General Guidelines
For commercial and other public-use buildings: Install disabled
access, construct or display a sign, externally paint a building if
the painting constitutes an advertisement.
The following works do
require a planning permit:
Carry out works, repairs and routine maintenance which
change the appearance of a heritage place and which are
undertaken to the same details, specifications and materials.
Externally and internally paint a building (but not previously
unpainted surfaces).
Make internal alterations to a building.
Remove or lop trees. The exception to this is trees that are
in the Heritage Overlay Schedule – in Brimbank these
are in parks, street trees and at a few rural homesteads. Check
a planner if you are not sure about the status of trees on
your property.
Brimbank City Council encourages property owners and developers
to discuss any proposals with Council prior to preparing an
application for any new development. The following steps are
Speak to a town planner within the Statutory Planning Unit about
permit requirements. They can also advise if there are
other planning guidelines or policies that you should consider
(e.g., Rescode).
If necessary, arrange an appointment with Council’s Heritage
to discuss ideas. It may be useful to meet on site.
Depending on the works, roughly sketch some ideas. A further
consultation or site visit with the Heritage Adviser may be required.
Once an approach has been agreed to, prepare a permit
Preparing an application
When preparing an application, it is important to understand the
architectural character and historical development of your building.
The Brimbank City Post-Contact Cultural Heritage Study, Version
2007 has a citation for each heritage place in the municipality,
including a statement of significance that identifies the specific
qualities that make it an important part of Brimbank’s heritage. The
precinct guidelines describe typical features associated with the
main architectural styles found in each area.
Heritage places in the City of Brimbank are highly valued by
Council and the community for providing a link to the past and for
enriching the present environment. These Guidelines provide both
Council and property owners (or occupiers) with guidance on how
heritage places can be both restored and altered sympathetically
for modern-day use. They do not contain solutions for every
individual design issue that might arise, but rather provide some
guiding principles as a starting point.
The Guidelines explain what Council will take into account when
assessing an application for development or subdivision of a site
covered by the Heritage Overlay. The application will be considered
in conjunction with other relevant State and local planning policies
and controls contained in the Brimbank Planning Scheme, including
Clauses 22.07 – Heritage Policy and 43.01 – Heritage Overlay.
These General Guidelines explain the policies outlined in the
Planning Scheme, though you may wish to refer to the clauses
themselves. At the end of these Guidelines are sections on historic
fence types and paint schemes. There are also precinct guidelines
in Parts 2 to 8 with more specific advice about the contributory
places and elements in each of Brimbank’s heritage precincts.
Clause 43.01 – Heritage Overlay lists the types of works to heritage
places (including all properties within heritage precincts) for which a
planning permit is required. These include to:
Subdivide land.
Demolish or remove a building.
Externally alter a building by structural work,
or in any other way.
Carry out works, repairs and routine maintenance which change
appearance of a heritage place or which are not undertaken
the same details, specifications and materials.
Externally paint an unpainted surface.
Construct a new building. This includes new dwellings as well as
outbuildings to existing dwellings like garages, carports and sheds.
Install external services, such as air-conditioning units, hot-water
units, solar panels, rain-water tank and satellite dishes if they will
be visible from the street or a public park.
Construct a new fence.
Construct new elements such as a swimming pool or spa, a
pergola or verandah, or deck.

General Guidelines
A site analysis, considering the broader context of your property, may
be required if you want to construct an addition or a new infill building
within a heritage precinct. Depending on the location, the site analysis
should, as appropriate, address the buildings immediately adjacent to
and opposite the site as well as the precinct more generally.
Definitions and terminology
The terminology used in these guidelines is consistent with the
Australia ICOMOS
Burra Charter,
(Burra Charter)
. The
following specific definitions apply:
heritage place
is a place that has identified heritage value and
could include a site, area, building, group of buildings, structure,
archaeological site, tree, garden, geological formation, fossil site,
habitat or other place of natural or cultural significance and its
surrounding land.
heritage places are individually important places of
state, regional or local heritage significance or are places that
contribute to the significance of a Heritage Overlay precinct.
