Homeowners Insurance for Historic Buildings: The Concept and Importance Explained Simply

Building design
A striking urban scene on the topic of residential building insurance and historic preservation
View from below of a striking wooden structure – architectural photography by gunnarridder

Owning a historic building means bearing responsibility for a piece of architectural history. This responsibility has a financial dimension that many owners do not fully grasp until damage occurs: Building insurance for historic structures follows its own rules, because the restoration of historic buildings simply cannot be covered by conventional insurance policies. Those who understand the specifics of building insurance for historic structures are not only protecting their property but also the cultural heritage it embodies.

  • What Building Insurance for Historic Structures Means and Why Standard Policies Are Insufficient
  • What specific risks and cost drivers arise with historic buildings
  • How to correctly determine the insured value of historic buildings
  • Which types of insurance and coverage modules are relevant for historic buildings
  • What role historic preservation authorities and restoration requirements play in claims settlement
  • How underinsurance arises and how it can be reliably avoided
  • What typical exclusions and pitfalls lurk in historic building insurance policies
  • How owners, insurers, and historic preservation authorities collaborate in the event of a claim

What “historic preservation building insurance” means: Definition and scope

Historic preservation building insurance refers to a form of residential or building insurance tailored to the specific requirements of historic properties. It differs from a standard policy for new construction or conventional existing buildings in several fundamental ways: in the insured value, in claims settlement, in the recognized restoration costs, and in dealing with regulatory requirements. Historic preservation is not a voluntary category, but rather an official classification by the competent local historic preservation authority, which enters the building into the official list of historic monuments and thereby triggers certain preservation obligations and permit requirements.

A historic monument is a building or part of a building that is of public interest for preservation for historical, artistic, scientific, or urban planning reasons. The legal basis is provided by the historic preservation laws of the individual federal states, as historic preservation in Germany is a matter for the states. The specific scope of protection, permit requirements, and restoration mandates therefore vary considerably from state to state. What is considered an intervention requiring a permit under historic preservation law in Bavaria may be assessed under different conditions in North Rhine-Westphalia. For building insurance covering historic preservation, this legal fragmentation means that each policy must take into account the specific requirements of the relevant state’s laws.

The key difference from standard building insurance lies in the restoration requirement. While fire damage to a modern building can, in principle, be repaired using standard market materials and contractor services, historic preservation law requires that, in the case of a registered historic building, the historic substance, materials, craftsmanship, and exterior appearance be restored as faithfully as possible to their original state. This drives restoration costs far beyond what a comparable new building would cost. Building insurance that does not cover these additional expenses leaves the owner with a significant funding shortfall in the event of a claim.

Specific Risks and Cost Drivers Associated with Historic Buildings

Compared to modern buildings, historic structures have a number of characteristics that systematically increase the insurance risk and the cost of damage. First, the building structure itself is a factor: Historic structures made of half-timbering, natural stone, clay, hand-molded bricks, or historic cast iron cannot simply be replaced with industrially manufactured standard products in the event of damage. Restoration requires craftsmen with specific knowledge of historical building techniques, whose services are significantly more expensive than conventional construction work. Specialists in stucco restoration, historical carpentry, natural stone work, or art glass restoration are rare, and their hourly rates are correspondingly high.

Added to this are the material costs. Historic bricks in specific sizes, natural stone from specific quarries, handcrafted roof tiles in historic shapes, or leaded glass windows based on historic models are custom-made or niche products that are considerably more expensive than standard building products. In the case of roof damage to a historic building with hand-painted plain-end tiles laid in a traditional pattern, the material value alone can be many times that of a comparable standard roof. This circumstance must be explicitly taken into account in building insurance for historic preservation, as otherwise the sum insured will systematically be set too low.

Another cost driver is the heritage preservation approval process itself. Before restoration can begin, it is usually necessary to coordinate with the historic preservation authority, engage experts, and obtain permits. These processes take time, during which the damaged building must be secured and temporarily protected. The costs of emergency stabilization measures, long-term scaffolding, expert reports, and coordination with authorities are also covered under a good historic preservation insurance policy, whereas they are often excluded or capped in a standard policy.

Finally, issues related to hazardous materials play a role, as these occur more frequently in historic buildings than in new construction. Lead-based paints, asbestos insulation from certain construction eras, tar-based wood preservatives, or contaminated soil can result in significant disposal costs during renovation work following damage—costs that are not covered by insurance without specific coverage.

