nnni^iiuii ; l.ljfj» 1 JL I jf 00 LO o CO Q LIBRARY OF THK ' University of California. Class INEXPENSIVE HOMES " OF INDIVIDUALITY BEING A COLLECTION OF PHOTOGRAPHS AND FLOOR PLANS ILLUSTRATING CERTAIN OF AMERICA'S BEST COUNTRY AND SUBURBAN HOMES OF MODERATE SIZE WITH AN INTRODUCTION BY FRANK MILES DAY PAST PRESIDENT AMERICAN INSTITUTE OF ARCHITECTS NEW YORK McBRIDE, WINSTON & CO. 1911 A List of the Contributing Architects William A. Bates, 25 W. 42nd St., New York, N. V. Arthur B. Benton, II4 No. Spring St., Los Angeles, Cal. Lawrence Buck, 909 Stcinway Hall, Chicago, 111. Duhring, Okie & Ziegler, 705 Bailey Building, Philadelpliia, Pa. Aymar Embury, IL, 1133 Broadway, New York, N. Y. J. Sumner Fowler, 19 Milk Street, Boston, Mass. Edmund B. Gilchrist, St. Martin's. Pa. J. Acker Hays, 2010 Broadway, New York, N. Y. Oswald C. Hering, 1 W. 34th St., New York, N. Y. Hollingsworth Sc Bragdon, Cranford, N. J. W. E. Jackson, 929 Chestnut St., Philadelphia, Pa. Charles Barton Keen. IOO8 Bailey Building, Philadelphia, Pa. Mann & MacNcilie, 12 E. 45th St , New York. N. Y. Mcllvain & Roberts, 1517 Land Title Annex Building, Philadelphia, Pa. Mellor & Meigs, 821 Lafayette Building, Philadelphia, Pa. Christopher Myers, 460 Bloomfield Avenue, Mfintdair, N. J. Ernest Newton, London. England Joseph W. Northrop, Court Exchange, Bridgeport, Conn. Squires & Wynkoop, 27 E. 22nd St , New York, N. Y. F. M. Summerville, 1 Madison Avenue, New York, N. Y. Tallmadge & Watson, 188 E. Madison St., Chicago, 111. Copyright, 1911, by McBridc, Winston iV Company Printed July, 1911 By L. H. Irnkins, Richmond, Va. Choosing a Style for the House ONE is sometimes asked whether there are not some fundamental principles which should control the choice of style for any given building, and especially of a dwelling house, in which fashion rather than reason so often dominates. Without attempting to beg the question, the first thing that occurs to me is that a deliberate choice of style is by no means essential, and is, indeed, often a grave hindrance to a right, reasonable, and beauti- ful solution of the problem of building. And by style, I here mean what is ordinarily meant by that word; that is to say, a well defined mode of building prevalent in some certain place and at some certain time. Normally, style of this sort originates from the needs of a people, from the materials at hand and from a desire to build with beauty; but in the course of its evolution it is always modified and held in control by the builder's knowledge of what has gone before or what is going on at his own time. Until the revival of learning, the age of the conscious, passionate striving to resurrect the glory of the classic ages, there were but few, if any, deliberate attempts to hark back to an earlier manner of building. The ancients had done that sort of thing in sculpture when they had imitated the early work of their forbears in a way which, strive as it might, could not seize the real archaic spirit, the way we now call archaistic. But in archi- tecture it is hard to put one's finger on that sort of thing earlier than the time of the Renaissance, Then, gradually, the old order gave [3] 225948 4 Inexpensive Homes of Individuality way to the new. To be sure, even after the change, the needs of the people had to be met, and their needs were very different from those of the ancient Romans, but, such as they were, they were met in the way in which the men of the Renaissance thought the men of the Augustan era would have met them. And thus for the first time arose the question of a deliberate choice of style, a resuscitation of a way of building in use in other ages and A iiiodern English country home at Wokinpham, Berkshire, tliat indicates tlie development of (Jeorfjian work in recent years h'.rm'st XCiilini, anhitirt under other conditions. And this is what we have been trying to do ever since, only we out-Herod Herod. The men of the Renaissance were in unison as to the style they wanted to imitate. We do not know our own minds; we do not know what age, what country to set up as our standard, and the voices that would guide us are crying in this wilderness of indecision. But there is one thing well known, completely agreed upon by all who have given serious thought to it: — that it is not by the copying of the outward forms of any architectural Inexpensive Homes of Individuality 5 style