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MODERN
ARCHITECTURAL
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MODERN
ARCHITECTURAL DETAILS
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PLATES
PLATES.
ALTAR CROSSES.
An Altar Cross at St. Thomas' Church, New Groombridgc, Sussex. By H. S. Goodhart-Rendel ^3> 64
CINEMA DETAILS.
An Exit Door and Ventilating Grille, New Cinema, Beaconstield. By Leathart & Granger - - - 77, 70
EXTERNAL DOORS.
The Entrance Doorway, Caversham Place, Reading. By Clough Williams- Ellis - l> 2 The Garden Entrance, Three Ways, Wooburn Green, Bucks. By Oswald P. Milne 3> 4 The Front Entrance, 21, Hill Street, Berkeley Square. By H. S. Goodhart- Rendel 5. 6 Front Entrance Doorway at White Cottage, Kingston Hill, Surrey. By Harold E. Moss - 7> 8 Doorway of a House at Copse Hill,
Wimbledon. By J. D. Hossack - 9, 10
FAIENCE.
Faience Panel at Nos. 19-23, Oxford Street, London. By William & Edward Hunt - 59. 6o
Faience Work at No. 16, Essex Street, London. By William & Edward Hunt 6 1, 62
FIREPLACES.
The Studio Fireplace at No. 41, Ken- sington Square. By Darcy Braddell & Humphry Deane 27, 28
Drawing-room Fireplace at Chester House, Clarendon Place, London. By Sir Giles Gilbert Scott - 29, 30
A Fireplace in the Combination Room at Corpus Christi College, Cambridge. By T. H. Lyon 31. 32
Fireplace at No. 33, Cambridge Square, London. By Pakington, Enthoven, & Grey 33> 34
A Fireplace in a Week-end Cottage at
Farnham, Bucks. By Basil Oliver - 35, 36 GARDEN DETAILS.
A Garden Pavilion at Vyse Court, Bishop's StortfoTd. By L. Edmund Walker 41. 42
A Garden Shelter at Tulse Hill. By
Basil Oliver - - 43> 44
Furniture for Garden Temple at Oare House, Wilts. By Clough Williams- Ellis - - 45. 46 GATES.
A Garden Gate at North Perrott Manor, Crewkerne, Somerset. By Henry M. Fletcher 55. 56
The Entrance Gateway to Montmead, Belmont, Surrey. By William & Edward Hunt - - 57> 58
INTERNAL DOORS.
The Board Room Door at the New Midland Bank Head Office, London. By Gotch & Saunders, in association with Sir Edwin Lutyens n, 12
INTERNAL DOORS — (Continued) Internal Door at No. 9, Chelsea Embank- ment, London. By Lord Gerald Wellesley & Trenwith Wills - 13, 14
A Doorway and Bookcase at 41, Ken- sington Square. By Darcy Braddell & Humphry Deane J5> l()
IRON WORK.
Garden Railing at 52, Campden Hill Square, London. By Henry M. Fletcher 47> 48
The First Floor Balcony, Wolseley House, Piccadilly, London. By W. Curtis Green 49. 5°
The Veranda, 21, Hill Street, Berkeley Square, London. By H. S. Goodhart- Rendel - - - - - 51' S2 KITCHEN FITTINGS.
A Kitchen Cupboard and Service Hatch.
By Harold fomlinson - 37> 38
Kitcnen Fittings at 34, Arterberry Road,
Wimbledon. By W. J. Durnlord - 39, 40 LANTERNS.
The Lantern to the Pavilion for Christ's and Sidney Sussex Colleges, Cam- bridge. By Harold Tomlmson - - 75, 76 LIFT CARS.
A Lift Car at the Midland Bank Head Offices, Poultry, London. By Gotch & Saunders, in association with Sir Edwin Lutyens - - 79> 8o
LIGHTING FITTINGS.
A Hanging Lantern in the Memorial Hall at Marlborough College. By William G. Newton - - - 7l> 72
An Electrolier for a Dining-room. By Lord Gerald Wellesley & Trenwith Wills - - - - . - - - 73. 74 LYCH GATES.
War Memorial Lych Gate at Belling- ham, Northumberland. By Mauchlen
& Weightman 53. 54
SHOP FRONTS.
Messrs. Bywaters' Shop Front, Snow Hill, Birmingham. By Alec. G. Jenson - 65> 66
A Shop Entrance in Edgware Road,
London. By W. Naseby Adams, - 67, 68 A Bronze Shop Front at Cambridge. By Kenneth M. B. Cross (A. W. S. & K. M. B. Cross) - - 69, 70
STAIRCASES.
The Staircase at the Golf House, Prestatyn, North Wales. By Easton & Robertson 17. lS
The Staircase Hall at No. 21, Cheyne Place, S.W. By Darcy Braddell & Humphry Deane - 19. 2O
The Main Staircase, Merryfield Hpuse,
Witney. By Oliver Hill - 21, 22
WINDOWS.
The Window to the Sun-parlour at Ridge House, Esher. By Imrie & Angell 23. 24
Window at Field Place, Willingdon,
Sussex. By John D. Clarke - 25, 26
PRINTED IN GREAT BRITAIN FOR
THE ARCHITECTURAL 1'KESS LTD.
BY BILLING AND SONS LIMITED
GUILDFORD AND ESHER
MODERN ARCHITECTURAL DETAILS
PLATE 1
THE ENTRANCE DOORWAY, CAVERSHAM PLACE, READING
DESIGNED BY CLOUGH WILLIAMS-ELLIS
This doorway is composed from the simplest elements. The joinery is of deal finished a light ash grey, while the hood is of sheet copper (not of zinc as marked on the drawing), fabricated by the coppersmith without any internal support and upheld by nails through its flange driven into the joints of the brickwork.