Insured Value and Underinsurance: The Central Problem with Historic Buildings

The most serious problem with building insurance for historic structures is underinsurance. Underinsurance occurs when the agreed-upon sum insured is lower than the actual insured value of the building in the event of a loss. Under German insurance law, underinsurance results in the insurance benefit being reduced proportionally in the event of a loss, based on the ratio of the sum insured to the actual insured value. Someone who has insured their historic building for one million euros, even though the actual restoration value is two million, will receive only half of the claim amount in the event of a total loss.

For historic buildings, accurately determining the insured value is particularly difficult because the standard benchmark—namely, the replacement cost of a comparable building constructed to current building standards—does not apply to a historic building. The relevant value is the restoration value in accordance with historic preservation regulations—that is, the costs incurred when the building is restored after damage, preserving its historic substance using historic materials and techniques, while complying with all historic preservation requirements. This value is structurally higher than the replacement cost of a comparable modern building and must be determined by a qualified appraiser.

For the valuation of historic buildings, experts recommend engaging a publicly appointed and sworn expert in building damage or historic preservation, who determines the restoration value based on a detailed survey of building components and a cost estimate calculated using historical labor rates and material prices. Some insurers also offer their own valuation procedures as part of their historic preservation policies or collaborate with specialized appraisal firms. It is crucial that the sum insured be reviewed regularly—at least every five to ten years—and adjusted to reflect changes in construction prices, as labor and material costs for historic construction techniques can rise more sharply than general construction price indices.

Many insurers offer a so-called “waiver of underinsurance” clause for historic preservation building insurance. This clause means that, in the event of a claim, the insurer waives the right to raise the defense of underinsurance, provided that the sum insured was determined according to an agreed-upon method. For owners of historic buildings, such a clause is of considerable value, as it shifts the risk of miscalculating the insured value to the insurer, provided that the valuation was conducted correctly and documented.

Types of Insurance, Coverage Modules, and Relevant Risks

Historic Preservation Building Insurance is not a separate type of insurance in the legal sense, but rather a specialized form of residential building insurance or commercial building insurance, depending on the use of the historic building. The classic perils covered by building insurance are fire (fire, lightning, explosion, implosion), water damage (burst pipes, freezing), storm, and hail. These basic risks also apply to historic buildings, but must be combined with coverage extensions specific to historic buildings.

Among the most important coverage components of historic preservation building insurance are, first and foremost, the additional costs resulting from regulatory requirements. This component covers the additional costs incurred because the historic preservation authority mandates certain materials, techniques, or construction methods during restoration following damage, which are more expensive than a conventional repair. Without this component, the insurance would only reimburse the costs of a standard repair, while the owner would have to bear the additional costs resulting from historic preservation regulations themselves.

Equally important is coverage for expert and appraiser fees. In the event of damage to historic buildings, restorers, historic preservation specialists, structural engineers, and damage assessors often need to be consulted prior to restoration, and their fees can be substantial. A good historic preservation insurance policy includes these costs in its coverage. In addition, there are costs for archaeological investigations that may arise during excavation work as part of damage remediation, as well as costs for documenting the property’s condition before and after restoration, which historic preservation authorities often require.

For buildings with particularly valuable interior features—such as historic murals, stucco work, inlaid floors, leaded-glass windows, or handcrafted fixtures—it is advisable to obtain separate art insurance or to add an “art clause” rider to your building insurance policy. Although such interior elements are legally considered part of the building, their restoration value often exceeds what standard building insurance—even in its extended form—covers. The line between a building component and a movable work of art is not always clear and should be clearly defined in the insurance contract.

The Role of the Historic Preservation Authority in the Event of Damage

In the event of damage to a historic monument, the historic preservation authority is not a subordinate body but a key player that exerts significant influence over the process and costs of restoration. The Historic Preservation Act requires the owner to immediately report damage to a registered historic building to the competent authority and to obtain approval under historic preservation law before beginning restoration work. Only in emergencies—that is, in cases of immediate danger to life and limb or to prevent further serious structural damage—may action be taken without prior approval, although even then, subsequent coordination is required.

In its permit, the authority specifies which materials, techniques, and construction methods are to be used during restoration. It may require that original bricks be salvaged, cleaned, and reused; that wooden beams be hand-hewn according to historical models; that plaster surfaces be finished using historical mortar recipes; or that windows be custom-made based on historical drawings. All of these requirements increase costs and extend the construction period, but they are legally binding and cannot be circumvented by presenting economic arguments to the insurer.