“Contributory” places may include buildings that are of a style
that contributes to the significance of a precinct, even though
they may have been constructed in a later period. “Contributory”
places are identified on the maps found in the specific precinct
heritage places are buildings or places within a
Heritage Overlay precinct where the original building has been
demolished, replaced, or modified beyond recognition, or where
the constructed building is stylistically inconsistent with the period
of the precinct. “Non-contributory” places are identified on the
maps found in the specific precinct guidelines.
Conservation of original fabric
Repairs and maintenance to a contributory building do not require
a planning permit, and can avoid the need for costly replacement in
the future!
Original fabric of a contributory building – such as roof cladding,
weatherboards, windows, doors, chimneys, verandahs, decorative
details, and fences – should be conserved wherever possible.
There are many ways to improve the energy efficiency and comfort
of your home. Approaches that do not require replacement of original
fabric are preferred. Ask Council’s Heritage Advisor for free advice.
Regular repainting protects buildings from the weather. Appropriate
colour schemes for historic buildings are suggested in Addendum 3.
Previously unpainted surfaces, such as brick, render and timber
shingle, should
be painted or rendered.
Paint can be removed gently from brick and stone by experienced
contractors. Sandblasting destroys brick and should not be used.
The Heritage Advisor should approve a test removal patch before
proceeding with an entire building.
Restoration and reconstruction
Some heritage places have had unsympathetic alterations over the
years, which lower their resale value. Common examples include:
alteration of front verandahs (enclosing them, removal of the
decorative frieze, replacement of posts or columns, installation of
flat roofs),
enlargement and replacement of timber windows (often with
installation of vinyl or metal wall cladding (which often causes
rotting of the weatherboards beneath),
replacement of original fences,
removal of chimneys,
the addition of reproduction ornament of the wrong style and
period for the house,
installation of opaque security doors and roller shutters, which
hide attractive original windows and front doors,
for commercial buildings: replacement of original shopfronts and
cantilevered verandahs.
Reconstruction of missing elements should be based on documentation
(e.g., early photos, identical buildings in the area), if possible. Otherwise
reconstructed features should be quite simple and standard for the
building’s style, without additional decorative flourishes. Council’s
Heritage Advisor can provide free restoration advice.
Alterations to Contributory Buildings
Alterations are works, repairs and routine maintenance that change
the appearance of a building or are not carried out to the same
details, specifications and materials. They should not obscure,
alter or remove original features and details that contribute to the
significance of the building. In heritage precincts significant features
and details are generally those that are visible to the public.
The introduction of new elements in locations visible to the public
is discouraged, such as dormer windows, porticos, verandahs, and
external shading devices (e.g., shutters, awnings); or window and
door openings in the principal elevation(s). The replacement of
timber window frames with alternative materials such as aluminium
or plastic is also discouraged.
Additions to Contributory Buildings
Impact on original fabric
A new addition should not obscure, alter or require the removal of
original features and details that contribute to the significance of the
building. In heritage precincts significant features and details are
generally those that are visible to the public. In the case of buildings
on a corner site, both frontages to a street must be considered.
Demolition of part of the rear of a contributory building in a heritage
precinct, which is not visible from the street, may be acceptable
to allow for a new addition. In such cases, the design should seek
to retain the maximum amount of original building fabric possible,
including original chimneys.

General Guidelines
If rear extensions are made, the main (hipped) roof and chimney should remain,
while the rear skillions could be demolished and replaced
(Brimbank City Council, 2009)
Scale, bulk & setbacks
New additions should not visually dominate the original building
when viewed from the street or adjoining park. This is particularly
important with two-storey additions (see below). The scale, bulk and
setbacks of the addition should be guided by the original building.
Generally additions to the sides of buildings are discouraged,
particularly in streetscapes of detached dwellings, unless they are
set well back from the façade.
Front and side setbacks (shaded). Note that corner properties are
considered to have two front setbacks – one on each street front
Two-storey additions
A two-storey (or upper-level) addition to single-storey building should
be set well to the rear. The original roof form should be retained and
the addition designed to have a minimal visual impact.
