Academy of Art University Student: Gregory F. Shue | ID #: 03 !0"#$ A%& '"# | Instructor: Sagan | (odu)e ## | Assignment ##.

# %esearch *ro+ect: Second Draft A ,om-arative Forma) Ana)ysis of the %esidentia) .or/ of Fran/ 0)oyd .right and 1.0. 0utyens 2he Arts 3 ,rafts movement in the United States and 4ritain came at the end of the nineteenth century as a resu)t of the gro5ing disa--ointment 5ith other aesthetic movements that 5ere grounded in the idea)s of the then nascent Industria) %evo)ution6 such as %ationa)ism and the ,hicago Schoo). It 5as a reaction to the first true a7sence of human handicraft in architecture 5hich sought to restore the connection 7et5een 7ui)dings and their inha7itants through honesty6 integrity6 and sim-)icity of 7ui)ding materia)s. .ith its roots in 8ictorian Gothic architecture6 the Arts 3 ,rafts sty)e 5as su--orted 7y -atrons 5ho 5ere u--er midd)e c)ass and did not have to -ersona))y contend 5ith the 5ides-read -overty to 7e found in 1ng)and and Scot)and in the )ate nineteenth century. Some of the forefathers of the movement inc)ude A. .. *ugin6 9ohn %us/in6 and .i))iam (orris6 5hose theories from the midd)e )ate nineteenth century invo)ved :the highest aesthetic ;ua)ities <7eing= ri--ed from the museum -edesta) and )in/ed again 5ith the too)s and artefacts of everyday use.> ?,urtis6 @ A (orris6 es-ecia))y6 had a -rofound inf)uence on the deve)o-ment of the Arts 3 ,rafts movement 7y understanding that his aff)uent 8ictorian -atrons had an :affection for comfort and gent)e ease> as 5e)) as individua) freedom. ?Davey6 #0A As 5e))6 (orris -roc)aimed in his The Prospects of Architecture: :the e)a7oration of machinery in a society 5hose -ur-ose is not the mu)ti-)ication of )a7our as it no5 is6 7ut the carrying on of a -)easant )ife6 as it 5ou)d 7e under socia) order B that the e)a7oration of machinery...5i)) )ead to the sim-)ification of )ife6 and so once more to the )imitation of machinery.> ?Davey ?3'A Socia) constructs6 7ui)ding methods6 and a reCthin/ing of mora)ity in genera) 5ere a)so /ey com-onents of these ascendant thin/ers. 2hese idea)s 5ere more s-ecifica))y codified during the Arts 3 ,rafts movement. For eDam-)e6 one very im-ortant as-ect for Arts 3 ,rafts 7ui)dings 5as their connection 5ith the natura) settingE the homeFs eDtension into the )andsca-e and the )andsca-eFs infi)tration into the home. Another significant tenet 5as the -reference for sim-)e architectura) forms over those 5ith a scu)-tura) or manufactured aesthetic. In addition6 the sim-)e architectura) forms 5ere to 7e em7e))ished 5ith decoration and ornament that evo/ed romantic6 medieva)6 and fo)/s themes6 a)) in /ee-ing 5ith the return to a more craftC7ased 5ay of )ife. 2hese themes6 -ut together as a ho)istic sum6 deve)o-ed into the notion of Arts 3 ,rafts -ro+ects that 5ere :tota) 5or/s of art> 5ith -ro+ectCs-ecific sensi7i)ities 7eing carried throughout the 7ui)ding6 site6 ornament6 and decoration6 inc)uding furniture and other house5ares..right dec)ared in #!#0 that :...it is ;uite im-ossi7)e to to consider the 7ui)ding as one thing6 its furnishings another and its setting and environment sti)) another.> ?,onrads6 $GA Sir 1d5in 0utyens 5as one of the most -rominent and -ro)ific 4ritish Arts 3 ,rafts architects of the )ate nineteenth and ear)y t5entieth centuries6 and 5ho is most)y reno5ned for his residentia) architecture6 monuments6 and furniture design. &is 5or/ eventua))y reached 7eyond his 4ritish roots into India6 Ire)and6 and S-ain. Fran/ 0)oyd .right6 o-erating at

