an unusual and particularly interesting LeDroit Park Street.

b) Good examples of the LeDroit Park Queen Anne frame house. Notice the small panes of glass in the upper window sash, and the triangular panes of glass in the gable window on the house on the right.

c) The front porch is a major feature of these houses. Porches can go across the full front, or can be smaller entry porches, as seen on these houses along T Street between 5th and 6th Streets. Renovation which strips these buildings of their decorative shingles, clapboards and small paned \\'indow~ as in the house at the left. can cause an irreversible change in their character.

(33)

tall, narrow dormers

a distinctive Chateauesque window type

Chateauesque

"half timbering" effect

A----...4~-+-+-dark trim with light wall surface

brick (or stone) construction

The Chateauesque st.yle was derived from the

design of middle 16th Century French

build-ings. Briefly popular around 1880 in the

USA, residences in this style are character

-ized by an inventive mixture of Renaissance

and Gothic elements.

This style in LeDroit Park is seen in a

number of developer-built, 3-story row houses. 1900-1906 6th Street are good examples.

While modest relative to the grand New York

City Vanderbilt mansion which typifies the

style. (and modest. too. relative to the earlier

McGill houses), the Chateauesque design fea

-tures on this middle class housing type are

distinctive. These houses are always of brick

or stone, with very steep sided roofs. Some

(34)

look like a roof with a pointed gable pattern.

A tower (or "tourelle ·' as they are called

when, as here, they project out from the

second story), or oriel window is the single

major feature. Gothic elements such as nar

-row windows topped by steep gables. and

Renaissance details like the low round

-headed arch, are seen freely mixed on the

same facade. Decorative panels of pressed

brick, terra cotta or metal, are common. The

floor levels are marked with horizontal bands.

Typically, the entry is close to street level.

a) Chateauesque style row houses on Florida Avenue.

bl The major features of the LeDroit Park Chateauesque row house can be easily S('<"n on this 6th Street house: pointed

gable form. dark wooden banding around a lighter colored flat

wall surface: oriel v.:indows at the second story. c·1 This row house on 6th Street is a fine example of the Chateauesque style as seen in the LeOroit Park neighborhood. T vpical of the later revival style row houses, the building is

basically a flat-roofed box. However. a builder-designer.

through the inventive addition of a few touches. has created a

building with a good deal of interest and pleasing character. The application of a dark outlined gable form on the top of

the building recalls th<> appearance of the steeply pitched roofs

and the "halt timbering·· wooden bracing with light colored swcco intill - .seen on the early English hou\('S which inspired thi\ stvlr. The .'>ccond story hay window

lcalled an "oriel" window. when. as here. the h.l\' does nm

extend to the base of the house). is also a hallmark of the Ch..tteauesque stde.

b

(35)

d e

(36)

- - - s i n g l e h o u s e - - --::-H-:---double h o u s e

-l;-,:~ffiffij~~~~~~~iil'""'iWi~WJ;~-m~~~~mm~~~~~T

l l l l l l l l l l · I J -'Ui!Ut ;t rH ilt:"iUIIIJ.II'I.IUI cornice deep projecting corbeled brick

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decorative brick

"brackets" under paneling below

cornice

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brick (often

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pressed brick)

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facade t ; 11 ~rJ 1/1 double hung

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entry bay ' recessed wall

2 story projecting

raised entry with -f!===:::=::==:::flJL::d~ bay

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bay

Washington Row

This is a familiar style in the City of Wash

-ington, and is given its name for that reason.

Constructed in quantity by 19th Century

builders, it is however not so frequently found

in LeDroit Park. One group is on U Street at

the corner of 4th. In essence, it is an

Italian-ate style, done in brick and in a simpler, more severe form, which makes a more

regu-lar street wall. Probably it was designed for a

somewhat less affluent client than the Queen

Anne row. The roof is flat and therefore invisible. There is a straight, deep projecting cornice, whose ornate. corbelled brickwork echoes the ltalianate wooden bracket. A one or two story rectangular bay projects forward, while the raised entrance with its cast iron

(37)

steps and handrails is set back on the princi

-pal plane of the facade. Doors are tall and

relatively narrow, with many panels and a

glass transom above. The windows are wide and double hung, often "one over one".

with a segmental brick arch across the head.