For claims settlement, this means that insurers and property owners must seek coordination with the historic preservation authority at an early stage in order to realistically estimate the anticipated restoration costs. Experienced insurers specializing in building insurance for historic preservation are familiar with these processes and often have their own claims adjusters who have experience with procedures under historic preservation law. When selecting an insurer, property owners should ensure that the insurer has proven experience with historic preservation claims, as settling a fire damage claim for a 16th-century half-timbered house requires fundamentally different expertise than settling a water damage claim in a new building.

Typical Exclusions and Pitfalls in Historic Preservation Insurance

Even specialized building insurance policies for historic buildings contain exclusions that owners need to be aware of. A common exclusion pertains to damage caused by a lack of maintenance. The Historic Preservation Act requires owners to maintain their historic buildings in proper condition. Insurers may deny or reduce coverage if it can be proven that damage was caused by or significantly exacerbated by a failure to perform maintenance. Roof damage resulting from years of neglected roofing is not covered—or is only partially covered—by many policies. Owners of historic buildings are therefore well advised to carefully document maintenance measures.

Damage caused by moisture and mold is excluded from most building insurance policies unless it results from an insured event such as water damage from pipes or storm damage. In historic buildings with solid masonry, missing or inadequate horizontal waterproofing, and vapor-permeable wall structures, moisture is a structural issue that, under insurance law, is considered a maintenance problem rather than an insured event. Owners should be fully aware of the limits of their policy and, if necessary, consider adding supplementary coverage modules.

Natural hazards such as flooding, landslides, ground subsidence, or earthquakes are not included in standard building insurance and must be added as a separate natural hazards insurance policy. This coverage is particularly essential for historic buildings located along rivers, on slopes, or in areas with known soil risks. The restoration costs following flood damage to a historic building can be significantly higher than those for a comparable modern building due to historic preservation regulations, drying requirements for historic masonry, and the need for historic materials to repair the damage.

Another pitfall concerns vacancy. Many insurers limit or exclude coverage if a building stands vacant for a certain period of time, often three to six months. Vacancy is not uncommon for historic buildings undergoing extensive renovation or awaiting a new occupant. In such situations, owners must inform their insurer and, if necessary, agree to a vacancy surcharge or separate vacancy insurance, as otherwise coverage may lapse in the event of a loss.

Historic Preservation Building Insurance in the Context of Responsible Heritage Conservation

Building insurance for historic preservation is not a bureaucratic formality associated with owning a historic building, but rather an integral part of responsible historic preservation. Anyone who acquires or owns a historic building assumes a duty of preservation that goes beyond private property interests. In return, the state provides benefits in the form of tax breaks, subsidy programs, and advisory services from historic preservation authorities. Insuring the building against damage that could jeopardize its structural integrity is one of the fundamental obligations that align with this responsibility.

A inadequately insured historic building that cannot be fully restored after fire damage because the insurance payout is insufficient represents a loss for society, not just for the owner. Listed buildings cannot be replicated. If a historic 17th-century roof truss burns down and cannot be restored true to the original because the insured value was too low, an irreplaceable part of our cultural heritage is lost. This awareness should guide the decision to obtain appropriate building insurance for historic preservation.

In practical terms, this means that for owners, choosing the right insurer requires more care than for a standard building. Not every provider of building insurance has the expertise to properly insure a historic building. Specialized insurers and brokers who focus on historic buildings and monuments are familiar with the requirements of historic preservation laws, the unique aspects of traditional craftsmanship, and the valuation methods necessary for proper coverage. Regularly reviewing the insured value, carefully documenting the building’s condition and the maintenance measures carried out, and coordinating closely with the historic preservation authority are not burdensome obligations, but rather the foundation for ensuring that a historic building remains, even after severe damage, what it is: an irreplaceable testament to architectural history.

YOU MAY ALSO LIKE

Apply now! – Textile & Craft Award is presented by the European Textile Academy

Building design
Apply now! - Textile & Craft Award is presented by the European Textile Academy. Photo: ttps://eurotextileacademy.com

Apply now! - Textile & Craft Award is presented by the European Textile Academy. Photo: ttps://eurotextileacademy.com

The European Textile Academy (Bolzano) has launched the EUROPEAN TEXTILE & CRAFT AWARD to recognize special achievements in contemporary and traditional crafts and arts and their connection to the world of design. Take part!