In practice, this means that the upper-level addition must be set
far enough back (behind the roof ridgeline, if it runs parallel to the
street) so that it is not visible or barely visible to the public. The
overall height of a new two-storey rear addition can be reduced by
building on a concrete slab instead of raised stumps, and by using
minimal floor-to-ceiling heights.
For buildings with a roof pitch of 30 degrees
or more, it may be possible to create an attic
storey within the existing roof space.
Appropriate forms and materials
The use of similar cladding materials and roof forms to the original
building is encouraged, particularly when the addition will be visible
to the public. This approach helps it blend in better and not be as
visually dominant.
New window and door openings visible to the public should have
similar proportions to those of the original building.
Distinguishable as new
Reproduction or “mock” heritage design and details – such as
half-timbering, cast-iron lace, and turned verandah posts – should
not be used on a new addition. Instead, the addition should be
distinguishable as new so that the building’s evolution over time is
clear upon closer inspection. This can be accomplished either by
designing a traditional addition with simplified details, or by choosing
a modern design that relates to the original building in bulk, form and
Alterations and Additions to Non-Contributory
The requirements for alterations and additions to non-contributory
buildings are less strict. New additions should respect the scale,
form, siting, massing and setbacks of nearby contributory buildings.
The addition of reproduction or “mock” heritage features and details
to non-contributory buildings is not acceptable. They visually take
away from the original buildings of these eras, and confuse residents
who wish to understand the architectural heritage of Brimbank.
Services and equipment
External services and equipment such as air-conditioners, hot water
units, solar panels, rainwater tanks and satellite dishes should be
located so that they are concealed from the street. Their installation
should be designed so that it does not damage original external
fabric of a contributory building.
Advertising signs
New advertising signs on contributory buildings should not block
views to any significant architectural features. Nor should they
dominate or detract from the appearance of other contributory
buildings. Corporate paint schemes (in company colours) should be
limited to traditional signage areas, usually the parapet and entry.
Signs above a shop verandah should be installed flat on the parapet,
and not stick out from the wall. Internally illuminated signs can be
used beneath the verandah of a contributory shop building.
concealled zone
Concealing two-storey rear additions.
The shaded area behind the roof ridgeline is not
visible when viewed from across the street.
Note: this will vary for each roof form and height

General Guidelines
Car parking
New crossovers and driveways should be located at the side or
rear of the building, and be no more than one car wide (about 3m).
A paved parking area should not be created in front of the building.
Appropriate paved areas for front and side crossovers
No more than one crossover from the street is permitted per allotment.
In the case of subdivision and development of a rear unit, a single
crossover and driveway should access both the original building and
the new unit. Alternatively, if there is rear lane access, it can be used
for the rear unit.
rear lane access
shared driveway
Appropriate crossovers to service subdivisions
New crossovers and driveways should be constructed in materials
appropriate to the heritage place or precinct. For example, many
early 20th-century subdivisions originally had concrete roadways,
footpaths and driveways. In general, when concrete paving is used,
it should be natural in colour and not tinted.
Parking structures
Car parking structures – carports and garages – should be set back
at least 500mm behind a principal façade, and preferably be located
behind the building. They should not visually dominate the building,
so the closer a carport or garage is to the street, the lighter and
simpler it should be in bulk and detail.
Parking structures should be freestanding – not attached to the
contributory building – and should not block views of any significant
Avoid the use of reproduction or “mock” heritage design, particularly
for carports and garages of houses that would not have had one
originally (i.e., houses built before the late 1920s when car ownership
became more common). While reproduction details should not be
used on new garages, they should be visually integrated with the
house by the use of similar cladding materials.
Large areas in front of a building should not be paved. As noted in
Car Parking, above, paved parking areas are not permitted in front
of contributory buildings.
For properties with Tree Controls (in Brimbank, these are mainly
parks, rural homesteads, and street trees), trees of heritage
significance cannot be removed or lopped without a planning permit.
Conserving original fences
Original front fences should be retained wherever possible. If
deteriorated, they should be repaired, or elements replaced in kind
where necessary.