The brick walls are smooth, often painted in

light hue, while the wooden trim is m a con

-trasting dark color.

a

a) A handsome example of the Washington Row house type.

on 5th Street. Notice the prominent cornice and the bracketed wooden entry porch.

b) Another 5th Street example. Typically the Wa~hington

Row house is a two story huilding.

c) The segmental arch douhle window is commonlv seen in \Vashington Row houses. .

(38)

round-headed doors and windows often seen

decorative pressed brick

panels

rusticated stone first floor

entry typically close to

f

~==

==~~~~~~---

deep decorative brick

f

cornice

m

~~mm

i .

.

::·. .

. ··.··· .:;. .::· .· · > · .

corbeled brick "brackets"

1/1 (sometimes 2/2) windows

r - - - - , - - - - . . - - -... · l stone lintels and sills transom over door

raised entry with iron stair and handrail

grade

le~v:e~

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J:~=~~l~IT~~O~~~~~~~~t:!l_L

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Renaissance

Revival

The Renaissance Revival was a later imitation of Italian building. In this case, however modest the copy, it was the urban Italian palace of the 16th and 17th centuries that was the model: solid, dignified, and rather

austere. These rows are flat-fronted, two or three stories high, and the entry is typically

nearly at grade. The facade is brick, but usually the first floor is faced with large, rough surfaced stones (a ''rusticated'· front).

There is a tall projecting brick or wooden cornice. supported by brick corhelling which may be shaped to imitate brackets. There are decorative brick friezes below the cornice, brick panels below the windows. Stone lintels or segmental brick arches bridge the open

(39)

one or ··two over two··. and sometimes are

round-headed. Those of the top story are

often shorter than those belm.v. Examples of

the Renaissance Revival may be found on Elm

Street between 3rd and 5th Streets.

c

d

a) Unlike earlier style\, the Renaissance Revival row house

ahvays ha:, a flat front facade. In this three story example.

notice the rusticated first tloor.

b,c,d) The variety of surface texture created by demrative brick construction detail gives strong visual interest to an

(40)

