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Beyond the Bungalow
Paul Duchscherer
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Beyond the Bungalow
Paul Duchscherer
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About This Book
Beyond the Bungalow, the newest book from renowned designer and Arts & Crafts expert Paul Duchscherer, celebrates the larger members of the Arts & Crafts family, and pays tribute to their remarkable artistic beauty, craftsmanship, and diversity of style.
Widely acclaimed as America's favorite "Arts & Crafts Home, " the term "bungalow" may bring a specific image to mind, but it really is one part of a much larger family. This extended family also includes an entire genre of larger-scale Craftsman-period homes, much like those created by architect brothers Charles and Henry Greene.
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ArchitetturaSubtopic
Architettura residenzialeCraftsman Crossovers, part I: Romantic to Exotic Influences
Swiss Chalet Style
Arts and Craftsâperiod homes in the Swiss Chalet style are among the earliest of any that combine a different stylesâ characteristic design elements with those of the Craftsman style. Generally, these two styles make a fairly seamless pairing and in some examples it may be unclear at first where one style influence ends and the other begins. In a closer look, most of these particular crossover homes have enough of the signature features most often associated with the Swiss Chalet that their European ancestry is fairly obvious. More than with most other styles, the Swiss Chaletâs early-twentieth-century influence has been reinterpreted and often somewhat romanticized in many later versions, most frequently for vacation homes in mountain ski-resort areas.
One feature common to most of these homes is the extensive use of wood on their exteriors, usually left unpainted. Some feature exterior walls on the first-floor level painted a light color (see Figures 69 and 72), which function as a kind of visual pedestal for the wood-faced second-floor and attic levels, where most of the homeâs design interest is typically concentrated. After all, these homes were originally designed for alpine settings, with their façades best viewed from the perspective of a downhill slope. Used to express different floor levels, the wood siding of a Swiss Chalet home may vary in type, width, and linear direction, on the same house. For example, horizontal clapboard siding on the first floor is frequently offset by vertical siding (sometimes board-and-batten style) on the second floor or attic level (see Figures 70 and 71).
Besides a lot of wood, the most significant feature of a Swiss Chalet is the prominent form of its roof, which also closely parallels some examples of the Craftsman style. Almost invariably, Swiss Chalets are characterized by a dominant, forward-facing gable whose eaves are extended forward, creating a deep, sheltering overhang in front. In most examples, this overhang largely supplants the usual need of a first-floor front porch. The angled pitch of the roof is usually fairly steep to shed snow, and the eaves on either side of the façade also extend quite deeply beyond the side walls. In some cases, the roof incorporates a clipped (jerkin-headed) gable, a traditional detail common to other European sources, including the English Cottage (see Figure 69). In crossover homes with more Craftsman than Swiss Chalet elements, shingled walls may be used (at least on the first-floor level), and open wooden truss work, appearing more structural than decorative in effect, may also be set into the peaked eaves of their front gables (see Figure 73).
Although most Swiss Chaletâstyle homes are a full two stories, the second floor often appears somewhat smaller than it really is, due to the lowering effect of the sidesâ extended roof eaves, which can appear to dip almost to the top of the first-floor level (see Figures 69 and 70). Separate from its effects on the front façade, another element incorporated into some Swiss Chalet roofs are side dormers. These tend to be of the shed-roof variety, and although by necessity set at a slightly different pitch, most are wide enough to still appear well integrated with the lines of the roof. While such dormers add additional usable space to the upper levels of the house, their effect on its apparent outward size ends up being fairly minimal. The deep roof eaves also further shield the side dormersâ visibility.
The façade of a Swiss Chaletâstyle home may be likened to that of a cuckoo clock, a helpful analogy when envisioning its characteristic features and demeanor. A particularly common feature is a wide balcony across the second-floor level, with a fairly shallow projection supported on brackets or extended beams. Along with the deep roof eaves, this balcony also provides some degree of shelter for the point of entry on the first floor below. Occasionally, a second, smaller, balcony also occurs on the third-floor attic level. A particular railing style common to their balconies is a definitive detail of most Swiss Chalets. In lieu of conventional spindles, plain wide boards are set vertically, edge-to-edge, with very narrow gaps between. What animates the effect of this otherwise low and nearly solid railing into such a signature feature is the introduction of strategically placed cutouts along each side edge of the boards. The cutouts in each board are then aligned in mirror image with those on the adjacent boards, resulting in a repeating, overall decorative pattern along the length of the railing. Depending on the shapes of these cutouts, railing patterns could vary from softer effects using circles and curves, to bolder, geometric ones using angular lines, or a combination of both.
The ornamental nature of their balcony railings reinforces the cuckoo clock analogy, for there is a calculated tendency on Swiss Chaletâstyle homes to impart a picturesque effect. In some actual Swiss and other European examples, woodwork elements may also be decorated with painted or stenciled decoration. Most American versions are fairly sedate, but still usually less austere than most Craftsman-style homes.
Swiss Chaletâstyle homes may feature linear geometric carving applied to some structural elements, such as projecting beam ends, rafter tails, or brackets. Alternately, the edges of these may be simply chamfered (beveled). Another area of decorative potential are fascia boards (bargeboards), used to cover the narrow edges of the front-facing eaves, which are usually wide enough to allow some motif or pattern to be cut into their face. This may be a curving scalloped motif, which can occur either along the fascia boardsâ entire length, or be limited to specific parts of them. Popular warm-weather accents for almost any interpretation of a Swiss Chalet are flower-filled window boxes.
Another signature feature of most Swiss Chalets are the correspondingly deep brackets (corbels) that extend beneath their eaves to the fascia boards, working in tandem with the exaggerated roof overhangs. While some of these may resemble the form of typical Craftsman-style knee braces (brackets), the most distinctive and robust examples are those comprised of multiple wood beams sandwiched together to form a single oversized bracket in the form of inverted steps. Occasionally, a similarly stepped bracket at a much smaller scale is paired with square Craftsman-style porch posts, lending more visual support for the beam above. Extra interest is added to the postsâ plain silhouette by their stepped form. Swiss Chalet designs may incorporate brackets of more than one size, corresponding to the varying requirements of different areas on the house. For greater emphasis, the balconyâs supporting brackets may be given a different design than the others, for they are more likely to be seen at closer range, from the ground.
Early-twentieth-century versions of the Swiss Chalet style became linked to progressive design. As a significant influence on bungalows, it was adapted in plan-book house designs, and written about in many places, including Gustav Stickleyâs the Craftsman magazine, and Henry Saylorâs book Bungalows (1911). Creative interpretations of Swiss Chalets figured rather prominently in the earlier work of noted northern California architect Bernard Maybeck (see Figure 110â112), and by others in the Bay Areaâs âFirst Bay Traditionâ period, in which the Shingle style tended to get the most emphasis. In these particular examples, the sense of a crossover between the Swiss Chalet and Craftsman styles was especially pronounced, for most of their interiors were decidedly Craftsman style in feeling, materials, and features.