New York: Century Co. Hobbs, Isaac H. Adapted to the United States.
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Originally published Philadelphia: J. H66 a. Hodgson, Fred. Practical Bungalows and Cottages for Town and Country. Chicago: Frederick J. H72 Originally published as Building With Assurance. H Hubbell, Lucy Embury, ed. H85 Keeler, Charles. The Simple Home. Originally published San Francisco: P. K3 Keeley, Cecil J. Jacques, D. J2 b. Jones, Inigo. Designs of Inigo Jones. London, Kerr, Robert. London: John Murray, Langley, Batty. Hadington: G. Miller, Loizeaux, J. Classic Houses of the Twenties. J24 The Model Architect. Originally published in Philadelphia: E. S6 v. S75 Mosaic Tile Company.
Floor Tile: Vitreous, Ceramic, Encaustic. Zanesville, Ohio: The Company, Arents NA M8 Introduction by David Gebhard.
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Venetia: D. P25 f. P22 New York: Da CapoPress, P34 Pollman, Richard B. Detroit: Universal Publishing and Distributing Corp. Porter Homes. New Bedford, Mass. P67 Practical House Carpenter. Taylor, P3 Practice of Architecture. Boston: B.
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Mussey, Radford American Homes: House Plans. Riverside, Ill. Ranlett, William H. R36 vol. Saylor, Henry H. Philadelphia: The John C. Winston Company, New York: Robert M. S3 Originally published Chicago: Sears, Roebuck and Co. O87 Shute, John. The First and Chief Groundes of Architecture. London: Country Life, Arents Sa f. Sloan, Samuel. Originally published in Philadelphia: J.
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S56 S55 a. Soan, John. Designs in Architecture. Originally published in London: I. Taylor at The Bible and Crown, reprinted Sooy, Louise Pinkney and Virginia Woodbridge. Plan Your Own Home. S8 Stickley, Gustav. S85 Sunset Western Ranch Houses. Swan, Abraham. The British Architect. S9 Vaux, Calvert. Villas and Cottages. V3 Walter, Thomas U. Jay Smith. Two Hundred Designs for Cottages and Villas. Philadelphia: Carey and Hart, W3 a. Wills, Royal Barry. Better Houses for Budgeteers. W Wilson, Henry L. The Bungalow Book. Chicago: Henry L.
Wilson, W54 Wise, Herbert C. The delusion that a really beautiful home is within the reach of only the very rich is losing ground, as is its sister delusion that only by the slavish imitation of foreign models is aesthetic satisfaction to be achieved. People are also awakening to the fact that beauty in a building is not merely a matter of decoration, a something to be added at will, but is inherent in the lines and masses of the structure itself. The point of view of the New England farmer, whose instructions to the architect were: "I'll build my house, and you fetch along your architecture and nail it on," is no longer typical.
Today if you find a farmer who is thinking about building a home, the chances are that he and his family and the town builder spend a lot of evenings around the farm dining table, poring over plans and blue prints, and probably sketches which the farmer himself has made. There is no suggestion about an Italian villa or a French chateau, but the farmer is probably saying, "We want a large room to live in; we want an open fire in it because it looks cheerful and the children like it; we want a kitchen that my wife won't mind working in, and we want the house light and warm and pretty.
The Craftsman type of building is largely the result not of elaboration, but of elimination. The more I design, the more sure I am that elimination is the secret of beauty in architecture. By this I do not mean that I want to think scantily and work meagerly. Rather, I feel that one should plan richly and fully, and then begin to prune, to weed, to shear away everything that seems superfluous and superficial. Practically every house I build I find, both in structural outline and in the planning and the adjustment of the interior space, that I am simplifying, that I am doing away with something that was not needed; that I am using my spaces to better advantage.
All of this means the expenditure of less money and the gain of more comfort and beauty. It is only when we to an extent begin at the beginning of these things that we come to know how much that is superfluous we have added to life, and how fearful we have been to be straightforward and honest in any artistic expression. Why may we not build just the house we want, so that it belongs to our lives and expresses them?
I have, all too slowly, begun to realize that it is right to build houses as people wish them, to cut away ornament, to subordinate tradition, and to put into the structure and into the interior finish the features that the occupants will find comfortable and convenient, and which almost inevitably result in beauty for them. It seems to me that every man should have the right to think out the plan for his house to suit himself, and then the architect should make this plan into a reasonable structure; that is, the outline should be well-proportioned and the different parts should be brought together so that the structural perfection will result in decorative beauty.
If, added to this simple reasonable structure, the materials for the house are so far as possible those which may be found in the locality where the house is built, a beauty of fitness is gained at the very start.
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A house that is built of stone where stones are in the fields, of concrete where the soil is sandy, of brick where brick can be had reasonably, or of wood if the house is in a mountainous wooded region, will from the beginning belong to the landscape. And the result is not only harmony but economy.
Why should the man who lives on a hillside bring brick from a long distance when the most interesting of modern dwellings, the log house, is at his hand? Or, if the brick could be had from the kiln a few miles away, why seek logs which are made expensive by the long freight haul from far-away mountains, and which would not seem in any way harmonious with the country where trees are scarce?
Once having settled upon the style of house which must suit the lie of the land and the happiness of the owner, the arrangement of floor spaces is next in significance.