(a) A historic district to be known as the East Ferry Avenue Historic District is hereby established in accordance with the provisions of Sections 25-2-1 to 25-2-15.
(b) This historic district designation is hereby certified as being consistent with the City of Detroit master plan.
(c) The boundaries of the East Ferry Avenue Historic District are as shown on the map on file in the office of the City Clerk, and shall be: beginning at the point located at the intersection of the centerline of Woodward Avenue and the southern boundary of lot 26 of D. M. Ferry’s subdivision of park lot 41 (L10/P4 WCR) extended westward; THENCE NORTH ALONG THE CENTERLINE OF THE EAST-WEST ALLEY BETWEEN EAST PALMER AND EAST FERRY AVENUES EXTENDED WEST; thence EAST along the centerline of the east-west alley between East Palmer and East Ferry avenues to its intersection with the centerline of Beaubien; thence south along the centerline of Beaubien to its intersection with the CENTERLINE OF EAST FERRY AVENUE; THENCE EAST ALONG THE CENTERLINE OF EAST FERRY AVENUE TO ITS INTERSECTION WITH THE CENTERLINE OF ST. ANTOINE AVENUE; THENCE NORTH ALONG THE CENTERLINE OF ST. ANTOINE AVENUE TO ITS INTERSECTION WITH THE CENTERLINE OF EAST PALMER AVENUE; THENCE EAST ALONG THE CENTERLINE OF EAST PALMER AVENUE TO ITS INTERSECTION WITH THE CENTERLINE OF THE SOUTHBOUND WALTER P. CHRYSLER FREEWAY SERVICE DRIVE; THENCE SOUTH ALONG THE CENTERLINE OF THE WALTER P. CHRYSLER FREEWAY SERVICE DRIVE TO ITS INTERSECTION WITH THE CENTERLINE OF EAST FERRY AVENUE; THENCE WEST ALONG THE CENTERLINE OF EAST FERRY AVENUE TO ITS INTERSECTION WITH THE CENTERLINE OF ST. ANTOINE AVENUE; THENCE SOUTH ALONG THE CENTERLINE OF ST. ANTOINE AVENUE TO ITS INTERSECTION WITH THE CENTERLINE OF THE EAST-WEST ALLEY BETWEEN EAST KIRBY AND EAST FERRY AVENUES EXTENDED EAST; thence west along the centerline of said alley and continuing along the southern boundary of lot 26 of the above mentioned subdivision (extended westward) to the point of the beginning. (The property included within these boundaries consists of lots 1 to 26, plat of D. M. Ferry’s subdivision of that part of the Brush farm lying between the north line of Farnsworth street and the south line of Harper Avenue, L17/P28; lots 1-5 of Palmer’s subdivision of part of outlot of the L. Beaubien farm, L8/P52; lots 21-25 of D. M. Ferry’s subdivision of out lot 194 and lot A of T. W. Palmer’s subdivision of out lot 196 also the north 20-75/100 feet of out lot 192 of L. Beaubien farm, L17/P35; LOTS 1 THROUGH 5 OF BLOCK 37, FERRY AND LYSTER’S SUBDIVISION, LIBER 12, PAGE 42, WAYNE COUNTY RECORDS; WAYNE COUNTY CONDOMINIUM PLAN NO. 921, LIBER 45013, PAGES 63-119, WAYNE COUNTY RECORDS; LOTS 1 THROUGH 8, AND VACATED ALLEY ADJACENT, OF BLOCK 39 OF FERRY AND LYSTER’S SUBDIVISION, LIBER 12, PAGE 43, WAYNE COUNTY RECORDS; AND LOTS 1 THROUGH 16, AND VACATED ALLEY ADJACENT, EXCEPT PART DEEDED FOR EXPRESSWAY, OF BLOCK H OF FERRY AND MORAN'S SUBDIVISION, LIBER 12, PAGE 36, WAYNE COUNTY RECORDS; AND THE SOUTH 15.64 FEET OF THE EAST 218 FEET OF LOT 1 OF THE SUBDIVISION OF OUTLOT 197 OF THE L. BEAUBIEN FARM, LIBER 1, PAGE 178, WAYNE COUNTY RECORDS; AND THE NORTH 145.89 FEET OF OUTLOT 195 LYING SOUTH OF FERRY AVENUE AND LYING EAST OF BEAUBIEN SUBDIVISION OF BEAUBIEN FARM, LIBER 6, PAGES 475-478, CITY RECORDS, WAYNE COUNTY RECORDS; AND LOTS 1 THROUGH 5 OF BLOCK 27, AND LOTS 8 THROUGH 14 OF BLOCK 28 OF BRUSH’S SUBDIVISION, LIBER 17, PAGE 28, WAYNE COUNTY RECORDS.)
(d) The design treatment level of the East Ferry Avenue Historic District shall be rehabilitation, as provided for in section 21-2-2(d)(2), for the block between Woodward Avenue and John R Street, and conservation, as provided for in section 21-2-2(d)(3), for the blocks between John R Street and Beaubien.
(e) The defined elements of design, as provided for in section 21-2-2 shall be as follows:
(1) Height. All of the buildings in the district are BETWEEN ONE (1) AND THREE (3) stories tall. All houses are two and one-half (2-1/2) stories in height, meaning they have two full stories with an attic or a finished third floor within the roof. MOST ARE ON RAISED BASEMENTS. The original deed restrictions required that buildings not be less than two stories or greater than three stories in height. THE MODERN ADDITION TO THE MERRILL-PALMER INSTITUTE AT 71 EAST FERRY AVENUE RANGES FROM ONE (1) TO TWO (2) STORIES IN HEIGHT; BALCH SCHOOL AT 5536 ST. ANTOINE STREET IS THREE (3) STORIES TALL.
(2) Proportion of building’s front facades. Proportion varies in the district, depending on style, size and age of buildings; some Victorian buildings and some later buildings are usually taller than wide, whereas some early twentieth century buildings are wider than tall. The row house (or terrace) building on EAST Ferry at Beaubien is wider than tall, AS ARE NON-CONTRIBUTING but sensitively designed infill duplexes and row houses between Brush Street and St. Antoine. The modern addition to Merrill-Palmer Institute at 71 East Ferry, with its covered walkway and u-shaped plan, is significantly wider than tall when taken as a whole. Balch School is also significantly wider than tall along its primary façade facing St. Antoine Street.
(3) Proportion of openings within the façade. OF THE LATE NINETEENTH AND EARLY TWENTIETH CENTURY BUILDINGS, AREAS of voids generally constitute between fifteen percent (15%) and thirty-five percent (35%) of the front façade, excluding the roof. Most window openings are taller than wide, although when grouped together some achieve a NEUTRAL OR horizontal affect. Transoms over windows are wider than tall or square. Window openings in gables, turrets, and/or foundations are often square or arched. THE FAÇADE OF BALCH SCHOOL IS FENESTRATED WITH GROUPINGS OF THREE (3) DOUBLEHUNG SASH WINDOWER PER BAY WHICH HAVE BEEN ALTERED BY REDUCING THEIR HEIGHTS BY ONETHIRD. THE MODERN ADDITION TO MERRILL-PALMER INSTITUTE AT 71 EAST FERRY CONTAINS A GREATER RANGE IN ITS PROPORTION OF OPENINGS, FROM ZERO PERCENT (0%) TO APPROXIMATELY SIXTY PERCENT (60%). A great variety of sizes, shapes, and groupings of openings exist in the district.
(4) Rhythm of solids to voids in front façades. The Victorian structures, the predominant type in the district, display a great freedom in placement of openings within the façades. The FEW buildings of other styles, most notably the Neo- Georgian AND MODERN, exhibit a greater regularity.
(5) Rhythm of spacing of building on streets. The spacing of buildings has generally been determined by the setback from the side lot lines in D. M. Ferry’s subdivision of Park lot 41, and not nearer than five feet from the side lot in the other subdivisions included within the district. The spacing of buildings is either placed centrally upon the lot or, closer to one side lot line to CREATE A LARGER SIDE YARD. On smaller lots, PARTICULARLY THOSE EAST OF BRUSH STREET, the building occupies most of the width of the lot, while complying with the side lot setback restrictions. The addition to Merrill-Palmer Institute at 71 E. Ferry features a masonry retaining wall at the front property line, inconsistent with the regular rhythm of buildings constructed for residential use. Where vacant lots or infill buildings exist, the original, regular rhythm of spacing of buildings along the streetscape is altered. Garages were not restricted by the side-lot setback restrictions. The smaller lots usually do not have driveways.
(6) Rhythm of entrance and/or porch projections. Steps and porches exist on all of the once residential buildings in the district; the setbacks restriction did not apply to them. The progression of steps and porches lends to the consistency of the streetscape. Positions of porches contribute to the variety of design of the Victorian houses; entrances and porches are frequently placed to one side of the front façade and in some instances wrap around to the side. In those buildings of classical inspirations the entrance and porch are symmetrical arranged on the façade. Rear porches are common.
(7) Relationship of materials. The district exhibits a wide variety of building materials characteristic of Victorian architecture. Common brick is prevalent; a variety of stones-limestone, red sandstone, brownstone, marble-is frequently used in combination with brick. Masonry is sometimes combined with shingles or stucco and, in one instance, with tin panels. Wood details and trim are prevalent. Slate, wooden shingles, pan tiles, and Mediterranean tiles are among the original roofing materials; asphalt roof have since replaced some of the original roofs. THE MERRILL-PALMER INSTITUTE ADDITION TO 71 E. FERRY AVENUE DISPLAYS THE USE OF BRICK, MASONRY, CONCRETE, METAL AND GLASS.
(8) Relationship of textures. The most common textural relationship in the Victorian buildings is that of several materials juxtaposed within the same façade to create a variety of rich textural effects. Stone juxtaposed with brick, with recessed, flush or protruding mortar joints, is common. Wood detail produces textural interest when contrasted with masonry and/or brick. WHERE LARGE EXPANSES OF GLASS EXIST, A SMOOTH TEXTURE IS APPARENT AND CONTRASTS WITH TRIM AND BODY TEXTURES. Slate roofs (sometimes imbricated) wood, Mediterranean tile or pan tile roofs contribute particular textural qualities. Asphalt shingles generally do not contribute to textural interest.
(9) Relationship of colors. Paint colors generally relate to style. Victorian buildings display freedom in use of color; other styles exercise greater restraint. Red, LIGHT BROWN or yellow natural brick colors, common brick painted red or light gray and natural stone colors (brown, Reddish-brown, red, light gray) are predominant on wall surfaces. Brown-stained shingles and wood also exist. Wood trim details and doors and most often painted brown, black, white, cream and gray. Mortar joints in the Victorian buildings are frequently laced with red sandstone or brownstone. Stucco, when it exists, is usually in a natural cream color. METAL STRUCTURAL MEMBERS ON THE MERRILL-PALMER INSTITUTE ADDITION TO 71 EAST FERRY AVENUE ARE painted a SHADE OF GREEN. Roofs are in natural colors; slate is predominantly gray, gray-green, and black; Mediterranean tile is dark green and pan tiles are usually orange. Asphalt shingles display a variety of colors, most derived from colors of natural materials. Color known to have been in use on buildings of similar type in the eighteenth and nineteenth centuries may be considered for suitability on similar buildings. Original color schemes for any given building may be determined by a professional paint analysis and when so determined are always appropriate for that building.
(10) Relationship of architectural details. Architectural details generally relate to style. A preponderance of Victorian architectural details in the Romanesque, Queen Anne, French Renaissance, and shingle style are prevalent in the nineteenth century buildings. Porches, window frames, cornices, dormers, and gables are frequently treated. Neo-Georgian buildings display details in brick and wood. Buildings influenced by the arts and crafts movement have heavy verge boards and other woods elements. BALCH SCHOOL, COLLEGIATE GOTHIC IN STYLE, FEATURES TRACERY, MEDALLIONS, SCROLLS AND FLORAL DETAILS IN STONE. Most of the buildings in the district are rich in architectural detail. ALTHOUGH THE MODERN MERRILL PALMER INSTITUTE ADDITION TO 71 E. FERRY AVENUE HAS NO APPLIED ORNAMENT, ITS STYLE IS EXPRESSED BY ITS VISIBLE STRUCTURAL MEMBERS.
(11) Relationship of roof shapes. A multiplicity of roof types exist, and frequently within the same building. The predominant forms of roofs are either the hipped or gabled variety, frequently with dormers, sometimes with intersecting gables and conical roofs over towers. The Victorian buildings have roofs of greater freedom and complexity; other buildings have roofs that are less complex. Porches also bear a variety of roof shapes. THE INSTITUTIONAL BUILDINGS IN THE DISTRICT HAVE FLAT ROOFS NOT SEEN FROM THE STREET.
(12) Walls of continuity. The major wall of continuity is created by the building facades, with their uniform setbacks within each block. Hedges extending along the front lot lines in the block between Brush and Beaubien contribute to a minor wall of continuity, as do the turn-of-the-century Detroit Public Lighting Department poles.
(13) Relationship of significant landscape features and surface treatments. The streetscapes consist of an eighty foot right-of-way with wide tree lawns. Characteristic treatment of individual properties is a flat front lawn area in grass turf subdivided by a straight concrete walk leading to the front entrance and a concrete walk along the side of the building leading to the rear yard. Foundation plantings, of the deciduous and/or evergreen nature, are present. Hedges between properties exist on only the third block off Woodward and the east end of the second block. There is a straight line row of trees on the wide tree lawns. Straight side driveways primarily in concrete but also in asphalt or brick, leading from the street to the block and non-existent excepting one of the third block from Woodward, where lots are smaller. Where front lawns are uninterrupted by driveways, a unity to the succession of front lawns is achieved. Matching carriage houses or garages are generally oriented towards the alley. The front lawns of the third block are sometimes graded. Although the district was once almost fully developed, vacant lots, some in use for temporary parking, are now noticeable features of the district and create gaps in the otherwise consistent streetscape. THE LARGE LOT BETWEEN BEAUBIEN AND ST. ANTOINE IS ENCLOSED BY ORNAMENTAL METAL FENCING AND AREAS AROUND THE PERIMETER OF BALCH SCHOOL ARE ENCLOSED BY CHAIN-LINK FENCING, SOMETIMES LINED WITH HEDGES. Some sidewalks of stone slab have survived, although most have been replaced in concrete. The alley is paved in brick on the south side of Ferry between Woodward and John R. and asphalt and concrete elsewhere. SIGNAGE, WHERE IT EXISTS ON FRONT LAWNS, IS ORIENTED PERPENDICULAR TO THE STREET AND IS GENERALLY DISCRETE.
(14) Relationship of open space to structures. Most vacant land in the district is in use as parking lots. The second block off Woodward contains a large amount of space on which building once stood; this vacant land bears no relationship to the structures nearby. Instead, it isolates the individual structures from surrounding buildings. The vacant lot at the northeast corner of Brush and Ferry was never occupied by a building. A spacious front yards to individual buildings was created by the setback restriction. Back yards, where they do exist, are often less spacious when they are occupied by a garage. A U-SHAPED COURTYARD WITH ITS OPEN END FACING THE STREET WAS CREATED BY THE MERRILL-PALMER INSTITUTE ADDITION TO 71 E. FERRY, AND A RECREATIONAL PLAY FIELD LIES TO THE EAST OF BALCH SCHOOL AND ITS ADDITION.
