Sunday, December 30, 2012
His workshop with Jack Sobon brought together "geometrical design methods and the use of 18th century hand tool techniques for the major timbers". (quote from the foreword of his book, p.iv)
Laurie Smith begins with analysis of the geometry used to design and frame 6 colonial Dutch houses in the Hudson River valley of New York. That understanding, based on measured drawings, became the basis for the frame built at the workshop.
Following the workshop Laurie Smith spoke at TFG's Eastern Conference in Saratoga Springs, NY. The frame of the Dutch house had been erected in the hotel auditorium, but Laurie did not refer directly to it, the course, or the research he had done to prepare. Instead he spoke about his work in England and Wales. It was fascinating.
I attended the conference specifically for his talk as I had read his articles in Timber Framing, the TFG journal. Later we began to correspond by e-mail. Our latest conversations have been about the Old First Church and the Luykas Van Alen House, both of which I have written about in this blog.
The drawings in the book of the regulating lines, the circle geometry of the 6 houses are clear and beautiful. For me they are a tutorial.
The measured drawings are also a gift. I am very familiar with colonial houses in eastern New England where I spent most of my life. I do not know as well the Dutch framing used in these 6 houses. It is similar to what I see in the part of the Hudson River watershed where I live today. Drawings such as these are not easy to come by, so I am reading them carefully. My thanks to Jack Sobon for the documentation.
For more information, and some pictures, about Laurie Smith and his work see:
Saturday, December 8, 2012
I include the picture of the fanlight again to make the comparison easier. The diagram for the scallops is in the previous post.
Laurie Smith, timber framer, historian - and the most knowledgeable person I know about the use of circle geometry in medieval design and construction - provided the answer.
Here is his solutions, drawn by me.
The 'first circle' creates the fan light. It is in the center.
The expansion of the daisy wheel I have drawn before.
For clarity I have drawn the defining lines in red on the lower half of the first circle. The upper half of the circle - the fan light - is outlined. On that half I have shown only the leaf part of the pattern.
The center lines (A) define the center points on the daisy petals around the first circle which create the inner hexagon - drawn in red. The center lines (B) run through the petals of the first circle and the outside circles. Where they cross the hexagon is the center of the circles which create the leaves!
You can see that the red circles cross. If continued they make daisy wheels. Not very complicated, except for where the proportions began.
Thank you, Laurie. The next post will be about you and your book, The Dutch House at Bucksteep Manor .
Monday, September 3, 2012
The Old First Church in the Old Center of Bennington, Vermont, was built in 1805. The congregation, needing a new building, hired the master builder/architect Lavius Fillmore of Connecticut. He had already constructed several churches in Connecticut. He built at least 2 more in Vermont.
I am one of the docents (tour guides) for the church. We open the church during the week for visitors. We only give tours when people want them. Mostly we answer tourists' questions about church customs in 1805, theology, local and New England history and architecture. We encourage people to walk around the church and the cemetery.
Sometimes there are no visitors. Then I can just be in the space. It has wonderful light and curves.
One part of the building I have been studying is the window sash pattern. Many of the windows are arched. There are Palladian windows and double hung windows with half circle tops. Where did the shapes of the curves in the arches come from?
Fillmore had something in mind; how did he show the carpenter/joiner making the sash how those pointy pieces of glass and the muntins, the wood that holds them in place, were to be fashioned?
Since I think that using circle geometry to determine the regulating architectural lines of buildings was common knowledge in 1800, I began my exploration with circles.
Here is what I have found:
The top diagram shows the 5 panes of the Palladian windows with their arch. The lower diagram is the simpler 4 pane wide window.
The circle which determines the shape of the half circle arch, also determines the shape of the 'pointy' panes within the arch. The circles come and go in both directions. It is the center half circle which contains the expansion, 'centering' it.
Once I saw that, it was so obvious! I felt as if I had not played with my compass enough when I was little!
I thought I'd try the pattern in the arch over the main front door....
This pattern is more complex. The circle is surrounded by its 6 circles, starting with points on the left and right sides of the circle. The crossing points of the outer circles are centers for the curved segments in the center half circle. The pattern is then repeated starting at the top and the bottom points of the circle, or a 30* shift from the first pattern. The 2 patterns are combined to make the scalloped edge.
