CLARENDON STREET - Derry City Council

Contents1 Status of the Design Guidance2 Introduction 7-112.1 Purpose of the design guidance 82.2 Methodology 102.3 Objectives 102.4 Guiding principles 113 Conservation Area Character Appraisal 13-233.1 What makes the setting special? 133.2 The wider setting: its role and importance 143.3 The immediate setting 143.4 Architectural and historical development 153.5 Design character 183.6 The importance of open and green spaces 203.7 Signature patterns and streetscape 215 Blending the New with the Old 45-545.1 Quality of conservation and design 455.2 Design quality 475.3 Prominence 485.4 Orientation 495.5 Size and scale 505.6 Form or shape 515.7 Volume and massing 525.8 Townscape and roofscape 525.9 Setting 535.10 Sustainability 546 Regulations and Planning Control 55-564 Protecting Character 25-444.1 Authenticity 254.2 Change 254.3 Principles of repair 274.4 Doors, windows and dormers 304.5 Roofs 344.6 Typical eaves, fascias, soffits and verges 364.7 Renewal of existing historic rainwater goods – gutters,downpipes, hopper heads 374.8 External wall finishes 374.9 Gates, railings and other ironwork 424.10 Signage and shopfronts 434.11 Appropriate materials 445

Fig 1. Conservation Area Boundary and Listed Buildings and Walls (highlighted in yellow)6

1 Status of the Design Guidance1.1 The Department of the Environment originally designated Clarendon StreetConservation Area in February 1978. Following a review the Conservation Area Boundaryending in June 2006, the Conservation Area was extended to include the areas around DeBurgh Terrace, to the south of Windsor Terrace along Infirmary Road and properties on thesouth side of Great James Street. The boundary was also altered to the east of NorthlandRoad and to the north of Asylum Road to clarify that the existing natural stone walls arewithin the Conservation Area. A copy of the Statutory Order varying the conservation areais included in Appendix 1. The map opposite shows the Conservation Area boundary asextended on 6th June 2006.(HBC), Derry City Council, DRD Roads Service, the Foyle Civic Trust, the Walled CityPartnership and the Ulster Architectural Heritage Society. A full list of the stakeholdersinvolved in the consultation is scheduled in Appendix 3.1.2 The overall planning context for Conservation Areas is contained in Planning PolicyStatement 6 (PPS6) Planning, Archaeology and the Built Heritage. This Design Guidanceinterprets policy contained in PPS6 and constitutes Supplementary Planning Guidance forthe Clarendon Street Conservation Area. This Guidance will be taken into account by theDepartment as a material consideration in determining planning applications either withinthe Clarendon Street Conservation Area, or which may affect its setting. If there is anydisagreement between the contents of this guidance and PPS6 the requirements of PPS6will prevail. Applicants should be aware that as such planning applications are requiredto meet the policies set out in PPS6 and, in particular, policies BH12, BH13 and BH14 asthey relate to Conservation Areas. Proposals must also comply with other relevant strategicplanning policy and guidance and the local development plan (Derry Area Plan 2011).1.3 This guidance, when finalised, will supersede that contained in the ClarendonStreet Conservation Area Booklet (DoE, 1978) and the Londonderry Clarendon Street AreaBoundary Variation – Interim Document (Planning Service, 2006).1.4 The draft guidance has been prepared in consultation with various stakeholders,including the Northern Ireland Environment Agency (NIEA), the Historic Buildings Council1. Boundary wall, De Burgh Terrace“These buildings whose original purpose was profane andinnocent of any aspiration towards symbolic status, havenot only developed that symbolic status but have even….removed themselves from the realm of the profane intothe realm of the sacred.”Seamus Heaney7

2 Introduction2.1 Purpose of the design guidance2.1.1 This Guide defines the principles of conservation, building design and urban designthat will be applied to all development proposals within the Clarendon Street ConservationArea and its setting. The Guide places a premium on and requires all applicants to considerthe wider context of the setting in order to enhance the long term character and quality ofthe Conservation Area and its contribution to the City’s wider built environment.2. Former Presbyterian Church, Great James’ Street2.1.2 This Guide has been commissioned by DOE Planning to support the boundaryamendments of June 2006 of the Clarendon Street Conservation Area and its setting. Itconstitutes Supplementary Planning Guidance and will be used as a material considerationwhen determining planning applications for new development, Listed Building consent andapplications for demolition within the Conservation Area. The legislative planning contextwithin which the Guide sits is set out in Appendix 1.2.1.3 The importance of a quality urban environment cannot be overstated. It not onlyinfluences where one chooses to live or visit but can also act to attract investment, creatingjobs and a sense of wellbeing. The Clarendon Street Conservation Area is a particularlygood example as it provides both residential and office accommodation.2.1.4 Derry is in competition with other cities on the island of Ireland and beyond in itsefforts to attract employers, visitors and residents. Determining factors for all three groupsof people are the character and quality of its townscape. When this is of high order itcontributes to the enhancement of a sense of well being and can help to build social andeconomic vibrancy.2.1.5 Historic buildings are unique and they make a place special, having the bonusof embodying the memory and legacy of generations and times past. As many historic8

towns and cities have been re-developed their special character is often diluted. Largescale and rapid change can leave people confused and disorientated as once recognisableand much-loved landmarks disappear. It is important that new development contributes toreinforcing the identity of the Conservation Area.2.1.7 In Derry there are three distinct Conservation Areas, each with a special architecturaland historical interest and high quality townscape character. Clarendon Street has beendesignated because it is considered worthy of protection and enhancement.2.1.8 Clarendon Street is characterised by its long terraces of gentleman’s residencesstepping down the sloping landscape, interspersed by terraces of townhouses. ThisDesign Guide provides a character appraisal of the Clarendon Street Conservation Areademonstrating why it is special in terms of its landscape setting, its historic buildings, itsdesign character and its relationship between buildings and planned open spaces.2.1.9 The guide also provides important advice for protecting the character of the area,identifying key feature buildings in terms of architectural detail, such as doors, windows,dormer windows, fascias and railings. It also provides advice on how to blend newdevelopment with the old in terms of scale and massing, whilst respecting the setting of theConservation Area and encouraging quality design. Ultimately the aim of the guide DesignGuide is to encourage investment that both protects and enhances the existing characterof Clarendon Street Conservation Area.3. Brooke Park and St Eugene’s Cathedral9

2.2 Methodology2.2.1 A Baseline Audit of Clarendon Street Conservation Area identifying its specialarchitectural and historic character has been carried out in accordance with nationalguidelines (English Heritage, 2005). Essentially, the Audit appraises and assesses what itis distinctive and unique about the Conservation Area, and the buildings within it.2.2.2 The Audit also identifies problems and pressures that impact on the ConservationArea and its setting. This analysis underpins the content and approach taken in the DesignGuide, which in turn provides the basis for:• balancing conflicting needs• avoiding dilution of the original character of the Conservation Area• sustaining and increasing its social and economic vitality.2.3 Objectiveshistoric structures and open and green spaces of architectural and/or historicinterest- to provide a framework for a co-ordinated approach to development affecting theConservation Area by establishing clear and consistent guidance to help informthe processing of planning applications- to increase local awareness of the meaning and value of Conservation Areadesignation and to foster a civic pride in the history and architectural heritage ofthe city- to co-ordinate and influence development, maintenance, or minor works byStatutory Agencies and other public sector bodies- to preserve or enhance the character or appearance of the Conservation Areathrough protection and the pro-active management of change- to provide information on the various sources of grant aid and technical advice thatmay be available.2.3.1 Conservation Areas are ‘areas of special architectural or historic interest thecharacter or appearance of which it is desirable to preserve or enhance’ [The Planning (NI)Order 1991 (Article 50)].2.3.2 Therefore, the objectives of designation of Clarendon Street Conservation Area andthe preparation of this guide are:- to preserve or enhance the character or appearance of the Conservation Area,and encourage the retention, rehabilitation and reuse of existing buildings, other10

2.4 Guiding principles2.4.1 This guide recognises there is scope for change and potential for enhancementwithin the Clarendon Street Conservation Area and its setting. The document aims toenhance and guide the process of change management. Ultimately the guiding principleis the encouragement of exemplary conservation in tandem with thoughtful, high qualitydesign of:- new buildings- extensions/alterations/conversions to old buildings- public and private realm- other new elements being inserted into the historic environment.2.4.2 Therefore the Design Guide is based on the following principles of:- encouraging a well cared for historic environment- promoting a safe, vibrant and well maintained streets and shared spaces- upholding and strengthening the Conservation Area’s unique character and quality- adding value to the existing historic building stock, the quality of the environment,and the experience.11

4. River Foyle and Clarendon Street Conservation Area viewed from Foyle Bridge12

3 Conservation Area Character Appraisal3.1 What makes the setting special?A hilly city3.1.1 The modern city of Derry evolved from a small settlement on a hilly island in theRiver Foyle that lay at the eastern end of a low range of hills between the Swilly and Foylevalleys.3.1.2 The city developed on the rising slopes of the River Foyle’s western bank on theouter curve of a wide sweeping bend in the river. The Walled City of the Plantation periodoccupied a strategic defensive position on this rising ground. The modern city has grownover time along the river and up and down the hills and hollows of the western ‘Cityside’towards Minkey Hill. Clarendon Street represents an affluent residential area whichdeveloped outside the city walls on the rising land overlooking the river and its historicwharfs and warehouse.River3.1.3 The River Foyle is a majestic river, believed to be the second fastest flowing inEurope. It rises at the confluence of the Rivers Mourne and Finn near Strabane, somethirteen miles south of the city. Flowing northward to enter the Atlantic Ocean at Magilliganit forms the border between Counties Londonderry and Donegal, and between NorthernIreland and the Republic of Ireland.3.1.5 The modern route of the river sweeps past the east side of the original islandsettlement giving it a curvaceous configuration that is a crucial ingredient in the city’sdistinctive character and adding enormously to the beauty of the wider setting.Rocks3.1.6 The earth movements that created the city’s hilly topography occurred as part ofthe Caledonian Upheaval about 450,000,000 years ago. This lifted and intensely folded alayer of schist rock that had hardened out of sands and clays, washed down onto the floorof the sea which would have preceded the Atlantic Ocean. This schist, also known locallyas ‘whinstone’ is the bedrock for the hills on which the city was built and is the same rockused to build the famous historic City Walls. It is also widely used in the construction ofmany of the walls and outbuildings abutting the lanes of the Conservation Area, particularlyalong Academy Road.3.1.7 The presence of so much of the city’s local stone in these structures is still oneof the most visible and important elements in the city’s character and appearance andinextricably links the city to its place and its geological roots.3.1.4 By the time the ancient monastic settlement of “Derrie” had been formed in the 6 thcentury, the route of the river around the west side of the one time island on which it wassited had silted up to form marshy ground, creating the area known today as ‘The Bogside’.13

