44 PRESERVATION 

BRIEFS 

The Use of Awnings on Historic Buildings: 

Repair, Replacement, and New Design 

Chad Randl 

National Park Service 

U.S. Department of the Interior 

A shopkeeper rolls out an awning at the beginning of the 

workday; a family gathers under a porch awning on a 

late summer afternoon. These are familiar and compelling 

images of earlier urban and residential life in America. 

For two centuries, awnings not only played an important 

functional role, they helped define the visual character of 

our streetscapes. Yet, compared to historic photographs 

of downtowns and neighborhoods with myriad awnings, 

today's streets often seem plain and colorless. 

Throughout their history, awnings have had great appeal. 

Along with drapes, curtains, shutters, and blinds they 

provided natural climate control in an age before air 

conditioning and tinted glass. By blocking out the sun's 

rays while admitting daylight and allowing air to circulate 

between interior and exterior, they were remarkably 

efficient and cost effective. Awnings permitted windowshopping on rainy days; they protected show window 

displays from fading due to sunlight. On the primary 

facade and near eye level, they were central to a building's 

appearance. Manufacturers came up with attractive, 

attention-getting awnings featuring distinctive stripes, 

ornate valances and painted lettering and logos. With a 

wide range of color and pattern choices, owners could 

select an awning that complemented the building and get 

both style and function in a relatively affordable package 

(Figs. 1 and 2). 

In recent years, building owners and others interested 

in historic buildings have rediscovered awnings. Local 

Figure 1. Storefront awnings over sidewalks and entrances were typical features of American streetscapes for much of the 19th and 20th centuries. 

Photo of Larimer Street, Denver, Colorado, c. 1870, Denver Public Library, Western History Collection, x-22058. 

1 
Figure 2. Awnings were an easy way to dress up and distinguish 

homes of virtually any style. Image: Otis Awning Fabrics Company 

brochure, c. 1920s. 

"main street" preservation programs encouraging-and 

in some cases funding-rehabilitation work have 

helped spur the awning's return. Continued concerns 

over energy efficiency have also persuaded building 

owners and developers to use awnings to reduce heat 

gain, glare, and cooling costs. Because awnings were 

so common until the mid-twentieth century, they are 

visually appropriate for many historic buildings, unlike 

some other means of energy conservation. 

This Preservation Brief provides 

historical background 

information about diverse 

awning applications in the 

United States; suggests ways 

that historic awnings can best 

be maintained, repaired, and 

preserved; and recommends 

the varying circumstances in 

which replacement in kind, 

or new awning design may 

be appropriate for historic 

buildings. 

Historical Background 

much 'tis beaten about, betwixt the poles and crossbeams." Over the next two millennia awnings appeared 

throughout the world, while the technology used in their 

construction changed little. 

Awnings in the 19th Century 

When awnings began to commonly appear on American 

storefronts-during the first half of the 19th centurythey were simple, often improvised, and strictly 

utilitarian assemblies. The basic hardware consisted of 

timber or cast-iron posts set along the sidewalk edge 

and linked by a front cross bar (Fig. 3). To lend support 

to larger installations, angled rafters linked the front 

cross bar to the building facade. The upper end of the 

canvas was connected to the facade with nails, with 

grommets and hooks, or by lacing the canvas to a headrod bolted to the facade. The other (projecting) end of 

the canvas was draped over, or laced to, a front bar with 

the edge often hanging down to form a valance. On 

ornate examples, metal posts were adorned with filigree 

and the tops decorated with spear ends, balls or other 

embellishments. On overcast days or when rain did 

not threaten, the covering was often rolled up against 

the building facade; during the winter months proper 

maintenance called for the removal and storage of 

Awnings are remarkable 

building features that have 

changed little over the course 

of history. Records dating 

back to ancient Egypt and 

Syria make note of woven 

mats that shaded market stalls 

and homes. In the Roman 

Empire, large retractable 

fabric awnings sheltered the 

seating areas of amphitheatres 

and stadiums, including the 

Coliseum. The Roman poet 

Lucretius, in 50 B.c., likened 

thunder to the sound that 

"linen-awning, stretched, 0' er 

mighty theatres, gives forth at 

times, a cracking roar, when 

Figure 3. Early 19th century awnings featured canvas coverings stretched between the building facade 

and post-supported front bars. Projecting frameworks of extension bars were not common until later in 

the century. Photo: Second Street, Philadelphia, c. 1841, Print and Photo Collection, The Free Library of 

Philadelphia. 

2 
Awning Vocabulary 

drop 

roller window awning 

~ t, 

r jecti n 

fixed pipe frame 

head-rod 

rafter 

fixed-arm awning 

roller--.....;~ ~~?~~n?7"T:n,..,-~ 

roller 

lateral-arm awning 

.~ 

covering '-... ~'~ 

~ ~' 

/",,~~~ ,"---/ ,~- -

extended 

valance 

hood 

scissors-arm awning \ 

3 
Figure 4. This 1892 photo shows the canvas sewing room of a large 

awning manufacturer. The wide variety of custom sizes and shapes, 

and the natural shrinkage of canvas demanded considerable skill in 

measuring, cutting and sewing. Photo: The Astrup Company. 

Figure 5. During the second half of the 19th century, iron plumbing 

pipe became a popular material for fixed awning frames. Here, a pipe 

frame without its canvas cover extends around the corner of a building in Washington, D.C. Photo: Library of Congress, Prints and 

Photographic Division, LC-USZ62-121160. 

4 

awnings. Photographs from the mid-1800s often show 

the bare framework, suggesting that the covering was 

extended only when necessary. Canvas duck was the 

predominant awning fabric (Fig. 4). A strong, closely 

woven cotton cloth used for centuries to make tents and 

sails, canvas is a versatile material with a relatively short 

lifespan compensated for by its low cost. 