Well, what about that 3 leafed 'flower' - 'crown' - in the center?
I don't know. I do think the answer will be obvious when I find it.
I love the Gothic, medieval arches being within, an important element of, the Classical Palladian arch. I also have fun with the idea that the arch stops the action of the circles so we can grasp it.
The symbolism of the door fan light is not clear to me. However, the house I grew up in, built in 1800, has the same swirl over its front door, so I do not think the pattern has a special religious significance.
What do you see?
Wednesday, August 1, 2012
The house was set on a hill with a garage under the kitchen wing. It was sturdy, as I expected: frames which have to travel to their destination are usually built to withstand jars and jolts. However, the garage had no space left for the cars, and the house did not adapt well to company, or have good access to the backyard.
Could I help design a wing?
This was one of those times when the owners knew quite a lot about what they wanted in a wing: how big it needed to be, what spaces were required, where it should go, but not how to make it look "right". They had some sketches - which they didn't like.
The first picture shows the existing house as the framing of the wing commences. The second shows the completed wing.
In eastern New England houses were (and are today) often expanded in a rhythm: main house block, a smaller wing or two, a barn. Here the family room wing with garage and mud room below are detailed as a barn - at least from the street - lots of blank wall, only one window, simple lines. The slope of the roof - the same slope as the main house roof - brings the eye down to the land, in this case the driveway. The roof running above the garage doors cuts the height of the 2 story space, making the 2nd floor family room appear as a dormer. As the house sits quietly on the land, so does the wing, not above it. The wing is in scale with the original modest house.
The expansion rhythm is often quoted as " Big House, Little House, Back House, Barn" an old jump rope rhyme as well as the title to an excellent book.
Tuesday, July 31, 2012
The "Big House" is the Park-McCullough mansion, built in 1864. It is set on a hill: 50 ft tall, with 3 stories and an observatory, a bellevedere that looks over the countryside. The House, when built, was about 20 ft taller than anything else in North Bennington, except the church steeple. It had hot and cold running water, a furnace, and gas lighting.
Really, however, the talk was about North Bennington in 1856, 4 years after the 1852 flood that destroyed the center of the village. A title about that didn't make much sense as hardly anyone remembers that flood today or knows the 1856 map of the village. I wanted to show the resilience of the townspeople as shown by the reconstruction of the mills and houses within 4 years of the flood. And I wanted to present the village - 60 houses, 8 mills - just before the Industrial Revolution takes off.
The Society doesn't usually have summer lectures, so we were experimenting. Would anyone come?
I had power point presentation of 70 slides, a hand out and some books to share. I planned to get everyone to measure their own 'cubit'. If we got 10 people, we would have a discussion, 20 (because the museum has a/c and it was hot!) would be a seminar. With 30 I would give a lecture.We put out 40 chairs since no one sits in the front row.
50 people came, sat in the front row, stayed to the end, asked questions and looked at the books, took the handout - a copy of the 1856 map - home. None were left behind.
People tell me it was a good talk. In the next year I hope for some comments about what people see now when they are in North Bennington. For me, that would mean success.
Wednesday, July 11, 2012
This list gives you, the owner, and me a overview of your house. It helps us set priorities and gives us a record
You want a new wing that will open out to your back yard. You also want another bedroom and bath,
Your septic system's placement will determine where you can add on.You will not want large trucks driving over it during construction.
If the field should be expanded, now is the time to consider that.
If you have the opportunity to connect to a town system, now may be the time. That work and expense should be included in the job.
Despite this list when we renovate existing houses we find things. I remember the excavation of unknown septic systems at two different jobs. Both were disconnected - we checked to be sure! - but one needed to pumped.
Monday, July 9, 2012
The date is important. Here you see how the roof extends, creating eaves that shade the windows of this house from the hot July sun.
In the summer, the sun here in New England is high in the sky. A 16" eave will shade about 5' of the wall below it. Here you can see that the roof over the first floor extend the farthest, casting a longer shadow than the main roof whose shadow covers little more than half the second floor windows. The roof over the sun porch on the right side is also shallow.