Appropriate styles and heights
New front fences should be appropriate in height, style, and material
to the building they front. As a rule, simple houses had simple fences.
In the case of semi-detached houses, if the original fence survives
in front of one dwelling, it should be used as a model for the other.
Even when no original fence survives, it is preferred that the
matching pair shares the same type and height of appropriate fence.
In general, historic fences in Brimbank were about 600mm to
1350mm high, becoming lower and more transparent as the 20th
century progressed. For further information about historic front
fences, see Addendum 2.
Side fences
Fences within the front setback of a house can either be the same
height as the front fence, or climb up gradually to reach the height of
the side and rear fence. Fences between front yards should either
match the front fence, or have a simple solid form. In the case of
houses situated on a street corner, the front fence should continue
around the corner at least as far as the front of the dwelling.
Of contributory buildings
In general, Council will only allow complete demolition of a
contributory building if it can be proven that the building is
structurally unsound or beyond reasonable repair and re-use.
This must be shown by a report from a suitably qualified structural
engineer who is familiar with heritage buildings.
An application for a demolition permit must be accompanied by an
application for the new development to replace the contributory

General Guidelines
building. The new development must be a positive addition to the
heritage precinct.
As applying for demolition of a contributory building is a very
complicated process, consultation with Brimbank’s planners and
Heritage Advisor prior to submitting an application is strongly
Of non-contributory buildings
Demolition of non-contributory buildings is permitted if an application
is submitted at the same time for construction of a replacement
building which makes a positive addition to the heritage precinct.
Minimal effect on heritage significance
Subdivision of a contributory property should not adversely affect its
significance. For example, subdivision should not allow public views
to the major elevations of a contributory building or other heritage
feature to be blocked.
original property
Impact of subdivision on heritage places.
The example shown is a house on a large block, set far back from the street
Example 1. Subdivision pattern to avoid, as it blocks the main views to the house
Example 2. A better approach to subdividing the property,
leaving the main views intact and retaining mature trees
Subdivision of a contributory property should retain the original
setting, for example, the significant garden, drive and outbuildings
with a farm homestead, or an original garage with a 1920s
suburban house.
Respect for setting
When a subdivided property is part of a heritage precinct, the
subdivision (and subsequent development) should retain any
regular rhythm of allotment sizes and house size and setbacks of
the streetscape.
Subdivision of corner properties should respect the setting of both streetscapes
Example A. Subdivision development which does not respect its setting –
new dwelling has no front or side setbacks
Example B. Subdivision development which is more respectful of its setting –
using similar front and side setbacks to those of contributory buildings
In the case of a subdivision creating a new rear allotment, a single
crossover and driveway should access both the original building and
the new rear unit (for further information see Car Parking).

General Guidelines
Conservation of contributory building
When the allotment of a contributory building is subdivided for
development, the opportunity should be taken to repair and restore
the contributory building if it has been altered or is in poor condition.
New development
Relationship to contributory buildings
New buildings in a heritage precinct should not visually dominate
adjoining contributory buildings, or block views to their principal
They should integrate harmoniously with the rhythm and character
of the streetscape. To accomplish this, new buildings should respect
the scale, form, setting, cladding materials, and siting of nearby
contributory buildings. They should employ the same front and side
setbacks as neighbouring buildings (or an average of the setbacks if
they differ).
New development in a street with consistent setbacks of contributory buildings
New development with an average setback of its next-door neighbours
It should be noted that non-contributory buildings and works do not
provide an acceptable model when determining the appropriate
siting, massing and scale of new buildings in a heritage precinct.
The roof form should reflect those of surrounding contributory
buildings, and windows and doors have similar proportions. For this
reason, large expanses of glass (e.g., sliding doors, floor-to-ceiling
windows) are generally not appropriate on front elevations.
As most contributory buildings in Brimbank’s residential heritage
precincts are single storey, it is preferred that new buildings appear
to be single storey at the front, though there may be a taller section
at the rear or an attic storey.