that we can hope to make our work vital and worthy. If from a plan suited to the needs of a given building, if from a reasonable and appropriate choice and handling of materials, there should grow beauty, it is all that we can ask and all that we need to ask. Simple as it sounds, the doing of the thing is difficult beyond conception. Few can do it well or even passably. Granted that this is the right way. the only way by which we can hope to make buildings truthful and A country home at Pleasantville, N. Y. There is an interesting and unusual use of stonework in the circular columns supporting the wide overhang U^il/iain A. Bates, archilect beautiful and eloquent of their time and place, it is easy to see how a choice of style from a priori considerations is a most grave hindrance to the following of it. And having said all this, I am prepared to grant, paradoxical as it may seem, that style in architecture is the one quality that above all others secures for a building the esteem of generations of men. But style In this sense is not an affair of archaeology but an abstract quality, a subtle excellence very hard to define. Perhaps it may be made 6 Inexpensive Homes of Individuality clear by comparison with that same quality of style as we think of it in the sister art of literature. If the work of a writer reaches real distinction, it may well be assumed that it has the quality we call style, and we do not demand that this style be that of a definite school. We do not ask him to write like an Elizabethan dramatist, or a A house at Woodmere, L. I., that is frankly an adaptation of the American farmhouse to modern needs Charles Barton Keen, architect [See oho page IS'] Georgi.i!l-Sssayist, or a pre-Raphaelite poet. If he have something worth saying, and if he surround the saying of it with that indefinable thing called literary style, it is enough. Now this precisely is the sort of style that we should demand of the architect. That he know the grammar of his art, that he plan simply and directly, that he build strongly, Is not enough. Has his work expression? Has it the high quality of style? Has it, in other words, an excellence of design that raises it to the plane of serious consideration? This, after all, is the thing that is to distinguish his work from that of his fellows. And how have such of our architects as have striven for it suc- ceeded in making houses interesting and beautiful without resorting to the easy trick of using a definite historic style? Fortunately there are many examples in which, by the use of local materials, well com- posed masses and simple details, entirely satisfactory, c\cn altogether Inexpensive Homes of Individuality 7 admirable results have been reached. It is no longer necessary to select specimens. Our domestic architecture to the discriminating eye furnishes them in abundance. Here we find one in which the local stone, bearing ruddy stains from the iron in it, is the chief element; there a cool grey micaschist, handled in traditional ways, but with freshness and a personal note; and again others in which the simplicity and directness of the design and qualities of freedom, charm and expression make them worthy of all consideration. This is the style, conditioned on local material, vocal of our own time and place; reasonable, appropriate but nameless, that should come naturally to us. Unfortunately, we use the same word to indicate the high degree of excellence in architectural design of which I have been speaking, and also to indicate a manner of building in vogue in a certain country at a certain time- But let us avoid confusion by recognizing the fact that while style in Its higher sense may be present in a work which it is quite impossible to tag with an archaeological label, it may equally be present in a work of the most definite archaeological sort. On the other hand we must bear in mind that a work filled with archaeological accuracy may be quite devoid of style in the truer, higher sense. But this high quality of style is, after all, not the sort in which our questioner is interested. He is concerned with something far less subtle. Is his home to recall a Tudor manor, a Tuscan villa, a chateau by the Loire, or a Virginia homestead? The world is all before him' where to choose. Unfortunately he demands guidance as to his choice and insists that this guidance shall be based on fundamental principles and not on mere fashion or personal inclination. Now while I am convinced that this question is not a profitable one, and that it gives rise to negative results, I am willing to make some inquiry for possible answers. Let us ask then what things we might suppose would influ- ence the style of a house. Here certainly are some of them: a. The kind of country in which the house is to be built, flat or rolling, mountainous, wooded or open. b. Neighboring buildings, especially if of a definite type. c. Local materials and traditional ways of building. 