Later in the summer, the sun will be lower in the sky. The eaves will not cast as deep a shadow. But the tree will. Its shade will include the front of the house.
In the winter months, when the sun is at a much lower angle, the eaves will not block the welcome sunshine and heat. I will take another picture then and add it to this post.
The porch was probably all screens when it was built - set on the northeast side of the house, held back from the front corner to allow it to be shaded by the house from the sun in the afternoon. These porches have often been glassed in by later owners as they are beautifully sited to be delightful places on sunny late fall and then late winter mornings.
a note on the style: The house is Colonial Revival with a nod toward Cotswold cottages with the deep roof overhangs reminiscent of thatch, the small windows over the entrance, and especially the clipped roof on the gable end, sometimes referred to as a 'jerkin head' after a monk's cowl.
Wednesday, June 20, 2012
a post for the summer solstice
Here are 2 pictures of the same house. The first was taken in April, the second in June.
Note the absence of shade in April, its presence in June.
The house was build around 1765 in southern Vermont. The trees were planted around the same time.
In the spring, when the warmth of the sun shining through the windows into the house is so welcome, the trees are just beginning to bud. By June, the trees have leafed out shielding the house from the hot sun. They will protect the house though October. Late fall and through winter, the sun will once again be able to warm the house.
Not only do the trees keep the sun off the house, they create a micro-climate. In their shade the air temperature will be about 10* cooler than out in the sun. This temperature change also creates a breeze, always welcome on a hot day.
In lower latitudes, the path of the sun across the sky is different. The east and west elevations are the ones which need trees for shade, while a roof overhang is enough to shade the south facade.
Each climate has its own ways to shelter from the sun. For me one of the pleasures of traveling is watching how a particular part of the world builds, and plants, to its particular climate.
When I wrote- on this blog - about the Park-McCullough House Carriage Barn, I hoped to explain to a modern audience this basic knowledge about climate that our ancestors took for granted. I thought using a building everyone could visit (as it was open to the public) would make the ideas more accessible: you could go look for yourself. I found instead that readers thought only rich people who hired architects built to the weather.
This time my illustrations are ordinary, vernacular buildings.
Monday, April 23, 2012
This center chimney salt box is well loved by its current family.
Now the family was ready to tackle the wing. It was very poorly constructed from mismatched and left over materials. One space, a dark room in a previous life, smelled of chemicals. The door to the barn was problematic.Was there even a foundation? But the porch? Ah! that was fine. Here is the original wing.
The 'Big House, Little House, Back House, Barn' way of organizing farmsteads applies to eastern Massachusetts as well as Maine . (See Hubka's book by the same name.) So I had my form. To avoid working around 18th century post and beam framing the old bathroom which needed serious repair was moved to the wing. A new bathroom was added. A second staircase was also included, as the original which rose against the center chimney was tight in all directions including headroom.
So here is a 'little house' and 'back house'. It has bedrooms with closets, an entry graceful enough for company with a mud room tucked around the corner, a back stair with light, a family room and a work room with easy access to the barn, and the welcoming porch.
We all agreed our wing should not compete with a house which has graced its hill for 300 years. And, yes, it takes skill and a good eye to build a quiet addition that suits its inhabitants.
Friday, February 24, 2012
This renovated and new wing belongs to the house for which I recreated a new entrance. See my posts about the 1795 Federal entrance for pictures of the main house which so beautifully uses the Golden Section for its elevations.
Thursday, February 23, 2012
2 articles in Vermont History, The Journal of the Vermont Historical Society, Vol. 79, No.1, Winter/Spring 2011, reinforce my understanding that the apprenticeship system was falling apart in the early 1800’s.
Russ Fox in Julius Barnard (1769-after 1820) as Peripatetic Yankee Cabinetmaker, writes about how design ideas travel as craftsmen migrate. He traces Julius Barnard from apprenticeship in Connecticut, to a short stay in New York City, 9 years a cabinet maker in Northampton, MA, another 9 in Windsor, VT, with a sojourn in Hanover, NH. Then he moves to Montreal for 4 years; Pittsfield, MA, for about 7. In both cities he tries other ways to make a living.
I saw that Barnard stayed in Northampton and Windsor (1792-1809) long enough to train apprentices and hire journeymen. After that, although he takes on apprentices, he isn’t engaged as a cabinet maker long enough to provide real training.
