ea CORNELL UNIVERSITY LIBRARY FINE ARTS LIBRARY Cornell University Libra Domestic architecture, published for priv DOMESTIC ARCHITECTVRE DOMESTIC ARCHITECTVRE PVBLISHED FOR PRIVATE DISTRIBVTION BY LEWIS COLT ALBRO AND HARRIE T. LINDEBERG NEW YORK MCMXII Copyright, 1912, by ALBRO AND LINDEBERG PLATES BY WALKER ENGRAVING co, NEW YORK PRESSWORK BY THE UNIVERSITY PRESS, CAMBRIDGE, U.S.A, INTRODUCTION WOULD rather have my home comfortable and con- venient inside than beautiful outside.’’ That sentiment, expressed with a thousand variations, implies more eloquently than argument the gap which too often exists in this country between beauty and utility, particularly in ‘ymestic architecture. The gap is unfortunate, and it is unnecessary. “La. _ illustrations herein gathered is a record of five years’ work, assembled tur _. distribution among those interested in the problem of bridging this gap, the problem of the art and right practice of domestic architecture in America, —an art and practice of constantly growing scope and importance. ok It is a far cry from the cottage to thé collége dormitory or from the city house, built upon a narrow lot and walled against other houses on either side, to the manor house on its broad acres. Yet, in the examples here pictured, no matter what the site or class of dwelling, the attempt has been made to embody that spirit of domesticity without which the mansion is magnificently mournful and the cottage like anything but a home. This attempt is surely the duty of all those who are striving to raise the standard of our native domestic architecture, of all who would prove that the sacrifice of exterior attractiveness and fitness to interior convenience is quite needless and unwarranted. It is an axiom of architecture that a building should rationally express the purposes for which it was designed, that a church should not look like a theater nor a library like a railroad station. The well-designed house then should be significant of, and adapted to the habits and life of its occupants, and should obviously express its purpose. The design of a proper dwelling is based upon structural integrity and honesty of expression; on right proportion and simplicity of outline. It follows no whimsical fashion; it apes no popular style. It is neither fantastic in outline nor frivolous in detail. It pretends to be nothing but what it is, and it therefore contains no qualities which detract trom simple dignity. Build simply, whether a cottage or a castle. That is one of the fundamental laws of domestic architecture. This law applies especially to the architecture of country houses. A large living room is obviously more acceptable to the d average family than the same space cut up into a “parlor” and “reception room,” and a porte cochere is generally demanded for its name rather than its necessity. To avoid pretence, to ignore shams, to prune and cut the super- fluous, these are the rules to follow in designing houses of real character. In America the increased desire for country lite has of late given rise to an increased demand for modest but well-designed country houses. Now those architects who have the ability and the desire to put conscientious study into the planning of small houses, have long realized that the work involves even greater ingenuity than the work of building larger structures. The reward, on the other hand, is much less. It is, therefore, casy to see why so much of the work has been done by untrained men, whose lamentable monuments of bad taste are scattered through our countrysides and suburbs. On more than one occasion prospective builders in various parts of the country have applied for our designs. Some of the applicants have realized that the architect should be permitted to develop his own conceptions. Others, less scrupulous, have attempted to copy our work and the designs have suffered accordingly; for so much depends upon the caretul working out of details to meet each individual case, upon the adaptation of material and the like to local conditions, that the realization of a plan at second-hand is bound to differ widely from the original conception. Since it is not the architect of reputable standing who cares to borrow the ideas of his tellows, the houses resulting from our borrowed plans have been too often caricatures. Instead of furthering, they have discredited the very principles they profess to embody. To treat the problem more specifically, we had best consider it under two distinct headings: The small house or cottage, and the large residence or manor house. We shall find that although a number of practical con- siderations vary widely with the two, yet the fundamental laws are the same for both. For a