The European Textile Academy (Bolzano) has launched the EUROPEAN TEXTILE & CRAFT AWARD to recognize special achievements in contemporary and traditional crafts and arts and their connection to the world of design. Take part!

Consumption is increasingly taking ecological and social-ethical aspects into account – all the more so as the range of products on offer becomes more diverse, cheaper and lower-threshold. “Better instead of more” is the principle of slowing down, living and consuming more mindfully and consciously. The European Textile Academy has created the EUROPEAN TEXTILE & CRAFT AWARD to recognize special achievements in contemporary and traditional crafts and art professions and their connection to the world of design. The ETA Award stands for creative and trend-setting solutions in the global market.

The jury recognizes pioneering achievements in innovative products, taking sustainable criteria into account. The materials used and innovative natural fibers, aesthetic and functional design, processing quality and resources, environmentally friendly production and social and ethical aspects are key criteria for the award. The award is proof of the outstanding quality of the product and a reliable seal of quality for consumers and manufacturers. Participation is possible in award categories. Interested parties can submit their application in a category that appears to be advantageous for them.

The award categories are:

  • Textile Craft (textile crafts in the fields of weaving, dyeing, knitting, embroidery, upholstery, textile printing, millinery, etc.)
  • Sustainable Fashion Craft (fashion crafts, custom tailoring)
  • Sustainable Fashion & Textile Industry (sustainable industrial processing in women’s and men’s fashion and in the textile industry)
  • Textile Art (textile art, exhibition installations, etc.)
  • Textile Architecture (textile constructions, architecture of buildings of all kinds (public buildings, sports facilities, industrial and corporate buildings, residential buildings, museums, hotels, etc.)
  • Textile shading systems (textile shading systems, tent constructions, etc.)
  • Architecture with Natural Fibres (contemporary architecture with fibers, e.g. hemp, flax, straw, bamboo, willow, bark and renewable plant fibers)
  • Interior (home fabrics and carpets, upholstered furniture, upholstered beds and home accessories, textile printing, indoor and outdoor)
  • Hospitality (the award recognizes hotels, inns, etc. that have recognized the quality of textile furnishings in all guest areas for their competitiveness)
  • Museums, Collections & Archives (the aim of this award is to recognize outstanding museum, collection and archive activities and the quality of museum presentation and mediation work as well as the efforts to preserve “textile” in all its areas as a cultural asset and make it accessible to a broad public)
  • Other (Textile topics not included in the above categories, application on request).

The award-winning projects and products will be exhibited at the Int. Festival of Textile Craft, Textile Art & Design from March 15 to 17, 2024 at Maretsch Castle in Bolzano. An award at the European Textile & Craft Award generates attention and increases visibility. The ETA AWARD 2024 is proof of the outstanding quality of the product and a reliable seal of quality for manufacturers and customers.

Registration and submission: within October 21, 2023

Jury meeting: November 9 and 10, 2023

Publication of the award winners: December 2023

Gala award ceremony: Friday, January 12, 2024 at the Waltherhaus in Bolzano

The European Textile & Craft Award is decided by an independent international jury of experts made up of representatives from colleges, universities, crafts and industry, art and culture. The members of the jury include couturier Gaetano Aloisio, Moritz Dörstelmann, Professor of Digital Design and Communication at KIT Karlsruhe, art historian Ursula Schnitzer and Aurora Magni, President of Blumine srl, a research and consulting company active in the field of sustainable textiles and fashion since 2010, as well as Dr. Ute Strimmer (Editor in Chief Restauro).

The jury will select “Award” winners in each category, as well as an appropriate number of “Silver” winners. In addition, “Special Mention” awards are presented for particularly noteworthy achievements. The evaluation criteria are: Overall concept, aesthetic and functional design, processing quality, processed material or fibers, sustainability, materials used and innovative natural fibers, aesthetic and functional design, processing quality and resources, environmentally friendly production as well as social-ethical aspects are essential criteria for awarding the award. The manufacturing industry, designers, craftspeople, artists, architects, universities and research institutions, museums, collectors, archives, hotels and restaurants are all eligible.

Registration for the award takes place exclusively via the registration portal of the European Textile Academy (www.eurotextileacademy.com)

"We are all Detroit" portrays the development of the cities of Bochum and Detroit after the withdrawal of the car industry. (Photo: Film production Loekenfranke 2021)

"We are all Detroit" portrays the development of the cities of Bochum and Detroit following the withdrawal of the car industry. (Photo: Film production Loekenfranke 2021)

We are all Detroit: The film “We are all Detroit” will be released in German cinemas on May 12, 2022. Directors Ulrike Franke and Michael Loeke portray the development of the two cities of Bochum and Detroit following the withdrawal of the automotive industry.