3.2 The wider setting: its role and importance3.2.1 The city’s hilly topography generates views from almost anywhere in the citytowards the wider landscape. The River Foyle framed by clusters of hills and the backdropof the Donegal, Loughermore and Sperrin Hills provide an impressive backdrop for longdistance views across and along the river.3.2.2 From well beyond its development boundaries, there are stunning views of thecity on the approaches to it by road, rail, air and water. A journey north along the mainDublin to Derry road through Magheramason reveals glimpses of what is, arguably, oneof the finest situations of any city in Ireland. Entering the city along the Old LetterkennyRoad at Balloughry, a great middle distance view is revealed as the spire of St Columb’sCathedral rises from the hilltop of the walled city and the distinctive blue painted steel ofthe Craigavon Bridge stretches out to greet the Waterside.3.2.3 A walk or drive across the lofty Foyle Bridge underscores the city’s magnificentrelationship with its river and its strong visual links to the surrounding rolling countryside ofDonegal to the west. Layer upon layer of gently sloping cityscape gives way to a backdropof open countryside culminating in the rounded summit of Sheriff’s Mountain in Co Donegaland the outline of the strategically positioned An Grianán hill fort. The river sweeps past thegreen sward of the Bay Road Park in a great arc before it flows on beneath the bridge.3.2.4 The Clarendon Street Conservation Area positioned between the Historic City andthe Magee Conservation Areas is clearly visible as part of this panorama blending well intothe surrounding hilly landscape and is easily identified by the landmark spire of St Eugene’sCathedral.3.2.5 Some of the most dramatic views to and across the Clarendon Street ConservationArea and its setting are from the Historic City walls, the elevated vantage points of AcademyRoad, Brooke Park and the upper floor levels of the De Burgh Terrace houses.3.3 The immediate setting3.3.1 The wide expanse of the River Foyle is an impressive and important ingredient inthe foreground of views looking east from and west towards the setting of the ClarendonStreet Conservation Area.5. Clarendon Street Conservation Area viewed from the Waterside14

3.3.2 Historically the riverbank front was dominated by wharfs and warehouses. Howevertoday, low rise sheds and taller buildings i.e. the Tesco building, the seven storey ClarendonCourt, the eight storey City Hotel and multi storey car park combine to produce a muchmore varied roofscape.3.3.3 Queens Quay is recognised in the Derry Area Plan 2011 as an area which wouldbenefit from comprehensive redevelopment.3.3.4 By way of contrast, the Conservation Area benefits from the quality neighbouringsetting provided by the rising land to the south, leading up to the Historic City and to thenorth the quality residential environs and landscaped buildings of Magee College.3.3.5 The western edge of the Conservation Area is defined by St Eugene’s Cathedraland the rising open spaces of Brooke Park, the Model Primary School and the closelyinterknit working class terraced dwellings.3.4 Architectural and historic developmentA Victorian neighbourhood3.4.1 Unlike the Historic City, which owes its roots to the monastic and plantation eras,Clarendon Street was much later in developing. Early maps of the city (1689) show thatthe Clarendon Street area was primarily rural and that there was very little change untilthe nineteenth century. However, by the end of the eighteenth century key roads, suchas Academy Road and the Strand Road had been formed (1799 maps) followed by thecreation of Infirmary Road and Asylum Road.Fig 2. Derry 183015

3.4.2 Towards the end of the Georgian era, the Infirmary (1810), the Asylum (1829) andthe New Free School and Church (1830) were erected. Great James’ Street was also inthe process of becoming developed probably around the Third Derry Presbyterian Church(1837).3.4.3 Most development in the area took place during the Victorian era starting withthe laying of the foundations of St Eugene’s Cathedral (1851), the erection of St Eugene’sPrimary School (1854) and the development of housing along the western edge of QueenStreet3.4.4 By the mid-Victorian era, development of housing began on Crawford Square aswell as the Academy Road to serve the Model School (1862), with the new academy beingbuilt in 1870. This road acted as a catalyst for the development of terraced housing atMountjoy Terrace, Nicholson Terrace and Stewart’s Terrace. The 1873 Ordnance Surveymap also shows that, by this time, Great James Street, Queen Street, Clarendon Street,Asylum Road, Bayview Terrace and Edward Street had been fully developed. ClarendonStreet and Great James’ Street’s two new churches and manses were also erected at thistime.3.4.5 The Bishop’s House was erected in 1873, the same year St Eugene’s Church wasdedicated, with its landmark spire added later in 1903. The 1903 extension to the CityFactory in Patrick Street was also completed.Fig 3. Derry 18533.4.6 Development continued until the end of the Victorian era, with the completion of 22houses on Crawford Square including the Ardowen Hotel and former school. By this time,De Burgh Road (later De Burgh Terrace) and the De Burgh Square had been completed,together with Nicholson Square, Charlotte Crescent and Windsor Terrace.16

3.4.7 Unfortunately, the passage of time has seen some of the historic buildings beinglost, for example the old Model School was replaced by a new primary school (1914)leaving only the gates and railings. The Asylum and Infirmary have also been redevelopedwith the Ardowen Hotel lost during the troubles.3.4.8 Conservation areas are as much about people as buildings. The ConservationArea today still retains the townhouses of merchant and professional classes supplementedby the modest two storey workers terraces which provided housing for many of the workersat the shirt factories, right up until the end of the 20 th century.3.4.9 Today, the area still plays host to a wide mix of activities. Homes for families,students, young professionals and the elderly sit cheek-by-jowl with small primary schools,active churches and a host of small-scale local commercial operations and independentshops and services supporting the range of professions and businesses that now operatefrom Clarendon Street, Queen Street, Great James Street and Bayview Terrace.3.4.10 In summary, Clarendon Street Conservation Area is a vibrant, mixed-use, fullyfunctioning, reasonably high density, walkable neighbourhood. Its mix of uses and therelatively high proportion of residents within and surrounding it continue to make it themost vibrant community of the city’s three conservation areas.7. Brooke Park and St Eugene’s Cathedraltion 6. Crawford Square tion17

3.5 Design characterThe Conservation Area3.5.1 The Clarendon Street Conservation Area and its setting embody much that isdistinctive about Derry physically, historically, socially and culturally. The overwhelmingimpression is that of a relatively spacious but largely intact network of terraced townhouses(small and tall) stepping graciously up the many hillsides to present an aesthetically andtexturally rich image of late-Georgian and Victorian building activity in the city.3.5.2 In considering Design Character, it is important to remember that it is not onlythe buildings that are important but also the space around them, the views and vistasprovided the overall townscape and the street pattern and materials used. These mattersare considered in the following sections.8. Great James’ Street3.5.3 Northland Road, a major arterial route into the city from Co Donegal, carves itsway through the Conservation Area from north to south acting as a sort of coat hangerfor several larger buildings standing alone within their own grounds; the most notableamong these is the impressive St Eugene’s Cathedral. Its soaring, grey-granite spire risesmajestically from this landscape of largely two and three storey terraces and its modestlysized but well cared for grounds provide pleasant visual relief by interrupting the rectilinearurban form of working and middle class terraces, and providing amenity for their residents.It contrasts also with the eastern quarter of the Conservation Area defined by the closelyknit terraces clustered around the dominant City Shirt factory.18

3.5.4 Elsewhere within the Conservation Area character is largely defined by the listedterraces, which dominate:- Clarendon Street – three storey terraces on both sides of the street, stepping upthe slope. The terraces are generally uniform each with a small area of openspace to the front enclosed by a low wall and railings. Materials include earthcolouredbrick, slate roof, sliding sash timber windows and panelled doors.- Crawford Square – a row of nineteen three-storey, detailed, rendered propertieswhich were to form one side of Crawford Square. The first two properties are apair of semi-detached dwellings, while the rest of the properties are terraced. Theterraced properties are built in pairs all with two storey sliding sash bay windowsand panelled doors.- De Burgh Terrace – a terrace of seventeen red brick, two storey properties setto the rear of large gardens which rise towards the houses. These propertiesare ornate with bay window on the ground floor. Their large front gardens, inwhat is an otherwise tightly-packed area make them unique in Clarendon StreetConservation Area.3.5.5 There are many fine unlisted buildings within the Conservation Area not least atAsylum Road. This terrace of three and a half storey Victorian townhouses is quite run-downbut elegant nonetheless. This street has no semi-private, front garden spaces and the tenmetre-wide space between its frontage and the old Asylum wall opposite means that it isconsiderably less spacious and grand than the twenty metre-wide Clarendon Street withits front garden spaces. Notwithstanding this the architectural quality of Asylum Road’sVictorian facades is of its own time and on a par with the fine Georgian style architecture ofClarendon Street.3.5.6 The controls provided by Conservation Area designation are needed to protectmany of these buildings which do not benefit from the controls associated with ListedBuildings. Streets such as Asylum Road, Upper Great James Street and Crawford Squareare undergoing considerable change showing various signs of decline. Much of this is dueto pressures for on street-parking between different groups of users (eg residents and nonresidents)and tenure change of more and more houses (some of them listed) from privateownership into the rented sector and change of use to offices and houses for multipleoccupation.3.5.7 Designers are also faced with new challenges as a result of changes to the BuildingRegulations both in terms of means to escape and disabled access. It is important that thecharacter of the properties is not lost due to the removal of original timber sliding sash inexchange of inappropriately designed escape windows.9. Clarendon Street19

3.6 The importance of open and green spaces3.6.1 The relative high density of the grand and modest terraces is relieved by a numberof key public spaces such as the open spaces around St Eugene’s Cathedral which link intoBrooke Park provide an important green corridor. In addition to this there are two other keygreen areas at Crawford Square and De Burgh Terrace.Crawford Square3.6.2 Crawford Square is an interesting and distinctive example of urban form. Set at anangle to the Northland Road, the square is enclosed by terraces of three-storey buildingsaround a rectangular garden space that is bounded by a low, red-clay brick wall andhawthorn hedge. The garden within the square is an untidy grassed area with a number ofmature trees, mainly Limes, with the odd oak and sycamore.10. De Burgh Terrace3.6.3 Although this space is badly neglected and is very dilapidated with parts of its boundarywall in a state of collapse its refurbishment would add significantly to the streetscape.Obscured from view by the overgrown Hawthorn hedge, it is locked and inaccessible. Itstrees play a very important role in enhancing the aspect of residents of the Square andthe views of drivers and pedestrians passing along the Northland Road in both directions.The quality of its enclosing historic architecture combined with its formal layout gives itthe potential to be one of the best green spaces within the Conservation Area and thecity. However despite the renovation of some of its buildings, the Square has a dilapidatedcharacter overall. Considerable improvement to the square could be made if the ‘openspace’ were properly conserved and planting, sensitive lighting and well designed seatinginstalled.20

De Burgh Terrace3.6.4 The green area at De Burgh Terrace provides a leafy oasis created by the seventeenprivate gardens, each of which is approximately six metres by thirty-six metres long. It isimportant that spaces such as these are retained as they contribute greatly to the overallcharacter of the area, which is enhanced by the dense tree canopies and plants.Other shared and private spaces3.6.5 A key feature of the Conservation Area is the sense of space provided by itswide streets, a direct result of the Wide Streets Act of the 1800s. Clarendon Street, thewidest and stateliest rises to, and is terminated by, the leafy surroundings of low densitydevelopment on the Northland Road. The streets character is enhanced by the visual breakprovided by Foyle Cottage and its garden, dominated by a copper beech tree which hangsover the footpath and punctuates the street scene.Historic street patternsInstitutions in leafy settings3.7.2 A dispersed plan form is exhibited by the larger scale buildings located along theNorthland Road, for example the Model School, the NW Regional College (on the site of theformer Asylum), the former Infirmary, and St Eugene’s Cathedral all set within their owngrounds. Their mature planting gives them a leafy ambience.Grand terraced streets3.7.3 Several grand terraces have relatively dense, urban street patterns, many withrear mews and yards accessed by back alleys. Wide streets and small semi-private front3.6.8 Such examples demonstrate that even the smallest private gardens have a role toplay in preserving or enhancing the character and appearance of the Conservation Area.Unfortunately, as many of the terraced houses have moved into the private sector and havecome under pressure to provide parking, the valuable asset which they provide could easilybe lost.3.7 Signature patterns and streetscape3.7.1 The wide street pattern and open spaces are enhanced by signature patterns ofstreet blocks and building groupings. A number of patterns occur repeatedly.11. Foyle Cottage, Clarendon Street21