MODERN ARCHITECTURAL DETAILS
PLATE 2
CAVERiHAAA • PLACE- REAPING
DETAIL- ENTRANCE -POOR
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HALF PLAN LOOKING UP
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THE ENTRANCE DOORWAY, CAVERSHAM PLACE, READING
_
FEET.
MODERN ARCHITECTURAL DETAILS
PLATE 3
THE GARDEN ENTRANCE, THREE WAYS, WOOBURN GREEN, BUCKS.
DESIGNED BY OSWALD P. MILNE
The doorway illustrated is that opening on to the garden. The house is of brick, rendered in rough plaster, while the door itselt and its surround are of painted deal. Although the top of the pediment is lead-covered, no step flashing is visible, the lead having been turned up against the brick wall and then plastered over. The step on the outside is formed of red bricks set in cement, and the sill of the door is raised if ins. above the floor line to allow the door to swing freely over the mat.
MODERN ARCHITECTURAL DETAILS
PLATE 4
THREE WAYS,' WOOBURN GREEN.
DETAILS OF GARDEN
ENTRANCE
BUCKS.
OSWALD R MILNE F.R.I.B.A
ARCHITECT
64 WIGMORE ST. W.I.
TRUE SECTION THRO' CORNICE
WEATHER. BOARD
SECTION
ELEVATION
i'/t OVOLO MOULDED
SCALE TO SMALL DETAHi.-,
•I . ! . ? !_ ' 1 /
FRONT EL E VATION SI
THE GARDEN ENTRANCE, THREE WAYS, WOOBURN GREEN, BUCKS.
MODERN ARCHITECTURAL DETAILS
PLATE 5
THE FRONT ENTRANCE, 21, HILL STREET, BERKELEY SQUARE
DESIGNED BY H. S. GO ODH ART-REN DEL
Twenty-one Hill Street is an Early Georgian house that has been altered at different times. In mid-Victorian days a large and coarse Doric porch, glazed in, was applied to the front, and a balcony with a heavy cast-iron railing was put in front of the drawing-room windows. This balcony was interrupted by the old porch, but has now been completed pending a hoped-for substi- tution for it of lighter balconies, one to each window. The new porch projects sufficiently to accommodate the double doors that modern comfort requires and to shelter anyone standing waiting to be admitted. It had to be made narrow so that little windows into the hall itself could be pierced on either side of it high enough to contain a fanlight and low enough to fit under the balcony. The material is wood, since there was no ornamental stonework in the rest of die house and a stone porch of any degree of richness might have seemed incongruous. The proportions of die order employed have been carefully studied in order to differentiate it from the same order carried out in stone. The greatest richness in detail is concentrated on the soffit of the cornice, which is the part best seen by anyone walking down the street. The carving in the pediment was intended to frame the coat of arms, the emblazoning of which has had to be abandoned. The handles and knockers were designed for the place and are mounted on black marble plates inlaid into the black enamel door, so that the cleaning of the metalwork may not injure the paint.
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MODERN ARCHITECTURAL DETAILS
PLATE 6
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MODERN ARCHITECTURAL DETAILS
PLATE 7
FRONT ENTRANCE DOORWAY AT WHITE COTTAGE, KINGSTON HILL, SURREY
DESIGNED BY HAROLD E. MOSS
This doorway is one of a series carried out in connection with a group of houses built as a speculation on the top of Kingston Hill. As there was very little money available for embellishment or refinement, what could be spared was allocated to the front doorways as the focal point of each house. The details were standardized, and each doorway was built up of the same sections; but a great deal of variety was obtained, each house having its own type. They were all carried out in deal, painted. The motif of all these doorways was a modified type of the eighteenth-century manner, with the details treated in such a way as to bring them into keeping with a rather later type of work, with possibly something in common with the colonial manner.
MODERN ARCHITECTURAL DETAILS
PLATE 8
MODERN ARCHITECTURAL DETAILS
PLATE 9
DOORWAY OF A HOUSE AT COPSE HILL, WIMBLEDON
DESIGNED BY /. D. HOSSACK
The doorway is placed at the junction of two wings of the house, and faces almost due south-west, the porch being built to form a draught check to the small internal hall. The facing bricks are rich dark red, and are carried the full height of the porch to form an effective background to the cream-coloured door and architraves. The door itself is of pitch pine, and the curved glazing- bars to the side lights and top panel are in Honduras mahogany. The wrought-iron grille was modelled by the architect on the lines of an early nineteenth-century example in the main road at Esher. The stone panel to the right of the door is let into the brickwork and bears the date of the house and the architect's name.
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MODERN ARCHITECTURAL DETAILS
PLATE 10
SECTION
nOUX AT COP5£ fl/LL W/M%flXW TC
flats
aecmrecr 39 M/!0aox ST. w.
