Carmel-by-the-Sea City Council
March 3, 2026

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rendered waterproof with bitumen, when aided by the tensile strength and rectilinear guidance of wood could become an inexpensive, easy, and elegant approach suitable for one-story homes and requiring no additional insulation, interior or exterior finishing, or special details. This made his post-adobe a method accessible to laypeople, even to property owners themselves, leading to an emergence and proliferation of the Ranch style throughout town, such as this 1950 example on Scenic Road at Eighth Avenue (seen here in a recent view).

Also in 1948, Frank Lloyd Wright designed “Cabin on the Rocks” (seen here in a recent view) for Della Walker. Della’s sister, Alma, had deeded her the property on Scenic Road near Martin Way, under one condition: work with a notable architect. Wright, the first radically original American architect, and his former Taliesin apprentice, Mark Mills, delivered Walker’s request for a house “as durable as the rocks and as transparent as the waves” through carefully calibrated responses to the context.

To unify the structure into an “organic wholeness” at every scale from the site down to the detail, Wright relied on his signature tool: the Japanese (and later, De Stijl) principle of expressing irregular forms ordered over the rigor of a regular grid, but in this case using the unexpected module of a four-foot by four-foot parallelogram. This infinitely adaptable, geometric technique allowed Wright to take his signature stylistic invention, the Prairie School, which was inspired by the flatness of the midwestern plains, and
reinterpret it for the flatness of the Pacific shoreline through a casual, natural massing, responsive to the precise location.

He also emphasized the low and the horizontal, with a
bluish-green copper cantilevered roof floating above
minimally-framed glazing and not traditional windows,
deeply shadowed, dark-stained, native wood walls, all
recessed behind an asymmetrical native-stone base emerging from the existing rocks, which, together, masterfully
subordinated his built work to surrounding nature. It is perhaps no accident that the structure points toward Japan, as it was Wright’s fascination with the integrating geometries and natural subjects of Japanese prints that catalyzed his entire approach to design: “The print is more
autobiographical than may be imagined. If Japanese prints were to be deducted from my education, I don’t know what direction the whole might have taken.” (Utagawa Hiroshige’s 1833 “Driving Rain at Shono” from Wright’s collection seen here.) This cross-cultural, cross-discipline sensitivity and synthesis is just one mark of aesthetic genius. Alma Walker can be credited with insisting that such artistry is essential to building in Carmel.

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Around 1953, upon completion of Della Walker’s home, Mark Mills designed “Woodland House,” also for the Walker family, at Mission Street and 13th Avenue (seen here soon after construction). Mills, like Wright, used a roof floating above and around abstracted glazing and nestled within a grounded, solid base of native rock and concrete. This time, however, responding to the verticality of a completely wooded site, the roof tilts upward, sympathetically expresses its heavy timber structure and raw wood finishes, and creates views up into the tree canopy rather than out toward an ocean horizon. Also like Wright, Mills prioritized a building’s permanent responsibility to its natural and human community perhaps above its responsibility to any temporary occupant. In fact, Mills famously said that nature is “my silent client” and even “my client is nature,” sentiments that tie him closely to the environmental preservation mission of Devendorf and the early forest settlers.

Also in 1953, Clarence Mayhew, a
prolific, San Francisco-based and Berkeley-educated architect, designed a home for Helen Proctor between Scenic Road and San Antonio Avenue near Thirteenth Avenue (seen here in a recent view). Like most International Style buildings, the home emphasizes volume of internal space through lightweight, skeletal frames and glazed transparency, rather than mass and solidity; visual interest through functional divergences, rather than applied ornamentation; overall simplification of geometries; and flexible modularity, rather than strict classical symmetry. Yet, the undercurrents of classical composition often strongly order such buildings and Mayhew, educated in classical architecture at L'École des Beaux-Arts prior to Berkeley, would have known the standard facade in canonical ancient temple architecture: the hexastyle portico. This deep porch, with its six columns and five openings resting on a plinth of low windows and topped by a textured pediment of sorts, echos the ancient closely and then diverges to the modern with the addition of a solid, sixth module on the left, a chimney accent on the right, an off-center glass door, and only half a triangle for the roofline. This building, like a temple, follows its own mathematical order to sit in deliberate contraposition to natural disorder and therefore, like the International Style, it functions as an unapologetic “machine for living.” However, its modest scale, quirky asymmetry, recessive coloration, and natural wood construction, all push it away from the international and pull it closer to the local and associate the house with the Second Bay Area Regional style.

The Third Bay Area Regional style emerged in
Carmel soon thereafter, exemplified by “Three
Sisters,” a trio of homes on Lopez Street near
Fourth Avenue, including Cosmos House (seen
here on the right in an original site plan and in a
recent view), all designed by Berkeley- and
Harvard-trained architect, Henry Hill between 1961
and 1962. This California style, an even more
relaxed and warm interpretation of modernism,
uses native, unfinished materials and loose
geometries to tailor a respectful response to to the
natural environment. As the plans show, Hill
played freely with an unusual, angled vocabulary to
create three completely unique yet complementary
compositions that deftly avoid both the existing vegetation and one another. The houses maximize the flow of landscape between them by sharing no parallel exterior walls, which can create confining outdoor corridors. Instead they minimize contact, approaching one another only at sharp corners and exploiting the smallest possible geometric unit: the point.

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Also in the Third Bay Tradition, famed architect Charles Moore designed the Warren Saltzman House in 1966, on Palou Street near Casanova Street (seen here in a recent view). Though clad in unfinished wood shingles and nestled well into the existing site as is characteristic of the style, perhaps uncharacteristically the house plays more with traditional domestic shapes, such as the gabled roof (here exaggerated in scale and always in halves). His quotation of historic forms foreshadowed the influence Moore later had in ushering in the reactive Postmodern style of the 1970s to 90s, along with his Princeton colleague Robert Venturi and others. Together they changed the course of modernist architecture with their searing warnings against ignoring traditional urban context and offered instead an architectural language that was extreme in its reference to classical design elements (keystones, pediments, column capitals), often out of proportion or grouped discordantly to highlight the paradox of their resurrection into the modern age.

But Postmodernism did not thrive in Carmel, where the
forest context dominated the urban context. Instead, the bohemian residents and their experimental designers
continued in the more quirky, organic vocabulary of the Bay Tradition, as architect Mickey Muennig did for his
1974 “Owl House” on Dolores Street near Alta Avenue in
nearby Carmel Woods (seen here in a recent view). With
even looser geometries than found at the “Sisters”,
Muennig warps the walls and roofs to create undulations more associated with natural than built forms. The
nearly infinite freedom of this architectural language had the capacity to unify a meandering front path between low, woodsy, mute volumes with a starkly contrasting, bold, sweeping arch of a sheer glass escarpment over two stories tall to the rear, allowing the home to echo the topography and provide panoramic views over the forest toward the sea.

Around the same time, architects Walter Burde and
Will Shaw found this same organic language
appropriate to their 1972 “motor bank” commission
for Northern California Savings and Loan. Though
in the commercial district, the building could not be
a typical party-wall, infill design, because customers
would be primarily arriving by car, driving past all
facades to reach a drive-through window at the
property’s interior. So, much like a residential home
surrounded by forest, the building (seen here in a
recent view) was composed as a stand-alone
sculpture, visible in the round from infinite
viewpoints. The yin-yang interplay of jauntily
angled dark but airy glass-timber sections with light
but solid stucco sections creates a family of volumes
that provide visual distinction from every
perspective as the motorist travels by, yet a strong genetic coherence to the entirety.

Then, in the 1980s, Carmel confronted a new threat: surging commercial speculation in the residential neighborhoods.

The March 22, 1990 Pine Cone reported that multiple spec homes developed within months of one another on the “former Countess Kinnoull estate is usually declared the greatest single offender… built to the maximum the code will allow…[with] surrounding vegetation…torn down, leaving
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barren what was once a lush greenbelt.” (A
portion on Torres Street near Eleventh
Avenue is shown here in street elevation
drawings from the time.) The projects
exemplified an alarming trend: tree removal
permits for construction rising about 375%
over two decades and residential building
applications on track to rise 750% in half that
time. Carmel Planning Director Diane White warned about the oversized, cookie-cutter approach: “You can tolerate a lot of architectural ‘violations ’when the focus is on the landscape. What is happening now is a double-edged sword.

We are losing our predominant landscaping as well as getting a narrower architectural style.” Carmel City Forester Gary Kelly also warned, “according to the city’s tree census…the number of pines on private property is decreasing while the number of ornamentals is increasing…[because] when people come from different areas, they…plant what they are used to. The most serious aspect…is that the medium to small pines…are disappearing. That means we will have fewer trees to replace the mature ones once they die…they are supposed to be replaced. But when I go back to the site, I find that there is no room to plant. We either need to reconfigure the open space or allow for smaller houses.” Complaints flooded local newspapers and public meetings about overblown, pretender “cottages” attempting to camouflage their excessive size with often cartoonishly mis-matched and complicated massing, materials, and styles.

One local builder explained the powerful economic incentives: “[in 1982] there weren’t more than three ‘spec ’homes in all of Carmel…[but now] we have builders from the valley, who used to build in Sacramento, Fresno, Bakersfield and maybe make $20,000 a house. They come over here and maybe make $150,000 for a spec house. The same amount of work, they get that much more gain.” So, in the mid-1990s, the City conducted a national search for an expert to lead the development of comprehensive design standards that might reverse this “insensitivity” to the natural and built environment. And in 2001, the Council adopted the resulting document “The Design Traditions of Carmel” and legally mandated through its Municipal Code that every required design review “shall” follow it. Many Carmelites had expressed fears that design standards might actually standardize designs. Instead, the ensuing quarter century saw many creative site responses, directly continuing Carmel’s legacy of architects sensitive to and responsive to nature.

In 2007, Carmelite architect John Thodos, designed a
home for himself and his spouse on Torres Street near
Third Avenue (seen here in a recent view). As
Carmel Historic Resources Board Chair, Thodos
strongly supported the modest scale of village homes
and refused to deviate from the small footprint of the
unsalvageable, pre-existing structure. Like most selfassured artists, Thodos embraced constraints as “catalysts for creativity” and used the property’s
limitations to re-invent the very idea of a Carmel
Cottage. While maintaining the archetypal elements
of the classic house, he deconstructed and expressed
all the layers separating inside and outside so as to
blur the distinction between them and celebrate the
immediate surroundings and regional climate. The
home’s foundation of exposed-aggregate poured
concrete reaches out into the foliage to evoke naturally eroded outcroppings. The abstractly-simple, wooden houseshapes come to rest above just parts of these outcroppings, again emphasizing their role as found site features, not structures designed just to hold up walls. Large expanses of the wood walls then dissolve into air, which is, in turn, reenclosed by pure miter-jointed glass volumes that float free like light-filled bubbles into the, often foggy, yard.

Movement in and out is through elongated door-tunnels that extend and savor the interior/exterior threshold. By interweaving modest rooms so persuasively with the surrounding forest, Thodos transforms a traditional enclosure into something infinitely expansive.

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In 2009, Sci-Arc Professor John Bohn took a similarly creative approach to the natural surroundings of “Canopy House” on Ridgewood Road (seen here in a recent view). The site, obstructed throughout by lowhanging oak tree limbs, inspired another reimagining of the simple Carmel Cottage. Hardly a simple task, this time a sophisticated computer model was needed to help break apart and inflect traditional roof shapes and warp them into custom curves around each individual branch. These roof planes, in turn, molded the monochrome walls beneath them into a collection of playfully irregular, modest volumes.

Then, in order to fully connect the home with nature, irregular wood beams and posts branch down into the rooms and curved glass clerestories between the roofs and walls make the visual connection between the harvested timbers inside and the live wood elements, still growing undisturbed, outside.

Around 2012, Berkeley/MIT-trained architect, Justin Pauly designed the county’s first certified “Passive House”on Eleventh Avenue between Lincoln and Dolores Streets (seen here in a recent view). By meeting strict standards for airtightness, thermal bridging, fenestration, heat recovering ventilation, and insulation, the house remains comfortable in all seasons using virtually no energy. Though technically the structure is radically modern, stylistically, this Carmel Cottage is traditional vernacular. The design is clearly inspired by respect for the natural environment, but in ways independent of the architect’s aesthetic approach.

Also around 2012, architect
George Brook-Kothlow, in close partnership with landscape designer Barkley David Smith, completed “Arch House” for Jacquelyn Woodward on Seventh Avenue near Forest Road (seen above just after initial plantings). The construction materials palette of the building is raw and natural: self-rusting, uncoated steel, unvarnished wood, unpainted concrete. And, to an unusual degree, the living plants of the site also became part of the construction materials palette. Some walls are made of living plants as is the entire roof of the carport (seen above left). Most of the home’s glass-walled interior spaces wander casually around existing trees, incorporating corresponding glass-walled exterior garden spaces into the floorplan.

Meanwhile, the main interior space, though set far back on the oversized site, initially appeared more conventionally exposed as a glassy street facade. However, once the native landscape design had matured (seen below in a recent view) the large interior was completed by its corresponding large exterior garden and disappeared from the road, engulfed by nature. Perhaps ironically, this conscious interweaving of building and landscape design pays homage to the most traditional values of the town's founders and yet with a modern approach that they never could have foreseen — though likely would have applauded.

No, the 2001 design standards have not, so far, eliminated the destructive forces and the careless design that emerged in the 1980s. And yet, as the founders predicted, some great aesthetic talents still manage to show us the way. For, Carmel has continued to attract “the right people” who build homes “artistic in character, reflecting the temperament of the town…designed by architects who attemp[t] to…fit the local surroundings…preventing man and his civilizing ways from…marring the natural beauty lavishly displayed here.” Enhance. Subordinate. Fit. Retain. Design. Detail.

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FIRE ALERT
When beginning any residential design or remodel in Carmel-by-the-Sea, fire resilience must serve as the premier guide for the proposed project to ensure long-term sustainability and community safety.

Because significant portions of the city are classified as an extreme fire danger area, wildfire represents the single greatest threat to both the natural environment and architectural character of the community.

True sustainability is not complete without proactive protection against catastrophic fire risk, necessitating design concepts that prioritize ignition-resistant materials, Class A roofs, and emberresistant detailing. To address the critical gap in wildfire resilience, applicants must now utilize ignition-resistant products listed by the Office of the State Fire Marshal (OSFM). This allows projects to honor the village's aesthetic legacy—using materials that convey a natural patina and human scale— while meeting the objective safety requirements of the California WUI Code.

Furthermore, the initial design layout should consider defensible space to ensure proper distance between structures and flammable materials such as vegetation, fences, etc. By making fire resilience the primary driver of a design, homeowners can harmonize Carmel’s unique aesthetic heritage with the objective regulatory standards required to make the built environment both beautiful and survivable.

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1 I. RESIDENTIAL
Design Guidelines
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1. ENHANCE, restore, and preserve the native forest in all improvement projects: private, public, and otherwise
(as seen in the dense, healthy Monterey Pine and Coast Live Oak environment above).

Background: Few newcomers recognize that Carmel hosts the sole surviving “Mother Stand” of the Monterey Pine forest on planet Earth, an ecosystem that has adapted to 25 million years of climate change, from ice ages to searing droughts. So important is this native ecology today that academic and industrial scientists fly in to study it, to determine how to nurture it, and to grow its species in lumber plantations around the world. So important was this ecology to the early developers that they incorporated the town in 1916 because Monterey County was failing to adequately protect it. In fact, their radical founding idea was to promote this place as a refuge for people to live in harmony with nature amidst a majestic, prehistoric forest -- an idea that ran in very stark contrast to the prevailing "pioneer tradition" of the time, which advocated for the conquest of nature. In times of ongoing climatic stresses, how harmoniously we reside within this international treasure will determine its fate and that of this visionary village.

Process: design steps most relevant to this section include… • visiting the site and speaking with neighbors to discover natural assets and shared view issues • commissioning a site survey
• conducting preliminary consultations with city forest and planning staff and commissions • obtaining a preliminary assessment report on site conditions, development standards, zoning, and so on • studying the significant tree evaluation inventory worksheet Enhance. Subordinate. Fit. Retain. Design. Detail. Enhance. Subordinate. Fit. Retain. Design. Detail.

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1.1. Preserve all existing healthy upper canopy and lower canopy trees.

1.1.1. Before beginning design work, have a licensed surveyor or engineer prepare the required survey, showing existing site conditions, topography, drainage features, trees, structures, right-of-way edges and character, views, privacy issues, historical evaluations, nonconformities, neighborhood design contexts, and other features useful in designing a project.

1.1.2. Address comments provided by a City Planner and the City Forester on the required survey and on the required City Forester evaluation of existing tree significance and condition on and immediately adjacent to the project site, including in the right-of-way.

1.1.3. Address the Forest and Beach Commission's project review comments on the effects that proposed work will have on significant trees.

1.1.4. Consult the “Preliminary Site Assessment” tree survey when designing and locating new structures and additions to determine which trees are significant and should be protected.

1.1.5. Provide enough open space on each building site to both preserve and add upper and lower canopy trees at sufficient spacings for growth to maturity (as shown above right by building footprint and path both altered to preserve existing trees).

1.1.6. Locate new construction in accordance with the Land Use Code to minimize impacts on established trees and avoid pruning of limbs and canopies. Set foundations for buildings and walls back far enough from the base of any tree to adequately protect its roots. Plan curb cuts, paving and drainage systems to maintain air transport and water percolation to root systems.

1.1.7. Protect existing vegetation during construction in order to screen buildings, contribute to the forest character of the street, and achieve a settled, mature look upon project completion.

1.1.8. Plan access and site development to protect trees during construction as provided in the Land Use Code. Do not alter the grade level near nor excavate into the root zone or drip-line of any healthy mature tree, whether on or adjacent to the site, including on abutting properties and in the right-of-way.

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1.2. Preserve or enhance the informal, vegetated, open space character of the right-of-way.

1.2.1. Preserve vegetation and trees, especially those with canopies over the street, both in the rightof-way and the periphery of the site so that the pavement curves around and emphasizes natural landscape features and topography, creating the appearance of a meandering forested lane with occasional“ mini-parks” (as shown above by the irregular pavement edges and encroaching vegetation).

1.2.2. Remove any excess existing paving and other non-conforming and easily displaced materials, such as gravel per MC 12.24.020.B. Never keep in the right-of-way irrigation equipment or unpermitted paving, gravel, boulders, logs, timbers, planters, fences, retaining walls, other aboveground encroachments, or any hardscape that would widen the street or create a parking space.

1.2.3. Maintain the existing character of street gutters, which is typically a rolled asphalt curb or, more formally, is a channel faced with large native rock, but is never just plain concrete.

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1.2.4. To create connectivity with adjacent properties, leave the right-of-way as an unpaved, natural forest floor with an informal edge, consisting of trees, naturally occurring vegetation, and organic surfaces, such as pine needles (as shown above by the natural area between the private property line and the street pavement).

1.2.5. When adding plantings to the right-of-way use only naturally occurring natives to the Carmel forest: drought-tolerant and non-irrigated, green foliage, ground covers, or low shrubs, informally arranged. Do not use bedding plants and exotic species in the public right-of-way.

1.2.6. Do not remove trees or add gravel or other “hardened” surfaces to provide parking in the rightof-way, but instead reinforce the forest image by separating parking spaces from driveways with plantings and by using natural soil, or fresh, mini-woodchips as surface materials (as shown above by a nearly undetectable natural area sized to accommodate parking).

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1.3. Preserve and enhance the forested image of the site (as shown above by how the home’s natural pine-bark siding echoes and the sensitive massing avoids the existing trees).

1.3.1. Preserve and supplement trees, especially those that arch over the street, and provide a mix of upper canopy trees for scale and multi-stemmed lower canopy trees for screening. The City Forester determines the mix and CM17.48.080 covers tree replacement ratios and species.

1.3.2. Do not wall off properties at the front property lines but instead extend the forest character of the right-of-way into the visible parts of the site by keeping a large portion of each site as open space, with plantings located to filter views of structures (as shown above by the unimpeded, vegetated zone between the street on the left and the home on the right). Find maximum limits for hardscape site coverage at CM 17.10.030.

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1.3.3. Locate plants and ground surfaces in relaxed, informal arrangements that are consistent with the urban forest character (as shown above at far right), reserving any formal, unnatural arrangements, bedding plants, or exotic flowering plants only for small areas out of public view or small walkway or entry accents (as shown above at center).

1.3.4. Use site plantings that are native, drought-tolerant species, following the Municipal Codez.

1.3.5. For a forest meadow ground cover, use only informal, no-water varieties kept out of public view and do not use manicured lawns or artificial turf per P 2025-002.

1.3.6. Projects that involve a new building or substantial alteration require a professional landscape plan, which identifies areas for low-scale plants, shrubbery, and trees for initial review and shows specific planting plans for final review. Address the special needs of each species, using, for example, high-water-use plants near redwoods but not near oaks, paving materials that minimize tree root impacts, and best practices for fire mitigation.

1.4. Preserve un-altered, pre-development water drainage ways as site amenities.

1.4.1. Minimize stormwater impacts with Low Impact Development principles, including: addressing stormwater close to the source, installing bio-retention, and other planted drainage areas, and using “sand-set”, not “mortar-set”, pervious paving materials to percolate water and aerate soil.

1.4.2. Enhance water quality with stormwater management systems that mimic the natural water cycle, filter stormwater into the ground and direct flows through vegetative buffers and rain gardens where plant and tree uptake can remove pollutants.

1.4.3. Design new on-site stormwater control devices to appear naturally integrated into the forest.

Use green roofs, retention areas, or landscaped areas to capture flow and prevent new runoff toward adjacent properties per CM 17.43.

1.4.4. For new building or substantial alterations, provide a professional landscape plan that identifies areas for low-scale plants, shrubbery, and trees for initial review and shows specific planting plans for final review. Address the special needs of each species, such as using high-water-use plants near redwoods but not near oaks and paving materials that minimize tree root impacts.

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2. SUBORDINATE every built structure to the character and continuity of the forest, natural environment, and to the natural features of its own site (like how the tree above overshadows the street view of the home).

Background: Carmel’s native forest hosts a dizzying array of fascinating native species dominated by a towering upper canopy, primarily of Monterey Pine (Pinus radiata), and a sculptural lower canopy, primarily of Coast Live Oak (Quercus agrifolia). The overstory trees perform the vital work of scaling down larger infrastructure elements such as paved areas or commercial buildings, while the understory trees, often comprising multi-stem varieties, work to screen and soften all shapes and sizes of building elements. Quite wise to the important aesthetic functions of a continuous natural forest weaving through and connecting all properties, the town’s founding developers were famous for gifting trees to new property owners. As urbanization progressed, their aim was to replace and supplement any trees affected during construction, to keep those new structures nestled within the trees, and to use these trees as well as other site features and siting approaches to preserve as faithfully as possible original natural conditions.

Process: design steps most relevant to this section include… • engaging a landscape architect
• developing a conceptual landscape plan
• taking advantage of the Preliminary Application option to get early feedback on landscape ideas • beginning a Historic Evaluation (if the site was deemed historic) Enhance. Subordinate. Fit. Retain. Design. Detail.