We are all Detroit: The film “We are all Detroit” will be released in German cinemas on May 12, 2022. Directors Ulrike Franke and Michael Loeke portray the development of the two cities of Bochum and Detroit following the withdrawal of the automotive industry. More about “We are all Detroit” here.

Bochum in North Rhine-Westphalia and Detroit in the North East of the USA. The Ruhr area and the Rust Belt. Two cities, two former industrial regions that are geographically far apart. And which appear very different at first glance. On closer inspection, however, they have one essential thing in common. They gained enormous economic importance thanks to the boom in the automotive industry. And they have been losing their most formative structures for years due to the end of this very industry. The beginning of the end of the industrial age is undeniably noticeable in both cities. And in both places, the question of future development away from the once dominant industrial sector arises. Ulrike Franke and Michael Loeken say that they do not want to explain the world in their film productions, but rather tell stories from the world. The two filmmakers have been exploring the transformation of the Ruhr region for several years now. In their new long-term study, they embark on a search for narratives that draw parallels between Bochum and Detroit.

With curiosity and respect, the film duo attempts to trace the stories of those affected on location. In doing so, they focus on a wide variety of people. On the one hand, the fates of those affected by the decline of the industry are shown. On the one hand, they show the fates of those affected by the decline of industry and whose lives changed overnight due to the loss of the economic structure. At the same time, they also seek to talk to those actors who want to shape change through projects and visions and are looking for new narratives for the future. The filmic journey through the two cities becomes a tracing of the life plans and ideas of the local people. Franke and Loeken have already won a Grimme Award for their subtle observation and portrayal. The jury of the German Film and Media Rating Board (FBW) has now awarded their latest work, “We are all Detroit”, the rating “particularly valuable”. It is a cleverly observed, empathetic and multi-layered portrait of the two cities.

Industry disappears, people stay

Franke and Loeken already dealt with the structural change in Bochum in 2012. Their documentary “Arbeit Heimat Opel” followed young trainees at the former Opel plant, which was closed in 2015. Finally, they return to Bochum. And with a look at Detroit, they add to their portfolio about regions undergoing radical change. “We are all Detroit – of staying and disappearing” traces the history of decay. Around 150 years ago, the two cities were figureheads of industrialization. A few decades later, they are now a symbol of deindustrialization. Impressive photographs also show the urban planning aspects of the decline. Empty halls, monumental areas that now lie fallow. Excavators carrying out demolition work on the once impressive steel structures. The visual language of the film is effective and often leaves a feeling of nostalgia. The industry disappears from the cityscape and everyday life. What remains are the people. Who embark on a search for new identities.

Contrasts emerge despite similar starting points. In Detroit, for example, the film duo accompanies programs for urban gardens and community gardens that aim to transform the former automotive industry city into a modern garden city in the future. The old spaces are being given a new lease of life. In Bochum, on the other hand, the focus is on a radical new beginning, a tabula rasa of the existing situation. Franke and Loeken present the example of “Mark 51°7”. An attempt to revitalize the Opel site through investment and marketing. The result was a gigantic DHL parcel center and a science campus. The large projects and movements are supported by individual stories on a smaller scale. For example, the story of a former African-American factory worker who runs an urban farm in Detroit and sells his produce together with others at the market. Or through a married couple in Bochum who are critical of the new parcel center, which is to make way for trees that characterize the area. Finally, “We are all Detroit” shows people in challenging situations of upheaval.

In their work, Franke and Loeken seek to find the political in the private and the comic in the tragic. This is reflected in “We are all Detroit”. Something new seems to be emerging from the decline in both cities. The developments that are already taking place there in the here and now could spread to other regions of the industrialized world in the future. The film title says it all: We are all Detroit. Structural change will affect many places. How individual destinies in Bochum and Detroit grow out of the situation can therefore be a lesson for the audience. The documentary tells the story of capitalism and the market economy in a multi-layered way. In this sense, it provides inspiring food for thought for both citizens and politicians. Through actors who demonstrate an optimistic drive for action in seemingly hopeless situations. And who ultimately strive for a dignified and happy life within the larger economic structure.

Looking for more movie tips? The films by Berlin landscape architect Kamel Louafi are also well worth seeing.