The cards are full color - 54 included

If you are a retailer, a gift shop at a Heritage house (your house may be in the deck!) or other museum shop and desire to purchase in quantity, please contact us and we will help you obtain stock at a lower price. Simply email us at thelonggallery@gmail.com.

Here is a list of the houses included in the deck:

BLUE SET

1 HARDWICK
2 HADDON
3 WINGFIELD  
4 MONTACUTE
5 ASHTON
6 CLEVEDON  
7 BARRINGTON

RED SET

8 CHASTELTON HOUSE
9 NORTH ASTON HALL
10 ASTHALL MANOR
11 MAPLEDURHAM HOUSE
12 BURFORD PRIORY
13 CARSWELL MANOR
14 GARSINGTON MANOR

GREEN SET

15 ASCOTT HOUSE
16 HARTWELL HOUSE
17 DORNEY COURT
18 CHENIES
19 CHEQUERS
20 DORTON    
21 GAYHURST

PURPLE SET

22 SWARLAND OLD HALL    
23 APETHORPE HALL
24 BARNWELL
25 BURTON CONSTABLE
26 BURTON AGNES
27 FOUNTAINS   
28 HOWSHAM        

AQUA SET

29 COMPTON WYNYATES
30 CASTLE ASHBY
31 CHARLECOTE PARK
32 PACKWOOD HOUSE
33 ST JOHNS HOUSE
34 COOMBE ABBEY
35 BURGHLEY HOUSE

ORANGE SET

36 WOLLATON HALL
37 LONGLEAT HOUSE
38 CHARLTON PARK
39 LITTLECOTE HOUSE
40 CORESHAM COURT
41 BOLEHYDE MANOR
42 CHARLWOOD HOUSE

MAROON SET

43 BOOTHBY PAGNELL 
44 ATHELHAMPTON HOUSE
45 THE VYNE
46 LITTLE MORETON HALL 
47 DODDINGTON HALL
48 GREAT BIDLAKE
49 AUDLEY END   

BLACK (ROYAL) SET
50 HAMPTON COURT   
51 RICHMOND PALACE   
52 TOWER OF LONDON   

53 Card List & Intro Text
54 Rules

The cards are full color - 54 included

If you are a retailer, a gift shop at a Heritage house (your house may be in the deck!) or other museum shop and desire to purchase in quantity, please contact us and we will help you obtain stock at a lower price. Simply email us at thelonggallery@gmail.com.

Here is a list of the houses included in the deck:

BLUE SET

1 HARDWICK
2 HADDON
3 WINGFIELD  
4 MONTACUTE
5 ASHTON
6 CLEVEDON  
7 BARRINGTON

RED SET

8 CHASTELTON HOUSE
9 NORTH ASTON HALL
10 ASTHALL MANOR
11 MAPLEDURHAM HOUSE
12 BURFORD PRIORY
13 CARSWELL MANOR
14 GARSINGTON MANOR

GREEN SET

15 ASCOTT HOUSE
16 HARTWELL HOUSE
17 DORNEY COURT
18 CHENIES
19 CHEQUERS
20 DORTON    
21 GAYHURST

PURPLE SET

22 SWARLAND OLD HALL    
23 APETHORPE HALL
24 BARNWELL
25 BURTON CONSTABLE
26 BURTON AGNES
27 FOUNTAINS   
28 HOWSHAM        

AQUA SET

29 COMPTON WYNYATES
30 CASTLE ASHBY
31 CHARLECOTE PARK
32 PACKWOOD HOUSE
33 ST JOHNS HOUSE
34 COOMBE ABBEY
35 BURGHLEY HOUSE

ORANGE SET

36 WOLLATON HALL
37 LONGLEAT HOUSE
38 CHARLTON PARK
39 LITTLECOTE HOUSE
40 CORESHAM COURT
41 BOLEHYDE MANOR
42 CHARLWOOD HOUSE

MAROON SET

43 BOOTHBY PAGNELL 
44 ATHELHAMPTON HOUSE
45 THE VYNE
46 LITTLE MORETON HALL 
47 DODDINGTON HALL
48 GREAT BIDLAKE
49 AUDLEY END   

BLACK (ROYAL) SET
50 HAMPTON COURT   
51 RICHMOND PALACE   
52 TOWER OF LONDON   

53 Card List & Intro Text
54 Rules

ST. PAULS SUNDAY SCHOOL & PARISH HOUSE - BUILT 1880'S.

Back in 1986, I was sitting in the kitchen of Elsie Snyder, a local preservationist, along with a few other people, wondering what we could do to avoid the demolition of an old historic apartment building near Akron’s Grace Park. Those gatherings, and that initial effort—which ultimately proved to be unsuccessful—led to the founding of a local group called Progress Through Preservation, (now known as the Preservation Alliance of Greater Akron) which still operates today. I bring this up for two reasons. One – more of our local historic structures are seriously threatened with demolition. And Two – I am wondering if anyone in Akron will make a concerted effort to stop it.

The buildings in question are two of Akron’s most historic, and have been listed on the National Register of Historic Places for many years. They include the former St. Paul’s Episcopal Church and adjacent Sunday School Building and Parish House, located at East Market and Forge Streets. These remarkable gothic structures are among the few remaining links to 19th Century Akron, and the Sunday School is one of the better preserved examples of the historic “Akron Plan” that was developed by Lewis Miller and utilized in hundreds of church buildings across the nation up until WWI. They are attractive, generally well-preserved structures, dating from the 1880’s – 1890’s.
I believe the plan is to raze them to help create some sort of “grand entrance” to the University of Akron from East Market Street; I suppose to complement a similar plan they have for a southern entrance off East Exchange Street. Needless to say, the plan—and the building’s demolition—is unnecessary and short-sighted, and wholly representative of the school’s new administration, which has alienated itself from the greater community through a number of recent missteps such as this.