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2.1. Nestle a building in the trees to minimize the mass visible from public view.

2.1.1. Position buildings to avoid cutting into the canopy of established trees (as shown above where the architect laser scanned existing tree branches and computer-positioned roof planes precisely beneath them).

2.1.2. Decrease the apparent size of buildings by building less than the maximum allowable floor area, using a compact footprint, minimizing large volume spaces (high ceilings or steep pitches across wide spans), and eliminating large, unused underfloor areas and extensive cantilevers, especially over cut areas.

2.1.3. Reduce perceptible building height by locating some floor area either fully or partially below grade or at a “garden” level with any walkout area, light well, retaining wall, or terrace concealed to the side or rear. When these locations are not feasible, provide more screening with other building elements or landscaping.

2.1.4. Minimize the visual impacts of retaining walls, garden walls, window wells, and other foundation structures by incorporating sloped, planted areas to create a smooth grade transition.

Ensure tall retaining walls, terracing, or revetments are not visible from the public way.

2.2. Follow the site’s natural contours.

2.2.1. Minimize construction on steep slopes.

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2.2.2. Minimize excavation and fill on a site by maintaining existing topography and keeping all grading and excavation completely within the proposed building footprint (as shown above by dashed line directly under house).

2.2.3. Step building height, foundations, and floor levels to follow site slopes and contours (unlike above, where support posts create a single level floating above a downward slope). When floor levels cannot be stepped, larger underfloor spaces (as shown above under most of the building) count as part of the allowed floor area.

2.2.4. Avoid abrupt changes in grade (as shown above left by flattened grade with added retaining walls) within a site and between adjoining properties. If such transitions are unavoidable, then use sloped, planted areas. If a stable planted slope cannot be created, then use multiple landscaped terraces rather than a single tall wall (as shown by short walls above right).

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2.3. Subordinate parking facilities to the house and site.

2.3.1. Minimize the impact of a garage or carport by: concealing them from the street, detaching them at the back of the lot or elsewhere, subordinating them into the building design (as shown above left) tucking them underneath or into the foundation (as shown above right), or locating them partially below grade (while avoiding any three-story appearance), orienting the garage door away from the street, and, on small lots, using only a single, one-car garage door.

2.3.2. Use parking facilities to maintain or enhance variety along the street edge and to maximize landscaped open space, views, and privacy. If a detached, one-car garage or carport benefits the overall streetscape, the City may determine that it can encroach into the front setback. The City does not allow two-car garages in the front setback.

2.3.3. To maintain forest floor continuity, established vegetation, and ample front yard space, keep driveways at grade and without cuts and fills that would create a “ramp” effect or require retaining walls perpendicular to the street.

2.3.4. Minimize the amount of paved surface area for a driveway by using organic materials, “tire track” paving strips, sharing a single driveway between two adjacent properties (as shown above by merged surface spanning property line), and/or limiting each site to the required single curb cut (unless a corner site requires a “through driveway”).

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2.3.5. Minimize the visual impacts of retaining walls, garden walls, window wells, and other foundation structures by incorporating sloped, planted areas to create a smooth grade transition.

Ensure tall retaining walls, terracing, or revetments are not visible from the public way.

2.4. Design all paved areas to be small, informal, and intimate.

2.4.1. Reduce widths of asphalt or concrete, separate a driveway from a front walkway with plantings, soften paved edges with landscaping (as shown above left by planted, and separated, irregular driving and stepstone walking areas), and avoid formal or urban paving treatments (as shown above right by rectilinear pavers, straight edges, and joined driving and walking areas).

2.4.2. Select paving with muted colors and texture authentic to the material (unlike faux stone-colored concrete pavers at above far right), such as Carmel stone (above far left), granite cobblestone (above center left), brick, asphalt, natural-colored poured concrete (above center right), gravel, decomposed granite, and mulch, keeping easily displaced materials on private property only per M.C. 12.24.020.B.

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2.5. Blend private landscape with that of the public right-of-way to make vegetated spaces appear larger and to improve continuity with the forest (as shown above by the continuous natural forest floor extending from the public street paving, through the public right-of-way, and into the private property, creating an uninterrupted forest landscape).

2.5.1. Design without a fence or wall along a street frontage, unless special conditions apply.

2.5.2. Where privacy or enclosure is needed, use native shrubs, hedges, or other vegetated landscaping (as shown above by the lush foliage on private property used as a necessary screen to the glass façade).

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2.5.3. If vegetation does not provide sufficient safe enclosure along a street for children, pets, or others, install an informal, unfinished, wood fence (such as in the foreground above added into the vegetation), which preserves visual access into the front yard and at street intersections, by using open pickets wherein the size of the spaces are at least equal to the size of the material.

2.5.4. When creating an arbor, maintain a narrow, low, light, and open design (such as above, where the arbor is styled like the open fencing), instead of a tall, wide structure with massive timbers or other heavy elements that dominate the street.

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2.5.5. In rare cases, where a fence is needed but the predominant or foundational building material is stone, masonry, or stucco, a low garden wall of the same material and construction may fit into the site if fully integrated with the topography and other hardscape and if kept at four feet or less from grade (such as above where a low, vegetated wall of surfacing matching the home is nestled into a gentle slope).

2.5.6. Place front yard enclosures (such as hedges, fences, or walls) farther back from the front property lines as they become more solid. Refer to Maximum Building Envelope information to determine allowable heights and placements.

2.6. Preserve the nighttime, “dark-sky” character of neighborhoods (as shown above where stars are visible in Carmel by the Sea due to drastically reduced artificial lighting).

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2.6.1. Subdue all exterior lights with shielded and focused fixtures of low lumens and warm white temperatures, as defined in municipal code. Do not use fluorescent lighting.

2.6.2. Use lights only where needed for safety and at outdoor activity areas, such as building entries, gates, terraces, walkways, and patios.

2.6.3. Do not use floodlights, spotlights, or lights to accent or uplight buildings, tree canopies, or other vegetation.

2.6.4. Instead of exposed light sources, locate and shield fixtures, including string lights, to eliminate glare and excess illumination onto neighboring properties and the street.

2.6.5. Size, locate, and shade skylights to eliminate glare or light pollution visible to neighbors or to the public. Use skylights only if interior spaces have no access to exterior windows, such windows have limited access to light, or windows would cause even greater impacts to adjoining homes.

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3. FIT every built structure within its neighborhood context (like how the three homes above relate to one another despite different massing and materials).

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Background: Carmel’s founders laid out neighborhoods with small lots anticipating very small homes that would maintain abundant natural views and privacy. A smaller home remains and effective approach. At larger sizes, new structures must work harder to coordinate with existing structures, while the new outdoor spaces that structures define must also work harder to coordinate with existing outdoor spaces. All this work serves to maximize privacy and natural views for individual properties as well as to create a harmonious whole for the community – one that artfully combines private spaces to increase the sense of forested open space and multiply the visual links across every public and private property line.

Process: design steps most relevant to this section include… • developing a conceptual siting and massing plan
• taking advantage of the Preliminary Application option to get early feedback on siting and massing ideas • beginning a Historic Evaluation (if the site was deemed historic) • considering submittal of a Conceptual Design for feedback from staff and commissioners ATTACHMENT 2

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3.1. Locate open spaces so that they visually link with those of adjacent properties.

3.1.1. Coordinate open spaces in careful response to other open spaces to have an amplifying effect and combine them to increase their apparent size (as shown above right by wide forested space between homes), rather than simply maintaining required setbacks (as shown above left by narrow space with little room for plantings).

3.1.2. On oversized or combined properties, maintain the open space character of Carmel’s typical 4,000sf lot sizes, avoiding the appearance of a “compound” or “estate.”

3.1.3. Relate a building’s mass to the context of other homes nearby. Divide a larger building into forms similar in scale to traditional village houses, placing some mass in a detached secondary structure (garage, guest house, etc.) if necessary to reduce the overall mass of the primary building.

3.1.4. Stagger front setbacks of homes and garages to frame outdoor spaces, avoid uniform alignments, and provide variety in the arrangement of buildings and open spaces along the street (as seen above with the three property layouts different from one another), unless doing so prevents a visual aggregation of open space or endangers significant trees.

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3.1.5. Stagger side setbacks with adjacent properties to avoid the“ canyon effect” of a narrow corridor or tunnel between buildings (see above right where the homes are too parallel and close together).

Provide even more open side yard space when buildings on adjacent properties are two stories or close to the joint property line. Refer to the Municipal Code for setback regulations.

3.1.6. Minimize building mass as seen from adjacent properties by: avoiding long, uninterrupted wall planes, placing tall building walls away from the property line and similar walls on neighboring sites, and providing greater setbacks for any chimney directly opposite a neighboring window.

3.1.7. Preserve access to light between properties.

3.2. Preserve views from nearby properties to natural features.

3.2.1. Locate building volumes to make use of views but not substantially block views enjoyed by others (like the proposed home shown in brown with dashed lines above, which allows all neighboring homes to preserve the primary view to the bottom right), keeping the building height low and the building footprint compact to maintain views over and along sides of properties.

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3.2.2. Keep building elements from blocking views with sensitive placement and sizing, for example use chimneys with narrow profiles or minimalist flues.

3.3. Organize functions on a site to preserve reasonable privacy for adjacent properties (unlike the proposed home shown above in dashed lines with an upper deck that overlooks a neighboring patio).

3.3.1. Screen patios, terraces, and active areas of adjacent properties through the position of buildings and the preservation of significant trees.

3.3.2. Locate and size windows and skylights to avoid views in or out of neighboring indoor and outdoor active use areas. Limit windows to 12sf or less on side walls adjacent to neighbors.

3.3.3. Locate and screen balconies and decks to avoid overlooking active indoor and outdoor use areas of adjacent properties.

3.4. Minimize negative impacts to surrounding properties.

3.4.1. Fully integrate utilities and services, including gas meters, electrical panels, water heaters, and trash receptacles, into the architectural design of the building.

3.4.2. In cases where full architectural integration is not possible, Eliminate the visual impacts of utilities and services by grouping and shielding them with architectural and landscape elements, such as cabinets, walls, fences, or plantings, of integrated material and color.

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3.5. Vary the design of a new building from that of nearby and abutting properties (as shown by how the home above left, with its stone walls and roof ridge parallel to the street, varies from the neighboring home above right, with its wood shingles and roof ridge perpendicular to the street).

3.5.1. Provide variety in building materials along a block.

3.5.2. When using painted or otherwise coated surfaces, provide variety in building color along a block.

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4. RETAIN and build upon Carmel’s established architectural heritage (as exemplified above clockwise from top left by local masterworks in the traditions of Craftsman , Mission Revival, Fairytale , Organic, and Modern).

Background: Carmel’s founders explicitly advertised to attract folks working in the “aesthetic arts” in order to achieve homes “artistic in character” and to avoid destructive speculative development. The town’s visual history testifies to the individual expressiveness and stylistic eclecticism of the architecture that resulted and that must be carefully studied and interpreted so as to meaningfully contribute to this legacy.

Process: design steps most relevant to this section include… • developing a timeless, and perhaps inventive, construction language • assembling a sample materials board
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4.1. Preserve historic and existing resources.

4.1.1. Re-use existing buildings and their components, for example restoring rather than replacing original windows (like the restored antique steel casement window in its original adobe home above).

4.1.2. Respect adjacent historic resources by preserving adequate, light, open space, and views of and around the structure.

4.1.3. Check zoning standards for related incentives, such as expedited processing.

4.1.4. Follow additional standards for properties recognized as having official historic significance, such as the Municipal Code, the Historic Context Statement, and Historic Review Board consideration.

4.2. Continue Carmel’s tradition of architectural diversity.

4.2.1. To avoid uniformity and the appearance of speculative development and to promote individual artistic expression, differentiate a new building’s plan, massing, and overall design from that of nearby and abutting buildings.

4.2.2. When reproducing historic architecture, use the same materials and craftsmanship as those of the reproduced period (for example, the genuine, handcrafted, rolled wood shingle roof above).

4.2.3. For any architectural language, use materials of equivalent quality and craftsmanship to those of historic architecture.

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4.2.4. Do not use designs that resemble those in speculative or “McMansion” developments or that present a commercial or industrial appearance.

4.3. Use traditional, natural building materials (such as the structurally-stacked Carmel stone and the untreated, rough, wood shingles, shown above).

4.3.1. Use the preferred materials traditionally used in Carmel, such as wood, stone, tile, brick, artistically-crafted concrete, and stucco for walls, patios, and decking, as well as wood shingles and shakes, clay, slate, and concrete tiles for roofs.

4.3.2. Use metal roofs only if they are carefully detailed and handcrafted, devoid of stiffening corrugations or striations (unlike the industrial roof shown above left), have narrow flat panels, use genuine, field-installed, standing or flat seams or horizontal lapping, are unreflective, and are of integrated, non-coated, earth-toned color such as anodized aluminum, matte galvanized raw steel, or natural metal such as pure zinc (like the traditional metal roof shown above right).

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4.3.3. Choose materials that will form a desired natural patina over time or that can be maintained in their original condition (such as the unstained, unevenly weathering, wood siding shown above).

4.3.4. Use materials in their natural conditions, scales, and colors.

4.3.5. When adding surface treatments, use matte finishes and muted earth tones, rather than highly polished treatments such as mirrored glass or reflective metals.

4.3.6. Apply materials using methods traditional to Carmel, for example, wood siding in shingles, horizontal clapboard, or board and batten, brick in its traditional modular dimension, or stucco in smooth or lightly textured finishes.

4.3.7. Use unclad wood, solid metal, or recyclable, “designed for disassembly” aluminum-clad wood, with no visible plastic elements, for windows, doors, and garage doors.

4.4. Use manufactured materials according to traditional, natural principles.

4.4.1. Use manufactured materials only if they are ecologically sensitive: able to form a natural patina over time, able to be maintained rather than disposed, able to be fully dismantled and recycled or reused, biodegradable, and environmentally non-toxic or beneficial.

4.4.2. Do not use petroleum-based architectural elements.

4.4.3. Use products that meet or exceed the most current national or international ecological building standards (such as certified Cradle-to-Cradle or Design for Disassembly) meet Carmel standards for manufactured materials.

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4.4.4. Do not use manufactured materials that fake or mimic natural or other materials in their textures or finishes, including machine-stamped faux woodgrains (like the stamped grain cement clapboard at top left, the faux slate-colored and -textured roof tiles at top center, or the tie-dyed, stamped faux stone pavers at top right). Use cast concrete only with monochrome, integral color (like the pavers at middle right and the rooftiles at middle center and bottom center), or with non-uniform, handcrafted patterns such as those provided by human artistry (like the pebbled patio at bottom right) or made with genuine wood formwork (like the site-poured wall at bottom left).

4.4.5. Apply manufactured materials in a manner that conveys a traditional human scale.

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5. DESIGN every built structure with modesty (such as the small-scaled vernacular cottage above with uncomplicated massing, natural materials, and simple construction).

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Background: In Carmel’s early days, many of the artistically-inclined newcomers designed, or even built, their own modest cottages. Though this approach has become vanishingly rare, its emphasis on modesty remains. In Carmel, modesty is valued both in itself, as a visual statement of deference to history and to nature, and also as a practical means to achieve that deference. Modesty discourages individual properties from upstaging one another in unwinnable and environmentally destructive contests and helps avoid imported formulas of grandeur that fit better in estate settings. Instead, modesty helps eclectic structures work together to create a unified texture that coheres the town visually and signals community.

Process: design steps most relevant to this section include… • drafting final design proposal
• incorporating recommendations and/or conditions of approval from Design Concept acceptance.

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5.1. Restrain building forms, materials, and details

5.1.1. Design a building consistently, with the chosen design concept extending to all sides of the building and with no mixing of architectural languages (as shown above by the continuation throughout the entire building of the eccentric, handcrafted masonry vocabulary).

5.1.2. Keep primary building volumes simple, as seen traditionally, limiting the number of subordinate volumes (see just two above) and using basic rectangular, L-, T-, or U-shaped plans.

5.1.3. Avoid visual complexity,“ busy” building forms (like the five protrusions on the two subordinate volumes shown above), too many different materials, excessive and overly ornate or ostentatious details, and materials and details that contrast strongly within a single building or with neighboring buildings.

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5.1.4. Do not use building elements that are complex, monumental, formal, out-of-scale, or that increase the visual prominence of the building.

5.1.5. Use restraint when introducing variation in building planes, use building offsets only for clear purposes such as avoiding tree limbs or expressing a major change of function. (for example, the volume in the foreground above is not an offset but instead clearly provides a separate function with a separate entrance from the building behind). Do not use small, purposeless offsets only for visual interest and do not change wall materials at offsets.

5.1.6. Compose roof forms with just a few, simple planes with limited subordinate attachments such as dormers. For example, traditional gable and hip roofs have basic forms while mansard roofs and sloping roof “skirts” that conceal a flat area add too much complexity.

5.1.7. Subdue the character of the garage by using a rectilinear form with materials and colors that do not contrast with the main buildings.

5.2. Ensure that a building appears to be no more than two stories in height, as viewed from the public right-of-way.

5.2.1. Present one-story heights to the street and locate two story elements away from the street, except where this would appear dominant or out of scale when viewed from the public right-ofway or a neighboring home. Remember that a garage, even sunken below grade, counts as a story.

5.2.2. Make detached garages one story, one-car, and small in scale, with the wall plate height no taller than that of the first-story plate of the main house.

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5.3. Convey human scale in a building’s basic forms (as shown above by the unexaggerated, standard dimensions of the doors, windows, and story-heights).

5.3.1. Use historic Carmel styles only at their traditional, human scales.

5.3.2. Organize building mass into realistic modules to reduce perceived size, breaking a larger house into subordinate modules which appear, not just as minor offsets meant to create interest but instead authentic, in that they reflect real, functioning, interior spaces (as shown by the room above, which protrudes to the right in order to center its fireplace in the room within).

5.3.3. Emphasize the low and horizontal so that buildings appear to hug the ground.

5.3.4. Use a low building plate height, generally not over 8 feet. Keep plate heights and roof eave lines low in scale, tucking upper story rooms under roof slopes, so as to reduce the height of exposed walls. The maximum plate height of 12 established in the Land Use Code is only to accommodate sloping building sites.

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5.3.5. Do not use design features that produce a top-heavy appearance such as large cantilevered building elements, wide chimney structures, or roof forms that dominate the body of the building. Proportion roof forms to the scale of the building.

5.4. Use building details to provide interest but not to exaggerate the scale of a building.

5.4.1. Add details to relieve blank surfaces and achieve a scale compatible with the building’s forms and its architecture (such as shown above where the wavy half-timbering appropriate to the quirky Fairytale language helps shrink the appearance wall down to the required Elfin scale).

5.4.2. Use all materials, natural or man-made, at traditional scales, dimensions, and modules.

5.4.3. Use appropriately sized, never oversized, building elements, such as windows (unlike the out-ofscale arches on an otherwise vernacular home shown above left), doors, entries, chimneys, overhangs, dormers, and porches to reduce scale, especially as visible from public view (like the appropriately small and architecturally integrated fenestration on the Prairie Style home shown above right).

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5.4.4. Keep visible openings subordinate in scale to the building. Do not use “grand", oversized entryways, windows, or doors (like the enormous entry door and clerestory window combination shown above left nor the anomalous rock border emphasizing the door above right).

5.4.5. When reproducing historic architecture, limit the dimension of any glass to that which was possible to span using only the original construction techniques of that historic era (at the above left Mission Style home very thick areas of stucco surround a small arched window, which authentically reflects the limited spanning strength of heavy masonry traditional in mission construction; while at the above right Mission Style home very thin areas of stucco surround large arched windows, which betrays the long spanning strength of steel construction that could have never be used in mission construction).

5.4.6. Limit the use of specialty windows that add to building bulk to no more than one visible from the street. Avoid altogether bay and oriel windows facing the street if this would create a repeating pattern within the context of adjacent structures.

5.5. Keep the overall color scheme muted to blend with the forest palette.

5.5.1. Limit the use of bright colors, if any, to key accent features, such as an entry door.

5.5.2. Avoid starkly contrasting color schemes.

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6. DETAIL every property authentically and consistently (like the homes above with expressive wood detailing authentic to their architecture: heavy carved posts, beams, and other details for the revivalist cottage on the left and light smooth siding, fascia boards, and glazing panels for the modern home on the right).

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Background: Due to Carmel’s history of handcrafted, modest cottages, the town has amassed an enviable collection of richly detailed homes that avoid the tell-tale flimsiness or cheapness of speculative development. In a village with small properties, where views of and around structures are paramount, all parts of a building matter. Hewing to the timeless materials and assembly techniques of the past even when designing for today’s lives ensures that building details remain authentic and inspiring.

Process: design steps most relevant to this section include… • submitting final design proposal
• receiving official staff report on design compliance
• hearing feedback from Forest & Beach, Planning, and Historic Resources (if applicable) Commissioners ATTACHMENT 2

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6.1. Use building materials and features in a manner that conveys authenticity.

6.1.1. Convey a sense of true craftsmanship in architectural details.

6.1.2. Do not use fake, purely decorative building elements such as dummy chimneys, doors, windows, or shutters. Size any shutters so that they would cover their entire window, whether or not they are in active use.

6.1.3. Do not use materials or details inauthentic to the architecture or that appear non-structural, gratuitous, or applied as superficial elements, wall “accents” or veneers.

6.1.4. On multi-paned windows and doors, use true dividers that go from inside to outside between the panes of glass.

6.1.5. Where materials do not simply remain un-coated, finish with a plain, uniform, matte varnish, stain or paint, without faux finishes.

6.1.6. Use details that are true structural elements, such as natural wood exposed rafter tails, beams (like the truly structural roof beams protruding beyond both the house wall and the roof above to provide visual interest), or stacked stone foundations. If costs prove prohibitive, simplify the architectural language rather than mimic more costly methods.

6.1.7. Whether on a building or a landscape element, stack stone traditionally so that it appears, or actually is, structurally load-bearing (as above right, not wallpapered or sprinkled on as above left).

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6.1.8. Use a“ hierarchy” of building materials, with heavier coarser materials below lighter materials (such as the wood clapboard over stacked stone shown above left or the vertical wood siding and glass over the poured concrete foundation above right).

6.1.9. Do not “float” stone above lighter materials or use it purely decoratively, such as framed just around windows or doors, or randomly clustered on corners, walls, or chimneys.

6.1.10. Detail new and/or manufactured materials in ways authentic to their own composition. For example, carefully plan the woodgrain and modules of formwork for exposed poured concrete or use cement board siding with a smooth, untextured surface, rather than an added, faux woodgrain.

6.2. Use building materials or features in a consistent manner.

6.2.1. Use design details and surface materials throughout the full exterior of the building. Do not apply special materials or design treatments to the street facade only.

6.2.2. Do not stop wall materials at corners, instead wrap them around the entire building.

6.2.3. Use only one primary material for all building walls with any additional materials clearly subordinated to foundations and the like (as in the above home, clearly identifiable as “stucco”, with only one secondary material used only on separate features such as the foundation, chimney, and addition).