small house the prime requisite 1s simplicity. Obviously, a ‘ one- material” house is more simple and satisfying to the eye than a small house built of stone, brick, stucco, and shingles. Besides being more economical, the “one-material ’ house gains in character and dignity. For in working simply in one material, there is less temptation to introduce meaningless ornament, showy paint, and superfluous mouldings. When possible, the materials to be obtained in the neighborhood of the site are the most appropriate. The second requisite for suburban cottages is an attractive form. They should never be built on the plan of a square with their three dimensions equal. If we turn to examples of the old farmhouses of New England and the South, which always seem so well to fit their sites, we find one of the primary rules in their construction is that one dimension should dominate. A comparison of a square house of a given area with one that is oblong and of the same area will show, moreover, that the oblong house besides gaining in general exterior appearance, permits of more exposure in the rooms. The third requisite is a study of solids and voids and of grouping. The dignity of a quiet facade is dependent upon the rhythmic spacing of the windows. Instead of several small windows, a great opening divided by many mullions may give to the facade a simpler and finer treatment, as well as better wall surface in the rooms. Then, too, the size and shape of the panes of glass should be kept uniform throughout the house, for perhaps nothing does more to lend “‘scale”’ and domestic feeling to a dwelling than the careful study of the divisions of the sash. The effect of light and shadow may be used in a telling way in house designing, be the house but a humble cottage. The play of shadows produced by a simple lattice may readily take the place of architectural ornament, and may be made far more effective. We now come to the question of height. As a rule, the small house should be low, or at least should give the effect of being low. A house that sits high is never quite friendly to its garden or lawn. Two stories are sufficient. A peculiar charm is often attained by rambling single-story wings. It is pleasant, too, to pass from the living room or dining room, through casement windows, down a single step to the brick terrace or out upon the lawn. But the principal feature of the country house is the roof, sheltering, as it does, the whole building, and if properly handled, conveying at once a kindly feeling of homeliness. The beautiful roofs of English cottages owe their charm not only to their unbroken surfaces, but to their interesting materials — their thatch, quarried slate, and hand-made tiles. Wein America, with our manufactured shingles and tile, are here at a disadvantage. Of late there has been devised a successful method of laying shingles, whereby has been produced the texture and softness of thatch without gross imitation. This effect is gained by permitting no sharp angles, by rounding the hips and ridges and furring the valleys, and by means of steam the shingles are bent at the gables to meet the verge-board and eaves. The courses of shingles are laid out of the horizontal in long irregular waves, varying in width of exposed surface from one to five inches, thus giving the entire roof a texture, when sufficiently weathered, which no stain could possibly produce. This type of roof, however, can be only used appropriately as an integral part of the design. Where it is put on structures not meant to receive it, we are inflicted with the absurdities that, since this method was devised, have been cropping up in our suburbs, literally, like mushrooms. The roof and walls, whatever they may be, should form a harmony and not a discord. Simplicity, harmony of outline, proper proportions, and unity of design, — these form the golden text for the architect of small houses. The right practice of this text, by the profession in unison, may well result in a trans- formation of our countryside and suburbs. Turning now to the large dwelling or manor house, we may say, in general, that it should be a dignified structure. It should express, as the wisdom of generations has rightly felt, a certain quiet stateliness of planning and furnishing. In the old English manor house these qualities were generally realized. In America, on the other hand, we see varying degrees of affectation in our more pretentious homes. Of these affectations, perhaps the least to be condemned is the erection of a large house as a magnified cottage, —a precedent for which is not wanting in the illustrations herein shown. The effect sought is domesticity. Even the large house in the country should not