rough)y the same time as 0utyens6 7ut in the United States6 is the most -ro)ific American architect to 7e associated 5ith the Arts 3 ,rafts movement. .rightFs ear)y 5or/ ?5hen he 5as more focused on the issues re)evant to Arts 3 ,rafts theoriesA 5as -rimari)y residentia) and eventua))y gre5 into )arger 7ui)ding ty-es as his architectura) sty)e evo)ved from the Arts 3 ,rafts sty)e. Simi)ar to 0utyens6 .rightFs 5or/ eventua))y too/ him 7eyond the 7oundaries of his home)and to -)aces inc)uding 9a-an and Ire)and. 2his essay see/s to find simi)arities and differences 7et5een the American and 1ng)ish Arts 3 ,rafts 7y 5ay architectura) ana)ysis6 and further6 to determine if one architect inf)uenced the other ?and if so6 in 5hich 5aysA. 0utyens6 argua7)y the -reeminent 4ritish Arts 3 ,rafts architect6 5as inf)uenced not on)y 7y *ugin and (orris6 7ut a)so 7y %ichard Horman Sha5 and *hi)i- .e776 t5o 4ritish architects 5hose 5or/ 5as -rimari)y residentia). A... *ugin 5as -erha-s the e)dest of 0utyensF inf)uencers6 5ho 5as 7est /no5n for his Gothic %eviva) 5or/6 most nota7)y for the reC 7ui)t interiors at the *a)ace of .estminster. *ugin 5as a)so a socia) reformer 5ho theoriIed that medieva) socia) structures 5ere su-erior to the 8ictorian a--roach that had 7ecome u7i;uitous during his time. Sha5Fs 5or/ 5as a de-arture from the -o-u)ar HeoCGothic and 9aco7ean sty)es and signa)ed a return to vernacu)ar sty)istic eD-ression 5ith his em-)oyment of ha)fCtim7er detai)s6 ta)) and massive chimneys. &e is a)so associated 5ith the 1ng)ish Domestic %eviva) movement6 a -recursor to the Arts 3 ,rafts that 0utyens 5ou)d he)deve)o- )ater. *hi)i- .e776 a 4ritish architect of the midJ)ate nineteenth century and -rominent figure in the deve)o-ment of 0utyensF a--roach6 is a)so /no5n -rimari)y for his residentia) 5or/. .e77 -artnered 5ith .i))iam (orris at (orris6 (arsha))6 Fau)/ner 3 ,o. ?)ater (orris 3 ,o.A6 an interior decorating and furnishing firm that focused on designing handC crafted teDti)es and other furnishings 5ith a medieva) aesthetic. Kne of 0utyensF signature 5or/s is 2ig7ourne ,ourt6 #@!!6 7ui)t for Sir 1dgar &orne in Surrey6 1ng)and. 2he house is situated ad+acent to a fair)y 5e))Cused road in the 1ng)ish countryside6 on a site that is su7ur7an in siIe re)ative to the house. 2he site is genera))y segregated into three main -arts: the forecourt6 the side garden6 and the remaining grounds surrounding the house. 2he side garden is the )argest s-ace around the house6 and it is designed 5ith the most connections 5ith the houseFs interiors via )arge 5indo5s6 terraces6 and vie5s. 2he Illustration 1: Tigbourne Court, view from the garden garden contains outdoor rooms that can 7e seen as eDtensions of the architectura) voca7u)ary of the house. Some of these outdoor rooms are defined 7y -)anting 7eds6 5hi)e others are more enc)osed6 such as 5ith the -ergo)a over the 5e)). 2he forecourt is the houseFs secondary connection to the outdoors6 7ut is a)so the most forma) outdoor s-ace on the -ro-erty. .ith minima) -)antings com-ared to the rest of the site6 the house is the -rimary container of the s-ace6 surrounding the forecourt on three of four sides. 2he -aving at the forecourt is 7ric/ in /ee-ing 5ith the masonry theme of the architecture. 2he Dining *orch at the rear facade is another connection 7et5een the )andsca-e and the house. Kther than the entry -ortico6 it is the on)y eDterior s-ace under the