DOORWAY OF A HOUSE AT COPSE HILL, WIMBLEDON
MODERN ARCHITECTURAL DETAILS
PLATE 11
THE BOARD-ROOM DOOR AT THE NEW MIDLAND BANK HEAD OFFICE, LONDON
DESIGNED BY
GOTCH AND SAUNDERS in association with SIR EDWIN LUTYENS
The clock, unfortunately, has not yet been fixed, and the one shown in the photograph is, of course, purely temporary. The board-room table, which appears in the foreground of the picture, is also of a temporary nature. The panelling rises to a height of about 10 ft. 6 ins. from the floor level, the doorway itself being 20 ft. high to the top of the pediment. Above the panelling, which is of American walnut, is a surface of acoustic material. At the present time this is covered merely with canvas, but eventually tapestry is to fill this area, and a corner of one small tapestry appears in the photograph; this has been hung merely to give some idea of the ultimate effect. The acoustics of the room are as nearly perfect as it is possible to find, and a man speaking in normal tones in any part of the room can be heard with the utmost distinctness in any other part.
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MODERN ARCHITECTURAL DETAILS
PLATE 12
SECTION OF DOO2.
I O 1 2 3
THE BOARD-ROOM DOOR AT THE MIDLAND BANK HEAD OFFICE, LONDON
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MODERN ARCHITECTURAL DETAILS
PLATE 13
INTERNAL DOOR AT No. 9, CHELSEA EMBANKMENT, LONDON
DESIGNED BY LORD GERALD WELLESLEY O> TRENWITH WILLS
The door illustrated is one of two which are glazed to admit light into a dark hall, and it forms one of the entrances to the dining-room of a flat in a large house which dates back to late Victorian times. The room contains part of a collection of modern French pictures, and its furniture is also untraditional in design, and it was consequently desirable that the new doors should not be based in their design on any past architectural style.
MODERN ARCHITECTURAL DETAILS
PLATE 14
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MODERN ARCHITECTURAL DETAILS
PLATE 15
A DOORWAY AND BOOKCASE AT 41, KENSINGTON SQUARE
DESIGNED BY DARCY BRADDELL AND HUMPHRY DEANE
This room was, before alteration, practically useless owing to its bad shape, and although it was on the ground floor and opened into the garden, it was used merely as a lumber-room. It has now become a proper reception-room. The drawing on the next plate shows the entrance to the room (a) as it originally was, and (b) after reconstruction. It will be noticed that before the work of alteration was carried out the door had no architrave on its right-hand side, because the abutment of the fireplace arch left no room. The space under the arch was quite useless, because the swing of the door prevented any piece of furniture being put there; now the niche has been turned into a bookcase, and the entrance tidied up generally. In addition to these improvements, a new fireplace has been installed and the windows completely rearranged and redesigned.
MODERN ARCHITECTURAL DETAILS
PLATE 16
ALTERATION -TO • A-DOX- 6 -R-ECEtt -AT- il, KENSINGTON • 5QUAR.E
PLAN 5tirj»ING
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Of AR.CHITR.ftVt;>
10123^5
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ELEVATION -QF -ARCHITR.AVE- SHEWING - MITR.C - E>LCXK •
SECTION OF 5HH\t5
A DOORWAY AND BOOKCASE AT 41, KENSINGTON SQUARE, LONDON
MODERN ARCHITECTURAL DETAILS
PLATE 1"
THE STAIRCASE AT THE GOLF HOUSE, PRESTATYN, NORTH WALES
DESIGNED BY EASTON AND ROBERTSON
The staircase leads from the entrance hall to the principal floor; it is built of reconstructed Portland stone. The ironwork has been hand-forged and has a rough surface, and instead of being painted it was heated and dipped in oil; this produces a hard rust of a deep brown colour, which is fixed by varnishing. The handrail is of walnut to match the doors.
MODERN ARCHITECTURAL DETAILS
PLATE 18
MODERN ARCHITECTURAL DETAILS
PLATE 19
THE STAIRCASE HALL AT No. 21, CHEYNE PLACE, S.W.
DESIGNED BY DARCY BRADDELL AND HUMPHRY DEANE
The level of the ground floor is about 3 ft. 6 ins. above the level of the pavement; the front door therefore opens on to a mezzanine between the basement and the ground floor and can be reached from either, thus minimizing the number of stairs the servants must go to answer it. The well of the main staircase is square, the corners being rounded off to the sweep of the stairs. The well is brilliantly lit by a dome light at the top and by the windows to the two-light area in the centre of the house.
MODERN ARCHITECTURAL DETAILS
PLATE 20
Llevan
•/on
THE STAIRCASE HALL AT No. 21, CHEYNE PLACE, S.W.
MODERN ARCHITECTURAL DETAILS
PLATE 21
PLAN
DOWM
THE MAIN STAIRCASE, MERRYFIELD HOUSE, WITNEY
DESIGNED BY OLIVER HILL
The staircase is constructed of elm, lined, and slightly white waxed. It is fitted with tongues and oak pegs. The upper flight has no risers.
MODERN ARCHITECTURAL DETAILS
PLATE 22
5CALE OF FEET
THE MAIN STAIRCASE, MERRYFIELD HOUSE, WITNEY
MODERN ARCHITECTURAL DETAILS
PLATE 23
THE WINDOW TO THE SUN- PARLOUR AT RIDGE HOUSE, ESHER
DESIGNED BY 1MR1E AND ANGELL
This is an attempt to provide a seemly equivalent to the Victorian " Conservatory," by adapting the modern American sun-parlour to English conditions. Practically the whole of the external side of the room is made of glass, and the heating is carried out by means of radiators below floor level, just inside the window. This system leaves the glass unobstructed and adequately warms what would normally be an exceedingly cold room in winter. The centre portion of the window has a pair of sash doors for use in warm weather.