New buildings should be designed in a contemporary, yet contextual
manner, which avoids the use of reproduction or “mock” historical
A house with a traditional roof form and cladding materials
which fits in well with its interwar neighbours
(Brimbank City Council, 2009)
Car-parking structures
Garages and carports were not an original element in most of
Brimbank’s heritage precincts. In the cases that they were, early
garages were freestanding and set back behind the house. For this
reason car-parking structures should not be a prominent element
but be set back behind the front wall of a new dwelling. They should
preferably have a separate roof form so that they appear distinct
from the dwelling.
Rear subdivisions
New development in a rear subdivision behind a contributory
building should be as well concealed as possible so that it has as
little impact on the heritage streetscape as possible. The roof form
and cladding materials of the new dwelling should respect those of
nearby contributory buildings.
Apperly et al,
A Pictorial Guide to Identifying Australian Architecture,
Australia ICOMOS,
The Burra Charter: The Australia ICOMOS
Charter for Places of Cultural Significance,
Heritage Victoria,
Guidelines for the Assessment of Heritage
Planning Applications,
Public Draft, 2007.
Gary Vines, Olwen Ford, Graeme Butler & Francine Gilfedder,
Brimbank City Council Post-Contact Cultural Heritage Study,
Version 2,

General Guidelines
Burra Charter definitions
modifying a place to suit the existing use or a
proposed use.
the special connections that exist between people
and a place.
all the processes of looking after a place so as to
retain its cultural significance.
Cultural significance:
aesthetic, historic, scientific, social or
spiritual value for past, present or future generations.
all the physical material of the place including components,
fixtures, contents and objects.
the continuous protective care of the fabric and
setting of a place, and is to be distinguished from repair. Repair
involves restoration or reconstruction.
site, area, land, landscape, building or other work, group of
buildings or other works, and may include components, contents,
spaces and views.
maintaining the fabric of a place in its existing state
and retarding deterioration.
returning a place to a known earlier state and is
distinguished from restoration by the introduction of new material
into the fabric.
returning the existing fabric of a place to a known
earlier state by removing accretions or by reassembling existing
components without the introduction of new material.
the area around a place, which may include the visual
means the functions of a place, as well as the activities and
practices that may occur at that place.
Architectural definitions
(Based on Apperly et al,
A Pictorial Guide to Identifying Australian
usually a curved structure forming the head of an opening and
supporting the wall above. Common arches are
round, pointed,
The lowest or load-bearing member of a classical
entablature. Also, the moulded trim around a doorway or window.
a railing of small posts or balusters topped by a coping
usually at the edge of stairs or on a roof.
a sloping board fixed to the edge of a gable roof to
conceal the roof construction. It may be plain or decorated.
Base course:
the external cladding of the base of a building (below
ground floor level), often visually differentiated from the wall above.
a support, often angled, curved or decorative, for a
projecting horizontal member.
a window hinged on one of its vertical edges, so as to
open either inwards or outwards like a door.
a freestanding load-bearing vertical member, usually
circular in plan. In classical architecture it consisted of a base,
shaft and capital and supported an entablature.
a window with two vertical sliding sashes, one over
the other.
the lower edge of a roof, intended to direct rainwater clear
of the wall. The horizontal board is called the
eaves fascia
Projecting eaves either have exposed rafters or boxed rafters.
The covering beneath boxed rafters is the
eaves soffit
the upper triangular portion of an external wall at the end
of a doubly pitched roof. Also, used as a decorative device in a
a single member spanning horizontally over an opening.
refers to the arrangement of elements within a building
such as the proportion of ‘positive’ or solid elements such as
walls in relation to ‘negative’ elements such as windows or voids.
a contoured band used to embellish a wall or other
surface. Each style has its own typical moulding.
a wall built up higher than the line of the roof, typically to
hide the roof surface.
a solid masonry support more massive than a column, usually
square in plan.
a decorative shallow pier attached to or part of a wall as
though it were a classical column embedded in the wall.
the slope of a roof.