main roof6 5hich 7rings the s-atia) )anguage of the garden terraces into the rea)m of interior s-aces6 there7y strengthening the houseFs connection 5ith the surrounding )andsca-e. 2he eDterior s-aces com7ine many of the same ;ua)ities as the house6 in that they are a com7ination of c)assica) and romantic organiIing -rinci-)es. For eDam-)e6 in the side garden6 5e))Cdefined -)anting 7eds and terraces are com7ined 5ith s-ra5)ing vines and 5i)df)o5ers to create a sense of eased forma)ity in the garden. *ergo)as eDtending radia))y out into the garden creating a more direct )inear connection 7et5een the -ro-ertyFs -erimeter and the house. 2he house itse)f is a testament to architectura) restraint in terms of its massing. 2he massing of the house consists -rimari)y of a re)ative)y )arge rectangu)ar main vo)ume 5ith t5o 5ings eDtending for5ard to create the forecourt. %ising a7ove the forecourt are three identica) ga7)es 5hich have minimiIed ra/ing eaves6 -roducing an effect of three cro5ning triang)es a7ove a vertica) and re)ative)y unadorned front facade. 2he theme of ad+acent identica) ga7)es is continued at the garden facade6 a)though here they are found as a -air and are significant)y )arger. 2his architectura) eD-ression of ad+acent ga7)es eventua))y 7ecame one of 0utyensF signature design e)ements.1 2he sma)) sing)eCstory 5ings -roviding enc)osure for the forecourt are very 7asic forms B essentia))y e)ongated rectangu)ar 7oDes 5ith ga7)ed roofs6 a)though they are terminated nearest to the road 5ith ta)) geometrica) chimneys and concave 5a))s. 2he concavity on one side has a door that )eads to the side garden6 5hi)e the other side houses a door that )eads to the /itchen area. In the continuing dia)ogue of +uDta-osition6 the t5o seeming)y identica) concave 5a))s actua))y have very different meanings regarding -rivacy B one is a garden gate6 the other a surround for secure door to the interior of the house. 2he chimneys of the house6 inc)uding those at the forecourt6 are sim-)e6 massive geometrica) eDtrusions. Hot a)) of the chimneys are the same6 7ut they a)) have the same sim-)e masonry voca7u)ary of sim-)e sha-es6 vertica) )ines6 cor7e)s6 and mass. 2he ornament at 2ig7ourne ,ourt is another carefu))y orchestrated eDercise in restraint6 using the natura) -ro-erties of the materia)s to 7ui)d on the rustic craftsmanshi- of the house. For eDam-)e6 the masonry detai)s are ;uite e)a7orate at a range of sca)es6 from cor7e))ing6 as mentioned a7ove6 to the so-histicated mortar +oints and -atterns em-)oyed at various )ocations around the house. 2he herring7one -attern6 for eDam-)e6 5hich is made from c)ay roof ti)es6 is used to create horiIonta) 7ands at regu)ar interva)s in the ga7)es and at the 5a))s near the forecourt. 2he ti)es that com-rise these 7ands are very thin and are +oined 5ith minimiIed mortar +oints6 creating noticea7)y sma))er sca)e of detai) than is other5ise found at the eDterior. 2he mortar +oints in the masonry 5a))s around the house ?5ith the eDce-tion of the herring7one 7ands6 5ith their minima) mortar +ointsA are garretted 5ith sma)) 7)ac/ roughChe5n stones in a 5ay that em-hasiIes the handcrafted aesthetic of the house. 2he regu)ar 7ric/ itse)f is a handCmade 7ric/6 very irregu)ar in siIe6 and are re)ative)y 7u)/y com-ared to the finished red 7ric/ used for detai)s at chimneys6 ;uoins6 and voussoirs. 2he second f)oor 5indo5s at the forecourt are adorned 5ith sim-)e a)ternating triangu)ar and arched masonry -ediments in a refined cut red 7ric/. Another eDam-)e of 7ric/ craftsmanshican 7e found at the )arge masonry 7rac/et su--orting the 7a)cony off of the master 7edroom6 5hich gent)y arches u- and out in a com7ination of cor7e) and arch techni;ues to form a threeCdimensiona) 7rac/et that )itera))y and visua))y su--orts the 7a)cony f)oor. Adding to the masterfu) masonry of the house is the tai)ored eD-ression of edge conditions through the use of ;uoins. 2he rustic fa7ric of the 4argate stone in the fie)ds of 5a)) -)anes are a star/ +uDta-osition to the s/i))fu) refinement to 7e found at corners and o-ening 5ith the red dressed
1

1ar)ier eDam-)es of ad+acent identica) ga7)es can 7e found in %ichard Horman Sha5Fs 5or/ ?4radford 1Dchange com-etition entry ?#@'"A6 0eys .ood ?#@' C'!A6 and 2he 2a7ard Inn ?#@ !C@0AA as 5e)) as *hi)i.e77Fs ?9o)d5ynds ?#@ 3A and Standen ?#@!#C!"AA.