MODERN ARCHITECTURAL DETAILS
PLATE 24
RIDGE HOLIS E ESHER., DETAIL OF <mi ROOM BAY.
t. C.BLAIR. IMR.IE &• T.6.ANGELL
ARCHITECTS
2. MITRE COUR.T CHAMBERS.
TEMPLE f. C 4
SECTION THRO CASEMENT, iECTIONl THRO DOOR..
PLAN,
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THE WINDOW TO THE SUN-PARLOUR AT RIDGE HOUSE, ESHER
MODERN ARCHITECTURAL DETAILS
PLATE 25
WINDOW AT FIELD PLACE,
WlLLINGDON, SUSSEX
DESIGNED BY JOHN D. CLARKE
All the windows in this house are on the same principle as the typical one illustrated, although those on the ground floor are square-headed. They consist of a single-hung sliding sash which, when fully opened, slides down into the cavity and leaves the window opening clear of any sash. Under the window indoors is a removable panel backed by removable boarding covered with felt, so that the sash can be taken out in case of any necessary repairs. Provision is made for taking off any water that runs down the sash into the cavity. This water is conducted through the exterior of the wall by a half-round earthenware pipe projecting i^ ins. from the face of the wall. The bottom of the cavity is lined with lead.
The arches are formed of two cast concrete lintols lightly reinforced and finished externally in the same way as all the external walling with Atlas White cement and sand. The outside baluster is cast in Atlas White cement and sand, with a light rod through the centre dowelled into head and sill. The inside baluster is of similar design, but is in wood.
MODERN ARCHITECTURAL DETAILS
PLATE 20
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lender window
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A WINDOW AT FIELD PLACE, WILLINGDON, SUSSEX
MODERN ARCHITECTURAL DETAILS
PLATE 27
THE STUDIO FIREPLACE AT No. 41, KENSINGTON SQUARE
DESIGNED BY DARCY BRADDELL AND HUMPHRY DEANE
The photograph illustrates a marble chimneypiece in the studio of Mr. T. E. Lewinsky at No. 41, Kensington Square. The house, which dates from the eighteenth century, has recently been altered and added to. Among many other things done, a new studio was made by adding considerably to an existing room. The result is now a very long and narrow apartment divided into three units by elliptical arches. The walls are painted a dead white as being the best background for Mr. Lewinsky's work. A plaster cornice and frieze ornamented in the fashion of the very late eighteenth century is the only decoration used on the walls. The chimneypiece makes a striking piece of colour, for it is carried out in pink marble lined with black, Rose Numidie and Belgian Black being the two marbles used. The colour of the chimneypiece is picked up in the curtains and chair coverings. The hob grate is an old one discovered in the basement of the house.
MODERN ARCHITECTURAL DETAILS
PLATE 28
44
.DETAILS OF STUDIO nPJE.?lA.CE,
DETAIL H? !/.
,
Ol-P ^UfcOatC. 1>T.
THE STUDIO FIREPLACE AT No. 41, KENSINGTON SQUARE
MODERN ARCHITECTURAL DETAILS
PLATE 29
DRAWING-ROOM FIREPLACE AT CHESTER HOUSE, CLARENDON PLACE, LONDON
DESIGNED BY SIR GILES GILBERT SCOTT
The illustration shows the drawing-room fireplace in the architect's own house. The timber surround is of western hemlock which has been treated with a special grey stain, and contrasts pleasantly with the broad-moulded band of pale yellow Verona marble to which it acts as a frame. The grate itself is of armour-bright finish and is set in dark-brown bird's-eye marble, the same material being used for the hearth and curb. The band of Verona marble finishes at each side on a plinth of bird's-eye marble, but the timber surround rests on blocks of its own material. The similarity of material in the curb and hearth is relieved by the introduction of a narrow band of Verona marble. The carving and scrolls in the timber are the work of Mr. H. G. RatclifT.
MODERN ARCHITECTURAL DETAILS
PLATE 30
HtoEtiR I - .
CL PL AC
SIR G-ILES &IU6CP"! SCOTT
DRAW ING- ROOM FIRE PLAC E .
AR.CHT.
in
ELLEY A 1
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THE DRAWING-ROOM FIREPLACE AT CHESTER HOUSE, LONDON
MODERN ARCHITECTURAL DETAILS
PLATE 31
A FIREPLACE IN THE COMBINATION ROOM AT CORPUS CHRISTI COLLEGE, CAMBRIDGE
DESIGNED BY T. H. LYON
The mantelpiece illustrated is executed in marble. Belgian black, Statuary Sienna in two shades, and Ashburton grey were used for the main portion, and Hopton Wood stone and Plymouth black for the surrounds and floor to the fireplace opening. The carving was executed by the late Mr. A. Broadbent, who also modelled the plasterwork for Sidney Sussex College Chapel. The grate, as shown on the drawing, has not yet been executed. The summit of the mantel- piece was designed to take a French clock, and one has now been placed there.
MODERN ARCHITECTURAL DETAILS
PLATE 32
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MODERN ARCHITECTURAL DETAILS
PLATE 33
FIREPLACE AT No. 33, CAMBRIDGE SQUARE, LONDON
DESIGNED BY PAK1NGTON, ENTHOVEN & GREY
The problem was that of substituting for an existing coarsely-detailed, if typical, Early Victorian fireplace a surround of more delicate design to be more in keeping with the bedroom decorations generally, to include a shelf, together with a recess in which a movable steel electric fire, not installed when the photograph was taken, could be stood clear of traffic. The walls and woodwork being distempered and painted a dull yellow, the surround, though executed in mahogany to insure good finish, was similarly treated but lightly stippled a shade lower in tone than the rest, and wax finished. The small hearth is of Sienna and Verd Antico marbles. The fire-back is of semi-bright ribbed steel, and could be removed if at any time it should be desired to go back to an open grate or to fix a gas-fire, since the flue remains untouched. In this particular case it was considered that the room was sufficiently well ventilated without making use of the flue.