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6.2.4. Make window and door styles, materials, and finishes uniform throughout a design.

6.3. Make architectural details integral elements of the overall building design concept (such as the corner-mitered glass shown above, which by eliminating an expected structural member, reinforces the lightness and floating of the roof).

6.3.1. Use window and door proportions, sizes, styles, and materials accurate for the architectural style of the building. Traditional historic styles and their reproductions require small openings, in keeping with older technologies (as shown above left by the small punched windows surrounded by enough solid surface to appear like the heavy, stacked, masonry construction -- as seen in traditional Mission Style -- and as shown above right by the use of full glazing rather than actual “windows” filling the space between light, spanning, structural elements -- as seen in modern styles). image(s) tbd.

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6.3.2. Integrate the primary entrance with the overall design of the house (as shown above by the recessed porch of the same material as the overall house, tucked subtly under a slight asymmetrical flare of the roofline and with arched openings of similar height to nearby window openings).

6.3.3. Rather than installing a standard overhead product, craft a garage door either to provide visual interest (like the quirk, handmade double doors above), to recede completely into the materials and colors of the building wall, or orient it so as not to face the street.

6.3.4. Blend any skylights, their size, shape, placement, number, and framing into the overall roof and building design (like the glass ridge integrated into the structural roof members above). Preserve the Enhance. Subordinate. Fit. Retain. Design. Detail.

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6.3.5. Design a balcony to be subordinate in scale and proportion to the house, while using materials and details appropriate to the overall building design.

6.3.6. Locate and proportion a traditional chimney and its cap to integrate into the overall building design. Make a chimney attached to the side of a building appear to be self supporting (as shown above right where the chimney material sits on the ground and clearly integrates with the foundation material), not “floating” above the ground or foundation (as shown above left).

6.3.7. Choose roof materials and installation details accurate to the architectural style of the building.

Add new energy conservation and generation technologies, including “cool” and planted areas, to roofs only if subdued in appearance.

6.3.8. Handcraft any fences, using unfinished grapestakes (as shown above left) or wood pickets and not ornate wrought iron or chain link (as shown above right).

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6.3.9. Integrate any garden wall with the building architecture and materials, using matte-finished native stone, river rock, brick, or plain-textured plastered masonry (as shown above left where the low garden wall is of the exact same color, dimension, and pattern of adobe brick as the home itself), not unfinished concrete or concrete block (as shown by the store-bought industrial retainage above right).

6.3.10. Integrate an arbor into the fence or wall design, incorporating vines or other landscaping to blend it into the garden.

6.3.11. Distinguish a gate from the adjoining fence or wall with crafted or individualized details, while maintaining filtered views into the property. Do not use vehicle gates except on unusually large estate properties.

6.3.12. Never use gate posts or columns that are monumental or out-of-scale with the building design, nor stone columns that are not integrated into other stone elements. Keep posts and columns the same height as their adjacent fence or wall.

6.3.13. Use house identification devices, such as name and number signage, that is subordinate to and appropriate to the architecture.

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1 III. MUNICIPAL
Design Guidelines
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2 1. ENHANCE...

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DESIGN GUIDELINES (Layout Draft: 20260120) APPX
1 APPENDICES
Design Guidelines
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ATTACHMENT 2

DESIGN GUIDELINES (Layout Draft: 20260120) APPX 1
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PREFERRED MATERIALS
Planting & Building
ATTACHMENT 2

DESIGN GUIDELINES (Layout Draft: 20260120) APPX 2
Scientific Name Common Name
TREES
Acer macrophyllum big-leaved maple
Acer negundo box elder
Arbutus menziesii madrone
Aesculus californica California buckeye
Cupressus goveniana ssp. goveniana Gowen cypress
Cupressus macrocarpa Monterey cypress
Myrica californica Pacific wax myrtle
Quercus agrifolia coast live oak
Pinus muricata bishop pine
Pinus radiata Monterey pine
Platanus racemosa sycamore
Salix lasiolepis arroyo willow
Salix scouleriana Scouler's willow
Sambucus mexicana blue elderberry
SHRUBS
Adenostoma fasciculatum chamise
Arctostaphylos tomentosa ssp. bracteosa Monterey manzanita (shaggybarked) Arctostaphylos hookeri Hooker's manzanita
Arctostaphylos pumila sandmat manzanita
Artemisia californica California sagebrush
Baccharis douglasii Douglas's baccharis
Baccharis pilularis coyote brush
Berberis pinnata California barberry
Ceanothus cuneatus var. rigidus Monterey ceanothus
Ceanothus thyrsiflorus blue blossom
Chrysolepis chrysophylla var. minor chinquapin
Corethrogyne filaginifolia branching beach aster
Cornus sericea ssp. occidentalis western red dogwood
Ericameria fasciculata Eastwood's golden fleece
Eriodictyon californicum yerba santa
Eriogonum elongatum long-stem buckwheat
Eriogonum latifolium coast buckwheat
Eriogonum parvifolium seacliff buckwheat
Gaultheria shallon salal
Heteromeles arbutifolia toyon
Holodiscus discolor cream bush, oceanspray
Lepechinia calycina pitcher sage
Lonicera hispidula var. vacillans hairy honeysuckle
Lotus scoparius deerweed
Lupinus albifrons silver bush lupine
Lupinus arboreus tree lupine
Mimulus aurantiacus sticky monkey flower
Oemleria cerasiformis oso berry
Rhamnus californica coffeeberry
Rhamnus crocea redberry
Ribes divaricatum creek gooseberry
Ribes malvaceum chaparral currant
Ribes sanguineum var. glutinosum pink-flowering currant Ribes speciosum fuchsia-flowered gooseberry
Rosa californica California wild rose
Rosa gymnocarpa wood rose
Rosa pinetorum pine rose
Salvia mellifera black sage
Salvia spathacea crimson sage
Solanum douglasii Douglas' nightshade
Symphoricarpus mollis creeping snowberry
Symphoricarpos rivularis common snowberry
Toxicodendron diversilobum poison oak
Vaccinium ovatum huckleberry

HERBACEOUS PLANTS
Achillea millefolium yarrow
Agoseris grandiflora mountain dandelion
Allienz hickmanii Hickman's onion
Arnica discoidea rayless arnica
Aster radulinus rough-leaved aster
Calochortus albus white globe lily, fairy lantern
Calochortus luteus yellow mariposa lily
Calochortus uniflores large-flowered star tulip
Calystegia macrostegia ssp. cyclostegia coast morning-glory Castilleja affinis coast paintbrush
Chlorogalum pomeridianum soaproot
Claytonia perfoliata miner's lettuce
Cordylanthus rigid ssp.littoralis seaside bird's-beak
Cynoglossom grande hound's tongue
Dichelostemma capitatum blue dicks
Scientific Name Common Name
Epilobium ciliatum California willow-herb
Eschscholzia californica California poppy
Fragaria vesca wood strawberry
Fritillaria affinis checker lily, mission bells
Galium californicum California bedstraw
Horkelia cuneata wedge-leaved horkelia
Iris douglasiana Douglas iris
Lomatium parvifolium small-leaved lomatium
Lotus formosissimus bicolored lotus, witch's teeth
Lotis stipularis stipulate lotus
Madia elegans common madia
Madia madioides woodland madia
Osmorhiza chilensis sweet cicely
Pedicularis densiflora Indian warrior
Piperia elegans elegant piperia
Piperia elongata tall rein-orchid
Piperia yadonii Yadon's rein-orchid
Perideridia gairdneri Gairdner's yampah
Polygala californica California milkwort
Potentilla hickmanii Hickman's cinquefoil
Rubus ursinus California blackberry
Sanicula crassicaulis gambleweed
Satureja douglasii yerba buena
Sidalcea malvaeflora checkerbloom
Sisyrinchium bellum blue-eyed grass
Smilacina racemosa fat solomon
Solidago californica California goldenrod
Spiranthes romanzoffiana hooded ladies' tresses
Trifolium polyodon Pacific Grove clover
Trifolium trichocalyx Monterey clover
Trillium chloropetalum giant trillium
Triteleia ixioides pretty face
Xerophyllum tenax bear grass
Zigadenus fremontii Fremont's star lily
FERNS
Adianturn aleuticum five-finger fern
Adiantum jordanii California maiden-hair
Dryopteris arguta wood fern
Pellaea andromedaefolia coffee fern
Pityrogramma triangularis goldback fern
Polypodium californicum California polypody
Polystichum munitum sword fern

GRASSES, SEDGES AND RUSHES
Agrostis pallens leafy bent-grass
Bromus carmatus California brome
Calamagrostis nutkaensis Pacific reed-grass
Carex barbarae Santa Barbara sedge
Carex brevicaulis short-stemmed sedge
Carex obnupta slough sedge
Carex praegracilis clustered field sedge
Carex tumulicula foothill sedge
Cyperus eragrostis tall cyperus
Danthonia californica California oatgrass
Deschampsia caespitosa tufted hair-grass
Elymus glaucus Western ryegrass
Festuca californica California fescue
Festuca rubra red fescue
Juncus balticus wire rush, Baltic rush
Juncus bufonius common toad rush
Juncus effusus common rush
Juncus falcatus sickle-leaved rush
Juncus occidentalis Western rush
Juncus patens spreading rush
Juncus xiphioides iris-leaved rush
Koeleria macrantha junegrass
Leymus condensatus giant ryegrass
Leymus triticoides beardless ryegrass
Luzaida comosa common wood rush
Melica californica western melica
Melica imperfecta Coast-Range melica
Nassella lepida foothill needlegrass
Nassella pulchra purple needlegrass
Poa secunda pine bluegrass
Scirpus cernuus low club rush
Scirpus amiericanus three square

PREFERRED PLANTING MATERIALS
from pages 140-143 of Coastal California’s Living Legacy: The Monterey Pine Forest Enhance. Subordinate. Fit. Retain. Design. Detail.

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DESIGN GUIDELINES (Layout Draft: 20260120) APPX 3

PREFERRED BUILDING MATERIALS

MATERIAL NOTES USES

NATURAL
wood reclaimed or FSC sustainable
redwood or cedar or fir
posts, beams, siding, trim, un-clad windows, doors, garage doors, fireproofed roof shingles or shakes,
bark reclaimed or FSC sustainable
redwood or cedar or fir
siding, roofing
bamboo sustainably cultivated flooring, siding, structural panels cork sustainably cultivated flooring, siding, structural panels living plants drought-tolerant, native species
(see Preferred Planting Materials)
walls, roofs
stone local, dry-set or mortared stacked in dry-set
structurally-feasible patterns only
mudstone/golden granite for walls, foundations, driveways, Carmel stone for walls, patios, walkways
earth locally sourced cob or rammed soils/sands walls
brick locally-sourced clay or adobe walls, patios, walkways bale locally sourced straw walls, insulation
tile genuine ceramic, clay, or concrete mono-chromatic for roofs, patios, walkways multi-chromatic for decorative accents
basic metal uncoated, naturally-aging
zinc, bronze, brass, aluminum
roofing, gutters, hardware, cladding for
deconstructable/recyclable wood windows
glass low-E, clear, or evenly sandblasted,
non-mirrored, non-tinted
windows and other glazed openings
sealing oil penetrating, non-peeling, non-VOC, pure tung, linseed, hemp, teak oils
exposed wood treatment, when natural aging is undesired

MANUFACTURED
poured concrete artistically-crafted in natural or in uniform, integrated color with only non-uniform, handcrafted textures (as
with exposed aggregate or genuine wood formwork)
walls, patios, walkways, pavers
cast concrete integrated, uniform color, and finish without stamped, faux “natural” textures
walls, patios, walkways, pavers, roof tiles
alt-crete e.g. ashcrete, sandcrete, grasscrete, woodcrete, hempcrete: poured or cast, maintain original surface
pattern and color
walls, patios, walkways, pavers, roof tiles
fiber cement e.g. Hardiboard, Equitonesmooth texture only, no mimicry of natural materials
siding
stucco uncoated, non-pigmented, smooth textured wall coating advanced brick e.g. wool brick, shell brick walls, patios, walkways advanced metal steel, galvanized steel, stainless steel, Cor-Ten steel, Zincalume, Galvalume, earth-toned anodized
aluminum
slim-profile windows, siding, landscape elements, standing seam roofing with non-corrugated flat panels, devoid of ribbing
advanced wood FSC sustainable: mass timber, industriallypickled/acetylated, pre-charred/shou-sugi-ban, thermally-modified, bio-based fiberboard super-wood
posts, beams, siding, trim, un-clad windows, doors, garage doors, fireproofed roof shingles or shakes,
stain penetrating, naturally-fading, rather than peeling, monochrome, earthtone pigment
exposed wood treatment, when added color is desired
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PROJECT REVIEW
Process, Checklist, & Narratives
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DESIGN GUIDELINES (Layout Draft: 20260120) APPX 5
CARMEL BY THE SEA remains beautiful because of the community’s rigorous design expectations.

These Design Guidelines are a mandated regulatory tool for the CC, SC, and RC districts that conveys these expectations. They also help explain and illustrate design standards in the City’s other regulations. Existing projects never establish precedent for proposed projects. Instead, all projects must meet or exceed the expectations described by and under the community’s six Core Design Guidelines.

Where uncertainty arises, city officials will interpret guideline adherence on a case-by-case basis. Strict adherence to this document and its related, linked regulations will help ensure that a proposed project will meet community expectations and have a smooth approval process.

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DESIGN GUIDELINES (Layout Draft: 20260120) APPX 6

Core Design Principles Narrative Form
Purpose of Completing This Narrative
This narrative is intended to guide applicants in thoughtfully employing Carmel-by-the-Sea’s six core design principles at the earliest stages of project design. For each principle, applicants are asked to briefly describe how their proposed project responds to and harmonizes with that principle. The intent is not for applicants to restate regulations, but to demonstrate design intent and awareness of the heritage that shapes Carmel’s built environment. Completing this narrative helps ensure that projects begin in the right direction, are grounded in the spirit of the Design Guidelines, and are developed with sensitivity to the community, the site, and Carmel’s village-in-a-forest character.

How to use this form
Please provide a brief written narrative for each principle below describing how your proposed project addresses and complies with that principle. We invite you to include visuals and details that illustrate consistency with the guidelines. If additional space is needed, please attach supplemental sheets.

1. ENHANCE, restore, and preserve the native forest in all improvement projects:
private, public, and otherwise.

Design the project as an extension of Carmel’s native forest. The upper and lower canopy should remain the primary site feature, with buildings visually secondary. Projects should retain significant trees, supplement the forest with new planting, and reinforce continuity of the forest character across the site and surrounding area.

Describe how the project addresses this principle:

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Project Address: ___________________________
APN: _____________________________________
Owner Name: _____________________________
Applicant Name: ___________________________
Date: _____________________________________
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2. SUBORDINATE every built structure to the character and continuity of the forest, natural environment, and to the natural features of its own site.

Ensure all buildings are clearly secondary to the site’s natural features and topography. Massing, excavation, and foundations should follow existing slopes, minimize grading, and avoid visual dominance. The design should feel woven into the landscape rather than imposed upon it.

Describe how the project addresses this principle:

3. FIT every built structure within its neighborhood context.

Design the project to respect the scale, massing, setbacks, and open-space patterns of the surrounding neighborhood. New construction should protect neighbors’ privacy, views, and access to light while maintaining Carmel’s informal streetscape, natural slopes, and forested foreground.

Describe how the project addresses this principle:

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4. RETAIN and build upon Carmel’s architectural heritage.

Draw from Carmel’s tradition of individual expression and eclectic architectural styles. Use forms, materials, and detailing that convey human scale, craftsmanship, and a natural patina, while remaining compatible with the village-in-a-forest setting.

Describe how the project addresses this principle:

5. DESIGN every built structure with modesty and restraint.

Keep building scale, form, and mass restrained and appropriate to the site. Designs should reflect traditional proportions, break larger volumes into realistic components, and avoid oversized or speculative expressions that dominate the street or surrounding landscape.

Describe how the project addresses this principle:

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6. DETAIL every property authentically and consistently.

Use architectural details and materials that are genuine, functional, and consistently applied on all sides of the building. Avoid applied or faux elements, and ensure that craftsmanship, materials, and detailing reflect authenticity throughout the entire property.

Describe how the project addresses this principle:

Applicant Certification
I certify that the responses above accurately describe how the proposed project has been designed to comply with the City of Carmel-by-the-Sea’s Design Guidelines.

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DESIGN GUIDELINES (Layout Draft: 20260120) APPX 10
Core Design Principles Narrative Form
Supplemental Information

1. ENHANCE, restore, and preserve the native forest in all improvement projects:
private, public, and otherwise.

Project Address: ___________________________
APN: _____________________________________
Owner Name: _____________________________
Applicant Name: ___________________________
Date: _____________________________________
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DESIGN GUIDELINES (Layout Draft: 20260120) APPX 11
Core Design Principles Narrative Form
Supplemental Information

2. SUBORDINATE every built structure to the character and continuity of the forest, natural environment, and to the natural features of its own site.

Project Address: ___________________________
APN: _____________________________________
Owner Name: _____________________________
Applicant Name: ___________________________
Date: _____________________________________
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DESIGN GUIDELINES (Layout Draft: 20260120) APPX 12
Core Design Principles Narrative Form
Supplemental Information

3. FIT every built structure within its neighborhood context.

Project Address: ___________________________
APN: _____________________________________
Owner Name: _____________________________
Applicant Name: ___________________________
Date: _____________________________________
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DESIGN GUIDELINES (Layout Draft: 20260120) APPX 13
Core Design Principles Narrative Form
Supplemental Information

4. RETAIN and build upon Carmel’s architectural heritage.

Project Address: ___________________________
APN: _____________________________________
Owner Name: _____________________________
Applicant Name: ___________________________
Date: _____________________________________
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DESIGN GUIDELINES (Layout Draft: 20260120) APPX 14
Core Design Principles Narrative Form
Supplemental Information

5. DESIGN every built structure with modesty and restraint.

Project Address: ___________________________
APN: _____________________________________
Owner Name: _____________________________
Applicant Name: ___________________________
Date: _____________________________________
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DESIGN GUIDELINES (Layout Draft: 20260120) APPX 15
Core Design Principles Narrative Form
Supplemental Information

6. DETAIL every property authentically and consistently.

Project Address: ___________________________
APN: _____________________________________
Owner Name: _____________________________
Applicant Name: ___________________________
Date: _____________________________________
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DESIGN GUIDELINES (Layout Draft: 20260120) APPX 16
Design Review Tracks
The Design Review process is organized into separate tracks, which correspond to the scale of a project or its complexity.

Some projects may be approved at staff level while others may require comment and/or action by a board, committee or commission of the City. Submittal requirements vary accordingly. Consult with City Planning staff to determine the process for a specific project.

Carmel-by-the-Sea Municipal Code (CMC) Section 17.58.040 Residential Design Review outlines the two established residential design review tracks, Track 1 (Staff Approval) and Track 2 (Planning Commission Approval). Note: Per CMC Section 17.58.040.A.3.b, Track 1 projects that comply with the zoning regulations, but do not comply with the design guidelines or design objectives will be referred to the Planning Commission for resolution or shall be redirected into Track 2.

Track 1 (Staff Approval)
• Staff level discretionary approval
• Limited to:
o Exterior changes or additions that do not increase the floor are by more than 10% o Changes in exterior materials, site coverage, landscaping, fenestrations, chimneys, fences, or walls
o Minor changes to historic resources

Track 2 (Planning Commission Approval)
• Discretionary review process for project that requires public hearing with the Planning Commission
• Include:
o All new construction, demolition, and grading over 25 cubic yards o Additions that increase building coverage by more than 200 square feet or 10% o Projects requiring grading within 6’ of a significant tree (as determined by the City Forester)
o Any project requiring a Coastal Development Permit that is not exempt from Public Hearing
Note:

CMC Section 17.10.010 (Purpose and Design Objectives) establishes the standards and requirements for development in the R1 district. The Residential Design Guidelines implement these design objectives (CMC Section 17.10.060, Residential Design Guidelines).

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DESIGN GUIDELINES (Layout Draft: 20260120) APPX 17
Gaining Project Approval
Each project shall follow a series of steps in order to ensure that the proposed work meets all the relevant design guidelines. Compliance review with relevant zoning code regulations occurs concurrently. Check with Planning Staff for specific submittal requirements.

Step 1: Site Assessment

Step 2: Concept Review

Step 3: Final Review
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• Applicant applies for preliminary site assessment. (General Planning application and survey created within a year of application submittal.) • Planning and Forestry staff assess the site.
• The applicant uses the assessment and the core principles in developing the project design.
• Owner develops the Concept Design level information.
• Planning Commission reviews for compliance.
• When approved, applicant continues to Final Design.
• Owner developsthe Final Design, gets a volume study through the city, and addresses any conditions of approval from the Concept Design hearing. • Planning Commission reviews for compliance.
• When approved, applicant applies for other city permits, including building permit.

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GLOSSARY
Selected Definitions
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E
Eden E•den |ˈēd(ə)n| noun. 1. a place or state of great happiness; an unspoiled paradise: pining for the Eden of her childhood. 2. Carmel-by-the-Sea GLOSSARY Enhance. Subordinate. Fit. Retain. Design. Detail. future content
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INDEX
Keywords& Concepts
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A
Arbors _____________________________________________________________________________________________________________ 14, 39 Asphalt ______________________________________________________________________________________________________________4, 12 B
Balconies ____________________________________________________________________________________________________ 12, 15, 20, 38 Beams _________________________________________________________________________________________ 8, 10, 11, 14, 17, 22, 33, 34, 7 Brick ________________________________________________________________________________________6, 8, 10, 12, 17, 12, 24, 25, 39, 7 C
Canopies ______________________________________________________________________________________________ 19, 22, 3, 4, 6, 9, 16 Coatings_________________________________________________________________________________________________________ 16, 34, 7 Colors ___________________________________________________________________________16, 17, 12, 20, 21, 24, 25, 26, 29, 32, 37, 39, 7 Columns________________________________________________________________________________________________________ 19, 20, 39 Compounds ___________________________________________________________________________________________________________18 Concrete________________________________________________________________________ 9, 12, 15, 16, 19, 21, 22, 4, 12, 24, 26, 35, 39, 7 Connectivity ________________________________________________________________________________________________________22, 5 D
Decks______________________________________________________________________________________________________________ 20, 24 Doors__________________________________________________________________8, 12, 13, 14, 15, 19, 21, 11, 25, 30, 31, 32, 34, 35, 36, 37, 7 Drainage_____________________________________________________________________________________________________________ 3, 7 Driveways______________________________________________________________________________________________________5, 11, 12, 7 E
Entries______________________________________________________________________________________ 7, 14, 15, 16, 7, 16, 29, 31, 32, 37 Estates__________________________________________________________________________________________________8, 10, 13, 20, 18, 39 F
Faux _______________________________________________________________________________________________________12, 26, 34, 35, 7 Fences ________________________________________________________________________________________ 12, 24, 4, 13, 14, 15, 20, 38, 39 Finishes ____________________________________________________________________________________________ 11, 19, 25, 26, 34, 36, 7 Forest__________________________________________1, 3, 6, 7, 8, 9, 10, 12, 13, 14, 16, 17, 19, 20, 21, 22, 2, 3, 4, 5, 6, 7, 8, 11, 13, 18, 32, 2 Formality___________________________________________________________________________________________________ 9, 4, 7, 12, 29 Foundations ____________________________________________________________________________11, 12, 21, 3, 9, 10, 11, 12, 34, 35, 38, 7 G
Garages_________________________________________________________________________________________________ 11, 18, 25, 29, 37, 7 Glass ___________________________________________________________ 8, 9, 12, 14, 16, 18, 19, 20, 21, 22, 13, 25, 32, 33, 34, 35, 36, 37, 7 Grading ______________________________________________________________________________________________ 3, 9, 10, 11, 12, 15, 29 Grass ___________________________________________________________________________________________________________________6 Gravel ____________________________________________________________________________________________________________ 4, 5, 12 H
Heights ____________________________________________________________________________________ 12, 17, 9, 10, 15, 19, 29, 30, 37, 39 Hierarchies ____________________________________________________________________________________________________________ 35 Historic _______________________________________________________________________________________ 1, 7, 13, 20, 21, 23, 30, 32, 36 I
Informality __________________________________________________________________________________________________ 4, 5, 7, 12, 14 Enhance. Subordinate. Fit. Retain. Design. Detail.