7ric/ ;uoining. In addition to the note5orthy masonry to 7e found around the house6 the iron5or/ adds another dimension to the handcrafted aesthetic. 2he gri))es on the modified ronde)s at the front concave 5a))s are infi))ed 5ith 5rought iron fi)igree. As 5e))6 a sma)) 5indo5 in the )eft concave 5a)) is infi))ed 5ith a sim-)e 5ooden shutter that is outfitted 5ith 5roughtCiron stra- hinges. And )ast)y6 the handcraftsmanshi- at 2ig7ourne ,ourt can a)so 7e found in the eD;uisite)y rendered cast iron -osts of the (aster 7a)cony that su--ort its diminutive hi--ed roof. Another of 0utyensL great Arts 3 ,rafts commissions is the Deanery Garden &ouse6 #@!!C #!0#. 4ui)t in 4er/shire6 1ng)and on a site 5ith an eDisting orchard and enc)osing ancient redC7ric/ 5a))6 this -ro+ect6 more than many others6 is a 5orthy tri7ute to the Arts 3 ,rafts integration of 7ui)ding and )andsca-e. 2he gardens6 designed in coordination 5ith Gertrude 9e/y))6 a reno5ned 1ng)ish garden designer6 are an eDtension of the Illustration 2: Tigbourne Court, details at rondel house through the use of continuous aDes6 outdoor rooms6 and )eve) changes very simi)ar to the interior rooms of the house. Simi)ar)y to 2ig7ourne ,ourt6 the gardens are an eD-ansive com7ination of c)assica) and romantic themes that contrast more forma) -)anting 7ed and fountain sha-es6 aDia) -ergo)as6 and )a5ns 5ith -)anting se)ections that are more freeCform and unru)y. 2he gardens at the Deanery house are a very im-ortant com-onent of the architectura) design6 as they dictate the )ocation of -u7)ic rooms6 )arge grou-s of 5indo5s6 and are an eDtension aDia))y from the house into the )andsca-e. *ictures;ue and Illustration 3: Deanery Garden, site plan forma) com7ination. 2he courtyard 5ithin the house is another 5ay that 0utyens formu)ated the mu)ti-)e connections 7et5een the architecture and the )andsca-e6 as it a))o5s natura) )ight and fresh air into the more dee-)y seated s-aces of the house. Simi)ar)y6 the )arge 5indo5s over)oo/ing the garden from the &a)) esta7)ish a visua) connection from the interior of the house to the gardens 7eyond. Kne can imagine ho5 the southCfacing &a)) 5as affected 7y the direct sun)ight -ouring through the doIens of g)ass -anes. In addition6 the -ergo)as6 )a5ns6 fountains6 and different -aths a)) contri7uted to the fee)ing of the houseLs connection to surrounding countryside as eD-ressions 7et5een the rigorous)y designed house and the uncontro))ed natura) setting 7eyond the -ro-ertyFs eDtents.

Illustration ": Deanery Garden, plans

2he Deanery &ouse has a very sim-)e massing scheme6 in that it is a :UCsha-ed> -)an 5ith a courtyard in the midd)e. Sim-)e ga7)es terminate aDia) masses and the sma)) vo)umetric -rotrusion of the &a)) on the garden facade is ca--ed 5ith a visua))y receding hi--ed roof. As 5ith 2ig7ourne ,ourt6 and many other 0utyens 5or/s6 the chimneys are a dominating e)ement of the 7ui)dingLs -rofi)e6 adding detai)ed masonry to an other5ise homogeneous roof )ine. In addition to the chimneys6 the masonry vau)ting )eading from the east side yard to the courtyard are another of the houseLs fine eDam-)es of masonry craftsmanshi-6 5ith a t5oCtone 7ric/ -a)ette used to eD-ress the -rinci-)es of stereotomy. 2he )arge arched main entry door is another of the houseLs masonry detai)s that dra5 attention and give meaning to an other5ise nonCdescri-t e)ement. 2he front door is ca))ed forth 5ith an oversiIed ste--ed masonry arch in such a 5ay as to )eave no ;uestion as to 5here the -rimary -edestrian entrance is )ocated. 2he interior of the Deanery &ouse is a rustic com7ination of 2udor ha)fCtim7ering and )ight and airy main s-aces. 2he stained tim7er framing that is found in the &a)) demonstrates carefu) handC crafted attention through its -egged connections6 cymaCreversa curved tim7ers6 and scri7ed masonry infi)). 2he stained 5ood f)oors and )arge ornate car-ets add to the rusticity 5hi)e a)so contri7uting to a 5arm fee)ing of domesticity. Simi)ar)y6 the stained 2udor 5ainscoting adds a human sca)e to the vast &a)) and serves 5e)) as a transition from the refined )iving area ad+acent to the f)oor to the more rustic structure overhead. Fran/ 0)oyd .right6 the American Illustration : Deanery Garden, !all interior counter-art to 4ritainLs 0utyens6 5as a)so very interested in the idea)s of the Arts 3 ,rafts movement. 2his is due )arge)y to the conteDt of his