8 Inexpensive Homes of Individuality d. The owner's individuality and mode of life. e. The architect's personality, training and predilections. The Site of the House The site unquestionably should have a very great influence upon the plan of the house, but it seems to have far less influence on the choice of style than one would imagine. Let us for a moment con- ceive the site as a broad plain near a river. Some old Georgian manor, Groombridge Place, let us say, seems perfectly suited to such a site. On the other hand, can we name any style that our ques- tioner might have in mind that does not furnish admirable solutions of this very problem? Even so animated a style as that of the early Renaissance in France gives us Josselyn by its rolling river, or Che- nonceaux, spanning the quiet waters of the Cher. Perhaps we might generalize by saying that long level lines harmonize best with such quiet stretches of landscape and that, therefore, we should choose some style in which they predominate, were it not that we are dumfounded by the thought of Azay, with its strong verticals and its agitated roof lines, looking supremely beautiful in broad meadows with the folds of the Indre wrapped about its base. If our house is to be set upon some steep hillside, some cliffy place, surely we may find guidance in such a spot. Obviously, your quiet Georgian thing is out of keeping here. Strong upright lines, well marked parts, a vivacious sky-line suggest themseh'es. St. Pagan's near Llandaff is quite as it should be. Quite naturally one's mind runs off to Scotland with its inimitable hillside gardens such as Barncluith, only to remember that the greatest charm of these places is the long level lines of their terraces, rising one above another, and that Earlshall, a house that corresponds well with our imagined character, is really set down in a perfectly level place. Thus, in the first effort to find an answer, we reach a result quite useless, to our questioner. Let him get but a clever enough worker in archaeological legerdemain and his house shall look well (so it might seem) in any style he is pleased to name, and on any site that he is pleased to buy. Yet we know very well that it will not, for we have seen the experiment tried too often. Inexpensive Homes of Individuality 9 Neighboring Buildings That we owe a duty to our neighbors in the choice of style is a fact too often ignored. If buildings exist which, when our own is finished, will group with it, we must not ignore them, for in such an instance our building is but a part of the whole composition and, unless we are utterly selfish, we must seek the best result for the whole rather than for a part. In Europe this thought obtains more accept- ance than among us, for in many cities municipal regulations are so framed and enforced as to secure a certain uniformity of design, An example of the old English work where the walls are partly of brick and partly of half-timber work. Much of the charm in these English cottages is due to the mellowing influence of time monotonous perhaps, but decent, orderly and quiet. Here, and espe- cially in our suburban communities, so little harmony is seen that it is clearly a case of each one for himself and the Devil talce the hinder- most. Local Traditions and Materials Had we definite local traditions in the art of building, we might make some steady advance, building in the way of our fathers but lO Inexpensive Homes of Individuality An cxcfllfiit fx;imple at Hcwk-tt, L. I., of the modern revival of Colonial arciiiteotiire. The sun-room at the near end shows how the house holds to the spirit nither than the letter of the old work /. Acker Hays, architect better and more beautifully. In the States of the Atlantic seaboard there were once such traditions, but we have broken with them and the