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Irrigation _______________________________________________________________________________________________________________4 L
Lighting ______________________________________________________________________________9, 17, 20, 21, 9, 14, 15, 16, 19, 23, 33, 36 Limbs____________________________________________________________________________________________________________ 22, 3, 29 M
Manufactured __________________________________________________________________________________________________ 25, 26, 35 Massing ________________________________________________________________ 3, 11, 14, 15, 16, 18, 19, 21, 6, 9, 17, 18, 19, 23, 27, 30, 7 Materials ____1, 6, 10, 12, 14, 16, 17, 19, 21, 22, 24, 4, 5, 7, 11, 12, 14, 15, 17, 20, 21, 23, 24, 25, 26, 27, 28, 29, 31, 34, 35, 36, 37, 38, 39, 7 Metal _________________________________________________________________________________________________________ 15, 24, 25, 7 P
Paint_____________________________________________________________________________________________________________15, 21, 34 Parking ____________________________________________________________________________________________________________4, 5, 11 Patina _____________________________________________________________________________________________________________ 24, 25 Paving ________________________________________________________________________________________________ 8, 3, 4, 5, 7, 11, 12, 13 Planes _________________________________________________________________________________________________ 10, 16, 22, 9, 19, 29 Plants_____________________________________________________________________________________ 1, 6, 8, 21, 22, 5, 6, 7, 12, 18, 20, 7 Plastics _____________________________________________________________________________________________________________ 13, 25 Porches __________________________________________________________________________________________________7, 9, 10, 19, 31, 37 Posts_________________________________________________________________________________7, 8, 9, 10, 11, 13, 17, 18, 22, 10, 33, 39, 7 Preferred _________________________________________________________________________________________________________ 1, 24, 7 Private_________________________________________________________________________________ 1, 3, 7, 8, 9, 21, 2, 3, 5, 11, 12, 13, 20, 2 Public______________________________________________________________________________ 1, 3, 8, 9, 21, 2, 5, 7, 9, 12, 13, 16, 29, 31, 2 R
Rafters_________________________________________________________________________________________________________________34 Recycling ______________________________________________________________________________________________________________25 Retaining ________________________________________________________________________________________________ 4, 9, 10, 11, 12, 39 Rights-of-way ____________________________________________________________________________________________ 3, 4, 5, 6, 13, 29 Roofs ___________________________ 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 18, 19, 20, 22, 24, 7, 9, 21, 23, 24, 26, 29, 30, 31, 34, 36, 37, 38, 7 S
Scale____________________________________________________________________ 12, 18, 19, 20, 21, 24, 6, 7, 18, 26, 29, 30, 31, 32, 38, 39 Screening_________________________________________________________________________________________________17, 3, 6, 9, 13, 20 Setbacks _________________________________________________________________________________________________________ 11, 18, 19 Shingles ____________________________________________________________________________________________________________10, 23 Shrubs _______________________________________________________________________________________________________________ 5, 13 Shutters _______________________________________________________________________________________________________________34 Siding ______________________________________________________________________________________________ 7, 9, 11, 6, 25, 33, 35, 7 Signage _________________________________________________________________________________________________ 7, 11, 21, 28, 37, 39 Sizing _________________________________________________________________________________ 14, 21, 9, 14, 16, 18, 20, 30, 34, 36, 37 Skylights _______________________________________________________________________________________________________ 16, 20, 37 Spaces _________________________________________________________ 16, 19, 21, 22, 24, 3, 4, 5, 6, 9, 10, 11, 13, 14, 16, 18, 19, 23, 30, 36 Speculative __________________________________________________________________________________________________ 20, 21, 23, 24 Stain________________________________________________________________________________________________________________ 34, 7 Stone __________________________________________________________________________ 11, 12, 16, 17, 18, 12, 15, 21, 24, 26, 34, 35, 39, 7 Stories ___________________________________________________________________________________________ 11, 14, 18, 20, 11, 19, 29, 30 Streets __________________________ 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 19, 20, 21, 22, 3, 4, 5, 6, 8, 11, 13, 14, 16, 18, 21, 29, 32, 35, 37, 38 Structural_________________________________________________________________________________________ 9, 10, 11, 14, 34, 36, 37, 7 Style________________________________________________ 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 23, 28, 30, 31, 32, 34, 36, 38 Enhance. Subordinate. Fit. Retain. Design. Detail.

ATTACHMENT 2

DESIGN GUIDELINES (Layout Draft: 20260120) APPX 24
T
Terracing __________________________________________________________________________________________________ 9, 10, 12, 16, 20 Textures _________________________________________________________________________________________________________ 12, 26, 7 Tile __________________________________________________________________________________________________12, 13, 14, 15, 24, 26, 7 Topography ________________________________________________________________________________________________ 20, 3, 4, 10, 15 Trees _______________________________________________________________ 3, 6, 8, 9, 12, 17, 19, 21, 22, 3, 4, 5, 6, 7, 8, 9, 16, 18, 20, 29 U
Utilities _______________________________________________________________________________________________________________20 V
Vegetation______________________________________________________________________________________ 19, 20, 24, 3, 4, 5, 11, 14, 16 Views ____________________________________________________ 8, 11, 12, 14, 15, 17, 18, 19, 20, 21, 22, 3, 6, 7, 8, 9, 11, 19, 20, 23, 31, 39 Volumes____________________________________________________________________________ 10, 12, 14, 16, 19, 20, 21, 22, 9, 19, 28, 29 W
Walls ___________ 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 3, 4, 6, 9, 10, 11, 12, 13, 15, 19, 20, 21, 24, 26, 29, 30, 31, 34, 35, 37, 39, 7 Windows _____________________________ 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 18, 19, 20, 9, 12, 16, 19, 20, 23, 25, 30, 31, 32, 34, 35, 36, 37, 7 Wood_________________________________________ 7, 8, 9, 10, 11, 12, 13, 14, 15, 18, 19, 20, 21, 22, 14, 21, 23, 24, 25, 26, 33, 34, 35, 38, 7 Woodgrain ____________________________________________________________________________________________________________ 35 Enhance. Subordinate. Fit. Retain. Design. Detail.

ATTACHMENT 2

DESIGN GUIDELINES (Layout Draft: 20260120) APPX 25

ACKNOWLEDGMENT
It Takesa Village.

Enhance. Subordinate. Fit. Retain. Design. Detail.

ATTACHMENT 2

DESIGN GUIDELINES (Layout Draft: 20260120) APPX 26
Special thanks to…
Carmel-by-the-Sea Community Planning and Building Division:

Brandon Swanson Acting City Administrator
Anna Ginette Community Planning and Building Director
Jake Olander Associate Planner
Planning Commission:

Michael LePage Chair
Stephanie Locke Co-Chair
Mel Ahlborn Member
Erin Allen Member
Stephan Karapetkov Member
Winter & Company of Boulder CO:

Nore Winter Consultant
Julie Husband Consultant
Design Traditions Steering Committee:

Victoria Beach Co-Chair
Doug Schmitz Co-Chair
Melanie Billig Member
Don Goodhue Member
Mary Ann Schicketanz Member
and most importantly to…
The Citizens of Carmel-by-the-Sea whose determination to protect this singular place and whose willingness to volunteer their observations and insights over countless hours inspired every aspect of this crucial document.

ATTACHMENT 2

DESIGN GUIDELINES (Layout Draft: 20260120) APPX 27
ATTACHMENT 2

February 2023
Carmel-by-the-Sea
The Design Traditions of Carmel
Residential design guidelines
Public Review Draft
ATTACHMENT 3

Guiding Principles
While there are many aspects of the character of Car- mel that are addressed in the Design Guidelines, some Guiding Principles apply citywide and set the stage for the more detailed Design Guidelines that follow. All im- provement projects shall comply with these principles:

1. Restore and enhance the forest in all improvement
projects: private, public, and otherwise.

2. Subordinate every built structure to the character of the forest, natural environment, and to the natural
features on its own site.

3. Keep every built structure modest and simple.

4. Retain and build upon Carmel’s official architectural heritage.

5. Fit every built structure within its neighborhood
context.

6. Design every property with authentic and consistent details.

Note:

CMC 17.10.010 (Purpose and
Design Objectives) establishes the
standards and requirements for
development in the R-1 district.

The Residential Design Guidelines
implement these design objectives
(CMC 17.060, Residential Design
Guidelines).

Note:

These Residential Design
Guidelines are an update of the
City’s current guidelines. In order
to help readers understand where
new text has been added, it is
shown in RED font. An exception
is for a new section that is lengthy.

These are identified by a note in the
margin as being new.

ATTACHMENT 3

RESIDENTIAL DESIGN GUIDELINES

TABLE OF CONTENTS
Part One: Introductory Material
Introduction to the Design Review Process 3
Historic Development Patterns 11
A Sampling of Carmel Styles 14
The Expansion of Carmel 16
Defining Characteristics of Carmel 17
Part Two: Design Concept Guidelines
Guiding Principles 29
Neighborhood-wide Guidelines (Concept Level) 31
Site Planning Guidelines (Concept Level) 41
Building Design Guidelines (Concept Level) 55
Part Three: Final Design Guidelines
Building Design - Final Design Phase 63
Landscape Design - Final Design Phase 87
Part Four: Appendix 101
Credits 103
ATTACHMENT 3

ATTACHMENT 3

Part One: Introductory Material [ 1 ]
• Carmel-by-the-Sea Residential Design Guidelines •
PART ONE:

INTRODUCTORY MATERIAL
Introduction to the Design Review Process 3
About the design guidelines 3
Design Review Tracks 7
Gaining Project Approval 8
Factors that distinguish one neighborhood from another 9 Understanding “context” 10
Historic Development Patterns 11
A Sampling of Carmel Styles 14
The Expansion of Carmel 16
Defining Characteristics of Carmel 17
Favorite Streets and Their Features 19
Siting Patterns 20
Public Landscape Features 21
Private Landscape Features 22
Building Form and Scale 23
Building Details 24
ATTACHMENT 3

[ 2 ] Part One: Introductory Material
• Carmel-by-the-Sea Residential Design Guidelines •
ATTACHMENT 3

Part One: Introductory Material [ 3 ]
• Carmel-by-the-Sea Residential Design Guidelines •
Part One: Introductory Material
Introduction to the Design Review Process
A place like no other! Carmel-by-the-Sea is a unique community in an extraordinary setting with significant natural resources, high quality architecture and a strong community identity. Residents value its traditional character, village charm, tree-lined streets, wooded hillsides and walkable neighborhoods. These Design Guidelines provide a tool to retain the City’s design traditions.

About the design guidelines
What are Design Guidelines?
Design guidelines are a regulatory tool that convey the community’s expectations for maintaining its Design Traditions. They focus on the qualitative aspects of design but in some cases set forth prescriptive (measurable) requirements. They therefore work in concert with prescriptive standards related to design in the City’s zoning code. They provide City staff and its boards and commissions a basis for making informed decisions about the appropriateness of proposed improvements.

The Scope of the Guidelines
The guidelines focus on maintaining the traditional character of Carmel.

They address all projects in the R-1 and R-4 zoned areas of Carmel, including public and quasi-public uses and public works projects. Please note that the City of Carmel-by-the-Sea will not issue a construction permit for exterior additions, remodeling or new buildings without design review approval from the City. These guidelines also will aid property owners and their architects in developing appropriate design strategies.

Note:

CMC 17.10.010 (Purpose and
Design Objectives) establishes the
standards and requirements for
development in the R-1 district.

The Residential Design Guidelines
implement these design objectives
(CMC 17.060, Residential Design
Guidelines).

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[ 4 ] Part One: Introductory Material
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The Format for a Guideline
Each design guideline in this document typically has four components:

1. Design Objective - describes a desired state or condition of the design element being discussed.

2. Design Guideline Statement - typically performance-oriented, describes a desired design treatment.

3. Supplementary Information - may include suggestions on how to meet the objective, additional requirements, or may provide an expanded explanation. This information is listed in bullet format.

4. Illustrations - may be provided to clarify the intent of the guideline.

Sample of the guideline format used in this document
Section Heading
1 2
3 Simple primary roofs with subordinate
attachments, such as dormers, are
appropriate.

Roof Form 4
Varied roof forms are typical in a block and this tradition should be continued.

11.3 Use simple roof forms. Limit the number of
subordinate attachments such as dormers, to
avoid a cluttered design.
• For example, basic gable and hip roofs are traditional and their use is encouraged. • Flat roofs may be used to a limited extent on
smaller, one-story structures. They shall not be
used on large buildings or two-story elements.
• Avoid complex roof forms that call attention to
the design or add unnecessary detail.
• Mansard roofs typically add more mass than
other forms and are discouraged. A sloping
roof “skirt” that conceals a flat roof is particularly out of character. Similarly, a gable roof that is “clipped” at the top adds unnecessary
complexity to a design and should be avoided.

About the design guidelines,
continued...

Note:

The maximum development standards
in the Zoning Code (height, FAR, etc.)
are not guaranteed by right and may
be limited if they are not consistent
with the character of the surroundings.

The design guidelines shall be used in
determining those conditions.

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Part One: Introductory Material [ 5 ]
• Carmel-by-the-Sea Residential Design Guidelines •
How the Guidelines are Organized
The design guidelines are presented in a sequence that follows the City’s design review process. When proposing projects, applicants first should become familiar with the City’s design traditions and its goals for preservation of traditional character. Next, applicants must consult with the City’s planning staff and the City Forester to develop a preliminary site assessment. This will aid in understanding the resources of the site and issues need to be addressed. Based on these preliminary steps, applicants should then develop concept plans and complete a Design Concept review. After this, a Final Details review is scheduled. Only after this final review can an application for a construction permit occur.

The first design guidelines section focuses on broad-scale design issues which should be used during the Design Concept review stage. This includes design principles which apply neighborhood-wide as well as design guidelines for forest character, site planning and for the mass and scale of a building.

The second design guidelines section focuses on specific building and site design issues which should be used during the Final Details study stage.

These include design guidelines for architectural character, details and materials. Other general design guidelines, such as solar access, views, energy conservation and utilities are also included.

Part 1
Introductory
Material
Part 2
Concept Level
Guidelines
Part 3
Final Details
Guidelines
Part 4
Appendices
Guidelines Organization
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[ 6 ] Part One: Introductory Material
• Carmel-by-the-Sea Residential Design Guidelines •
Who Uses the Design Guidelines?
The design guidelines provide criteria for the design review process that applies throughout the city. As stipulated in Section 17.10.070 of the zoning code, all new construction and exterior repair and/or renovations to existing buildings within the city requires design approval.

Property Owners
Property owners are strongly encouraged to use the guidelines in planning projects with their contractors and design professionals to assure that the results will comply with the City’s design guidelines. While the guidelines are written for use by the layperson, property owners are strongly encouraged to enlist the assistance of qualified design and planning professionals, particularly architects and landscape architects who are experienced working in the Carmel context.

City Staff, Boards and Commissions
The guidelines also will be used by City staff, boards and commissions in determining compliance. In doing so, they consider how each project meets the design guidelines and promotes the goals set forth in the City’s General Plan, Local Coastal Plan and Zoning Code.

Determining Compliance
Compliance with all relevant design guidelines is required. Each project must meet all relevant design guidelines. In doing so, there is an interaction among the guidelines, in terms of the degree to which each is met. If the scope of work is only an alteration to the exterior wall of a building, with no expansion of footprint or site work, then guidelines related to landscaping would not apply.

The Role of Precedent
Note that previous projects do not imply precedent for approval of new work. Each project is unique with its distinct context. The design guidelines clarify how the City’s design objectives are interpreted for individual projects.

About the design guidelines,
continued...

Related code section:

Design Review: CMC Section 17.58
Link: forthcoming...

Related code section:

Findings required:

CMC 17.58.060.B.3
Link: Forthcoming
ATTACHMENT 3

Part One: Introductory Material [ 7 ]
• Carmel-by-the-Sea Residential Design Guidelines •
Design Review Tracks
The Design Review process is organized into separate tracks, which correspond to the scale of a project or its complexity.

Some projects may be approved at staff level while others may require comment and/or action by a board, committee or commission of the City.

Submittal requirements vary accordingly. Consult with City Planning staff to determine the process for a specific project.

Related document:
“Design Review Submittal
Requirements”
web link: placeholder
(More information about the Design Review tracks may be added, pending potential revisions to the process.) ATTACHMENT 3

[ 8 ] Part One: Introductory Material
• Carmel-by-the-Sea Residential Design Guidelines •
Step 1: Site Assessment
• Applicant submits an application for preliminary site assessment. • Planning and Forestry staff assess the site.
• The applicant uses the assessment in developing the project design.

Step 2: Concept Review
• Owner develops the Concept Design level information.
• City decision-makers review for compliance.
• When approved, applicant continues to Final Design.

Step 3: Final Review
• Owner develops the Final Design, using the Final Details design guidelines.
• City decision-makers review for compliance.
• When approved, applicant applies for other city permits, including building permit.

Gaining Project Approval
Each project shall follow a series of steps in order to assure that the proposed work meets all the relevant design guidelines. Compliance review with relevant zoning code regulations occurs concurrently. Check with Planning Staff for specific submittal requirements.
➠
➠
Note:

CMC 17.10.010 (Purpose and
Design Objectives) establishes the
standards and requirements for
development in the R-1 district.

The Residential Design Guidelines
implement these design objectives
(CMC 17.060, Residential Design
Guidelines).

ATTACHMENT 3

Part One: Introductory Material [ 9 ]
• Carmel-by-the-Sea Residential Design Guidelines •
Factors that distinguish one
neighborhood from another
Many characteristics of Carmel appear throughout the entire village bu some differences exist among neighborhoods. For example, most residential streets have a forested character but some streets near the Carmel Mission Basilica Museum are more open. Another example is along Scenic Road which has its own distinguishing features. These distinctions are important to address when crafting a design to fit in with the surrounding neighborhood. Some of the variables that may define different contexts are listed below.

1. The amount of natural light available: This relates to the character of the tree canopy and street widths.

2. The extent of the tree canopy: Most streets have a sense of enclosure with a healthy tree canopy, but a few were planned to be more open, such as in the Carmel Mission area.

3. Street widths: This influences where on-street parking occurs and how street edges are treated. Most have similar widths, but narrower ones exist and others are wider, such as along Junipero Avenue.

4. Variations in topography: This may be in the slope of a street itself or of lots, which may occur as “uphill” and “downhill” conditions. This influences the location of garages, how building forms may be stepped on a site and the way in which view opportunities exist.

5. Street layout: Most street are laid out in a grid pattern and not improved to their full widths resulting in informal street edges. A few actually are laid out with curves.

6. The different phases in which the City developed.

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[ 10 ] Part One: Introductory Material
• Carmel-by-the-Sea Residential Design Guidelines •
Understanding “Context”
The Design Guidelines emphasize respecting context which includes those traditional characteristics that are valued by the community and occur at different scales of perception. These aspects of context must be considered. They include:

1. The City
The defining characteristics of traditional Carmel as a whole are described on page 19 and are fundamental parts of the context for any project.

2. The Neighborhood
The traditional character of an individual neighborhood is a part of the context. A neighborhood may be loosely defined or it may have boundaries that are broadly understood. Some neighborhoods correspond to the original sub-divisions as they developed over time. Others are defined by shared features of topography and vegetation as well as their resulting street patterns.

3. The Block
The traditional features of the block in which a site is located is also part of the context. This includes the parcels along the same side of the street as that of the site itself. Also considered are those lots behind with abutting rear yards because these are often visible because of the city’s topography. The block face across the street is also a part of the context at this scale. The variation in building setbacks and the continuity of the forest edge are some of the traditional features that are prominent at this scale.

4. The Site
Respecting the natural features of the site itself is an important part of responding to context. Well-established native vegetation and the topography itself are important to consider at this scale.

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Part One: Introductory Material [ 11 ]
• Carmel-by-the-Sea Residential Design Guidelines •
Historic Development Patterns
Carmel’s character is a unique combination of physical, cultural and social forces. Many of the features people value date from visions of residents at the turn of the century and others result the natural setting and efforts by early settlers. This section presents a brief historical overview of Carmel that focuses on the way in which design and development patterns emerged. It is adapted from the City’s Historic Context statement.

Located on the Monterey Peninsula, Carmel-by-the-Sea is generally bounded by the community of
Pebble Beach, the Carmel River, the
Pacific Ocean and Highway One.

Resting at the base of two ranges
of hills, the landscape has changed
substantially since the arrival of the
first settlers.

First European Settlers
The first European settlers may
have arrived in 1542, although
the first officially reported date
is 1602, when Juan Rodriguez
Cabrillo recorded contact with the
Costonoans, or coast people, who
are presumed to be the first human
inhabitants in the area.

The Mission
In 1771, the Mission San Carlos Borromeo was established in Monterey and later moved to a more fertile
area along the Carmel River.

This triggered growth in the surrounding area. Cattle-ranching, farming, whaling and fishing
industries began to flourish. By
the mid-1800s, extractive mining
industries appeared as well.

Modest beginnings
Real estate development began in
1888, when Santiago J. Duckworth
purchased 324 acres of land from
Honorea Escolle and filed the first
subdivision map. In July of the
same year, the sale of lots began.

Commercial or business lots sold
for $50, residential corner lots sold
for $25 and residential inside lots
sold for $20 or more.

During the first few years of development, Carmel progressed rapidly. Then in the 1890s, the economy began to decline. This was due, in
part, to the fact that the town was
located too far from the end of the
railroad.

The Devendorf Era
In 1902, J. Franklin Devendorf,
together with Frank Powers, took
over the unsold lots from Duckworth. Powers then purchased most of the rest of the city lots from
the Pacific Improvement Company.

Devendorf became the city’s on-site
manager and Powers provided legal council and the much-needed capital.