~ ~~

~~~~~~~~~;~~t~

steep (almost vertical) sloped slate

~ c~l 1 covered roof

;;;;;;~'Y-rT~a~

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ffi~¥===1~ ~

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~rt:r::t::rt:"":::::-;...

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dormer

R~u5=5iu:!U~..Ii'-l~l~uU~M~

---

u~u~u~r~uu~

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wooden classical cornice with dentils

-

....

l ltr.: L=.,..l--._ light colored lintels and sills on windows

EtB

B

6/6 (or 1/1) double hung windows

tm

e

I

r

-_J~========:;t-wooden porch with plam cornice and

wooden columns and rail

r

Georgian Revival

j_j_

'-multi-paned transom and door sometimes seen

- 3 bay facade with raised entry

The Centennial celebration of 187 6 sparked an interest in the early buildings of America,

as well as in the Queen Anne work of Great

Britain. Designers looked to early colonial

models: English, Dutch and Spanish. The

Georgian revival, which relates to the English

colonial prototype, appears in LeDroit Park

about 1900. It represents the last phase of

rowhouse building. The style is restrained

and the houses more modest than those built

previously. since now they were being built for people of moderate means. The flat brick

facades are usually two stories high with a

short slate-covered false roof (the echo of the

Mansard form) concealing the flat roof be

-hind. There may be false cornices in sheet

metal. The cornice is of wood or pressed

(41)

tradition. The "six over six" double hung windows have straight. light colored, stone

lintels and sills. Usually, there is a full length

\vooden porch, \vith a plain cornice, Tuscan

or Doric wood columns and wooden railing.

Red brick with white trim is characteristic but

light cream or lead spot brick also appear.

These rmvs are at times set back to give a

substantial front yard, which breaks the more uniform street pattern of the earlier styles.

Porches. windows and doors of many of these b

houses have been altered, and a number of the structures, although they are the most recent of the "historic" buildings, are in

poor repair. 1836-1854 2nd Street, 407-419

Elm Street, and 1824-1832 4th Street are

typical examples of the Georgian Row.

c

a) A row of Georgian Re\·ival houses along 1nd Street. The wooden tront por~h is the prominent de~ign feature of this stvle.

bl Notice the blse dormers on the roof. adding .1 tLluch of grandeur to ,1 ~imple huildin,~;.

r) Smaller scale \·ersinns of the ~:ww hnmc type .tlong Elm Street between .'\rd and lth Streets. :'\Jotice that the buildings

are onlv two hays wide. The porches on these house' have suffered an unu~ual Jmoum of decay .md alteration due w the

moisture problems encountered in this design. Wood

members are in such dose comact w the earth that water

(42)

basically a '·Georgian Revival" builder's row house with a "Spanish" curvilinear top

Spanish Revival

.

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LeDroit Park Neighborhood · ,. ~c::::'

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plain walls of brick or stucco

projecting one story be

Elsewhere this was an important revival style, using stucco walls, tiled roofs, stepped and arched parapets and gables, round arched brick-trimmed doors and windows, projecting rafters and massive, heavily decorated en-trance doors. Here in LeDroit Park the Span

-ish Revival is used primarily as a variant form by the builders of the Georgian rows. Often it is no more than a stepped, curvilinear gable tacked on to the Georgian brick facade. Such a row occurs on Elm Street at the corner of

(43)

a

a) Like most of the later row stvles tn LeDroit Park. Spanish Revival houses are usually four{d in long repetitive rows. This block on Elm Street between .'3rd and hh Streets is Jn impress1ve grouping.

b) A closer look at one of the building-; in this grouping: basically a box, with a few simple decorative features.

c,dJ This example can be found on 2nd Street, intermixed

with Georgian Revival row houses. Except for the design of

the top third of the facade. they are essentially the same

(44)

b

d

(45)

a) Ga~e Eckington School seen from 3rd Street

b) Howard University Hospital seen from U Street

20th Century

Buildings

Although the last substantial building activity came to an end by 1920, change continued. Buses and cars, the growth of Howard Uni-versity to the north, the construction of new institutional buildings, and the demolition of older structures are features of this change. The park circle and its landscaping were de-stroyed by paving a trafficway through its center. New buildings have broken sharply with the character of the neighborhood.

The large-scale buildings which have changed the appearance of the neighborhood include two Howard University dormitories (originally war housing), the Gage-Eckington School, and the Safeway Store at 3rd Street and Rhode Island Avenue (which replaced a fine McClellan house). To the north, the Howard University Medical School makes a hard institutional edge of parking lots and large buildings. To the south the former com -mercial activities along Florida A venue are closed. Despite all this, the core of LeDroit Park remains in sound condition, still a most impressive example of the 19th Century Romantic suburb.

(46)

How to

Conserve a House

--

~~---

·

-

-

- - ---~--:...~ _--...::..:

---.

______

_

-

---

-

--

--

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(47)

---=-Arrest

Deterioration

Conserve

Improve

Function and

Appearance

Basic Principles

The first rule of conservation is to arrest deterioration, while