im-ressiona7)e years under the tute)age of other nota7)e American architects6 such as 0ouis Su))ivan and &.&. %ichardson6 7oth of 5hom contri7uted significant)y to a deve)o-ing and distinct)y American architectura) aesthetic. Su))ivan 5as one of .rightLs ear)y em-)oyers in ,hicago 5hi)e the )arge s/yscra-er 7oom 5as under 5ay 5ho 7e)ieved that ornament need 7e restrained to significant 7ui)ding e)ements6 much in the vein of 8io))etC)eCduc. 2his -ers-ective on ornament 5as to remain a consistent thread through the fa7ric of .rightLs career6 es-ecia))y his ear)y residentia) 5or/ through the deve)o-ment of his *rairie sty)e. %ichardson6 .rightLs other -rimary inf)uence6 5as argua7)y the most nota7)e American architect of his day. &is synthesis of techno)ogy and traditiona) a--roaches to design yie)ded an architectura) aesthetic that 5as 7oth hefty and gracefu)6 fu)) of an eDu7erant %omanes;ue density. 0i/e 0utyens6 %ichardson 5as inf)uenced 7y %ichard Horman Sha5Ls asymmetrica) com-ositions. 4oth Su))ivan and %ichardson 5ere trained at the Mco)e des 4eauDCArts in *aris6 and 7oth 5ere engaged in ne5 7ui)ding ty-es as the resu)t of the Industria) %evo)ution. %ichardsonLs G)essner &ouse6 in -articu)ar6 is said to have inf)uenced .rightLs architectura) sensi7i)ities ear)y in his career. ?Fram-ton6 G A .right 5itnessed the de-arture from symmetrica) architectura) com-ositions in res-onse to diverse -rograms6 sometimes on sites that 5ere ;uite com-)icated6 such as that of the Auditorium 4ui)ding in ,hicago ?Su))ivan6 #@@ C@!A. In addition6 .right and Su))ivan 7oth sa5 %ichardsonLs 5or/6 5hi)e -erha-s great for its time6 as an inade;uate res-onse to :the young6 ega)itarian cu)ture of the He5 .or)dN> ?Fram-ton6 G A As a resu)t6 .right found K5en 9onesL Grammar of Ornament an ins-irationa) source for the deve)o-ment of a more universa) )anguage of decoration6 one not mired in stagnation and associations 5ith esta7)ished .estern cu)tura) institutions. Kne of .rightLs ear)iest demonstrative 5or/s is his o5n home and studio in Ka/ *ar/6 I))inois ?#@!3C#!0!A6 .rightLs ear)y inter-retation of the shing)e sty)e6 ins-ired heavi)y 7y 9ose-h 0yman Si)s7ee6 a 5e))C/no5n American architect of the )ate nineteenth century. ?,urtis6 ##"A .hi)e the site is ;uite different than the t5o 0utyens houses descri7ed ear)ier6 the governing -rinci-)es of its organiIation seem to 7e some5hat simi)ar. 2he site is a dou7)e su7ur7an )ot6 yet sti)) re)ative)y sma)) com-ared to those of 0utyensL houses. .hi)e there are no gardens 26 aDia) -aths6 -ergo)as6 fountains6 or other garden s-aces or structures6 the houseLs mu)ti-)e connections to the )andsca-e are re)evant and significant. For eDam-)e6 the house inc)udes a northCfacing raised terrace and )oggia a)ong the street facade as transition mechanisms from the from the -u7)ic rea)m of the side5a)/ to Illustration #: $right home and studio, site plan the -rivate confines of the studio 5ing. 2he 5estC facing raised veranda6 a ho)dover from the origina) #@!3 house6 esta7)ishes the houseLs direct
2

2he 5est yard 5as never deve)o-ed into a garden6 7ut remains as a )a5n scattered 5ith )arge trees.