I may resolve to join yet, but I may wait to see what, if anything, the group will do to help stop the demolition of these historic buildings. The fact is, there is so little left of Akron from the pre-Rubber Boom era that we should be making a special effort to preserve buildings like these. Aside from a few church buildings, the only other structures left from this era are the Robinson Mansion at Buchtel Avenue (currently for sale) and an old funeral home. This stretch of East Market used to be lined with large mansions, much like Cleveland’s old Euclid Avenue—another victim of “progress.”



ST. PAUL'S EPISCOPAL - ORIGINAL SANCTUARY

I don’t know if this is true in many other places—somehow, I suspect it is—but it seems that some preservation organizations that were active, militant and vocal about preservation during the years when they were established have devolved into “historic architecture social clubs”. These groups plan neighborhood tours, handout preservation awards and maybe talk about appreciating old houses, but no longer take an active role in promoting, planning and fighting for historic preservation.

Years ago, the founders of these organizations would criticize historic groups who only looked at preservation through the concept of “historic house/building museums” – an approach based on taking a few of the very best old buildings, and preserving them in a glass case for future generations to enjoy. Thirty years ago, “real” preservationists knew that approach alone was not sufficient; they knew that preservation also meant saving neighborhoods, promoting adaptive re-use, promoting education, demanding government support, and weaving preservation into the fabric of our cities.

Just this last summer, the local preservation group I’ve mentioned held a Fir Hill neighborhood tour right where these buildings are currently under threat. I wonder what they were looking at. On that street alone, two of the large houses, an 1870’s era Alumni Center and a large 1890’s era mansion (most recently a fraternity house) had been demolished over the last couple of years, leaving just a handful of buildings on the street. If this pattern continues, there won’t be much to see there in coming years.

Distant tours of Detroit—which have also been on the group’s itinerary—will only have value if lessons learned in those cities are brought back to Akron and put into action. Preservation isn’t about talking to ourselves, or touring old houses with “enthusiasts” – it’s about preserving and protecting an environment, and reconnecting with our heritage.

I’ve written my “Letter to The Editor” regarding the possible demolition of these historic structures—and I would happily protest any effort toward their removal. The question is, will anyone join me?

ST. PAULS SUNDAY SCHOOL & PARISH HOUSE - BUILT 1880'S.

Back in 1986, I was sitting in the kitchen of Elsie Snyder, a local preservationist, along with a few other people, wondering what we could do to avoid the demolition of an old historic apartment building near Akron’s Grace Park. Those gatherings, and that initial effort—which ultimately proved to be unsuccessful—led to the founding of a local group called Progress Through Preservation, (now known as the Preservation Alliance of Greater Akron) which still operates today. I bring this up for two reasons. One – more of our local historic structures are seriously threatened with demolition. And Two – I am wondering if anyone in Akron will make a concerted effort to stop it.

The buildings in question are two of Akron’s most historic, and have been listed on the National Register of Historic Places for many years. They include the former St. Paul’s Episcopal Church and adjacent Sunday School Building and Parish House, located at East Market and Forge Streets. These remarkable gothic structures are among the few remaining links to 19th Century Akron, and the Sunday School is one of the better preserved examples of the historic “Akron Plan” that was developed by Lewis Miller and utilized in hundreds of church buildings across the nation up until WWI. They are attractive, generally well-preserved structures, dating from the 1880’s – 1890’s.

I believe the plan is to raze them to help create some sort of “grand entrance” to the University of Akron from East Market Street; I suppose to complement a similar plan they have for a southern entrance off East Exchange Street. Needless to say, the plan—and the building’s demolition—is unnecessary and short-sighted, and wholly representative of the school’s new administration, which has alienated itself from the greater community through a number of recent missteps such as this.


I may resolve to join yet, but I may wait to see what, if anything, the group will do to help stop the demolition of these historic buildings. The fact is, there is so little left of Akron from the pre-Rubber Boom era that we should be making a special effort to preserve buildings like these. Aside from a few church buildings, the only other structures left from this era are the Robinson Mansion at Buchtel Avenue (currently for sale) and an old funeral home. This stretch of East Market used to be lined with large mansions, much like Cleveland’s old Euclid Avenue—another victim of “progress.”



ST. PAUL'S EPISCOPAL - ORIGINAL SANCTUARY

I don’t know if this is true in many other places—somehow, I suspect it is—but it seems that some preservation organizations that were active, militant and vocal about preservation during the years when they were established have devolved into “historic architecture social clubs”. These groups plan neighborhood tours, handout preservation awards and maybe talk about appreciating old houses, but no longer take an active role in promoting, planning and fighting for historic preservation.

Years ago, the founders of these organizations would criticize historic groups who only looked at preservation through the concept of “historic house/building museums” – an approach based on taking a few of the very best old buildings, and preserving them in a glass case for future generations to enjoy. Thirty years ago, “real” preservationists knew that approach alone was not sufficient; they knew that preservation also meant saving neighborhoods, promoting adaptive re-use, promoting education, demanding government support, and weaving preservation into the fabric of our cities.

