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HISTORIC PRESERVATION RESOURCE GUIDE
CHAPTER
EIGHT
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TURAL STYLES
AND ARCHITECTS
Historic Tacoma-July 2011 8-1
http://www.historictacoma.org/
HISTORIC PRESERVATION RESOURCE GUIDE
HISTORIC TACOMA
JULY 2011
HISTORIC PRESERVATION RESOURCE GUIDE
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AND ARCHITECTS
Historic Tacoma-July 2011 8-2
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TACOMA ARCHITECTURAL STYLES
Below is brief list of
the most common residential styles found in Tacoma: Text is from Classic Houses of Seattle: High Style to Vernacular, 1870-1950, Timber Press, 2005, Caroline T. Swope. Text is used with author's permission. Victorian (Queen Anne, Free Classic and Folk Victorian) 1870 1910
Queen Anne houses at 901 & 903 North K Street
Photo courtesy of Willow's Photography
Queen Anne house at 817 North J Street
Photo courtesy of Tacoma Public Library, BU 698
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Historic Tacoma-July 2011 8-3
http://www.historictacoma.org/ Free Classic Victorian house at 502 South Sheridan
Photo courtesy of Kingstree Studios
Victorian architecture is one of the most easily identified stylistic cl assifications. While most people recognize the towers, ornate woodwork, and multi colored stained glass, many are unaware that "Victorian" isn't a single architectural style, bu t a conglomeration of styles ranging from Gothic Revival to Queen Anne and Eastlake. Most of the se styles share irregular massing, ornate exterior decorations, and a number of different design influences , including English, French, Italian, and Swiss. Plain elevations are uncommon, since large-scale mill operations supplied inexpensive and mass produ ced molding, ornate doors, windows, and decorative details, providing designers a plethora of personalization choices. The
Victorian styles began in
England under the reign of Queen Victoria (1837-1901) and arrived in the United States through the influenc e of a number of architects, including Andrew Jackson Downing and Richar d
Norman Shaw.
The flexible combination of floor plans, building materials, and ornamen tation associated with the Victorian styles made them attractive to many different social and e conomic groups. As a result one can find Victorian commercial buildings, apartments, single-family homes, and large mansions throughout the city, many dating from the late nineteenth centu ry. While one can still find an occasional Italianate house, the m ost common Victorian sub styles are Queen Anne, Free
Classic, and Folk Victorian.
Queen Anne houses typify what most people visualize when they hear the term "Victorian." Most Queen Anne houses have two full stories, although large three story mansions a nd smaller one and a half story or one story folk versions occur as well. The mass ing is quite irregular and a dominant street facing gable is usually present on an asymmetrical faç ade. Towers are commonly found on the main elevation in the larger and more elaborate manifestations. Roof forms are no rmally hipped or cross gabled.
Windows are often one over one, double hung, with
stained glass or leaded glass appearing in even some of the simplest examples. A particular
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http://www.historictacoma.org/ design feature of this style is the Q ueen Anne window.
A Queen Anne window is double hung
with a sing le light on the lower portion. The upper portion is a single large pane surrounded by smaller square panes, u sually made from colored glass.
Large one
story porches are ubiquitous, and accent the irregular plan of the façade, while recessed porches and balconies appear on upper floors. Queen Anne houses are easily recognized by their abundance of decorative wooden gingerbreading (sometimes called spindlework) and heavily patterned wa ll surfaces, which use an abundance of patterned shingles. Gingerbreading is used to detail po rches, accent doorways, gables and bay windows. The patterned wall textures provided by different shingle designs are also a Queen Anne hallmark.
While wooden examples of
this house are most common, brick versions occasionally appeared and achieved the ornate layering of textu re through differing brick patters, colors, or even half-timbered elements. Smaller vernacular versions of the Queen
Anne style are usually referred
to as Folk Vic torian.
These structures also have spindlework,
front porches, and a dominant front gable but are usually only one or on e and a half stories, with considerably less ornamentation than their larger cousins.