Russ Fox adds an appendix which identifies 6 other Vermont furniture makers who were in and out of Montreal for short periods of time. He says there were too many skilled craftsmen in rural New England for the work available, especially as families migrated west.
Ruth Burt Ekstrom, in The Lure of the West and the Voices of Home: Excerpts from the Correspondence of William Spaulding Burt, shares with us letters written from 1833 to 1839 between parents in Vermont and their son who has ‘gone west’. The parents want him home; they tell him that good work is to be had in town. He works in various places in New York and Ohio as a carpenter. He is not apprenticed. His father writes that the son should come home for more schooling but there is no mention of any systematic training in a craft that compares to the roles of apprentice, journey man and master craftsman.
I saw that by 1815, the traditional paths for passing on skills - as I outlined in my post 'Regulating Lines #3" - could not be maintained. The road to knowledge was now a trail with potholes and broken bridges. By the 1830’s, those paths appear abandoned, forgotten. However, my post on story poles show how some parts of traditional design and construction knowledge continued to travel forward some other route.
Saturday, February 18, 2012
Wednesday, February 15, 2012
Tuesday, February 14, 2012
Friday, February 10, 2012
Thursday, February 9, 2012
Note to the reader:
These posts are intended to be working documents. I hope you will add to them.
There are 3 parts:
1) The 1856 map of North Bennington,
2) The map of the red, green and blue walking tours,
3) Descriptions of the village and the houses which existed in 1856,
You are encouraged to comment.
If you prefer, pages for your notes are available at the John G. McCullough Free Library, North Bennington. Each building has its page with lots of blank space for you to add your information.
The walking tour emphasizes the architecture and technology of North Bennington in 1856. Of course, that’s only one way to understand our past.
North Bennington's historic record and this walk will be much richer when we know more about who lived here and what they did.
Please add your information, your perspective. Please give dates whenever possible.
Thank you for your help.
Sunday, February 5, 2012
Well, he does say that a main floor window's height should not be more than double its width. Room length, breadth and height and height are mentioned in relationship to each other. But then he states that 10 ft is the desired height... There is great advice for the carpenter and homeowner about foundations, lath and plaster, and 'warming'. Fun, but not what I hoped for.
Wednesday, February 1, 2012
Monday, January 30, 2012
It has been suggested the change came when architects took over the design process from builders. Well, maybe. I just don’t think it’s that simple.
In Europe, during the Middle Ages, the understanding of how to use geometry was passed down through the guild apprenticeship system, specifically the masons’ guilds, the men who were the master builders of the medieval cathedrals, forts and castles.The title ‘architect’ was used in the late 1500’s, but often as metaphor. The OED cites its use as a synonym for God, “The work some praise, And some the Architect”. 1667, Milton, Paradise Lost. Only gradually is the word specifically associated with the task of designing rather than building a structure.
Consider this chain of command:
John Mylne (d.1657) was the Master Mason to the Crown of Scotland.
His son, John Mylne (1611-1667) and then his nephew, Robert Mylne (1630-1710), succeeded him. All were members of the masons’ guild.
Sir William Bruce of Scotland (c.1630-1710) is considered the ‘architect’ who brought Palladian ideas to Scotland. He was Surveyor General of the King’s Works. Was this a title created for him because he had lived and traveled abroad, had a great library but did not draw? Robert Mylne was one of the people who drew for him. Mylne also supervised the construction. And he, a mason, would most likely have been using the geometry passed down through the guild.
James Smith (1647-1731), succeeded Bruce as Surveyor General. He had traveled abroad, studied in Rome, but was trained by Mylne.
He in turn trained William Adam (1689-1748). Both were admitted to the local masonic guild. These men began to be referred to as ‘architects’: Colen Campbell (1676-1729) in his Vitruvius Britannicus calls Smith "the most experienced architect of that kingdom".
William Adam trained his sons, John Adam 1721-1792), Robert Adam (1728-1792), and James Adam (1732-1794) as masons.