Just this last summer, the local preservation group I’ve mentioned held a Fir Hill neighborhood tour right where these buildings are currently under threat. I wonder what they were looking at. On that street alone, two of the large houses, an 1870’s era Alumni Center and a large 1890’s era mansion (most recently a fraternity house) had been demolished over the last couple of years, leaving just a handful of buildings on the street. If this pattern continues, there won’t be much to see there in coming years.

Distant tours of Detroit—which have also been on the group’s itinerary—will only have value if lessons learned in those cities are brought back to Akron and put into action. Preservation isn’t about talking to ourselves, or touring old houses with “enthusiasts” – it’s about preserving and protecting an environment, and reconnecting with our heritage.

I’ve written my “Letter to The Editor” regarding the possible demolition of these historic structures—and I would happily protest any effort toward their removal. The question is, will anyone join me?

Here is the first of our video book reviews - or as I like to call them: New Reviews of Old Books. As regards my reasoning for this, please refer to this recent post. As you will see, while I have nothing but praise for the book's content, the quality of the printing and publication (not the design) leaves something to be desired.


To make things a little clearer, I am including here a couple of photos of the interior of the book. The overall layout and design is fine, but the printing process used (I assume digital, since I feel this was a short-run book) was perhaps not up to the task, as the photographs do not have the requisite contrast and detail one would prefer. Even the stock paper is a little thin; you may be able to see bleed-through text from the other side of the pages.

Tudor cottage renovation - Shannon Taylor Scarlett, Architect

Those of us who study, restore or would like to live in an Olde English Home may already have some grasp of their essential design elements. This has not stopped us from often wondering why so many modern homes lack the charm, proportions or design quality of the real thing—or even of well-designed revival houses.

For those who are still wondering, or who may be considering a building or remodeling project, I would recommend architect Shannon Taylor Scarlett’s Simple Rules: What the Old Time Builders Knew, a compact volume of observations, quotes and drawings that help put these design issues in perspective. I was fortunate to download the Kindle version some time ago (it is just $4.99) and was happily rewarded when I recently rediscovered it during a few idle moments on my iPhone.

This brief review of design principles—it is just a little over 100 pages—provides a helpful foundation for those who are interested in traditional approaches to design, or who would simply like to unlock the mystery of “why so many older buildings look better.” Scarlett’s book makes it clear that it’s not just a matter of appropriating a classical door surround, throwing some half-timbers onto an exterior wall, or tarting up a builder tract house with some Victorian trim work.

The book is highly recommended as a handy reference and a helpful guide to understanding some of the basic elements of “curb appeal.” It’s also available in print from Barnes & Noble.

Tudor cottage renovation - Shannon Taylor Scarlett, Architect

Those of us who study, restore or would like to live in an Olde English Home may already have some grasp of their essential design elements. This has not stopped us from often wondering why so many modern homes lack the charm, proportions or design quality of the real thing—or even of well-designed revival houses.

For those who are still wondering, or who may be considering a building or remodeling project, I would recommend architect Shannon Taylor Scarlett’s Simple Rules: What the Old Time Builders Knew, a compact volume of observations, quotes and drawings that help put these design issues in perspective. I was fortunate to download the Kindle version some time ago (it is just $4.99) and was happily rewarded when I recently rediscovered it during a few idle moments on my iPhone.

This brief review of design principles—it is just a little over 100 pages—provides a helpful foundation for those who are interested in traditional approaches to design, or who would simply like to unlock the mystery of “why so many older buildings look better.” Scarlett’s book makes it clear that it’s not just a matter of appropriating a classical door surround, throwing some half-timbers onto an exterior wall, or tarting up a builder tract house with some Victorian trim work.

The book is highly recommended as a handy reference and a helpful guide to understanding some of the basic elements of “curb appeal.” It’s also available in print from Barnes & Noble.

Normally, planning authorities don’t look favorably upon building plans when they include significantly remodeling an older structure in order to vastly change its appearance or character. However, if the existing house is unattractive, impractical, or where it does not warrant extensive protection, then allowances can be made.

Such is the example I recently came across on Homebuilding and Renovating—a Tudor Revival remodel in Shropshire that really combines a number of clever tricks and some original thinking to deliver a very convincing and attractive home. Yes, there is some sleight-of-hand going on here; steel beams have been covered in plaster, then grained and finished to look like wood. Stone-like door surrounds are actually made from cast-moulded concrete, and then weathered to look like stone.

Purists may wish for “the real thing” but I cannot argue with the end result. Such is my own experience that the budget of most people—especially where new building projects are concerned—cannot always sustain the use of traditional materials, though they would clearly be our first choice. Creative and available substitutes can often be employed, and this home is a fine example of such an approach.

Looking at the end result, the original, nondescript Georgian home has been flanked with half-timbered Tudor side wings, embellished with a jettied porch over the center section, and topped with a high-pitched timber frame roof. As a self-build project, it is quite impressive; the owners, Mark and Julia Swannell, clearly have an excellent eye—as the proportions and architectural detail are very authentic looking. From a distance (other than the fact that the home’s lines are straight and level) one might briefly mistake it for an original. Well done!

SEE THE ORIGINAL ARTICLE HERE.

Why would you want to review a book that’s been out of print for thirty years? Or fifty? Or eighty, for that matter?

