I have previously noted how much I have always enjoyed the work of Sydney R. Jones (1881-1966) whose fabulous illustrations grace the pages of books like The Manor Houses of England, The Village Homes of England, Old Houses in Holland and How to Draw Houses, which I have previously highlighted on this site. In a similar fashion, I have also collected some of the works by R. J. Brown, whose pen-and-ink drawings of vernacular houses and village buildings add so much to the descriptions found in English Village Architecture, English Farmhouses, and The English Country Cottage.

In this age of photography and wondrous digital effects, the sublime results that can be gained via the illustrator’s trained hand are often forgotten. Yet there are few substitutes for the range of evocative feelings that can be elicited from a fine pencil or pen-and-ink drawing.

Allan T. Adams - Illustrator

Recently I have had the opportunity to marvel at the skill of an architectural illustrator who has found his way onto my Twitter feed—Allan T. Adams. Just as I was thinking that the only source of fine illustrations of ancient English buildings were old books, his work has renewed my enthusiasm for this art form and provided much enjoyment.

Allen T. Adams - Illustrator

Mr. Adams has much experience illustrating historic buildings, as he is retired from Historic England (formerly English Heritage) having worked on a number of projects, such as reconstruction drawings.

Allen T. Adams - Illustrator

He has been illustrating historic buildings since 1981--creating drawn records for archive purposes, and illustrating books and other publications. His widely-recognized skill and experience eventually led to his election as a fellow of the Society of Antiquaries of London in 2008.

Allen T. Adams - Illustrator

I will share just a few examples of his very fine work here; as you can see, he is highly skilled in sharply-detailed pen-and-ink drawings as well as exquisite watercolour illustrations.

Allen T. Adams - Illustrator

Mr. Adams has a member page on the Society of Architectural Illustrators site HERE as well as a Flicker page HERE. 

You will also be well-rewarded by following him on Twitter at @allantadams -- where he regularly shares examples of his illustrative work.

One of the highlights of the local holiday season is Stan Hywet’s annual Deck The Halls celebration, which is one of Ohio’s largest and most spectacular holiday traditions. The celebration runs from December 14-23 and December 26-30.

A million lights ensure that the holiday season always remains merry and bright.

The former Seiberling estate is illuminated inside and out with over ONE MILLION lights and this year, the historic Manor House is decorated and inspired by the theme of  Postcards from the Past. DAZZLE is a fantastic outdoor light show choreographed to three new songs this year and Gingerbread Land, the popular play garden has also been “dressed up” for the holiday season as well.

As always, the Great Hall is decked out in its holiday finest.

This year, the celebration is bigger and better than ever, and includes:

•Nightly tree lighting at 5:30pm. After Christmas, look for the Gingerbread Man.

•Live music in the Music Room, courtesy of area choirs and musicians.

•Self-guided tours of the Manor House included in ticket purchase.

•Freshly baked gingerbread cookies, savory warm pretzels, cocoa, hot cider, beer and wine for purchase in the Courtyard.

•Enjoy all of the above treats at the cozy warming fire in the Courtyard.

•Visit with Santa and Rudolph the Red-Nosed Reindeer in the Corral in the Courtyard.

•Take a family photo at two featured photo spots—perfect for that family holiday picture.

•Marvel at our new animated Gingerbread Bakeshop Window in the Courtyard.

•The tropical Corbin Conservatory is beautifully decorated for Christmas with a 20ft poinsettia tree.

•Shop for unique holiday gifts in Molly’s Shop.

•Enjoy light fare or a sweet treat in Molly’s Café after your tour.

For more information, go to: www.stanhywet.org

When I think of an English Pub, many things come to mind, but as often as not, it’s usually something like the Carlton Tavern Pub, in York. This Victorian-era pub, with its lively Tudor-revival exterior, sits amongst mature trees in a very attractive area.

The Carlton Tavern in York is under threat. Clearly a pub well worth saving.

Unfortunately, the pub has never been designated as a heritage asset, which is why it was recently slated for demolition as part of a luxury residential care-home scheme. Without reasonable consideration of options that would enable the building to be kept, the City of York Council had approved the structure’s demolition at their Planning Committee meeting in October, with a tie vote of 6-6 swung by the Committee Leader.

Fortunately, close scrutiny of the decision-making on the part of the Victorian Society as well as local residents has resulted in the Council going for an unprecedented re-vote on this issue. To facilitate the pub’s preservation, a purchase proposal has been put forward to refurbish the pub and provide holiday accommodation for race goers and visitors to York, as well as a community pub, restaurant and deli.