Awnings became a common feature in the years 

after the Civil War. Iron plumbing pipe, which was 

quickly adapted for awning frames, became widely 

available and affordable as a result of mid-century 

industrialization. It was a natural material for awning 

frames, easily bent and threaded together to make a 

range of different shapes and sizes (Fig. 5). At the same 

time the advent of the steamship forced canvas mills 

and sail makers to search for new markets. An awning 

industry developed offering an array of frame and fabric 

options adaptable to both storefronts and windows. 

Operable Awnings. In the second half of the 19th 

century, manufactured operable awnings grew in 

popularity (Fig. 6). Previously, most awnings had fixed 

frames-the primary way to retract the covering was to 

roll it up the rafters by hand. Operable systems for both 

storefront and window awnings had extension arms that 

were hinged where they joined the facade. The arms 

were lowered to project the awning or raised to retract 

the awning using simple rope and pulley arrangements. 

Because the canvas remained attached to the framework, 

retractable awnings allowed a more flexible approach to 

shading-shopkeepers and owners could incrementally 

adjust the amount of awning coverage depending upon 

the weather conditions. When the sun came out from 

behind clouds, the awning could be deployed with ease. 

In case of sudden storms, owners could quickly retract 

the awning against the building wall where it was 

protected from wind gusts. 

But the early operable awnings had their own 

drawbacks. When retracted, the covering on early 

operable awnings bunched up against the building 

facade where it was still partially exposed to 

inclement weather. (In fact, deterioration was 

often accelerated as moisture pooled in the fabric 

folds.) Also, the retracted fabric often obscured 

a portion of the window or door opening and 

unless it was folded carefully, presented an 

unkempt appearance. 

Figure 6. A 19th century shoe store in Richmond, Virginia, had an operable awning retracted against the building facade. Hinged extension 

arms were raised and lowered allowing for an 

awning configuration easily changed in response 

to weather conditions. This photo shows how 

the fabric gathered and was exposed to the elements when retracted -part of the reason roller 

awnings later became prevalent. Photo: Library 

of Congress, Prints and Photographic Division, 

LC-USZ62-99053. 
Roller Awnings. Addressing the drawbacks of the 

original hinged awning, new roller awnings featured a 

wood or metal cylinder around which the canvas was 

stored when the awning was retracted. When fully 

retracted, only the valance was visible (Fig. 7). The 

roller was usually bolted to a backboard set against the 

building and protected beneath a wood or galvanized 

metal hood. In some cases it was installed in a recessed 

box built into the facade. A long detachable handle 

(called a "winding brace"), or a gearbox and crankshaft 

attached to the building, was used to turn the roller. 

Some later models were operated by electric motor. 

Rollers, especially those on window awnings, often 

contained a spring that helped retract the awning and 

kept the canvas from sagging excessively. 

Most 19th century roller awnings had fixed arms that 

were similar to those found on the earlier operable 

awnings. The arms hinged flush to the building when 

the awning was retracted and, with the help of gravity, 

straightened out over the sidewalk when extended. 

When a storefront awning's projection exceeded its drop 

by more than a foot, its long arms were connected to 

an adjustable slide rod rather than hinged directly to 

the building facade-increasing head room along the 

sidewalk (Fig. 8). 

Shapes and Stripes. An expanded variety of available 

canvas colors, patterns, and valance shapes also 

appeared during this period. Some coverings were 

dyed a solid color; shades of slate, tan, and green were 

especially popular. Others had painted stripes on 

the upper surface of the canvas. Awning companies 

developed a colorful vocabulary of awning stripes that 

Figure 7. Early 20th century photo showing two operable awnings, 

an early version on the left and a next-generation roller awning on 

the right. The roller awning, with no side panels and just the valance 

showing, presented a clean storefront appearance. Photo: Utah State 

Historical Society, used by permission, all rights reserved. 

Vertical 

slide rod 

Figure 8. The roller bar at the top of a fixed-arm awning is cranked 

to release the fabric . As the canvas unfurls the vertical arms swing 

downward from their lower point. Because the pictured awning had 

a large projection, extending far from the building wall, the lower 

hinges were mounted on vertical slide rods affixed to the facade. 

When the awning is lowered, the bottom hinges of the arms travel up 

the slide rod to increase headroom beneath the fully extended awning. 

enhanced the decorative schemes of buildings, and in 

some cases, served as a building'S primary decorative 

feature (Fig. 9). 

The broader choice of frame and canvas options 

encouraged the reassessment of awnings simply 

as a means to provide shelter from rain and sun. 

Homeowners found that the new generation of awnings 

could enhance exterior paint schemes and increase the 

visual appeal of their homes. Manufacturers developed 

new awning shapes, colors, patterns, and hardware 

to fit different house, door, window and porch styles 

(Fig. 10). They were an affordable, quick and simple 

improvement. They also proved to be an easy means 

of capturing outside space. Homeowners could use 

awning-covered balconies, porches and patios at 

any time of day; grocery stores were able to convert 

sidewalks to outdoor display areas protected from 

sunlight and quick changes in the weather. On Main 

Street, businesses used the expanded repertoire of 

awnings to draw attention to their buildings with bright 

colors, whimsical stripe patterns and exotic scallops. 

5 
Figure 9. A wide selection of striped patterns took the awni~g 

beyond its original, utilitarian funct~on to serve as a decor~tlVe and 

appealing building feature. Photo: LIbrary of Congress, Prints and 

Photographic Division, LC-D4-62072. 

Awnings increasingly functioned as signs identifying 

the proprietor's name, goods on offer, or year of 

establishment. It was a trend that would culminate over 

a century later with awning installations in which shelter 

was secondary to advertisement (Fig. 11). 