Well, if I was reviewing fiction or computer programming, I agree, it would make no sense at all. The former is a slave to contemporary taste and fashion, which changes almost daily; the latter is subject to the inevitable march of technology—making today’s technical information soon obsolete.

For those of us who are interested in architecture—and specifically—old houses, there is an entirely different set of issues to consider when reading, collecting and referring to older books:

First, old houses are still old. Where they exist, they generally do so undisturbed over the course of many years, and that is the way people like it. For example, observations made about an old house like Little Moreton Hall in Cheshire in 1920 are generally valid unto this day. While new analyses continue to be made and today’s technology may reveal some new understanding, the scholars of the past continue to provide keen insights on the character, history and appreciation of old houses.

Likewise, many of the photographic and illustrative examples provided in old books offer an unsurpassed visual record of many old houses, some of which no longer exist. Whether it is the beautiful black & white photographs we see in old Country Life books, or the seductive drawings of Sidney R. Jones, there is a unique character and perspective in these old illustrations that even the sharpest digital image cannot provide. In the very oldest examples, they may offer details that cannot even be seen today.

Other old books on architecture, through their sheer depth of observation, provide an in-depth illustrative record of measured construction details like doors, chimneys, windows, mouldings and their profiles, stonework, ironwork and more. Few modern books provide these richly detailed and carefully recorded illustrations—which can be so helpful to both the student and the practicing residential architect who may turn to them for inspiration.

Another consideration on the value of old architecture books for the modern user is their essential value as books, and in many cases, great examples of what I refer to as The Book Arts. As an example, I often point to is the two-volume study from Thomas Garner and Arthur Stratton, entitled The Domestic Architecture of England During the Tudor Period. I own a second edition set from 1929; they are huge books—measuring 12” x 16”—wonderful to hold in one’s lap and beautifully illustrated with both photographs and exquisite drawings. A much more recent example of this type might be Mark Girouard’s beautiful Elizabethan Architecture, published by Yale in 2009. It is another substantial, finely illustrated book which does great justice to its subject.

To the casual observer, it may seem strange to provide a review of a book that is no longer in print, and which may not even be easily obtainable. But in doing so, we would point out that:

a) Many books, being highlighted as “essentials” on the subject of our chosen historical period of architecture, are well-recommended for their enduring high value, technical competence and even inspirational content.

b) While no longer in print, most of these books may still be obtained without undue effort from used bookstores, online sources such as abebooks.com, or even Ebay—often at a reasonable price.

c) Some books that have been recently scanned and made available through Print-on-Demand, while helpful and more easily purchased, are actually poor facsimiles of the original version. In some cases, the scanned illustrations are of extremely bad quality, in the worst cases, almost useless as a reference. While the text has value, to be sure, the student would be better satisfied in finding an original edition, which may often be found at a price that is little more than the reprint.

So, seeing some value in offering these types of reviews, we will begin to provide them, since we have no shortage of books on our chosen subject that we would like to share.

Seeing the newer phenomenon of video book reviews making an impact, and noting the advantages of physically describing and talking about a book that I am holding in my hand, this may be the method employed as we move forward.

Our dedication to old books being noted, we would nevertheless invite publishers of new books on period architecture to make review copies available, should they so desire. This would include  - Architecture (particularly residential) from Medieval through the Early Renaissance (Jacobean) – and Revival Styles (Gothic, Medieval, Tudor, Elizabethan, Jacobean) from the early 18th Century through the Victorian and Edwardian eras, and up to 1930.

Why would you want to review a book that’s been out of print for thirty years? Or fifty? Or eighty, for that matter?

Well, if I was reviewing fiction or computer programming, I agree, it would make no sense at all. The former is a slave to contemporary taste and fashion, which changes almost daily; the latter is subject to the inevitable march of technology—making today’s technical information soon obsolete.

For those of us who are interested in architecture—and specifically—old houses, there is an entirely different set of issues to consider when reading, collecting and referring to older books:

First, old houses are still old. Where they exist, they generally do so undisturbed over the course of many years, and that is the way people like it. For example, observations made about an old house like Little Moreton Hall in Cheshire in 1920 are generally valid unto this day. While new analyses continue to be made and today’s technology may reveal some new understanding, the scholars of the past continue to provide keen insights on the character, history and appreciation of old houses.

Likewise, many of the photographic and illustrative examples provided in old books offer an unsurpassed visual record of many old houses, some of which no longer exist. Whether it is the beautiful black & white photographs we see in old Country Life books, or the seductive drawings of Sidney R. Jones, there is a unique character and perspective in these old illustrations that even the sharpest digital image cannot provide. In the very oldest examples, they may offer details that cannot even be seen today.

Other old books on architecture, through their sheer depth of observation, provide an in-depth illustrative record of measured construction details like doors, chimneys, windows, mouldings and their profiles, stonework, ironwork and more. Few modern books provide these richly detailed and carefully recorded illustrations—which can be so helpful to both the student and the practicing residential architect who may turn to them for inspiration.

Another consideration on the value of old architecture books for the modern user is their essential value as books, and in many cases, great examples of what I refer to as The Book Arts. As an example, I often point to is the two-volume study from Thomas Garner and Arthur Stratton, entitled The Domestic Architecture of England During the Tudor Period. I own a second edition set from 1929; they are huge books—measuring 12” x 16”—wonderful to hold in one’s lap and beautifully illustrated with both photographs and exquisite drawings. A much more recent example of this type might be Mark Girouard’s beautiful Elizabethan Architecture, published by Yale in 2009. It is another substantial, finely illustrated book which does great justice to its subject.