An early photo of Carmel Beach, from Scenic Drive, shows some of the first houses developing along the southern edge. Note:

This section is new material.

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[ 12 ] Part One: Introductory Material
• Carmel-by-the-Sea Residential Design Guidelines •
Devendorf wished to build communities which were family-oriented and enhanced the natural environment.

A Boom Period
In the early 1900s, Carmel-by-theSea experienced its second boom.

By 1913 there were over 500 permanent residents and countless summer visitors. The influx of
seasonal visitors was a direct result of the growth of the tourism industry. Another important factor
was the popularity of the automobile. This led to the paving of the Carmel-Monterey Highway in 1916
and Ocean Avenue in 1922, making
access more convenient.

Population increases led to improved public service. Electricity may have arrived as early as 1894.

In 1903, the Sunset Telephone
Company and the Carmel Post
Office were established. In 1905,
water utilities were installed and
gas followed in 1930.

Natural Features
Original natural features included
a 15-acre area of sand dunes, and
early photographs show the area
west of Monte Verde had open
meadows, some coastal scrub and
a few trees.

Native Forests
A pine forest stood in the roughly
triangular section of land between
the two ranges of hills. The pines
that existed here had relatively
short “life-spans” and because of
their usefulness as firewood and
limited reforestation efforts, their
numbers quickly diminished.

Other forested areas were found
in natural canyons, such as on the
flat area where Carmel sits and
near water courses like the Carmel
River. The Monterey Pines and Cypress are remnants of vast forests which at one time extended up and
down the length of the coastline.

The Street Layout
Devendorf had much respect for
the natural environment, and
he used this to modify the grid
pattern on which the streets were
laid, in order to emphasize natural
features. Instead of cutting a tree
down or altering a hillside, he
would curve the road around it
and establish “mini-parks” at the
corners of many blocks.

Devendorf also encouraged the
planting of trees. Often, when he
sold a lot, he would give the owner
a few new trees. This contributed
to the forested image.

The grid used to organize the city
is a key element in the way its
character has developed. The roads
were narrow and were laid in such
a way that they curved and meandered to follow the land’s natural topography.

Assembling Lots
A common practice was to purchase one lot along with some adjacent ones, and sometimes even
adjust the entire lot line to fit the
contours of the natural landscape.

The Arts and Crafts Movement
After 1905, the strongest influence
on residential architecture in Carmel was the influx of artists and writers, especially those of the Arts
and Crafts Movement. Devendorf
reported that by 1911, 60% of Carmel’s residents devoted their lives to the “aesthetic arts.”
For these people, harmony with
nature and unpretentious living
were valued. This sense of modesty in appearance was in character with the “blending in” of building
in the community.

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Part One: Introductory Material [ 13 ]
• Carmel-by-the-Sea Residential Design Guidelines •
One of Carmel’s early residences, on the corner of Guadalupe and 4th, was an example of a vernacular turn-of-the century cottage. It stood 1-1/2 stories tall, had a one story porch, faced the street and was simple in design.

Early Building Types
Carmel’s early residences varied in
size, style, siting and the subordination of buildings to nature. Historically, homes were small, often no larger than one or one and onehalf stories. On the average they ranged from approximately 800
to 1,500 square feet. Outbuildings
such as garages were approximately 200 square feet. The construction method often used was wood
frame, although many homes were
constructed of rough cut stone.

Occasionally, wood homes were
set on high stone foundations.

Wood siding treatments were either
shingle, vertical board and batten
or horizontal clapboards. Roofs
were often gabled and covered
with wood-shingles.

As an expression of the philosophy of the Craftsman movement, the Craftsman style became the
most popular in Carmel from 1905
through the early 1920s.

The architectural styles that followed were perhaps less influential than the Craftsman, although they
did contribute to the city’s character. Revival styles of the 1920s and 1930s included Tudor Revival,
English Revival, French Revival,
Spanish and Italian Revival, American Colonial Revival, Monterey Revival and the Pueblo Revival.

Among the most noteworthy to
Carmel in this period was the design of “Storybook” cottages that drew upon references to “Cotswold
houses.”
By the end of the 1930s, much of the
character known as “old Carmel”
was established, both in terms of
the landscape and the building
stock. The infill of parcels continued, however, with a number of “modern” houses appearing
through the 1950s.

Although different in character,
these newer homes still remained
sensitive to their context. A home
designed by Frank Lloyd Wright,
which sits atop an outcropping of
brown basaltic lava on Abalone
Point, is a good example of this.

Although this site is not typical for
most of Carmel, it does illustrate
how a building can be subordinate
to its site.

During these decades of early development, individual expression was tempered with careful consideration of the setting and of the character of the city. The town that
emerged is a unique expression of a
community committed to a special
physical character and a distinct
cultural pattern as well.

References:

Archives of the Carmel Preservation Foundation.

Gilliam, Ann and Harold. Creating
Carmel: The Enduring Vision.

Edward Brothers, Inc. 1996.

Grimes, Teresa and Leslie Heumann. Historic Context Statement: Carmel-by-the-Sea. Leslie Heumann and Associates. September, 1994.

Gebhard, David. Romanza: The California Architecture of Frank Lloyd Wright. Chronicle Books. 1988.

Gray, Eunice T. Cross Trails and
Chaparral. 1925.

Laffey, Glory Anne. Historic Context
Statement: Carmel-by-the-Sea,
Revised. Archives & Architecture. May 31, 1996
Historic Development Patterns,
continued...

ATTACHMENT 3

[ 14 ] Part One: Introductory Material
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A Sampling of Carmel Styles
Following are examples of some of the architectural styles seen in Carmel-by-the-Sea. These styles are frequently cited in the City’s Inventory of Historic Resources. Most have features in common including the use of simple forms, natural materials and sloping roofs. Note that other styles not shown also can be found in the village. The purpose is to highlight key features that should be considered when designing in traditional styles and to acknowledge the diversity that exists, albeit within a range that fits with traditions.

Vernacular
• Simple rectangular form
• Hip or gable roof
• Little or no ornamental trim
Cotswold (“Storybook”)
• “Thatch” or staggered shingle
roof
• Curved roof edge
• Multi-paned windows
• Half-doors
• Heavy timber trim
• Decorative shutters
Tudor Revival
• Stucco sided, half-timbered
• Steeply-pitched, asymmetrical
roof
• Tall, narrow windows
• Prominent chimneys
• Decorative half-timbering
Craftsman
• Informal “L” or “U” shaped
plans which enclose a patio
• Low-pitched, overhanging gable roofs
• Exposed beams, braces and
rafter tails
• Occasionally stucco or shingle
siding
• Porch integrated into building
English Revival
• Sided with stucco, shake, board
and batten or Carmel stone
• At least one arched opening,
typically at the front door
Spanish Revival
• Stucco walls
• Tile roof
• Arched openings
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Part One: Introductory Material [ 15 ]
• Carmel-by-the-Sea Residential Design Guidelines •
A Sampling of Styles, continued
Monterey Revival
• Second story balcony across the
facade
• Low-pitched gable roof
• Ceramic tile or wood roof
French Revival
• Hipped roofs
• Occasional turreted bays
Bay Region Modern
• Low pitched gabled or shed
roof
• Stained siding, usually Redwood
• Expansive windows
• Exposed rafter ends
• Horizontal emphasis
Minimal Traditional
• Small, single-story
• Simple rectangular form
• Little detailing
• Limited eave overhang
• Wood, brick and stone
Ranch
• Asymmetrical arrangement
• Low-pitched roof
• Moderate roof overhang
• Decorative porch supports
Wrightian Organic
• Natural materials
• Extended roof forms
• Horizontal emphasis
• Stepped with topography
ATTACHMENT 3

[ 16 ] Part One: Introductory Material
• Carmel-by-the-Sea Residential Design Guidelines •
The Expansion of Carmel
Chronology of
Major Annexations
1888 Bounded by Monterey
Street, Junipero, 1st and Ocean
Avenues; the original site of Carmel
City.
1900 Bounded by Monte Verde,
N. San Antonio, 2nd and Ocean
Avenues.
1902 Bounded by Junipero Avenue, Monte Verde, 3rd and 12th Avenues; originally known as
Carmel-by-the-Sea.
1908 Bounded by Monte Verde,
San Antonio, Ocean and Santa Lucia.
1908 Bounded by Junipero, Monte Verde, 3rd Avenue and a zigzag line beginning at the intersection of
Monte Verde and 2nd and continuing northeast in block increments to Alta Avenue (excluding the tennis courts which were annexed in 1956)
1910 Bounded by Carpenter
Street, Junipero, Ocean and 11th
Avenue.
1910 Bounded by San Antonio
Avenue, Scenic Road, 8th Avenue
and Santa Lucia Avenue
1911 Paradise Park; triangular
area bounded by Carpenter Street
and 4th Avenue
1912 Bounded by Mission Street,
Casanova Street, 12th Avenue and
Santa Lucia Avenue
1922 Bounded by San Antonio,
Del Mar, Ocean and 8th Avenues
1963-1975 Various tracts along
the southeastern edge of the city
Carmel City began in 1888 as a community of approximately 40 blocks. It more than doubled with annexation in 1900 of the Pescadero Canyon area and the original Carmel City. Other lands were added during the 1920s and 1930s until more than 200 blocks were included. The last major annexation occurred in 1967.

The major annexations of Carmel
Junipero Avenue
Ocean Avenue
Dolores
Santa Lucia
San Antonio Avenue
Monte Verde Street
1911
1888 1910
1967-75
1912
1908
1900
1902
1908
1922 1910
Original
Carmel-by-the-Sea
Carmel City
Paradise Park
Walker Tract
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Part One: Introductory Material [ 17 ]
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Defining Characteristics of Carmel
Carmel is known worldwide as a village that has charted its own course in providing a special livable environment for residents and visitors. This character results from a unique combination of its setting, the founder’s visions, decades of caring citizens and an ongoing commitment to a special way of life.

This section summarizes the traditional character of the residential areas of Carmel. It addresses the physical character of the village, drawing upon the traditions of building and site design that have been developing for more than one-hundred years. This ma- terial informs the design guidelines that follow and will be used in interpreting them.

Multi-stemmed lower canopy trees that
partially screen buildings, simple fences
and garden plantings contribute to the
design traditions of Carmel.

Carmel is a Village in a Forest with these features:

Neighborhood
Subdued: No one thing is attention-grabbing; a building fits within the context of its block, its neighborhood and the city at large.

Exploratory: There is a sense of discovery along each street. One must experience a block in space and time, by moving along or through it.

Historic: A rich mix of historic and other traditional buildings, representing a range of styles is found throughout the community.

Note:

The information in this section shall
be considered when determining
how successfully a project responds
to its context.

Note:

This section is new material.

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Architecture
Genuine: A sense of authenticity is conveyed through building materials and handcrafted design.

In scale: Buildings are human-scaled in their forms, materials and details.

Crafted: Buildings are of high quality and durable. This also is expressed in design details of buildings.

Diverse: There is variety in the range of building styles that fit in with the character of being a Village in the Forest by the Sea.

Nestled: Buildings fit in with and are subordinate to the forest setting.

Landscapes
Informal: Landscapes contribute to the forest character.

Walkable: Landscapes are pedestrian-scaled and enhance the public realm.

Connected: Properties connect to the public right-of-way with landscape details that extend the forest character. They are not walled off.

Meandering streets and the high canopy
forest, in which the details of individual
lots “unfold,” contribute to the design
traditions of Carmel.

Defining Characteristics, of
Carmel, continued...

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Favorite Streets and Their Features
Which are the favorite streets of Carmel? People like those with views to the ocean, other natural features and cultural landmarks. They also value tree-lined streets, especially “any street where a tree has to be bypassed,” and “any of those with a traditional residential character,” where a sense of an unfolding street scene occurs.

Key street features:
• A sense of “discovery,” as the
street scene unfolds
• Trees everywhere; in the middle of the street;
• The canopy of trees
• Landscaping in the public
right-of-way along the edges
of the pavement
• Narrow, winding, walkable
streets
A “quiet” street scene of:
• No sidewalks
• No street lights
• No curbs
• No stop lights
• No bright lights with limited
light spillover
• Narrow or limited driveways
subordinate to the overall
street scene
• Homes meld with the street.
• Subdued, diverse architecture
Other favorite street features:
• Open, rustic fences - in a variety
of designs and materials
• Individual gates that define
entries to gardens
• Low stone walls, often as site
retaining structures - usually
on the uphill side of a street or
along cross streets
Favorite streets include those with
irregular edges.

View along Scenic Drive
People value tree-lined streets, especially
one where a tree has be to bypassed.

Defining Characteristics, of
Carmel, continued...

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Siting Patterns
A variety of building setbacks and a sense that buildings are subordinate to a foreground of trees and other plants are key features of Carmel. The distances that buildings are set back from the street varies greatly, which contributes to the sense of open space and of buildings being located “in a forest.” The edge of the public right-of-way is planted, typically with ground covers and shrubs.

Favorite patterns of site design:
• The edge of the public rightof-way is planted, acting as a transition between the street
and individual lot designs.
• Building setbacks vary.
• Houses are subordinate to the
site.
• Larger homes are located on
large lots; smaller homes on
small lots.
• Uphill and downhill patterns
vary.
• Each building is sited in response to natural and manmade conditions.

The edge of the public right-of-way is
planted, acting as a transition between
the street and individual lot landscape
designs.

Traditionally, houses appeared
subordinate to their sites. Buildings are often hidden from the street, contributing to a sense of “living
in a forest.”
Defining Characteristics, of
Carmel, continued...

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Public Landscape Features
The canopy of upper story trees is a key feature in the “public” portion of the landscape. Earth and much as well as low-scale plants in the right-ofway also are details. The informal design of drainage ways and natural rock borders at corners are also distinctive.

Features:
• Upper canopy trees
• Trees in the road
• Streets used as walkways; no
sidewalks
• An informal street design
• A minimal paving section for
the roadway
• Simple stone culverts in drainage ways
Natural rock borders contribute to the
public landscape.

Upper canopy trees are favorite
landscape features.
“Mini-parks” add variety to the street
scene.
• A sense of openness
• Native plants
• Mini-parks at corners and
other locations where a spot
of natural landscaping occurs
• Preservation of natural drainage channels within the public landscape Defining Characteristics, of
Carmel, continued...

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Private Landscape Details
An informal character, emphasizing foliage over flowers is a part of the tradition, and the resulting sense of a “forest floor” is a key part of design traditions. Landscape details of individual lots include:

Basic features:
• Intimate and individual gardens
• Predominantly “garden” plants
and ground covers with a forest
floor character; only limited
areas of conventional grassy
lawns
• Enticing walkways through
informal gardens to building
entries
• Gates, trellises, fences and walls
are all unique.

Extensive planting of, and respect for trees:
• Upper canopy trees, typically
Monterey Pines, establish a
sense of scale.
• Oaks and other multi-stem
trees, in an lower canopy, soften
views of homes.
• Informal landscape designs,
favoring trees and shrubs
Common elements:
• Use of natural materials, including wood and Carmel
stone
• Short stone walls
• Rustic wood fences that provide scale, texture and interest • Hedges
• Native, drought-tolerant plant
materials
• Hardscapes tend to be “rustic”
in materials and layout.

Varying designs of gates, fences and
walls are key features.

Oaks and other multi-stem trees, in an
lower canopy, soften views of homes.

Rustic wood fences provide scale, texture
and interest.

Defining Characteristics, of
Carmel, continued...

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Building Form and Scale
Simple building shapes are a part of Carmel’s design traditions. Many structures are basic rectangular shapes. Even those with more complex plans have one primary rectangular mass, to which other subordinate elements are attached.

Traditional building forms and
scales:
• A simple, primary building
form
• Varied roof lines within a block;
most are sloping, either hip or
gabled
• An understated building scale
• Variations in one- and two-story heights; traditionally one and one-and-one-half stories
• Small garages in front that
reduce the perceived scale of
primary buildings and add
interest to the street
• A diversity of textures and
details that provide a sense of
human scale
• Downhill buildings don’t appear as large as seen from the street. The mass falls away from
the street.

Small garages in front reduce the
perceived scale of primary buildings and
add interest to the street.

Defining Characteristics, of
Carmel, continued...

Varied roof lines
Low eave lines and dormers that are
subordinate to the roof plane are typical
features.

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Building Details
Diversity is seen in architectural materials and details, and yet, this diversity lies within a relatively limited range. Building materials traditionally are “natural,” including wood and stone. Some wood is painted, while other is stained. Clapboard, shiplap, shingle and board-and-batten also are found. Architectural details are used with consistency on a building.

Details from different styles are not mixed and most details are simple in character.

Architectural details include:
• Natural materials, including
wood and stone
• Wood is either painted or
stained.
• The primary entrance may face
the street, or may be indirectly
visible.
• Low eave lines
• Architectural details are simple,
integral to the building design.
• Dormers are subordinate to the
roof plane.
• A limited palette of building
materials occurs within a single
building design.
• A consistency of design occurs throughout an individual building design.

A limited palette of building materials
occurs within a single building design.

Architectural details are simple, and are
integral to each building design.

Defining Characteristics, of
Carmel, continued...

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Part Two: Design Concept Guidelines [ 25 ]
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PART TWO:

DESIGN CONCEPT GUIDELINES

1.0 Guiding Principles 29
Neighborhood-wide Guidelines (Concept Level) 31

2.0 Site Assessment 31

3.0 Preserving the Forest Character 32

4.0 Preserving Historic Resources 38

5.0 Neighborhood Street Character Guidelines 39
Site Planning Guidelines (Concept Level) 41

6.0 Working with Topography 41

7.0 Open Space, Site Coverage and Setbacks 44

8.0 Privacy and Views 49

9.0 Parking and Access 52
Building Design Guidelines (Concept Level) 55

10.0 Building Mass and Scale 55

11.0 Building Form 59
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Part Two: Design Concept Guidelines
Part Two contains guidelines for the design and review of concept plans and is divided into eleven (11) subsections.

The guidelines focus on broad design considerations that relate to the organization of uses on a site, treatment of the urban forest and building massing. A primary consideration is that a design be compatible with the design traditions of Carmel, including maintaining the urban
forest character and promoting buildings in scale with
their context while encouraging diversity in individual houses. Part Three follows which addresses Final Details Design including topics such as architectural details, materials and landscape design.

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1.0 Guiding Principles
These guiding principles for design apply throughout Carmel-by-the-Sea and set the stage for the more detailed Design Guidelines that follow. All improvement projects shall comply with these principles:

1. Restore and enhance the forest in all improvement projects: private, public, and otherwise. • Plan all landscapes in both the public and private realms to sustain the Village in a Forest. • Restore areas that are in need.

2. Subordinate every built structure to the character of the forest, natural environment, and to the natural features of its own site.
• The compatibility of many buildings also is improved with more forest-like front yards. • Provide layers of landscaping (varying plant and tree heights) between the street and each home. • Use drought-tolerant plants and fire-resistant materials while continuing to convey the forest character.

3. Keep every built structure modest and simple.
• Design buildings and landscapes to be human-scaled and fit in with their surroundings. • Avoid repetition in building designs and site features. • Express individuality in subtle ways while respecting surroundings.

4. Retain and build upon Carmel’s official architectural heritage. • Preserve recognized historic resources
• Also conserve other traditional buildings that convey Carmel’s design traditions.

5. Fit every built structure within its neighborhood context. • “Remember your neighbors” is an important concept.
• Key design factors include:
• Building size (height and width)
• Building form and proportion
• Percentage of solid-to-void (ratio of walls to windows)t • Building materials
• Roof form
• Color
• Fit with the topography
• Landscaping
• Lighting

6. Design every property with authentic and consistent details. • Convey excellence in their materials and execution.
• Add value with well-crafted work that is visible to the community. • Promote the use of natural materials.

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Part Two: Design Concept Guidelines [ 31 ]
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Neighborhood-wide Guidelines (Concept Level)

2.0 Site Assessment
Each site is part of a larger neighborhood and it should contribute to its character. Important aspects include the forest and open spaces, the character of the street edge, the massing, arrangement, and materials used in other homes and topography, access and views.

2.1 Conduct a preliminary site assessment.

Each site is unique and has its own opportunities and challenges. Therefore, the first step in developing a plan for a project is to assess the neighborhood context and the resources and constraints of the site. A survey showing existing conditions on the site and in the immediate vicinity must be prepared by a licensed surveyor or engineer. This site survey will show topography, drainage features, existing trees and structures, the edge of the street and other features useful in developing a design concept for the project.

This plan must be reviewed in the field by the City Forester and a City Planner. During this field review, qualitative assessments will be made regarding the health and importance of each tree, whether above-or below-ground areas should be avoided and whether specific existing structures may qualify for incentives offered to preserve traditional or historic buildings. Observations about the neighborhood design context, street and right-of-way character, views, privacy, historical evaluation, nonconformity, etc. must be noted as well.

The first step in developing a plan for a project is to assess the context of the neighborhood as well as the resources and constraints of the site.

Topics in this section:

2.0 Site Assessment

3.0 Preserving the Forest
Character

4.0 Preserving Historic Resources

5.0 Neighborhood Street Character
Guidelines
Related guiding principles
(page xx):
#1. Restore and enhance the forest...
#2. Subordinate structures to the
forest...
#4. Retain heritage...

Related document:
“Site Assessment Application:

Web link:
..........

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3.0 Preserving the Forest Character
The urban forest is one of the most significant and remarkable characteristics of the community. In most neighborhoods, the forest contains a combination of upper canopy trees and a lower story of smaller trees.

Many are Monterey Pine, while the lower canopy trees include a mix of multi-stem varieties, often Coast live oak. Some neighborhoods have Monterey cypress or redwoods. Protection of existing healthy trees must be among the highest priorities in any project. Trees that are especially significant due to their size, character, location or species shall be identified through consultations with the City Forester at the beginning of a project.

Each site should contribute to the urban
forest by saving significant trees and
planting new ones that are consistent
with the context.

The forest landscape is prevalent along
the road edge in most neighborhoods
and overhangs most streets to create the
appearance of a forested lane .

Related guiding principles
(page xx):
#1. Restore the forest...
#2. Subordinate structures to the
forest...
#5. Fit with context...

Site evaluation: Identify significant trees to be protected.

Existing
significant
trees
Existing
significant
trees
Appropriate: Significant trees preserved
Significant
trees
preserved
Inappropriate: Trees removed and heavily pruned
Significant
trees removed
and damaged
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Part Two: Design Concept Guidelines [ 33 ]
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Lower canopy trees have a subordinate scale to upper canopy trees. They often have multiple trunks useful for screening and softening building mass. Established, healthy lower canopy trees should be preserved. In sites lacking sufficient trees, new ones should be planted in consultation with the City Forester to supplement the urban forest.

Buildings and other site structures shall be located to minimize the removal, pruning, or damage to existing healthy mature trees, on and adjacent to the site. The “Preliminary Site Assessment” tree survey should be consulted when designing and locating new structures and additions to determine which trees are significant and should be protected. When new trees are planted they should be selected to enhance the forest character of the neighborhood.