connection 5ith the sideCyard. Additiona))y6 eD-anded vie5ing ang)es from the 7ay 5indo5s and ganged 5indo5s in mu)ti-)e rooms on 7oth f)oors of the house increase the -resence of the outdoors in interior s-aces. 2he massing of .rightLs home and studio has changed much over the years6 7ut it 5as deve)o-ed in a manner re)evant to Arts 3 ,rafts design -rinci-)es. 2he origina) house 5as designed as a sim-)e 7oD 5ith ga7)es6 the roof -itches of 5hich are greater than t5e)ve in t5e)ve6 simi)ar to many 0utyensL ga7)e -itches. 0ater additions to the house and studio used more Illustration %: $right home and studio, evolution of com-)icated forms6 such as the im-)ied octagona) massing s-aces of the Dining %oom and South 4edroom6 not a)) that dissimi)ar from 0utyensL concave 5a))s at 2ig7ourne ,ourt. In #@!@6 .right added the studio6 5hich inc)uded -ure octagona) s-aces at the 0i7rary and Drafting %oom 4a)cony that created interior vo)umes more than one story in height. 2he studio addition a)so incor-orated )arge chimneys 5ith -ure geometries that 5ere significant com-onents of the com-ositiona) massing of the 5ho)e 7ui)ding. 2he ornament and decor of the .right home and studio are a significant )in/ to its inc)usion in the Arts 3 ,rafts movement. 2he ornamentation at the interior and eDterior of the house is a com7ination of rustic and highCsty)e e)ements6 a)most eDc)usive)y rendered in earthC toned co)ors6 and usua))y eD-ressing the natura) ;ua)ities of each materia) used. 2he )imestone ornaments at the masonry 5a))s of the studio addition are a fine testament to the innate ;ua)ities ?in this case6 the scu)-tura) suita7i)ityA of that -articu)ar materia) in that -articu)ar conteDt. Illustration &: $right home and studio, 'ntry !all Simi)ar)y6 the scu)-tura) -)aster frieIes a)ong the 5a))s of the 1ntry &a)) are a demonstration of the -ro-riety of the materia) for the use of the s-ace ?in this case6 the first im-ression u-on 5a)/ing through the front doorA. Kther interior e)ements defining the decor inc)ude stained 5ood -ane)ed 5ainscots and stained 5ood and ti)e f)oors 5ith ornate car-ets. Indeed6 one 5ou)d 7e hardC-ressed to find any -ainted 5ood at the interior of any 7ui)ding c)ose)y associated 5ith the Arts 3 ,rafts movement. In a manner much more significant than 0utyensL6 .right continued to deve)o- the aesthetic 7eyond the surfaces of the house -ro-er. &e continued the s-ecific Arts 3 ,rafts aesthetic that had 7een deve)o-ed in his home and studio into the furniture ?much of it stained 5ood to match the houseA6 the )ight fiDtures ?ins-ired 7y orienta) motifs in K5en 9onesL Grammar of OrnamentA6 and mura)s ?a)so ins-ired 7y 9onesA of the s-aces. .hi)e 0utyens 5as /no5n to have designed furniture for many of his houses6 .rightLs rigor is )arge)y un-ara))e)ed in this regard. In this 5ay6 .right deve)o-ed a :tota) 5or/ of art> that is a

ho)istic and consistent aesthetic )anguage6 s-ecific for a -articu)ar -ro+ect6 and 7ased on handcraftsmanshi- and the natura) ;ua)ities of materia)s. Another of .rightLs 5e))C/no5n houses6 the (artin &ouse ?#!0"C0GA6 a)so 7ui)t contem-oraneous)y 5ith the t5o 0utyens eDam-)es discussed ear)ier6 has 7een regarded as a significant)y more com-e))ing eD-ression of the *rairie sty)e 5ith 5hich .right 7ecame most c)ose)y associated. 2he site for the (artin &ouse is much more simi)ar to the sites of the 0utyens houses discussed here. It is eD-ansive6 and inc)udes a so-histicated arrangement of garden6 )a5n6 and anci))ary outdoor s-aces that are interconnected to the five structures on the -ro-erty 7ui)t 7y #!0 : the (artin &ouse6 the -ergo)a6 the conservatory6 the 4arton &ouse6 and the carriage house. 2he -ergo)a is the -rimary structure that eDtends the house into the )andsca-e and connects the main house 5ith the conservatory6 carriage house6 and 4arton &ouse. Illustration (: )artin !ouse, site plan 2he )arge veranda east of the 0iving %oom 5as designed in concert 5ith .a)ter 4ur)ey Griffin6 the )andsca-e designer6 to ensure the semicircu)ar garden surrounding the -orch 7)oomed nonCstoduring the gro5ing season. In addition6 the -orte cochere 5as .rightLs nod to the need for 7a)ance ?in massing6 meaning6 and -rogramA on the 5est end of the house in res-onse to the veranda on the east end. Kther connections to the carefu))y orchestrated )andsca-e design inc)ude the ganged 5indo5s6 5hich -rovide eD-ansive horiIonta) vie5s6 and the conservatory6 a s-acious terminus to the attenuated aDis of the -ergo)a. 2he conservatory is more than a mere connection to the )andsca-e6 as it serves as a seasona) interior sanctuary for sensitive outdoor -)ant s-ecies6 in effect6 )itera))y 7ringing the outdoors inside. 2he massing of the (artin &ouse is over5he)ming)y horiIonta)6 very much in /ee-ing 5ith .rightLs *rairie sty)e theory. 2he horiIonta) Illustration 1*: )artin !ouse, +e,eption +oom 7ands of 5indo5s com7ined 5ith )ong6 5ide6 and -above. and Dining +oom continuous eaves and )o5C-itched roofs are a star/ contrast to 0utyensL stee-)y -itched roofs 5ith minimiIed eaves and ty-ica))y vertica) fenestration. &o5ever6 simi)arities to 0utyensL 5or/ can 7e found in hefty masonry detai)s such as the vertica) 7uttressC)i/e e)ements and chimneys.

