Architecture : $b nineteenth and twentieth centuriesHitchcock, Henry-Russell
History
Architecture : $b nineteenth and twentieth centuries
Hitchcock, Henry-Russell
Architecture, Modern -- 19th century; Architecture, Modern -- 20th century
Glen Andred is little more related to the new Queen Anne mode of the Kew
lodge than it is to the Gothic of the Bingley church. It does, however,
seem to derive somewhat from earlier Nesfield work, or possibly from
Devey. Where the High Victorian Gothic had rejected English precedent in
favour of Italian and French models, this first Sussex house of Shaw’s
is resolutely regional in character. The tile-hung walls above a
red-brick ground storey, the white-painted wooden casements, almost as
extensive as the ‘window-walls’ of Cloverley, the loose asymmetrical
organization of the massing are all related to a local Sussex and Surrey
vernacular of no particular period (Plate 102B). The entrance front is
more formal, carefully balanced if not precisely symmetrical, and here
the pargetting in the central gable is of Jacobethan character. But the
great stair-window and the graceful massing of the tiled roofs, quite in
the finest tradition of the Picturesque but handled with a new ease and
casualness, are more important elements of Shaw’s first manner, which
can be called ‘Shavian Manorial’. The hall across the front between the
two projecting wings is modest in size, with the principal living rooms
loosely grouped round it. Thus this may be considered an early example
of what I have rather clumsily called the ‘agglutinative plan’, but as
it was never published the extent of its actual influence must remain
uncertain.
There was little logic to Shaw’s regionalism. Already in 1868 he was
applying his Sussex vocabulary of materials and forms to the Cookridge
Convalescent Hospital at Horsforth near Leeds in stony Yorkshire. In
general, however, he kept this manner for work near London, using it
even as late as 1894 for a house called The Hallams near Bramley in
Surrey. He also introduced tile-hanging on some of his houses in London
such as West House, at 118 Campden Hill Road, of 1877 and Walton House
in Walton Street of 1885 as well as—rather more appropriately—on the
suburban Hampstead house that he built in the same year for Kate
Greenaway at 39 Frognal.
Public-domain text, read in full here on John Shaqi.
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