Awnings in the 20th Century 

Awning development during the early twentieth century 

focused on improving operability. Variations in roller 

awnings addressed the need to provide an increasingly 

customized product that accomodated a wide range of 

storefront configurations and styles. 

New folding-arm awnings appeared that operated either 

vertically or horizontally supplementing the fixed-arm 

awnings developed in the latter 19th century. Vertical 

folding arms were made up of smaller hinged arms 

that crossed like scissors. Operated by gravity the arms 

extended outward pulling the covering off the roller. 

Like a fixed-arm awning, the pitch of this scissors-type 

awning varied depending on whether it was fully or 

only partially extended (Fig. 12). Somewhat different 

was the "lateral arm awning" a horizontally operating 

awning that worked like a human elbow with the spring 

action in the arms pushing outward toward the street, 

WINDOW AWNINGS 

mmmmm 

Sqnare Top. Semi-circle. Round Corners. Segment Oval 

Figure 10. The expanding awning industry manufacturered frames 

and cut fabric for every type of window and door open!ng. Th~s 

19th century catalog illustration provi~es measuring .lnstructwns to 

assure a custom fit. Awnings were typzcally set wzthln the wzndow 

opening. 

6 

21 DESIGNS FOR STORE AWNINGS 

Figure 11. A page from an early 20th century catalog shows lettering 

and signage that could be applied to commercial awnings. Image: 

Anchor Industries, Inc. 

unfurling the cover from the roller and maintaining 

tension. Lateral-arm awnings featured a shallow drop 

that remained relatively constant regardless of how far 

the arms were extended (Fig. 13). Operable awnings, 

whether fixed arm, scissors arm, or lateral arm, rapidly 

gained popularity as customers came to appreciate the 

flexibility, concealed appearance, and longer lifespan 

made possible by roller units. 

New Coverings. Slower to change was the fabric used 

to cover awnings. Canvas duck remained the common 

awning fabric during the first half of the 20th century. 

However, its tendency to stretch and fade, and its 

susceptability to mildew, and flammable materials like 

cigarettes and matches motivated the awning industry 

to search for alternatives. Shortly after World War II, 

a vinyl plastic coating that increased fade and water 

resistance was first applied to the canvas. By the 1960s, 

vinyl resins, acrylic fibers and polyester materials were 

all being used to provide a longer-lasting awning cover. 

Ironically, just when these innovations promised more 
Figure 12. Scissors-arm awnings have a pair of vertical, hinged arms 

on either side of the assembly supporting the fron t bar. To unfurl the 

awning, the roller is cranked and the arms extend outward pulling 

the cover away from the roller. 

Figure 13. Lateral-arm awnings were preferred on long elevations, especially those with sheet glass (where vertical arms could 

not be fastened to the building facade). When lateral arm awnings 

were installed across a broad storefront or porch, manufacturers recommended spacing the arms at approximately eight foot 

intervals. 

durable awnings, the fabric awning industry felt the 

impact of changing architectural fashion, the widespread 

adoption of air conditioning, and the increasing 

availability of aluminum awnings. 

Modernism dominated commercial architecture during 

the postwar era. The style's signature form-austere 

steel, glass and concrete boxes-had little use for fabric 

awnings. Colorful awnings seemed old-fashioned, 

an unwanted distraction from the smooth lines of the 

machine aesthetic. The preference, instead, was for 

perforated structural screens or brises-soleil (French: 

"breaks the sun") that integrated shading functions with 

new building forms. It was assumed that new buildings 

had no need for awnings. Widely available for the first 

time, mechanical air conditioning threatened to make the 

awning an unnecessary vestige of an earlier era. Awning 

companies fought back with arguments that traditional 

shading systems could reduce the required size and 

investment in air conditioning systems. Though 

canvas awnings continued to be used on contemporary 

buildings, new types were often selected to do the job, 

aluminum and fiberglass awnings. 

Widely available by the 1950s, aluminum awnings 

were touted as longer-lasting and lower-maintenance 

than traditional awnings. Though used on small-scale 

commercial structures, they were especially popular 

with homeowners. Aluminum awnings were made 

with slats called "pans" arranged horizontally or 

vertically. For variety and to match the building to 

which they were applied, different colored slats could be 

arranged to create stripes or other decorative patterns. 

While aluminum awnings were usually fixed, in the 

1960s several operable roller awnings were developed, 

including one with the trade name Flexalum Roll-Up 

{Fig. 14). 

Also during this period, manufactured flat-metal 

canopies were an increasingly popular feature, used in 

new commercial construction and when remodeling 

existing storefronts. They were particularly common in 

the South where shading was critical to the comfort of 

both window shoppers and store interiors. Often made 

of aluminum, the canopies could stretch across a single 

facade, or be connected to extend along an entire block. 

New Shapes. An increasing reliance upon fixed 

aluminum frames and plastic coverings spurred the 

development of new awning shapes during the 1970s 

and 1980s. Often, the awning served as a business's 

primary sign. Mansard awnings, concave awnings, 

quarter-round awnings, and quarter-rounds with 

rounded dome ends appeared with increasing frequency. 

Most had vinyl or other plastic coverings that were 

touted as being more resilient than traditional materials. 

Featuring bold lettering and colors that were often 

emphaSized by illuminating the awnings from within, 

these awnings were common on new commercial 

strips and were even popular inside enclosed shopping 

7 
centers and food courts. They were also applied, less 

successfully, to older or historic buildings where their 

shape, size, and material bore little resemblance to 

traditional awnings. 

Although the 1950s and 1960s saw the end of the 

canvas awning's ubiquity on Main Street, it remained a 

moderately popular feature of residential architecture. 