merely be a place for the reception of visitors; it should be a dwelling for a family, and it should express the domestic feeling as surely and straighttorwardly as the cottage. For a large house, however, the factor of style is to be considered. In our country, the Colonial, or, to be accurate, the Georgian style, is the more generally favored, and is most representative of the better work of the day. A glance at the early architecture of the United States shows this also to be the style employed in the best works of the past, and it will always remain, under certain conditions, the most rational style for our domestic architecture. We now come to the question of environment. Whether the house be large or small, the essentials for a site are the same. Any house in the country should, if possible, face in a general southerly direction. If a small plot be considered, the house should not occupy the exact center. If a property of several acres is available, the highest knoll or elevation should not be chosen as the only possible site. Let us seek to set our house in what frame of greenery Nature may provide, for it is safe to say that never was a building erected which could not be made to seem more beautiful by a background of foliage. Trees to the country house are as essential as the frame to the portrait; nay, more so, for they become part and parcel of the portrait itself, and sad, indeed, is the prospect of attempting to build in the country without them. Where there are no trees at all, or not enough, or when they are wrongly placed, the subject of planting becomes so important that it should be discussed from the very outset and considered in the choosing of a site. Because of the pitiful failures of the average house owner, or his gardener, and because of the admirable success of such men as Charles Platt and Wilson Eyre, we are very sure that the architect who designs the dwelling is the one best man qualified to design the setting. The pictorial record in this book shows the sequence in which the works were executed. If, therefore, one finds among the first pages more charm than among the last, this is but a renewed proof of the important part that Nature and Time play in the ultimate success of the country house. It is the combination of intelligence in planting, and Time in bringing to fruition, that harmonizes a house with its surroundings. It is no matter whether we use box or arbor vite or maple or linden. What we care for is where and how the trees are planted. The result should be harmony between house and environment ; not a mutilation of Nature, nor an architectural irregularity. What is true of the necessity for giving the architect control over the exterior of the house, is no less true when the interior is considered. In spite of large, even lavish expenditures, the interior effect of many of our expensive houses is often that of a very commercial decorative art. Stanford White, the most brilliant and, perhaps, the only great architect-decorator our country has known, was successful because, while relying upon the professional decorator to assist him, he obtained his unity and integrity of effect by carrying out personally his designs to the end. In fact, he would accept no commission which would not allow him complete control down to the very smallest details. As the architect is intrusted with the exterior setting, so should his advice be sought and followed in the furnishing of the interior. The interior trim, the mantels, panelling, wainscoting, and the staircase, are generally included in the builder’s contract. For this work the architect’s details are followed, and his designs accepted without question. Yet, how often is a carefully panelled room utterly ruined by the wall coverings, curtains, and furniture, because the owner, with the best intentions in the world, considers these matters — which make or mar an interior — to be outside of an architect's province, or too personal for him to advise upon. The rooms in a house should be homogeneous, not a collection of samples of historical periods. ‘To design a Jacobean dining room and a Louis AV drawing room, in a Georgian building, immediately makes the house a series of unrelated compartments. On the other hand, when the rooms ot a whole Hoor are treated broadly, we have, as a result, not only a unity of effect, but a fine sense of spaciousness. The average man contemplates the building of a house with misgivings, not unmixed, at times, with fear. He has been told that building is an expensive luxury, and that the cost of a house invariably exceeds the initial estimates. On this subject we can speak from our own experience. We have designed some houses which have been