return to them must be made with conscious effort, an effort that results in our Colonial revival. But for the most part, throughout our land there is no local way of building that rises above the common- place. This is partly due to the fact that we are no longer compelled to use the materials that the neighborhood of the building offers. Time was, and that not a hundred years ago, when, lacking water transportation, such materials had to be used. And so strongly marked is the influence of that use of local materials that, to take an example from Great Britain, one familiar with its cottages might, if dropped down at random anywhere in the Island, make from them alone a shrewd guess as to his whereabouts. Thus, if he saw a certain kind of cottage he would know that he was on that land of limestone that extends from Somerset to the dales of Yorkshire. If the houses were of a soft, warm sandstone, he might know that he had fallen in Cheshire or Shropshire, or Hereford. Even there, he might see half- timbered cottages of great beauty, but by the way in which the timber Inexpensive Homes of Individuality 1 1 is used, he would be very sure that he was not in Kent or Sussex, where half-timber work equally abounds. And now let us take as an example of the influence of material upon construction, and therefore upon style, some simple Kentish cottages of half-timber work. Upon a brick or stone base a heavy sill piece was laid, and upon this upright story posts, eight or nine inches square, were fixed. Those at the angles were larger and formed of the butt of a tree placed root upwards, with the top part curving diagonally outwards to carry the angle post of the upper story. On these uprights rested another larger timber, a sort of sill piece for the second story. On this in turn rested the beams of the second floor, their ends projecting some eighteen inches and carrying the overhanging second story wall, which was constructed like that of the first. The divisions between the up- rights were filled with wattles or laths and chopped straw and clay or sometimes even with bricks, and the surface plastered flush with the face of the timbers. ^^^^^H^L^^i^ ^ ^^H^l i CF^^Ma^^MPfa^il/ ^ IK" p '■ ^^^^— ^^=5^''ffl5?»«i!.«^-^-'i^.i?-*>»«mu'"'"^ -^ ^ > The English half-timber house as usually built in this country is merely a plaster house covered with wooden strips in a pattern. Here, however, the timbers are a structural part of the wall Osica/d C. Hcri)i{i, architect 12 Inexpensive Homes of Individuality Such a method of construction, direct and truthful and beautiful as it is, has defects in the shrinkage of its timbers and consequent open- ness to the elements, so grave that houses thus built have, in many cases, been protected at a later date by tile hanging or sometimes by exterior plastering or by weather-boarding. So that it often happens A house at Ivy Court, Orange, N. J., built in a tliorouj^lily modern way, of fire- proof materials, but showing the influence of Italian precedent Mann & MacNi'ii/c, architects if we hunt beneath such protection, we find the original half-timber cottage intact. Such a method of construction is obviously impossible for us to-day. For were we willing to pay the cost incident to shaping the timbers by hand, we would not tolerate a leaky wall. Yet, more's the pity, we are forever making the attempt to have the semblance without the reality. We build an honest brick wall, nail strips of wood against it and plaster the space between them. What a pre- posterous imitation of a once reasonable construction. Inexpensive Homes of Individuality 13 Thus, I say, where a traditional style of building existed, it was modified, its evolution was assisted by the limitations imposed by the use of local materials. But how is it with us who lack a local tradition and who are no longer bound to the use of materials at hand? Mod- ern facilities of transportation have actually made it, in many cases, difficult and expensive to employ the material at hand, so that the place where the building is to be erected has but little influence on the choice of materials and consequent development of style. To-day it is cheaper to build a house in Maine of wood from Oregon than of granite quarried within a mile, or to finish the rooms with cypress from the Gulf of Mexico than with white pine from the Pine Tree State. Such are the anomalies