gardens relieve the high density built environment. Plot widths range from 6.2m x26.2mlong and 20m wide street at Clarendon Street to 5.1mx29m longx9.8m wide street onAsylum Road, 6mx55m long x 9.1mwide street on De Burgh Terrace and 5.8mx30m longx 16m wide street on Crawford Square. Cars park on the street.Modest terraced streets3.7.4 Modest 19th century townhouses exist at Princess Street, De Burgh Square andStewart’s Terrace. These too are fine grain in terms of urban form with plot dimensionssuch as 4.5m wide x 11.4m long at Princess Terrace overlooking a 5.8m wide street. Thereare no front gardens, rear yards are very small and, of the three, only De Burgh Square hasrear access and car parking is on-street.Historic formsInstitutions in leafy settings3.7.5 The institutional buildings of Northland Road are generally well physically separatedfrom each other and situated in a verdant environment of grass and mature trees. With theexception of St Eugene’s Cathedral, they range in height from two to three storeys. Thoughlarger than the surrounding terraced houses, the buildings are of modest scale and do notdominate their mature landscape setting. The Cathedral, however, is large scale and itssoaring spire dominates the urban landscape.Compact streets12. Marlborough Street from Brooke Park3.7.6 Several streets within this Conservation Area such as Clarendon Street, AsylumRoad, Crawford Square, and Princess Street have been laid out at right angles to thecontours. Streets formed of two, two and a half, three and three and a half storey townhousesgenerate one of the city’s most distinctive characteristics – domestic-scale terraced roofs,dormers and chimney stacks stepping steadily uphill. Reminiscent of other hilly cities suchas Bristol and Cork this pattern occurs repeatedly and again across the inner city on bothsides of the river.Prevalent local traditional materials and colours3.7.7 A number of traditional materials dominate the palette of colour and textureof the area, particularly in the terraced streets. These are an essential element of thisConservation Area’s identity. Overall, the mix is eclectic rather than homogenous and addsvitality to character. Traditional materials are invariably natural and were usually, though notalways, a response to what was available locally and to the demands of the climate. Warm,22

eddish-brown brickwork reigns supreme on several streets – however red clay brick and/or painted plaster are in the ascendant. Pebble-dash also features. Natural slate roofs andpainted, timber sash windows and door frames predominate.3.7.8 Key materials used in buildings are:- Welsh Bangor Blue natural slate - purple/blue/grey mix (also some dark grey slate)- reddish brown clay brick- warm-red clay brick- painted plaster- pale yellow sandstone (used for cills)- lime mortars/plasters (limewashed, painted and unpainted)- sand:cement plaster (painted and unpainted)- timber, painted (windows, doors, fascias, soffits, sprockets)- lead – low pitched roofs, bay windows- cast iron - rainwater goods, railings, gates- glass (clear, stained and coloured).3.7.9 The following materials are used in the public realm:- local schist or “whinstone” (boundary and yard party walls)- wrought iron- concrete (copings to boundary walls and pavements)- granite setts and kerbs (Mourne granite)- cast-iron, painted (lamp standards)- painted plaster front boundary walls- warm-clay brick front boundary wallsLanes, walls and alleyways3.7.10 Lanes and alleyways also contribute to the special character of the ConservationArea. They are dominated by outbuildings and walls constructed of grey schist bedrock/whinstone. These walls are also characteristic of the Conservation Area providing anestablished pattern of local rubble-stone walls across the city. The use of so much localstone firmly and visibly roots the city to its location. Walls look entirely different to therubble-stone walling found in other parts of Northern Ireland such as Armagh City or theMournes. However, this stone is no longer quarried, making such walls a valuable physicalasset to the city.3.7.12 Unfortunately, many of the rear alleyways and yard-walls are in a state of decay,particularly with regards to the lime mortar holding them together. Re-pointing usingappropriate mortar mixes is necessary to avoid the loss of many of these fine walls.3.7.13 A unified appearance within the Conservation Area relies on predominant materialsbeing used again and again (though not all on the one building). However, even historically,there are some unusual departures from the materials that were most used. Some arereadily apparent and are found in some of the area’s landmark buildings. The Wicklowgranite spire and quoins of St Eugene’s Cathedral harmonise well with its grey, greenlocal schist. Indigo coloured, glazed brick selected as the predominant walling material onthe uncompromisingly modern extension to the listed No 48 Clarendon Street, has beensuccessful. From very different eras, both buildings demonstrate how well chosen materialsthat are different from the norm can be used to very positive effect when the architecture,materials, detailing and workmanship is high quality and the choice of colour harmonious.As long as this type of departure from the norm does not become excessive, the overallsense of unity can be maintained. If all buildings used different materials, the result wouldbe a visually jarring cacophony.23

13. Queen Street/Clarendon Street24

4 Protecting Character4.1 Authenticity4.1.1 The authenticity of a historic building is reflected in the original materials fromwhich it was made when first built and how these were put together – its details. Someof these materials are no longer available and traditional building skills may be in veryshort supply today. However, there are several ways to retain authenticity in old buildings(whether or not these are listed).4.1.2 Informed judgement is extremely important when repairing or changing oldbuildings appropriately and this requires a degree of specialist knowledge. The followingfour internationally adopted principles of conservation help maximise authenticity. They are;• Minimum intervention• Maximum retention of fabric• Reversibility• Clarity4.1.3 NIEA has produced a range of detailed guidance notes on historic details, all ofwhich can be downloaded from their website at; www.ni-environment.gov.uk.4.1.4 Generally, the following will also help to maximise authenticity;• Carry out repairs to slow down the rate of decay• Repair like with like• Avoid conjecture (ensure that evidence (historic photos and/or drawings)supports approach)4.1.5 Conservation means keeping the historic fabric of all eras where this is generallyagreed to be of architectural and aesthetic value. The best architecture of earlier centuriesis of no greater or lesser importance than more recent architecture. It all has its place.Removal of worthy architectural elements (that are the result of changes made over time)in order to bring a building or building group ‘back’ to some arbitrary, halcyon architecturalperiod, will not normally be acceptable.4.2 Change4.2.1 Over time, the needs of people using historic buildings change. To meet thoseneeds it is sometimes necessary to make minor alterations. Sometimes the changes involvemajor work and extensions. At times, the building’s original purpose ceases to exist, leavingit empty and disused. When this happens the building can become derelict very quicklyand the risk of losing it altogether becomes very high - it is then vitally important to find anappropriate new use or mix of uses for the building.4.2.2 The Guide encourages change of use in old buildings when the new uses areappropriate and respect the exterior and interior spaces. When spaces of historic interiorsare substantially affected by a change of use to the extent that external alterations becomenecessary these should be sympathetic to the remainder of the building, its surroundingcontext and streetscape. This does not mean that these changes must be expressed inthe historic style of the building or other historic buildings in the wider setting. Instead thedesign of alterations and/or extensions should respect and integrate well in terms of scale,shape, massing, proportions and materials.4.2.3 The Clarendon Street Conservation Area has a number of buildings for which newuses have been found. Over time many of the houses and some of the churches havechanged to office use. The former City Shirt Factory was also changed to part office, parteducational use.25

Extensions and alterations4.2.4 The shape and alignment of extensions should respect or enhance the existingstreet line and roofscape. Necessary extensions and alterations should complement theoriginal old building and be subservient to it. They should express the best architecture/interior design and the highest quality materials and workmanship of today.4.2.5 Extensions and alterations to historic buildings need to be very skilfully handled toavoid dominating (or even obliterating) the original. In general, when working with extensionsto the back returns or sides of properties the following should be avoided:14. Extension to rear of Clarendon Street• the height of a back return ridgeline coming very close to, equal to or higher thanthe ridge line of a building’s main roof – the former should be subservient• back return eaves lines that are higher than the main roof eaves line• front, side or rear extensions that accommodate escape stairs and/or lift shaftsonly. Where these cannot be avoided their overall form and roof shape should besimple and should not detract from the simplicity of the building’s main roof shape• where the repeating signature townscape pattern of back returns remains (or ispartially discernible along the rear of an historic terrace) extensions that erode thispattern and/or infill the rear property curtilage will not be acceptable. Where theseare unavoidable, their design should respect and enhance the signature pattern ofthe area.Fire escapes and lift shafts4.2.6 Historically, external fire escapes were unsightly. However, where new means ofescape are necessary (to meet current Building Regulations) or if existing structures are tobe replaced, they present a design opportunity, regardless of where they are located on the26

uilding. The same is true for lift shafts. By their very nature these often take on a towerlikeform.4.2.7 Both of these elements present a considerable challenge. They deserve as muchcare and creative thought as any other extension to a building. Such extensions should bedesigned to be subservient to the host building and care should be taken not to obstructthe skyline of the Conservation Area. With skill and creative design, however, there isgreat scope for these to be designed in a positive way that enhances the character of theConservation Area.Satellite dishes, burglar alarms and flues4.2.8 The thoughtless positioning of additional equipment (such as satellite dishes,burglar alarms and flues) on buildings within the Conservation Area can have a very negativeimpact on an otherwise aesthetically high quality environment. External installation shouldbe avoided but, where necessary, great care should be given to positioning such devicesdiscreetly.4.2.9 Satellite dishes or burglar alarms should be positioned on the least visible sideof a building. The sides and rear of buildings can often make a positive contribution tostreetscape and are frequently visible from other streets. In some cases, it may be possibleto position burglar alarm sounding bells internally.4.2.10 The colour of these devices should also be carefully chosen so that they blendinto the streetscape when viewed from a distance. Satellite dishes made from a perforatedmetal are less obvious than solid dishes.4.2.11 The local area planning office should be contacted for up-to-date advice oninstalling any of these items on properties within the Conservation Area.4.3 Principles of repair4.3.1 These apply to any part of a building. When undertaking repair work the aim shouldbe to:• retain as much of the original as possible• repair like with like• carry out necessary research• fully record details before dismantling any part of the building• avoid creating problems for the future• ensure the repair is reversible. Materials whose future removal would damageoriginal historic fabric should be avoided.Details4.3.2 The details of historic buildings are enormously important; these refer to thesmaller components that are put together to make parts of a building. All parts of a detailare important – the materials, the dimensions of the materials, their colour, shape, texture,the craftsmanship and method of manufacture, how they relate to other details in thebuilding and, finally, to the overall whole. Important historic details occur inside and out – allare equally important.27

4.3.3 The removal (or covering over) of original detail on a historic building (listedor unlisted) greatly undermines the overall character or appearance of a building theConservation Area. When this happens again and again, the overall authenticity of thestreet and the wider Conservation Area is significantly diluted.Avoiding loss of historic detail4.3.4 The same principles apply to protecting the character of the large scale elements.The removal of original detail should be avoided, if at all possible. Details should be repairedin situ as far as possible. If a detail is beyond repair but sufficient fabric remains to recordit then this should be made to make an exact replica in the same materials as the original.If the detail has been lost either this should be accepted or its absence can be usedas an opportunity to create a contemporary replacement that is sensitive to the overallcomposition – the latter requires great design skill and it is recommended that a skilledcreative professional be employed to carry out this work.15. Detailed doorways, Clarendon StreetAvoid elimination of historic details4.3.5 There is often a lot of interesting fine detail at roof level. While this may notalways be readily apparent, the fact that many of the streets step down the hillside meansthat roofscapes and many of the associated detail can often be viewed relatively easily.Some very refined and delicate details such as chimneys with decorative stoneware pots,decorative cast terracotta ridge tiles or dormer windows with cast-iron or carved timberridge finials make an enormous contribution to the area’s skyline, eaves line and its overallcharacter.28

Vulnerable details4.3.6 Several elements of historic building detail are very vulnerable to removal. Theirreplacement in materials such as uPVC, and in some cases extruded aluminium or pressedmetal, is undermining the historic character and architectural quality of the ConservationArea. This will not be acceptable. Details most affected include:- Cast-iron rainwater goods (guttering and down pipes)- Painted timber soffits and fascias- Window architraves (especially at dormers)- Dormer cheeks- Rooflights- Painted timber sliding sash windows and doors- Decorative ridge tiles- Fine cast iron and carved timber finials at ridges and apexes- Traditional shop frontsMany of these important features are found in greater details in the proceeding sections.The importance of detail on new buildings, alterations and extensions4.3.7 When creating a new building or carrying out alterations or extensions to an existingbuilding, the design and construction quality of the detailing is just as critical to the overallarchitectural success as good siting, planning, shape, massing, proportion, materials andcomposition of facades.16. Gate Lodge, St Eugene’s Cathedral29