finished within the expenditure originally proposed, and others in which the initial estimates have been doubled. But we believe we are stating the experience of architects in general, when we say that the additional cost has, in every instance, been incurred at the client’s express demands. One of the most important considerations in building is the selection of a builder. In this country, unfortunately, the selection is generally made by the competitive system of estimating. "To give the work to the lowest bidder, without inquiring into his character and reputation, is the rock on which the most carefully designed house may be wrecked. Competition between builders of reputation is not necessarily bad; but, in competition between builders whose characters are not investigated, it wall generally be the man who counts on making his profit by undetected “scimping, who otters the lowest bid. The whole process, as someone has remarked, too often results in the survival of the unfittest. Although an architect, by playing the distasteful part of the amateur detective, may be able to obtain from an unscrupulous builder a minimum standard of workmanship, this is only achieved by the most rigorous spying,— and the standard will surely be a minimum standard. Because of the absence of any pride in his work on the builder’s part, the final result is altogether unsatisfactory. Furthermore, a man who is going to erect a house should make up his mind at the outset, that the architect does not determine the cost of the building. This is fixed by many conditions, the most important being the area it covers, the cubical contents, and the type of construction. Cost of building varies for many reasons. Among these may be mentioned vagaries in the material market, the distance of the building from the source of supplies and labor, the prevailing condition of the labor market itself, and often, whether the contractor needs work, or has plenty of contracts in hand. Among country contractors, particularly, this has been found to be a frequent cause of the variation in figures. The architect can never determine actual costs from tentative plans. But on the cost of construction he is none the less a safer guide than the building contractor. In every-day practice it is shown that contractors’ estimates, figured in competition, and from completed plans and specifications, often vary from ten to fifty per cent. In this matter of cost, there are two ways for a client to approach his architect. He may say, “I have $25,000 to spend; show me what I can get for it.” Or he may say, “These are my requirements; keep the cost as low as possible.’ But he cannot say, ‘I must have this and that, and I will not pay over $25,000 for it.” The details and complications of building even the small house may seem at the outset to be many; but there is one way for the owner to avoid most of his worries, and that way is to place at the start a little real faith in the architect he employs. If you wish a successful house, give the architect free admission into your confidence and faith. He will work many times harder, knowing that you trust his judgment and stand behind his decisions. For the profession of architecture, like that of medicine and law, is one in which the results are judged by the services performed, and the creation of a beautiful and useful building is to the true architect his best reward. (LUST RAD LIONS DETATL OF SiO.U 7 A. lh RON ES House at Cast Hampton LONG TS AN D SOUTH FRONT House at Cast Hampton LONG ISLAND DETAIL OF PERGOLA House at East Hampton LONG ISLAND PT Jesdiiidedl WT) | | : | im is VIEW OF PIAZZA House at East Hampton LONG ISLAND wit wy Het \ Wed wi \ DETAIL OF DINING ROOM House at Cast Hampton LONG ISLAND THE DINING ROOM House at East Hampton EON G ISLAND THE LIVING ROOM House at East Hampton LONG ISLAND THE ENTRANCE HALL House at Cast Hampton LONG ISLAND DETAIL OF NORTH ENTRANCE House of Tracy Dows, Esq. FOXHOLILOW FARM RHINEBECK, N.Y. NORTH FRONT House of Tracy Dows, Esq. FOXHOLLOW FARM RHINEBECK, N.Y. DETAIL OF CHILDREN’S ENTRANCE House of Tracy Dows, Esq. FOXHOLLOW FARM RoE LIN Ee Boe GK. Nb. Wes LN pcertemmemen he ne epee, SOUTH FRONT House of Tracy Dows, Esq. FOXHOLLOW FARM REINEBEC EK. N.Y. DETAIL OF SOUTH ENTRANCE House of Tracy Dows, Esq. FOXHOLLOW FARM ROELEIN E: BEG Kn ONG atl £ E t t f f Pp re ss VDE W EF OR-OM (SERVICE “COU RAE House of Tracy Dows, Esq. FOXHOLLOW FARM Robe NE BeicG@AK., INS oY. VIEW FROM TLOGGIA House of Tracy Dows, Esq. FOXTIIOLLOW FARM REIN EB BGs g. IN es WALL FOUNTAIN House of Tracy Dows, Esq. FOXHOLLOW FARM REIN E.BE GK, IN; Ys Henry Herine, Sculptor VIEW OF ENTRANCE HALL House of Tracy Bows, Esq. FOXHOLLOW FARM RHINEBECK, N.Y. THE