of the exhaustion of natural resources, of the use of machinery, of high-priced labor and of cheap transporta- tion. Predilections of the Architect The owner's personality and his mode of life should, of course, exercise an influence on the style of his house. If he be a man of quiet tastes, fond of home life, not given to lavish entertainments, those qualities should be expressed by a restrained, a modest domestic feeling in the treatment of the house, that it is almost impossible to express in certain well-marked historic styles. The minor English buildings, the farmhouses of Normandy, even our own Colonial houses, ofi^er starting points for such a case. But, granted that the man be a millionaire, with an established position in society, or even with aspirations for It, his house must be a far different affair, suitably planned for entertaining many people, and expressed in some formal, well digested style such as that of Louis XVI. Indeed the selection of a style suitable for a million-dollar "cottage" at Newport Is far less difficult than the finding of the right expression for a suburban home of moderate size. The owner's training, his Inclinations, too, must not be forgotten. A man with a well-marked bias In favor of all French things, would naturally choose one of the French styles for his house. One full of enthusiasm for all things Italian might well be pardoned for giving his house a distinctly Italian form. But these are exceptions. Not one in a thousand of us has any intellectual bias so strongly marked as to justify its expression In the H Inexpensive Homes of I ndhi duality style of his house. It is obvious that the architect's training and predilections for certain styles will, in the main, exercise a far greater influence on the house than will those of the owner. The men who achieve most by working in definite styles are those who entertain Bastil on modern lOnj^lish work but not to the sacrifice of a strai^lit- forward de\eIopnient of plan in simple materials Sqitircs iif W'vukoop, architects the most positive convictions that the style of their choice is without question the only right, the only logical style for our times. It is Mr. Ralph Adams Cram's firm conviction that the abandonment of the Gothic style brought about the ruin of all that was noblest in the art of architecture. It is his almost religious zeal for a revivifi- cation of that style that gives to his designs their absorbing interest. It is because Thomas Hastings believes we will achieve no worthy end unless we succeed in making our work an evolution from the French styles of the eighteenth century, and it is because of his knowl- edge of and devotion to those styles that his work reaches so high a plane of urbanity and courtliness. It was because Mr. Charles McKim had an ineradicable conviction that it is from Italy, whether of the classical times or of the Renaissance, that we should draw our inspiration, that he could clothe the needs of our own time in a garb that Inexpensive Homes of Individuality IS for dignity of manner and for perfection of proportion and of detail often equals the best of the examples for which he showed such com- plete devotion. In the face of obsessions such as these, how futile it is for the owner to talk of choosing his own style. It is only when he selects an architect devoid of definite convictions that he will be confronted with his imagined troubles. Yet in this connection another thing needs saying, and that is that the power these men have of producing work of great distinction comes, not alone from their definite convictions on the subject of style, but also, and this is far more important, from the fact that each is an artist of such rare ability that even if he were set to work in an alien style he would design buildings of far greater interest than the work of most other men. An interesting combination of stucco with half-timber work in the gable ends to avoid monotony. The Germantown hood, extending over the first-story win- dows, is a purely American feature Duhring, Okie & Ziegler, architects But after all the questioner insists upon a direct answer. If he must have it, even though it be an ideal difficult of realization for men of this generation, it is precisely the thought I put forth a while ago, by saying that if the plan be a simple and direct expression of the needs and life of the people