Objectives for this section are:
• To maintain and enhance the urban forest as a distinctive feature of Carmel
• To maintain continuity of basic landscape elements throughout each neighborhood
• To maintain the traditional forest character which includes a mix of upper canopy and lower canopy trees
• To filter views of houses with lower story trees and reduce perceived building scale or prominence from the street • To preserve established trees that contribute to the forest character of the neighborhood
• To promote planting of new trees that will contribute to the urban forest character
Note:

See the City Forester to determine the condition and significance of existing trees.

The Forest and Beach Commission will comment on the effects any proposed work will have on significant trees during project review.

The City also has regulations that establish tree replacement ratios and suggests trees species. Note that these ratios may be adjusted by the City Forester based on individual site conditions.

Existing significant upper canopy trees
shall be preserved as neighborhood
assets.

Related documents:

Forthcoming landscape ordinance
An objective is to filter views with lower
story trees.

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[ 34 ] Part Two: Design Concept Guidelines
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Key principles:
• Identify the forest character of the neighborhood before developing a site design.
• Preserve established healthy trees.
• Plant new trees to supplement the urban forest.
• Provide a compatible landscape setting to reinforce the forest character.

3.1 Existing healthy upper canopy and lower canopy trees shall be preserved.
• First, consult with the City Forester to evaluate existing trees on and immediately adjacent to the project site including the right-of-way for their significance and condition.
• Protect trees during construction as provided in the Land Use Code and by planning access and site development around trees.
• Trees in the right-of-way shall not be removed to provide parking spaces. • Position building masses and roof forms to avoid cutting into the canopy of established trees. (See also the following section on site design.)

3.2 Locate new construction to minimize impacts on established trees.
• Foundations for buildings and walls shall be set back a sufficient distance from the base of any tree to adequately protect tree roots. See the Land Use Code for specific requirements. • Avoid pruning to tree limbs and canopies.
• Adequate open space shall be provided on each building site to retain, and plant anew when necessary, upper and lower canopy trees at spacings to allow for growth to maturity. • Excavation shall be in areas that minimize the impact on trees and their root structures.

3.3 Protect root systems of all trees to be preserved.
• Plan excavation work to avoid root systems of all trees on site and adjacent to the site including trees on abutting properties and in the right-of-way.
• Avoid excavations that would cut into the root zone or drip-line of any healthy mature tree.
• Plan curb cuts, paving and drainage systems to maintain air transport and water percolation to root systems.
• Grades should not be raised or lowered around tree roots.

Excavation work shall be planned to
avoid significant impacts to root systems.

As shown here, cutting into major
roots systems without City approval
will weaken or even kill a tree and is
unlawful.

Trees in the right-of-way shall not be
removed.

Related document:

City Forester’s design standards,
including excavation and protection
of tree roots
Link: xxxxxxx
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3.4 Maintain and enhance the forested image of the site. • Plant new trees to reinforce the urban forest character. • A mix of upper and lower canopy trees shall be used, as determined by the City Forester. • Select trees that are characteristic of the neighborhood context.

Maintain a forested image on a site.

Maintain established lower canopy trees
that provide character and screening.

Avoid excavations or foundations that
would cut into the root zone or drip-line
around any significant tree.

Plant new trees to reinforce the urban
forest character.

3.0 Preserving the Forest
Character, continued...

Trees in the right-of-way shall not be
removed to provide parking spaces. Select trees characteristic of the neighborhood.

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Right-of-way character
In many neighborhoods, the edges of the public right-of-way are unpaved. In early years, they also are unplanted with only packed earth and pine needles. In other areas, the right-of-way is planted with indigenous species that convey a forest appearance. Both approaches contribute to the urban forest. This forest character of the right-of-way is an important feature that varies with each neighborhood and should be perpetuated.

Carmel’s streets are designed for walking. On most streets, pedestrians share the lanes with motorists. This contributes to the quiet, informal character of the street and should be continued.

3.5 Maintain or enhance the informal, vegetated, open space character of the right-of-way.
• Use simple planting plans.
• Emphasize, drought tolerant native plants.
• Adding paving, gravel, boulders, logs, timbers, planters or other above-ground encroachments is prohibited.

3.6 Maintain trees and naturalized vegetation in the right-ofway and the periphery of the site. • Exceptions may be necessary to provide safe access.
• Preserving vegetation around a site can contribute to the forest character of the street and help screen buildings.
• Trees with canopies that arch over the street are particularly important.

Trees that abound in the public right-of-way and the periphery of the site shall be maintained.

The informal, vegetated, character of
open space in the right-of-way shall be
maintained.

Maintain and enhance the informal,
vegetated, open space character of the
right-of-way.

Related code section:

See CMC 17.34.070.B.4
Link: xxxxxxx
Use simple planting plans.

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Parking in the right-of-way
Parking has become an increased use in the right-of-way. This threatens the character of the street although it meets a functional need. Street parking must be balanced with maintaining a forest edge. Parking in the right-of-way is public parking and shall only occur in a manner that maintains the informal, open space character.

With the exception of driveways, adding new paving in the right-of-way is prohibited. When excess paving already exists in the adjacent rightof-way, this and other non-conforming materials shall be removed. The right-of-way may be used for parking but should not present a hard-surface appearance or impermeable barrier to water.

3.7 Where a parking area in the right-of-way is to be defined, use a design that will reinforce the forest image.
• Natural soil, shredded bark and wood chips are appropriate surface materials. Gravel and other “hardened” surfaces are prohibited.
• Separate an existing parking space in the right-of-way from any driveway with plantings.

Parking
Planting
Separate a parking space in the right-ofway from any driveway with plantings.

Where a parking area in the right-of-way
is to be defined, use an informal unpaved
design that will reinforce the forest
image.

3.0 Preserving the Forest
Character, continued...

Related code section:

See xxxx
Soil, shredded bark and wood chips are appropriate surface materials.

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4.0 Preserving Historic Resources
Historic resources are identified in the City’s Historic Resources Inventory. They meet established criteria for historic significance. Other buildings also may be valued because they contribute to the traditional character of the community even though they may not meet criteria for listing as historic resources. They also merit conservation.

4.1 Preserve historic resources.
• Note that additional guidelines related to historic resources are adopted separately by the City and apply to properties recognized as having historic significance. See Chapter 17.32 of the Municipal Code and the City’s Historic Context Statement.

4.2 Conserve other properties that convey Carmel’s design traditions. • Note that some flexibility with some zoning standards may be available to encourage reuse of existing buildings.

Related guiding principles
(see p.xx):
# 2. Subordinate structures to the
forest...
#3. Keep structures modest...
#4. Retain heritage...

Related document:
“Historic Resources Inventory”
Web link: xxxxxxx
Preserve historic resources.

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5.0 Neighborhood Street Character
Guidelines
Informal residential streets in Carmel is one a distinctive design tradition which should be maintained. Designers for private and public projects should respect the established street character along a block face and blend any proposed right-of-way changes into this context.

Objectives for this section are:
• To maintain the informal, meandering character of residential streets • To retain a minimal width of paving in the street
• To maintain a rustic character of street drainage systems Street layout/grid
Streets are laid out in a rectilinear grid in most of the town. Exception occur in steep canyons where roads meander along the contours of the slopes. This traditional layout contributes to the character of the community and must be maintained. The traditional narrow width of the paved travel lanes also should be maintained.

5.1 Maintain the traditional street layout.
• Where it exists, the grid system shall be maintained. • Those streets that are laid out to follow contours and avoid significant trees or land forms also shall be maintained as such.

Street edges, curbs and gutters
While the street grid is well-established, in most neighborhoods it appears more like a series of meandering forest roads. This is a result of the informal edge of paving, in combination with the native plantings, trees and the unpaved portions of the right-of-way. This ragged, meandering character of the street edge shall be preserved.

The design of a street edge should be sensitive to the neighborhood-context. Although most street edges are informal, this varies from place to place throughout Carmel. These guidelines require that during the preliminary site assessment for each project, the characteristics of the street edge shall be identified. This established character should then be perpetuated, or enhanced, in the proposed design. Projects should “fit in” and not introduce new elements that are foreign to an established pattern.

The informal image of the residential
streets in Carmel is one of the most
distinctive features of its design
traditions.

Related guiding principles
(see p.xx):
#1. Restore and enhance the
forest...
#2. Subordinate structures to the
forest...

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5.2 Maintain existing patterns of street edge design and paving. • Adding new pavement or other hardscape at the edge that would widen the street or create a parking space is prohibited. • Maintain an informal unpaved and/or landscaped edge where it exists.

In most neighborhoods, drainage follows street grades and then is collected in open gutters. These typically are lined with local rock. This detail contributes to the forest road character and must be continued.

5.3 Maintain the existing character of street gutters in each neighborhood.
• A rolled curb made of asphalt is typical of most neighborhoods. • Where more formal gutters are used, they should be faced with rock.
• A plain concrete curb is inappropriate in all neighborhoods.

Maintain the existing character of street
gutters in each neighborhood.

Maintain an informal unpaved and/or
landscaped edge where it exists.

Where more formal gutters are used,
they should be faced with rock.

5.0 Neighborhood Street Character
Guidelines, continued...

Maintain an informal unpaved and/or
landscaped edge where it exists.

The design of a street edge should be
sensitive to the neighborhood-context.

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Site Planning Guidelines (Concept Level)
These guidelines address placement of a building on a site and the organization of open space and landscaped areas.

Site plan designs should relate to and take advantage of the site’s topography and slope, as well as, its trees and other vegetation. Designs should recognize the constraints of the land and work within these limitations, rather than ignore them or override them.

Objectives of the Site Planning Guidelines are:
• To ensure that landscape improvements are included in all projects • To promote building placement that will protect trees and their root systems
• To promote variety in the way buildings are set back along each street • To position buildings to frame open space
• To protect privacy, views and access to natural light for neighbors

6.0 Working with Topography
The natural slopes of each residential neighborhood are important features. They should be maintained. The manner in which a site is excavated for a building foundation and the way in which grades are treated are therefore important considerations.

Objectives for this section are:
• To maintain the natural topography
• To preserve natural slopes, avoid significant exposed cuts or fills and protect trees
• To promote grading that retains water on site, enhances percolation into soils, and prevents runoff onto adjacent properties • To promote the use of natural slopes and stepped floor plans in building design so that houses hug the land.

Maintaining natural topography must be balanced with minimizing the mass and scale of a building. This can be achieved by locating some floor area partially or fully below grade. In such a situation, more extensive excavation may be necessary.

Related guiding principles
(Page xx):
#1. Restore the forest...
#2. Subordinate structures to the
forest...
#3. Keep structures modest...
#5. Fit with context
Where construction is necessary on a
steep slope, step the foundation and
building forms to follow the contours or
locate the long axis of a building to lie
parallel with natural contours.

Design topics in this
section:

6.0 Working with Topography

7.0 Open Space, Site Coverage
and Setbacks

8.0 Privacy and Views

9.0 Parking and Access
ATTACHMENT 3

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Another objective is to preserve significant trees. Minimizing a building footprint can provide more room for trees, but if excavation is included, it can impact existing root systems. Conversely, if a basement and/ or two-story design is not used, floor area is distributed over a larger footprint. Excavation may be shallower but more widespread and root systems may still be affected.

The objectives to preserve topography and trees must be considered on a case-by-case basis. A preliminary site assessment should guide the basic form of the building. The location of trees and root systems on and near the site will determine whether it is most appropriate to use a compact building footprint and include excavated living spaces or to use a broader footprint with minimal excavation.

Topography and slopes

6.1 Minimize construction on steep slopes.
• Construction on steep slopes should be avoided.
• Use a compact building footprint.

6.2 Minimize excavation and fill on a site.
• The site design should follow the natural contours of the site.

Where construction is necessary on a steep slope, step the foundation and building forms to follow the contours or locate the long axis of a building to lie parallel with natural contours. • Excavation shall maintain existing topography to the greatest extent feasible. Grading or excavation shall not extend beyond the proposed building footprint.

6.3 Minimize the visual impacts of retaining walls, garden walls and other foundation structures.
• Use a stepped building foundation that follows site contours. • Avoid extensive areas of cantilevered floors especially above a cut area.
• Avoid the creation of tall, unused underfloor areas that add to building mass.

6.4 Avoid abrupt changes in grade on the site and between adjoining properties.
• Incorporate sloped, planted areas to create a smooth grade transition.
• Avoid tall retaining walls, terracing or revetments that will be visible from the public way. When such transitions are unavoidable, multiple landscaped terraces are preferred.

Discouraged: This structure rises above
the slope, which increases its mass.

Discouraged: Extensive excavation
and exposed cuts impact tree roots and
disturb natural contours.

Preferred: This structure works with the
natural contours of the site and avoids
tree roots.

6.0 Working with Topography,
continued...

Related code section:

See xxxx
Link: xxxxx
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Site drainage (Stormwater management & Low Impact
Development)
Stormwater management addresses the conveyance and treatment of rainfall and other water entering a site. Low Impact Development (LID) is a specific strategy to address stormwater in a way that closely mimics the natural, pre-development, hydrologic system. The guidelines below are intended to complement landscaping requirements in the City’s Zoning Ordinance by promoting the use of low-impact development principles to meet those requirements while also providing site amenities that help enhance community image.

6.5 Design on-site stormwater retention as a landscape amenity. • Using rain gardens to retain water, for example, is preferred. • Direct stormwater to landscaping on site.
• Include a retention area as part of the open space scheme. • Consider incorporating a green roof to help a development integrate into a forested area while also helping to address stormwater impacts.
• Stormwater control devices that do not appear natural in character are inappropriate.

6.6 Maintain pre-development hydrologic features to minimize stormwater impacts.
• Incorporate a natural drainage way as an amenity into the site plan.
• Avoid altering or obscuring natural drainage ways.

6.7 Incorporate Low Impact Development (LID) principles to address stormwater as close to the source as possible.

Appropriate LID management systems include:
• Permeable surfaces and paving systems
• Bioretention and other planted drainage areas

6.8 Incorporate stormwater management systems to enhance water quality. Use management systems that:
• Infiltrate stormwater into the ground to mimic the natural water cycle.
• Remove pollutants from stormwater through uptake by plants and trees in rain gardens.
• Provide flows through vegetative buffers to remove nutrients and pollutants.

Minimize the visual impacts of retaining
walls and other foundation structures as
seen from the public way.

Related code section:

SOG 17-07
CMC 15.18
Links: xxxxxxxxx
Using rain gardens to retain water is
preferred.

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7.0 Open Space, Site Coverage and
Setbacks
Open space should be coordinated with the design of structures on site and also with adjacent sites to enhance the parklike environment of the city. Open space should be distributed around a building to provide a visual separation from adjacent structures on abutting sites and avoid the appearance of crowding.

Landscaped open space can help enhance the urban forest, especially when coordinated with neighboring yards and roadside landscaping.

Open space is a community resource and some front yard open space on each site should remain visible from the street to enhance the open character of the neighborhood at large.

Objectives for this section are:
• To preserve open space including landscaped areas as an amenity on properties
• To establish an open space setting for each building that is consistent with the neighborhood context
• To encourage coordinating open space with adjoining properties • To encourage a visual flow of open space from each site into the right of way
• To maintain the “forest foreground” image along the front of a property • To maintain a sense of discovery along the street by maintaining an informal roadway edge and diversity in front setbacks
• To provide filtered views into properties
Preferred: Open space is organized to have a positive effect. Discouraged: Open space is simply “left over” ground within required setbacks with limited positive effect.

Related guiding principles
(page xx):
#1. Preserve and enhance the
forest...
#2. Subordinate structures to the
forest...
#5. Fit with context...

Note:

The preliminary site assessment
shall be used to identify important
open space features of the site
and neighborhood that must be
retained or enhanced.

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Landscaping
A landscape plan shall be designed to maintain forest character.

7.1 Landscaping must be included in a project that involves a new building or substantial alteration.
• At the Concept Level, a landscape plan should identify areas where low-scale plants will be located, along with shrubbery and trees.
• Specific planting plans will be reviewed at the Final Design stage.

7.2 A landscape design shall have an informal planting arrangement . • Native and drought-tolerant species shall be predominant. • Best practices in planning for fire mitigation should be applied while also maintaining forest character.

7.3 A significant portion of each site should remain as landscaped open space. • Minimize the amount of hard surfaces in order to maintain a sense of open space and provide space for planting.
• See the Carmel Municipal Code for a table which establishes maximum limits for site coverage. (See link to the right.) Related code section:

Landscape ordinance reference
Link: xxxxx
Related code section:

CMC reference
Link: xxxxxx
A landscape design shall have an
informal planting arrangement .

A landscape plan should identify areas
where low-scale plants will be located,
along with shrubbery and trees.

A significant portion of each site should remain as landscaped open space.

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Progression of spaces
A progression of spaces exists from the street edge to the front of a building on most sites. This progression helps define the character of each neighborhood and should be reinforced in new projects. Sometimes a low fence or stone wall at the property line is included and a narrow walkway leads from the street through a front garden to a porch or stoop at a front or side entry.

7.4 Use a progression of spaces from the street edge to a building in the design of open space to reinforce neighborhood patterns.
• Provide an informal, planted edge in the right-of-way to help a site blend in with neighboring properties.
• Locate plantings to filter views into a property.
• A walkway from the property line to the house should be informal in appearance and if feasible, should be separate from any driveway paving.
• A fence, wall or hedge may be used to define the front property line when this is characteristic of the neighborhood.

7.0 Open Space, Site Coverage and
Setbacks continued...

In some neighborhoods, the progression of spaces is layered and may include a rightof-way with informal plantings of native trees and undergrowth, a low fence or stone wall at the property line and a narrow walkway leading from the street through a front garden to a porch or stoop at a front or side entry.

A walkway from the property line to the
house should be informal in appearance.

A fence, wall or hedge may be used to
define the front property line when this is
characteristic of the neighborhood.

Provide an informal, planted edge in the
right-of-way to help a site blend in with
neighboring properties.

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Front setbacks
A unique feature in Carmel is the variation in front setbacks along a street.

This contributes to the sense of diversity and variety that is experienced.

This tradition should be continued.

7.5 Provide variety in building setbacks along a street. • Place the front of a new building or forward addition to be offset from that of abutting neighbors.
• Avoid a sense of uniform alignment of buildings along the street. This applies to primary and secondary structures.

7.6 Stagger front setbacks to frame outdoor spaces and provide variety in the arrangement of buildings and open spaces along the street.
• Stagger setbacks to protect significant trees.
• Avoid aligning a building front with those of adjacent properties, unless doing so would result in a visual aggregation of open space and save significant trees.

Side yard setbacks
More open space should be provided along side yards when buildings on adjacent properties are located close to the joint property line. This is particularly important when two-story structures are involved. A design should avoid creating a “tunnel” or narrow corridor between buildings on adjacent sites.

7.7 Locate open space such that it visually links with that of adjacent properties.
• Combine open spaces to increase their apparent size.

7.8 Provide variety in side yard setbacks along the block. • Stagger setbacks with adjacent properties to avoid a “canyon effect.”
• Refer to the Carmel Municipal Code for setback regulations.

Preferred: Combining driveways may
help reduce site coverage.

Preferred: Stagger front setbacks to frame
outdoor spaces and provide variety in
the arrangement of open spaces along the
street.

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Detached garage encroachment
In some situations, the City may determine that a detached garage may encroach into the front setback. This is in the interest of benefiting the community by relieving on-street parking pressure. This is a special condition that is not “by-right.” When it is permitted, the result should minimize visual impacts and contribute to the sense of continuity of the forest edge along the street. Each condition is unique and must be evaluated on a case-by-case basis. These basic criteria shall apply to all encroachment situations:

7.9 Variety in building setbacks shall be maintained along the street.
• The front of the garage should not align with the front wall of a building on an abutting property.
• The garage shall not cause safety or traffic issues.

7.10 The driveway should be at grade.
• Avoid cuts in the driveway slope.
• Avoid creating a retaining wall perpendicular to the street. • The intent is to maintain continuity of the forest floor.

7.11 The garage shall be small in scale.
• Only a one-story building is appropriate.
• The elevation of the top wall plate may be no taller than the height of the first floor plate of the main house.
• Only a one-car garage is appropriate.
• A two-car garage in the front setback is inappropriate.

7.12 The garage shall be subdued in character.
• The building shall have a simple, rectilinear form.
• Contrasting materials or colors are inappropriate.

7.0 Open Space, Site Coverage and
Setbacks continued...

In this sketch, a garage is permitted to encroach into the front setback.

Only a one-story building is appropriate
for a garage that is permitted to encroach
into the front setback.

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8.0 Privacy and Views
Neighborhoods originally developed at relatively low densities and the amount of planted open space was extensive. Most blocks evolved with a reasonable degree of privacy for individual houses. Retaining this sense of privacy, in spite of higher densities, is important.

Objectives for this section are:
• To maintain privacy of indoor and outdoor spaces in a neighborhood • To balance and share view opportunities to natural features and landmarks
Privacy

8.1 Organize functions on a site to preserve reasonable privacy for adjacent properties.
• Position a building to screen active areas of adjacent properties. • Locate windows and balconies such that they avoid overlooking active indoor and outdoor use areas of adjacent properties. • Preserve significant trees that screen views into adjacent properties. • Screen patios and terraces.

Views
Views to natural features and landmarks are key features of Carmel’s design traditions. Important views occur to the ocean, canyons, and along streets. This includes views from public ways as well as those through properties. Note that the desire to maximize view opportunities from one’s own property must be balanced with respecting views of others.

The preliminary site analysis should identify view opportunities as well as existing views enjoyed by others.

Designs should protect and preserve the light, air and open space of surrounding properties, when considered cumulatively with other buildings in the neighborhood. Incorporating tall or bulky building elements near the property line of an adjoining site should be avoided.

Inappropriate: Overlooking active
outdoor areas on adjacent properties.

Related guiding principles
(page xx):
#1. Restore the forest...
#2. Subordinate structures to the
forest...
#3. Keep structures modest...

Related code section:

Link to PSA section
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8.2 Maintain shared view opportunities to natural features that lie outside the property.
• Consider locating key building functions to make use of views. • Also locate buildings so they will not substantially block views enjoyed by others.

8.3 Maintain shared views through a property to natural features when feasible. • Locate major building masses to maintain views through the site from other properties.
• Keep the mass of a building low in order to maintain views over the structure.
• Use a compact building footprint to maintain views along the sides of a property.
• Step a building to follow the slope of a site.

Maintain view opportunities from a site to natural features outside the property.

8.0 Privacy and Views, continued...

Note:

Remember that trees are part of
the view and that views are often
filtered or transitory because
of the urban forest. City policy
prohibits trimming trees for
views.

Maintain shared views through a
property to natural features when
feasible.

Keep the mass of a building low in order
to maintain views over the structure.

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Inappropriate: Elevating a site or cropping trees to maximize views.

Proposed
building
New fill to elevate a structure
to maximize views
Tree cropped
to open up
view

V I E W
Appropriate: A new building is sited to maintain views from existing houses.

Proposed
house
Note:

See also “Working with
Typography”, pages xx.