(15) Scale of facades and faced elements. The scale of the buildings on the first block and one-half off Woodward is large in relationship to the modest scale of the houses on the east side of second, third AND FOURTH BLOCKS off Woodward. The elements within the large Victorian buildings reinforce their large scale by dividing the facades into large segments, such as the towers, cupolas, verandas, steep roofs, and projecting gables. Details within those elements may be small scaled. The Hecker House on Woodward is monumental in scale. The Neo-Georgian facades are large in scale, with restrained detail within. Buildings influenced by the arts and crafts movement contain heavy elements, such as the vergeboards. Large sections within the facades are frequently de-emphasized through the division of windows with leaded glass or wooden divisions. BUILDINGS BUILT FOR RESIDENTIAL USE are generally are within normal limits of scale for moderate-to-large single and two-family residence of the late nineteenth and early twentieth century. Batch School is a large educational institution; the religious building at 582 E. Ferry Avenue is moderately scaled for its use; architectural elements within each are appropriately scaled to their design.
(16) Directional expression of front elevations. The majority of the buildings in the district have vertically expressed front facades. Notable exceptions are the buildings of Neo-Georgian style and, the row house (terrace) BUILDINGS, ADDITIONS TO MERRILL-PALMER INSTITUTE AT 71 E. FERRY AVENUE AND BALCH SCHOOL.
(17) Rhythm of building setbacks. Within each block, all BUILDINGS built before 1930 have consistent setbacks. THE MERRILL-PALMER INSTITUTE ADDITION TO 71 E. FERRY, WHILE IT DOES NOT FOLLOW THE ESTABLISHED SETBACK OF THE ORIGINAL STREETSCAPE, SITS ON A RAISED PLATFORM LINKING IT IN HEIGHT AND MATERIALS TO THE FREER HOUSE TO ITS WEST.
(18) Relationship of lot coverage. Lot coverage ranges from approximately fifteen percent (15%) to fifty percent (50%), WITH most HISTORIC RESIDENTIAL BUILDINGS being in the thirty percent (30%) to forty percent (40%) range of lot coverage. Lot coverage is greater in the third AND FOURTH BLOCKS off Woodward, where lots are smaller.
(19) Degree of complexity within the facade. The degree of complexity has been determined by what is appropriate for a given style. The Victorian buildings exhibit complex massing, a multiplicity of forms, colors, materials, and textures within the facades. The other styles represented in the district are less complex.
(20) Orientation, vistas, overviews. Most buildings are oriented towards Ferry Avenue, the east-west thoroughfare. The buildings on the corner lots at Woodward and Ferry face Woodward. Forty (40) East Ferry faced Woodward before the parking garage was constructed in its front yard; now it is entered through its east side. Fifty-four fifty (5450) John R. and 5461 Brush face the north-south streets, as does the apartment building at 5521 Beaubien. An unintended view of the rears of building on the second block of East Ferry East of Woodward. Wide tree lawns and the uniform building setbacks create a sweeping vista along East Ferry. THE ORIGINAL PRIMARY ENTRANCE TO BALCH SCHOOL IS ORIENTED TOWARDS ST. ANTOINE; SECONDARY ENTRANCES TO THE MERRILL-PALMER INSTITUTE ADDITION ARE LOCATED FACING JOHN R. Garages and carriage houses are located at the rear of the properties and are generally oriented to the alley.
(21) Symmetric or assymmetric appearance. The Victorian Style buildings generally exhibit an assymmetrical appearance; other styles are symmetrical but balanced compositions. A FEW BUILDINGS, SUCH AS OF THE RELIGIOUS BUILDING AT 582 E. FERRY AVENUE, SOME SECTIONS TO THE ADDITION TO THE MERRILL-PALMER INSTITUTE AT 71 E. FERRY AVENUE, AND BALCH SCHOOL ALONG ST. ANTOINE, have THE APPEARANCE OF symmetrical facades.
(22) General environmental character. The character is of fairly intact late nineteenth to early twentieth century middle to upper class residential streetscape that has been maintained in residential, institutional, and commercial uses over the years. A cohesiveness is achieved through ITS ORIGINAL DEED RESTRICTIONS AND DESIGN ELEMENTS, SUCH AS ITS HISTORIC ARCHITECTURE FEATURING A VARIETY OF MATERIALS, COLORS AND TEXTURES, UNIFORMITY OF setbacks, spacing on lots, and LANDSCAPING FEATURES, PARTICULARLY THE wide tree lawns between the street curbs and public sidewalks. RESIDENTIAL AND INSTITUTIONAL USES HAVE BEEN SUCCESSFULLY INSERTED INTO THE EXISTING FABRIC OF THE EXISTING HISTORIC STREETSCAPE OVER THE YEARS.
Codified by Ord. No. 36-17 (JCC. 10/3/17, Pass. 11/21/17, App. 11/23/17, Pub. 1/25/21, Eff. 12/21/17); Saved From Repeal by Ord. No. 28-19 (JCC. 7/23/19, Pass. 9/10/19, App. 9/11/19, Pub. 9/20/19, Eff. 10/1/19).
(a) A historic district to be known as the B’nai David Cemetery Historic District is established in accordance with the provisions of this article.
(b) This historic district designation is certified as being consistent with the Detroit Master Plan.
(c) The boundaries of the B’nai David Cemetery Historic District are as shown on the map on file in the office of the City Clerk, and contain such land as follows: Land in the City of Detroit, County of Wayne, and State of Michigan being Lots 1 through 8, both inclusive and Lots 70 through 81, both inclusive also vacated Sheehan Avenue and vacated alleys adjoining, excepting Van Dyke Avenue as widened “Oak Hill, Rose & Sheehan’s Subdivision of part of Section 21 T.1S.,R.12E. Hamtramck (Now Detroit), Wayne County, Michigan” as recorded in Liber 13, Page 72 of Plats, Wayne County Records; plus easterly 1/2 of St. Cyril Avenue and the westerly ½ of Van Dyke Avenue adjoining: all bounded as follows: Beginning at the northwesterly corner of said Lot 8; thence easterly along the northerly property line of B’nai David Cemetery being the northerly line of said Lot 8 and the northerly line of said Lot 1 extended to the centerline of Van Dyke Avenue, 106 feet wide; thence southerly along the centerline of Van Dyke Avenue to the extended centerline of the east west vacated alley, 16 feet wide, first north of Marjorie Avenue; thence westerly along the said alley centerline and its extension to the centerline of St. Cyril Avenue, 66 feet wide; thence northerly along said centerline of St. Cyril Avenue to the extended northerly property line of B’nai David Cemetery being the northerly line of said Lot 8; thence easterly along said northerly property line of B’nai David Cemetery and its extension to northwesterly corner of said Lot 8 and the point of beginning.
(d) The defined elements of design, as provided for in Section 21-2-2 of this Code, are as follows:
(1) Height. The site of B’nai David Cemetery Historic District is higher in elevation than the ground around it in all directions. Headstones range from low to the ground, approximately one (1) foot high, to taller, approximately seven (7) feet high, with a feature added on top, such as an urn, for extra height; most are in the middle range. The War Veterans memorial is laid on a slab at the base of the flag pole at ground level.
(2) Proportion of buildings’ front façades. Most headstones are significantly taller than wide, while a few are square. Where a single headstone marks two (2) graves, the headstone is wider than tall.
(3) Proportion of openings within the façades. Not applicable to cemetery district; no openings exist within individual headstones.
(4) Rhythm of solids to voids in front façades. Not applicable to cemetery district; individual headstones are solid objects without voids.
(5) Rhythm of spacing of buildings on streets. There are no buildings on the cemetery site. A strong rhythm is created by the regular positioning of burial plots, consisting of headstones and grave curbs spaced closely together in narrow rows. Monuments within the entry loop are set off from the regular progression of the rows of headstones.
(6) Rhythm of entrance and/or porch projections. Individual grave sites usually consist of a headstone set on a blocky base with a grave curb, or framed bed, extending out in front at ground level. The positioning of regularly placed, masonry grave curbs in front of the headstones provides a regular rhythm.
(7) Relationship of materials. The major materials of the headstones are granite, sandstone, and limestone, sometimes contrasted with small metal and porcelain elements. Masonry grave curbs frame burial plots. A metal flagpole, memorial light, and concrete bench are situated near the Holocaust and War memorials. The outer wall at the eastern perimeter is brick; the inner retaining wall is concrete block. The gate and fencing are metal.
(8) Relationship of textures. Individual headstones feature a variety of textures, sometimes in combination. Rough, undressed stone bases and surfaces often contrast with dressed, polished stone. Emerging stone, where one portion is fully carved and the other is left undressed, results in a contrasting textural relationship. Deep and shallow carved and inscribed detail also creates textural relationships. Overall, the district is rich in its variety of textural relationships.
(9) Relationship of colors. The most common headstone color is light or medium gray; dark gray, white, beige, red, and orange-red headstones are also present, often with a speckled coloristic effect when the material is granite.
(10) Relationship of architectural details. Architectural styles, such as Neo-classicism, Art Deco, Gothic and Art Nouveau, are sometimes depicted by the artistic detail and shape of individual headstones. Architectural details within individual headstones vary and generally consist of Jewish funerary symbols, inscriptions and epitaphs. Sometimes the back of the headstones are inscribed with words as well. Frequently, where there are carved details, they represent naturalistic elements, such as floral borders, rocklike bases, and trunks of trees. Military motifs representing deceased military servicemen are sometimes included. Individual headstones are either level, rounded, curved, peaked, or roughly textured on top. A few have objects extending above the main surface, such as an urn, inscribed cylinder, or final. Some children’s headstones have an animal sculpted on top. some young people’s headstones have a tree trunk emerging. Small portraits of the deceased in porcelain are often inset in plain or decorative frames. In general, there is variety in the relationships and expressions of the district’s artistic and architectural detail.
(11) Relationship of roof shapes. Not applicable to cemetery district.
(12) Walls of continuity. The double retaining wall and high metal gates at the eastern perimeter of the site along Van Dyke Avenue, and the chain-link fencing along the rest of its perimeter, create a border that separates the cemetery from its surroundings. Walls of continuity within the cemetery are created by the uniform spacing of the burial plots and the consistent setbacks of headstones within rows.
(13) Relationship of significant landscape features and surface treatments. The cemetery’s hilltop site is set off from its surroundings by the wall along its Van Dyke Avenue perimeter, the entry gates, and chain link fencing. A paved road goes from the entrance up the slope of the hill and forms a loop surrounding the memorials, tree and bench. The beds within the grave curbs that extend outward from the headstones are planted with yellow lilies.
(14) Relationship of open space to structures. The cemetery site consists of one large open space occupied by the regular arrangement of burial plots. The narrowly- spaced burial plots are arranged in rows on a grass lawn to the west and north of the entrance loop. Small, recently placed markers set in the ground identify each row, at its southern end, by number. To the south of the loop is an open, grassy area once occupied by a caretaker’s residence.
(15) Scale of façades and façade elements. B’nai David Cemetery is comparatively small in scale relative to cemeteries in the surrounding area; grave sites within are situated closely together. Elements and details on individual headstones are generally scaled to the size of the headstone.
(16) Directional expression of front elevations. Most headstones are vertical in directional expression but, where paired burial plots or small headstones exist, are neutral in directional expression.
(17) Rhythm of building setbacks. Uniform setbacks of burial plots and close placement of headstones in narrow rows create a strong, consistent rhythm throughout the cemetery.
(18) Relationship of lot coverages. Approximately three-quarters of the cemetery site is covered by burial plots. The burial plots are close together, without much space between them, although spacing varies by rows. The area in the southeast of the cemetery, where a building once stood, is not occupied, and the northern perimeter of the site contains some open land.
(19) Degree of complexity within the façades. Not applicable to cemetery district.
(20) Orientation, vistas, overviews. B’nai David Cemetery is oriented towards the major thoroughfare to its east, Van Dyke Avenue. Burial plots face east, but sometimes have blessings and names of the deceased on the backs, or western sides, as well. The memorials within the looped drive face opposite the entrance, or west. Because of its high elevation, vistas of the areas outside of the cemetery, to the west and north, can be seen from the rear of the cemetery.
(21) Symmetric or asymmetric appearance. Not applicable to cemetery district.
(22) General environmental character. B’nai David Cemetery is a cohesive landscape whose overall character is defined by the relationship of the features within it. Although it is located on a major thoroughfare. B’nai David Cemetery’s sitting on a hill separated from the street by a high retaining wall results in a quiet green space that offers repose.
Codified by Ord. No. 27-19 (JCC. 10/18/16, Pass. 11/1/16, App. 11/3/16, Pub. 9/17/19, Eff. 8/21/18); Saved From Repeal by Ord. No. 28-19 (JCC. 7/23/19, Pass. 9/10/19, App. 9/11/19, Pub. 9/20/19, Eff. 10/1/19).
(a) A historic district to be known as the Prince Hall Grand Lodge Historic District is hereby established in accordance with the provisions of this article.
(b) This historic district designation is hereby certified as being consistent with the Detroit Master Plan.
(c) The boundaries of the Prince Hall Grand Lodge Historic District are as shown on the map on file in the office of the City Clerk, and are as follows: Beginning at the intersection of the centerline of Gratiot Avenue with the centerline of McDougall Street; thence northeasterly along the centerline of Gratiot Avenue to the eastern line extended of Lot 2, Block 47 of the A. M. Campau’s subdivision of McDougall Farm as recorded in Liber 4, Page 96, Wayne County Records; thence southeasterly along said line of Lot 2 to the centerline of the alley running east-west between Gratiot Avenue and Preston Street; thence northeasterly along said alley centerline to the eastern line extended of Lot 38 of the C. P. Woodruff’s Subdivision as recorded in Liber 1, Page 280, Wayne County Records; thence southerly along said line of Lot 38 to the centerline of Preston Street; thence westerly along the centerline of Preston Street to the centerline of McDougall Street; thence northerly along the centerline of McDougall Street to the centerline of Gratiot Avenue and the Point of Beginning. (Legal Description: Land in the City of Detroit, County of Wayne and State of Michigan, being Lots 1 through 2 excluding Gratiot Avenue as widened and Lots 11 through 15 of Block 47 of the A. M. Campau’s subdivision of McDougall Farm as recorded in Liber 4, Page 96, Wayne County Records; also, Lot 38 of the C. P. Woodruff’s Subdivision as recorded in Liber 1, Page 280, Wayne County Records. Commonly known as 3500 McDougall Street and 3129 Preston Street).
(d) The defined elements of design, as provided for in Section 21-2-2 of this code, shall be as follows:
(1) Height. The temple building at 3500 McDougall Street is three (3) stories tall. Its office addition at 3100 Gratiot Avenue is also three (3) stories tall.
(2) Proportion of Building’s Front Façade. Both the temple building and its office addition are wider than tall on all elevations. The original horizontal visual effect of the temple building façade on McDougall Street has been slightly tempered by its northwest angled corner where it intersects with the office addition façade and follows the diagonal along Gratiot Avenue.