4.4 Doors, windows and dormersDoors4.4.1 The Clarendon Street Conservation Area is characterised by its Georgian stylepanelled doors often set within an ornamental surround benefiting from an arched fanlight.The degree of ornamentation varies substantially. Relatively simple plaster or precastconcrete or stone surround and steps are found on the workman’s houses at Asylum Road,Windsor Terrace and Nicholson Terrace. A greater degree of ornamentation is found on thegentleman’s houses many of which benefit from greater detail on their wooden surrounds,as seen at Clarendon Street or the inset stone pillars and masonry work found at QueenStreet. The impressive nature of these wealthier houses is enhanced by the steps up to thefront doors and the decorative railings.4.4.2 When replacing doors it is important to use the four to six panelled timber doorswith bolection moulding. They should be constructed in timber and have an opaque paintedfinish. If there is no fanlight in the entrance, glass panels may be substituted for solid onesin the upper parts of panelled doors although large expanses of glass are inappropriate andshould be avoided. Doors with integral fanlights should not form part of the door design andsidelights should be plain glass.17. Doorways, Queen Street4.4.3 In buildings of modern design, the same design constraints will not apply andmodern materials and forms may be acceptable, although good design will always bea paramount consideration. Door accessories (knockers, knobs, letterboxes, locks andhandles) should be made of traditional materials including brass, bronze or cast iron.When doors are being replaced, the existing door furniture should be reused if possible.It is important to limit the number of door accessories to a minimum particularly whereproperties have been converted to flats. Intercom systems require careful attention to sitingand design if they are to integrate successfully.30

Windows4.4.4 The Clarendon Street Conservation Area is characterised by the vertical emphasisof its sliding sash windows, which are generally Georgian in style or Victorian Bays. Theybenefit from simple plaster or precast concrete reveals and cills, with a high degree ofornamentation on the bay windowed terraces. However, this character can be easily lostthrough the careless widening of the window openings or replacement by characterlessuPVC.4.4.5 Timber frames often look much worse than they are because of badly peelingpaintwork. The base timber may be sound or only rotten in isolated places. A skilledcraftsperson can piece in durable timber to leave a sound window that functions perfectlywell.4.4.6 The visual character and delicate quality of old glass is just as important as thewindow frames. Repairing existing timber windows is the best way to retain their refineddesign details, original materials and craftsmanship.4.4.7 The existing vertical window proportions of historic buildings within theConservation Area provide a guide for the size and proportion of new windows. Existingwindow openings should not be enlarged and existing detailing around openings should beretained or replaced (as appropriate).4.4.8 Existing poorly designed windows (usually replacement and made of inappropriateor low quality materials) can be removed if an opportunity arises. When original drawings orexamples of original windows remain (such as in parts of a unified terrace), then these canbe copied exactly. The number of panes in the window should match either the remainderof the building (if some still exist) or should take a lead from the surrounding area. Avoid18. Queen Street31

imitation bars, applied to or sandwiched between double glazed panes. New windows thatare well designed and fabricated clearly denote an old building’s ongoing evolution.4.4.9 The use of secondary glazing is also an option. This can be fitted internally, with novisual impact on the external character or appearance of the building, whilst at the sametime improving the thermal and sound proofing properties of the existing windows.4.4.10 Historic ironmongery on windows is a very important aspect of their character andappearance. Ironmongery includes such fittings as handles, hinges, fastenings, windowpulls etc. These are often unique to the building. Care should be taken to retain, clean andre-use these as many modern replacement “lookalikes” bear no comparison.4.4.11 Window openings in extensions should mirror the proportions of those in theexisting building and have similar solid to void ratio. Replacement sills should be substantial,constructed in either precast concrete or stone and should match the original in profile anddepth of leading edge.4.4.12 On new buildings, the vertical emphasis of windows and the ratio of solid to voidfound on existing historic buildings should be replicated. A horizontal emphasis or largesections of undivided glazing are not characteristic of the Conservation Area and they willnot be acceptable. New windows should be timber with an opaque paint finish. Varnisheswill not be acceptable. Powder coated aluminium may be an acceptable alternative totimber, however, each proposal will be assessed on its individual merits.Dormers4.4.13 Dormer windows are a common feature of the terrace properties in the ConservationArea. They vary from simple, small, uniform dormers set just behind the eaves on many19. Dormer windows, Clarendon Street32

of the larger properties to the more elaborate and integral double-window half dormersset within the facing walls and benefiting from ornate wooden soffits as can be seen atDe Burgh Terrace. The key feature is their uniformity and rhythm. In contrast, roofscapescan be spoilt by poorly designed, overly dominant dormers, introduced at random into welldefined terraces.4.4.14 The traditional dormer windows of the Conservation Area are generally pleasing tothe eye and need little or no improvement but will need repair in time. Whilst dormers varybetween the different terraces of the Conservation Area, they share the following commonfeatures:• the front of the dormer generally rises in line with the front façade• dormers are placed centrally in relation to the width of the front façade• they have a modest size and are small in scale• they are well proportioned• their roofs are generally double pitched – dormer pitch angle is the same asthat of the main roof• they have a vertical rather than a horizontal shape• they do not have gutters• the dormer cheeks are clad in vertical slate or lead• the window frames are normally opaque, painted-timber sliding sash.4.4.15 If a dormer window has been previously removed, there are a number of validoptions:• it can be left as it is – this can be done even if the rest of the terrace still retainsdormers• if evidence exists as to the size, shape and detail of the original (i.e. originalarchitect’s drawings for the building or if there are others on the building), then areplica adhering to the evidence could be reinstated• if no evidence remains of the design of a previous historic dormer then a new onecould be created the design of which respects the adjacent dormers in size andscale• if the building is part of an otherwise unified terrace with no dormers then it is bestto avoid disruption of the overall unified pattern. The insertion of new dormers inthis instance will not normally be acceptable• if the terrace is made up of an eclectic mix then the insertion of a dormer may beacceptable but the quality of its design and materials must be very high4.4.16 The temptation to change the size, shape, scale, and materials, or the size andconfiguration of windows should be resisted.4.4.17 New dormers in historic terraces should respect the size and scale of the hostbuilding and the remainder of the terrace. They should be designed to respect the position,size, shape and proportion of other relevant historic dormers on the terrace but should stillbe clearly of their own time.4.4.18 If a building is historic or part of a terrace with no dormers, then it is best to avoidthe insertion of a new dormer altogether, otherwise very careful consideration should begiven to its design. Preferably, they should be located in rear roof elevations but, if this isnot possible, consideration may be given to placing them in front roof elevations, providedthey are of traditional design and in scale with the existing building. In this instance, eachproposal will be assessed on its individual merit.33

4.5 Roofs4.5.1 Given the topography of the Clarendon Street Conservation Area roofscape is avery important visual feature in terms of roofing materials and the rhythm of chimneys.Roofing materialsfootprint should also reflect the prevailing situation as this determines roof span and ridgeheight. Roofs to extensions should reflect the roof design of the parent building.4.5.6 On new, modern buildings, alternative roofing materials may be acceptable;however, they should blend in with and be sensitive to the character, design, materials andcolours on surrounding properties.4.5.2 Traditional pitched (35 – 40 o ) and slated roofs with (painted or powder coatedblack) cast-iron gutters or cast-aluminium rainwater goods or are consistent with thehistoric character or appearance of the Conservation Area. In residential areas, simplepitched roofs with full gable ends are the norm. Small areas of flat roofs (particularly rearextensions) may be found on a number of buildings. Natural slate is the prevalent roofingmaterial throughout the Conservation Area.4.5.3 Roof covering should be either the traditional ‘Bangor Blue’ slate or a natural slatewhich matches those in colour, texture and form. Ridge tiles should be simple invertedV-section in clay. Roofs to new buildings should reflect traditional period designs.4.5.4 Artificial or composite slates are not characteristic of the area and will not beacceptable. If a new roof is required on an existing building, it may be possible to salvagesufficient slates from the existing roof to cover the front slope and a new, natural slate onthe rear.4.5.5 New roofs, including those on building extensions should be pitched and ridged.Roof ridges should line through with adjacent properties in the terrace with the angle ofpitch also generally consistent, although some slight variation is sometimes apparent. Mainroofs should pitch away and upwards from the street frontage. The depth of the building20. Roofs and chimneys, rear of Crawford Square34

Rooflights4.5.7 Rooflights have always been part of historic buildings. Where they occurred intown houses there was usually just one on the front roof plane (and perhaps another onthe back or on a back return). They were invariably very small and existed to serve a verybasic function – admittance of light and air to a staircase or small box room at attic level.Normally cast-iron (painted black or dark grey), they may have had one simple verticaldividing bar (or none at all). Their dark colour, small size and small numbers usually allowedthem to blend well into the overall architectural character or appearance.4.5.8 When repairing an existing rooflight on an historic building the aim should be toretain the historic cast iron or patent glazing framing and spacing if possible. If a replacementframe is necessary (because the original is beyond repair) a new cast-iron frame whoseappearance, size and position matches the original should be used.4.5.9 When a critical need arises to create a new rooflight on a historic building, thenumber of new rooflights should be kept to an absolute minimum and located on roofplanes that are not visible from surrounding streets and buildings. It must be noted that dueto the local hilly topography, rooflights may be more visible in the Clarendon Street than insome other Conservation Areas.4.5.10 On larger buildings, one large, well-designed, continuous panel of roof glazing thatrespects and makes an overall contribution to the architecture of the building (viewed fromnear and afar) may be preferable to several smaller roof lights of the same or mixed sizespeppered across the roof plane. All proposals will be judged on their individual merits.4.5.11 In general, whether replacing rooflights or installing new ones, the following shouldbe avoided:- uPVC frames- new frames whose colour does not blend well with the historic roof covering or thewider roofscape- new frames whose thickness lacks the visual refinement of the original- large or medium sized individual rooflights (square or rectangular). These haverelatively large panes of glass that reflect a lot of light. They also catch the eye anddetract from the wider roofscape- overuse of rooflights on a single building. When these are visible from street levelor higher levels of the Conservation Area, they can detract from an otherwisearchitecturally high quality building- rooflights whose opening light rotates through 360°Chimneys4.5.12 Chimney stacks located on ridge lines add character and interest to the skyline ofthe Conservation Area, particularly due to its hilly topography and stepped streetscapes.4.5.13 Where renovations to existing buildings are being carried out and chimneys areno longer in use, they should nevertheless be retained and repaired so as to maintain theexisting roofscape silhouette.4.5.14 Where clay pots are missing, they should be replaced as part of any proposal.There are many different styles of pots to choose from, examples of which can be takenfrom within the Conservation Area itself.35