New materials and technologies such as lateral arm 

operators, acrylic fabric, and aluminum kept the awning 

relevant to the postwar ranch house and afforded an 

economical way to update older structures. Colorful 

awnings helped suburban dwellers distinguish their 

homes from other, similar, models in the neighborhood. 

Awnings Today 

Today, awnings come in a variety of shapes, sizes, frames 

and fabrics. Fixed, quarter-round, back-lit awnings with 

broad faces featuring company names, logos, phone 

numbers, and street addresses function more as signs 

than sunshades. Restaurants and other commercial 

chains use illuminated awnings with nationally 

recognized brand graphics and stripe and color patterns 

to attract customers along suburban strips. The 

triangular shed frame shape has enjoyed a resurgence 

of popularity in recent years, in many cases playing off 

nostalgia for the traditional awning. Relatively new 

"staple-in" awnings with a shed shape are commonly 

used on new commercial construction. This system has 

a welded frame of extruded aluminum with a slot on 

the outer edge. The fabric covering is pulled taut, and 

the ends are secured in the groove with galvanized steel 

staples. A vinyl trim bead covers the groove, protecting 

the fabric edges and providing a flush appearance. 

Apart from the strip mall, awnings are also reappearing 

in historic business districts and residential 

neighborhoods. In these locations, new awnings 

typically feature fixed frames or operating lateral armsboth differing little from the awnings of one hundred 

years before. Fixed-frame awnings have frames made 

of either aluminum or light-gauge galvanized or zinc8 

Figure 14. The years after World 

War II saw the widespread adoption 

of aluminum awnings on both 

storefronts and residences. Operable 

aluminum awnings incorporated a 

spring-loaded roller into the frontbar. 

coated steel pipes welded together. Frames are secured 

to building facades with clamps, z-shaped clips, and 

other hardware. Until recently, operable awnings found 

in historic commercial districts were primarily those 

with historic frames and hardware that had survived to 

the present. But new lateral-arm awnings with powdercoated aluminum frames are an increasingly common 

choice for building owners who want the convenience of 

an operable system. 

Solution-dyed acrylics and acrylic-coated polyestercotton blended fabrics are often used to replicate historic 

awning coverings. These relatively new materials 

resemble canvas in appearance and texture, yet offer 

greater strength and durability. Because acrylics are 

woven (with the stripes and colors woven directly into 

the fabric rather than painted on the surface), they are 

durable and allow light to filter through while keeping 

heat out. They dry quickly, thereby reducing damage 

caused by mildew, and contain a UV inhibitor that 

further reduces sunlight damage. Poly-cotton fabrics 

coated with a thin acrylic layer that repels dirt and 

resists abrasion are also used. Both acrylic and polycotton fabrics do not stretch or shrink like traditional 

canvas so they are generally easier to measure, cut, and 

install. 

Preserving Existing Historic Awnings 

If awnings already exist on a historic building, they 

should be evaluated to determine whether they are 

appropriate to the age, style, and scale of the building, 

using the criteria identified below. Backlit awnings 

and dome awnings are usually inappropriate for 19th 

century and other historic buildings, while aluminum 

awnings may be perfectly compatible with buildings 

from the 1950 or 60s (Fig. 15). The time is approaching 

when some aluminum awnings may even be considered 

appropriate to older buildings, if the awnings formed 

part of an updated storefront, or are central features of 

an intact postwar refashioning of the building's exterior 

(Fig. 16). 
When an existing awning is determined to be 

appropriate to the building, a program of repair 

and regular maintenance should be developed. The 

condition of its covering, hardware, connections between 

the hardware and the building, and the awning's 

operability should be evaluated. Hardware such as 

arms, rollers, and gearboxes may only need cleaning and 

lubrication. In other cases more substantial repairs by an 

awning company familiar with historic hardware may 

also be needed. 

Awning Repair and Maintenance. The best 

preservation practice is to maintain and repair historic 

features. The proper care and maintenance of existing 

awnings and canopies will extend the life of both 

hardware and covering while ensuring the safety of 

those passing beneath them. Parts for historic hardware 

can still be obtained from some suppliers, either from 

existing stock or as newly manufactured pieces. In some 

cases, new marine and boating hardware can substitute 

for missing historic awning hardware. Damaged pieces 

of the still popular galvanized pipe frames can easily 

be bent back into shape or, if necessary, replaced with 

virtually identical material. 

Figure 15. This 1950s-era dry cleaner has an aluminum awning that, 

with its vertical pattern and alternating stripes, complements the 

facade's porcelain enamel panes and aluminum mullions. The awning 

forms an essential element of the building's historic character. 

Ongoing maintenance consists of keeping all pivot 

points and gears lubricated and clean of debris. Regular 

inspections should also include checking for rust 

on the frame and hardware. Such areas should be 

promptly scraped and painted, as rust may discolor and 

deteriorate fabric coverings. When awning hardware 

is properly repaired and maintained, its lifespan can be 

significantly extended. 

Exposure to the elements and the limited lifespan 

of even new acrylic fabrics mean the repair and 

replacement of the covering will probably occur more 

frequently than work on the frame or hardware. The 

longevity of any fabric covering is largely dependent 

upon where it is installed and how it is cared for. 

Awnings beneath overhanging trees, for example, are 

vulnerable to sap, fruit, and animal droppings that 

contain acids, which can deteriorate and discolor fabrics. 

Branches, flags, banners or other objects brushing 

against an awning can abrade the awning fabric. With 

proper care acrylic fabrics on fixed awnings have 

a service life of eight to fifteen years of year-round 

exposure. 

Figure 16. These fiberglass "clamshell" awnings, although not as 

old as the 1930s building to which they were affixed, are important 

features that have acquired significance. They were retained when 

the building was recently rehabilitated. 