(3) Proportion of Openings Within the Façade. The main entrance of the McDougall Street (west) façade is occupied by a set of three (3) double-door openings with rectangular transoms above, set deeply within a recessed opening that is wider than tall. Flanking the main entrance opening are two (2) window openings that are two (2) times taller than wide and are occupied by double-hung sash windows; a single door-wide entrance opening is located south of the main entrance opening. Window openings above the first floor are taller than wide and are occupied by seven (7) double-hung windows on each level. The first floor of the Preston Street (south) façade feature five (5) window openings that are two (2) times taller than wide, a single-door-wide entrance opening, and two (2) square window openings. Window openings above the first floor are taller than wide and are occupied by six (6) double-hung windows on each level. The first floor of the Gratiot Avenue (north) façade has three (3) large openings in a set of three (3) bays that consists of two (2) large display windows flanking single entrance doors with transom above, resulting in a total storefront opening that is wider than tall. The first floor also contains a single-door-wide entrance opening west of the storefront openings. Window openings above the first floor are taller than wide and are occupied by three (3) bays of three (3) double-hung windows with the exception of its western end bay that features one (1) double-hung window on each level.
(4) Rhythm of Solids to Voids in the Front Façade. A mostly regular rhythm of solids to voids exists on all primary façades. Generally, openings are placed one over the other by floor and are evenly spaced and symmetrically arranged in rows. The regular rhythm of openings is varied only at the south elevation of the Preston façade where no openings exist at the eastern end bay above the first floor.
(5) Rhythm of Spacing of Buildings on Streets. The Prince Hall Grand Lodge Historic District is set on the lot lines of McDougall Street, Gratiot Avenue, and Preston Street. No rhythm of spacing of buildings on the street is established due to single building district.
(6) Rhythm of Entrance and/or Porch Projections. No rhythm of entrances or porch projections is established due to single building district. The main entrance opening on McDougal Street is recessed into the front façade and is located five (5) steps above grade. The concrete front steps have been covered with carpeting and descend evenly to the street, separated into three sections by simple metal handrails. The secondary entrance on the McDougall façade is located just south of the main entrance opening and consists of a single door inset into the façade. Regularly spaced storefront entrances on the office addition facade on Gratiot Avenue are centered at grade with a single door opening that is approached by a single concrete front step. The single-door openings on Preston Street and the rear façade (east elevation) are off-center and sealed up.
(7) Relationship of Materials. The building is composed of running-bond brick walls and stone used for the ashlar foundation, door and window surround, decorative panels, and other detail. The original use of glass for display windows in the office addition provided transparency contrasting with the solid masonry, although the first floor opening are presently boarded or filled with glass block for protection. The temple building’s roof is composed of tin shingles with stone coping, and the visible front pitch roof of the office addition is composed of clay tile. The original wood window frames have been replaced with vinyl throughout both sections of the building, although the original steel casement windows remain in the rear façade (east elevation).
(8) Relationship of Textures. The major textural relationship is that of brick with mortar joint juxtaposed with stone detail focused on door and window surrounds as well as the projecting cornice. Slightly projecting brick quoins form two (2) end bays that vertically align the second and third stories on the temple building’s primary and secondary façade. Tall, narrow bands of decorative brickwork exist between the center bay window openings of the temple building’s secondary (south) façade, contrasting with the running-bond brickwork elsewhere on the building. The tin shingle and clay-tile roofing materials also create textural interest.
(9) Relationship of Colors. The brickwork on buildings is buff in color, and this contrasts subtly with the light gray stone foundations and trim. Window frames and sashes are painted white; woodwork and doorways are light Grey metal. The temple building’s entry door lower panels and the office addition’s display window lower panels are painted royal blue. The roofing features muted shades of reds and browns.
(10) Relationship of Architectural Details. Regularly arranged, repetitive details in the reserved Neoclassical style embellish the temple building and its office addition. Raised brick quoins define the end bays of the temple building and a pronounced stone belt course separates the first story from the upper two (2) stories. First-story openings feature raised stone entablature surrounds with oval cartouche. The office addition’s entrance is heavily embellished with rope molding. Corinthian pilasters, and a broken pediment and each storefront is separated by a brick pilaster with stone capital. The finished façades are capped by denticulated cornices and classical modillions. The temple building features in its southwest corner a large cornerstone incised in relief, reading in three (3) lines: “AMARANTH TEMPLE 1924”.
(11) Relationship of Roof Shapes. The temple building features a low-pitched flat deck hip roof rectangular in shape. The office addition features a flat deck roof with applied pitch. A simple brick chimney is flush with the office addition’s rear wall.
(12) Walls of Continuity. Not applicable due to single building district, although since the buildings are located on the building (lot) line, a wall of continuity is created along the Gratiot Avenue streetscape and the McDougall corner.
(13) Relationship of Significant Landscape Features and Surface Treatments. The prominent façades of both buildings abut the concrete public sidewalk and the sites do not contain any landscaping, street furniture, or other significant landscape features. Streets and alleys within the district are paved with asphalt and feature concrete curbs. The rear parking lot is surrounded by a chain link fence and is paved with pea gravel.
(14) Relationship of Open Space to Structures. The temple building and its office addition occupy the entire footprint; open space exists on Preston Street with the enclosed rear parking lot and, located just outside the district, a large grassy area extending eastward that once contained residential buildings.
(15) Scale of Façades and Façade Elements. The scale of the three (3) story temple building and its addition is slightly greater than the two (2) story commercial buildings in its immediate vicinity, Façade elements such as display windows and entrances are also moderate in scale.
(16) Directional Expression of Front Elevations. The front elevations of the building in the district is primarily horizontal in expression and the temple building and its addition are proportionally wider than tall as accentuated by the running belt course. The length of the temple building’s façade is tempered by the verticality of the quoins separating the end bays and the window openings that are taller than wide.
(17) Rhythm of Building Setbacks. The Prince Hall Grand Lodge Historic District was erected on its northeast and southeast lot lines, resulting in no setback. There is no rhythm of building setbacks due to single-building district.
(18) Relationship of Lot Coverage. The footprint of the temple building and its office addition occupies approximately ninety-five percent (95%) of its entire parcel.
(19) Degree of Complexity Within the Façade. The corner location and irregular lot result in three (3) major ornamental façades. The major façades are not complex due to the building’s straightforward Neoclassical style; they are simple in the arrangements of openings, massing, and architectural elements with a hierarchy of classical detail on the first story, resulting in greater complexity.
(20) Orientation, Vistas, Overviews. The temple building is oriented to the west toward McDougall Street. Its office addition is oriented to the north toward Gratiot Avenue. Its siting defines the corner and presents an anchor to the intersection of McDougall and Gratiot and the surrounding commercial thoroughfare.
(21) Symmetric or Asymmetric Appearance. All façades are asymmetrical in appearance, despite the overall Neoclassical predilection towards symmetry. On the McDougall Street (west) façade, there is an additional door south of the main entrance opening instead of a window, resulting in asymmetry. On the Preston Street (south) façade the eastern end bay lacks window openings on the second and third stories, resulting in asymmetry. On the Gratiot Avenue (north) façade, the entrance bay is located in the western end bay, resulting in asymmetry.
(22) General Environmental Character. The district consists of the temple building and its office addition located on the southeast corner of the intersection of McDougall Street and Gratiot Avenue. The Prince Hall Grand Lodge is a notable example of a well-designed corner lot building anchoring one of Detroit’s major diagonal commercial thoroughfares. The surrounding area features scattered institutional and commercial buildings along Gratiot Avenue. The majority of surrounding lots on Preston Street are vacant with a few remaining small scale residential buildings.
Codified by Ord. No. 30-18 (JCC. 10/30/18, Pass. 11/20/18, App. 11/26/18, Pub. 12/7/18, Eff. 12/7/18); Saved From Repeal by Ord. No. 28-19 (JCC. 7/23/19, Pass. 9/10/19, App. 9/11/19, Pub. 9/20/19, Eff. 10/1/19).
(a) A historic district to be known as the St. Brigid Roman Catholic Church/High Praise Cathedral of Faith Historic District is established in accordance with the provisions of this article.
(b) This historic district designation is certified as being consistent with the Detroit Master Plan.
(c) The boundaries of the St. Brigid Roman Catholic Church/High Praise Cathedral of Faith Historic District are as shown on the map on file in the office of the City Clerk, and are as follows: Beginning at the intersection of the centeriine of Schoolcraft with the centerline of Wisconsin, on the north, the centerline of Schoolcraft: on the east, the centeriine of Wisconsin: on the south, the south line of the parcel described by the legal description provided below: and on the west, the centerline of the vacated alley adjacent to the west line of Lots 23. 24 and 25. John M. Welch Jrs. Wyoming Schoolcraft Sub L46 P98 Plats, W.C.R. extended north and south. Legal Description: S SCHOOLCRAFT 231 THRU 236. N 15 FT 237 238 VAC ALLEYS ADJ B E TAYLORS DETROIT CITY SUB NO. 1 L39 P96 PLATS, W.C.R. 16/272 LOTS 68 THRU 73 AND VAC ALLEY ADJ JOHN M WELCH JRS WYOMING-SCHOOLCRAFT SUB L46 P98 PLATS, W.C.R. 16/338 216 IRREG 57.158 SF: W INDIANA 49 THRU 44 AND VAC ALLEY ADJ JOHN M WELCH JRS WYOMING SCHOOLCRAFT SUB L46 P98 PLATS, W.C.R. 16/338 N 14 FT 194 195 AND VAC ALLEY ADJ B E TAYLORS DETROIT CITY SUB NO 1 L39 P96 PLATS, W.C.R. 16/272 163.05 IRREG: W KENTUCKY 25 THRU 23 JOHN M WELCH JRS WYOMING SCHOOLCRAFT SUB L46 P98 PLATS, W.C.R. 16/338 130.34 IRREG. Commonly known as 8735 Schoolcraft 8809 Schoolcraft and 13641 Kentucky.
(d) The defined elements of design, as provided for in Section 21-2-2 of this code, are as follows:
(1) Height. The school building (13661 Wisconsin Street, rectory (addressed with 8909 Schoolcraft Street), and activities building (13641 Kentucky) are two (2) stories in height. The religious building (8909 Schoolcraft Street) is a single tall story built up to the height of thirty-five (35) feet at the lantern dome.
(2) Proportion of building’s front façades. The front (norths façades of all four (4) buildings are wider than tall, although massing of individual sections of buildings may appear neutral or taller than wide. The front façades of the school, rectory, and activities building are arranged by bays, whereas the religious building is arranged by functionally massed sections, such as chapels, narthex and domed sanctuary.
(3) Proportion of openings within the façades. Window and door openings within the district are diverse in their variety of shapes and sizes, signifying the function and design of the individual buildings. The religious building features a range of arched openings that are taller than wide, but where grouped together, may appear wider than tall. Its three prominent, evenly spaced entrance openings each contain a set of double doors with tympanum above. A rose window is centered above in the front gable. Each face of the octagonal lantern crowning the dome has a pair of arched windows separated by columns. The three-sided corner sections between the arms of the Greek cross are fenestrated with paired arched windows on the first level and, at second story level on the northwest corner of the building, sets of four narrow arched window openings separated by columns. The southernmost face of this corner section has a flat-arched double-door entrance opening taller than wide. Transom arms feature three large round-arched window openings, the central one being the larger. By contrast, the rectory features a trabeated system of fenestration with openings taller than wide, its front façade consisting of divided casement windows and a single door width entrance, east of which is an opening wider than tall containing a three-part divided picture window. The front (north) flat-arched, double- door entrances of the school building are taller than wide, as are window openings throughout the building. Above the entrances of the wings are, at second story level, a pair of small, arched windows, each taller than wide, separated by columns. Classroom windows are replacements of the original deeply set pairs of divided double-hung sash windows, openings emphatically taller than wide, including tall, adjoining door openings on its front façade and narrow, vertically rectangular slot window openings on its front and side elevations.
(4) Rhythm of solids to voids in the front façades. A regular rhythm of solids to voids exists on all primary façades. Generally, openings are placed one over the other by floor and are evenly spaced and symmetrically arranged in rows, resulting in strong, rhythmic patterns. The school building, with rows of identical subdivided windows, often in groups, and the activity building, in which the middle of the three rows of slot windows shifts between the four above and below, exhibit strong, consistent overall patterns. Arcaded rhythms of solids to voids are pronounced on the religious building while the rectory has regularly arranged, flat-arch openings with interruptions for single doorways and a shallow bay window on the east elevation.
(5) Rhythm of spacing of buildings on streets. The buildings in the two and onehalf block district are situated near the public rights-of-way on comer lots, resulting in the side streets providing pattern breaks. The rectory is the exception, sharing its lot with the religious building connected to its west side.
(6) Rhythm of entrance and/or porch projections. No overall rhythm of entrance and/or porch projections exists due to the individual treatment of each of the four (4) buildings in the district. The three symmetrically positioned entrances to the school, one in each wing and one in the recessed central section, and the entrance to the activities building are at grade, with a single concrete platform, The main (north) entrances of the religious building and rectory are accessed up shallow steps. Buildings positioned on corner parcels have secondary entrances on the adjacent north-south streets.
(7) Relationship of materials. Brick is the major material of the buildings, often contrasting with masonry trim. Details in brick, glazed and unglazed terra cotta, and stone adorn all but the activities building, which is absent of applied detail. Door and window frames are wood or metal: the activities building features aluminum doors: lanterns to the sides of doorways are usually bronze. The rectory and religious building feature figurative carvings and panels of stone, and have clay tile roofs with copper gutters and downspouts.
(8) Relationship of textures. The major textural relationship is that of brick with mortar joints juxtaposed with masonry and terra cotta trim and detail focused on door and window surrounds and cornices. The English bond brick of the school building is embellished with decorative patterned brickwork in spandrels and arches. Repetitive details, such as dentils or arcading beneath cornices or window and door surrounds, contribute to textural interest as do the clay pantile roofs of the rectory and religious building. The activities building features smooth finishes, such as aluminum and painted surfaces. In general, the district is rich in textural relationships.
(9) Relationship of colors. The brickwork on buildings is red in color, and contrasts with the beige trim and terra cotta detail, where it exists. The tympanums of the religious building feature sky blue backgrounds and flesh and white colors. Window frames and sashes are painted either white or brown; woodwork and doorways are dark brown. Red tile roofs cover the rectory and religious building; copper is weathered green.
(10) Relationship of architectural details. Architectural detail generally relates to style and function of the buildings in the district: areas around entrances, window openings and cornices are typically embellished with appropriate detail. The front façade of the school building features entrances composed of a single wooden door set into a limestone architrave, over which is a lintel carved with a Celtic knot pattern and supported by pilasters having carved capitals. Decorative limestone pilasters with brick blind arches, dentil cornices, herringbone and basket weave patterns, and soldier course banding are ornamental features of the school building. The north façades of the wings have shallow raised pediments over their central bays, originally with a cross centered within. Late twentieth century rear additions to the school do not relate to the original building in architectural style. Ornamentation was applied sparingly in the design of the rectory: its doorway is surrounded by a masonry, flat arch molded architrave surmounted by an entablature with a centered crest containing an Irish cross, lit by a brass lantern above. Carved, figural blocks are set in brick and a masonry belt course divides the first and second stories. The façades of the religious building are rich with Catholic and Irish iconography and symbols executed in terra cotta. The three, double-door arched entrance openings, separated by large rectangular marble panels, are the focal point of the front façade, and feature details in terra cotta. The wood paneled doors are set within compound terra cotta arches, representational polychromatic tympanums rest above the doors, and metal lanterns flank each opening. Representational figures and symbols are located on projecting plaques, arches and capitals. A rose window centered in the gable is flanked by two large partly engaged statues of saints Peter and Paul. A decorative arcaded cornice defines the slope of the gable roof and a Celtic cross crowns the apex of the gable. The carved detail continues to the Kentucky Avenue (west) entrance and the east and west walls. At the four upper corners of the building are eight relief plaques used as relief ornaments for the masonry walls. Quite in contrast, the modern style activities building has no extraneous detail, the window slits allowing a pattern of light into the large, multi-purpose interior space. Characteristic of the modern style, the elements themselves, such as the slot window openings, curved porch roof supported by narrow vertical members, create the detail.