4.5.15 Whilst all existing chimney stacks should be retained, where possible, if there is astructural reason why one requires to be taken down, it should be rebuilt to match exactlythe style, proportion and detailing of the original form (or those on adjoining buildings),including corbelling and other appropriate detailing.4.5.16 Adding chimney stacks (of the correct scale and proportion) to new works is alsoimportant to retain the particular character or appearance of the roofscape, the buildingand the streetscape, even if they are not to be used for their original function. There is thepossibility of soil vent stacks being directed through flues and terminating beneath thechimney pots, or a mechanical ventilation system having its exhaust through the chimney.Each proposal will be assessed on its merits.4.6 Typical eaves, fascias, soffits and verges4.6.1 There are three main eaves types in the Conservation Area: an overhanging eavessupported by a timber fascia and soffit or a brick corbel; a parapet or a raised verge suchas at St Eugene’s Cathedral; or no eaves at all, sometimes along front facades and verycommon on the rear and back returns of terraces.21. Overhanging eaves4.6.2 Victorian buildings often incorporate quite elaborate horizontal or vertical carvedtimber supports to overhanging fascias, soffits and decorative barges. These are an integralpart of the architectural character and had a practical purpose also in supporting heavy castiron gutters.4.6.3 The side gables and backs of terraced buildings usually have a minimal slateoverhang. Bargeboards, fascias or soffits are absent. At most, a small, projecting, single-36

course brick or plaster corbel may exist just below the slate overhang to provide fixing forrise and fall gutter brackets.4.6.4 Parapets concealing lead lined gutters behind are less common in the ClarendonStreet Conservation Area where the bulk of historic buildings are domestic in scale anddetail. They can be seen at the former Great James Street Presbyterian Church and atCrawford Square. The raised verge typical of the gables of many Victorian churches occursat St Eugene’s Cathedral.4.7 Renewal of existing historic rainwater goods– gutters, downpipes, hopper heads4.7.1 Traditionally, guttering and downpipes were cast-iron and painted. The profile ofgutters was often half round supported on iron rise and fall brackets. The guttering on frontsof buildings sometimes has a more elaborate ogee or bolection profile moulding.4.7.2 Downpipes were traditionally round. The detailing on hopper heads was often quiteelaborate and gave considerable aesthetic quality to a feature which had a very utilitarianfunction. Replacement gutters should match the original profile - this may necessitate aspecial order.4.7.3 Cast iron is expensive but its texture and solidity has a rich aesthetic quality.Consideration should be given to reinstating cast-iron when replacing existing rustedrainwater goods. Cast-aluminium is an acceptable substitute, provided the profiles matchthe original. Extruded aluminium and uPVC will not normally be acceptable within theConservation Area.22. Cast-iron down pipes4.8 External wall finishes4.8.1 The predominant wall finishes in the Conservation Area are the earthy bricks ofClarendon Street, the red brick of De Burgh Terrace, the smooth render and dashed finishesof Windsor Terrace and Queen Street and the stonework of the Cathedral area. In newproposals, the overriding considerations should be:(a) to retain existing facades to preserve or enhance the character of the buildingand the Conservation Area; and(b) to ensure that finishes to extensions match the existing building.37

4.8.2 With new buildings, external wall finishes should reflect the range of traditionalfinishes within the area. Decorative stone and plaster details should be retained or reinstatedwhere possible.Stone and brick patterns4.8.3 Repairs to brick and stonework should be undertaken before consideringreplacement. Damaged or defective bricks should be carefully cut out to avoid causingdisturbance to surrounding sound bricks. Replacements should match the originals indimensions, strength, texture of finish and colour. They should be laid in the same bond andwidth of joint and the same joint finish as the existing. In the main the pattern of brickworktends to be simple avoiding ornate brick courses but with soldiers across the window tops.23. City Factory, Queen Street4.8.4 Natural stone is often used for the external walls of buildings within the ConservationArea. The colours, textures and patterning of these stones add considerably to the characterand appearance of the Conservation Area. Repairs should be undertaken by competentprofessionals to ensure that the quality of the stonework is not affected. It is essential, inthe first instance, that the causes of any damage or decay are carefully investigated andidentified in order that their effect may be eliminated. Stones should only be replaced wherethey have lost their structural integrity or serious fracture or spalling has occurred.4.8.5 In new proposals, detailed consideration should be given to the type, colour andtexture of brick or stone to be used, to ensure that it blends with surrounding materialsand does not adversely affect the character or appearance of the Conservation Area.Reconstituted stone and external concrete bricks are not characteristic of the ClarendonStreet Conservation Area and will not normally be acceptable.38

Plaster, pointing and render4.8.6 Repairs to or renewal of historic plaster, pointing and renders often produceunsatisfactory results and adverse comment, primarily because of the failure to appreciatethe importance of the differences between porous and non-porous mortar mixtures interms of appearance and performance.4.8.7 In the early part of the 20 th century, mortar and plaster mixes changed from porous,breathable, flexible lime putty/sand mixes to inflexible non-porous, hard, mixes of sand/cement (perhaps gauged with bagged lime). Technically, these two mixes look and behavevery differently.4.8.8 Older brick buildings benefit from the use of permeable lime mortar becauseit allows maximum breathability, does not crack as a result of building movement ortemperature change and the moisture that has penetrated the brickwork is allowed toescape through the joint and not through the brick unit. Modern brick walls are made toshed water because the brick is harder, more vitreous and impervious to water penetration.4.8.9 Re-pointing should only be undertaken where mortar has perished or is breakingdown and either has lost or is in danger of losing its structural integrity, leaving open ordeeply recessed joints vulnerable to water penetration. Where re-pointing is needed, asound example of original pointing should be found and carefully matched in mix and finishin the new work. Lime mortar is preferred, both functionally and from an aesthetic point ofview.4.8.10 It is essential that renovations to structures built with a lime/sand mortar arecompleted with a similar lime/sand mix. When using traditional lime mortars, it is highlyimportant to select sand which is appropriate to that of the original pointing, where thesand needs to be very well graded and sharp rather than soft. Lime based mortar pointing,applied incorrectly or with inadequate protection under the wrong weather conditions, canalso fail.4.8.11 Cement based mortar pointing can cause surrounding brick or stone surfaces tospall off, speeding up the overall decay of the wall. The use of angle grinders to removeexisting pointing should be avoided (particularly when this is sand/cement mix). Such powertools can damage the corners and surface of historic brick and stone badly. Mortar repairs,sometimes referred to as ‘Plastic’ repairs, should be carried out using hydraulic lime orlime putty based mortars, coloured to match the original with brick or stone dust. Resinor cement based repairs are inappropriate. Important decisions about when and how toremove cement based pointing, how to renew it to achieve the optimum aesthetic andtechnical results and where and how to carry out ‘plastic’ repairs should be taken underguidance by an appropriately trained conservation professional.4.8.12 The inevitable movement in a building over time causes inflexible cement basedrenders to develop numerous fine hairline cracks. Rainwater enters the structure throughthese. The non-porous render prevents the evaporation process and serious problems ofdampness can develop or worsen.4.8.13 Decisions about when or how to remove inappropriate cement based renders orabout the appropriate mix and application of lime based mortars, plasters and rendersrequires specialist knowledge (see Appendix 7 for sources of advice).Cladding4.8.14 The application of surface cladding – including stone, timber, tiles etc, is notcharacteristic of the Clarendon Street Conservation Area and will not normally be acceptable.39

Paints4.8.15 Specification of paints is a specialist area. Paints applied on old porous masonry,plasters and timber (all of which need to breathe to ensure that they do not decay quickly),should also be porous otherwise they can undo a lot of good repair work beneath. Sometimesthe historic paint itself is worthy of retention. Paint scrapes taken internally and externally(to remove layers of modern paints) can identify historic paints, colours, distempers andlime-washes behind. This can reveal very interesting information about a building and howits overall colour and surface texture have changed over time.4.8.16 Lime and cement based rendered walls were often unpainted. Sometimes, thisoccurred front and back and sometimes only on the back. Over time, these rendersdeveloped a surface patina that is part of their historic character or appearance and formspart of the Conservation Area’s colour palette.4.8.17 It is more authentic to leave such walls unpainted where possible. Unpainted limerenders have a luminosity that has a visual appeal of its own. Whilst painting can brightenup lime or cement renders in the short term, it also creates a maintenance burden for thefuture where none existed previously. Unless paintwork is renewed regularly, it can lookworse than any unpainted render.Colour24. Queen Street4.8.18 The use of colour is an important consideration in building elevation andstreetscape. Painting schemes should be harmonious and add to the environment ratherthan detract from and be injurious to the streetscape.4.8.19 Rendered facades will often be enhanced if distinctive architectural features (e.g.40

quoins and decorative plaster moulding around doors and windows) are picked out in acontrasting colour or a much deeper version of the main elevational colour.4.8.20 Unless positioned at, or close to, a clear architectural break between a buildingand its neighbour, downpipes may mar the appearance of a building and should, therefore,be camouflaged by the use of the same colour as their background.4.8.21 The painting of one storey in a different colour from another (except in cases wherethe ground floor has a very clear differentiation from the upper floors) usually detracts fromthe overall character or appearance of a building and streetscape, and will not normally beacceptable in the Conservation Area.Patina4.8.25 The present appearance of a historic building is likely to be quite different fromhow it looked originally. Over time, exposure to the elements changes the colour and textureof external surfaces. This alteration in the appearance of the building, referred to as its‘patina’, can suggest the antiquity of the building and add to character. Whether or not it isappropriate to clean historic buildings can be a matter of fine judgement but if a decisionis taken to do so, cleaning should be carried out with great care, as texture and historicdetail can be adversely affected if the cleaning method is wrong. As always, the advice of aconservation specialist is required to inform such decisions.4.8.22 In the case of a listed building, painting the façade can be a material alterationwhich affects its character or appearance if it obliterates features of interest or alters theproportions or balance of the building e.g. painting over face brickwork, timbering, letteringor other details of architectural or historic importance. The local area planning office orNorthern Ireland Environment Agency (NIEA) should be consulted for further advice andguidance on this matter and whether planning permission or listed building consent isrequired.4.8.23 Careful consideration should be given to proposed colour schemes and theseshould be specified on all applications. Care should be taken when co-ordinating a colourscheme for a terrace of buildings to ensure that compatibility is achieved or maintained.4.8.24 Whilst experience has shown that pastel shades are most effective in showingoff a building within a streetscape, there are so many suitable combinations of colour thatthere would be little merit in attempting to provide further guidance in this document, otherthan to say that pleasing examples of colour schemes that co-ordinate well should be used.41

4.9 Gates, railings and other ironwork4.9.1 Railings are a key feature around the Cathedral and the larger Victorian terracedproperties. They are a feature well worth conserving as they contribute to the character andidentity of both the Conservation Area and the individual properties.4.9.2 Historic gates, railings, finials etc often embody very intricate details, exhibit a highstandard of craftsmanship and add a level of refinement to the character or appearanceof a building. Loss of this is highly regrettable. Regular maintenance of historic ironwork isvitally important to avoid loss in the first place. Regular removal of rust and repainting is thekey to preserving it.4.9.3 Where original details exist, ironwork can be recreated – though, usually, atsignificant cost. Often, they do not exist or the original detail may be too badly rusted todecipher. By then it is too late.25. Railings, St Eugene’s Cathedral4.9.4 In such instances, it is better to design replacement metalwork that maintains adegree of refinement and is sensitive to the original architecture. A high level of design skillis required to achieve a successful contemporary approach.4.9.5 It is most likely that new railings, gates or other metalwork will be made of mildsteel - galvanised or painted. There may be circumstances/locations where other metalssuch as stainless steel, bronze or copper may be acceptable depending on whether theircolour is harmonious with the mix of colours in the building. When designing new railings orgates, the gauge of the metal and size and weight of section specified should be carefullyconsidered to be appropriate for the architecture of the original. The use of excessively lightsections and gauges can detract from otherwise acceptable designs for new railings andgates.42

4.10 Signage and shopfronts4.10.1 Although there are few historic shop fronts within the Clarendon Street ConservationArea, the Design Guidance should be carefully considered in those instances where newdevelopment is proposed. Traditional shop front materials are painted timber frames anddoors. Sometimes, there are painted timber side pilasters, and a painted timber signboardwith a hand painted sign. Sometimes, the fascia and side pilasters are painted plaster withthe sign hand painted onto the plaster (or sometimes formed in plaster projecting from theplaster signboard). This type of treatment tends to work best on Georgian and Victorianproperties. Other materials may be considered acceptable but they, and the design of thefrontage or sign, must demonstrate that they respect the building façade of which theyare a part in terms of its composition, mix of materials and colours as well as the overallcomposition of adjoining facades or other context.4.10.2 The architectural quality of historic buildings (and many new buildings) can sufferfrom inappropriate signage. A plethora of signs of all shapes and sizes projecting frombuildings, illuminated sign boxes or individual polycarbonate lettering, along with large andsmall temporary “For Sale” or “To Let” signs can be unsightly.4.10.3 A new shop front or sign is a design opportunity to create something excellent andsympathetic to the existing historic or modern context. In the hands of a skilled and creativedesigner, the proportions and architectural expression of original façades can be respectedand reinterpreted to create innovative new shop fronts or signage that add positively to theconservation area.26. Maddens, Queen Street43