who are to live in the house, and if the i6 Inexpensive Homes of Individuality elevations are a logical expression of that plan, and if the whole be made beautiful and vocal of its time and place, then the building will have style in the best sense and will need none of that exotic or archaeological style that is the bane of so much of our work to-day. Frank Miles Day A modern home at Cynwyd, Pa., showing; a return to the stately hiph-columned Colonial porch that was common in the early Southern work Mcllvain <2f Roberts, architects Inexpensive Homes of Individuality 17 Mr. Flag-g's cottage is an excellent example of how the very smallest country or suburban home that is really livable can be made attractive. The use of the heavy brick piers at the corners, with an unusual pattern of brickwork filling below the windows, and stucco walls above, makes the house particularly well worth studying •COTTAai KIB-Mt JTAMLE.Y G FLAOCJt' • COTTAaL- rOE. -Mt JTAMLtr G- rLAG.) i .0' FIRM' r)XX)R :*liX:C.ND FLOOn. The two-chimney arrangement that contributes much to the exterior appearance of the house works out i)arti(ularly well in plan. There are flues for furnace and humdry stove from the cellar, in addition to the range and living-room Hre|)lace anil two bedroom fireplaces above — three flues to each chimney A HOUSK A'l' VVOODMKRK, L. 1. C/iar/ts Ihulon Kan, anhiUrt Inexpensive Homes of Individuality 19 Where there is an abundance of local stone it is usually an economical plan to utilize it for the foundations and chimneys, securing an appearance of stability that cannot be had in a structure built of wood A-5-KMTOrt The screened porch at the rear is used for the kitchen work. The one in the front, by reason of its nearness to the kitchen, is frequently used as an outdoor dining-room BUNGALOW OF LEE A. McCONNELL, ALTADENA, CAL. y^. B. Benton, architect [20] Inexpensive Homes of Individuality 21 An attractive feature of the first floor plan is the long vista across the front of the house through the music-room, hall and living-room. There is also a vista at right angles to this from the living-room back through the dining- THE HOME OF 'MR. H. H. PITTINGER NETHERWOOD, N. J. Stained cypress is used for the woodwork in entrance hall and living-room. The open- ing up of the partition between these two gives an added feeling of spaciousness Hollingsworth & Bragdon architects The owner's suite, it will be noticed on the second floor plan, is particu- larly well arranged, with bath, dress- ing-room, nursery and sleeping-porch, all adjoining one another. The bath is also reached from the stair landing [23] [24] Inexpensive Homes of Individuality 25 Platt ^ fyrtsT fLoap. A dining-porch secluded from the street is a A sleeping-porch is reached from the owner's feature of the first story and boys' bedrooms_i The dining-porch is made bright with an ingenious type of window-box which is supported in sections on legs supplied with castors. In this way a great variety of arrangement may be secured and the boxes may be turned to bring the other side to the light when needed THE HOME OF MR. R. M. ROLOSON, EVANSTON, ILL. Tallmadffe & Watson, architects 26 Inexpensive Homes of Indh'tduality The Flemish lioiul hrirkwork, dark-staiiicd sliiii^jlcs, the plastfr-aiul-timher jjable ends and the white trim of the windows, fjive a broad variety of materials that needs careful handling to be effective THE HOME OK MR. JOSEPH W. NORTHROP, ARCHITECT' BRIDGEPOR'l', CONN. An in^jenioiis arranjjfement of central stair- case, rear stairs ami passa^jeway, by which tlu- maiil can reach the front iloor without pa.s>iiit; tlirou^,di any room, is the most instructive feature of the first-stor\ plan Inexpensive Homes of Individuality 27 An attractive vaiiety of mass is gained for the nearly square house by the stepped-back gables in the roof and the echo of these marking the front door THE HOME OF MR. JOSEPH W. NORTHROP, ARCHITECT BRIDGEPORT, CONN. The rear stairs join the main flight upon a V^ landing somewhat below the second floor. ^ A central stairway and hall, if it can be satisfactorily lighted, usually provides the most economical arrangement of space for the bedrooms 5CALE ;D TLtT J ■■^ a z o - o 1 ^ ^ UJ •tf u O •^ i^ c ^^ ? 5 od ? w "C ^ i, ^^ t; — u ^< 'ai h Hi^ v« 'o I C . u oi - e < • - rt bfj= 7J ^ ^ k4 .Ti* u •— ^ rt ^^ > UJ ^ ;=! .ti C/D t; s — u S 1 '^ 1 c « u • 1 .