(11) Relationship of roof shapes. The roofs of the school and activities buildings are flat and are not seen from the street: the porch canopy of the activities building is curved. The rectory has a hip roof. The religious building features gable roofs over its narthex and transepts, flat roofs over the corner chapels, partial hips over intermediate sections, and an octagonal lantern dome over the sanctuary.
(12) Walls of continuity. A wall of continuity is created by the four related buildings alone Schoolcraft Street within the district due to their substantial scale and positioning on their lots.
(13) Relationship of significant landscape features and surface treatments. Shrubs and trees are intentionally planted around the perimeters of the school, activities building, rectory and religious building. The religious building and connecting rectory share an entire block, with the front (north) of the church situated close to the public right-of-way and the rectory to its east set back substantially, creating a grass turf front yard. Long, straight-line and diagonal concrete walkways lead to the front entrance of the rectory from the public sidewalks on Schoolcraft and Indiana streets. A broad concrete area extending the width of the steps leads to the tripartite entrance of the religious building. A cabinet sign identifying the religious building sits on northeast corner of Schoolcraft at Wisconsin. The school building, also occupying an entire block, has a straight-line concrete walkway dividing the grass-turf lawn from the public sidewalk leading to each of its Schoolcraft entrances. A back-lit cabinet sign sits perpendicular to the building on its front lawn. A landscaping element at the southwest corner of Schoolcraft and Indiana is framed by stacked masonry pavers. Situated to the sides of the front entrance of the activity building are low walled, rectangular concrete planters.
(14) Relationship of open space to structures. Shallow front and side yards planted with grass turf characterize the district, with the exception of the rectory, which has a deep front yard. The rear (south’) of buildings generally extend the depth of the property, with the school building addition extending considerably further south of the vacated alley, enclosing an exterior courtyard. The rear (south) of the rectory has a large attached garage accessed off of the side street, its wide driveway paved in concrete. Outside of the district to the east, between Wisconsin and Ohio streets on the former convent site, is a paved parking lot. The traditional alley south of the buildings was vacated and the surfaces are either expanded over with a building, paved in concrete, or planted with vegetation.
(15) Scale of façades and façade elements. The façades of the four buildings in the district are appropriately large is scale, with elements and detail ranging from small to large. The rectory is large in scale for a neighborhood residential building but is dwarfed by its relationship to the larger and prominent religious building attached at its west side.
(16) Directional expression of front elevations. The front elevations of the two wings of the school building are each vertically expressed, although as joined together with the central entrance section, is neutral. The rectory and activity building are horizontal in directional expression. The built-up massing of the religious building, culminating with the lantern, has the appearance of verticality.
(17) Rhythm of building setbacks. No rhythm of setbacks exists within the two and one-half block Schoolcraft streetscape. The school building, religious building, and activities building are situated close to the public right-of-way; the rectory is set back significantly, giving prominence to the religious structure to its west.
(18) Relationship of lot coverages. The footprints of three (3) of the buildings occupy most of their lots, with a small amount of open space around their front and side perimeters, with the exception being the rectory, which has an ample front yard. The original footprint of the school building between Wisconsin and Indiana streets is H-shaped, with a front (north) and rear (south) courtyard, but a large addition extended its parcel southward, sealing off the rear courtyard from the south and providing parking off of Wisconsin Street. The school buildings, with additions, occupy approximately eighty to ninety percent (80%-90%) of its parcel. The religious structure and attached rectory with its additions, between Indiana and Kentucky streets, occupies approximately sixty percent (60%) of its block, with the religious structure occupying most of the parcel. The activities building, which occupies the east half of the block between Kentucky and Wyoming, occupies approximately sixty-five to seventy-five percent (65%-75%) of its parcel.
(19) Degree of complexity within the façades. Each of the four (4) buildings within the district have separately designed façades. The school building, which has an identical wing joined in the middle by a set-back entrance section, is nonetheless straightforward in its massing, fenestration and detail and, therefore, displays a low degree of complexity. The front façade of the rectory displays a higher degree of complexity with the western portion slightly set back, windows of different sizes, and ornamental and figurative detail. The religious structure is most complex, with its built-up massing and elaborately ornamented architecture. True to its minimalist modern style, the activities building is the least complex with regular arrangements of windows and lack of applied detail.
(20) Orientation, vistas, overviews. The buildings in the district are oriented north toward Schoolcraft Street, the major east-west thoroughfare in the vicinity, North across Schoolcraft Street are residential lots with houses fronting the north-south streets, their long side elevations facing the original religious complex. Scattered commercial and religious buildings occupy lots on Schoolcraft Street immediately beyond the historic district. Interstate 96, the Jeffries Freeway, runs in an east-west direction one long block south of the historic district, dividing the preexisting residential tracts.
(21) Symmetric or asymmetric appearance. The general appearance of the façades is symmetrical, with the exception of the rectory, which is asymmetrical.
(22) General environmental character. The four (4) buildings comprising the St. Brigid Roman Catholic Church/High Praise Cathedral of Faith Historic District built between 1924 and 1960 (absent of a later convent, since razed), are well-maintained and continue to provide a substantial institutional presence in the area. The elaborate architecture of the religious building, in particular, causes it to stand out from its environment, which is densely populated by small-medium scale, single-family houses built between the late 1920s and 1950s.
Codified by Ord. No. 29-19 (JCC. 7/16/19, Pass. 9/24/19, App. 9/25/19, Pub. 10/4/19, Eff. 10/4/19); Saved From Repeal by Ord. No. 28-19 (JCC. 7/23/19, Pass. 9/10/19, App. 9/11/19, Pub. 9/20/19, Eff. 10/1/19).
(a) A historic district to be known as the Pure Word Missionary Baptist Church/Eighth Church of Christ Scientist Historic District is established in accordance with the provisions of this article.
(b) This historic district designation is certified as being consistent with the Detroit Master Plan.
(c) The boundaries of the Pure Word Missionary Baptist Church/Eighth Church of Christ Scientist Historic District are as shown on the map on file in the office of the City Clerk, and are as follows: On the north, the centerline of Grand River Avenue: on the east, the centerline of Evergreen Road: on the south, the centerline of Puritan Street: and on the west, the centerline of Vaughan Street. (Legal Description: Land in the City of Detroit County of Wayne and State of Michigan, being Lots 51 through 66 and vacant alleys adjacent, except the part deeded for the widening of Grand River. Evergreen and Puritan Avenues, of the Houghton Manor Subdivision, as recorded in Liber 59, Page 82, Wayne County Records 22/628). Commonly known as 20011 Grand River Avenue.
(d) The defined elements of design, as provided for in Section 21-2-2 of this Code, are as follows:
(1) Height. The building at 20011 Grand River Avenue consists of a tall, two (2) story sanctuary with tower with two shorter adjoining wings: a one (1) story Reading Room wing and a two (2) story Sunday School wing.
(2) Proportion of building’s front façades. The building is wider than tall on all elevations. The sanctuary features a triangular pediment over its main entrance with two (2) story portico columns and is topped by a steeple which is significantly taller than wide, adding a vertical emphasis to the building façade.
(3) Proportion of openings within the façades. The building is composed of approximately eighty percent (80%) openings in its front façade (north elevation).
(4) Rhythm of solids to voids in the front façades. A regular rhythm of solids to voids exists on all elevations of the building. Where the building is two (2) stories tall, openings are placed one over the other by floor. Bays of windows are evenly spaced and symmetrical along the length of the building’s façade and side and rear elevations.
(5) Rhythm of spacing of buildings on streets. This district contains one (1) single building.
(6) Rhythm of entrance and/or porch projections. A tetrastyle entry portico projects forward from the sanctuary, supported by two (2) concrete steps. The portico features a triangular pediment which shelters the building’s main entrance. Concrete pavement extends forward from the steps of the entry portico to meet the public right of way along Grand River Avenue. On the façade (east elevation) of the sanctuary, a side entrance with covered porch projects forward and is approached by an asphalt driveway that meets the public right of way along Evergreen Road. On the façade (south elevation) of the Sunday School wing, a covered entrance supported by portico columns meets the rear parking lot. Other entrances do not project.
(7) Relationship of materials. The building materials are generally composed of splitface Briar Hill sandstone ashlar with Indiana limestone trim. Window sashes, muntins, and mullions are wood as well as the doors and the tower above the sanctuary. The roof is slate with copper flashing. The steeple above the sanctuary tower is sheathed in copper.
(8) Relationship of textures. The building displays an overall smooth texture. The major textural relationship is that of sandstone ashlar with mortar joints juxtaposed with limestone trim and wood and stone detail focused on door surrounds and pediments. Wood muntins and mullions on the building’s windows create textural interest. The tower and steeple display considerable textural interest.
(9) Relationship of colors. The building is clad in red-brown sandstone ashlar, which contrasts sharply with the white color of the limestone trim, window surrounds, muntins and mullions, and the wooden pediments about the building entrances. The capitals of the Corinthian columns in front of the sanctuary entrance have been altered from the original white to gold. The roof is clad in gray slate tiles which contrasts sharply with the pale green copper flashing and steeple.
(10) Relationship of architectural details. Regularly arranged, repetitive details embellish the building in the reserved Colonial Revival style. The primary façade (north elevation) of the sanctuary is dominated by a full-height portico defined by a denticulated pediment resting on Corinthian columns and pilasters. Affixed to its frieze are the words. “PURE WORD MBC.” Within the building’s entrance portico, a broken pediment surrounds a double door with transom. The end bays each feature a rectangular stone frieze with decorative stone arch and keystone with incised text reading, on the eastern end bay, “COME UNTO ME ALL YE THAT LABOR AND ARE HEAVY-LADEN AND I WILL GIVE YOU REST. MATT 11:28” and, on the western end bay, “HEAL THE SICK. CLEANSE THE LEPERS. RAISE THE DEAD. CAST OUT DEVILS. FREELY YE HAVE RECEIVED FREELY GIVE. MATT 10:8.” A cornerstone with “1938” in incised relief is found on the western end bay and a cornerstone with “EIGHTH CHURCH OF CHRIST SCIENTIST” in incised relief is found on the eastern end bay. The primary façade (north elevation) of the Reading Room wing features a prominent central mullioned window flanked by single-door openings with transom window, sidelights, and broken pediment. The primary façade (north elevation) of the Sunday School wing features a broad double-door entrance with broken pediment surround and prominent two (2) story sash windows with round heads located on the end bays. Windows typically rest on a stone sill course with stone lintels and keystone. Pronounced limestone quoins define the outer end bays of both the sanctuary and the Sunday School wing on all elevations.
(11) Relationship of roof shapes. The building’s sanctuary is front-gabled with a narrow split-faced sandstone ashlar clad chimney rising from its western gable: the Reading Room wing is side-gabled: and the Sunday School wing terminates in a hip roof with front-gable. The base of the roof is defined by a simple cornice with returns on the building’s end pavilions. Above the sanctuary, a steeple consists of a square sandstone base tower, upon which rests an eight-faceted wooden belfry and louvred lantern topped by a steep spire with finial.
(12) Walls of continuity. Not applicable due to the presence of only one (1) building in the district,
(13) Relationship of significant landscape features and surface treatments. Mature trees are found in the north and east elevations with mature shrubbery located throughout all elevations along the building footprint and paved walkways. The front lawn is covered in grass and is enclosed by a wrought-iron fence that was a later addition and does not contribute to its significance. The front lawn is crossed by sidewalks that provide access to the building’s entrances. The lawn also contains a prominent stone bulletin comprised of Split-face sandstone ashlar and capped with two (2) small stone urns. The center bulletin board is flanked by two (2) stone benches, original to the site. Two (2) identical stone benches are also placed beneath each end bay window of the Sunday School wing along the walkway. No other significant landscaping or street furniture exist.
(14) Relationship of open space to structures. The building occupies a C-shaped footprint, its primary entrance facing north. Open space exists in the broad, grassy front lawn between the building setback and Grand River Avenue. A small parking lot is located to the south of the building and provides access to the rear entrance (south elevation) of the Sunday School wing.
(15) Scale of façades and façade elements. The building façade is of a scale typical to other substantial, religious structures in Detroit from the middle of the twentieth century. Elements on the façade of the building, such as the building’s entry portico, tall sash windows, and prominent bay window, are large in scale.
(16) Directional expression of front elevations. The front elevation of the building is primarily vertical in expression due to the presence of triangular pediments, tall sash windows, chimney, a pitched roof, and a steeple consisting of a tower with a steep spire.
(17) Rhythm of building setbacks. The building features a broad setback from the public right of ways.
(18) Relationship of lot coverages. The building occupies approximately fifty percent (50%) of its lot with a broad grassy lawn with landscape treatments to the north of the building and a paved parking lot to the south of the building.
(19) Degree of complexity within the façade. A relatively high degree of complexity is found at door surrounds and pediments of the building’s main entrances as well as window openings throughout. An especially high degree of complexity is found in the architectural details of the tetrastyle entry portico and the tower and spire of the building’s steeple. Elsewhere, the building has a lower degree of complexity, with relatively simple split-faced sandstone ashlar and limestone quoins.
(20) Orientation, vistas, overviews. The building is oriented toward the north, with its primary entrance facing Grand River Avenue. One (1) additional entrance faces east towards Evergreen Road and one (1) additional entrance faces south towards Puritan Street. Its siting defines the corner and presents an anchor to the intersection of Grand River Avenue and Evergreen Road and the surrounding commercial thoroughfare.
(21) Symmetric or asymmetric appearance. The sanctuary, Reading Room, and Sunday School wings of the building are symmetrical in appearance. The front façade of the building, as a whole, is asymmetrical in appearance due to a difference in massing and openings on its northern and southern bays.
(22) General environmental character. The district consists of one (1) building facing Grand River Avenue. The surrounding area consists of scattered commercial buildings along Grand River Avenue and residential buildings south of Puritan Street. A majority of the surrounding lots contain single-family detached houses.
Codified by Ord. No. 2019-30 (JCC. 7/16/19, Pass. 9/24/19, App. 9/30/19, Pub. 10/9/19, Eff. 10/9/19); Saved From Repeal by Ord. No. 28-19 (JCC. 7/23/19, Pass. 9/10/19, App. 9/11/19, Pub. 9/20/19, Eff. 10/1/19).
(a) An historic district to be known as the Aretha Franklin Amphitheater/Chene Park Historic District is established in accordance with the provisions of this article.
(b) This historic district designation is certified as being consistent with the Detroit Master Plan of Policies.
