Anglo-Dutch / Flemish Revival Architecture

19 Nov
Saint-Quentin Art Deco NJ – Jersey City: Van Vorst – Ward-Heppenheimer Mansion (designed by Frederick Clarke Withers, the architect of the Jefferson Market Courthouse). NYC: 13-15 South William Street (1903, C.P.H. Gilbert)
McKeesport Castle (McKeesport, Pennsylvania,on the outskirts of Pittsburgh, is full of abandoned buildings from a more prosperous time). Balmoral Fire Hall, 20 Balmoral Ave., Toronto Heritage Building and National Historic Site, built in 1911, rare Queen Anne-style architecture Victorian Homes in Parkside, West Philadelphia
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Australasian Steam Navigation Co.  Sydney Corporation Building  Sydney Newtown Post Office  Sydney
University of Melbourne main buildings. Carlton, Victoria. Completed 1888. Eastern Hill Fire Station. East Melbourne, Victoria. Completed 1893. Perseverence Hotel. Fitzroy, Victoria.
     
From the 1840s onwards, architecture in Britain was dominated by ‘the battle of the styles’— Classical versus Gothic. Both styles had their passionate adherents; less committed, more flexible architects could switch from one style to the other as circumstances demanded. As knowledge of Greek, Roman, mediaeval and Renaissance architecture increased, the demands and restrictions imposed on practitioners became correspondingly heavier. In the 1870s some younger British architects—among them J. J. Stevenson and E. R. Robson—sought to break away from the dogmas of academic stylism and find a more flexible idiom. They turned for inspiration to the domestic architecture of England in the late seventeenth and early eighteenth centuries, the time of Queen Anne and, perhaps more relevantly, William and Mary. Strongly influenced by buildings in the Low Countries, this was a basically simple, elegant architecture of fine brickwork, with lively Dutch gables on the skyline and some light touches of not especially correct Renaissance detailing.
Stevenson, Robson and the great Norman Shaw soon became adept at drawing on the vocabulary of this period of English architecture and freely combining many of its elements with wit and imagination. Their buildings were usually to be seen in an urban context in the form of commercial buildings and townhouses, and the scale was invariably small. There was at least some justification for calling this cheerful, unpretentious new style Queen Anne, but this name soon became misused and appropriated to describe buildings having a different range of characteristics. The style is therefore now described as Anglo-Dutch.
An appreciable number of Anglo-Dutch buildings have been demolished and replaced by taller structures. The survivors are characterised by the plain red-brown brickwork of their façades, enriched by delicate, attenuated ornament in brick and terra- cotta. At the roofline, a lively, playful silhouette is achieved by the use of stepped or scalloped brick gables. Windows are usually double-hung, vertically proportioned and painted white; often the upper sash is subdivided by wooden glazing bars and the lower sash is a single sheet of glass.

Quoted from:
“A Pictorial Guide to Identifying Austrlian Architecture; Styles and Terms from 1788 to the Present”
RICHARD APPERLY, ROBERT IRVING, PETER REYNOLDS. PHOTOGRAPHS BY SOLOMON MITCHELL.
Angus & Robertson Sydney 1995 ISBN 0207 18562 X
Copyright © 1989 by Richard Apperly, Robert Irving and Peter Reynolds.

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