MODERN ARCHITECTURAL DETAILS
PLATE 34
33 , C A M B K. I 0 C E SCLVA-R-fc ,
FIREPLACE AT No. 33, CAMBRIDGE SQUARE, LONDON
MODERN ARCHITECTURAL DETAILS
PLATE 35
•••••B
A FIREPLACE IN A WEEK-END COTTAGE AT FARNHAM, BUCKS.
DESIGNED BY BASIL OLIVER
The chimneypiece illustrated is that of the living-room, in which room all the woodwork is of oak, wax polished only, and not darkened or treated in any other way. In this room the smooth, plastered walls are also beeswaxed, giving them an attractive appearance resembling old parchment. The decorative panel, measuring 4 ft. 3 in. by 3 ft., over the fireplace, has been painted in oils on five-ply boarding, by Mr. Hugh de Poix, whose subjects have all been kept intentionally rather low in tone. Mr. de Poix's colours harmonize most happily with the oak woodwork — including the floor — and the waxed walls (the predominating colours of the room), and with the roofing tiles and dull purple bricks used in the construction of the fireplace. There is no other decoration in the room, nor are there any pictures to distract from the focal point of interest at this end of the room. The architect's idea in designing the chimneypiece was to make it appropriate to a cottage type of house having lead-lighted windows, oak beams, tile-hanging, and so forth.
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MODERN ARCHITECTURAL DETAILS
PLATE 36
"PRENTICE WOOD;
fAR-NHAM COMMON, BUCK'S.
DETAILS OF CHIMNEY-PIECE, ET? (N LIVING ROOM.
SEGMENTAL MANTEi
10
SCALE OF INCHES FOR DETAILS.
NOTE. -.-A ^B ARE FLUSH ON FACE BUT A PR03tC75£'ATEACHEND
PUASTERED
WALLS
SE.ES-WAXED.
HUG-H|DEPo(X
PLUM-COLOURED
WITH H.EUR-DE- -LY5 PATTERNS UPONTHEM ARE COPIED FROM THOSE AT HAMPTON COURT PALACE
PICTURE-RAIL
ALL WOODWORK IS OF
ENGLISH OAK- WAXED
SECTION
OF SFGMENTAL MANTE/L4 SHELF
PLAN ON 'LINE o-o
PLAN OM LIME "P-P
DETAIL/7 ATZ./l BUTT BEL 6
LINE
SHELF
SCALE
OL'VEK /MV ET DELJ.
A FIREPLACE IN A WEEK-END COTTAGE AT FARNHAM, BUCKS
MODERN ARCHITECTURAL DETAILS
PLATE 37
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A KITCHEN CUPBOARD AND SERVICE HATCH
DESIGNED BY HAROLD TOMLINSON
This kitchen fitting was designed to bring everything to hand at the service hatch, which forms the central panel at the back. Above are china cupboards, while cutlery and table linen are conveniently stored in the central drawers. The central portion has been adapted to table height in order to facilitate service from the dining-room side. The hatch doors on the kitchen side are vertically hung and fold out of the way into the thickness of the wall. The dining-room door, in the form of a drop flap, is of oak, while the kitchen fitting is painted in apple-green enamel.
MODERN ARCHITECTURAL DETAILS
PLATE 38
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MODERN ARCHITECTURAL DETAILS
PLATE 39
KITCHEN FITTINGS AT 34, ARTERBERRY ROAD, WIMBLEDON
DESIGNED BY W. ]. DURNFORD
This job was for a client who had bought a house of considerable size, with kitchen, scullery, and servants' quarters in the basement. His wife decided that she would not use die basement at all, and this was closed up. A kitchen was formed out of an existing servery (widi the lift removed), a w.c., and part of die back hall, and an independent boiler was installed to provide hot water. In addition, a kitchen scullery had to be provided, and this was built out at die back of the house over die existing coal-cellar, etc. Economy had to be studied, hence the construction of the roof giving a sloping ceiling, which is, however, hardly noticeable. The drawings show how this room was fitted.
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MODERN ARCHITECTURAL DETAILS
PLATE 40
N?34, ARJEP-bEFliO' FLOAD WIMBLEDON. 5.W.
DETAILS y NEW K.ITCHEN-SCULLER-X FITTINGS.
NO 2.
ELEVATION <s cpoicls TABLE, to.
Lil
DOOILTO KJTCHEN
wrtMSiJOiAja tonjc
CLASS k3UV1t£.
ELEVATIOM of GAS COOICER-, £<=.,
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KITCHEN FITTINGS AT 34, ARTERBERRY ROAD, WIMBLEDON
MODERN ARCHITECTURAL DETAILS
PLATE 41
A GARDEN PAVILION AT VYSE COURT, BISHOP'S STORTFORD
DESIGNED BY L. EDMUND WALKER
The columns and entablature are of Bath stone upon a base of York stone, and since die pavilion was completed a semicircular area of York stone paving widi radial joints has been laid in front, as grass was found to be unsatisfactory under the drip of the trees. The central window at the back of thf pavilion is made to slide sideways to allow the breeze to blow through in hot weather, while the front is fitted with folding oak doors which swing back out of sight behind the columns; by this arrangement all the chairs and cushions may safely be left out at night without fear of damp. The walls above die dado are plastered with ordinary lime and hair coarse stuff, finished to a granular surface with a wood float. The floor is of tongued and grooved teak boards, and the dado is made up of original Jacobean panelling from Hollingbury Hall, now demolished.