9 
Regular cleaning will lengthen the lifespan of any 

awning. About once a month the covering should be 

hosed down with clean water. Choose a sunny day 

so that the fabric dries quickly and thoroughly. Keep 

retractable awnings extended until they dry completely. 

The awning underside can be kept clean by brushing 

it with a household broom. Regular cleaning helps 

prevent dirt from becoming embedded in the fabric. At 

least twice a year the awning should be gently scrubbed 

using a soft brush and a mild, natural soap (not a 

detergent) and rinsed with a garden hose. Every two 

or three years, professional cleaning is recommended. 

During this process, the covering is usually removed 

from the building, washed, and treated with an 

appropriate water repellant solution. Local awning 

companies may offer this service or the building owner 

can ship the covering to a specialty awning cleaning 

firm. Depending on the frame style and fabric, some 

awnings may be cleaned without being removed. 

While most fixed awnings remain in place year round, 

they last longer if taken down at the end of the warm 

weather season. Preferably, coverings should be 

removed by an awning service that can clean them, 

restitch seams if necessary, and store them for the 

winter. Property owners removing awning coverings 

themselves need to store them in a dry place with good 

air circulation. 

If a covering begins to sag between cleanings, the cause 

(an object on top stretching the material, loose laces, a 

damaged seam) must be addressed as soon as possible. 

When other maintenance or repair work is undertaken 

on the building, it is advisable to remove fixed awnings 

temporarily, as they are easily damaged or stained by 

materials dropped from above. 

10 

Funding Awning and Canopy Work 

In some commercial districts, local "main street" 

associations, chambers of commerce, or business 

improvement district offices offer assistance for 

awning rehabilitation projects. Such organizations 

may sponsor grant programs or low-interest loan 

programs with funds that can be used for awning 

work. These initiatives, often bundled with facade 

improvement and signage programs, enhance 

the visual character of a street or neighborhood, 

encourage conformance with guidelines and 

offset what is in some cases the higher cost of 

a historically appropriate installation. When 

a building is located within a historic district, 

additional grants, loans and tax incentives may 

exist. The availability of funding assistance, in 

these cases, is usually contingent upon completing 

rehabilitation work in keeping with established 

preservation practices. 

Although more durable than in times past, awning 

covers can still develop tears and holes caused by 

ladders, falling trees, and vandalism. Fabric nearing the 

end of its service life is most vulnerable to tearing along 

the seams. Though awning companies are usually called 

to do repairs, enterprising owners can undertake some 

work themselves. If the damage is minor, repair work 

may be done while the awning remains in place. Small 

holes or tears in acrylic coverings can be immediately 

treated with a hot needle or awl that will melt the frayed 

edges and prevent the damage from spreading. Patch 

kits are available that function like band-aids, keeping 

the torn edges together. These patches, glued or sewn 

to the fabric, let the awning color show through but do 

have a semi-gloss sheen to them. Significant damage 

requires removing the covering and, usually, sending 

it to a sewing shop. There, work may include inserting 

a fabric patch, restitching seams, or replacing an entire 

fabric panel. If the awning is relatively new it is possible 

to obtain a good match between replacement and 

original material. 

Installing New Awnings 

Since fabrics are subject to weathering and deterioration 

and hardware is exposed to the elements, some awnings 

may be beyond repair. Depending on the circumstances, 

new awnings may replace deteriorated existing awnings 

in kind or be installed where awnings were once in place 

as seen in pictorial or physical documentation. In other 

instances, they may be newly installed where no awning 

previously existed, provided they are compatible with 

the historic building. Whatever the circumstances, it 

is important to select an appropriate awning shape, 

material, frame dimensions, signage (if any), and 

placement on the facade. 

If the condition of a historically appropriate existing 

awning is beyond repair, it should be used as the basis 

for selecting a replacement. When a historic awning 

is missing, owners should first look for evidence of a 

previous awning installation. Evidence can be either 

physical or documentary. The existence of surviving 

hardware-rollers and arms, gearboxes, clamps and 

other fasteners-or signs that hardware was once in 

place, such as bolt holes or recessed roller boxes-are 

the most likely forms of physical evidence (Fig. 17). 

Storefront remodeling projects often uncover concealed 

and disused awning hardware that can either be repaired 

or at least suggest what type of awning was formerly 

in place. This is especially true for awnings that had an 

operating rod, gearboxes, and perhaps motors concealed 

in recesses within the building wall. Protected from the 

elements, these items are likely to survive in repairable 

condition. Sometimes physical evidence of earlier 

awnings can be found in the basement or upper floors 

where hardware and even old coverings may have been 

stored after being removed from the facade. 

Clamps, fasteners, and bolt holes in an exterior wall can 

reveal the position, type and dimensions of a missing 
Figure 17. A gearbox, slide rod, roller, front bar, and extension 

arm reveal that this 19th century building once featured a 

retractable awning. It is likely that with minor repairs the 

surviving hardware could again be made operable, recovered with 

a canvas or acrylic fabric, and reused to service the storefront. 

awning installation. Fittings or other marks on the side 

of the entrance or windows, for example, suggest that a 

fixed-arm awning was present rather than a lateral-arm 

awning. Gearboxes point to a retractable rather than a 

fixed awning. 

Historic photographs and drawings are a primary 

documentary resource used to determine an earlier 

awning configuration. Photographs have the added 

benefit of providing information about the covering, 

such as stripe pattern, valance type, and lettering. When 

old photographs indicate that the historic character of a 

building was defined in part by distinctive awnings, it 

is appropriate to install new awnings that replicate their 

appearance (Fig. 18). If there is evidence that awnings 

were once present but no information about their color 

or signage is available, a color should be selected that is 

in keeping with the historic character of the building and 

district. 