- u ^JU 1-^ oC O DC h [28] Inexpensive Homes of Individuality 29 ff^ ^s lb - ik Jo The plan, being nearly square, is a most The long slope of the roof to the left, shel- economical one to build, and its arrange- tering the porch, gives opportunity for a ment utilizes much space that is usually broad dormer that results in alcoves with wasted in the hall built-in seats in two bedrooms A rather unusual variety in wail texture has been seciurd b\- using broad courses of tiark-stained shingles below, narrower courses of ligliter shingles across the second story and dark, vertically-battened boards in the gable ends HOME OF F. M. SUMMERVILLE, Architect, RIDGEWOOD, N. J. 30 Incxpenshe Homes of Individuality In the living-room the chimney-breast and the woodwork on the ceiling and side walls, while simple, help to furnish the room Stairu-il cyiircss li:is ht-en iiscii (lltctivfly for the wood trim and the wainsi'otinp, with its upper panels matching the tinteil plaster rHK HOMK OF MR. V. M. SL'MMKkXlLLK ARCHrnX'T, RIDCJKWOOD, N. J. Inexpensive Homes of Individuality 31 The second floor is made larger than the first by carrying the roof and long dormer out over the side porch The long porch as seen from the garden. The lattice screen covers the street end, securing greater privacy THE HOME OF MR. W. A. BOLAND, YONKERS, N. Y. Christophey Myers, architect = "3 o __ S. 1 4, '6 o.^ en ~ ^ u ft; w -5-1- i^ :z -* ^ *j o o - c ^ ^. »« ^ r> ■~ j: .5 4 Coloi rooms extenc < c utch oor mer cc a^ fe < ified cond us d '.-' f* -O 4J O C « 3 £^•5 CC ■" " 5 •5E 5 *> <«- £ w .,1. ^-^ r^ '/: 4J tl ^/ ■" y c "i ? c U2, O^ C ^ C ■^ c « X c ^ o « b£ u -c.E.t: w r. B cutt arch X u S Inexpensive Homes of Individuality 33 The ri^ht-hand side ,of the jphin, as shown, faces the street, tnrow- ing- long porch to the left-hand side of the house and the kitchen at the rear on the right One seldom finds an upstairs fire- place directly over the middle of a room below. It has been ac- complished here by the use of iron supporting beams There are no dormers to disturb the upper slope of the roof, so that the two bedrooms on the third floor are lighted only at the ends THE HOME OF MR. W. A. BOLAND, YONKERS, N. Y. Christopher Myers, architect ^ C 5: t ' -d-f O .'♦t — ^ 1 4»; C V '.' ' u - "5 u i z~ ■,i - c rl -§ s ^ ll z , ( u "^ !u-c rv 1 U o -1^ o -^ I- k- 1 ■s-^ O > f 1 ;^ ' ■^ s ^ > o o - ^ ^ t £ 1 ' ;i i ^1 < •-M .y^ _« c ^ Ui r- -^ ^ rt hJ "^ oi i - ; < ;•: a: s ^ [34] [35] 36 Inexpensive Homes of Individuality The rather unusual combination of dark tan stucco and dark, brown woodwork has been used. To lend additional interest to the texture of the stucco the surface has been finished with an irregular, swirling motion of the float The approucli and main entrance of the house is from tiie driveway at the rear From this central doorway one enters the study back of the hall THE HOME OF MR. CHARLES PARK, JR , ENCJEE- VVOOI), N. J. .ly/nar Embury, II., architeci Inexpensive Homes of Individuality 37 MOVt5t--r0R.-M»-CHAJ-F • PAK.1^ • • Ltf C-LL VODP '/f .•; • -AyAAR. • t.AV5Vg.Y • II ' »e.CHIT-ll3)-tVMT'>f'r-C» FIEtST ' ri.aOK'T1.Att^' The first-floor plan shows the now fairly common type of house where a central hallway divides the large living-room from the dining-room and service portion. Usually , however, on a lot restricted in width the kitchen is at the back HO VOL • roK, -Aa-C^A-S ■ F • PAE-K: ' ' tJTC.Ll.VOOP •K:J--AYM.Ai^-EMi>VILY • W ' AR£.Hir'llAaMiW.lf-Y-C- O'LCON'D • rUCDE^-PLAir- Two unusually generous bedrooms are found on the second floor, with two smaller ones, two baths, a dressing-room and a fairly large linen-room. On the third floor there are two additional rooms lighted by the gable-end windows THE HOME OF MR. CHARLES PARK, JR., ENGLEWOOD, N. J. Aymar Embury, 11. , architect [38] [39] 40 Inexpensive Homes of Individuality A feature well worthy of emulation is the awning-like projection of latticework, over the porch railing, covered with vines (*r< . ■rv»^irVTt»'-3,'^; ''"' . Beneath the veranl: I Ik itc gives opportunity for a large playroom or work- room for the children THE HOME OF THE LAMBS, CRESSKILL, N. J. Inexpensive Homes of Individuality 41 jJiN ^1, H -»^ ■■'M :--::^pSir^,^ The flower garden is another extension of The formal garden is intimately con- the living quarters nected with the hotise Lu , ^^1-'^ )--n fe y±^LJ=jtJ' There is but a single flight of stairs in this house — the kitchen is con- nected with it at the platform level 'THE FOLD," THE SUMMER HOME OF C. R. AND ELLA CONDIE LAMB, CRESSKILL, N. T- i: i o = o > .. =: i^ N f o -^ >. fi iz ,, >' — <1 U3 o o a < u 5c u ■J o o O o [«] c« _Q n! .5 t: c3 -- .S" '^ i- ^ ^ ■^ o 'i^ ^ ^ ^ t^'-^ ,, M P 1) •-" c S >,.