(c) The boundaries of the Aretha Franklin Amphitheater/Chene Park Historic District are as shown on the map on file in the office of the City Clerk, and are as follows: The northeast and southwest boundaries are co-determinate with the northwest and southwest boundaries, extended northwest and southeast of the parcel described as: S E ATWATER W 124.50 FT OF CHENE FARM P C 733 LYG S OF AND ADJ ATWATER ST 50 FT WD 11/4 1 THRU 5 BLK 1 SUB OF PT JAMES CAMPAU FARM E 1/2 OF PC 91 L2 P17 PLATS, WCR 9/1 ALSO THAT PT OF THE DUBOIS FARM W 1/2 OF PC 91 LYG S OF E ATWATER ST 50 FT WD 9/11 403. The northwest boundary is the centerline of East Atwater Street. The southeast boundary is the Detroit harbor line. Commonly known as 2200/2600 East Atwater Street.
(d) The defined elements of design, as provided for in Section 21-2-2 of this Code, are as follows:
(1) Height. The buildings at 2200/2600 East Atwater Street consists of a one (1) story rectangular ticket booth, a one (1) story oval merchandising building, a five (5) level pavilion made up of a series of circular cylinders for concession, restroom, and event facilities, a one (1) story administration building, an approximately seventy (70) foot high amphitheater and stage structure constructed on top of a forty (40) foot high manmade hill (the stage is elevated approximately two (2) feet), and two art objects approximately ten (10) feet high each.
(2) Proportion of building’s front facades. All buildings are wider than tall on all elevations. The pavilion is approximately fifty-three (53) feet by one hundred and thirty (130) feet in a slightly arched shape, and features numerous round cylinder shaped buildings and structures assembled in an asymmetrical stepped pattern surrounding its main entrance with a total of five (5) levels. The stepped pattern adds a vertical emphasis to the building facade.
(3) Proportion of openings within the facades. The ticket booth building is composed of approximately eighty percent (80%) openings in its front facade (northwest elevation). The merchandising building has one opening that is approximately seventy-five percent (75%) of its front facade (north elevation). The administration building is composed of approximately fifty percent openings in its front facade (southeast elevation). The pavillion building is composed of approximately seventy five percent (75%) asymmetrical openings in its front facade (south elevation). The amphitheater structure is one hundred percent (100%) open on its entire circumference and covered by a tensile structure.
(4) Rhythm of solids to voids in the front facades. A regular rhythm of solids to voids exists on all elevations of the ticket building. An irregular rhythm of solids to voids exists on all elevations of the merchandising, pavilion, and administration building. A single void occupies the merchandising building facade. The pavilion voids are irregularly placed; some voids act as window, doorways, and viewing points. The voids are full length starting approximately three (3) feet from the floor. The administration building has minimal voids on the entire surface of the semicircular facade of the building. There is a recessed surface with a single door on the far right side of the recess. A row of three (3) fixed square panes flank the south side of the recessed entry and two sets of three (3) fixed square panes flank the north side of the recessed entry. There are single doorway voids on the south and west elevations.
(5) Rhythm of spacing of buildings on street. Spacing of buildings is based on the necessity of the logistics for the entertainment venue to provide access and security. The pavilion is directly adjacent to the amphitheater, providing an entrance for the stage and service areas. One (1) building, the ticket booth, is directly adjacent to the street.
(6) Rhythm of entrance and/or porch projections. The roof of the ticket booth project approximately two (2) feet from the facade (northeast elevation) and is unsupported. The merchandising building roof projects approximately three (3) feet on its facade (east elevation) and is unsupported. The entrance to the administrative building is recessed into the facade (southeast elevation) approximately three (3) feet for a length of approximately ten (10) feet. No consistent rhythm of entrance and/or porch projections exist amongst the buildings.
(7) Relationship of materials. The building materials are generally composed of concrete. The tensile roof consists of a Teflon coasted plastic membrane. The roof of the tensile structure is supported by concrete columns and steel poles; the structure above the stage creates a stage house base for anchoring the tensile structure. Landscape elements including sidewalk, planters, and retaining walls are concrete. Lighting fixtures outside the amphitheater area, benches, signage, and trash receptacles are metal mounted on concrete bases.
(8) Relationship of textures. The ticket booth building displays an overall smooth texture. The merchandising building has a slightly textured upper surface rising from an approximately two (2) foot base with a heavier textured vertical oriented pattern found on the surface of the pavilion and on many of the landscape retaining walls and stair risers and is intentionally similar to the surface of the Renaissance Center (General Motors Building). The pavilion consists of the same heavily textured vertical concrete surface resembling the texture of the Renaissance Center. The heavily textured vertical concrete surfaces are found on the concrete planters incorporated into the pavilion and the facing of the stairway risers.
(9) Relationship of colors. The ticket booth building is painted in green with black accents. Walkways associated with the Entry Plaza, Mall, and Festival Plaza consist of bands of tri-colored circular and wave patterns of naturally colored gray concrete with accepts of black, dark beige, and white banding. The artwork Carnival originally painted green, blue, and red is now painted light gray. The merchandising building upper surface is dark beige and the textured base is a natural colored gray concrete. The fencing, handrails and lighting in the amphitheater are painted the same green as the ticket booth. The artwork Lattice Form is painted white. The concrete surfaces of the amphitheater and the immediate surrounding walkways are a naturally colored gray. Fixed seating is white. The roof is a white membrane. The administrative building is white.
(10) Relationship of architectural details. Irregularly arranged, repetitive cylinder shape details of various heights are found throughout the property especially along the riverfront and cascading from the top of the pavilion to its base where a water feature was once installed. Cylinder shapes are arranged in an asymmetrical modern style spare of details. The primary facade (north elevation) of the pavilion is dominated by rough textured concrete with vertical textured design elements. Concrete stair risers repeat the same vertical textures. The amphitheater design intent is to allow the audience views of the river and the stage is located near the edge of the river with the entertainers facing away (north) from the river. The administrative building utilizes a vertically laid stack bond that emphasizes a vertical architectural element.
(11) Relationship of roof shapes. The roof over the ticket booth, merchandising building, pavilion, and administrative building are flat. The tensile structure roof over the amphitheater begins over the stage area and expands in a fan shape up the side of the amphitheater to the top of the hill, three interior support towers create a rise in three (3) places in the roof.
(12) Walls of continuity. Landscaped planters and retaining walls are of the same vertically oriented textured concrete as the walls of the pavilion and integrated into the landscape to provide a wall of continuity. The vertical light standards, fencing, and planted trees, where they exit, result in expressions of continuity.
(13) Relationship of significant landscape features and surface treatments. Mature trees are found on the east elevation and surrounding the amphitheater. Mature shrubbery are located throughout all elevations along the building footprint and paved walkways. The Entry Plaza, Mall and Festival Plaza, and sidewalks along the pond are flanked with grass. The hill beyond the fixed seating of the amphitheater is covered in grass, and berms on the east and west sides of the parcel are covered with grass. Collections of low level multi-height cylinder shaped landscaping features are arranged along the riverfront and within the landscaped areas and some include the vertical texturizing found on the outside of the pavilion and stair risers. A seven (7) foot high metal fence provides a security buffer along the front of the property and at each end of the pond and does not contribute because it is a feature installed outside the period of significance. A new electronic changeable sign, erected in 2019, near the Entry Plaza does not contribute to significance. The lighting fixtures, benches, and metal bollards that were replaced after 1990 period of significance.
(14) Relationship of open space to structures. Open space exists in the broad, grassy lawn, and mature landscaping. A large man made pond buffers the amphitheater from East Atwater Street. The amphitheater is covered by a tensile roof that allows the entire periphery of the amphitheater and stage to be open to the scenic views of the riverfront and mature landscape. Walkways are flat in publicly accessible areas. Small sections of ramping are present on each side of the stage for accessibility to the stage. Stairways are utilized to provide access into the pavilion, and amphitheater seating area. A driveway ending at a small parking area is located to the west side of the property to provide access to the administration building and the Detroit Water and Sewage Department building.
(15) Scale of facades and facade elements. The building facades are of a scale typical to be secondary to the large sealed amphitheater structure. The facade of the pavilion is directly adjacent to the amphitheater structure and horizontally dominates the entrance area of the amphitheater.
(16) Directional expression of front elevations. The front elevation off the ticket booth, and the merchandising building, are horizontal in expression due to the one-story with flat roof construction. The administrative building is horizontally expressed, but suggests a vertical expression due to the vertically stacked bond brick pattern. The pavilion is vertical in expression due to the arrangement of tall cylinder structures rising five (5) levels up the hill directly adjacent to the amphitheater possesses a diagonal expression, beginning at the base of the hill at the stage level and moving in a westerly diagonal direction up to the top of the forty (40) foot hill.
(17) Rhythm of building setbacks. No rhythm of building setbacks is created within the park-like setting.
(18) Relationship of a lot coverages. The buildings occupy less than thirty percent (30%) of its lot, with a broad grassy lawn with landscape treatments surrounding all buildings.
(19) Degree of complexity within the facades. A low degree of complexity is found at facade openings of the ticket office, merchandising building, and administrative building main entrances: door and window openings throughout are unadorned. A subtle but high degree of complexity is found in the architectural details of the pavilion due to the stacked nature of the cylinder shapes that create a tower of cylindrical elements with vertical texture.
(20) Orientation, vistas, overviews. The primary orientation of all buildings, amphitheater and stage structure, and objects are designed to maximize views of the Detroit River and Canada (facing south). The ticket booth building and Exit Plaza are oriented to face East Atwater Street (facing north). The pavilion openings provide frames for viewing the mature landscape and water features. The amphitheater provides patrons vistas of the Detroit River and is the backdrop for the stage. The parcel was designed to engage and connect people with the natural beauty of the riverfront with the City of Detroit as its backdrop by placing mature trees into the landscape.
(21) Symmetric or asymmetric appearance. The arrangement of buildings, structure and objects are asymmetric because it was consciously designed by the landscape architect to maximize views of the Detroit River and landscape.
(22) General environmental character. The district consists of a multi-building entertainment venue that’s interrelationship is to enjoy the entertainment complimented within its natural environment. Walkaways are organically arranged to invite people to meander and stop to enjoy views of the water and landscaping elements. The surrounding area directly adjacent consists mostly of vacant lots used for patron parking. There are scattered commercial buildings along East Atwater Street between Chene and Joseph Campau Streets. Immediately adjacent to both east and west sides of the parcel are parcels undergoing development as additional outdoor recreation venues that will provide a consistent link of riverfront parks connected by a pathway to be utilized by the public.
Codified by Ord. No. 2019-45 (JCC. 11/12/19, Pass. 11/26/19, App. 11/27/19, Pub. 8/31/20, Eff. 12/16/19).
(a) An historic district to be known as the Shalom Fellowship International Ministries/ Fourteenth Avenue Methodist Episcopal Church Historic District is hereby established in accordance with the provisions of this article.
(b) This historic district designation is hereby certified as being consistent with the Detroit Master Plan of Policies.
(c) The boundaries of the Shalom Fellowship International Ministries/Fourteenth Avenue Methodist Episcopal Church Historic District are as shown on the map on file in the Office of the City Clerk, and are as follows: On the north, the centerline of Poplar Street; On the east, the centerline of 14th Street; On the south, the south line of Lot 287 of the Subdivision of the Godfrey Farm, L1 P293 Plats, W.C.R.; and On the west, the centerline of the alley running north-south between 14th Street and 15th Street (legal description: West 14th 289 thru 287 Sub of Godfroy Farm, L1 P293 Plats, W.C.R.).
(d) The defined elements of design, as provided for in Section 25-2-2 of this Code, shall be as follows:
(1) Height. The religious building at 4001 14th Street consists of a tall, two story space on a high basement with a taller three-stage tower at its northeast corner. The associated residential building is two stories tall.
(2) Proportion of building's front façade. The religious building is wider than tall on all elevations. The front façade is articulated in three sections: the prominent, slightly projecting central entrance section with a triangular gable, the lower aisle section to the south, and the tall northeast corner tower. The secondary north elevation along Poplar Street features three regularly spaced bays, a shallow transept arm, and a one-story end section. The front façade of the residential building is wider than tall but appears square in form.
(3) Proportion of openings within the façade. The front façade of the religious building consists of approximately 15 percent openings. A large double-door entrance opening with a transom above is centrally positioned on the first floor; a large tracery window is set at the choir loft level directly above. A small, narrow window opening, taller than wide, flanks the entrance opening, and a slightly larger window occupies the south aisle section of the front façade. Square basement windows on the front façade and transept are protected with metal bars. The front (east) face of the tower has a single entrance opening in its first floor at grade, a narrow window taller than wide at its second stage, and, on all four elevations, a large, louvered window opening at its top stage. The north elevation features large square openings containing metal replacement windows at the second level and brick filled similar openings on its first story. Its transept has a single entrance opening with a window above; the rear elevation has small, boarded or brick-filled windows. The residential building has approximately 35 percent openings in its front façade. Most are taller than wide and contain double-hung sashes, with the exception of the opening, now boarded, to the south of the entrance, which is wider than tall.
(4) Rhythm of solids to voids in the front façade. Each of the three vertical sections of the front façade of the religious building are fenestrated individually, with openings centered horizontally within their wall surfaces and, where there are two or three stories, openings spaced one above the other. Bays of windows are evenly spaced and symmetrical along the length of the religious building's north elevation to the transept, which breaks the rhythm. A rhythm of solids to voids also exists on the residential building, with pairs of one-over-one sash windows located in box bays at second story level directly above the entrance opening on the north side of the front façade and a large window opening, now boarded, on the south side. Its dormer has an eight-over-one sash triple window opening.
(5) Rhythm of spacing of buildings on streets. No discernible spacing pattern exists: the buildings are surrounded by vacant land.
(6) Rhythm of entrance and/or porch projections. No rhythm of entrances or porch projections exists between the two buildings. Both buildings have substantial porches on their front façades; the porch of the residential building is off-center, under a roof supported by square piers, while the porch of the religious building is centered on the front façade and is uncovered. Both buildings are accessed by several steps up the graded front yard leading to their north steps.
(7) Relationship of materials. The major building material of both buildings is brick. The religious building is trimmed in Bedford limestone and has masonry steps: the rectory also has masonry trim and steps. Major wooden elements of the religious building include the tracery on the front façade and window hood on the north elevation. Wood window frames filled with stained glass exist on the front façade; metal windows and doors have replaced original wood frames on the side elevations, with the exception of those on the sub-floor level of the south elevation. The main front double-doors and tower door have been replaced by metal framed doors. The residential building features wooden elements such as eave brackets and shingled box bays. The roof of the religious building was originally slate with copper flashing: both buildings are now clad in asphalt shingles.
(8) Relationship of textures. The major textural relationship of the religious building and residential building is that of stretcher bond, variegated brick with mortar joints juxtaposed with smooth masonry trim and wood, Textural interest of the religious building is focused on the door surrounds, front cable, and tower. Wooden elements such as window frames, shingles and detail, provide textural interest, as does the repetition of small stained glass window panes. Asphalt shingled roofs generally do not add to textural interest,
(9) Relationship of colors. The two buildings are clad in reddish-orange brick which contrasts sharply with the beige color of the masonry trim. Window frames, mullions and munitions on the front façade of the religious building appear to be weathered white: they are filled with green opalescent stained glass panes. Replacement windows on the side elevations are brown. Steps to the church are presently painted gray: light posts and wing walls are painted a light orange. Wooden trim on the residential building appears to be pale yellow and shingles on the bays and dormers are brown. Roofs of both buildings are brown. The original colors, as determined by professional analysis, are always acceptable for the building and may provide guidance for similar buildings.