To the casual observer, it may seem strange to provide a review of a book that is no longer in print, and which may not even be easily obtainable. But in doing so, we would point out that:

a) Many books, being highlighted as “essentials” on the subject of our chosen historical period of architecture, are well-recommended for their enduring high value, technical competence and even inspirational content.

b) While no longer in print, most of these books may still be obtained without undue effort from used bookstores, online sources such as abebooks.com, or even Ebay—often at a reasonable price.

c) Some books that have been recently scanned and made available through Print-on-Demand, while helpful and more easily purchased, are actually poor facsimiles of the original version. In some cases, the scanned illustrations are of extremely bad quality, in the worst cases, almost useless as a reference. While the text has value, to be sure, the student would be better satisfied in finding an original edition, which may often be found at a price that is little more than the reprint.

So, seeing some value in offering these types of reviews, we will begin to provide them, since we have no shortage of books on our chosen subject that we would like to share.

Seeing the newer phenomenon of video book reviews making an impact, and noting the advantages of physically describing and talking about a book that I am holding in my hand, this may be the method employed as we move forward.

Our dedication to old books being noted, we would nevertheless invite publishers of new books on period architecture to make review copies available, should they so desire. This would include  - Architecture (particularly residential) from Medieval through the Early Renaissance (Jacobean) – and Revival Styles (Gothic, Medieval, Tudor, Elizabethan, Jacobean) from the early 18th Century through the Victorian and Edwardian eras, and up to 1930.

Here in the States, sports stadiums can be either hit-or-miss, and their styles are all over the map. There are traditional venues, like baseball’s Fenway Park or Wrigley Field, popular newer venues like Baltimore’s Camden Yards, or huge mega-parks, like the Dallas Cowboy’s AT&T Stadium. The design of sports stadiums is a specialist trade, generally dominated by a handful of successful firms.

With this in mind, I was fascinated by the design for Chelsea’s new football (soccer) stadium, developed by Swiss architects Herzog & de Meuron, who have unveiled plans for a gargantuan new home for Chelsea FC, “inspired by the design of Westminster Abbey”. As The Guardian points out in a recent article about the design:

“If football is England’s national religion, the sport may soon have its very own majestic cathedral…”

With concept drawing currently on display, the design is said to take its cues from the gothic architecture of the Abbey, in whose diocese the stadium once stood. The new plan was commissioned by the club’s owner, Roman Abramovich, and is expected to cost at least £500m.  The plan will also boost overall crowd capacity from 42,000 to 60,000.

Clearly, based on the concept drawings, the proposed stadium looks nothing like what you might expect, using massive masonry, heavy brick piers and soaring vaults. Parts of it recall London’s Victorian railway viaducts, while other parts do resemble a soaring, buttressed cathedral. The design was also created to blend into the dense, urban location of the stadium, as elevated brick walkway will bring supporters directly into the stands above a world of bars, shops and cafes located in the arches beneath the structure.

From what I can see from the rendering, the concept is a little fantastic, a little outrageous, and utterly brilliant. It is highly difficult to integrate the massing, style and unique design elements of medieval architecture into the modern urban landscape without the result looking like a Disney theme park or something that’s just downright ugly. While I’m sure not everyone will love this design, I see it as highly original, and a very successful effort in using medieval architecture as a modern design inspiration.

Here in the States, sports stadiums can be either hit-or-miss, and their styles are all over the map. There are traditional venues, like baseball’s Fenway Park or Wrigley Field, popular newer venues like Baltimore’s Camden Yards, or huge mega-parks, like the Dallas Cowboy’s AT&T Stadium. The design of sports stadiums is a specialist trade, generally dominated by a handful of successful firms.

With this in mind, I was fascinated by the design for Chelsea’s new football (soccer) stadium, developed by Swiss architects Herzog & de Meuron, who have unveiled plans for a gargantuan new home for Chelsea FC, “inspired by the design of Westminster Abbey”. As The Guardian points out in a recent article about the design:

“If football is England’s national religion, the sport may soon have its very own majestic cathedral…”

With concept drawing currently on display, the design is said to take its cues from the gothic architecture of the Abbey, in whose diocese the stadium once stood. The new plan was commissioned by the club’s owner, Roman Abramovich, and is expected to cost at least £500m.  The plan will also boost overall crowd capacity from 42,000 to 60,000.

Clearly, based on the concept drawings, the proposed stadium looks nothing like what you might expect, using massive masonry, heavy brick piers and soaring vaults. Parts of it recall London’s Victorian railway viaducts, while other parts do resemble a soaring, buttressed cathedral. The design was also created to blend into the dense, urban location of the stadium, as elevated brick walkway will bring supporters directly into the stands above a world of bars, shops and cafes located in the arches beneath the structure.

From what I can see from the rendering, the concept is a little fantastic, a little outrageous, and utterly brilliant. It is highly difficult to integrate the massing, style and unique design elements of medieval architecture into the modern urban landscape without the result looking like a Disney theme park or something that’s just downright ugly. While I’m sure not everyone will love this design, I see it as highly original, and a very successful effort in using medieval architecture as a modern design inspiration.

THE OLD HOUSE IN SURREY

I happened to come across this story about an old, original Tudor-period home in Surrey [UK] that was about to receive a £1.5m grant from the Heritage Lottery Fund for restoration.