Where no awning currently exists, and there is no 

evidence of a past one, it may still be possible to add an 

awning to a historic building without altering distinctive 

features, damaging historic fabric or changing the 

building's historic character. A new awning should 

be compatible with the features and characteristics 

of a historic building, as well as with neighboring 

buildings, or the historic district, if applicable. Historic 

photographs of similar neighboring buildings with 

awnings, can also be helpful in chOOSing an appropriate 

installation. When selecting and installing a new 

awning, a number of other factors should be considered: 

shape, scale, massing, placement, signage, and color. 

Shape. Traditionally, both residential and commercial 

awnings were triangular in section, usually with a 

valance hanging down the outside edge (Fig. 19). 

Early examples of these "shed" awnings had simple 

Figure 18. (Above) When the county clerk in Morgan County, 

West Virginia, was looking to reduce glare in the courthouse 

offices she located a 1940s photo showing sets of awnings on the 

first floor. (Below) Using the historic photos as a guide, new 

awnings with a similar shape and stripe pattern were installed 

increasing the comfort of employees and protecting county records 

from direct sunlight. Above photo: Frances Widmeyer and Debra 

Kesecker. 

11 
frameworks consisting of pipes or planks angling out 

from the building facade and supported on posts. Early 

retractable versions continued this triangular form. 

New awning shapes appeared in the later 19th century 

to accommodate the expanding variety of door and 

window configurations. Casement window awnings 

were box-like in shape to accommodate the outward 

swing of the vertical sash. Window openings with 

arched tops, such as those found on Italianate houses 

and commercial buildings, were often shaded by 

awnings with matching tops. 

Generally, traditional shed awnings are appropriate for 

most historic window, door, and storefronts installations. 

It is preferable (and in some historic districts, required) 

that these awnings have free-hanging valances, the 

flapping bottom pieces so characteristic of historic 

awnings. Quarter-round awnings, modern mansard 

awnings, and other contemporary commercial designs 

with distended, fixed valances have no precedent in 

traditional awning design and are usually inappropriate 

for historic buildings (Fig. 20). 

Likewise, staple-in systems are not recommended for 

historic buildings. One of the distinctive features of a 

staple-in system is an exceptionally taut and wrinkle-free 

appearance; indeed, this is a chief appeal of the system 

when applied to new construction. Historic awnings, 

however, were either retractable or built with a covering 

laced onto a frame. Both forms had a fair amount of 

give in the fabric. Staple systems, especially those with 

long valances, usually present an appearance more 

suited to newer construction. While not recommended 

for installation on most historic buildings, they may be 

suitable for infill construction within a historic district. 

Scale, Massing, and Placement. Because their primary 

purpose was functional rather than decorative, awnings 

were traditionally installed only where necessary. 

Window awnings were most commonly found on 

building elevations with southern exposures in the 

northern areas of the United States and on elevations 

with both northern and southern exposures in the 

southern United States. They were also found on east 

and west elevations, and sometimes just on selective 

windows. Retractable awnings were originally more 

common in northern climates where awnings required 

additional protection from extreme weather conditions. 

The design of a particular commercial building 

influenced the placement of its awnings. Some 

storefronts with traditional glass transoms had 

the awning placed below the transom, others, had 

the awning installed above the transom. On both 

commercial and residential buildings, awnings were 

only wide enough to cover the window openings that 

they sheltered; a single awning rarely covered two or 

more bays (Fig. 21). On storefronts, they were not higher 

up on the building facade than was necessary to shade 

the entrance and display window. Thus, it is important 

12 

Figure 19. Simple shed-type awnings with acrylic or canvas 

coverings and free-hanging valances are appropriate for most historic 

residences featuring rectilinear openings. 

Figure 20. A dome awning was an inappropriate addition to this 

circa 1890s building. In order to qualify for historic tax credits 

the new vinyl awning was replaced with a shed awning with a 

canvas-like woven acrylic covering. 

Figure 21. Single awnings should not be set over more than one 

door or window bay. A separate shed awning with a canvas or 

acrylic covering would be more appropriate over each of these 

openings. 
when installing new awnings on historic buildings to 

ensure that the covering not obscure the building's 

distinctive architectural features (Fig. 22). Also, new 

awning hardware should not be installed in a way 

that damages historic materials. Clamps and fasteners 

used to attach awning frames should penetrate mortar 

joints rather than brick or other masonry surfaces. If 

new backboards and rollers are installed, care needs to 

be taken not to damage cornices or transoms. Finally, 

awning placement, size, and shape must be compatible 

with the historic character of the building (Figs. 23 and 

24). 

Material. Historically, awnings were covered with 

canvas that was either solid in color or painted with 

stripes. During the second half of the twentieth century 

canvas fell out of favor and was superceded by vinyl 

and other synthetic textiles. For various reasons 

-particularly its reflectivity and texture-vinyl is 

generally an unsuitable material for awnings on historic 

buildings. Many historic review commissions note the 

inappropriateness of vinyl in their guidelines and call 

for the use of canvas, canvas blends, or acrylics that 

resemble canvas. 

Figure 22. These window awnings today match what would 

have appeared in the 19th century. The fabric is slightly loose 

on the frames, the valances hang freely, each window bay has its 

own awning, and the awning frames are set within the openings. 

Photo: Mike Jackson. 

Weather-resistant acrylic fabrics such as solution-dyed 

acrylic and acrylic-coated polyester-cotton approximate 

the historic look of canvas coverings, yet afford a new 

level of durability, color-fastness, and ease of use. 

Quality poly-cotton coverings may be more appropriate 

in some cases because, like traditional awnings, the 

colors and stripes are painted directly on the upper 

surface, while the underside remains a pearl gray color. 

