Architects emulated colonial houses’ plain, shingled surfaces as well as their massing, whether in the simple gable of McKim Mead and White’s Low House or in the complex massing of Kragsyde, which looked almost as if a colonial house had been fancifully expanded over many years. This impression of the passage of time was enhanced by the use of shingles. Some architects, in order to attain a weathered look on a new building, even had the cedar shakes dipped in buttermilk, dried and then installed, to leave a grayish tinge to the façade.

The Shingle Style also conveyed a sense of the house as continuous volume. This effect—of the building as an envelope of space, rather than a great mass, was enhanced by the visual tautness of the flat shingled surfaces, the horizontal shape of many shingle style houses, and the emphasis on horizontal continuity, both in exterior details and in the flow of spaces within the houses.

Links

• Shingle Style – Wikipedia

This Queen Anne style derived from the influence of Richard Norman Shaw, an influential British architect of the late Victorian era. Seen from the 1870s onwards, this style revived features of English architecture from the seventeenth and eighteenth centuries, including, initially, elements from the historical reign of Queen Anne (1702-14). However the historic reference in the name should not be taken literally as most buildings in the Queen Anne style (including most of those illustrated in this article) bear very little resemblance to English buildings of 1702-14.

The Queen Anne Style of British architecture in the 1870s (the industrial age) was popularized by George Devey and the better-known Richard Norman Shaw (1831-1912). 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. American commercial builders were quick to pick up the style.

Queen Anne Style buildings in America came into vogue in the 1880s, replacing the French-derived Second Empire as the "style of the moment." The popularity of high Queen Anne Style waned in the early 1900s, but some elements, such as the wraparound front porch, continued to be found on buildings into the 1920s. In America, "Queen Anne" is loosely used of a wide range of picturesque buildings with "free Renaissance" (non-Gothic Revival) details rather than of a specific formulaic style in its own right.

In Australia, the Queen Anne style was absorbed into the Federation style, which was, broadly speaking, the Australian equivalent of the Edwardian style. The Federation period went from 1890 to 1915 and included twelve styles, one of which was the Federation Queen Anne. This became the most popular style for homes built between 1890 and 1910.[9] The style often utilised Tudor-style woodwork and elaborate fretwork that replaced the Victorian taste for wrought iron. Verandahs were usually a feature, as were the image of the rising sun and Australian wildlife; plus circular windows, turrets and towers with conical or pyramid-shaped roofs.

Links

• Wakefield: the origins of County Hall
• Queen Anne Style in Buffalo, New York, 1880-1910
• Photography of Queen Anne Style Homes in Hamilton, Ontario
• Hackley & Hume Historic Site, 1889, Muskegon, Michigan
• Queen Anne Style Homes, Queen Anne Neighborhood, Seattle, Washington

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The Eastlake style’s importance is delineated by the use of geometric shapes made possible by modern machine techniques of the era. By making these intricate shapes with machines, it was possible to duplicate the exact complex patterns repeatedly, and in unusual places, such as the inside plates of a hinge.

It’s important to realize, however, that Eastlake always emphasized "simple, elegant motifs" rather than the florid decorative excesses of high Victorian style, and the majority of the items labeled "Eastlake" appalled him, as he frequently wrote during his lifetime. This is particularly evident in the United States, where basic Eastlake motifs were usually multiplied into a dizzying geometric mandala of Victorian intricacy.

As the 20th century approached, there was then a revival of old forms in furniture under the name of the Queen Anne, although frequently spoken of by dealers, with absurd anachronism, as the Early English. While the articles made according to Mr. Eastlake’s instructions may be considered a reform, and the Neo-Jacobean a fashion, the revival of the Queen Anne seems to have sufficiently positive features to be regarded as a style.

This revival is said to be the work of that knot of poets and artists and connoisseurs of bric-a-brac at whose head stand Dante Gabriel Rossetti and William Morris, and the traces of Italian fancy and English quaintness combined in it declare that it might have been their work if it is not.

Links

• Eastlake Style – Wikipedia

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