MODERN ARCHITECTURAL DETAILS
PLATE "42
Wst Counf BISHOP'S
DETAIL or GAMIN
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A GARDEN PAVILION AT VYSE COURT, BISHOP'S STORTFORD
liims'S LINK
MODERN ARCHITECTURAL DETAILS
PLATE 43
A GARDEN SHELTER AT TULSE HILL
DESIGNED BY BASIL OLIVER
This shelter was designed to be built against an 8-ft. wall, and it was desired not to exceed this in height. It also had to fit in between two wall piers, approximately 10 ft. apart, and to be of the same depth (about 5 ft.) as the grass-edged flower border. The architect was asked to give his design a suggestion of Chinese Chippendale character. The woodwork is of deal stained with bronze-green Solignum, which harmonizes well with the prevailing green of the lawn and foliage. It was particularly desired that the front should have a wide opening, and that the ends should be of trellis, so as not to afford cover for any lurking burglars.
MODERN ARCHITECTURAL DETAILS
PLATE 44
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PLATE 45
FURNITURE FOR A GARDEN TEMPLE AT OARE HOUSE, WILTS
DESIGNED BY CLOUGH WILLIAMS-ELLIS
The furniture here shown was designed for Mr. Geoffrey Fry for use in the new garden temple at Oare House, Wilts, and repeated for his garden at 8, Hill Street, Berkeley Square. It is all of teak, painted a pale ash-grey, with the flowers picked out in flat quasi-naturalistic colours.
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MODERN ARCHITECTURAL DETAILS
PLATE 46
MODERN ARCHITECTURAL DETAILS
PLATE 47
GARDEN RAILING AT 52, CAMP- DEN HILL SQUARE, LONDON
DESIGNED BY HENRY M. FLETCHER
The railing serves to mark a change of level in a narrow London garden. As the drop is one of only 18 ins., it was decided that the balustrade could safely be made very light and graceful, to preserve the character of the other ironwork in the neighbourhood, and the balusters were accordingly spaced at 9-in. centres. The paving itself is of York stone, but the steps and the sill under the balustrade are of Portland. The panels were suggested by, though not copied from, some genuine old work on Campden Hill.
MODERN ARCHITECTURAL DETAILS
PLATE 48
CAMPDEN HILL SQUARE - W-fi-
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CURVE DEVELOPED ON CENTRE LINE OF RAILING
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GARDEN STEPS AND RAILING AT 52, CAMPDEN HILL SQUARE, LONDON
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MODERN ARCHITECTURAL DETAILS
PLATE 49
THE FIRST-FLOOR BALCONY, WOLSELEY HOUSE, PICCADILLY, LONDON
DESIGNED BY W. CURTIS GREEN
MODERN ARCHITECTURAL DETAILS
PLATE 49
THE FIRST-FLOOR BALCONY, WOLSELEY HOUSE, PICCADILLY, LONDON
DESIGNED BY W. CURTIS GREEN
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MODERN ARCHITECTURAL DETAILS
PLATE 50
THE FIRST-FLOOR BALCONY, WOLSELEY HOUSE, PICCADILLY, LONDON
MODERN ARCHITECTURAL DETAILS
PLATE 51
THE VERANDA, 21, HILL STREET, BERKELEY SQUARE, LONDON
DESIGNED BY H. S. GOODHART-RENDEL
This veranda replaces an enclosed conservatory-like arrangement of
s eScr ,VhflUt °ff T!°f Ihe ^ fr°m the back d-winggro™ O is erectLon the floor and the glass roof remain. The paving however is
''^m RraVt0ne lnd Sreen marble ^ the'form of two f f ' u°f C3uh ^f bein§ inkid With black ma<*ic, one to n P TT\ ^ ,°uher 3 Httle kiosk' The walls ^ covered with green Cumberland slate slabs arranged like masonry. In the end wall is -
of ^e owner's houre in h
has bee kent ' e ir°nwork of the °Pen ^
pipes
MODERN ARCHITECTURAL DETAILS
PLATE 52
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MODERN ARCHITECTURAL DETAILS
PLATE 53
WAR MEMORIAL LYCH GATE AT BELLINGHAM, NORTHUMBERLAND
DESIGNED BY MAUCHLEN & WE1GHTMAN
The lych gate replaced a very ordinary trade ironwork gate to the cemetery, and the " Gothic " flavour of the design is intended to bring the memorial into harmony with the existing cemetery chapel. As the cemetery is half a mile from Bellingham and is on a main approach road to the town, the lych gate serves a useful purpose as a shelter. All the materials used are local, and the work was carried out by local labour.
MODERN ARCHITECTURAL DETAILS
PLATE 54
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MODERN ARCHITECTURAL DETAILS
PLATE 55
A GARDEN GATE AT NORTH PERROTT MANOR, CREWKERNE, SOMERSET
DESIGNED BY HENRY M. FLETCHER
The photograph shows a view across a lawn which is bounded on the farther side by a similar gate and balustrade; beyond this is a walk between clipped yew hedges, at the far end of which stands a lead statue of Mercury on a pedestal of Ham Hill stone. The piers and balustrade to the gateway are also of this material, while the gates themselves are of wrought iron.