S8TAILRCASE House of Tracy Bows, Esq. FOXHOLLOW FARM RHINEBECK, N.Y: THE DINING ROOM House of Tracy DMows, Esq. FOXHOLLOW FARM RHINEBECK, N.Y. THE ENTRANCE LODGE Foxhollow Farm RHINEBECK, N.Y. WEST VIEW OF ENTRANCE LODGE SFoxhollow Farm RHINEBECK, N:sYs THE SUPERINTENDENT ’S COTTAGE SFoxhollow Farm RHINEBECK, N.Y. STABLE AND COACHMAN’S COTTAGE Foxhollow Farm RHINEBECK, N.Y. PHE €COALCHMANS COTTAGE Foxhollow Farm REEL NCE BEG Be NY. Seen non THE GARDENER’S COTTAGE Foxhollow Farm RHINEBECK, N.Y: TELE. PiZAY LOWS. E Foxhollow Farm RHINEBECK, N.Y. DORMITORY Geslevan Gnibersitp MIDDLETOWN, CONNECTICUT SOUTH FRONT House of Tracy HB. Harris, Esq. HEWLETT, LONG ISLAND GARAGE AND CHAUFFEUR’S COTTAGE For Tracy B. Harris, Esq. HEWLETT, LONG ISLAND SOUT Ty RO Ne House of Russell S. Carter, Esq. HEWLETT, LONG ISLAND DETAIL OF ENTRANCE House of Russell S. Carter, Esq. HCEW Geko TT LcO°N G SsbA NCD SOUTH FRONT Birch Corners HEWLETT, LONG ISLAND ALTERED HOUSE For John A. Topping, Esq. GREENWICH, CONNECTICUT SQUTH FRONT House of James A. Stillman, Esq. PO GAIN ET 4-60: A tihdss) NY (NEWS photo) Chimney: « . ‘stark above ruins ar: ., N. Y., as serva ~ ved from fire. a a ae oat i DAE AL Ly Oak WilS. dy cE ND House of James 4. Stillman, Esq. POCANTI@GO HIL.&s,. NeyYs DETAIL OF FAST END House of James 4. Stillman, €3q. POCAN TLCO TIRES}. Nea ¥ THE STABLE Estate of James 4. Stillman, Esq. POCANTICO HILLS,,N.Y. SOUTH VIEW OF SUPERINTENDENT’S COTTAGE Estate of James @. Stillman, Esq. POCANTTICO HILLS, N.¥- NORTH VIEW OF SUPERINTENDENT’S COTTAGE Estate of James A. Stillman, Esq. POCANTICO HILLS, NeY. THE GARDENER’S COTTAGE Estate of James A. Stillman, Esq. POCANTICO HILLS, N.Y. THE POWER HOUSE Estate of James A. Stillman, Esq. POC AN PCO. SEE ais. IN: v4 [++ +i i | a SEP ATG OO EN RAN Cas House of Mr. Frederick K. Bollister EAST HAMPTON. LONG ISLAND House of Br. Frederick K. Bollister EAST HAMPTON, LONG ISLAND A oj0"ud “d “Vo” ay} = seajos Buipying 944 ay} UMOP Xj/F -1eu e ‘ssey 'Alind 49126) jo @woy 40 ayy wo1 Of SpUeM “OU "ounr UL Pam aq jm Aaut asayr "aq ‘aIIA “1O4USD _,,'5°N SIMO, ‘ewoy Jay 'Mojeq 'pue ‘yyBiu seadde = 'juog Np Je4tyZ ssp) ‘eaouely sy pue “up q ulpuedy ‘uos $s UepIsalg ayy VIEW FROM PIAZZA House of Dr. Frederick K. Hollister EAST HAMPTON, LONG ISLAND oy vt f NVA v\| _ AY (7 aN DETAIL OF PIAZZA House of Br. Frederich K. Hollister EAST HAMPTON, LONG ISLAND THE APPROACH VIEW House of F. G. Schmidt, Esq. KINGSTON, NEW YORK NORTH FRONT House of F.G. Schmidt, Esq. KINGSTON, NEW YORK SOUTH FRONT Houseot F. G. Schmidt, Esq. KINGSTON, NEW YORK Qe Gb ae OB be DETAIL OF SOUTH FRONT House of F.G. Schmidt, Esq. KINGSTON, NEW YORK DETAIL OF SOUTH FRONT House of Carleton Macy, Esq. HEWLETT, LONG ISLAND NORTH FRONT House of Carleton Macy, Esq. HEWLETT, LONG ISLAND ‘ ets ae. be Te THE DINING ROOM House of Carleton Macy, Esq. HEWLETT, LONG ISLAND A House at Montclair, N. J. WEST VIEW OF LOGGIA House of T. Fefferson Coolidge, Jr., Esq. MANCHESTER, MASSACIIUSETTS it sass ihe whales EAST VIEW OF LOGGIA House of CT. Jefferson Coolidge, Jr., Esq. MANCHESTER, MASSACHUSETTS SOUTH FRONT House of George Davidson, Esq. MADISON, NEW JERSEY DETAIL OF ENTRANCE House of George Davidson, Esq. MADISON, NEW JERSEY SOUTH FRONT House of Levin R. Marshall, Esq. HEWLETT, LONG ISLAND DETAIL OF ENTRANCE House of Levin R. Marshall, Esq. HFEFWLETT, LONG ISLAND DETAIL OF SOUTH ENTRANCE House of Bradish ¥F. Carroll, Esq. DONGAN HILLS, STATEN ISLAND, N.Y. SOUTH FRONT House of Mr. Ernest Fahnestock SHADOW BROOK FARM SHREW S BURY. Ne. ys DETAIL OF ENTRANCE House of Dr. Ernest HFahnestock SHADOW BROOK FARM SHREWSBURY, N.J. ypesenemanty - ree Dawes HREM ORNRAreN AAS sth PENERPABAE RSIS AT ce liagagansemnwnneamnnewonenENsweNtentensssnDUNESNAPRRADNEENSS | GNiizg iy snnaaunraapeennenasteangareusaaansoaneeno 0) soqenaannannssnrantsannsnte ee NzEtES* VIEW OF BRICK TERRACE House of Mr. Ernest Fahnestock SHADOW BROOK FARM SHREWSBURY, N.J. THE SA Bia Shadow Brook Farm SHREWSBURY, N.J. THE GARAGE AND CHAUFFEUR’S COTTAGE Shadow Brook Farm SHREW S BUR Ys N= J. THE FARMER’S COTTAGE Shadow Brook Farm SHREWSBURY, N.J. House of J. Langdon Erving, Esq. 62 EAST 80TH STREET, NEW YORK rere 4 i } =| : = my 4 i En No. 59 East 77th Street NEW YORK EEO SS Sn z= then House of Mrs. James Cunningham 124 EAST gs5TH STREET, NEW YORK GARAGE AND APARTMENTS Of Richard M. Hoe, Esq. 763 ELACS TP 69TH, SUE Re EE, (NCE OW -Y O:R RK NORTH FRONT House of John N. Tilden, Esq. GARRISON-ON-HUDSON, NEW YORK SOUTH FRONT House of John N. Tilden, Esq. GARRISON-ON-HUDSON, NEW YORK GARAGE For John N. Tilden, Esq. GARRISON-ON-HUDSON, NEW YORE BL NORTE FRONT House of Henry L. Batterman, Esq. GLEN COVE, LONG ISLAND ena ‘leone | aocenr ae | exes ener (be