^ -^ o ^ ^ «• S'E-- 2 5 S3 ' U*;: ft c .5 ^ .- M^ 1 ■^'.K^''%^''; ,: ^^1 3 1 1.^9 V . , •Life; ;> •V- ■ ■ V ,;.. :.:l • 1 fl '•'. . >;' '■''■ri''''; ** '■-'■' .'i V 1 r 'li •ii'2 "S far b£ S, W O O o p . « ►4 o o O w u s ■a tc ^ u c <'C 9 o 'J t^ < c -^ U u c tx r rt E >. ^ i: rt rt Cs.s U u > rd -set; OL h < 2^ CD Q^ U^ ■5^ C 13 ^ c . c &i -a J; c o '^ U5 z O X [44] v o a a, M .ti . ■ ■ ri r- ^" u ^ hH l:^ a W ■^ H •t*i P^ ^, O k « rn >^ P ^ << 8 ^ l^ , K W P^ S > w 0) H >< •^ W Q P^ g fe O w :^ o w w w ^' [45] 46 Ine.xpensize Homes of I udhi duality It will be noticed that there are two main m trances, each of which leads into the hall One of these, the street entrance, is shown on the preceding page. The other, as will be seen here, leads down to the rear of the property All of the irregularity of the jilan on the first Hoor is taken up in hall and j)antry On the second floor the angularity is confined to the hall and one nur /-o-a-h-r, architrd Inexpensive Homes of Individuality 47 Even with its radical departure tr(.)m coiu'cntional right-angledness, the hall is by no means unattractive Beyond the dining-room at tlie riglit lies the screened piazza, reached by a doorway that has replaced the window shown in the plan HOME OF MR. DEXTER E. WADSWORTH, QUINCY, MASS. /. Sumner Foivler, architect <; "-0 < 1) c P^ ■^ o 1- u Q ^ Pi 13 -a '5 «. < oi - c 5 S {H (/i c a 4J J3 w - >> •4 ,^ fe Q e:5 Pi !:^ c < 4> .t: ^ -sS Q W o"© - to •^ M pii ■5 E fe 3 a rr "" w u 1^ ^ 3 w u w u w c, H [48] Inexpensive Homes of Individuality 49 The plan is nearly square — the most economical type tobuilH. In addi- tion there is but the single chimney, servings the livingf-room fireplace, kitchen rang:e and furnace. A brick-paved terrace extends across the whole front of the house and leads to the covered porch across one end THE HOME OF MR. EDWARD F. BEALE STRAFFORD, PENNSYLVANIA Mellor & Meigs, arcJiiteds There are four bedrooms and bath on the second floor, each with at least one closet. The waste space in the upper hall has been brought to the irreducible minimum. As will be seen from the plan, it could not well be any smaller and still contain the necessary eight open- ings 50 Inexpensive Homes of Individuality mW 1 ^vT' ,^m ^^K^utfl 1 ■ ^ m iT ^^^^pVil ~ ^H' 1 \ ' I' Hm. as- ft The door ,. iiwii into tlie kitclicn — making one staircase scr\c the house without inconvenience Tlie recessed hre|>lace, made necessar\ liy the one cliimney, rathei adds to the living-room's attractiveness HOME Ol MR. KDWARI) F. BKALK, S TRAI- 1 ( )RI), I'A. Mel lor O^" Mrigs, nrc/iificts [51] QQ UJ z 1- -5 B < ■Z A a ^ o o in -C . h r- [52] Inexpensive Homes of Individuality 53 In the library the fireplace treatment is particularly effective in its simple gray moldings, the carved wood cartouche in the centre and the ivory-plastered wall In the dining-room the wall covering is a robin' s-egg blue in color, contrasting pleasantly with ivory-white woodwork and the furniture of dull mahogany THE HOME OF DR. W. W. GILCHRIST, ST. MARTIN'S, PA. Edmund B. Gilchrist, architect i c \..c i o \^ — '- . ^■-■-\ ..^.e V. \ > ;'~ : ^ 1) i- -^ i< •>- c :s u p-i^ U ;_ *- X > .t; C/J -fj ^ — "5 i-^ O -c P >- ■^ o c ^ .= __ • ^^ ^15 . ^ >, y,. '2 .2x .- :::; tx = « ^ .-- c rt rt -• k- rr -^ ~ rt — o F g C '3= ^ ^ ^ bi , :,, i^ t; " c ^- *^ 3> a. J= .t; -a W 3 C X "^ E M PS i^ -*- o [54] Inexpensive Homes of Individuality 55 'jmrss^i^Ks From the library French casements open out upon the hri. L i.:i\ nl iiorch, which by its advantageous western exposure catches every summer breeze A stone wall coped with brick bounds the northern and eastern edges of the property, inside of which the land is terraced down to the plateau THE HOME OE DR. W. W. GILCHRIST, ST. MARTIN'S, PA. Edmund B. Gilchrist, architect 56 luexpenshe Homes of Individuality Mr. Bull's liouse is a free adaptation of Dutch Colonial niotiscs. Tin- narrow trellis arouiul the face of the dormer windows supports vines growing in the \vin{k)W-l)oxes A line, l»ii)aptii and rioor plans. I'rice,