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

identified

in the Heritage Overlay Schedule – in Brimbank these

are in parks, street trees and at a few rural homesteads. Check

with

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

recommended:

Speak to a town planner within the Statutory Planning Unit about

planning

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

Adviser

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

application.

When preparing an application, it is important to understand the

architectural character and historical development of your building.

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,

rendering,

sandblasting

or in any other way.

•

Carry out works, repairs and routine maintenance which change

the

appearance of a heritage place or which are not undertaken

to

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.

BRIMBANK HERITAGE DESIGN GUIDELINES PART 1

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.

The terminology used in these guidelines is consistent with the

Australia ICOMOS

1999

. The

following specific definitions apply:

A

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

guidelines.

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.

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.

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

aluminium),

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 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.

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.

BRIMBANK HERITAGE DESIGN GUIDELINES PART 1

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)

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

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.

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.

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

materials.

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.

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.

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.

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

BRIMBANK HERITAGE DESIGN GUIDELINES PART 1

General Guidelines

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.

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.

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

features.

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.

Original front fences should be retained wherever possible. If

deteriorated, they should be repaired, or elements replaced in kind

where necessary.

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.

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.

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

BRIMBANK HERITAGE DESIGN GUIDELINES PART 1

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

recommended.

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.

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.

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.

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).

BRIMBANK HERITAGE DESIGN GUIDELINES PART 1

General Guidelines

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 buildings in a heritage precinct should not visually dominate

adjoining contributory buildings, or block views to their principal

elevations.

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

design.

A house with a traditional roof form and cladding materials

which fits in well with its interwar neighbours

(Brimbank City Council, 2009)

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.

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,

1989.

Australia ICOMOS,

1999.

Heritage Victoria,

Public Draft, 2007.

Gary Vines, Olwen Ford, Graeme Butler & Francine Gilfedder,

2007.

BRIMBANK HERITAGE DESIGN GUIDELINES PART 1

General Guidelines

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.

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

catchment.

means the functions of a place, as well as the activities and

practices that may occur at that place.

(Based on Apperly et al,

1989.)

usually a curved structure forming the head of an opening and

supporting the wall above. Common arches are

and

.

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.

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

.

Projecting eaves either have exposed rafters or boxed rafters.

The covering beneath boxed rafters is the

.

the upper triangular portion of an external wall at the end

of a doubly pitched roof. Also, used as a decorative device in a

parapet.

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.

the finished mortar treatment of masonry

joints.

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.

BRIMBANK HERITAGE DESIGN GUIDELINES PART 1

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.

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)

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)

BRIMBANK HERITAGE DESIGN GUIDELINES PART 1

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)

BRIMBANK HERITAGE DESIGN GUIDELINES PART 1

General Guidelines

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