Robert and John Adam are the men after whom the Adam Style (often called Federal in New England) is named. Robert was truly an ‘architect.’ He designed and drew, someone else executed.They traveled abroad. Most of them read Latin. But at least through the Adam brothers the knowledge of design and construction was rooted in the masons' knowledge, in regulating lines.
An aside: Scottish history during this time is full of political intrigue ( Queen Mary of Scots, King Charles, etc.) which influences who gets to design and build which buildings. For more information try Scottish Architecture, Glendinning and MacKechnie Thames & Hudson,Ltd., London, 2004. They are excellent historians and writers.
The highly respected instructor at the local vo-tec built this house for his family in the 1950's. Compact, with built-in furniture which dictated the use of every room, it felt much like the Frank Lloyd Wright Usonian houses I had visited.
Friday, January 27, 2012
Cross the railroad tracks, and walk up to # 50, the William Hawks House and carriage barn, built in 1855. They are not on the 1856 map. Perhaps they were not finished when the data for the map was collected.
Houghton St was named after the family whose elaborate Queen Anne Victorian house was here. For an extra excursion turn left on Houghton Street, continue across the tracks to Lake Paran Park on the right. Lake Paran was created by the railroad bridge over Paran Creek in the 1840’s.
Between the houses the Robinson barn - #51 - is visible. In 1856 this land was fields, farm yard, and kitchen garden.
# 52 may be the M.B. Murch house. The D. Corkins house has been replaced by St. John the Baptist Catholic Church. picture to come
# 54 –Warren Dutcher House. Greek Revival c. 1840, with added porch. Mr. Dutcher’s house in Bennington had burned in 1849. He invented a improved temple for mechanized looms. By 1858 he had relocated his factory – which had been on Paran Creek - to Hopewell, MA.
This side was the working side of the house: the location of the stable, dairy, kitchen garden, and barn yard. The front door was for company.
These are the main buildings which were in N. Bennington in 1856, with the exception of 11 houses, a school and an Academy (now gone), and 3 factories, all on Water Street. (Those buildings which remain will be added as a 'drive-by' tour.) Barns, shed, outhouses, and other secondary structures were not recorded.
I found it fascinating to understand physically, by walking down the streets of the village, how it would have felt to live here, how small a village it was. I hope you do too.
I welcome your comments and corrections. The internet makes improvements simple. Thank you for visiting.
Thursday, January 26, 2012
The topography required us to build in the same sandy location as the existing tiny, structurally unsound, stone garage. The garage needed to be, like the original, useful and incidental.
The original caretaker's cottage (just out of view on the left) overlooked the garage, so a low pitched hip roof was chosen as less intrusive than the original gable.
The whole property received a local Historic Preservation Award.
Thursday, January 19, 2012
Main Street was laid out in 1760 to go north to Shaftsbury. Houghton Street was cut in 1835, also to go to Shaftsbury, but avoiding the hill on the main road. The railroad was
here in 1856 but not Depot Street. The railroad continued across the dam at Lake Paran to Bennington. The bridge and dam which had washed out had quickly been replaced.
The tour begins at The Eddington House
# 44 - WF Hawkes House, now called The Eddington House. A porch once ran across the front of the house, probably not as early as 1856.
# 43 -SC Loomis House (picture of fan light)
# 45 – Surdam House, c. 1835. The house shape and size is similar to those on Bank St. Its stone construction is unusual in the village. The entrance side panels and hood are taken pictures in the1830 design book of Asher Benjamin.
# 46 – Built c. 1780 for Fannie Hinsdill. It originally had a center chimney. This house has been continually updated - the triple windows, c. 1910, and the picture windows in the 1950’s for a barbershop.
#47 – The Cobblestone House, 1848, Gothic Revival, with its steep roof and gingerbread icing along the eaves was inspired by medieval stone carvings. It retains its early American story-and-a-half shape and scale. In 1856 one of the Colvins lived here. The cobblestone exterior was also popular in western NY. This house was built by Warren Dutcher who auctioned it off for $1 per chance.
#48 - GW Simmon House, c. 1850, is a classic Greek Revival - with a later porch and Italianate double door. It was constructed with timbers from a mill on Paran Creek which was being rebuilt.
#49 – Robinson is a mirror image of #50. This house has Italianate ‘improvements’: a double front door and a bracketed entry roof.