4.11 Appropriate materials4.11.1 Where available it is always best to match materials. However, some traditionalmaterials may no longer be available (such as local schist stone or wrought iron) or theskills to use them may be in short supply or, for some, their cost may be prohibitive.4.11.2 There are a number of alternative modern materials that can be used in conjunctionwith (or separately from) the traditional materials already listed. However these shouldbe part of a well designed, well detailed building whose overall appearance enhances,harmonises with, and complements the existing context created by the historic materialsand their palette of colours.4.11.3 Examples of acceptable modern materials include the following:- dark-grey, natural slate- zinc or copper sheeting on roofs/walls- self-finish, self-coloured plasters- glazed brick- concrete: fairfaced or boardmarked- durable timber: untreated (oak, iroko, Western Red cedar)- cast-aluminium rainwater goods, polyester powder coated- stainless steel, mild steel (galvanised or painted) bronze or stainless steel – forrailings, gates- aluminium: milled, brushed or powder coated- glass4.11.4 Sometimes the materials chosen will match what is already there and sometimesthey will not but they should always be compatible with each other both within the buildingand within the wider environmental context4.11.5 In contrast there are a number of materials that should be avoided. The followingmaterials should be avoided:- concrete roof tiles- fibrous cement slates- uPVC (often used for windows, doors, cills, fascias, soffits, barges dormer cheeksand rainwater goods)- extruded aluminium gutters and downpipes (especially square downpipes andogee section versions)- imitations of natural materials (stone, brick, slate etc)- natural stone for rubble walls that is not local. This dilutes the city’s strong localcharacter pattern of grey/green schist rubble stone walls.44

5 Blending the New with the Old5.1 Quality of conservation and design• Conservation is about conserving or ‘saving’ authentic traditional historicarchitecture.• Conservation is not about copying original authentic historic architecture manydecades or centuries after it has been built.New buildings, extensions or alterations in the Conservation Area5.1.1. When building afresh within a historic environment, the new work is most successfuland has greatest integrity when it is high quality, respectful of the surrounding historiccontext and reflects the architectural expression of its own time i.e. it is contemporary.There is no single version of contemporary architectural expression.5.1.2 Passing stylistic trends and fashion come and go. High quality design endures.Rather than dictating a particular style, the Guide aims to promote a high quality environmentthat incorporates innovative contemporary design alongside authentic historic structures.This should respect, reinforce and add to the Conservation Area’s best historical signaturepatterns, architectural traditions and their exemplary conservation. The Guide encouragesindividual expression in new design in conjunction with excellent conservation of historicbuildings so that new buildings can evolve creatively.Traditional contemporary approach5.1.3 This approach may fit into the contemporary category but draws heavily ontradition for the design solution. Traditional shapes, massing, materials and siting stilloffer considerable scope for contemporary expression within the traditional form ormaterials specified. The contemporary expression may come in the shape, proportion and27. Clarendon Street/Northland Road45

composition of windows and doors or other elements. It may be evident in the approachtaken to detailing. There is plenty of scope for reinterpreting historic form and detail in away that is clearly rooted in the past but of today.5.1.4 Sometimes a design solution derived from something traditional can, in the handsof an experienced and skilful architect, be transformed into something exceptional, yettraditional at the same time.Reproduction5.1.5 ‘Reproduction’ or ‘pastiche’ reproduces the architectural styles, language,proportion and detailing of the past – usually from the 18th and 19th centuries. Modernday building economics and restricted budgets often prohibit the level of refinement indetailing and craftsmanship that were part and parcel of the rich architectural quality ofthe historic originals. The ‘pastiche’ or ‘reproduction’ end product is, more often than not,a pale imitation of its predecessors, and frequently built in materials and/or a standard ofworkmanship that does not compare. Such an approach can lack authenticity.5.1.6 A faithful reproduction of historic styles requires a very high degree of architecturalknowledge of and expertise in the architectural theories and detailing of past historicarchitectural styles on the part of the practitioner.Innovative contemporary approach5.1.7 Contemporary architecture may come in a shape and/or in new materials andother elements that no one has ever seen before – it will then be something that innovates.Within the Conservation Area the challenge is to do this whilst preserving or enhancing thecharacter or appearance of the area.Blending in5.1.8 Blending into an existing historic context does not mean that new buildings,extensions to old ones or other elements within the public realm should copy the existinghistoric architectural styles. For any new element to blend into the Conservation Area andits setting it should have several qualities:• respect for its context• appropriate siting• appropriate height and massing• compatible scale• good proportion overall and also in its elements and details• a well composed arrangement and rhythm of elements (for example windows anddoors)• choice of materials and colours should complement the surrounding context• meet the policies set out in PPS6 and the guidance contained within this document.46

5.2 Design quality5.2.1 The quality of the environment within the Clarendon Street Conservation Areareflects the attitudes of the collective community that creates and uses it. If the city is tomaintain its uniqueness, it will be essential to avoid the undesirable modern trend towardsvisual uniformity/conformity.Diversity and richness5.2.2 Regulation and prescription do not achieve good design and often stifle the veryquality, creativity and innovation needed. This Guide seeks to encourage the evolution of acontext from which better design and conservation can emerge. Good design requires wellfunctioning buildings (and public spaces) that meet the needs of their users. Durable, longlasting materials, high-quality workmanship and responsible environmental systems arealso essential. These contribute to the longevity of a building and its sustainability. Greatlooking buildings and spaces that are well used and last longest represent best value formoney.28. Culturlann, Great James’ Street47

The right building for the site5.2.3 Building land is a finite resource. Within the Conservation Area there is a need toensure that:• sites are developed with buildings whose functions suit the potential of the site• the orientation of the site is appropriate for the building and the uses within it andthat the views from, past and to it are good• the uses to be accommodated within the building will be compatible with others inthe area• a feasibility study is carried out to examine the appropriateness of the size ofthe proposed building for the proposed site and for its surrounding context. Justbecause a site exists does not mean that it is suitable for any building type• the building integrates positively with existing ground levels and facilitates positiveinteraction between its users and surrounding streets and public spaces• good use is made of light and sun falling on the building.5.3 Prominence5.3.1 St Eugene’s Cathedral is both dominant and prominent. The colour of the materialsof its main walling stand out from all the buildings around it. It demonstrates how a welldesigned building can be prominent and respectful. It is intended that St Eugene’s Cathedralremain the dominant building in the area and that any new development respects this. Newdevelopment should respect the prominent position of St Eugene’s within the context of thewider Conservation Area.5.3.2 Occasionally there may be instances where both the site and context will acceptprominence. However, given that the Conservation Area consists of mainly of residentialterraces it is appropriate that new development be discreet and respectful of its surroundings.This does not mean that originality is prohibited but that discretion is appropriate. It requiresrestraint with regard to location, physical size, height and appearance of the building.48

5.4 Orientation5.4.1 Existing street patterns and plan forms often dictate the orientation of buildings,particularly terraces. The aim should be to achieve a good relationship between a newbuilding and/or extension and its surrounding buildings and open spaces. Detachedbuildings that form part of a dispersed plan form enclosed by an existing historic boundarycan respect this, but their orientation should also take account of and address the streetpattern beyond the boundary.5.4.2 Internal and external building functions that benefit greatly from high quality naturallight and sunshine, are best positioned on those sides of the building which admit such lightat the times of the day when it is most beneficial.29. St Eugene’s Cathedral49

5.5 Size and scale5.5.1 Size and scale are not the same thing. Two buildings of equal size and volume canhave very different scales depending on how this is handled by the designer.5.5.2 For example the architect of the City Shirt Factory, one of this Conservation Area’slargest buildings, has achieved a modestly scaled building very successfully. Although thereis no modelling of the plane of its lengthy façade onto Patrick Street, the scale of its roof hasbeen visually reduced by the use of hipped roofs and a low ridge height. This was possiblebecause the span of the roof was not excessively wide.5.5.3 The a low ridge height and parapet wall at eaves level reduces the apparent heightof the roof. The rich detailing in Victorian brickwork (particularly along the eaves), carvedsandstone details and local rubble schist stone at the base enhances the character andappearance of this enormous building. Its two main street facades are transformed by thisand provide excellent views for occupants of surrounding buildings.30. City Factory, Patrick Street5.5.4 The scale found in many of the Conservation Area’s old buildings can be a startingpoint for establishing an appropriate scale for new buildings and extensions, withoutresorting to copying the original. New development whose scale is too large or too small forits context should be avoided. Neither is desirable.5.5.5 The aim to achieve a scale that is in keeping with the existing context. Skilleddesign can achieve this in ways that are impossible to prescribe.50

5.6 Form or shape5.6.1 Townhouses are usually two rooms deep and two to three storeys high, with a oneto two storey back return. Both have double pitched roofs at approximately 35 o . The eavesand ridge line of back returns is lower than those of the main roof.5.6.2 The larger stand-alone buildings are also two to three storeys high and severalhave pitched, slated roofs, often with hips at the endsClues5.6.3 Several examples exist of very large, long buildings of up to three storeys whosepitched roofs integrate successfully into the overall townscape. Their ridge height is relativelylow because the plan depth is quite narrow. City Shirt Factory in Patrick Street is a goodexample. The latter sits comfortably opposite modest two storey workers’ housing Slavishcopying of this traditional signature roof shape is not advocated but refers to it because ofthe clues it offers for contemporary reinterpretation.Potential pitfalls5.6.4 Flat roofs and roof plant rooms are part and parcel of modern buildings. Unlessthey are designed with care, their shape and materials can generate very unsightly viewsfrom a height. It us advisable to avoid the following:- steep pitched roofs on deep plan buildings where these generate excessively bulky,dominant and high roof shapes that do not integrate into the wider roofscape- large expanses of flat roof or partial concealment of flat roofs by applying mansard32. Infirmary Road 31. Former Presbyterian Church, Great James’ Street51

or other roof profiles along the frontage only. These generate unsightly and banalviews when viewed from higher ground and rear approaches- extensions whose pitched roof ridge and eaves line is higher than the original ridgeline, particularly when this changes the shape of the original roof plane.5.7 Volume and massing5.7.1 Volume and massing are not equivalent concepts. Two buildings could haveroughly the same volume but completely different massing. Massing is the way in whichthe overall volume inside the ‘shell’ or ‘skin’ of the building is held together. It might simplybe contained by a big box or it might be a collection of smaller boxes or other shapes thatall together make up the whole building. Volume and massing are interlinked with scale andproportion - one affects the other.5.8 Townscape and roofscape5. 8.1 In a Conservation Area, it is always important to think outside of the individualbuildings under design and to focus on how it relates not only to neighbouring propertiesbut on townscape as a whole.5.8.2 Townscape is how all parts of the buildings and surrounding open spaces looktogether. New development should create positive townscape within itself and enhance thesurrounding historic townscape.5.8.3 Vistas also help people to locate themselves, assisting movement. Developmentshould frame existing vistas and create new ones – this might be the careful positioning33. St Eugene’s Cathedral from Brooke Park52