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9.0 Parking and Access
Traditionally, parking was a subordinate element in Carmel’s residential neighborhoods, both on an individual parcel and along the street.

Today, providing access for an automobile on a site is often a necessity, and doing so is encouraged, as a means of reducing on-street parking pressures. Nonetheless, it should remain subordinate to the overall character of the site.

Usually a garage or carport was detached. The wide variety of garage positions contributed to the diversity of the street scene: Many were located at the front property line, while others were sited in the rear. In later years, the garage was often attached, but remained subordinate to the main mass of the house. These traditions should be continued.

In some cases, owners positioned their garages uphill, away from downhill views to the ocean. When locating a garage, consider view impacts, the relationship to open space on the lot, and the relationship to that of neighboring properties.

Objectives for this section are:
• To minimize visual impacts of cars on a site
• To minimize the extent of hard, impervious surfaces
• To avoid garages and carports that dominate the site and building

9.1 Facilities for parking shall not dominate the design of the house or site.
• Garages and carports that are subordinate design elements are appropriate.
• Garages that are not visible from the street are appropriate. • Garages integrated into the building design are appropriate. • Keep the mass of a garage or carport subordinate to that of the house.
• On smaller lots, with a garage visible from the street, provide a single, one-car garage door.
• Avoid moving established driveways if trees or significant vegetation would be impacted.

9.2 Parking facilities that maintain or enhance variety along the street edge are appropriate.
• A detached garage or carport may be used.

Related guiding principles
(page xx):
#1. Restore the forest...
#2. Subordinate structures to the
forest...
#3. Keep structures modest...
#5. Fit with context...

In limited circumstances a garage may
be located under a structure when the
visual impacts will be minimized. This
garage is clearly subordinate to the main
building mass.

Consider using a carport for variety.

Note:

For criteria related to garage
encroachment, see:
xxxxxxx
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Driveway design

9.3 Minimize the amount of paved surface area of a driveway. • Consider using paving strips, or “tire tracks,” for a driveway.

This is especially appropriate for a long drive that runs to the rear of a property.
• Except for corner sites with a “through driveway,” only one curb cut and one driveway should be provided for a site. Sharing a driveway with an adjacent property is an alternative that also should be considered.
• Avoid large expanses of paving for vehicles visible from the street.

9.4 Separate a driveway from a front walkway to reduce the visual impacts of paved surfaces.
• Install plant materials to separate a walk from a driveway.

9.5 Limit cut and fill for a driveway.
• A garage located partially below a grade shall not result in a three-story wall exposed to the street.

Preferred
The walkway and drive are
separated, reducing the apparent
amount of paved area.

Discouraged
A walkway and drive are
combined, increasing the
apparent size of paved area.

Using a shared driveway to minimize the
amount of paving area is appropriate.

Position a garage (or carport) to
maximize opportunities for open space,
views and privacy.

Related code section:

Link to CMC code reference
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Garage location

9.6 Position a garage or carport to maximize opportunities for open space, views and privacy.
• Locate a garage to screen activity areas on adjacent properties to enhance privacy.
• Locate a garage or carport to maintain views through the property.

9.7 Locate a garage to minimize its visual impacts.

Three options should be considered:

1. Detached, at the rear of the lot.

2. Detached, in front, along the property line may be appropriate, when other design traditions objectives are met. This option should not be repeated to excess within a block.

3. A tuck under garage may be appropriate, when other design tradition objectives are met. (See below.)

9.8 In limited circumstances a garage may be located under a structure when the visual impacts will be minimized.
• The garage door should not dominate the front of the house. A door perpendicular to the street is best in this condition, and... • The driveway shall not dominate the front garden, create a “ramp” effect or introduce tall or massive retaining walls. A sense of a front yard must be maintained.

9.0 Parking and Access, continued...

Preferred: Locating a detached garage at
the rear of the lot
Preferred: Orienting the garage door
away from the street.

When a garage is located under the house, the driveway should not create a ramp effect. The garage door also should not dominate the front.

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Building Design Guidelines
(Concept Level)
Most residences in Carmel had simple forms and were relatively small in scale, particularly in relation to the size of their lots. A new building should appear similar in scale to those seen traditionally. Large complex structures and those with continuous, blank surfaces can appear massive and are inappropriate.

10.0 Building Mass and Scale
A building should fit in with the character of the neighborhood and should not dominate the street or neighboring properties. Structures composed of a few smaller, simple elements, rather than a single large, continuous form, are encouraged. A large building mass can block views, interfere with the enjoyment of open space and restrict free passage of light and air. Therefore, a large, expansive building mass is inappropriate.

Keeping the actual building mass in scale with those seen traditionally is the best approach. This can be achieved by building less than the allowed floor area, constructing some space below grade, avoiding excessive roof volume and keeping above-ground floor levels close to grade. Some relief should be provided by introducing just a few varied roof lines, offsets or smaller building elements. The result should remain simple in character and the overall composition should appear to be a set of discreet rectangular building masses, rather than a complex assemblage of varying planes around a single building mass.

Objectives for this section are:
• To maintain the massing and scale of building characteristic of Carmel • To keep building scale in proportion to the area of the site • To encourage diversity in housing design reflecting the eclectic mix of styles that is characteristic of Carmel
Building mass
Related guiding principles
(page xx):
#2. Subordinate structures to the
forest...
#3. Keep structures modest...
#4. Build upon heritage...

Design topics in this
section:

10.0 Building Mass and Scale

11.0 Building Form
Structures composed of a few smaller,
simple elements, rather than a single
large, continuous form, are encouraged.

Related code section:

Policy P1-63
Adopt design regulations that
establish maximum limits on site
coverage and floor area in order
to preserve open space and avoid
excessive mass and bulk. Establish
provisions for less allowable
coverage and floor area on sites
constrained by environmental
factors to preserve open space,
vegetation, natural landforms
and the character of surrounding
neighborhoods.

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10.1 A building’s mass should relate to the context of other homes nearby.
• A larger building shall be divided into forms that appear similar in scale to traditional houses seen in the immediate neighborhood. • Placing some mass in a detached secondary structure (garage, guest house, etc.) is encouraged to reduce the overall mass of the primary building on a site.

10.2 Minimize the mass of a building as seen from the public way or adjacent properties.

Consider these options:
• Build to less than the maximum floor area.
• Locate some floor area either fully or partially below grade. • Avoid using tall volume spaces (e.g. high ceilings or steep pitches across wide spans) that increase the visual bulk of a building above grade.
• Avoid long, uninterrupted wall planes.

10.3 Organize the mass into realistic modules to reduce perceived size.
• Avoid overly busy variations in wall planes.

10.4 Avoid placing a tall building wall near a property line when it will be adjacent to similar walls on neighboring sites. • Preserve open spaces and access to light between properties. • Avoid the appearance of a narrow corridor or tunnel between buildings as seen from the street.

10.0 Building mass and scale,
continued...

Discouraged: Avoid the appearance of a narrow corridor between buildings as seen from the street.

Preferred: adequate Avoid: canyon or tunnel effect
open space between
buildings
ATTACHMENT 3

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Related code section:

CMC

17.70.020 BASEMENT
Calculation of FAR below grade

10.5 Step a building height to follow topography.
• Avoid creating large, unused underfloor areas that increase building mass.
• On sloping lots, floor levels should be stepped to follow site grade.
• If floor levels cannot be stepped, larger underfloor spaces shall be counted and used as part of the allowed floor area.

10.6 When locating floor area in a below grade or partially below grade space, minimize the visual impacts as seen from the public right-of-way and site disturbances.
• Locate any walkout area, light well or terrace to the side or rear to reduce the building height as it will be perceived from the street. When this is not feasible provide screening with other building elements or landscaping.
• The use of exposed retaining walls shall be minimized when developing a below-grade space.
• Impacts on tree roots also shall be minimized.
• The visual impacts of window wells shall be minimized.

Building scale

10.7 A building shall convey a human scale in its basic forms. • Oversized elements make structures appear massive and shall be avoided. Avoid a “grand entry” design, for example.
• Avoid design treatments that produce a top-heavy appearance such as large cantilevered building elements, roof forms that dominate the body of the building and wide chimney structures. • Low, horizontal building forms that appear to hug the ground are encouraged.

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Building height

10.8 A building shall appear to be no more than two stories in height, as viewed from the public right-of-way.
• Presenting a one-story height to the street is encouraged. • Locate a two story element away from the street, except where this would appear dominant or out of scale when viewed from the public right-of-way or a neighboring home.
• Using a low building plate height also is encouraged. The maximum plate height for the first floor of a building is 12 feet. (See the Land Use Code for details.) However, this maximum is established to accommodate a sloping building sites. In cases where a building site is relatively flat, a lower plate height is appropriate. Interior wall heights should generally not exceed 8 feet.
• Locating some floor area in a garden level is also encouraged as a means of reducing building height and mass.

A building shall appear to be no more
than two stories in height, as viewed
from the public right-of-way.

10.0 Building mass and scale,
continued...

Note:

A sunken garage counts as a story
Locating some floor area in a garden
level is also encouraged as a means of
reducing building height.

Some floor area located in a
garden level
Street side of building Appropriate:

Changing roof heights helps to break
up the mass, while keeping the overall roof
forms simple in character.

Locate a two story element away from
the street, except where this would
appear dominant or out of scale when
viewed from the public right-of-way or a
neighboring home.

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11.0 Building Form
Traditional building forms were simple. Although variety exists in the composition of forms, they read as collections of simple solids. This should be continued.

Objectives for this section are:
• To maintain the range of traditional building forms
• To promote simple building forms that fit with the context Detail of building form
One may think that providing extensive variety in building planes and in architectural details will reduce the perceived scale of a building or help it to blend with the neighborhood. In fact, this can result in a facade that is overly “busy” and can attract attention, making the mass of the building more noticeable. This treatment is out of character and should be avoided.

11.1 A building form shall appear similar to those seen traditionally. • Building forms should be simple. Basic rectangles, L or U-shapes are typical. Avoid “busy” building forms.
• Organize a larger house into subordinate modules which appear authentic, in that they appear to be real, functioning spaces. • A form with a horizontal emphasis is preferred.
• Roof forms should be composed of just a few simple planes.

Related guiding principles
(page xx):
#3. Keep structures modest...
#4. Retain and build upon heritage...
#5. Fit with context...

Traditional building forms were simple.

This should be continued.

Avoid an overly busy form.

Preferred: Simple building form and a
simple roof
Discouraged: Complex building form
and multiple planes
Multiple building planes create a
busy design and obscure the central
building volume.

Simple primary volume remains apparent.

Secondary volumes appear attached to the primary form.

Organize a larger house into subordinate
modules which appear authentic, in
that they appear to be real, functioning
spaces.

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11.2 Use restraint when introducing variation in building planes. • Keep building walls simple in the extent of variation in wall and roof planes.
• Use building offsets to achieve specific purposes such as avoiding tree limbs or breaking the mass of a large building element. • Building forms that are complex, monumental, formal or out of scale with the neighborhood context are inappropriate.

Roof form
Varied roof forms are typical in a block and this tradition should be continued.

11.3 Use simple roof forms. Limit the number of subordinate attachments such as dormers, to avoid a cluttered design. • For example, basic gable and hip roofs are traditional and their use is encouraged.
• Flat roofs may be used to a limited extent on smaller, one-story structures.
• Using a flat roof on a two-story building is discouraged. If used, it should be set back far from the street.
• Avoid complex roof forms that call attention to the design or add unnecessary detail.
• Mansard roofs typically add more mass than other forms and are discouraged. A sloping roof “skirt” that conceals a flat roof is particularly out of character. Similarly, a gable roof that is “clipped” at the top adds unnecessary complexity to a design and should be avoided.

11.4 A roof form should be in proportion to the scale of the building.
• In general, moderately pitched roofs (4:12 to 6:12) are preferred.

11.5 Roof eave lines should appear low in scale.
• Low plate heights that reduce the height of exposed walls are encouraged.
• Consider tucking second story rooms under the sloping sides of a roof form and keeping eave heights low. Light can be brought to such rooms using dormers or clerestories.

Simple primary roofs with subordinate
attachments, such as dormers, are
appropriate.

A roof form should be in proportion to
the scale of the building.

The wider the area a roof must span,
the shallower the pitch should be
to avoid excess height or flat roofed
elements.

11.0 Building form, continued...

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PART THREE:

FINAL DESIGN GUIDELINES
Building Design - Final Design Phase 65
Introduction to Building Design 65

12.0 Building Design Guidelines: Final Details 67
Landscape Design - Final Design Phase 89
Introduction to Landscape Design 89

13.0 Landscape Guidelines: Final Details 92

14.0 Guidelines for Fences, Walls and Lighting: Final Details 96 ATTACHMENT 3

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This Part contains guidelines for the review of final design details. The guidelines apply when a proposed project
has passed the Concept Design phase. These guidelines
focus on more specific exterior details of design than are considered in the concept phase. By using appropriate architectural materials, details and finishes, the basic building masses approved at the concept phase are expressed and given character. The execution of design details can substantially affect the perceived character of a project, including its mass and scale and its design diversity and compatibility within the neighborhood context. There- fore, adherence with these guidelines is required.

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Building Design - Final Design Phase
Introduction to Building Design
This section addresses the details of building design, in- cluding selection of materials, and treatment of windows and doors. Building details can add visual interest and help to convey a human scale. They should be applied in a consistent manner throughout a building and the result should be subordinate to the forest setting.

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12.0 Building Design Guidelines: Final Details
Architectural style
Diversity in building designs and architectural styles are features of the design traditions in Carmel. Some of the earliest buildings reflected the regional influences of the San Francisco area, while others emerged with uniquely local flavor. Still others are examples of international trends in architecture. Nonetheless, most contributed to the character of the community by responding to the forest context and expressing craftsmanship in construction and detail. These traditions should be continued.

Many people think of the Comstock “story book” houses when they think of building traditions in the community. While these designs and English Tudor Revival styles were certainly contributors to the character of Carmel, they were not an official style of the city and were used on a relatively limited number of buildings. A more prevalent style was the Craftsman Cottage or Bungalow. Building in this tradition is still appropriate. Other common themes include Mission Revival, Monterey Colonial and a variety of other revival styles. However, architects and designers should not feel constrained to these styles. Adapting more contemporary design approaches to the size, massing, scale, materials and site relationships found in earlier designs is encouraged as a means of achieving compatibility with diversity.

Objectives:
• To promote a diversity of architectural styles that are compatible with the village-in-a-forest context
• To promote simplicity in building design
• To promote buildings that are of human scale
• To continue the use of building materials that appear natural Related guiding principles
(Page xx):
#2. Subordinate structures to the
forest...
#3. Keep structures modest...
#4. Build upon heritage...
#5. Fit with context...

Diversity in building designs and architectural styles are features of the design traditions in Carmel.

Adapting more contemporary design
approaches to the size, massing, scale,
materials and site relationships found in
earlier designs is encouraged as a means
of achieving compatibility with diversity.

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12.1 Accurate historic styles may be used.
• Simplified interpretations of historic styles also may be used. • A building in a historic style must be in scale and meet other guidelines.

12.2 A new architectural style that fits within Carmel’s design traditions may be used.
• A new building should differ in design from buildings on nearby and abutting properties.
• A design that exemplifies innovation and the use of skilled workmanship is appropriate.

Simple and restrained character

12.3 A building shall be designed to be subordinate to the forest character.
• See guidelines for scale and materials. (Link: xxxxx)

12.4 Keep building forms, materials and details simple and restrained. • Avoid building forms, materials and details that contrast strongly within a single building or with neighboring buildings. • Avoid design features that increase the visual prominence of the building.
• Avoid visual complexity. Too many different materials or excessive details creates a busy appearance. • Avoid overly ornate details.

Related document :
“Historic Context Statement”
Link: xxxxxx
A building shall be designed to be
subordinate to the forest character.

Simplified interpretations of historic
styles may be used.

Keep building forms, materials and details simple and restrained.

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Building scale

12.5 Building details shall be used to provide interest and not exaggerate the scale of a building.
• Add details to relieve blank surfaces and achieve a scale compatible with the building’s forms and its architecture. • Appropriately sized chimneys, overhangs, windows, doors, dormers, porches and entries can be used to reduce scale. Making any of these elements oversized can exaggerate the building’s scale and shall be avoided.
• Grand entryways, windows and doors that are out of proportion with the human form are inappropriate. Avoid ostentatious design treatments.

Design integrity

12.6 A building shall have a consistent design.
• The design concept should extend to all sides of the
building.
• Mixing styles is inappropriate.

Appropriately sized dormers can be
used to reduce scale and achieve a wellintegrated design.

12.0 Building Design Guidelines:

Final Details, continued...

A building shall have a consistent
Building details shall be used to provide design.
interest and not exaggerate the scale of a A building shall have a consistent building. design.

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Architectural details

12.7 Architectural details shall be authentic, integral elements of the overall building design concept.
• Details that simply appear to be applied as superficial elements shall be prohibited-.
• The use of simple wood and/or native stone details that are (or appear to be) true structural elements (such as exposed rafter tails, wood beams, stone foundations, etc.) are appropriate.

Avoid details that appear inauthentic, non-structural or gratuitous to the basic architecture. • When design details and surface materials are selected they shall be used throughout the full exterior of the building to maintain consistency. Avoid the application of special materials or design treatments to the street facade only. Architectural details contribute to character of the building and their use is
encouraged.

The use of simple wood details that
appear to be true structural elements is
appropriate.

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Building materials
Traditionally, “natural” materials were used when building in Carmel.

The earliest structures were painted clapboard. Soon after, wood shingles and board and batten siding also appeared, in the spirit of the “craftsman” character that became popular in the area. While most wood siding had a painted finish, some buildings were stained. Other houses were built of stone and still later, a few were finished in stucco. Nonetheless, wood continued to be the dominant material, certainly for house siding and also for ornamentation and trim elements. This tradition of using natural materials like wood and stone should be continued. Newer materials that appear authentic and similar to those used traditionally also may be used.

Building materials used in new construction should reflect the range of textures, modularity and finish of those employed traditionally.

12.8 Provide variety in building materials along a block. • When the houses to either side of a site are constructed of similar materials, use a different material, consistent with Carmel’s design traditions, in order to achieve diversity.

12.9 The use of “natural” building materials is preferred. • Traditional materials include wood, stone and stucco, all with matte finishes and muted earth tones.

12.10 Apply a building material in a consistent manner. • Using one, or at most two, materials on a wall is appropriate. • Generally, use one primary material for a building with one or two accent materials such as around windows and doors.
• Avoid using several materials on a building. This will create a busy appearance that is out of character.
• Avoid using a material as a superficial “accent” on a wall. • Where a material is painted, a plain, uniform matte finish is preferred. Antique and faux finishes should be avoided.

12.11Building materials shall appear similar in scale, color, texture and finish to those seen traditionally in Carmel. • Imitation or synthetic materials which fail to convey the character of traditional ones are prohibited. These include aluminum or vinyl siding and synthetic stone products that appear as applied veneers.
• Reflective materials, such as mirrored glass or polished metals, are inappropriate.

Preferred: Establishing a stone
foundation and then wrapping the
remainder of the building with wood lap
siding are appropriate applications of
native stone and wood.

A heavier material, such as stone, shall
appear to be structurally functional; it
should not “float” above a lighter material.

Wood shingles are among the preferred
building materials.

12.0 Building Design Guidelines:

Final Details, continued...

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Examples of appropriate building materials
Wood shingle siding Wood shake siding
Fiber cement vertical siding
Horizontal wood siding Carmel vertical board and batten siding Wood vertical siding
Traditional stone
Stucco
Brick
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12.12 Apply a building material in a manner that conveys a sense of authenticity.
• A heavier material, such as stone, shall appear to be structurally functional; it should not “float” above a lighter material. • A material should not appear as an applied veneer; instead, it should “wrap” around a corner and continue on another surface.
• A “hierarchy” of building materials should be used, with heavier coarser materials appearing below lighter materials.

12.13 A new material, including man-made, which is similar in character to traditional ones may be used with appropriate detailing.
• An alternative material should appear similar in scale, proportion, texture and finish to those used traditionally. • A new material shall be applied in a manner that conveys a human scale. For example, it should be in modules or dimensions that are similar to those used traditionally, or it should be scored or otherwise detailed to convey a sense of scale. • A new material shall be proven to be durable in the Carmel climate.
• The material shall maintain its finish over time with proper maintenance, or develop an expected patina.

Wood siding

12.14 Wood siding shall be applied in a way similar to that seen traditionally.
• Appropriate applications include horizontal clapboard and shiplap siding, vertical board and batten and shingles. • All wood siding should have a weather-protective finish, either painted or stained.
• Fiber-cement siding that has an appearance similar to traditional wood may be considered.

Stone
Stone is a building material used traditionally throughout the City. When used carefully it can add interesting contrasts, texture and solidity to a design. Applicants intending to use stonework must provide a proposed lay-up pattern and specify the type of stone proposed. The following guidelines apply to stonework:

A material should not appear as an applied
veneer.

Fiber cement siding that appears similar
to traditional wood may be used.

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12.15 Use stone that appears similar in character to that seen historically.
• The use of Carmel stone, or one similar in character, is preferred. • Other stone that is muted in color, similar in scale and has a matte or ashlar finish may be considered.
• Manufactured stone products that appear authentic may be considered; an application that appears as a veneer or that obviously repeats masonry units is inappropriate.
• Polished stone is inappropriate as a primary building material.

12.16 Keep stonework designs simple and traditional in character. • Use a single type of stone on a building. Using multiple types of stone, or combinations of stone and other masonry within a single project is inappropriate.

12.17 The application of stone shall appear structural and authentic. A gratuitous or purely decorative appearance shall be avoided.
• The use of stone on the full exterior of individual building elements is encouraged. The use of stone on just one elevation, the street facade for example, is discouraged.
• The application of stone around only windows or doors as ornamentation is discouraged.
• The random placement of individual stones or clusters of stones on building elements such as foundations or chimneys is discouraged.

Stucco

12.18 Stucco may be used as a residential building material. • Detail stucco in a manner that conveys a sense of craftsmanship and human scale.
• Stucco that is stained or painted and is either smooth or lightly textured is appropriate.

Brick

12.19 Brick may be used.
• Where it is used, brick shall have a modular dimension similar to that used traditionally and be of a muted color.

Concrete

12.20 Although it was rarely used in residential building in Carmel, concrete may be considered. • Concrete may be used on a smaller structure, particularly one that is one story in height.
• Large expanses of concrete that are highly visible from the street shall be avoided.

Keep stonework designs simple and
traditional in character.

Stucco may be used as a residential building material.

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Roof materials

12.21 Roof materials shall be consistent with the architectural style of the building and with the context of the neighborhood. • Wood shingles and shakes are preferred materials for many styles of architecture typical of Carmel (i.e., Arts and Crafts, English Revival and Tudor Revival).
• Clay tile, slate and concrete tile may be used on some structures (i.e., Spanish and Italian Revival, Monterey Colonial, French Revival, etc.).
• Composition shingles that convey a color and texture similar to that of wood shingles may be used.