Signage. In addition to sheltering shoppers and 

merchandise, and reducing glare and temperatures, 

awnings on commercial buildings offer valuable 

advertising space. Photographs from the mid-19th 

century show a wide range of lettering and logosbusiness names, types of trade (hosiery shop, telegraph 

house), street numbers-on the sloped coverings and 

side flaps of awnings. The most common placement 

of a shop proprietor's business name or service was on 

the valance hanging down from the awning edge. The 

front valance provided a flat surface visible whether the 

awning was retracted against the building wall or fully 

extended (Fig. 25). Many establishments, however, left 

their awnings unadorned without any lettering. 

Figure 23. This postwar aluminum awning does not contribute to 

the character of this 19th century residence and could be replaced 

during a rehabilitation project with a fabric shed awning more in 

keeping with the building's age and appearance. 

13 
Figure 24. This awning, extending across much of the building, is 

incompatible in shape. Of greater concern, however, is that its size 

wholly overshadows the modest historic building behind. 

Figure 26. The green and burgundy stripes that decorate these 

porch awnings complement the matching shutters and brick 

facade . 

designs embellished building facades like a necktie or 

scarf does a suit. The vibrancy they lent to city streets 

and neighborhoods is part of the history of these 

environments and similar results can be achieved today 

as well. 

Awning and Canopy Regulation 

Figure 25. Appropriate lettering, as on this roller awning valance, 

can function as distictive signage without detracting from the 

historic character of the building. 

Because commercial awnings often extend into the 

public right-of-way, municipal building departments 

usually regulate their use. Regulations specify 

construction type (materials and dimensions of framing 

members, the use of flame-retardant fabrics), minimum 

height above the sidewalk (usually between seven and 

ten feet), minimum distance between the projecting 

edge and the curb (usually between one and two feet), 

and maximum projection from the building wall. Today creating large lettered signs on a new awning 

as part of a rehabilitation project requires special care 

and is not appropriate in all cases. Used long before 

Such regulations are meant to ensure that awnings are 

securely built, do not pose a threat to pedestrians, and 

any local signage control, historic 

examples of such lettering often 

reflected the character of a district, 

with more upscale retail areas, for 

example, being more reserved than 

wholesale districts. Contemporary 

awning lettering can add visual 

interest and commercial identity but 

should be designed in keeping with 

the historic character of a building 

and its historic district. 

Color. As in the past, variety in 

awning color is an appropriate 

characteristic when reintroducing 

awnings in historic districts. 

Since the 19th century, awnings 

have featured a range of different 

stripe patterns and an extensive 

color palette (Fig. 26). These 

lively, even whimsical, 

14 

Awnings 

The eanvu awn.na was 1n.mpol"tM& de.- Itlement III dtt tradlbonal rtore&oat. It 

proVided Jbelttr fOC' pedestnanI frocr:a N'lllld.-.n. added color. and acted al. 

IrAJlhtl.on betw'l!en the store&otIl Md the uppf!r" facade The awruna can alto be used 

••• locatlonforbuildinc ...... 

lfan awtbtl&lIto beuaed. a ~ mowdnd"on.t the &ame: of the .tore&ont.opeIWI&. hsbou&dbe liltldu:d below the 

.tMtfi'om ComK:t or AF p-a and .bou&d oct cover the PIers on erther ado oft:be ston:fi-orc. 'Ihe Nndard Jtreet level tI'WnIIlg 

. hould be momted NCb m.t lIb'-':e • lIJIPI'o:lattlate1y .even feet &om the buildlns. 

Th.e awnma can abo be • usdiJI tooIlO disgtue Jll.3IPpropnate .torefrom ah:cnboos wbiIc ~ the fA'opotboDs of tile 

traddlonal ctouftom. 

Awnmp are .., ..... 1O.even!l mIItenab lind colon ofvaryv\& con and dwaWity 'They we also av.a.bIe III • ~ty of 

pro6!e. Hownt!r. the 1nrdiibonai commen:taIlt'N1l1t1& rnatenllu canvu and It. profile is cbe watenht<I dettIJl- Other profile. 

tend to be too c~onry when placed oa • tradlbonal facade 

A WIlItl& color Ih<dd be .elected to.mn comp1ltibihty Wltb yow buiJdq lind web. the cokor of~ buiJdmp 

Signnge 

SI&fl.S .re Important to the JtOft owner for reasons <4 advenulf'l&, IdetJI;Iy • ..0 II'I'UIp Ju chey we MIl extremely 9U:ibIe e1emetlt: 

of the nore&ont.lIFI~beO*ed c8l"efuly so as not to cktract &om fa.cadu We.1iaSe ~and cardUlpUawoa. 

'1&09 can e.mbnu:e oeba-lCore ownen needllnd R.lpoo"1marF 

Placement 

Storefronu JhoukI be limited to two ... 4 one pnrruII'y .ad one .eeondary 1be pnm.tII'J ... thould be k>caud abo~ 

storefront cUpa, WIndows but belo. the an. of.econd Boor wmdo_ Ou many~. oftum-of-the-cmnwy buildin,p • 

conbnUOU. bnck 1edae or corbeIirIa IS used to sep .. ate the .eeond Boor and aboow from the stonfi"ont below Ths space IJ 

.. I 

-- ..:..=':::" 

Figure 27. Local historic district commissions and neighborhood improvement associations often 

publish awning guidance on their websites. Image: Ripon Main Street, Inc. 
are not at risk from widely-loaded trucks. Lettering, 

color, and the relationship to adjacent awning designs 

may also be subject to building department review and 

approval. 