of a significant building to close the view at the end of a long and wide street or even thejudicious planting of a long tree lined avenue, where appropriate.5.8.4 When renewing buildings or parts of streets today there are lessons that can belearnt from the excellent skills in Urbanism demonstrated by town planners and architectswho created the historic fabric of the historic city since the Plantation, through the 18th and19th centuries, without resorting to copying of surrounding architectural context.5.8.5 There are key lessons in the way the buildings, that make up the city’s rich legacyof built heritage, were designed and laid out, to form an attractive and well composedoverall townscape. This is relevant with regard to street patterns, relationships betweenbuildings and public spaces, vistas and vista stops, block and plot sizes, appropriate form,height, massing, scale, materials etc. Clearly this is not to suggest that new proposalsshould look like older buildings, but rather that the essence of historic approaches to streetdesign and the respect that old buildings had for each other and the city’s hilly contextshould be evident in new development.5.8.9 The streetscape is also influenced by the treatment of hard surfaces and boundarywalls. In the main this is best kept simple utilising quality granite paviors and kerbing.5.9 Setting5.9.1 PPS6, Policy BH 12; New Development in a Conservation Area, states that“important views within, into and out of the area are protected”. Section 7.11 reinforcesthis, in instances where new development is proposed within the setting. “Special careis required in the location and design of development proposals close to a ConservationArea... New development will be expected to respect the character and appearance of theadjacent Conservation Area while the Department will also seek to retain important viewsinto and out of the area”.5.8.6 It is important that new buildings create a positive townscape linking with thehistoric landscape. Roofscapes are a key ingredient of this.5.8.7 Given the topography of this Conservation Area it is important that special attentionbe given to the roofscape as represented by the line traced by the edges of the roofs.5.8.8 There is a significant difference between properties running in an east/west directionwhere roofs tend to step down the hillside using their chimney stacks as bookends. Themore level streets running in a north/south direction tend to be more uniform in character.Any new development should ensure that the dominant feature in the roofscape remainsthe cathedral and other ecclesiastical buildings.34. River Foyle and setting53

5.9.2 In Clarendon Street, the setting is very much defined by views across the river tofrontages of Queens Quay and the backdrop of Brooke Park.5.9.3 Whilst there is scope for higher buildings (up to six-storeys) along the quayside,it is important that these do not crowd out views into the Cathedral or the two and threestorey properties of the Conservation Area which lie behind.5.9.4 In contrast, it is important that buildings on the higher land are of lower height (twoor three-storey). In the areas adjoining the Conservation Area, it is also important that aholistic approach is taken to the design process.5.10 SustainabilityEnvironmental sustainability5.10.3 Improvements in energy efficiency should not prejudice the character or appearanceof historic buildings, or increase the risk of their deterioration. Given the hilly topographyof this Conservation Area, the size and reflective surfaces of the metal frames and glasstubes that make up solar collectors are likely to be highly visible, even from a distance. Thiswould undoubtedly change the character or appearance of the roofscape and potentiallythe Conservation Area as a whole.Social sustainability5.10.4 The Conservation Area has a mixed community of professionals, students and longestablished residents. This mix should be supported as it can help to bring investment intothe built environment of the area.5.10.5 Clarendon Street has all the ingredients to provide a sustainable neighbourhoodand offer a quality residential and working environment.5.10.1 Environmental sustainability is concerned with protecting and conserving bothbiodiversity and the environment by reducing waste, preventing pollution and using naturalresources as efficiently as possible to reduce energy usage and CO 2emissions. Old buildingsalready contain a lot of natural raw materials in built form – walls, windows, doors, naturalslate, etc. Reusing these old buildings means there is less need to consume new materials,or dispose of waste materials from demolition. This helps reduce the consumption of fossilfuels.5.10.2 Economic sustainability in the Conservation Area may require all those who havean interest in it to work proactively, to ensure it is vibrant and thriving. This involves carefulmanagement, such as being proactive in finding new uses for vacant buildings/buildings atrisk, and/or carrying out emergency repairs to arrest decay and dereliction in buildings atrisk.35. Sydney Terrace54

6 Regulations and Planning ControlListed buildings6.1.1 Listed status applies to the entire building inside and out and to everythingcontained within the curtilage. Before demolishing, or making changes or alterations to alisted building Listed Building Consent (LBC) is required. This applies to all development,including minor works and extensions. You may also be required to apply for planningpermission. Emergency repairs can be undertaken, provided that they are carried outusing ‘like for like’ materials and that any replacement is kept to a minimum. In suchcircumstances the local area planning office and the Northern Ireland Environment Agency– Historic Buildings Unit should be contacted for advice.Unlisted buildings6.1.2 Works to an unlisted building within the Conservation Area may require planningpermission. Permission may also be required for renewable energy development withinthe curtilage of domestic dwellings. The local area planning office can provide appropriateadvice/guidance on the necessary consents prior to the commencement of any works.6.1.3 The demolition of all, or a substantial part, of an unlisted building or structure willnormally require an application for Consent to Demolish under Article 51 of the Planning(NI) Order 1991.is granted, conditions will normally be imposed and subject to a redevelopment scheme.These are listed in Policy BH14, paragraph 7.19. A structural report may also be required.6.1.5 Where demolition consent is granted, there is an opportunity to ensure that thereplacement building consolidates the already high-quality historic townscape of theConservation Area. New build proposals are expected to attain the highest standards ofdesign. It does not mean that new proposals must look like the surrounding historic buildingsbut that their design quality is comparably high. Such proposals should demonstrate thatthey meet policy contained within PPS6, the local Area Plan and adhere to all the guidancecontained within this Design Guide.Trees6.1.6 The presence of mature trees contributes to and often enhances the character orappearance of conservation areas. Trees in conservation areas that are already protectedby a Tree Preservation Order [TPO] are subject to normal TPO controls but Article 66A ofthe Planning (NI) Order 1991 Order also makes special provision for trees in conservationareas which are not the subject of a TPO.6.1.7 Anyone wishing to carry out works to trees within the Conservation Area shouldcontact the local area planning office (prior to commencement) for advice.6.1.4 The Department’s policy on demolition in a conservation area is set out in PPS6 Planning, Archaeology and the Built Heritage, Policy BH14. There is a presumptionagainst demolition of any building or part thereof within a conservation area and in favourof retaining any building that makes a material contribution to the character or appearanceof the area. In cases where demolition maybe considered appropriate i.e. where a buildingdoes not make a material contribution to a conservation area and consent for demolition55

Guidance on required supporting documentation6.1.8 The Department may, at any time, seek a written Design Concept Statement forproposals within the Conservation Area. When requested this should describe and explainthe following:• the site• the immediate surrounding context (and wider context where relevant)• the genesis and evolution of the design concept• how this meets the brief and resolves any constraints (where relevant)• the final proposal• how it integrates into the site and its setting.easy to read and identified on the drawings, and should be separated out of more detailedtechnical specifications.Further advice6.1.12 For relevant and up-to-date the local area planning office should be contactedprior to undertaking any works within the Conservation Area. A full schedule of up to datePlanning Policy Statements, Development Control Advice Notes and further guidance arealso available to view at www.planningni.gov.uk.6.1.9 In some circumstances applicants, may be required to submit computer generatedmodels and/or a 3D physical model showing the proposal in its surrounding context (tosupplement the usual drawings required as part of a planning application). The extent ofthe model will depend on the nature of the proposal.6.1.10 Drawings submitted in support of applications should fully describe the new buildand/or extensions or alterations and their context. Heights of proposed development andrelevant existing context should be clearly and accurately shown. Appropriate scales shouldbe used to allow materials and details to be fully described (this is particularly important forshop fronts and signage).6.1.11 All existing and proposed exterior materials (and their colour) should be clearlyshown and keyed into their location on all the building façades. This information should be56

Appendix 1Fig 4. Clarendon Street Conservation Area57

Appendix 2* Larger scale maps are available from the local Planning OfficeFig. 5 Long distance Views and VistasLegendPanoramic vistaLong distance viewOne way axial viewTwo way axial viewSignificant landmark buildingforms critical element in viewDerry - Long Distance Views and Vistas58

Appendix 3AcknowledgementsThe Planning TeamThe Citizen’s Charter for Northern Ireland seeks to ensurethat the public is aware of the officials who are involved inthe preparation of Plans and Policies. The Steering Groupchiefly involved in the production of the HistoricCity Conservation Area Design Guidance included thefollowing:• Jim ThompsonDOE - HQ, Belfast• Dr. Chris BoomerDOE - Northern Area Planning Office• Brian LundyDOE - HQ, Belfast• Andrew A MeenaghDOE - Northern Area Planning Office• Sharon MulhernDOE - Northern Area Planning Office• Nichola CarrDOE - Northern Area Planning Office• Claire PattonDOE - HQ, BelfastConsultant Team• Mary Kerrigan• Paul McTernan• Peter Harper• Richard Griffin• Ciara Moynes• Guy Bartley• Aoife Curran• Annesley MalleyPrinting and Publication• Annette Deehan, Graphic Design unit, DRDThe Department also acknowledge contribution to theprinting and publication of this document from ILEX.Photographs/CreditsThanks are due to all those who kindly provided imagesand/or gave permission to have their buildings and imagesincluded in this Guide.Key Stakeholders• Derry City Council• North West Development Office• Walled City Partnership• City Centre Initiative• Foyle Civic Trust• ILEX• DRD Roads Service• Northern Ireland Environment Agency• Historic Buildings Council• Ulster Architectural Heritage Society• Derry Visitor and Convention Bureau• Northern Ireland Tourist Board• Strand Road Area Group• Joe Tracey59

Conservation Area WorkshopWe would also like to acknowledge the following individuals who took the time to attend theConservation Area Workshop on February 21st 2008.• Pat Andrews, Chartered Surveyor• George Brennan, Architect• Nick Brown, Walled City Partnership• Ken Bustard, DOE – Northern Area Planning Office• Michael Carr, Hegarty Carr Architects• Nichola Carr, DOE – Northern Area Planning Office• Colm Cavanagh, McCormick Properties• Father Roland Colhoun, Long Tower Church• Barbara Curran, Clarence Avenue Residents• Manus Deery, Northern Ireland Environment Agency• Joan Doherty, Resident• Paddy Doherty, Inner City Trust• Giovanni Doran, Samaritans• Aine Downey, Resident• Peter Harper, Colin Buchanan• Jim Kelley, Aberfoyle Residents• Mary Kerrigan, Architect• Frank Liddle, University of Ulster• Bridghin Lyttle, de Burgh Terrace resident• Cllr Gerry Maclochlainn, Derry City Council• Mary Maguire, de Burgh Terrace resident• Annesley Malley, Historian• Jo Mitchell, Caroline Dickson Architects• Andrew McClelland, Ulster Architectural Heritage Society• Isobel McDonagh, DOE – Northern Area Planning Office• Evy McDonald, Resident• Paul McGarvey, Foyle City Trust• Roisín McGrogan, St. Joseph’s Secondary• Intermediate School• Mary McLaughlin, Walled City Partnership• Paul McTernan, Colin Buchanan• Eddie Nicell, Property Developer• Jo Noble, de Burgh Terrace resident• Cllr Helen Quigley60