(10) Relationship of architectural details. The Neo-Gothic style of the religious building is defined by its steep gable roof. Gothic-arched tracery window, wall buttresses, crenelated tower, and unifying stone banding and trim. Detail is concentrated on the central entrance bay. Several steps between wide, sloping wing walls lead to the main entrance, which is set within a buttressed, gabled limestone frame with tabs and composed of double doors with a Gothic arched, three-part transom above. At the upper level is a large tracery window framed by a gabled arch. At the apex of the gable is a stone crest set into a square block. To the north of the central bay is the three-stage tower anchoring the northeast corner of the building. It has a stone gable framed entrance at ground level: a single small elongated window at mid-level, and a pair of louvered windows at the top. Small rectangular panes of green opalescent stained glass occupy the windows on the front façade and tower. To the north of the entrance, beneath the water table and foundation stone, are two cornerstones of inscribed text, the bottom one in three lines: HAVEN 1871: ARNOLD 1888: UNITED 1911 and the top one in four lines: FOURTEENTH AVENUE; METHODIST; EPISCOPAL CHURCH, 1912. The residential building is devoid of ornamentation: architectonic elements such as the square brick porch columns, eave brackets, and shingled box bays define the style and period of the building.
(11) Relationship of roof shapes. The religious building has a front gabled roof; its tower roof cannot be seen from the street. The single story rear section has a flat roof. The roof of the residential building and its dormers are hipped.
(12) Walls of continuity. The two building façades do not result in a consistent pattern amongst themselves or the rest of the streetscape, which consists of vacant land.
(13) Relationship of significant landscape features and surface treatments. Both buildings sit on graded lots with ample front lawns. Each is accessed off of concrete walkways with steps extending from the public sidewalk to their front porches. The church building, located on the comer also has access from Poplar Street on its north side by way of a concrete walkways from the public sidewalk leading to the east face of the tower at the northwest corner and to the north transept, which also has a concrete sloped accessible ramp. Overgrown foundation plantings are present on the front (east) and south elevation of the residential building. No other significant landscaping or street furniture exist.
(14) Relationship of open space to structures. Open space in the form of sloping grass turf front lawns occupy the front yards of the religious and residential buildings, as well as a shallower lawn space on the north, or Poplar Street, elevation. A large rear grass yard also exists to the rear of the rectory, exposing the rear of the south elevation of the religious structure to view. Beyond the property lines of the district is an ample amount of open space.
(15) Scale of façade and façade elements. The religious building façade is of a scale of a moderately sired religious structure in the City of Detroit. Elements within the façade range from large, as are the gable and tracery window, to small, as are the slender windows. The residential building is typical of a moderately scaled, solidly built, middle class residential “four square” style building of the 1910s.
(16) Directional expression of front elevation. The front elevation of the religious building is vertical in expression due to the tall pitched cable roof and the comer tower. The residential building is neutral in directional expression.
(17) Rhythm of building setbacks. The buildings are set back considerably from the public right of way of 14th Street, with less of a setback on Poplar. The two buildings maintain a rhythm on the north end of their block of 14th Street.
(18) Relationship of lot coverage. The religious building occupies approximately 80 percent of the lots it occupies, the residential building occupies approximately 30 percent of its lot.
(19) Degree of complexity within the façade. Both of the building's front façades are straightforward in their massing, fenestration, and architectural detail, resulting in a low degree of complexity.
(20) Orientation, vistas, overviews. The two buildings are oriented toward 14th Street; the religious building has a secondary entrance along Poplar Street in the north transept arm. The tower of the religious building firmly anchors the corner of 14th Street and Poplar Street in a residential area that is surrounded by vacant land. The religious building stands out from its surroundings due to its scale and silhouette.
(21) Symmetric or asymmetric appearance. The religious building is asymmetrical in appearance, its northwest tower dominating the front (east) and north façades. The residential building is also asymmetrical, with its entrance and porch on the north half of the front façade. However, both buildings are straightforward in their architectural arrangements.
(22) General environmental character. Once located in a densely populated neighborhood of small-scale, late 19th Century brick and wood frame houses, the setting of Shalom Fellowship International Ministries/Fourteenth Avenue Methodist Episcopal Church Historic District is now a sea of vacant land. Consequently, the religious building is removed from its historic context, while at the same time signaling opportunity for future development due in its location in the near north west area of Downtown Detroit, north of the Corktown Historic District and west of the Woodbridge Historic District.
Codified by Ord. No. 2020-3 (JCC. 1/14/20, Pass. 2/4/20, App. 2/10/20, Pub. 3/24/21, Eff. 2/19/20).
(a) An historic district to be known as the Blue Bird Inn Historic District is hereby established in accordance with the provisions of this article.
(b) This historic district designation is hereby certified as being consistent with the Detroit Master Plan of Policies.
(c) The boundaries of the Blue Bird Inn Historic District are as shown on the map on file in the Office of the City Clerk, and are as follows: On the north, the centerline of Tireman Avenue; on the east, the east line, as extended north and south, of lot 32 of the Beech Hurst William L. Holmes Subdivision, L17 P40, WCR; on the south, the centerline of the east-west alley south of Tireman Avenue; and on the west, the west line, as extended north and south, of lot 32 of the Beech Hurst William L. Holmes Subdivision, L17 P40, WCR.
(d) The defined elements of design, as provided for in Section 21-2-2 of this Code, shall be as follows:
(1) Height. The building at 5021 Tireman Avenue consists of a single, low, one-story brick commercial building with a flat roof.
(2) Proportion of building’s front façade. The front façade is wider than tall.
(3) Proportion of Openings Within the Façade. The front façade consists of approximately 30 percent openings. A small single-door entrance opening is centrally positioned with a recessed vestibule and two single-door entrance openings behind. A small narrow window opening, taller than wide, flanks the entrance opening and a large, rectangular window opening, wider than tall, occupies each bay.
(4) Rhythm of solids to voids in the front façade. Openings in the front façade are regularly arranged and symmetrical with a horizontal flow.
(5) Rhythm of spacing of buildings on streets. The Blue Bird Inn is a single building district: therefore, no rhythm is created. However, the building abuts its neighbors to the east and west on Tireman Avenue, creating continuity along the streetscape. All of the buildings on the block of Tireman Avenue between Beechwood and Whitewood Streets have zero setback, that is, are set at the public right-of-way.
(6) Rhythm of entrance and/or porch projections. The Blue Bird Inn is a single building district; therefore, no rhythm is created. However, the progression of storefront openings to the east and west on Tireman Avenue results in a rhythm of entrance configurations flush against the front façade.
(7) Relationship of materials. The major building material is brick with concrete trim details on the front façade. Face brick on the front façade changes to common brick for the rear and side elevations. A smooth stucco veneer has been applied to the storefront openings on the front façade. Aluminum window frames are filled with glass block and plywood on the front façade. The rear addition is comprised of concrete block, its aluminum window frames covered with metal bars. The building is clad in asphalt shingles.
(8) Relationship of textures. The major textural relationship is that of stretcher bond, vertical-scored brick with mortar joints juxtaposed with smooth concrete surrounds. The smooth stucco veneer, aluminum window frames, and glass block windows also add textural interest to the front façade. Asphalt shingled roofs generally do not add to textural interest.
(9) Relationship of colors. The building is clad in orange and beige brick which results in a colorful pattern. Light concrete surrounds provides contrast to the darker materials. The applied stucco veneer has been painted cobalt blue and contrasts sharply with the other materials. Other colors painted on the stucco veneer include light pink, white, black and brown, although the application of these colors occurred outside the period of significance. The windows, lacking a high degree of transparency, appear light grey in the daytime.
(10) Relationship of architectural details. The building is commercial vernacular in style. Architectural detail is concentrated at the brick parapet modestly decorated with a central Roman arch inlaid with a rosette concrete medallion, alternating brickwork, and concrete running belt course. A horizontal, electric marquee protrudes above the entryway with the building’s name: “THE BLUE-BIRD INN.”
(11) Relationship of roof shapes. The building’s flat roof is not visible from the street.
(12) Walls of continuity. Not applicable due to single-building district, although a wall of continuity is created along the Tireman Avenue streetscape as all surrounding buildings are located on the building (lot) line.
(13) Relationship of significant landscape features and surface treatments. The front façade abuts the concrete public sidewalk. The building’s rear elevation features a broad, grassy lawn that extends to the rear alley. No other significant landscaping or street furniture exist.
(14) Relationship of open space to structures. Open space in the form of a large grass yard exists in the rear elevation.
(15) Scale of façade and façade elements. The Blue Bird Inn is a moderately sized commercial building typical of the 1920s. Larger elements within the façade, such as the glass block windows, are balanced with repetitive small-scaled detail, such as the ornamental brick and concrete.
(16) Directional expression of front elevation. The front elevation is somewhat horizontal in expression due to the parapet’s running belt-course and the rectangular stucco veneer applied to the storefront openings.
(17) Rhythm of building setbacks. The building extends to its lot line, resulting in no setback and continuing the common rhythm of buildings along the Tireman Avenue streetscape.
(18) Relationship of lot coverage. The footprint of the building occupies approximately 70 percent of its lot.
(19) Degree of complexity within the façade. The building’s front façade is straightforward in its massing, fenestration, and architectural detail, resulting in a low degree of complexity.
(20) Orientation, vistas, overviews. The Blue Bird Inn is oriented north towards Tireman Avenue on a neighborhood commercial thoroughfare.
(21) Symmetric or asymmetric appearance. The building is symmetrical in appearance.
(22) General environmental character. The Blue Bird Inn is located in the middle of the block in a low-scale, mixed-use neighborhood commercial district. Commercial buildings of similar scale and vernacular style run alone the streetscape of its block on the south side of Tireman Avenue; an uninterrupted row of single family homes occupies the north side of Tireman Avenue; and a low-density residential neighborhood scattered with vacant lots continues across its alley to the south.
Codified by Ord. No. 2020-34 (JCC. 9/15/20, Pass. 10/6/20, App. 10/7/20, Pub. 3/22/21, Eff. 10/21/20).
(a) A historic district to be known as the William E. Higginbotham School Historic District is established in accordance with the provisions of this article.
(b) This historic district designation is certified as being consistent with the Detroit Master Plan.
(c) The boundaries of the William E. Higginbotham School Historic District are as shown on the map on file in the office of the City Clerk, and are as follows: Beginning at the southwest corner of lot 284 of “Detroval Gardens Subdivision No. 1” as recorded in Liber 2, Page 27 of Plats, Wayne County Records, thence N 00D 00M 24S E 427.78 ft. along the east line of Indiana Street, 50 ft. wide, thence N 89D 58M 00S E 324.33 ft., thence S 00D 00M 24S W 427.78 ft. to the north line of Chippewa Avenue, 50 ft. wide, thence S 89D 58M 00S W 324.33 ft. to the point of beginning. Boundaries also include the east half of Indiana Street adjacent and the north half of Chippewa Street adjacent. (Legal description: E WISCONSIN ALL 205 THRU 214 275 THRU 284 PART OF 274 215 152 THRU 162 PART OF VAC WISCONSIN AVE VAC ALLEY ADJ DETROYAL GARDENS SUB L35 P77 PLATS, W C R 16/364). Commonly known as 8730 Chippewa.
(d) The defined elements of design, as provided for in Section 21-2-246 of this code, are as follows:
(1) Height. The William E. Higginbotham School Church is one and two-and-a-half stories (2 1/2) stories tall. A series of additions were constructed across the back of the building in 1928, 1944, and 1946.
(2) Proportion of building’s front façades. The six (6) bay wide, east-facing front façade of the William E. Higginbotham School is wider than tall. The asymmetrical front façade of the building and its entrance occupies the second of six (6) bays from the south end. The west façade along Indiana Street is also wider than tall with ten (10) bays, the west façade is wider than that of the east-facing front façade.
(3) Proportion of openings within the façades. The William E. Higginbotham School is composed of approximately forty-five per cent (45%) openings in its front façade. Most of the openings in the front (east) and west façades are covered with wood boards, although historic photographs and photos from 2015 show the original window proportions. All of the windows of the front (east) façade were of the wood double-hung sash variety with four-over-four window panes, resulting in individual window units that are almost two and one-half (2 1/2) times taller than wide. They are arranged in groupings of five (5) window units per opening sharing a common sill. One window in each classroom has been replaced by a modern anodized aluminum window to facilitate emergency egress. Random windows have been replaced or removed to accommodate air conditioning units. Above the main entry door on the front (east) façade is an arched multi-pane window. The entry doors are double wood doors with three vertical windows with square lights above. The wood windows of the west façade are similar four-over-four windows at the northern side of the west façade. At the north side, a group of double four-over-four grouped windows flank each side of the groupings of five (5) windows. At the south side of the west façade the windows are arranged in groupings of three (3) per opening and sharing a common sill. In the southernmost bay of the west façade are smaller, fixed four-over-four windows arranged in groupings of three (3). At the projecting shed-roofed side-aisle at the west façade are two (2) individual two-over-three window units. The off center, gabled entry bay on the (west) façade has an arched five-over-four narrow individual window unit centered over the entry door. The eastern bays at the south façade contain the same groupings of five (5) window units composed of four-over-four double-hung wood windows at the first and second floors. Proportions of openings on the south façade are similar to those of the front façade. Above the auditorium entrance is an arched multi-pane window. The north façade has a large multi-pane window above the gymnasium entry door. The east side of the north façade has a tall window at the second story over the entry door at the north façade. Wide windows are on the westernfacing side of the original building, although they are boarded and not visible at this time.
(4) Rhythm of solids to voids in front façades. The strong rhythm of solids to voids is created by the repetitive arrangements of windows on the front (east) façade. On the front façade, window arrangements are identical on the first and second stories, with the exception of the entrance bay, and, being separated by brick piers, create a regular progression of openings. The bell tower at the south side of the front façade has two (2) louvered openings on each façade. The bell tower on the north side of the building has three (3) louvered openings on the north and south sides of the bell tower. There are no openings in the basement level of the front (east) façade.
(5) Rhythm of spacing of buildings on streets. Not applicable due to single building district.
(6) Rhythm of entrance and/or porch projections. The Wisconsin Street (east) entrance to the William E. Higginbotham School is located off-center, between the southernmost bay and the next bay to the north. It is approached from a concrete walkway that extends from the public sidewalk and extending to the concrete deck in front of the doorway. The Chippewa Street entrance is located at the western side of the façade. It is approached from a concrete walkway that extends from the public sidewalk and extending to the concrete deck in front of the doorway, and a concrete step that leads to the door. The Indiana Street entrance is located in the near-center of the west façade, between the auditorium and gymnasium. It is approached from a concrete walkway that extends from the public sidewalk and extending to the concrete step in front of the doorway. On the north façade, a slightly projecting onestory tall entryway is centered in the gymnasium wall. The entryway has a recessed double entry door. The gymnasium door is approached from a concrete walkway adjacent to the asphalt parking lot. There is an entry door at the east side of the north façade in the original school building. The entryway projects slightly from the façade and is approached from a concrete walkway at the north side of the building.