12.23 An alternative roof material shall appear similar in scale, texture and finish to those seen traditionally.
• Synthetic shingles or tiles of composite materials that have traditional characteristics may be used.
• These should appear similar in scale to traditional ones.

12.24 A metal roof shall be subordinate to the context and shall have these features:
• It shall have a low profile seam.
• It shall have an earth tone finish or other muted color. • It shall have a matte finish and be non-reflective.

12.25 New energy conservation and generation technologies that are subdued in appearance may be applied to a roof.
• This includes cool and green roof designs.

12.0 Building Design Guidelines:

Final Details, continued...

Roof materials shall be consistent with the
architectural style of the building and with
the context of the neighborhood.

Roof materials shall be consistent with
the architectural style of the building and
with the context of the neighborhood.

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Examples of appropriate and inappropriate roof materials Composition shingles
Concrete shingle - Tudor
Roof tile - Spanish Revival
Synthetic roof shingles
Wood shingles Wood shingles - Storybook
Synthetic roof shingles
Synthetic roof shingles Clay roof tiles
Flat seam metal (muted finish)
Slate roof
Standing seam metal (inappropriate)
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Entrances and porches
A primary entry door may be combined with adjacent windows and architectural details. It may be framed with a porch, a roofed overhang or be recessed into a front wall. The entrance should remain subordinate in character and be consistent with the overall design of the house in terms of style, materials and architectural details.

12.26 Keep a primary entrance subordinate in scale.
• An oversized, “grand” entry is inappropriate.
• An oversized porch also is inappropriate.

12.27 Integrate a primary entrance with the overall design of the house.
• Use materials, forms and details that are consistent with the overall design.

These large double-doors and
arched entry light are out of scale
with traditional designs.

Oversized entry

12.0 Building Design Guidelines:

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Appropriate entries
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Doors
When it is oriented to the street, the front door establishes a connection with the neighborhood. Traditionally, doors were of a dimension that fit the human form and scale. They were not oversized. This tradition shall be continued.

12.28 Locate and size a door to achieve a human scale.
• The use of a grand, oversized entry door facing the street is inappropriate.

Appropriate doors
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Windows
A variety of window types appears throughout the community. Rectangular, vertically proportioned, double-hung windows exist on many buildings. Examples of horizontally proportioned windows also exist, such as larger picture windows along Scenic Road. Sometimes, a larger window surface area is created by pairing smaller windows. By far, wood frame windows are the most typical, but metal windows also are found, especially on some styles that reflect Modernist influences.

Specialty windows
Over the years, bay and oriel windows were used to provide visual interest on facades and to reduce the apparent mass of structures. The use of bay, oriel and other projecting windows may be considered when the building style would have traditionally included such features. They are encouraged when they would break up the line of an otherwise long, unrelieved wall. They are discouraged when overused (along the street or within a single design) or when they would create added mass, bulk or complexity to a facade.

12.29 Window styles and materials shall be consistent with the architecture of the building. Window styles and materials shall be uniform throughout a design.
• Divided light windows are encouraged.
• Wood windows are preferred.
• Aluminum, vinyl and fiberglass are discouraged.
• High gloss finishes should be avoided.
• When feasible, original windows should be restored rather than replaced.

12.30 Locate and size windows to achieve a human scale while avoiding mass and privacy impacts.
• Avoid positioning a large window (greater than 12 sq. ft.) along a side wall that would impact the privacy of an adjacent neighbor. • Provide windows on walls facing the street to help convey a human scale, add visual interest and avoid unrelieved building mass.
• Limit the use of specialty windows that add to building bulk.

Generally, only one bay or oriel window should be visible from the street. Bay and oriel windows facing the street should be avoided if their use would create a repeating pattern within the context of adjacent structures to both sides of the site.

Vertically proportioned, double-hung
windows appear on many buildings.

Comstock window
Specialty window

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Thin window trim
Out of character window
Window with shutters
Bay window
Ganged windows
Multi-pane wood window
Vernacular windows
Multi-pane metal casement window
Ganged windows
Windows on Scenic
Window box
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12.31 Use dormers to provide interest and reduce the scale of a house.
• The design shall be consistent with the style of the house. • Avoid using an excessive number of dormers, however.

Fenestration should not overwhelm the
architecture. Where views are desired,
architectural styles which accommodate
wider window configurations should be
considered.

Preferred
Inappropriate

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Appropriate dormers
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Balconies and decks
Balconies appear on some traditional houses in Carmel. These should be subordinate in scale and character and be located such that they minimize impacts on the privacy of neighbors. Their design should be consistent with that of the house overall. Decks (at grade and on rooftops) are not part of the design traditions of Carmel and should be used only where their impacts on the character of the street and the privacy of neighbors are minimized.

12.32 Design a balcony to be subordinate in scale and to be in proportion to the house.
• Use materials and details that are consistent with the overall design of the house.

12.33 Locate a balcony to minimize impacts on the privacy of neighbors.
• A location in the rear is preferred.
• A location on the side may be used when it avoids directly overlooking active use areas of neighbors.

12.34 Locate a deck at the rear of a house.
• A deck located in front is inappropriate.
• A deck on the side may be used when it is set back sufficiently from the adjacent property and is screened.

Design a balcony to be subordinate
in scale and to be in proportion to the
house.

Use materials and details that are
consistent with the overall design of the
house.

Locate a balcony to minimize impacts on
the privacy of neighbors.

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Skylights
Skylights have appeared over the years in Carmel as a relatively modern design element. Since they are not part of the City’s design traditions and they often conflict with the authenticity of popular architectural styles, they can appear out of place. When used, they should be subordinate to the overall roof form and character. A skylight can have significant impacts on the appearance of a property as seen from the street and also can create privacy or glare impacts.

12.35 When a skylight is to be used, it shall blend with the overall building design and its visual impacts shall be minimized.

Skylights may be appropriate when:
• Interior spaces have no access to exterior windows or such windows have limited access to light
• Windows would cause even greater impacts to adjoining homes • The skylight design is compatible with the architecture • The size of the skylight is appropriate to the lighting task

12.36 Skylights shall not be visually prominent from the street or from neighboring windows.
• The size, placement, number and design of skylights should be an integral part of the building design. Skylight placement or size that appears random from the exterior and that detracts from architectural integrity should be avoided.
• A skylight shall be framed in colors that match adjoining roof surfaces. High profile, domed and pyramidal covers are inappropriate. • A skylight shall not produce glare or light pollution visible to neighbors or to the public.

Discouraged: The location of skylights on
the front of the roof is discouraged.

Preferred: Minimize the visual impacts
of a skylight by locating the skylights on
the back of the roof.

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Chimneys
Chimneys are a part of the design traditions of the community and they appear in a variety of styles, shapes and materials. A chimney can add visual interest to a building and help to reduce the perceived scale of a roof line. When one is included, it is important that the form and materials be integrated into the overall building composition. In general, a building should have no more than two chimneys, especially on a small lot.

12.37 A chimney shall be integrated into the overall building design.
• A chimney that penetrates through a roof is preferred. • A chimney that is attached to the side of a building should appear to have a direct means of support. A chimney that appears to “float” above the building foundation is inappropriate. • Avoid projecting a tall, freestanding chimney at the lower point of a roof. Doing so emphasizes the mass of the chimney and can appear awkward.
• Avoid placing a chimney directly opposite a neighboring window without also providing a greater setback to reduce mass and scale impacts.
• Avoid blocking views with chimneys by using narrow profiles, appropriate placement or minimalist flues. A chimney cap should be an integral part of the chimney design. It should be Preferred: A chimney should be in proportion. integrated into the overall building design. This masonry chimney appears
to rise from the foundation.

Discouraged: This chimney appears to
“float” above the foundation.

Appropriate chimneys
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Garages
A garage should be a subordinate element on the site.

12.38 Design a garage to appear subordinate to the forest character. • Keep the scale low.
• Use materials that are consistent with those of the house.

12.39 A garage door should be designed to blend with the background materials of the building. • Design the garage door to blend with the building wall or orient the door so as not to face the street.
• A standard overhead garage door, with contrasting color and materials, should be avoided.

Design the garage door to blend with the
building.

12.0 Building Design Guidelines:

Final Details, continued...

Design a garage to appear subordinate to
the forest character.

Use materials that are consistent with
those of the house.

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Appropriate Garages
Inappropriate Garages
All glass door
Large exposed retaining wall
Large exposed retaining wall
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Color
Traditionally, builders used muted colors in Carmel. In many cases, the natural earth tones of stone and the dark tans of stained siding dominated a site. Even when buildings were painted, muted earth tones were used to blend with the forest. This tradition should be continued.

Occasionally, a brighter color scheme appeared, particularly on some Mission Revival styles. However, these typically were located on large lots where extensive planting filtered the view and muted the overall impact. When bright colors are now used in more densely developed conditions, the impacts can be much greater than in the past.

12.40 Keep the overall color scheme muted.
• Avoid highly contrasting color schemes.

12.41 Limit the use of bright colors.
• If they are to be used, reserve their application to key accent features, such as an entry door.
• Pastel colors may be appropriate for some building styles, such as Mission Revival. However, a subdued color scheme is preferred.

12.0 Building Design Guidelines:

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Appropriate color schemes
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Landscape Design: Final Details
Introduction to Landscape Design
Maintaining and strengthening the character of a Village-in-a-Forest is the highest priority for all landscape designs. The traditional forest landscape is one of the most important features of the community. While each
individual site has unique features, residents have consistently relied upon a simple palette of landscape materials that have contributed to the City’s forest character. The basic framework of the landscape consists of the plentiful stands of cypress, pine and oaks. Lower scale plants, including smaller trees, shrubs and flowers as well as
steps, walls, and fences complete the landscape and are addressed in this section.

The dominant materials of the traditional planting palette are simple and limited. Leafy, low-growing species that are easy to maintain and relatively drought-tolerant should be included in all landscape designs.

High maintenance plants should be limited to active areas, such as courtyards and patios. These places are relatively private, either in the rear, to the side, screened by a garage, or if in the front, set well back from the street. This approach will reinforce the natural forest character of the City and knit the site design into the neighborhood context.

Within this overall landscape, individual details can serve as accents that provide interest while remaining subordinate to the neighborhood character. In fact, personal landscape designs are one of the most successful means of expressing creativity and individuality while remaining consistent with the basic forest image. Creative details on fence posts, in walkways and plant beds for example, appear throughout the community, giving unique identities to individual properties. This tradition should continue.

The traditional forest landscape is one
of the most important features of the
community.

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Appropriate landscape details
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Filtered views of homes from the street through trees and shrubs into a property are a part of Carmel’s landscape tradition. This is achieved by combining multi-stem trees such as live oaks planted in the foreground, with open fences and leafy shrubbery.

Exceptions to this strongly forested and filtered landscape do exist in some neighborhoods. For example, in some annexed neighborhoods the front yards are more formal and fewer trees exist. Larger plant massings occur on properties here and evergreen shrubbery predominates.

To some extent , the landscape tradition also differs along portions of Scenic Road where small yards limit landscape arrangements. In many cases, these sites have more lush landscaping right up to the street edge and, because views to the ocean are so important, there is less of a “filtering” through layers of taller plant materials.

These variations in the context of neighborhood landscapes should be documented in the preliminary site assessment and should be respected when preparing a landscape plan.

Landscaping that creates a simple and natural design, blending with the urban forest and the public right-of-way is encouraged. Often, a site may already have well established plants and trees that achieve this result.

Protecting these existing landscape resources during construction can give a project a settled, mature look immediately upon completion and is encouraged. This is most useful for parts of a site that are visible from the street.

Houses should appear nestled in the trees. Overall, the landscape should have an informal character, emphasizing foliage over flowers. Front yards should be informal gardens, rather than the traditional grass lawns seen in many other communities. These design traditions shall be continued.

Filtered views of homes from the
street through trees and shrubs into a
property are a part of Carmel’s landscape
tradition.

Houses should appear nestled in the
trees.

Related documents:

Forthcoming landscape ordinance
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13.0 Landscape Guidelines: Final
Details
Views of buildings that are filtered from the street with a mix of shrubs and lower story trees are encouraged. This contributes to the “sense of discovery” that is a part of the Carmel design traditions and should be continued.

Objectives:
• To renew the urban forest
• To maintain the traditional foreground of simple, indigenous plantings • To maintain a sense of informality and discovery along the street • To maintain the traditional palette of plant materials • To conserve water
• To reinforce a sense of visual continuity along the street

13.1 Provide for upper and lower canopy trees when designing the landscape.
• Provide adequate space around all trees that are required to be planted or preserved.
• Add trees, which are consistent with the neighborhood context, to the site and public right-of-way.
• Trees that arch over the street contribute strongly to the character of some neighborhoods and should be preserved and supplemented where this is part of the design traditions. • Recognize and plan for the special needs of each tree when designing the landscape. For example, high water use plants are appropriate near redwoods but inappropriate near oaks. Grades around established trees should not be raised or lowered.

Ground covers are preferred in the rightof -way. Multi-stem trees also help filter views.

Related guiding principles
(page xx):
#1. Restore the forest...
#2. Subordinate structures to the
forest...
#5. Fit with context...
#6. Design with authentic details...

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• Carmel-by-the-Sea Residential Design Guidelines •
Plant selection

13.2 Landscape plans shall use drought-tolerant native plants and other varieties accustomed to growing along the Central Coast.
• Use plants that are similar in character to those established along the block and adjoining properties in order to reinforce a sense of visual continuity along the street, but avoid “copying” nearby landscape designs.
• At least 75% of plant materials on a site shall be drought-tolerant. (See the Municipal code for more specific requirements.)

13.3 Planting in areas visible from the street or other public places shall continue the forest character.
• Locate plants in relaxed, informal arrangements that are consistent with the urban forest character. • Avoid formal, unnatural arrangements of plants and paving except in small areas out of public view.
• Reserve the use of bedding plants and exotic flowering plants to small accents at walkways, entries or near special site features. • Lawns, including artificial turf, visible from the street are inappropriate to the forest setting and should be avoided.

Flowering plants may be used to
highlight a walkway.

An informal
l a n d s c a p e
arrangement
throughout
the yard is encouraged.

A formal landscape arrangement in front is
inappropriate.

A informal landscape arrangement
in the front yard
is appropriate. The
rear yard of the
property has more
flexibility when designing your landscape.

13.0 Landscape Guidelines: Final
Details, continued...

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Landscaping in the public right-of way

13.4 Plants in the public right-of-way shall be predominantly green foliage plants, in keeping with the design traditions of Carmel.
• Leaving the right-of-way natural is encouraged.
• Naturalized landscaping consistent with the City’s forest character may be added to the right-of-way and be designed to blend into landscaping on site to enhance the sense of open space.
• The use of native trees, ground covers and low shrubs is preferred. • The use of bedding plants and exotic species in the public rightof-way is inappropriate.

Plantings in the front yard should continue the forest image.

Front ROW
yard
Street
Property line
Green leafy ground covers are
appropriate in the public right-of-way.

The use of native trees, ground covers
and low shrubs is preferred.

Plants in the public right-of-way shall
be predominantly green foliage plants,
in keeping with the design traditions of
Carmel.

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Part Three: Final Design Guidelines [ 93 ]
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Paving materials and design

13.5 For driveways, patios and walkways, select paving materials that convey the colors and textures of native materials and that will reduce runoff.
• Carmel stone, brick, decomposed granite and earth-toned pavers are appropriate. • Using a “sand-set” instead of “mortar-set” for paving materials allows for percolation of rain into the soil and is encouraged. • Avoid using “turf block” and grey concrete.
• Paving designs and materials uncharacteristic of a village in a forest are inappropriate.
• Gravel and other easily-displaced materials are inappropriate in the public right-of-way but may be used on private property (M.C. 12.24.020.B).

13.6 Design a paved area to be small, informal and intimate. • Avoid large, continuous areas of paving that are uncharacteristic of the forest and landscaped setting.
• Separating the walkway from the driveway can keep the paved area from appearing wide and expansive.
• Add landscaping at grade or in containers to soften the appearance of paved areas. • Avoid formal or urban paving treatments such as grass-crete or wide areas of asphalt or concrete.

13.7 Use paving materials that will minimize impacts on tree root systems.
• Using pervious paving materials that permit percolation of water and aeration in soils is encouraged.

Carmel stone, brick, decomposed granite
and earth-toned pavers are appropriate.

Using porous paving materials that
permit percolation of water and aeration
in soils is encouraged.

13.0 Landscape Guidelines: Final
Details, continued...

Code reference:

Paving standards
Link: xxxxxxxx
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[ 94 ] Part Three: Final Design Guidelines
• Carmel-by-the-Sea Residential Design Guidelines •

14.0 Guidelines for Fences, Walls and
Lighting: Final Details
Fences and walls visible from the street may be appropriate when used to define property edges and entrances. Fences and walls that exhibit craftsmanship and interesting designs are preferred. Not every site needs a fence or wall along the street. Fences and walls shall be low and shall not block views of front yard open space from the public way nor contribute to a “walled-off” appearance along the street edge.

Objectives:
• To promote landscape designs that blend with the forest setting • To accommodate compatible designs for fences and walls • To minimize the visual impacts of lighting in the nighttime sky Fences and walls along street frontages

14.1 Designing without a fence or wall along the street frontage(s) should be considered first. • Blending on-site landscaping with that in the right-of-way can make open spaces appear larger and improve the site’s fit with the forest.
• Where enclosure or privacy is desired using shrubs, hedges or other vegetation is preferred instead of a fence or wall.

14.2 Respect the neighborhood context when designing a fence or wall.
• Fences and walls should convey simple, hand-crafted designs. • The use of grapestakes or wood pickets for fences is preferred. • The use of river rock, Carmel stone, brick or plastered masonry for low walls also is traditional in most neighborhoods. • Ornate, “Victorian” wrought iron and chain link fences are inappropriate.

Related guiding principles
(page xx):
#1. Restore and enhance the forest...
#2. Subordinate structures to the
forest...
#5. Fit with context...
#6. Design with authentic details...

Fences and walls should convey simple,
hand-crafted designs.

Blending on-site landscaping with that
in the right-of-way can make open spaces
appear larger and improve the site’s fit
with the forest.

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Part Three: Final Design Guidelines [ 95 ]
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14.3 When designing a fence or wall along a street, preserve the open space resources of the immediate neighborhood.
• Continue the pattern of fences, walls and landscaping on other properties nearby and respect any existing patterns on nearby properties (height, materials, vegetation, visibility into the site). • Keep a sense of openness into the site from the street. Fences and walls along street frontages should be kept low and should not impede visibility for motorists at street intersections. • Fences and gates should have open, transparent qualities, such as open pickets, that permit filtered views into the front garden. • Fences shall be designed to preserve some visual access into the yard area on each site by using spaced boards or lattice work wherein the size of the spaces are at least equal to the size of the boards or lattice. The intent of this requirement is to preserve visual access to open space resources.

Garden walls
Within the interior of a property, walls may be used to define garden areas and patios. When used as retaining walls they also are a common way to terrace a slope. Garden walls should compliment the architecture and site design by using consistent materials and staying low in height.

14.4 A garden wall should be low in scale.
• Terrace or step a taller wall to avoid mass and scale impacts.

The wall for each terrace may not exceed four feet from grade. • A person should be able to see over any wall that faces the street.

14.5 A garden wall should have a matte, masonry finish. • Native stone is the preferred material to blend with the forest setting.
• A plain-textured plaster wall may be appropriate if kept low in scale and when consistent with the building architecture. • Unfinished grey concrete and concrete block are inappropriate.

In general, locating a site wall along a
public way is discouraged. Ornate fences
on top of masonry walls, such as this
one, are also discouraged.

A garden wall should have a matte,
masonry finish.

A garden wall should be low in scale.

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Fences
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Part Three: Final Design Guidelines [ 97 ]
• Carmel-by-the-Sea Residential Design Guidelines •
Gates and arbors
When a fence or low wall is used at the street frontage, the entry is often marked by a gate or arbor. This should be small and intimate in its proportions and should be an integral part of the overall landscape design.

Gates should reflect a hand-crafted design. Fences, gates and arbors provide an opportunity to include unique details that provide interest along the street. Creative design approaches are encouraged if they are subtle and well-integrated with the site.

14.6 A gate should help create a sense of entry and therefore should be distinguishable from the adjoining fence or wall. • The use of distinctive design details is encouraged. This provides an opportunity for individuality and craftsmanship. • Gates should have open or transparent qualities that allow filtered views into the property.
• Monumental posts or columns are inappropriate.

14.7 An arbor should be integral to the fence or wall design and should not dominate the street.
• Maintain a narrow, low and “light” scale. Avoid the use of tall or wide entryways and avoid massive timbers or other heavy building elements when creating an arbor.
• Incorporate vines or other landscaping to blend the arbor into the adjoining fence or wall and garden.

14.0 Guidelines for Fences, Walls
and Lighting: Final Details,
continued...

Related Code Section:

Arbor standards
Link: xxxxxxxx
Gates should have open or transparent
qualities that allow filtered views into the
property.

An arbor should be integral to the fence
or wall design and should not dominate
the street.

Incorporate vines or other landscaping to blend the arbor into the adjoining fence or wall and garden.

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Appropriate gates
Inappropriate gates
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Part Three: Final Design Guidelines [ 99 ]
• Carmel-by-the-Sea Residential Design Guidelines •
Lighting
Exterior lighting is a special concern throughout the community. A key feature of the “forest” concept is to minimize the amount of outdoor lighting, such that the nighttime sky can be glimpsed through the trees.

From the outset, public street lighting was avoided on residential streets.

Within an individual property, site lighting was typically limited to one light at a building entry, and perhaps at a yard gate or over a garage door.

Occasionally, a patio was lit as well, but this only a small, shielded lamp.

This is a neighborhood-wide concern and the tradition of minimizing lighting should be continued.

14.8 Preserve the low nighttime lighting character of neighborhoods. • Use lights only where needed for safety and at outdoor activity areas. Appropriate locations may include building entries, gates, terraces, walkways and patios. Lights should not be used to accent buildings or vegetation.
• Use low lumen output light sources. Floodlights and spotlights are inappropriate.
• Locate and shield fixtures to avoid glare and excess lighting as seen from neighboring properties and from the street.
• A fixture on a building front with an exposed light source is Use lights only where needed.

The restrained use of low scale path
lighting for safety is appropriate.

Focus a light downward to minimize
glare. Avoid placing fixtures where glare
would be visible to neighbors or the
street.

Locate and shield fixtures to avoid glare.

14.0 Guidelines for Fences, Walls
and Lighting: Final Details,
continued...

Related Code Section:

Lighting standards
Link: xxxxxxxx
inappropriate.

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ATTACHMENT 3

Appendices [ 101 ]
• Carmel-by-the-Sea Residential Design Guidelines •
PART FOUR:

APPENDICES
(Forthcoming)
ATTACHMENT 3

[ 102 ] Appendices
• Carmel-by-the-Sea Residential Design Guidelines •
ATTACHMENT 3

[ 103 ]
• Carmel-by-the-Sea Residential Design Guidelines •
Credits
(Forthcoming)
ATTACHMENT 3