The term "Queen Anne" is a misnom
er, since this style has very little in common with the formal Italian Renaissance Revival architecture that was popular during her rei gn from 1702-14. Instead, Queen Anne designers borrowed architectural forms from the prec eding Elizabethan and
Jacobean
periods. English architect Richard Norman Shaw (1831
1912) borrowed design
eleme nts from half-timbered medieval. Several sketches of his work were published during the
1870s in the journal
Building News
. Shaw was one of the most popular designers of lat e Victorian houses, and developed earlier Arts and Crafts designs, popular ized by William Morris, in addition to the Queen Anne style. Americans that were unable to trav el abroad would have seen examples of the nacient Queen Anne style at the 1876 Philadelphia World's Fair with buildings designed for the British commissioner and delegates. These ir regularly massed buildings with half timbering, extended bays, steep roof lines, and mult i-lighted windows were illustrated in
American Building Magazine
and Bu ilding News . The first American example of this style is the Watts Sherman House (1874) at Newport, Rhode Island, designed by Henry Hobson Richardson. Architects and designers around the country were abl e to peruse Queen
Anne design elements through illu
strated style books of the period, including E. C. Gardner's
Illustrated Homes
(1875) and Bicknell and Comstock's
Specimen Book of One
Hundred
Architectural Designs
(1880). The development of the Queen Anne and the Folk Victorian style was, in p art, made possible by a fundamental change in construction technology; the balloon frame. Thi s streamlined construction technique was first used in Chicago and became the major bu ilding method. It is still the most common method of frame construction in the United States. This new lightweight framing technique replaced the heavier braced fame construction. Braced frame construction required heavy corner posts, and hewn joints. In contrast, the balloon frame has corner posts built from several two by fours and ma kes exclusive use of nails to join framing members. This newer structural system allowed both cheaper and more rapid construction than hewn joints and also allowed greater freedom in creating the irregular floor plans that are common in these styles.
The Free Classic Victorian is a sub
style of the traditional Queen Anne Victorian that more people are associated with. Free Classic homes often have the irregular massing of a Queen Anne, with the towers, bay windows, and porches, but start to have more restrained decorative
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http://www.historictacoma.org/ elements. Instead of multiple styles of shingles and extensive ginger-breading, these houses have more restrained ornamentation with classically inspired details. While many people do not think of classical columns and Palladian wind ows as particularly
Victorian
in styles, perhaps one third of Queen Anne homes had such details. This stylistic variation became i ncreasingly common after 1893, due in part to classical design influences from the World' s Columbian Exposition in
Chicago th
at year. By 1900 the Colonial Revival and Neo-Classical Revival styles had begun to surpass the
Victorian
styles in popularity. Victorians loved color, texture and pattern, but it is often difficult t o tell how paint was used on their homes. Period ph otographs can help with structural design, but the black and white medium offers little information regarding original color schemes. Scra ping the paint back to its original layer isn't always reliable, since pigments can change color s over time, and it is almost impossible to tell primers and undercoats from finish coats. Exterior c olor choices were considerably more limited than the thousands of shades available to cont emporary homeowners. Gray, various shades of green, and brown were frequently used.
Blues, yellows, purples and
bright reds weren't often used since these colors were not very color fast. Smaller homes often used two similar colors, one for the main body of the house, the other f or trim; window frames, cornices, brackets, porch railings a nd supports. Sometimes an additional color was added for window sashes. More elaborate homes might have six or more paint color s. Late Victorian buildings often used softer paint colors, particularly if they had Colon ial revival or Neo-Classical design e lements (Free Classic). Pastel yellows, grays, and blue were used, and trim might be white, instead of the darker colors preferred in earlier decades.