(7) Relationship of materials. The steel-framed building is faced in beige brick with cast stone decorative details, limestone sills, and clay roof tiles. A wrought iron Juliette balcony railing is over the main entry door. Window surrounds and sashes are of wood. The rear addition at the west (Indiana Street) façade is brick and has cast stone surrounds, a string course and limestone window sills.
(8) Relationship of textures. The major textural relationship is that of brick laid in running bond juxtaposed with decorative brick work and limestone and cast stone banding, medallions and reliefs. Decorative dark red brickwork frames entry doors, entry way upper levels, and piers on every façade. Repetition of piers separating groupings of windows adds considerably to textural interest.
(9) Relationship of colors. The brick is beige-colored and contrasts with the gray color of the limestone and cast stone ornamentation. Dark red brick was used to create a contrasting color in the decorative brick work resembling quoins. Window frames and surrounds are painted dark red. The doors of the building have been painted bright red. The clay tile roofs on the western and southern half of the building are light orange colored. The Spanish clay tile roof on the eastern side of the building is dark brown. Bright colors were painted on the door surrounds on the eastern and western façades in the mid-2000s. The original colors as determined by professional analysis are always acceptable for the building and may provide guidance for similar buildings.
(10) Relationship of architectural details. The most significant architectural detail of the Mediterranean Style building are its flat-centered, Spanish clay tile hip roofs at various levels on each façade. Significant architectural details are on each off-center entrance bay on each façade. The pattern of stacked, quoin-like squares with outlines of reddish brown brick runs along the building’s piers and top edges. This same running pattern lines the corners of the building as well. At the east façade entry, panels of cast stone ornamentation extend from the flanking column capitals of the entrance, rising to the height of the second-story window, and are topped with miniature engaged obelisks. On the south façade’s upper east corner, a cast stone cartouche features the lamp of knowledge, stars, fleur-de-lis, ceramic tile inserts; decorative scrolls, and classical motifs surround the cartouche. In general, the building’s south and east façades have low relief architectural detail in brick and stone.
(11) Relationship of roof shapes. The flat concrete slab-and-beam roof structure over the original north-south section of the building is not visible behind the hipped decorative tile roofs on various portions of the building. The roof shape over the front (east) façade is a low-pitch hipped roof with a flat center. The roof at the Chippewa Street (south) façade is a shed roof with a flat center. On the Indiana Street (west) façade, the roof over the west entry door at the one-and-a-half (1 1/2)-story tall entryway is gabled. There is a one (1) story shed-roofed side-aisle on the west façade, south of the entry door that displays an orange Spanish clay tile roof. The roof of the Indiana Street (west) façade is flat on its southern side (over the auditorium) and hipped at the center, with a flat section to the north side over the gymnasium. The north façade, at the gymnasium section of the building, has a flat roof. There is a flat roof over the utility room (an addition) at the center of the north façade. The Spanish tile is regularly laid on the various roof sections.
(12) Walls of continuity. Not applicable due to single building district.
(13) Relationship of significant landscape features and surface treatments. The building is set back from the former (now vacated) Wisconsin Street, Chippewa Street, and Indiana Street with a slightly graded, flat, grassy lawn containing several large maple and honey locust trees. Overgrown shrubs line the west, south, and east elevations at the building’s base. A flagpole is centered on the south lawn of the building at Chippewa Street. No other significant lighting fixtures or street furniture exist.
(14) Relationship of open space to structures. Open space is created by the siting of the building on a comer lot and its setback from Chippewa and Indiana Streets. Open space exists in the broad, grassy lawn and mature landscaping surrounding the building. To the east of the building is a paved surface parking lot and the Johnson Recreation Center (8550 Chippewa). To the north of the building is an asphalt surface parking lot followed by the grassy open playfield of Higginbotham School. To the north east of the building is the Joe Louis Playfield, a city-owned recreation field with baseball diamonds, a basketball court, and playground equipment. On the surrounding streets of Norwalk, Chippewa, and Indiana are residential structures with similar front setbacks and front lawns.
(15) Scale of façades and façade elements. William F. Higginbotham School is a moderately scaled institutional building that has mostly small-scaled detail on its front (east), south, north, and west façades. Architectural elements such as piers and window units are appropriately scaled.
(16) Directional expression of front elevations. The front elevation of the William E. Higginbotham School is horizontal in directional expression, but balanced by the height of the hipped roofs, the piers on each side of the main entry door, and the vertically-expressed bell towers.
(17) Rhythm of building setbacks. Not applicable due to single building district. The Chippewa Street setback of the building roughly corresponds to the setback of the Johnson Recreation Center built in 1977 (8550 Chippewa Street).
(18) Relationship of lot coverages. The footprint of the William E. Higginbotham School occupies approximately forty percent (40%) of its parcel.
(19) Degree of complexity within the façades. The front (east) façade is straightforward in massing, orderly in its placement of detailing, and regular in its window placement resulting in a fair degree of complexity overall. A fair degree of complexity is found in the building’s brickwork details surrounding the front entry door and at the corner piers.
(20) Orientation, vistas, overviews. The William E. Higginbotham School is oriented toward the former Wisconsin Street, a vacated north-south running street. The vista to the north and east of the building is comprised of flat grassy fields, as well as the mature trees of the landscape to the south and east. The general overview is of a high-density, one and one half (1 1/2) and two (2) story, residential neighborhood of single- family houses.
(21) Symmetric or asymmetric appearance. The appearance of the front façade of William E. Higginbotham School is asymmetrical, due to the south-of-center positioning of the entrance bay and bell towers. The south and west façades are also asymmetrical due to the additions of the auditorium and gymnasium spaces, and the removal of a conservatory on the south façade. The north façade is asymmetrical and has a large smokestack at the center with utility rooms to its east and south; an entry to the gymnasium is on the west side of the north façade.
(22) General environmental character. The William E. Higginbotham School Historic District consists of an architecturally and historically significant institutional building situated at the northeast corner of Chippewa Street and Indiana Street in the Eight Mile Road-Wyoming neighborhood. The building sits on the southwest corner of a park-like area containing grass fields, sports fields, parking lots and mature trees. The building and the surrounding fields and Johnson Recreation Center sit centered among an early twentieth- century previously established residential neighborhood extending south from Eight Mile Road, west to Monte Vista Street, south to Pembroke Street and east to Woodingham Drive. The surrounding area consists of single-family homes in a high-density residential neighborhood.
Codified by Ord. No. 2021-5 (JCC. 1/12/21, Pass. 2/2/21, App. 2/3/21, Pub. 3/5/21, Eff. 3/5/21).
(a) A historic district to be known as the Johnson Recreation Center and Joe Louis Playfield Historic District is hereby established in accordance with the provisions of this article.
(b) This historic district designation is hereby certified as being consistent with the Detroit Master Plan.
(c) The boundaries of the Johnson Recreation Center and Joe Louis Playfield Historic District are as shown on the map on file in the office of the City Clerk, and are as follows: Beginning at the southeast corner of lot 531 of “Detroval Gardens Subdivision No. 1” as recorded in Liber 2, Page 27 of Plats, Wayne County Records, thence S 89D 58M 00S W 519.73 ft. along the north line of Chippewa Avenue, 50 ft. wide, thence N 00D 00M 24S E 427.78 ft., thence S 89D 58M 00S W 324.33 ft. to the east line of Indiana Street, 50 ft. wide, thence N 00D 00M 24S E 377.09 ft. to the south line of Norfolk Street. 50 ft. wide, thence N 89D 59M 54S E 844.91 ft., to the west line of Cherrylawn Street 50 ft. wide, thence S 00D 04M 03S W 804.40 ft. to the point of beginning. Boundaries also include the west half of Cherrylawn Street adjacent, the north half of Chippewa Street adjacent, the east half of Indiana Street adjacent, and the south half of Norfolk Street adjacent. (Legal description: N CHIPPEWA AVE 531 THRU 550 DETROYAL GARDENS SUB NO 1 L42 P27 PLATS, W C R 16/365; ALL 21 THRU 40 83 THRU 102 143 THRU 151 216 THRU 224 265 THRU 273 PART OF 274 215 AND 152 THRU 162 DETROYAL GARDENS SUB L35 P77 PLATS, W C R 16/364; ALSO VAC OHIO AVE VAC WISCONSIN AVE AND VAC ALLEYS ADJ). Commonly known as 8550 Chippewa.
(d) The defined elements of design, as provided for in Section 21-2-247 of this Code, shall be as follows:
(1) Height. The building at 8550 Chippewa Street consists of one (1) and two (2) story sections. The building has sections that include the gymnasium at the west and the natatorium at the east that are two stories in height, while the main entry vestibule, office space, class rooms, locker rooms, and boxing rink are one-story in height.
(2) Proportion of Building’s Front Façade. The building is wider than tall on all elevations. The building is approximately one hundred and fifty-six (156) feet long by two hundred and thirty-seven (237) feet wide in a roughly rectangular shape plan with various setbacks. The building features rounded corners at each corner. Its main entrance is at the onestory center section of the building, giving horizontal emphasis to the building’s front (south) façade.
(3) Proportion of Openings Within the Façade. The building is composed of approximately ten percent (10%) openings in its front façade (south elevation). The main entrance is at the western side of the front façade, a small window is east of the main entrance, and a second entrance is at the eastern side of the front façade.
(4) Rhythm of Solids to Voids in the Front Façade. An irregular rhythm of solids to voids exists on the front elevation of the building. The building's voids are irregularly placed: one void acts as a window, and two are doorways. The doorway voids are full length starting at the ground level. The building has minimal voids on the entire surface of the building. There is a horizontal window with a row of six (6) fixed vertical panes east of the recessed main entry. There is a single doorway void on the east side of the front elevation.
(5) Rhythm of Spacing of Buildings on Streets. Spacing of buildings on surrounding streets: Chippewa. Cherrylawn, Indiana, and Norfolk Streets are mainly comprised of single-family homes. The rhythm of single family homes are typically one per thirty (30) foot lot. William E. Higginbotham School is approximately one block west of the building, and it has the same setback and scale of the building.
(6) Rhythm of Entrance and/or Porch Protections. The main entry is recessed approximately eight (8) feet from the façade (south elevation) and is unsupported. The east entrance to the building is recessed into the façade (south elevation) approximately seven (7) feet. There is a rounded roof overhang at the southwest comer of the building for another entry door. No consistent rhythm of entrance and/or porch projections exist on the building.
(7) Relationship of Materials. The building materials are generally composed of brick. The brick is a variation of orange and brown colors. The flat roof is topped with a rubber membrane. Landscape elements including sidewalks, planters, and concrete paver entry ways. Planter retaining walls are faced in the same orange and brown brick that is on the building. Tall metal pole lighting fixtures are in the building’s planters along with a flag pole. On the east side of the parking lot are bicycle racks formed in half-circle steel pipes set in concrete. The landscaping surrounding the building includes different varieties of mature trees and grass.
(8) Relationship of Textures. The building displays an overall smooth texture. The brick façade is composed of orange and brown face-brick veneer set in mostly running bond pattern with double rows of soldier-course bond at the base, middle window level, and middle top of the building. At the frieze level of the building are two single rows of soldier course brick, and a double row at the parapet level. All of the soldier courses of brick are proud of the running bond brick, creating a texture to the façades. There is metal coping at the roofline. The curved planters incorporate the same brick set into soldier courses.
(9) Relationship of Colors. The Johnson Recreation Center is faced in orange and dark brown colored brick set in a random pattern. There is white lettering for “JOHNSON RECREATION CENTER” on the western side of the primary (south) façade. White aluminum light fixtures are in the planting areas at the south side of the building, as well as in the parking lot planters. Vertical slats of grey metal screening on the rooftop of the center section of the building is visible from the north and south façades. Metal coping at the roofline of the building is light grey. Doors are not visible and are covered by grey metal roll-down security gates. The small windows on the south and west façades have brown metal surrounds. The planters at the south and west sides of the building have the same orange and brown brick facing with a grey concrete coping. The grassy planting areas and trees provide contrasting green. Walkways consist of slabs of naturally colored gray concrete.
(10) Relationship of Architectural Details. The building is designed in the Organic Style of architecture and all of the corner edges of the building are rounded curves, creating a curvilinear corner at each side of the building. The building’s Chippewa Avenue elevation is the primary façade, (the south façade). The Chippewa Avenue façade has two main entrances to the building. There is white lettering for “JOHNSON RECREATION CENTER” at the second story of the western side of the Chippewa Avenue façade. On the south façade is a one-story section containing a wide entry supported by a long truss overhead. The brick veneer sheathing the building is mostly laid in running bond, and double rows of soldier-course bond line the base, middle and parapet of the building. There is metal coping at the roofline. The building’s elevation (the north façade) facing the Joe Louis Playfield is windowless and also has rounded corners and varying setbacks for the three main sections of the rear of the building. There is a rounded cornered, one-story recessed entry at the junction of the pool and rear room of the building. Most of the building is windowless. The Chippewa Avenue (south) façade is windowless with one exception; a three part horizontal window that lights the community meeting room. There is a deeply recessed three-door pedestrian entry at the west side of the Chippewa Avenue façade (currently a roll-down security door is in place). Another recessed double-door pedestrian entrance is at the east side of the Chippewa Avenue façade. On the roof above the three-door entry, running east along the building is a roof-top metal screen that hides the heating, ventilation and air cooling systems on the roof.
(11) Relationship of Roof Shapes. The building’s flat roof is not visible from the street.
(12) Walls of Continuity. Landscaped planters’ retaining walls are of the same vertically oriented brick as the walls of the building and integrated into the landscape to provide a wall of continuity. The vertical light standards, chain link fencing, and planted trees, where they exist result in expressions of continuity.
(13) Relationship of Significant Landscape Features and Surface Treatments. Within the planting areas of the Chippewa Street (south) side of the parcel are undulating, gently raised planting areas that reflect the curved nature of the building. Mature trees are found on the south elevation’s planting areas, on the west elevation within the parking lot, on the west elevation in the lawn south of the parking lot and along the eastern elevation of the entire Cherrylawn Street elevation. The south side of the property, southwest side, the north and east sides of the property have grass lawns. The Joe Louis Playfield’s boundary is a ten acre-rectangular site located to the north of the building and is bounded on the north by Norfolk Street; on the east by Cherrylawn Street; on the south by Chippewa Street; and on the west by the vacated Wisconsin Street. The property boundary continues to west of the vacated Wisconsin Street to include the former playfield of the Higginbotham School. The Higginbotham School playfield is not fenced and is covered in grass. The parcel boundary runs south to the parking lot of the Higginbotham School creating an “L” shape. There is a sidewalk that runs north-south from Chippewa Street to Norwalk Street along the route of the former Wisconsin Street (now vacated). There is gravel in the baseball diamond at the western side of the property, and an asphalt-paved regulation-size basketball court at the north side of the property. There is a baseball diamond at the northeastern corner of the property. The southeast side of the property contains a curved concrete sidewalk leading from the building to playground equipment at the east. Berms on the east side of the property are covered in grass. There is concrete paving that abuts the curb of Chippewa Street at the south elevation of the parcel. A four and a half (4 1/4) foot high aluminum chain link fence provides a security buffer along the west and north side of the property. There is a fifty-six space asphalt-paved parking lot that has rectangular concrete planting areas holding full-growth trees. Two parking lot lighting fixtures are centered in the parking lot planting areas. Metal bollards are at the entry of the parking lot to provide support for a barrier chain.