MODERN ARCHITECTURAL DETAILS
PLATE 56
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MODERN ARCHITECTURAL DETAILS
PLATE 57
THE ENTRANCE GATEWAY TO MONTMEAD, BELMONT, SURREY
DESIGNED BY WILLIAM & EDWARD HUNT
is
that of Mr. Edward Hunt's own house. It is opening in the tall green privet hedge and grass
The gateway set in a splayed
bank, and forms an attractive approach to the house. The gate, gate- posts, and rectangular-shaped capitals are in oak left in its natural state, and the hinges and latches are of wrought iron. The paving round the gateway is of 2-in. stone in rectangular slabs, and is continued to form the paths to the house and the terrace behind it.
MODERN ARCHITECTURAL DETAILS
PLATE 58
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PLATE 59
FAIENCE PANEL AT Nos. 19-23, OXFORD STREET, LONDON
DESIGNED BY WILLIAM & EDWARD HUNT
The panel is hexagonal in form, and the colour, being the one natural to the material, is a greyish-blue with a very pleasing texture. The joints in the tracery are designed to form part of the decorative effect, at the same time conforming to the demands of efficiency and ease of manufacture. Behind the panel, on the inside, is a glazed fanlight which is hinged at the bottom and opens inwards; it is of ^-in. plate-glass set in oak, and closes on to a deal frame, with a deal architrave. The outer face of the faience panel is set back | in. trom the face of the Skyros marble which surrounds it.
MODERN ARCHITECTURAL DETAILS
PLATE 60
MODERN ARCHITECTURAL DETAILS
PLATE 61
FAIENCE WORK AT No. 16, ESSEX STREET, LONDON
DESIGNED BY WILLIAM & EDWARD HUNT
The general colour scheme in this work is blue and green picked out in gold, but the main cornice band and the end piers of the balustrade are of a cream tone left unglazed. The slight unevenness of texture and colour, which the photograph indicates, is a definite characteristic of the material.
MODERN ARCHITECTURAL DETAILS
PLATE 62
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MODERN ARCHITECTURAL DETAILS
PLATE 63
This cross and six corre- sponding candlesticks were given a few years ago to the church at Groombridge that was designed by Norman Shaw. The cross bears no figure because there is an ex- tremely prominent crucifix in the window immediately above where it stands. In the working drawing the middle piece of the design is shown
separately as an " extension." The cross can actually be assembled as drawn, without the extension, and is nor- mally so assembled at present, since the existing small high altar has not yet been en- larged to its intended size. The whole thing is carved in wood and covered with gilding and silvering, some burnished and some not.
AN ALTAR CROSS AT ST. THOMAS' CHURCH, NEW GROOMBRIDGE, SUSSEX
DESIGNED BY H. S. GOODHART-RENDEL
MODERN ARCHITECTURAL DETAILS
PLATE 64
JOINT FOP
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TOTAL HEIGHT OF CROSS
PLAN D-D
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PLAN B B
PLAN A A
ST.THOMA5,NE\A/ GBOOMBRIDGE. 5V55EX.
NEW ALTAR C£O55
FRONT ELEVATION
AN ALTAR CROSS AT ST. THOMAS' CHURCH, NEW GROOMBRIDGE, SUSSEX
MODERN ARCHITECTURAL DETAILS
PLATE 6f>
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MESSRS. BYWATERS' SHOP FRONT, SNOW HILL, BIRMINGHAM
DESIGNED BY ALEC G. JENSON
The premises are very old, and the requirements of the new shop were that it was to be modern in design, attractive and striking in colour without being blatant, and that it should harmonize with the charmingly proportioned Georgian windows and superstructure which have been left intact. It was also decided that the design of the shop should embody the " spirit " of the new trade motif or device recently adopted by Messrs. Bywaters, the principal features of which are a pointed star or sun in conjunction with a series of wavy lines and a pork pie — -the whole design being in chrome-orange and black. The fascia and pilasters are modelled Atlas White cement, cream coloured with yellow sand, and the upper wall is faced with similar material. The blind rail, forming part of the design, and the existing wooden cornice at roof level have been painted to match the cement. The woodwork of the dooi, fanlight, and sashes are painted brilliant chrome-orange, the same colour as the vans. The plinth is black, veined white, " Beige Bleu " marble, and the plinth lettering is brilliant enamel in yellow toned to orange. The French or modern type lettering on the fascia was specially designed and is painted black and gold leaf, as is also the transome lettering on the glass. The sunblind is orange holland with the design in black.
MODERN ARCHITECTURAL DETAILS
PLATE 66
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MODERN ARCHITECTURAL DETAILS
PLATE 67
A SHOP ENTRANCE IN EDGWARE ROAD, LONDON
DESIGNED BY W. NASEBY ADAMS
This is a very successful treatment of a corner entrance where the architect was happily not encumbered with a heavy superstructure. The delicately fluted Adam columns are well proportioned and well spaced, and the semicircular entrance with recessed doorway is decidedly inviting. The stone bases might, perhaps, have been preferably carried out in wood, as the change of material gives a rather harsh contrast, especially in the case of the isolated columns. The lettering in the fascia is clear and refined. The plan on the succeeding plate shows an oval mat recess, but in the ceiling there is also a subtly detailed sky-light of a similar outline. Unfortunately the same treatment has not been extended to the windows on either side of the entrance.