avoiding any changes that are irreversible, that is, which

seriously damage the original materials and structure of a

building, or which make it difficult for any future owner to

restore the building's esthetic and historic character if he

wishes to. This is the principal basis for saying that certain

changes should never be permitted.

The second rule is to restore the historic appearance of a

building, while also improving the way in which it functions

today. Buildings must change, if they are to remain useful.

We cannot exclude changes which respond to modern func

-tions or technology, but we should try to make them in

harmony with original architectural character. Past changes

in a building may also have historic meaning and can be

worthy of conservation. It is essential to see that change

connects what was and what now exists

-

that the area

remains eloquent of its past.

Original features should be retained and repaired where

possible, and replaced only when necessary. However, cost

may require that decorative elements be replaced with sim

-plified versions of the originals. Neighborhood character and

scale should be conserved as well. Any new additions must

respect the form of the surrounding buildings, as well as the

nature of the structure itself.

These principles must be applied with some flexibility, not

only because high costs may at times make historic accuracy

difficult to accomplish, but also because facades which are

not visible to the public can often be treated with some

individuality and freedom, just as house interiors are.

More-over, new technologies and new ways of living will in time

make some of these recommendations obsolete. Accumulated

experience will surely modify some of them. Clearly, then,

these guidelines must be reviewed periodically and applied

with judgment.

(48)

\...uusiuer 1. our r'ieignoors

Except for some of the early houses designed by the architect James McGill. most houses in LeDroit park are row houses which form a solid built edge along the street. The

individual houses were designed to have simi

-lar features - size, materials, window place

-ment, turrets, towers, porches, etc. - so that

each building works with its neighbor to

create a larger wall of buildings of uniform

height. with a regular rhythm of projections

and entries along the street.

Changes made in an individual house can disrupt the continuity created by these design

similarities from house to house. So think carefully about any changes to your house,

beginning first ·with a close look at other

houses on the block which still retain their

original character.

Elements of a LeDroit Park Street

I,

similarity of materials and color from house to house unify appear -ance of the street uniform "setback" of

I

buildings (distance

back from street)

,

, variety of details in iron

handrails and steps, and wooden porches and rails add interest

to the street

uniform height of raised first floor entry

similar size and place-ment of door and window openings establish rhythm along the street.

fences continue the edge of the sidewalk between houses

(49)

Parts of a House

; bay

~ififii~ffi~~iiiffill~=-=-=

roof cornice

I'

corbeled brick

"brackets"

U

-~~~~~§~~~=--

decorative

brick

~ paneling

frieze (flat area

below cornice)

lintel

p~;;;;;;n;;;;;;;;;;;;;;$.§i1JJ;;;,;!

__

iron entry stair

and rails

The face of this house is divided into 3 major divisions by its

windows. These major divisions are called "bays".

Roof

Types

Gable Hip Mansard

Pitched Cross Flat,

(with dormers) Gable with parapet

dormer porch

The Facade

-

-

I

I

I

I

/)

/

/

The "facade" is the front plane, or "face" of the

house, and is its most public and important feature.

Projecting architectural features, such as porches, dormers. towers, or bay or oriel windows. are a part of the building's facade.

Know

Your

House

LeDroit Park boasts a great variety of hand

-some buildings of different architectural styles.

To know your house you should first deter -mine its style. But even houses of the same style can be designed \Vith different features,

so look closely to identify the specific design and detail features which give your building

its unique appearance. These are the elements you will want to respect and retain as you

undertake renovation or maintenance repairs. In this guidebook. buildings are described using architectural terms. The drawing on this page will help you with some of the more general terms (cornice or transom, etc.), but if you find an unfamiliar word. turn to the glos

-sary at the end of the book for definitions of architectural terms.

(50)

Identify Key

Design Features

Of Your House

deep cornice gives house a "top"

raised brick string-courses and window sills emphasize hori-zontal quality of house

raised entry gives

house a "base"

Identify Key

Design Features

Of Your House

design similarity and relationship to adjacent house is essential

entry porch forms outdoor room

raised entry gives the house a base

2/3 113

proportion of windows

and bays gives rhythm to house

1/1 windows with dark

contrasting color on trim

emp~asizes window ~

openmgs ~

arch and transom houses act together

over door, and detailed along street to form

iron stair emphasizes solid wall with rhythm

importance of entry to of narrow recessed

house entries

DODD

rhythm of mass and

openings; 113 entry bay,

213 projecting bay

1/3 213

variety of different textures and colors form bands along vertical

face of house

heavy wooden cornice small-paned glass adds to the "textured" look of this style house scalloped shingles

References

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