Definitions - B
Basic Hydrologic Data
Basis of Design Report (BDR)
BDR - Basis of Design Report
Best Management Practices (BMPs)
Bibliography (Historic Structure Report)
Biological Assessment (BA)
Biological assessments must be prepared for "major construction activities" considered to be Federal actions significantly affecting the quality of the human environment as referred to in the National Environmental Policy Act of 1969 (NEPA) (42 U.S.C. 4321 et seq.) An agency is not required to prepare a biological assessment for actions that are not major construction activities, but, if a listed species or critical habitat is likely to be affected, the agency must provide the Fish and Wildlife Service or the National Marine Fisheries Service with an account of the basis for evaluating the likely effects of the action. The outcome of a biological assessment determines whether formal consultation or a conference is necessary. [50 CFR §402.02, 50 CFR §402.12]
BMPs - Best Management Practices
BO - Biological Opinion
Bridge Inspection Program (BIP)
Description of Existing: Relying on the same visual analysis described above, analyze all existing building(s) located either on, adjacent to, or regional to the proposed project site, including those with culturally significant building traditions and forms that influence the vicinity's vernacular architectural character. Both narrative and images may be used.
Description of Proposed: Relying on the same visual analysis described above, analyze the proposed building's(s') (or any building additions) architectural context, identifying its architectural character and any regional or cultural building traditions and forms that might be contributing factors. The "Description of Proposed" will typically consist of a narrative description and character sketches (as appropriate).
Building or Site Character Analysis already documented in Historic Structure Reports (HSRs), Cultural Landscape Reports (CLRs), and Design Guidelines may be referenced, but shall be made current with the proposed undertaking.
A brief excerpt from Preservation Brief 17 follows:
Step 1: Identify the Overall Visual Aspects
Identifying the overall visual character of a building is nothing more than looking at its distinguishing physical aspects without focusing on its details. The major contributors to a building's overall character are embodied in the general aspects of its setting; the shape of the building; its roof and roof features, such as chimneys or cupolas; the various projections on the building, such as porches or bay windows; the recesses or voids in a building, such as open galleries, arcades, or recessed balconies; the openings for windows and doorways; and finally the various exterior materials that contribute to the building's character.
Step One involves looking at the building from a distance to understand the character of its site and setting, and it involves walking around the building where that is possible. Some buildings will have one or more sides that are more important than the others because they are more highly visible. This does not mean that the rear of the building is of no value whatever, but it simply means that it is less important to the overall character. On the other hand, the rear may have an interesting back porch or offer a private garden space or some other aspect that may contribute to the visual character. Such a general approach to looking at the building and site will provide a better understanding of its overall character without having to resort to an infinitely long checklist of its possible features and details. Regardless of whether a building is complicated or relatively plain, it is these broad categories that contribute to an understanding of the overall character rather than the specifics of architectural features such as moldings and their profiles.
Step 2: Identify the Visual Character at Close Range
Step Two involves looking at the building at close range or arm's length, where it is possible to see all the surface qualities of the materials, such as their color and texture, or surface evidence of craftsmanship or age. In some instances, the visual character is the result of the juxtaposition of materials that are contrastingly different in their color and texture. The surface qualities of the materials may be important because they impart the very sense of craftsmanship and age that distinguishes historic buildings from other buildings. Furthermore, many of these close up qualities can be easily damaged or obscured by work that affects those surfaces. Examples of this could include painting previously unpainted masonry, rotary disk sanding of smooth wood siding to remove paint, abrasive cleaning of tooled stonework, or repointing reddish mortar joints with gray portland cement.
There is an almost infinite variety of surface materials, textures and finishes that are part of a building's character which are fragile and easily lost.
Step 3: Identify the Visual Character of Interior Spaces, Features and Finishes
Perceiving the character of interior spaces can be somewhat more difficult than dealing with the exterior. In part, this is because so much of the exterior can be seen at one time and it is possible to grasp its essential character rather quickly. To understand the interior character, Step Three says it is necessary to move through the spaces one at a time. While it is not difficult to perceive the character of one individual room, it becomes more difficult to deal with spaces that are interconnected and interrelated. Sometimes, as in office buildings, it is the vestibules or lobbies or corridors that are important to the interior character of the building. With other groups of buildings the visual qualities of the interior are related to the plan of the building, as in a church with its axial plan creating a narrow tunnel-like space which obviously has a different character than an open space like a sports pavilion. Thus the shape of the space may be an essential part of its character.
With some buildings it is possible to perceive that there is a visual linkage in a sequence of spaces, as in a hotel, from the lobby to the grand staircase to the ballroom. Closing off the openings between those spaces would change the character from visually linked spaces to a series of closed spaces. For example, in a house that has a front and back parlor linked with an open archway, the two rooms are perceived together, and this visual relationship is part of the character of the building. To close off the open archway would change the character of such a residence.
The importance of interior features and finishes to the character of the building should not be overlooked. In relatively simple rooms, the primary visual aspects may be in features such as fireplace mantels, lighting fixtures or wooden floors. In some rooms, the absolute plainness is the character-defining aspect of the interior. So-called secondary spaces also may be important in their own way, from the standpoint of history or because of the family activities that occurred in those rooms. Such secondary spaces, while perhaps historically significant, are not usually perceived as important to the visual character of the building. Thus we do not take them into account in the visual understanding of the building.
Building Gross Square Footage