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MODERN ARCHITECTURAL DETAILS
PLATE 68
IDAN1EL- NEAL-g SONS-UPl/l
ELEVATION:
•S C A L t • OF • r C E T-
A SHOP ENTRANCE IN EDGWARE ROAD, LONDON
MODERN ARCHITECTURAL DETAILS
PLATE 69
A BRONZE SHOP FRONT AT CAMBRIDGE
DESIGNED BY KENNETH M. B. CROSS (A. W. S. & K. M. B. CROSS)
In the treatment of the shop front the existing low stone archway has been retained and the stone imposts have determined the horizontal line, enriched with fluting, which forms the head to the doorway opening and to the windows. The entire shop front is constructed in bronze without hardwood cores, and an inscription of cream-white enamel lettering has been inserted in the moulded and pedimented tablet above the doorway. The moulded bronze fan treatment on either side of the inscription tablet is reminiscent of the work of the Brothers Adam.
Additional show space for books is gained by recessing the entrance door, which also is of bronze without hardwood cores, and is auto- matically self-closing by means of a floor spring. The entrance threshold is of cipollino (light green) marble, with white marble surround, and the small ceiling is also designed in the same material. Chippendale sashing has been taken as the motif for the decorative panel treatment of the outside of the stall-boards.
The patent adjustable bookshelves are of plate-glass with specially made end-pieces to keep the books in position.
MODERN ARCHITECTURAL DETAILS
PLATE 70
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MODERN ARCHITECTURAL DETAILS
PLATE 71
There are three of these lanterns hanging from the ceiling of the auditorium. They are made of pine-wood, gilt. The hanging wreaths are carved wood. The little rams' heads are of cast bronze. The glazing bars are of lead. The glass is obscured, a milky white.
They are hexagonal
in plan. The design of the lower part was altered in execution from a bowl to a six- sided figure, with two drops.
The lanterns hang by chains, wrapped in gold braid, and at the junction with the ceil- ing is a moulded disc, concealing the hole. They can be lowered for cleaning purposes.
A HANGING LANTERN IN THE MEMORIAL HALL AT MARLBOROUGH COLLEGE
DESIGNED BY WILLIAM G. NEWTON
MODERN ARCHITECTURAL DETAILS
PLATE 72
MA2130COUGH COlLtCE
MLMCQAI HALL 1^,212.
IKS HANGING LANTKNJS.
MAT? OF ajfWEP ar.
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A HANGING LANTERN IN THE MEMORIAL HALL AT MARLBOROUGH COLLEGE
MODERN ARCHITECTURAL DETAILS
PLATE 73
AN ELECTROLIER
FOR A DlNING-RoOM
DESIGNED BY LORD GERALD WELLESLEY & TRENW1TH WILLS
The electrolier is made of turned wood which has been painted in green and silver. At the end of each arm the light is supported by a wooden block with applied patterae. The bowls of the lights are of opaque yellow glass, and the tassels below are of blue silk.
MODERN ARCHITECTURAL DETAILS
PLATE 74
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AN, ELECTROLIER FOR A DINING-ROOM
MODERN ARCHITECTURAL DETAILS
PLATE 75
SKETCH c^[LANT€m
MWINQ DETAILS «£
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THE LANTERN TO THE PAVILION FOR CHRIST'S AND SIDNEY SUSSEX COLLEGES, CAMBRIDGE
DESIGNED BY HAROLD TOMLINSON
The lantern is built in an unusual way and has no internal cross- bracing, so that access to the roof is readily gained by means of the removable lights, a ladder forming a stiff girder and the roof being supported on this instead of carrying it, as is the normal practice. The ceiling of the first floor, for 5 ft. outside the limits of the base of the lantern, is made of reinforced concrete, and on to this the sill is bolted; in this way the weight is distributed over many walls, and, through them, transmitted to the concrete raft on which the building stands. The large roof space over the pavilion is used for the storage of nets unrolled, so that their deterioration is prevented.
MODERN ARCHITECTURAL DETAILS
PLATE 76
PAV LIONS ETC
. FOR. CHWST'S e/ SIDNEY SUSSEX
DETAILS OF LANtEkN. N°8.
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HALF VERTICAL .SECTION
HALF ELEVATION
P *. R. T HOR.IZONTAI
ECTION AT A -A
JfCTION AT B-» G^ C-C.
PAR.T HOR.I2ONTAI
H A (L O L D TOMLINSON AA.CHITCCT
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A LANTERN TO A PAVILION AT CAMBRIDGE
MODERN ARCHITECTURAL DETAILS
PLATE 77
AN EXIT DOOR AND VENTILATING GRILLE, NEW CINEMA, BEACONSFIELD
DESIGNED BY LEATHART 8 GRANGER
This illustration shows the head of the exit door on the left of the proscenium arch with the light fittings above it, and, on the return of the angle, one of the ventilating grilles through which the warm air is pumped into the auditorium, the impure air being sucked out by extractor fans in the roof.
MODERN ARCHITECTURAL DETAILS
PLATE 78
AN EXIT DOOR AND, VENTILATING GRILLE, NEW CINEMA, BEACONSFIELD
MODERN ARCHITECTURAL DETAILS
PLATE 79
A LIFT-CAR AT THE MIDLAND BANK HEAD OFFICES, POULTRY, LONDON
DESIGNED BY GOTCH & SAUNDERS in association with SIR EDWIN LUTYENS
The walls are panelled with mirrors, the back being divided into nine panels, and the sides into two groups of six. The mirrors them- selves are flat and have unbevelled edges. The mouldings are all simple and direct in section. The method in which the ventilation has been incorporated is clearly indicated on the drawing on the next page, and is worthy of notice.
MODERN ARCHITECTURAL DETAILS
PLATE 80
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