Pointing, tuck pointing:
the finished mortar treatment of masonry
Render / Stucco:
a thin decorative finish, typically composed of lime,
sand and other ingredients, applied to external masonry facades.
plaster, mortar or render containing pebbles or coarse
gravel to give a rough, knobbly texture to the walls.
windows placed on either side of another window or door
that are narrower than the centre opening.
the lower horizontal part of a window or door opening.
The underside of a structural component, such as a beam,
arch, staircase, or cornice.
an open area attached to a building supported by the
building on one side and posts and columns below a
on the other. Verandahs are often ornamented with a
timber or cast-iron
below the verandah beam, and/or
affixed to verandah posts.

General Guidelines
This section illustrates the fence types that were used in the
Brimbank area during the late 19th and early 20th century and is
intended as a guide when choosing a new fence that is appropriate
to a contributory house. As a general rule of thumb, new fences
should be kept as simple as possible, especially for simple buildings.
Also, only brick (or partly brick) houses should have brick and/or
cast-iron fences (appropriate to the period). Weatherboard houses
had timber picket or wire-mesh front fences.
Please note that when an original fence survives, it should be kept
(and repaired, if necessary). If only part of an original fence survives
(for example, a fence post), the original element(s) should be
retained and incorporated in a new fence of the same form.
Victorian & Edwardian houses (1890s-1915)
Timber Victorian and Edwardian houses in Brimbank had timber
picket fences of 850 to 1350mm in height, with timber posts. The
main fence posts had plain pyramidal or decoratively shaped tops.
Grander Victorian timber posts had a cast-iron cap. Intermediate
posts were usually recessed behind the pickets. Pickets generally
had square, semi-circular or pointed tops, though some of the
grander residences may have had more complex pickets.
Simple Victorian and Edwardian picket fences.
The pickets have pointed or square tops (Brimbank City Council, 2009)
Brick Victorian houses may have had cast-iron palisade fences.
Posts at gateways and between properties were either slim cast-iron
posts or timber with a decorative cast-iron cap.
A cast-iron palisade fence suitable for a brick Victorian house
(Brimbank City Council, 2009)
Interwar houses (1916-1939)
During the early interwar period (’teens and early ’twenties), simple
picket fences were still popular, with even fewer flourishes than during
the Edwardian period. They were quite low in height, up to 900mm.
A low fence to an interwar house with low, square pickets.
(Brimbank City Council, 2009)
Cyclone chain-link fencing was first
offered in the late ’teens and became
very popular for front fences by the
early 1920s. They had timber posts
and plinths and either a timber or
metal pipe top rail. Posts had square,
semi-circular or pyramidal tops.
They measured 600 to 1100mm in
height. The matching chain-link gates
had metal frames and sometimes
decorative steel scrollwork at the top.
An early chain-link fence with matching gate
(Cyclone Metal Gates & Fences, No 32, 1919)

General Guidelines
The popularity of the chain-link fences was temporarily eclipsed in
the mid-1920s by the more decorative woven wire fences, which
were 800-1100mm high. Woven wire fences in Brimbank had simple
posts, with square, curved or pyramidal tops. They had matching
metal-framed gates filled with woven wire or chain link, and often
decorative scrollwork at the top.
A popular model of a chain-link wire gate,
with simple pyramidal-top posts
(Cyclone Metal Gates & Fences, No 32, 1919)
A simple woven wire fence with pyramidal timber posts and matching gate
(Cyclone Metal Gates & Fences, No 39, 1927)
California Bungalows and 1930s houses of brick, or with prominent
brick accents (e.g., verandah supports), often had a low brick front
fence (600 to 900mm). In earlier versions, all of the varieties of
masonry used on the house went to enliven the fence. For example,
a combination of red brick, clinker brick and roughcast render.
A fine brick and render fence of the 1920s
(Brimbank City Council, 2009)
By the 1930s, most of the brick fences were of a standardised type,
with a low red or clinker brick wall often with small piers framing
bands of decorative steel. This type of fence remained popular
throughout the 1940s, as well.
