The Tudor Awakening Architecture (commonly called mock Tudor in English) first manifested itself in domestic architecture beginning in England in the mid to late 19th century based on the rise of Tudor architectural aspects or , more often, the medieval vernacular English architectural style that survived until the Tudor period. This then became an influence in several other countries, especially the British colonies. For example, in New Zealand, architect Francis Petre adapted the style to the local climate. Elsewhere in Singapore, then British colonies, architects like R. A. J. Bidwell pioneered what came to be known as the Black and White Buildings. The earliest examples of this style came from the works of eminent architects such as Norman Shaw and George Devey, who at the time were regarded as neo-Tudor designs.
Tudorbethan represents part of the Tudor awakening architecture; the word is modeled on 1924 John Betjeman's coin of the "Jacobethan" style, which he uses to describe the great mixed awakening style of circa 1835-1885 which has been called such things as "Free English Renaissance". These are generally modeled on the magical grand houses constructed by the courtiers of Elizabeth I and James VI. "Tudorbethan" took it a step further, eliminating the hexagonal or many-faceted towers and artificial bastions of Jacobethan, and imposed a more kozier and strange "Merrie England" domestic style. It's associated with the Arts and Crafts Movement. Outside North America, Tudorbethan is also used synonymously with the Tudor revival and the Tudor mock.
Video Tudor Revival architecture
Identifying the Tudor Awakening
The emphasis is on the simple, rugged, and less impressive aspects of Tudor architecture, mimicking this way of medieval lodges or country houses. Although this style follows these simpler characteristics, items such as steep, half-timber roofs are often filled with herringbone bricks, high-mullioned windows, tall chimneys, jettied first floor above pillared terraces, roof windows supported by consoles, and sometimes even thatched roofs, gave Tudor a revival of its more striking effects. It's also quite expensive.
Maps Tudor Revival architecture
Evolution
The Tudor Revival style was a reaction to the ornate Gothic Revival Revival in the second half of the 19th century. Rejecting mass production introduced by the industry at the time, the Arts and Crafts movement, closely linked to Tudorbethan, drew on the simple designs attached to the more ancient aspects of style, Tudor, Elizabethan and Jacobean.
The Tudor style made one of his first appearances in England at Cragside, an eclectic architectural hilltop mansion that incorporates certain Tudor features; Cragside was designed by architect Norman Shaw. At about the same time, however, Shaw also designed Leyswood near Withyham in Sussex, which is a large mansion around the yard, complete with artificial fortifications, towers, half-wood facades and high chimneys - all features quite easily attributed to the Tudor architecture; in Shaw's hands, this less-than-fantastic style reaches direct maturity. Confusingly, it was immediately named "Queen Anne style", when in fact it combines the revival of Elizabethan and Jacobean design details including mullioned and oriel windows. The style then began to incorporate classical pre-Georgia features that are generally understood to represent "Queen Anne" in the UK. The term "Queen Anne" for this architectural style tends to be more commonly used in the United States than in Britain. In the US, it evolved into an indirectly recognizable architectural form because it was built in the Tudor or Queen Anne period. In England the style remains closer to the Tudor root.
Half-wood
From the 1880s onwards, the Tudor Awakening was more concentrated on the simple yet oddly beautiful Elizabethan hut than the brick and fortress of Hampton Court or Compton Wynyates. The houses are large and small similar to the half-forest upstairs and the roof is furnished with a high ornamental chimney, in what was originally a simple hut style. This is where the influence of the art and craft movement becomes clear.
However, the Tudor Awakening can not really be equated with the original wooden frame structure, in which the skeleton sustains the entire weight of the house. Their modern counterparts are made up of bricks or blocks of various materials, stucco, or even a simple studwall frame, with a similar "thin" frame board added to the outside to mimic the heavy and functional heavy blocks previously. An example of this is the "simple cottage" style of Ascott House in Buckinghamshire. It was designed by Deve for the Rothschild family, who was one of the earliest protectors and promoters of this style.
Some of the more enlightened landlords today are becoming more aware of the need for proper sanitation and housing for their employees, and some residential villages are rebuilt to resemble what is considered a beautiful Elizabethan village, often grouped around green villages and ponds; Mentmore in Buckinghamshire is an example of this. The Tudor awakening, now, is concentrated on the beautiful.
A very famous example of an idealized half-timber style is Liberty & amp; Department store Co. in London, built in the style of a half-timbered Tudor mansion. The store is special, among other items, in fabrics and furnishings by leading designers of the Arts and Crafts movement.