2he ornament and decoration of the (artin &ouse a)so has much in common 5ith 0utyensL 5or/. Simi)ar to .rightLs o5n home and studio6 the (artin house can 7e seen as a :tota) 5or/ of art.> .right conceived a)most everything that contri7uted to the aesthetic nature of the -ro+ect6 inc)uding fiftyCfive -ieces of furniture6 )ight fiDtures6 car-ets6 and more than three hundred -ieces of stained g)ass. Simi)ar to the 0utyens eDam-)es a7ove6 the interiors are rendered in earthCtoned co)ors6 5ith stained 5ood 7eing one of the -rimary materia)s. .rightLs characteristic horiIonta) interior s-aces contri7ute to the houseLs refined rusticity6 a certain de-arture from the industria) aesthetic that 5ere gaining ground in other architectura) movements of the time. As a grou-6 the houses discussed here fit 5e)) under the um7re))a of the Arts 3 ,rafts movement6 even though they are se-arated 7y great distance and designed 7y architects 5ith on)y tangentia) 7ac/grounds. A)though 0utyens and .right 5ere contem-oraries6 the great geogra-hica) distance 7et5een them )arge)y -rec)uded a ro7ust fami)iarity 5ith each othersL 5or/. 4oth architects great)y admired the 5or/ of %ichard Horman Sha5 and a--reciated vernacu)ar tradition com7ined 5ith the )essons of c)assica) architecture6 and 7oth had dee-er inf)uences that cou)d 7e traced to the %omantic Hatura)ism of the )ate eighteenth century. ?Green7erg6 '!A 2here has 7een s-ecu)ation that .rightLs &eurt)ey &ouse in Ka/ *ar/6 I))inois 7orro5s the -arti from 0utyensL Deanery Gardens. .hi)e that is a--arent6 it is eDtreme)y un)i/e)y. 0utyensL first United States -u7)ication 5as :0ord ,hanceLs 1state6 Surrey6 1ng)and>6 an artic)e in American Architect and Building News6 5hich 5as -u7)ished in #!0!6 short)y 7efore .rightLs de-arture for 1uro-e ?during 5hich time he -u7)ished the .asmuth *ortfo)io in #!#0A. 2he -hysica) se-aration 5as of Illustration 11: $right/s !uertley !ouse their inf)uence 5as cou-)ed 5ith o--osing idea)s regarding the ro)e of techno)ogy. .hi)e 7oth .rightLs and 0utyensL Arts 3 ,rafts sty)e houses em7raced the handcrafted aesthetic6 .right understood the im-ortance of mechaniIation as a means of im-roving craftsmanshi-. ?,urtis6 !"A It is a--arent that .right admired 0utyensL 5or/ once he 7ecame fami)iar 5ith it6 as evidenced 7y .rightLs constant reference to 0utyensL fourCvo)ume monogra-h in discussions 5ith students at 2a)iesin .est. ?,o))ins6 !$A In addition .right considered 0utyens :a7ove a)) a measure of his o5n stature> ?Green7erg6 #" A as the former rea))y had no American -eer. In -articu)ar6 .right a--reciated 0utyensL sensi7i)ities regarding :natura) materia)s in domestic architecture.> ?,o))ins6 !$C!3A 4oth architects a--roached architectura) form in simi)ar 5ays as reso)utions of simi)ar cha))enges6 a)though .right eventua))y deve)o-ed an a--roach 5here7y the interior vo)umes 5ere eD-ressed on the eDterior. (ore 7road)y6 .right and 0utyens dre5 critica) re)ationshi-s 7et5een house and garden C interior and eDterior C and 7)urred the )ines of 7oth through the mani-u)ation and com-osition of architectura) e)ements. *erha-s most im-ortant)y6 through the deve)o-ment of Arts 3 ,rafts idea)s6 0utyens and .right 7oth discovered an architectura) a--roach that 5as domestic in its nature6 7oth forma) and informa)6 vernacu)ar and refined.

4i7)iogra-hy A)ofsin6 Anthony. Frank Lloyd Wright the Lost !ears" #$#% #$&&' A (tudy of )nfluence. ,hicago: University of ,hicago6 #!!3. *rint. ,o))ins6 *eter. O2he FormCGivers.O Perspecta ?#!'#A: !#C!'. *(TO+. .e7. $G Kct. $0#3.