(14) Relationship of Open Space to Structures. Open space exists in the broad, grassy lawn and mature landscaping surrounding the building. The Joe Louis Playfield provides open space in contrast to the surrounding single-family homes on the streets bordering the property: Cherrylawn, Chippewa, Norfolk, and Indiana Streets.
(15) Scale of Façade and Facade Elements. The building’s scale is one and two-stories tall to reflect the scale of the surrounding single-family homes as well as the flat parkland of the Joe Louis Playfield. The primary (south) façade of the building has low-scale, subtle elements including repetitive brick detailing creating a smooth façade and rounded corners at each corner.
(16) Directional Expression of Front Elevation. The front elevation of the building is horizontal in expression due to its flat roof construction. The parapet’s running brick belt course and the two lower belt courses express horizontality. The building’s front elevation was designed to face south to address the many residential streets of the Eight Mile Wyoming community.
(17) Rhythm of Building Setbacks. The building’s setback is created within the Joe Louis Playfield’s park setting, and it is emphasized by the placement of the sidewalk at the curb. The building continues the setback created by the 1927 William Higginbotham School one block to the west (8730 Chippewa Street).
(18) Relationship of Lot Coverage. The building occupies less than twenty percent (20%), one fifth of its lot with a broad grassy lawn with landscape treatments surrounding the building.
(19) Degree of Complexity Within the Façade. The building’s primary (south) façade is straightforward in its fenestration and architectural detail, resulting in a low degree of complexity. The door and window openings throughout are unadorned. A subtle but fair degree of complexity is found in the different levels of massing. A fair degree of complexity is found the building façade due to the textured brick patterns with horizontal emphasis.
(20) Orientation, Vistas, Overviews. The primary orientation of the building is to the south. The building provides a backdrop for viewing the mature trees of the landscape and the raised planting areas as well as the surrounding Joe Louis Playfield grounds. The parcel was designed to engage and connect people with the natural beauty of the site.
(21) Symmetric or Asymmetric Appearance. The building is asymmetric in appearance.
(22) General Environmental Character. The district consists of a recreation center and playfield with sports fields and playground equipment. The parcel is landscaped to reflect a natural environment at its southern and southeastern border. Walkways are arranged to the curb-line at Chippewa Street to emphasize the landscaping adjacent to the front façade. At the rear of the building a walkway is organically arranged in a curve to reflect the curves of the building and its landscaped planters. The surrounding area consists of single-family homes in a high density residential neighborhood.
Codified by Ord. No. 2021-6 (JCC. 1/12/21, Pass. 2/2/21, App. 2/3/21, Pub. 3/5/21, Eff. 3/5/21).
(a) A historic district to be known as the Eastern Market Historic District is established in accordance with the provisions of this article.
(b) This historic district designation is certified as being consistent with the Detroit Master Plan.
(c) The boundaries of the Eastern Market Historic District are as shown on the map on file in the office of the City Clerk, and are as follows: on the north, the centerline of Wilkins Street; on the east, the centerline of Riopelle, the centerline of Division Street; thence west along the centerline of said Division Street; thence west along the centerline of said Division Street to the eastern lot line, as extended north and south, of plat 25 of the Guoin Farm Subdivision, Liber 9, Page 83, Wayne County Records; on the south the centerline of Winder Street; thence west along the centerline of said Winder Street to its intersection with the centerline of Russell Street; on the west the centerline of said Russell Street to the centerline of Wilkins Street.
(d) The defined elements of design, as provided for in Section 21-2-248 of this Code, shall be as follows:
(1) Height. The ten (10) buildings in the district range from one (1) to three-and-one-half (3 1/2) stories tall. The ten (10) buildings in the district consist of a (1) story round building at 2700 Russell Street, a one (1) story office and garage building for the Eastern Market Partnership at 2934 Russell Street, a one (1) story restroom building on Wilkins Street, a one (1) story open Shed Four (4) structure at 2722 Russell Street, a two (2) story Welcome Center at 1445 Adelaide Street, a two (2) story open Shed Two (2) structure at 2522 Russell approximately forty (40) feet high, the open Shed Six (6) structure at 2922 Russell is eighteen feet and seven inches (18' 7") tall, a three (3)- level parking garage at 2727 Riopelle Street, a three (3) story Shed Five (5) at 2822 Russell approximately forty-three (43) feet high, and a three-and-one-half (3 1/2) story Shed Three (3) structure at 2622 Russell approximately forty-eight (48) feet high. Sheds Two (2), Three (3), Five (5), and the Welcome Center each have a twelve (12) foot tall sign on their roof.
(2) Proportion of building’s front façades. The proportions of individual front façades vary greatly within the district. The ancillary market structures are all wider than tall on the front façades. The public market sheds are all taller than wide on the front façades, with the exception of Sheds Four (4) and Six (6) that do not have a front façade and are open shed structures accessible from all sides.
(3) Proportion of openings within the façades. The proportion of openings within the district varies considerably, but can be categorized by building type. Ancillary market structures are composed of approximately twenty (20) to thirty (30) percent openings in their front façades. The Eastern Market Parking Structure at 2727 Riopelle Street is composed of fifty (50) percent open space. Public market sheds are generalIy not enclosed and thus have one hundred (100) percent of their entire circumference open, with the exception of Sheds Three (3) and Five (5) that are composed of approximately thirty (30) to fifty (50) percent openings in their front façades. Window types and proportion of individual windows vary greatly within the district and include double aluminum, rectangular and arched divided, and other types of windows appropriate to the variety of time periods and architectural styles found within the district.
(4) Rhythm of solids to voids in the front façades. Despite a variety of building types, the overall impression is one of regular, repetitive openings arranged horizontally within façades on all elevations. A few notable exceptions exist, such as the Eastern Market Partnership office building and restroom structure on Wilkins Street as well as the round building at 2700 Russell Street that each have an irregular rhythm of solids to voids. While Sheds Four (4) and Six (6) are open-air structures that have no solid façades or enclosures, a regular rhythm is created by the structural supports.
(5) Rhythm of spacing of buildings on streets. Rhythm of spacing on streets is generally determined by setbacks from the lot lines and roughly align on a north south axis. The overall character of the district is one of visually distinct buildings separated by relatively regular setbacks and clustered by city block. The earliest public market sheds are generally sited in the middle of their lots flanking Russell Street. Subsequent public market sheds and ancillary market structures extend north and eastwards and are generally sited at the edge of their lots. Surface parking lots appear between buildings but do not break the general rhythm of spacing.
(6) Rhythm of entrance and/or porch projections. In general, there is little uniformity among primary entrances as a great variety of architectural styles and building types are found within the district. Where entrances do exist, they tend to be flush with the building façade and are located at grade level. The main entries for the public market sheds generally connect with one another; Sheds Three (3) and Five (5) feature additional projecting canopies at the entry doors. The restroom structure on Wilkins Street has a porch created by an overhanging roof extension at the east façade. The roof extension is held by three (3) columns. No consistent rhythm of entrance and/or porch projections exist for the historic district buildings.
(7) Relationship of materials. A variety of building materials exist throughout the district, including brick, metal, concrete, ceramic tile, and glass. Stone is used for some coping, string courses, and door surrounds. Window frames and sashes are mostly aluminum. Visible roof slopes are covered with metal roof paneling; Shed Two (2) features distinctive wood sided roof fascia. Landscape elements include concrete planters and plazas as well as metal lighting fixtures, benches, planters, and trash receptacles. Dark metal and concrete bollard fencing is throughout the district. There are paved asphalt and concrete parking lots surrounding or adjacent to most buildings in the historic district.
(8) Relationship of textures. On most buildings, textural effects contrast with each other, with textured brick and exposed concrete members contrasting with glass windows, standing-seam metal roofs, and corrugated metal panels. Shed Two (2) has the additional texture of painted wood siding at the projecting arms and parapet. Brick with mortar joints is the most common textural effect. Most of the exposed concrete members have had parsing to create a consistent appearance. The greatest texture exists where provided by architectural details such as metal standing-seam roofs. The texture of glass is used extensively on Sheds Three (3) and Five (5). The round building on Russell Street is unique in the district with a smooth ceramic tile texture.
(9) Relationship of colors. The dominating color is that of red and brown brick, often contrasted with natural stone ornamentation, lends a unifying appearance to the buildings in the historic district which otherwise reflect a diversity of styles, functions, and time periods. Another dominant color in the historic district is orange, painted on horizontal structural members of Sheds Three (3) and Five (5), as well as on panels at entry doors, and Shed Five (5)’s many orange horizontal metal panels. Dark brown is also featured predominantly throughout the historic district and Shed Two (2) is comprised of mottled red brickwork and rust-colored painted wood siding. The other dominant color in the historic district is dark brown found on the doors, window elements, sectional windowed garage doors, window infill panels, entry canopies, lamp-posts, fencing, and trash cans. Light grey further defines the concrete canopy of Shed Six (6) as well as the painted brick of the Eastern Market Partnership office building and restroom building on Wilkins Street and the surrounding sidewalks and parking lots. An unusual color grouping in the district is in the round building faced with light grey, green, beige, and blue ceramic tiles. Tall, black metal rooftop bracket support signs are on the western roofs of Sheds Two (2), Three (3), and Five (5) bearing their names in light orange colored block lettering. A smaller, but similar sign is above the Welcome Center, facing Adelaide Street, also of light orange colored block lettering. Colorful artwork and murals are on the restroom building on Wilkins Street, the Eastern Market Partnership Office Building, and a door of the round building on Russell Street. The small grassy area on two sides of the Eastern Market Partnership office building and young street trees provide contrasting green. Sidewalks consist of slabs of naturally colored gray concrete. Surrounding parking lots are either gray asphalt or larger slabs of naturally colored gray concrete.
(10) Relationship of architectural details. A variety of architectural styles are represented in the district, including Neo-Georgian, Commercial, Mid- Century Modern, and Post-Modern. Architectural details vary throughout the district, but buildings are generally detailed according to the characteristics of their individual architectural styles. Decorative details include round Romanesque entryway arches, pedimented rooflines, brick pilasters, octagonal lanterns, clerestory windows, and cast-stone medallions, depicting the City of Detroit and the State of Michigan official seals, and keystones, coping, sills, and belt courses. Later buildings designed in the Modern and Post-Modern style notably feature a lack of architectural detail, the buildings incorporate modern materials and horizontal geometric simplicity.
(11) Relationship of roof shapes. The majority of buildings in the district have flat roofs that cannot be seen from the ground with the notable exception of Sheds Two (2), Three (3), and Five (5), that have long gabled roofs.
(12) Walls of continuity. In the district, along the west side of Russell Street, four market sheds are sited in a linear fashion creating a wall of continuity running north south. The linear progression of Sheds Two (2), Three (3), Four (4), and Five (5), create a continuous wall of market sheds. The vertical light standards, brown metal concrete fencing, and young planted trees, where they exist, result in expressions of continuity in the overall landscape.
(13) Relationship of significant landscape features and surface treatments. Landscape features of the historic district include surface treatments of asphalt paved parking lots, concrete-paved parking lots, and concrete-floored shed interiors. A significant new landscape that feature in the historic district are the tall signs on the western roofs of Sheds Two (2), Three (3), and Five (5) bearing their names. A smaller, but similar sign is above the Welcome Center, facing Adelaide Street. Grassy lawns are present near the Eastern Market Partnership building that include multiple trees and shrubs planted around the building perimeter. A brick-paved plaza is south of the lawn. A parking lot island containing grass and two (2) trees is centered in the parking lot north of Shed Five (5). There are dark brown vertical light standards, brown metal bollards and fencing at the entry of the parking lots, and street furniture such as brown trash receptacles, planters, and benches. At the western side of Shed Three (3) are colorful painted designs on the asphalt parking lots on each side of the entry. Sculptures are minor landscape features in the district. The most significant sculptures include the tall chrome sculpture (“Erika’s Dream”) located at Alfred and Russell Streets, and the windmill in the DTE Foundation Plaza at Russell Street. A red sculpture (“Box”) is located in the green space at the office structure at 2934 Russell Street. The DTE Foundation plaza has aggregate concrete slabs centered within smooth concrete slabs. Sidewalks consist of sinks of naturally colored gray concrete. Surrounding parking lots are either gray asphalt or larger slabs of naturally colored gray concrete.
(14) Relationship of open space to structures. Designed as a campus, buildings were sited to relate to each other and the spaces between them were based on the necessity of the logistics for the sheds to provide access for vendors as well as consumers. Parking lots and paved areas for vehicular usage are now the primary function of the ample open space around and within the historic district.
(15) Scale of façades and façade elements. The façades in the historic district range from small to large in scale. The ancillary market structures are generally scaled to be secondary to the larger scaled Shed structures, with the notable exception of the Eastern Market Parking Structure. Elements and details are in proportion to their respective façades.
(16) Directional expression of front elevations. The directional expression of individual front elevations varies throughout the district, but generally the public market sheds tend to be vertical in expression, with the exception of Sheds Four (4) and Six (6) that do not have a front façade and can be approached from any direction. The ancillary market structures are generally horizontally expressed.
(17) Rhythm of building setbacks. The common setback of Sheds Two (2), Three (3), and Five (5) creates a rhythm along Russell Street as well as Shed Six (6) and the Parking Structure on Riopelle Street. The ancillary market buildings create a varying degree of setbacks within the historic district, due to inconsistent orientation.
(18) Relationship of lot coverages. The district is an irregular complex of structures, and buildings are situated on adjacent, intersecting lots. Buildings are spaced to provide parking for vendors adjacent to the sheds and parking for patrons of the market. The buildings occupy approximately fifty percent (50%) of the historic district land.
(19) Degree of complexity within the façades. In general, the façades feature a restrained degree of stylistic detail. They are straightforward in their fenestration and architectural detail, resulting in a varying degree of complexity. However, a fair degree of complexity is found on Sheds Two (2) and Three (3) and the Welcome Center building due to their ornamentation.
(20) Orientation, vistas, overviews. The ancillary market structures generally face the streets and are entered from the front façade, with the exception of the round building on Russell Street that has no specific orientation. The public market sheds generally have multiple entrances oriented to four directions parallel and perpendicular to the surrounding streets. The buildings within the historic district create an open and varied silhouette in comparison with the dense commercial district located directly adjacent on Russell, Riopelle, and Market streets.
(21) Symmetric or asymmetric appearance. While the public market sheds are highly symmetrical, the district as a whole is asymmetrical in appearance due to the variety of architectural styles and building types.
(22) General environmental character. The district consists of a flat terrain overlaid with a grid-like pattern of streets. As a substantial operating public market, the buildings occupy multiple city blocks within a high-density commercial and retail area. The surrounding area also consists of low density wholesale and industrial buildings.
Codified by Ord. No. 2021-12 (JCC. 1/19/21, Pass. 2/9/21, App. 2/15/21, Pub. 4/1/21, Eff. 4/1/21).