Awning work on buildings located in historic districts 

will likely be reviewed by a historic district commission 

(HDC). HDCs may also review grant applications 

and recommend approvals for facade improvement 

programs, where such programs are in place. Though 

commissions look at projects on a case-by-case basis, 

many have established guidelines that address general 

issues and local concerns relating to awnings and 

canopies (Fig. 27). Often, local design guidelines are 

modeled upon The Secretary of the Interior's Standards 

and Guidelines for Rehabilitating Historic Buildings. 

These standards set forth principles meant to ensure 

that new elements are added sensitively, do not damage 

historic fabric, and are compatible with the historic 

character of the building. 

Summary 

Like all exterior building features that are subjected to 

snow, rain, sunlight, wind, and pollution-awnings 

need regular attention. Covered even with modern 

materials, they require maintenance, repair, and 

eventually replacement. Awnings are often the first 

feature to be altered when historic buildings change 

owners or uses. They often have a significant role in 

contributing to the historic character of a building. It is 

important that owners, architects, engineers, historians, 

and others consider this when planning work on a 

historic building. 

Awnings and the Sun 

Although their effectiveness can be affected 

by many factors including location, climate, 

window size, and glass type, the energy efficiency 

advantages of awnings are clear. According to the 

Department of Energy, awnings can reduce heat 

gain up to 65% in south facing windows and up 

to 77% on windows facing east. Awnings reduce 

stress on existing air conditioning systems, and 

make it pOSSible to install new HVAC systems 

with smaller capacity, thus saving purchasing and 

operating costs. Air conditioners need to work less 

hard, less often. When used with air conditioners, 

awnings can lower the cost of cooling a building 

by up to 25%.1 

Awnings offer a number of benefits to owners of 

historic buildings. Awnings can make unnecessary 

a host of other alterations made to buildings in 

the name of energy efficiency. Awnings provide 

nearly comparable glare reduction and reduced 

heat-gain as tinted windows or window films, 

yet are in keeping with the historic appearance 

of a building facade. They help protect historic 

windows and storefronts, and allow windows to 

remain open, and cool air to circulate, even during 

inclement weather. In warm climates, they reduce 

the need to replace existing windows with new 

insulating glass units for the purpose of energy 

conservation. 

Awnings were reinstalled on the east, west, and south 

windows of the Florida State Capitol in the 19808. With 

a design based on those seen in historic photographs of the 

building, the new awnings allowed a downsizing of the 

HVAC system by 25 tons. After installation, the exposed 

glass surface in a typical first floor office accounted for only 

46% of the required cooling load, down from 72%. Photo: 

Division of Historical Resources, Florida Department of 

State. 

15 
Selected Bibliography 

American Society of Heating, Refrigerating and AirConditioning Engineers, Handbook Chapter 30: 

Fenestration, Atlanta: ASHRAE, 2001. 

Chandler, Ernest, Awnings and Tents: Construction and 

Design, New York: Ernest Chandler, 1914. 

"Fusion of Old and New," Fabrics and Architecture, 

September/October 1994, 42-45. 

Muckenfuss, Laura A. and Fisher, Charles E., 

Preservation Tech Note, "Windows Number 7, Window 

Awnings" Washington, D.C.: National Park Service, 

U.S. Department of the Interior, and Georgia Institute of 

Technology, 1984. 

1" Awnings Back in Style," Traditional Building, January / 

February 1997, 76. 

Acknowledgements 

Morenberg, Steve, "Awnings Through the Ages," 

Industrial Fabric Products Review, September 1993. 

U.S. Department of Energy, Cooling Your Home Naturally, 

Office of Energy Efficiency and Renewable Energy 

Factsheet, DOE / CH10093-221, October 1994. 

White, Anthony G., Awnings, Canopies and Marquees: A 

Selected Bibliography, Vance Bibliographies, Architecture 

Series: Bibliography #A, 1986. 

Chad Randl is an Architectural Historian with Technical Preservation Services, Heritage Preservation Services Division, National 

Center for Cultural Resources, National Park Service, in Washington, D.C. 

The author wishes to thank the following for their assistance in the preparation and review of this brief. 

Scott Massey of Awning Cleaning Industries; Walter L. Conine of John Boyle & Company, Inc.; Jacob I. Luker of Muskegon 

Awning; Steve Morenberg of Reeves Brothers, Inc.; Karen Musech of the Industrial Fabrics Association International; Robert 

Montgomery of Montgomery Shade & Awning, Ltd.; Michelle Capek of the Astrup Company; Bruce N. Wright of Fabric 

Architecture; Lincoln H. Christensen of Anchor Industries, Inc.; Mike Jackson, FAIA, of the Illinois Historic Preservation Agency; 

Stephen Stowell of the Lowell Historic Board; and Sharon C. Park, FAIA, Michael J. Auer, Kay D. Weeks, Anne Grimmer, Lauren 

Van Damme, and Charles E. Fisher of Heritage Preservation Services, National Park Service. 

Front cover image: Anchor Industries, Inc. 

This publication has been prepared pursuant to the National Historic Preservation Act, as amended, which directs the Secretary 

of the Interior to develop and make available information concerning historic properties. Comments about this publication 

should be directed to: Charles Fisher, Technical Publications Program Manager, Technical Preservation Services, National Park 

Service, 1849 C Street, NW, 2255, Washington, DC 20240. <www.cr.nps.gov / hps / tps> This publication is not copyrighted and 

can be reproduced without penalty. Normal procedures for credit to the author and the National Park Service are appreciated. 

Unless otherwise indicated, photographs are by the author. Excepting the author's photos, the photographs used in this 

publication may not be used to illustrate other publications without permission of the owners. 

ISSN: 0885-7016 

U.S. Government Printing Office: 2004 024-005-01222-2 April 2005 

16