Queen Anne Victorian Style

In the Queen Anne, which flourished from the 1880 to 1900, elements from many past styles were woven in a rich composition. The result was a picturesque style that appeared in urban row houses and mansions of lumber barons and shipping magnates from coast to coast. Larger houses in particular emphasized free-flowing interior spaces and circulation around a large living hall.

  George Devey (1820–1886) and the better-known Norman Shaw (1831–1912) popularized the Queen Anne style of British architecture of the industrial age in the 1870s. Norman Shaw published a book of architectural sketches as early as 1858, and his evocative pen-and-ink drawings began to appear in trade journals and artistic magazines in the 1870s, which later inspired the style to grow and flourish across many countries.

  Shaw's eclectic designs often included Tudor elements, and this "Old English" style also became popular in the United States, where it became known (inaccurately) as the Queen Anne style. Confusion between buildings constructed during the reign of Queen Anne and the "Queen Anne" Style still persists, especially in England.

The Queen Anne form is distinctively asymmetrical, from rooftop to ground level: steep gables, sometimes in combination with a hipped roof second-story projections that may be gabled, hipped, or rounded; corner turrets and bays, or just rounded corners suggesting a turret shape.

  Horizontally arranged contrasting materials, textures, and patterns express the style’s emphasis on exterior surfaces. In a typical Queen Anne, the first floor might carry stone or brick; the second, decorative boards; and the third, patterned shingles.

Sheltering porches and wrap around verandas visually enlarge the first floor and open the house to the outdoors.

Decorative details include carved wood trim and delicate fretwork painted to contrast with surface materials; fish-scale, diagonal, or diamond-pattern shingles; and stained or beveled glass inserts in transoms and upper windows

The Bungalow

    Probably the favorite smell house design of the early 20^th century, the bungalow style was born in California but quickly spread across the country – thanks in part to its exposure in plan books and its avaliability across the Sears, Roebuck mail-order catalog as s precut kit house The style’s simplicity and adaptability encouraged regional variations. The Craftsman’s Movement adopted the Bungalow form as the perfect medium to express the art of fine craftsmanship and to display natural materials at their best.

   A bungalow is a type of building, with varying meanings across the world. Common features too many bungalows include being, low-rise and the use of verandas. In Australia, theCalifornia bungalow was popular after the First World War. In Britain and North America a bungalow today is a residential building, normally detached, which is either single storey, or has a second storey built into a sloping roof, usually with dormer windows ("one and a half stories"). Full vertical walls are therefore only seen on one storey, at least on the front and rear elevations. Usually the buildings are relatively small, especially from recent decades, though early examples may be large, in which case the term bungalow tends not to be used today.

  Compact in shape with a gently pitched gable roof, the Bungalow a single – or 1 1\2 story design, often with a prominent front porch sheltered by a low, broad gable.

  The front porch often carries tapered posts and\or flared base borrowed from the Shingle style. Sometimes a pergola or trellis extends outward from the roofline to ease the transition from indoors to the outsides.

  Natural materials – cobblestone or rough-finish brick for foundation and chimneys; wood shingles left to weather naturally or lightly stained on exterior walls- give many bungalow s a rustic look. Stucco-finished examples usually have a tile roof.

  The floor plan is simple and functional as the style itself, with the porch leading directly into the living areas and rooms connecting to one another without wasted hallway space.
       The Prairie House

 Identified for its rather low horizontal form was designed for the flat Midwestern landscape, the Prairie style first appeared around the 1900 and represented a new concept in design – that the style of a house should reflect the needs and living patterns of its inhabitants. Its originator, Frank Lloyd Wright, stressed continuity of space and living areas open to natural light, air, and views through and across the interior to the outdoors. By the 1920s the Prairie style was widely built from coast to coast.

 The Prairie House was also an attempt at developing an indigenous North American style of architecture that did not share design elements and aesthetic vocabulary with earlier styles of European classical architecture.

 The style is usually marked by horizontal lines, flat or hipped roofs with broad overhanging eaves, windows grouped in horizontal bands, integration with the landscape, solid construction, craftsmanship, and discipline in the use of ornament.

   Horizontal lines were thought to evoke and relate to the native prairie landscape. The term Prairie School was not actually used by these architects to describe them; the term was coined by H. Allen Brooks, one of the first architectural historians to write extensively about these architects and their work.

    A key feature of the Prairie style is a broad-hipped or gabled roof system with wide overhanging eaves that project like sunshades to help define and shelter the various living levels.
    A distinctive low-profile but massive chimney block anchors the structure vertically to the ground; around it, floors and levels extend horizontally like shelves.

    Large bands of casement- type windows introduce light and air; sometimes the windows continue around corners in a ribbon effect.

   Exterior walls serve as wings and protective sides for half-walled terraces and balconies.
   Common materials include light-colored brick with stucco ledges and coping, and stuccoed surfaces trimmed with horizontal bands of dark wood. The floor plan is open, with living areas flowing around the chimney core.

       The International Style

   The International Style is a major architectural style that emerged in the 1920s and 1930s, the formative decades of Modern architecture.

   The term originated from the name of a book by Henry-Russell Hitchcock and Philip Johnson, The International Style, that identified, categorized and expanded upon characteristics common to Modernism across the world and its stylistic aspects. The authors identified three principles: the expression of volume rather than mass, the emphasis on balance rather than preconceived symmetry, and the expulsion of applied ornament. The aim of Hitchcock and Johnson was to define a style that would encapsulate this modern architecture, doing this by the inclusion of specific architects.

  The International style arrived in USA in the early 1930s from Europe and went on to become a significant influence on modern architecture in general and the forerunner of the clean-lined classic contemporary seen everywhere today. It is noted for its functionality, stark simplicity, flexible, modern interior arrangements, and emphasis on standard industrial materials.

   Easy to identify, the International style is cube shaped with a flat roof, smooth continuous wall surfaces, and an absence of cornices or projecting eaves.

   Most windows are arranged in horizontal ribbons or bands separated by sections of plain wall, the visual effect, being an alternating “curtains” of wall and grass. Clerestories often line the upper portion of the facade.

   Manmade materials –reinforced concrete, glass, steel – have precedence over natural materials; concrete sometimes carries a stuccoed or plastered finish.

  Although there is balance and geometry of form, the parts of the house are not symmetrically ordered – balconies and portions of the upper floor, for example, often cantilever over the ground level to varying depths.

The style uses little or no ornamentation inside or out, rarely employs pattern or colour, and emphasizes white as the international shade.

 Although it was conceived as a movement that transcended style, the International Style was largely superseded in the era of Postmodern architecture that started in the 1960s. In 2006, Hugh Pearlman, the architectural critic of The Times, observed that those using the style today are simply "another species of revivalist", noting the irony.

   All in all, the adaptation of styles, called vernacular architecture – grew out of America’s move across the continent, and the need of Americans forebeards to suit their dwelings to the clymates, building materials, and life-styles of new places.

American architecture gets its inspiration from vernacular styles of the past, from countries all over Europe.

By looking at one’s persons house, we could tell particulary everything about him – his nationality, his lifestyle and his personal values.

A house is a visual expression of values. Popular styles express the values of a particular age or generation. An educated observer can "read" the values of a society from its buildings
and houses.

Individuals use housing styles to announce and shape their self-concept. This is why
buying or building a house is so difficult. The choice is more than a consumer decision; it is also
part of the answer to the lifelong question, "who am I?"

List of literature

 

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