Low brick fence with a geometric decorative steel inset, and matching gates
(Cyclone Metal Gates & Fences, No 45, 1933)
A woven wire fence paired with a decorative chain-link gate – a common
combination (Cyclone Metal Gates & Fences, No 48, 1937)

General Guidelines
For further information, please see Brimbank City Council’s website at, or ring 9249 4606
An appropriate historic colour scheme can be a simple and relatively
inexpensive make-over for heritage buildings. This section outlines
the paint colours and placement that were popular in the first half of
the 20th century, which building owners may wish to follow or use
as inspiration. The architectural terms used are explained in the
Glossary (Addendum 1). Another option is a historic paint analysis
by a heritage professional, to find out the precise original colour
scheme of your building.
Please note that painting over previously unpainted surfaces
is generally not permitted, as well as creating unnecessary
maintenance costs into the future. Building owners might even want
to consider restoring over-painted brick and stone surfaces to their
original appearance. While professional paint removal may seem
expensive in the short term, in the long run it can result in significant
cost savings due to not having to repaint, as well as increase the
attractiveness and value of the building.
At the turn of the century there was a rejection of the strong, muddy
colours used in the Victorian era, in favour of lighter shades. There
were two predominant colour schemes in this period: shades of
green, and cream with shades of buff or oxide red. It was also
popular to combine dark green and dark red trim.
Brick & render – left unpainted. If render has been previously
painted, recoat with a matt or textured-finish paint in shades of
cream or light grey
Weatherboards – manila, biscuit, buff, light cream or light green
Dark trim (window frames, doors frames, verandah posts, gable
brackets, gutters and downpipes, bargeboard) – deep red, olive
to Brunswick green, deep buff
Light trim (window sashes, verandah beam, frieze and brackets)
– beige, biscuit, light stone, pale cream, off-white, pale green
Doors could be either in the dark or light trim colour, sometimes
with the panels picked out in an even lighter colour
Colour schemes in the late ’teens and 1920s often consisted of
only three contrasting colours plus unpainted materials (face brick,
roughcast render and timber shingles). Timber shingles were either
left uncoated to weather to an attractive grey, or were oil stained or
creosoted in a range of shades (brown, dark green and black). Paint
colours were muted and soft, as if to blend in with a natural setting.
Appropriate schemes include:
Brick & render – left unpainted. If render has been previously
painted, recoat with a matt or textured-finish paint in light colours
such as pale grey, beige, off-white or stone colours.
Weatherboards – mid-range body colour such as warm grey,
pink-beige, light stone, fawn, beige, buff and brown.
Dark trim colour (window frames, front door and sidelight
including frames, door threshold, bargeboards to house and
verandah, triangular eaves brackets, gutters and downpipes,
modillions (curved brackets) and soffit below gable shingles)
– deep Indian red, dark brown, terracotta, medium to dark green.
Roofing (corrugated metal or concrete tiles) was often green if
green was the dark trim colour.
Light trim colour (window sashes and glazing bars, verandah
posts, lining boards of eaves soffit, verandah beam, verandah
ceiling) – cream, off-white, pale green
In the 1930s, colours used on house exteriors began to move away
from the deep, earthy colours favoured on California Bungalows.
Popular colour schemes for houses of this period include green and
cream, brown and cream, and brown and stone. Colour placement
was as follows:
Brick – unpainted
Render & weatherboards – off-white, cream, buff, stone, buff
pink, terracotta (use matt paint for render)
Trim colour (front doors, windows, eaves fascia) – apple green to
forest green, light to dark brown. Windows could also be white,
off-white, ivory, tan
Dark trim colour (gutters and downpipes) – dark colours (often
a darker version of the trim colour), such as dark green, deep
Indian red, chocolate brown
During the 1940s, and into the 1950s, house colour schemes were
generally low-key, using light, restrained colours. Appropriate colour
schemes for brick and rendered houses of the 1940s have two or
three components:
Brick – unpainted
Render – leave unpainted, or repaint using matt paint in ivory,
off-white, cream, light grey, buff
Timber elements (windows, doors, eaves fascia) – light colours
such as off-white, cream, pale green, light blue
Metal elements (gutters and downpipes) – dark colours such as
Indian red and dark Brunswick green