The money is set to be used for updating the building so that it can continue to preserve local heritage and attract more visitors. The scheduled repair work will involve solving problems with dampness, removing modern fixtures and restoring the home’s original features.

As I looked at the photo of the house, I wondered if some of those original features would include half-timbering, which may very well be hidden underneath the white clapboard exterior of the present house. In some regions, a number of original Tudor homes were clad in wooden clapboards during later centuries, so their appearance on an actual Tudor house is not entirely out of context. In some cases, it may even be preferable to leave them in place, since it’s often good preservation practice to recognize some of the changes and alterations that have been made to a building over the years.


THE WITCHES' HOUSE - SALEM, MA

In any case, it struck me that most people wouldn’t even recognize this as a Tudor house at all, since it lacks the half-timber work that most Americans associate with the style. Most realtors I know would call it a Colonial; indeed, exchange the house’s white color for gray and it would be very reminiscent of the well-known House of The Seven Gables in Salem, MA, or even the “Witches’ House, also located there.  That is certainly “colonial” – but what those houses represent is an older, vernacular Tudor timber structure, clad in the clapboard that we associate with “colonial” homes.

In overall shape, structure and massing—the high-pitched roof, the jettied porch over the front door, the leaded casement windows—these houses can’t be anything but Tudor. The house in Surrey is a great example of this.


"OLDE ENGLISH"

My own home (see photo at left) is an example of this as well. Aside from some faux half-timber work in the gable, it’s entirely clad in clapboard-style siding. But it also retains the high pitched roof and the jettied porch over the front door, supported by large corbels at each side. It’s a more modern interpretation to be sure (including the garage) but it is probably more “Tudor” in form than the brick-and-half timber “contemporary” house across the street, which most Americans would probably think of as “Tudor” –if asked to identify the style. To avoid any confusion, I often identify the style of my house as “Olde English” rather than Tudor-Revival, in recognition of the cladding materials and the fact that it was inspired by older forms, rather than attempting to copy them.


WHAT SOMETIMES PASSES FOR "TUDOR"

For the knowledgeable, this is no great obstacle, but for the casual observer, it’s important to see past the cover and look more thoughtfully at the book. The renovation of the Surrey house is a good story. And a good lesson.

THE OLD HOUSE IN SURREY

I happened to come across this story about an old, original Tudor-period home in Surrey [UK] that was about to receive a £1.5m grant from the Heritage Lottery Fund for restoration.

The money is set to be used for updating the building so that it can continue to preserve local heritage and attract more visitors. The scheduled repair work will involve solving problems with dampness, removing modern fixtures and restoring the home’s original features.

As I looked at the photo of the house, I wondered if some of those original features would include half-timbering, which may very well be hidden underneath the white clapboard exterior of the present house. In some regions, a number of original Tudor homes were clad in wooden clapboards during later centuries, so their appearance on an actual Tudor house is not entirely out of context. In some cases, it may even be preferable to leave them in place, since it’s often good preservation practice to recognize some of the changes and alterations that have been made to a building over the years.

THE WITCHES' HOUSE - SALEM, MA

In any case, it struck me that most people wouldn’t even recognize this as a Tudor house at all, since it lacks the half-timber work that most Americans associate with the style. Most realtors I know would call it a Colonial; indeed, exchange the house’s white color for gray and it would be very reminiscent of the well-known House of The Seven Gables in Salem, MA, or even the “Witches’ House, also located there.  That is certainly “colonial” – but what those houses represent is an older, vernacular Tudor timber structure, clad in the clapboard that we associate with “colonial” homes.

In overall shape, structure and massing—the high-pitched roof, the jettied porch over the front door, the leaded casement windows—these houses can’t be anything but Tudor. The house in Surrey is a great example of this.

"OLDE ENGLISH"

My own home (see photo at left) is an example of this as well. Aside from some faux half-timber work in the gable, it’s entirely clad in clapboard-style siding. But it also retains the high pitched roof and the jettied porch over the front door, supported by large corbels at each side. It’s a more modern interpretation to be sure (including the garage) but it is probably more “Tudor” in form than the brick-and-half timber “contemporary” house across the street, which most Americans would probably think of as “Tudor” –if asked to identify the style. To avoid any confusion, I often identify the style of my house as “Olde English” rather than Tudor-Revival, in recognition of the cladding materials and the fact that it was inspired by older forms, rather than attempting to copy them.



WHAT SOMETIMES PASSES FOR "TUDOR"

For the knowledgeable, this is no great obstacle, but for the casual observer, it’s important to see past the cover and look more thoughtfully at the book. The renovation of the Surrey house is a good story. And a good lesson.

It’s no surprise that I’m a traditionalist at heart. If I wasn’t, I wouldn’t be writing about Tudor-Revival houses, medieval art, victorian architecture or preservation issues. That said, I don’t mind a thoughtful update for an older home or a new interpretation of a traditional design. Most of better results come when the old and the new are blended harmoniously together; that doesn’t mean you can’t tell them apart, only that the combination feels natural rather than forced.

That’s why I have a hard time with this Tudor in Rye, NY – where the owner tacked this very contemporary addition onto the back of a modestly-sized Tudor Revival home. I suppose I’ve seen worse; the color and materials do complement the existing house to some extent, but the end result just doesn’t work for me. It’s like you took two totally different house and jammed them together.