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http://www.historictacoma.org/ Spanish Revivals (Mission Revival and Spanish Eclectic) 1890 1940
Mission styled house at 402 North Yakima
Photo courtesy of Kingstree Studios
Spanish Eclectic house at 615 North 10
th
Street
Photo courtesy of Kingstree Studios
HISTORIC PRESERVATION RESOURCE GUIDE
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Historic Tacoma-July 2011 8-7
http://www.historictacoma.org/ Spanish Eclectic house at 1106 Tacoma Avenue North
Photo courtesy of Kingstree Studios
At first glance t
he stucco covered, southwestern forms seem out of place in the misty eve rgreen clad Pacific Northwest. Mission and Spanish Eclectic homes, are infrequ ent but striking styles. The Mission style, nationally produced from 1890 until the 1920s, had a local following during the 1910s and 20s. While the east coast was focusing its colonial reviva ls on the English and Dutch architectural styles native to the area, the western states turned to their native colonial forms. The Mission style originated in California , and is thought to be the first style that diffused from the west to the east. The Santa Fe and Southern Pacific Railroads selected Mission designs to create a unified theme for their stations and resort hotels. Mission style buildings can utilize either symmetrical and asymmetrical facades. The basic massing of the structur e is usually square or rectangular, with porches and towers providing asymmetry. Wal l surfaces are stuccoed. Roofs can be either pyramidal or gabled, and are commonly cov ered with tile. Like craftsmen homes, eaves project over the exterior walls, and have exposed rafter tails. Porches are common, and are supported by square piers, sometimes arching into th e wall. Dormers and roof parapets are usually shaped with curving undulating liens and coping. The Spanish Eclectic style grew out of the Mission style. It is more ve rnacular in form, and can draw design elements from different periods of Spanish history, includin g Moorish, Gothic or even Renaissance. While this style can have large, elaborate examples, those found in Seattle are more generally small one story builder's houses, rectangular in plan, but with asymmetrical window and door placement. Roofs can be gabled or flat, and are general ly tiled. Eaves for this style have a minimal overhang. Wall surfaces are stuccoed and arches above main do ors and windows are common. Leaded glass windows are often used to accent prima ry windows. Because of its close association with southern California the style remi nded many of
Hollyw
ood's glamour days.
Colonial Revival (English and Dutch) 1880
1955
HISTORIC PRESERVATION RESOURCE GUIDE
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Historic Tacoma-July 2011 8-8
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English Colonial Revival house 605 North 5
th
Street
Photo courtesy of Kingstree Studios
English Colonial Revival cottage at 405 South Sheridan Street
Photo courtesy of Kingstree Studios
HISTORIC PRESERVATION RESOURCE GUIDE
CHAPTER
EIGHT
ARCHITEC
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AND ARCHITECTS
Historic Tacoma-July 2011 8-9
http://www.historictacoma.org/ Dutch Colonial Revival house at 514 North Sheridan Street
Photo courtesy of Kingstree Studios
The Colonial Revival style, which is characterized by architectural mass ing and details copied from period Colonial examples, originated with the Philadelphia Centennial International Exposition of 1876. In turn, many Colonial and early Federal styles were loosely based on Greco Roman design sources in an attempt to associate the greatness of past ci vilizations with our nascent democracy. Colonial Revival styles gained further publicity when the well-known architecture firm of McKim, Mead, and White designed a Colonial Revival house in 1882 for H. A. C. Taylor of Newport, Rhode Island, a town that served as a summer pl ayground for
America's elite.
A v ariety of design details are present in English Colonial Revival homes: they generally have regular massing, with hipped or side facing gables. Windows are evenly spaced, with the front door frequently holding the center position. A columned porch or small portico marks the primary entrance, and the paneled door is surrounded by sidelights and o ccasionally a Federal style fanlight above. Windows are double hung, with both sashes displaying multiple lights, or only the upper sash utilizing them. During the C olonial period, large windows required the joining of multiple small panes of glass, since window glass was importe d from Europe and large sheets were expensive and prone to breakage on the long sea crossing. Th us, for these revival styles, "old fashioned" multilight windows are often specified. Palladian windows are common in grander homes and are characterized by a tripartite design with eithe r a larger central arched window or a regular window topped with an arch flanked by smaller double -hung windows.quotesdbs_dbs9.pdfusesText_15
[PDF] residential architecture of the 19th and 20th centuries - Frank Lloyd