The revival of the 20th century Tudor
In the early part of this century, one of the exponents who developed a further style was Edwin Lutyens (1864-1944). At The Deanery in Berkshire, 1899, ( right ), where the client is the editor of influential magazine Village Life , details such as the brickwork fence workshop, facetted stair towers, dark windows under the roof, or a prominent chimney is a conventional Tudor awakening loan, some of which Lutyens will recreate in his own style, which has dominated the dark hidden entrances, confident masses, and semi- typical circle. This is the best Tudorbethan, free in the basic plan, stripped of the cuteness, yet very warmly applicable, intimate though new, real liveable. An example of the Tudorbethan architecture is that seen in Greaves Hall, built in 1900 as home to the Scarisbrick family. Many of the features of the original building can still be seen until it was destroyed in 2009.
Later appeared Mackey Hugh Baillie Scott (1865-1945) and Blair Imrie who made their name as Tudor style architect. Lutyens though takes the style away from what is generally understood as the resurrection of Tudor creating a very personal style higher than himself. The buildings were augmented by their gardens, often accompanied by Gertrude Jekyll, while in a style considered an "old world" would not be recognizable to the population of the sixteenth century.
After the First World War many suburbs of London had the development of houses in style, all reflecting a sense of nostalgia for rural values. It is also copied in many regions of the world, including the United States and Canada. Suburbs in northern New Jersey such as Englewood and Teaneck show a very solid concentration of Tudor-revival construction from this period.
In the first half of the 20th century, the lack of reference "Tudor" to the "instant" atmosphere in speculative construction that shortened the style. There are also public houses, some designed with a style called, 'Brewer's Tudor'. The cheesy style was finally exemplified in the angry 1937 John Betjeman poem Slough , in which the "bald young man" assembled:
The late 20th century has seen a change in the loyalty of style emulation, because in modern development it is common to have only a few floor-to-floor floor plans for buildings, this is combined with variations in interior and exterior surface treatments in the roofline and setbacks to provide visual variation to the display Street. Because many of the smaller ones are used in modern development (especially in the US West), the Tudor Awakening can be placed directly next to unrelated styles such as French or Italian Provinces, resulting in an eclectic mix.
Interior
Tudor style building interiors have evolved along with style, often becoming more apt to the replicated era than the first examples of the awakening style. At Ascott House, Devey's great work built during the last twenty years of the 19th century, the only internal concession for the Tudor age is the low ceilings required through an external Tudor theme. Of course there are no ceiling beams, narrow narrow doors or an inglenook fireplace that heats up small spaces: a large, airy room is actually more luxurious than the 18th century rather than the 16th. Cragside is a bit more in line with the theme, although the room is very spacious, some have Tudor style panels, and the dining room contains a monumental inglenook, but this is more the Italian renaissance style that meets Camelot than the Tudor. While at the cottages in Mentmore, the interior is no different from the smaller, middle-class small households in Victoria.
In some of the larger Tudor-style houses, the large Tudor hall will be recommended by the reception hall, often furnished as a sitting or dining area. Large wooden stairs of several flights are often positioned prominently, based on the Jacobean prototype. This is a blend of styles that have caused the term Jacobethan to produce homes like Harlaxton Manor that bore little if any resemblance to a building of any of the periods.
More often in Tudor-style houses in the early 20th century that greater devotion to the Tudor period was found, with the proper interior layout, albeit combined with modern conveniences. This can be seen in older upper class neighborhoods where many are large enough to allow homes to have an individual presence, despite variations in the style of neighboring homes.
Whether from an older or more recent origin, the appearance of solid beams and half-wood exterior walls is only superficial. The elderly and blackened beams are made of light wood, no weights, and attached to the ceilings and pure walls for decoration, while artificial flame jumping from wrought iron fire dogs in an inglenook are often one-third of the size of the room in which they located.
The 21st Century Tudor Awakening
Many British builders include variations on Tudorbethan in the various styles they use, and styles tend to be associated with pastiche. Architects are rarely asked to work in style, and although postmodern architecture today covers a much broader range of styles than modernism associated with the mid-20th century, some architects are known for buildings that can be called "Tudorbethan".
In modern structures, usually in private homes, the appearance of half wood is obtained with decorative features applied on top of "real" structures, usually wood framing or concrete bricks. The combination of planks and plastering is applied to get the desired look, here seen in the top image to the right. To minimize maintenance, "boards" are now generally made of uPVCFaux Wood, plastic or cement fiber-reinforced with a brown or dark wood finish. In the United States, his style is often more modified by painting wood colors such as blue or green. The Tudor Awakening style was most popular for new American homes in the 1970s and 1980s. Today, it is rarely considered for the construction of housing in the country because the Italian-style villa, Mediterranean, and French houses have replaced them in popularity.
References
External links
- Various styles in a given period
- The 1930s architecture
- Willborough Tudor Revival Village in Burlingame, CA
- Tudorbethan Building in Australia and elsewhere
Source of the article : Wikipedia
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