What’s more, it seems the owner doesn’t really like traditional or revival styles anyway—the interior, even in the older part of the house—is ultra-contemporary, with no hint of the original house left behind. All white, steel and glass…it looks like the windows were the only element preserved from the existing home.

I suppose they liked the neighborhood. It’s unfortunate that they just didn’t decide to build an all-new contemporary house, rather than compromising the overall appearance of this one. Perhaps the only good thing I can say here is (as you can see in the second photo) that the addition was placed at the rear of the house, and is not so visible from the street.

While I have seen and even paged-through Prince Charles’ 1989 book, A Vision of Britain: A Personal View of Architecture many times, I have never purchased a copy. I suppose I should.

The Prince’s views on architecture, and his preference for the traditional over the modern are well-known. Ever since his famous “monstrous carbuncles” speech back in 1984, where he lectured the Royal Institute of British Architects (RIBA) and lambasted modern design, the Prince has been steadfast in his support for traditional design, refusing to back down.

That’s why the recent release of the Prince’s correspondence regarding health, housing and heritage matters is no surprise. Six letters written by Charles have been published by the Government and show how the heir to the throne raised issues close to his heart with the heads of various government departments.

It’s the second batch of letters released under a freedom of information request. I’m not quite sure what the request had hoped to uncover, since the letters support what most people already know about Charles’ areas of interest and concern.

One letter, from June 2009, detailed his concerns about "major historic sites, many of which are lying derelict''. He also hit out at "unscrupulous owners" for abandoning certain unnamed sites.

In another, he expresses concern about the lack of affordable rural housing:

''I have seen from my visits around the country the real problems finding an affordable home causes for those on low incomes in the countryside - many of whom are carrying out essential jobs, such as farm workers, teachers, shopkeepers and health workers and on whom the future viability of rural life depends.''

All in all, the letter reveal little if anything new, but they do provide additional detail about Prince Charles’ dedication to housing and heritage issues.

While I have seen and even paged-through Prince Charles’ 1989 book, A Vision of Britain: A Personal View of Architecture many times, I have never purchased a copy. I suppose I should.

The Prince’s views on architecture, and his preference for the traditional over the modern are well-known. Ever since his famous “monstrous carbuncles” speech back in 1984, where he lectured the Royal Institute of British Architects (RIBA) and lambasted modern design, the Prince has been steadfast in his support for traditional design, refusing to back down.

That’s why the recent release of the Prince’s correspondence regarding health, housing and heritage matters is no surprise. Six letters written by Charles have been published by the Government and show how the heir to the throne raised issues close to his heart with the heads of various government departments.

It’s the second batch of letters released under a freedom of information request. I’m not quite sure what the request had hoped to uncover, since the letters support what most people already know about Charles’ areas of interest and concern.

One letter, from June 2009, detailed his concerns about "major historic sites, many of which are lying derelict''. He also hit out at "unscrupulous owners" for abandoning certain unnamed sites.

In another, he expresses concern about the lack of affordable rural housing:

''I have seen from my visits around the country the real problems finding an affordable home causes for those on low incomes in the countryside - many of whom are carrying out essential jobs, such as farm workers, teachers, shopkeepers and health workers and on whom the future viability of rural life depends.''

All in all, the letter reveal little if anything new, but they do provide additional detail about Prince Charles’ dedication to housing and heritage issues.

About one hundred years ago, Goodyear Tire and Rubber Co. co-founder F.A. Seiberling and his family were getting ready to move into their new home, the magnificent Tudor Revival mansion known as Stan Hywet Hall.

This year, the estate — now a public museum and gardens — is celebrating it’s 100th birthday with a series of special events, exhibits and specialty tours.

The 65,000-square-foot manor house is the sixth-largest historic home open to the public in the United States. The Tudor revival structure contains more than 21,000 panes of glass, 23 fireplaces, and intricately hand-carved wood paneling — so typical of the the luxury available to the Rubber Barons of Akron and other successful industrialists. Amazingly, the home still features 95 percent of the original furnishings chosen by the Seiberlings and their decorators.

Along with the special events, Stan Hywet Hall is launching a multi-million dollar campaign to help fund ongoing restoration work. Here are some of the events planned for 2015:

• The twice-daily “Blueprints to Bricks,” a tour focusing on the planning and construction of the estate and manor house, which required 3,000 blueprints and architectural drawings. Tour guests will visit areas and spaces not usually accessible to the public.

• “Picturing the Past,” 15 oversize photographs of the property dating from 1912 to 1915 to be exhibited outdoors on certain days during the summer. Each picture will be positioned at the photographer’s original vantage point on the grounds, allowing visitors a “now-and-then” perspective of the estate.

• The artistic installation “Bloom!,” opening June 2 in the gardens. Glass artist Craig Mitchell Smith, whose work is displayed at public gardens and arboretums throughout the country, will install 32 larger-than-life sculptures, many of them inspired by Stan Hywet. The sculptures — featuring botanical and nature themes, such as Tudor Rose— will be installed in the Breakfast Room Garden; and Butterflies of Northern Ohio, near the butterfly habitat.

• “Twilight & Flashlights,” an evening garden tour on six summer evenings in August and September. The offering will allow visitors to see “Bloom!” in a different light. All the pieces in the glass exhibit will be offered for public sale.

• The official 100th anniversary celebration, scheduled for Aug. 16 as part of Stan Hywet’s Community Day. The event will include free tours, a concert by the Goodyear Band, an antique car show, a vintage baseball game, and historic interpretations by the History First Hand acting troupe. Admission is free for registered guests.