,onrads6 U)rich. Programs and ,anifestos on &%th -entury Architecture. 0ondon J ,am7ridge6 (A: 0und &um-hries J (I26 #! 0. *rint. ,urtis6 .i))iam 9. %. ,odern Architecture since #$%%. <0ondon=: *haidon6 #!!'. *rint. Davey6 *eter. Arts and -rafts Architecture. 0ondon: *haidon6 #!! . *rint. Fram-ton6 Penneth. ,odern Architecture' A -ritical /istory. 0ondon: 2hames and &udson6 #!!$. *rint. KFGorman6 9ames F. Three American Architects' +ichardson" (ulli0an" and Wright" #123 #$#3. ,hicago: University of ,hicago6 #!!#. *rint. Green7erg6 A))an. O0utyensF Architecture %estudied.O Perspecta #$ ?#!'!A: #$!CG$.*(TO+. .e7. $G Kct. $0#3. &einI6 2homas A. Frank Lloyd Wright4s /ouses. %ochester6 Pent: Grange6 $00$. *rint. 0aseau6 *au)6 and 9ames 2ice. Frank Lloyd Wright' Between Principle and Form. He5 Qor/: 9ohn .i)ey 3 Sons6 #!!$. *rint. (artin &ouse %estoration ,or-oration. OFran/ 0)oyd .rightFs (artin &ouse ,om-)eD :: Su--ort : ,a-ita) ,am-aign.O Frank Lloyd Wright4s ,artin /ouse -omple5 '' (upport ' -apital -ampaign. (artin &ouse %estoration ,or-oration6 n.d. .e7. #0 Hov. $0#3. Rhtt-:JJ555.dar5inmartinhouse.orgJca-ita)Scam-aign.cfmT. .eaver6 0a5rence. /ouses and Gardens 6y 7.L. Lutyens. .ood7ridge6 Suffo)/6 1ng)and: Anti;ue ,o))ectorsF ,)u76 #!@#. *rint.

I))ustration Sources I))ustration #: htt-:JJ)i7rary.ndsu.eduJre-ositoryJ7itstreamJhand)eJ#03'GJ#$G$"JA0A0"00 .+-gU se;uenceV# I))ustration $: htt-:JJs0.geogra-h.org.u/Jgeo-hotosJ0$J$0J"GJ$$0"G@3Saa@0e$$@.+-g I))ustration 3: .eaver6 0a5rence6 1d5in 0andseer 0utyens6 0ouise %ennie6 and A)son ,)ar/. /ouses and Gardens 6y 7.L. Lutyens. 0ondon:: *u7)ished at the Kffices of O,ountry 0ife6O $0 2avistoc/ Street6 ,ovent Garden6 ..,. and 7y George He5nes6 @C##6 Southam-ton Street6 Strand6 ..,.6 #!#". G@. *rint. I))ustration ": .eaver6 0a5rence6 1d5in 0andseer 0utyens6 0ouise %ennie6 and A)son ,)ar/. /ouses and Gardens 6y 7.L. Lutyens. 0ondon:: *u7)ished at the Kffices of O,ountry 0ife6O $0 2avistoc/ Street6 ,ovent Garden6 ..,. and 7y George He5nes6 @C##6 Southam-ton Street6 Strand6 ..,.6 #!#". '0. *rint. I))ustration G: .eaver6 0a5rence6 1d5in 0andseer 0utyens6 0ouise %ennie6 and A)son ,)ar/. /ouses and Gardens 6y 7.L. Lutyens. 0ondon:: *u7)ished at the Kffices of O,ountry 0ife6O $0 2avistoc/ Street6 ,ovent Garden6 ..,. and 7y George He5nes6 @C##6 Southam-ton Street6 Strand6 ..,.6 #!#". '#. *rint. I))ustration ': A7ernathy6 Ann6 and 9ohn G. 2hor-e. The Oak Park /ome and (tudio of Frank Lloyd Wright. Ka/ *ar/6 I0: Fran/ 0)oyd .right &ome and Studio Foundation6 #!@@. *rint. I))ustration : A7ernathy6 Ann6 and 9ohn G. 2hor-e. The Oak Park /ome and (tudio of Frank Lloyd Wright. Ka/ *ar/6 I0: Fran/ 0)oyd .right &ome and Studio Foundation6 #!@@. *rint. I))ustration @: htt-:JJ555.-)ay)e.comJPD0J"!G#".+-g I))ustration !: htt-:JJ555.archita/es.comJ5-CcontentJu-)oadsJ$0#0J0GJ(artin#.+-g I))ustration #0: htt-:JJu-)oad.5i/imedia.orgJ5i/i-ediaJcommonsJaJa@JDar5inSD.S(artinS&ouseS%ece-tionS% oomSW$'SDiningS%oomS&A4SSHQ6#GC4UF6GC#3.+-g