Appendix 4Schedule of Listed BuildingsBuildings are added to the statutory lists normally as a result of systematic resurvey or through a building being at risk. The Second Survey of Northern Ireland’s Historic building is currentlyunderway to re-assess current listings and to identify additional buildings and features worthy of protection. The following list is correct as at the time of going to print.HB01/21/001GATES, RAILINGS AND WALLINGST. EUGENE’S CATHEDRALB+HB01/21/002BISHOP’S AND PAROCHIALHOUSES ST. EUGENE’SCATHEDRALBHB01/21/003ST. EUGENE’S CONVENTSCHOOL AND RAILINGSBHB01/21/004CRAIG MEMORIAL HALLAND RAILINGS,INFIRMARY ROADB2HB01/21/005 A5 CLARENDON ST.B1HB01/21/005 B7 CLARENDON ST.B1HB01/21/005 C9 CLARENDON ST.B1HB01/21/005 D11 CLARENDON ST.B1HB01/21/005 E13 CLARENDON ST.B1HB01/21/005 F15 CLARENDON ST.AND RAILINGSB1HB01/21/005 G17 CLARENDON ST.B1HB01/21/005 H19 CLARENDON ST.B1HB01/21/005 I21 CLARENDON ST.B1HB01/21/005 J23 CLARENDON ST.AND RAILINGSB1HB01/21/005 K25 CLARENDON ST.AND RAILINGSB1HB01/21/005 L27 CLARENDON ST.AND RAILINGSB1HB01/21/005 M29 CLARENDON ST.B1HB01/21/005 N31 CLARENDON ST.B1HB01/21/005 O33 CLARENDON ST.B1HB01/21/005 P35 CLARENDON ST.B1HB01/21/005 Q37 CLARENDON ST.B1HB01/21/005 R39 CLARENDON ST.B1HB01/21/005 S41 CLARENDON ST.B1HB01/21/005 T43 CLARENDON ST.AND RAILINGSB1HB01/21/005 U45 CLARENDON ST.B1HB01/21/005 V47 CLARENDON ST.B1HB01/21/005 W49 CLARENDON ST.B161

HB01/21/005 X51 CLARENDON ST.B1HB01/21/005 Y57 CLARENDON ST.B1HB01/21/005 Z59 CLARENDON ST.AND RAILINGSB1HB01/21/005AA61 CLARENDON ST.B1HB01/21/005BB63 CLARENDON ST.B1HB01/21/005CC65 CLARENDON ST.B1HB01/21/005DD67 CLARENDON ST.B1HB01/21/005EE69 CLARENDON ST.B1HB01/21/005FF71 CLARENDON ST.B1HB01/21/005GG73 CLARENDON ST.B1HB01/21/005HH16 GREAT JAMES ST.B1HB01/21/005II18 GREAT JAMES ST.B1HB01/21/005XX55 CLARENDON ST.B1HB01/21/006FOYLE COTTAGE,CLARENDON ST.B1HB01/21/007CITY FACTORYQUEEN’S ST. /PATRICK ST.B1HB01/21/00818 QUEEN’S ST.AND WALLINGB1HB01/21/009PRESBYTERIAN CHURCH,GATE AND RAILINGSGREAT JAMES ST.B+HB01/21/01033 GREAT JAMES ST.,STEPS AND WALLINGB+HB01/21/011SECOND PRESBYTERIAN CHURCH ANDHALL,STRAND ROADBHB01/21/01313A LITTLE JAMES ST.B1HB01/21/020 A9 QUEEN’S ST.B1HB01/21/020 B10 QUEEN’S ST.BHB01/21/020 CCOLUMBA HOUSE11 QUEEN’S ST.B1HB01/21/020 D12 QUEEN’S ST.B1HB01/21/02135 GREAT JAMES ST,GATE AND RAILINGSB1HB01/21/022ST. EUGENE’S LODGEFRANCIS ST.B1HB01/21/024 A1 QUEEN’S ST.B1HB01/21/024 B2 QUEEN’S ST.B1HB01/21/024 C3 QUEEN’S ST.B1HB01/21/024 D4 QUEEN’S ST.B1HB01/21/024 E5 QUEEN’S ST.B1HB01/21/024 F6 QUEEN’S ST.B1HB01/21/024 G7 QUEEN’S ST.B1HB01/21/024 H8 QUEEN’S ST.B162

HB01/21/025BANK OF IRELAND15 STRAND ROADB1HB01/21/026GRAND CENTRAL BAR,27 STRAND ROADB1HB01/21/02712 STRAND ROADB1HB01/21/028ARCHWAYSTRAND ROAD(BETWEEN 8 AND 10 STRAND ROAD)B1HB01/21/02963A GREAT JAMES ST.B1HB01/22/001 BGATE LODGE,SCREEN AND STATUEBROOKE PARKBHB01/22/002CHRIST CHURCHINFIRMARY ROADLONDONDERRYBHB01/22/003 A1 CRAWFORD SQUAREAND RAILINGSB1HB01/22/003 B2 CRAWFORD SQUAREB1HB01/22/003 C3 CRAWFORD SQUAREB1HB01/22/003 D4 CRAWFORD SQUAREB1HB01/22/003 E5 CRAWFORD SQUAREAND RAILINGSB1HB01/22/003 F6 CRAWFORD SQUAREAND RAILINGSB1HB01/22/003 G7 CRAWFORD SQUAREB1HB01/22/003 H8 CRAWFORD SQUAREB1HB01/22/003 I9 CRAWFORD SQUAREB1HB01/22/003 J10 CRAWFORD SQUAREAND RAILINGSB1HB01/22/003 K11 CRAWFORD SQUAREAND RAILINGSB1HB01/22/003 L12 CRAWFORD SQUAREAND RAILINGSB1HB01/22/003 M13 CRAWFORD SQUAREB1HB01/22/003 N14 CRAWFORD SQUAREAND RAILINGSB1HB01/22/003 O15 CRAWFORD SQUAREB1HB01/22/003 P16 CRAWFORD SQUAREB1HB01/22/003 Q17 CRAWFORD SQUAREAND RAILINGSB1HB01/22/003 R18 CRAWFORD SQUAREB1HB01/22/003 S19 CRAWFORD SQUAREAND RAILINGSB1HB01/22/003 T1A ACADEMY ROADB1HB01/22/004 A20 CRAWFORD SQUARE,STEPS AND RAILINGSB1HB01/22/004 B21 CRAWFORD SQUARE,STEPS AND RAILINGSB1HB01/22/004 C22 CRAWFORD SQUARE,STEPS AND RAILINGSB1HB01/22/004 D23 CRAWFORD SQUARE,STEPS AND RAILINGSB1HB01/22/017 A1 BAYVIEW TERRACEAND RAILINGSASYLUM ROADB163

HB01/22/017 B2 BAYVIEW TERRACEAND RAILINGSASYLUM ROADB1HB01/22/017 C3 BAYVIEW TERRACEASYLUM ROADB1HB01/22/017 D4 BAYVIEW TERRACEASYLUM ROADB1HB01/22/017 E5 BAYVIEW TERRACEAND RAILINGSASYLUM ROADB1HB01/22/017 F6 BAYVIEW TERRACEASYLUM ROADB1HB01/22/017 G7 BAYVIEW TERRACEASYLUM ROADB1HB01/22/018 A13 QUEEN’S ST.AND RAILINGSB1HB01/22/018 B14 QUEEN’S ST.AND RAILINGSB1HB01/22/018 C15 QUEEN’S ST.AND RAILINGSB1HB01/22/018 D16 QUEEN’S ST.AND RAILINGSB1HB01/22/019FORMER REFORMED PRESBYTERIANCHURCH CLARENDON STREETB1HB01/22/020 A1 CLARENDON TERRACECLARENDON ST.B1HB01/22/020 B2 CLARENDON TERRACECLARENDON ST.B1HB01/22/022 A6 CLARENDON ST.B1HB01/22/022 B8 CLARENDON ST.B1HB01/22/022 C10 CLARENDON ST.B1HB01/22/022 D12 CLARENDON ST.B1HB01/22/022 E14 CLARENDON ST.B1HB01/22/022 F16 CLARENDON ST.B1HB01/22/022 G18 CLARENDON ST.B1HB01/22/022 H20 CLARENDON ST.B1HB01/22/022 I22 CLARENDON ST.B1HB01/22/022 J24 CLARENDON ST.AND RAILINGSB1HB01/22/022 K28 CLARENDON ST.B1HB01/22/022 L30 CLARENDON ST.B1HB01/22/022 M32 CLARENDON ST.B1HB01/22/022 N34 CLARENDON ST.LONDONDERRYB1HB01/22/022 O36 CLARENDON ST.B1HB01/22/022 P38 CLARENDON ST.B1HB01/22/022 Q40 CLARENDON ST.B1HB01/22/022 R42 CLARENDON ST.B1HB01/22/022 S44 CLARENDON ST.B1HB01/22/022 T46 CLARENDON ST.B164

HB01/22/022 U48 CLARENDON ST.B1HB01/22/022JJ26 CLARENDON ST.LONDONDERRYB1HB01/22/025 A1 DE BURGH TERRACEACADEMY ROADB1HB01/22/025 B2 DE BURGH TERRACEACADEMY ROADB1HB01/22/025 C3 DE BURGH TERRACEACADEMY ROADB1HB01/22/025 D4 DE BURGH TERRACEACADEMY ROADB1HB01/22/025 E5 DE BURGH TERRACEACADEMY ROADB1HB01/22/025 F6 DE BURGH TERRACEACADEMY ROADB1HB01/22/025 G7 DE BURGH TERRACEACADEMY ROADB1HB01/22/025 H8 DE BURGH TERRACEACADEMY ROADB1HB01/22/025 I9 DE BURGH TERRACEACADEMY ROADB1HB01/22/025 J10 DE BURGH TERRACEACADEMY ROADB1HB01/22/025 K11 DE BURGH TERRACEACADEMY ROADB1HB01/22/025 L12 DE BURGH TERRACEACADEMY ROADB1HB01/22/025 M13 DE BURGH TERRACEACADEMY ROADB1HB01/22/025 N14 DE BURGH TERRACEACADEMY ROADB1HB01/22/025 O15 DE BURGH TERRACEACADEMY ROADB1HB01/22/025 P16 DE BURGH TERRACEACADEMY ROADB1HB01/22/025 Q17 DE BURGH TERRACEACADEMY ROADB165

Appendix 5Funding and Sources of AdviceFurther information and advice relating to the conservation and enhancement of the MageeConservation Area, and conservation areas generally, is currently available from a numberof sources. The key sources are listed below.DOE Planning ServiceThe key contacts are the Conservation Area Officer and the Planning Officer for the Mageearea. These officers can be contacted at;Londonderry Divisional Planning OfficeOrchard House40 Foyle StreetLondonderryBT4 6ATTel: 028 7131 9900E-mail: divisional.planning.office.londonderry@nics.gov.ukNorthern Ireland Environment AgencyIf the building is or affects the setting of a listed building pre-application discussion shouldalso involve the Northern Ireland Environment Agency (NIEA) who can be contacted at;Waterman House5-33 Hill StreetBelfastBT1 2LATel: 028 9054 3095www.ni-environment.gov.ukSources of Technical AdviceAdditional information on technical aspects of repairing your old building can be obtainedfrom a number of organisations including:Ulster Architectural Heritage Society66 Donegall PassBelfastBT7 1BUTel: 028 9055 0213www.uahs.org.ukThe Society for the Protection of Ancient Buildings (SPAB) offers technical advice acrossthe UK, runs short courses and sells a range of technical advice pamphlets on variousaspects of the care and repair of historic buildings.Society for The Protection of Ancient Buildings(SPAB)37, Spital SquareSpitalfieldsLondonE1 6DYTel: 020 7377 1644Email: info@spab.org.ukWebsite: www.spab.org.ukThe SPAB offers other publications for sale including:“Old House Handbook – A Practical Guide to Care and Repair”by Roger Hunt and Marianne Suhr in association withThe Society for the Protection of Ancient Buildings.66

English Heritage and Historic Scotland also have their own series of technical leaflets.To obtain publications on repair and conservation including Historic Scotland’s ShortGuide Maintaining Your Home:Historic ScotlandPublications DepartmentTel: 0131 668 8638www.historic-scotland.gov.uk/shopOther Contacts(This is not an exhaustive list)Heritage Lottery Fundwww.hlf.org.ukInstitute of Historic Buildings Conservationwww.ihbc.org.ukUK Association of Preservation Trustswww.ukapt.org.ukFoyle Civic TrustCraft Village13 Magazine StreetDerryBT48 6HHTel: 028 7137 103767