• Several living-history days; “Woof Walk” days, for pet owners and their leashed dogs; the annual Father’s Day Classic antique car show; a gala Shakespearean ball and the annual Ohio Shakespeare Festival; and the Deck the Hall yuletide light and decoration show

About one hundred years ago, Goodyear Tire and Rubber Co. co-founder F.A. Seiberling and his family were getting ready to move into their new home, the magnificent Tudor Revival mansion known as Stan Hywet Hall.

This year, the estate — now a public museum and gardens — is celebrating it’s 100th birthday with a series of special events, exhibits and specialty tours.

The 65,000-square-foot manor house is the sixth-largest historic home open to the public in the United States. The Tudor revival structure contains more than 21,000 panes of glass, 23 fireplaces, and intricately hand-carved wood paneling — so typical of the the luxury available to the Rubber Barons of Akron and other successful industrialists. Amazingly, the home still features 95 percent of the original furnishings chosen by the Seiberlings and their decorators.

Along with the special events, Stan Hywet Hall is launching a multi-million dollar campaign to help fund ongoing restoration work. Here are some of the events planned for 2015:

• The twice-daily “Blueprints to Bricks,” a tour focusing on the planning and construction of the estate and manor house, which required 3,000 blueprints and architectural drawings. Tour guests will visit areas and spaces not usually accessible to the public.

• “Picturing the Past,” 15 oversize photographs of the property dating from 1912 to 1915 to be exhibited outdoors on certain days during the summer. Each picture will be positioned at the photographer’s original vantage point on the grounds, allowing visitors a “now-and-then” perspective of the estate.

• The artistic installation “Bloom!,” opening June 2 in the gardens. Glass artist Craig Mitchell Smith, whose work is displayed at public gardens and arboretums throughout the country, will install 32 larger-than-life sculptures, many of them inspired by Stan Hywet. The sculptures — featuring botanical and nature themes, such as Tudor Rose— will be installed in the Breakfast Room Garden; and Butterflies of Northern Ohio, near the butterfly habitat.

• “Twilight & Flashlights,” an evening garden tour on six summer evenings in August and September. The offering will allow visitors to see “Bloom!” in a different light. All the pieces in the glass exhibit will be offered for public sale.

• The official 100th anniversary celebration, scheduled for Aug. 16 as part of Stan Hywet’s Community Day. The event will include free tours, a concert by the Goodyear Band, an antique car show, a vintage baseball game, and historic interpretations by the History First Hand acting troupe. Admission is free for registered guests.

• Several living-history days; “Woof Walk” days, for pet owners and their leashed dogs; the annual Father’s Day Classic antique car show; a gala Shakespearean ball and the annual Ohio Shakespeare Festival; and the Deck the Hall yuletide light and decoration show

Where does the time go? I remember reading about Longwood Manor’s impending demise back in 2007, as the Akron Beacon Journal reported that access to the manor house would cease because it no longer met building codes for public use.

Built in a free Tudor Revival style, Longwood Manor was built in 1924. It sits on 300 acres of land that belonged to Colonel William Frew Long, the founding Mayor of Macedonia and a Veteran of World War I and II. His land and the home were given to the citizens of Macedonia for use as a public park in accordance with his Will upon his death in 1984.

Though it served as a visual centerpiece for the park around it and was being used for public events, the house was allowed to fall into disrepair as expensive maintenance was ignored or postponed. As a result, the utilities were cut off and the building was closed in 2007 as the wrecker’s ball cast its shadow.

But that was not the end. Interest in preserving the building slowly grew throughout the community, and by the Fall of 2012 a group had formed to raise money and begin some of the most critical restoration work. That work continues to proceed today, and the house was placed on the National Register of Historic Places in 2014.

Today’s group of volunteers is dedicated to Preserving the History of the city of Macedonia, with a primary task of updating the Manor so it can serve as a public gathering space, Museum and the headquarters of the organization.

To see additional restoration photos and find out more about the Longwood Manor Historical Society, go HERE.

There’s also a nice online article about the restoration of the Manor HERE.

Where does the time go? I remember reading about Longwood Manor’s impending demise back in 2007, as the Akron Beacon Journal reported that access to the manor house would cease because it no longer met building codes for public use.

Built in a free Tudor Revival style, Longwood Manor was built in 1924. It sits on 300 acres of land that belonged to Colonel William Frew Long, the founding Mayor of Macedonia and a Veteran of World War I and II. His land and the home were given to the citizens of Macedonia for use as a public park in accordance with his Will upon his death in 1984.

Though it served as a visual centerpiece for the park around it and was being used for public events, the house was allowed to fall into disrepair as expensive maintenance was ignored or postponed. As a result, the utilities were cut off and the building was closed in 2007 as the wrecker’s ball cast its shadow.

But that was not the end. Interest in preserving the building slowly grew throughout the community, and by the Fall of 2012 a group had formed to raise money and begin some of the most critical restoration work. That work continues to proceed today, and the house was placed on the National Register of Historic Places in 2014.

Today’s group of volunteers is dedicated to Preserving the History of the city of Macedonia, with a primary task of updating the Manor so it can serve as a public gathering space, Museum and the headquarters of the organization.

To see additional restoration photos and find out more about the Longwood Manor Historical Society, go HERE.

There’s also a nice online article about the restoration of the Manor HERE.