With a re-vote set for the 13th of December, the slightest of opportunities now exist to ensure that Councillors fully grasp the historic and economic significance of the Carlton Tavern. If you live nearby and have a voice, it is your opportunity to be heard!

Link: Save The Pub! 38 Degrees Campaign

Not too long ago I had the opportunity to visit the O’Neil House, a landmark Akron estate that had been converted in to a very fine Bed & Breakfast some years ago. This magnificent Tudor-revival home, which is located on the city’s west side, was originally built as the home for the family of William O'Neil, founder of The General Tire Company and the son of Michael O’Neil, founder of Akron’s leading department store. The 19-room mansion sits proudly at the corner of West Exchange Street and Mull Avenue, on a well-manicured, park-like spot.

A wide, curved driveway sweeps across the front of the house.

While there is plenty of craftsmanship and solid design evident in the home, there is no pretentiousness about the house, which is spacious, warm and welcoming. The foyer features a beautiful staircase and walls covered in linenfold paneling.

The home's foyer features walls covered in warm linenfold paneling.

Just off the foyer is a wood-paneled library, filled with books, comfortable furniture and a large fireplace. It’s easy to imagine spending the better part of a day here reading and relaxing.

The large living room is a great place to entertain—wood-paneled like the other rooms and large enough to accommodate a grand piano in one corner. A large Tudor-arched fireplace is slightly recessed into one wall, balance by a big bay window across the room.

The library boasts walls of books, fine woodwork and a fireplace.

The home’s dining room is a vivid blue, and incorporates a more formal, classically-styled design—providing a clearly different feel from the other ground floor rooms. This was not an uncommon approach in early 20th Century homes, where owners and architects often felt free to utilize alternative styles (French, Georgian, Colonial) within an otherwise Tudor-revival house. A similar example of this approach can be found in some of the upstairs bedrooms at Stan Hywet.

I loved how this fireplace in the living room was nestled into a slight recess

Located at the end of the living room, the home’s garden room is another fascinating, Tudor-inspired space, with high, beamed ceilings, large decorative leaded windows and another welcoming fireplace. It’s a great place for meetings and gatherings.

The vivid blue walls and the style of this dining room clearly set it apart.

Gayle Johnson, the Owner and Innkeeper, was gracious enough to give me a quick look around a few of the upstairs bedrooms. Since the house is very large, I was slightly surprised when she noted there were just four guest accommodations—but three of these are suites, which include an additional sitting room almost as large as the bed chambers and separate full bathrooms. The largest suite, for families, includes three separate bedrooms and an extra half-bath for good measure, while the large single bedroom available has its own separate bath as well. The master suite bathroom, with its original fixtures and gleaming Vitrolite glass tilework, is an Art Deco treat.

This beer-stein carrying elf graced the windows of the garden room.

Open year-round, The O’Neil House is truly one of Akron’s treasures and a historic reminder of an era when the Rubber Barons ruled. Room prices range from $75-$200 and a gourmet breakfast is included for guests. More information can be found HERE.

Pargetting can be very bold in concept & execution, as seen in this example.

Pargetting is one of the less-common elements found in Tudor and Elizabethan buildings. Perhaps the inherent nature of exterior plasterwork and its comparative durability vs. brick, timber and stone makes this inevitable - but there are still existing examples to be found dating from the 16th and 17th centuries. New or old, it is always a delightful feature whenever it is found.

Any number of natural or stylized designs and motifs can be found in plaster.

The term Pargetting derives from the word 'parget', an old Middle English term that is probably derived from the ancient French 'pargeter' / 'parjeter', which means to to throw about, or 'porgeter'- to roughcast a wall. With the ‘wattle and daub’ method of construction (since pargetting is really best suitable for a lathed and timbered backing) the craft became an important and integral part of the building trade until bricks became more freely available. The term is more usually applied only to the decoration in relief of the plastering between the studwork on the outside of half-timber houses, or sometimes covering the whole wall.


In some cases, the pargetter would press the moulds of wet plaster (usually a mixture of slaked lime, sand, hair and the inevitable ‘secret ingredient’, known only to individual craftsmen) to the house exterior until it was fixed. In other examples, the ornate plasterwork is done in-situ totally freehand, in the still-wet lime render. In this case, the work is roughly outlined with a small trowel and then built up with the addition of hair in the lime plaster.

A particularly exuberant example of exterior pargetting.

The work is then brushed back into the wall to smooth it out and finally finished with a lime wash. Pargetting patterns came in a variety of forms including friezes (using ribbons of chevrons, scallops, fantails or dots); often there are overall frames enclosing motifs, geometrical or floral designs, and coats of arms. Occasionally devices were stamped on the wet plaster in varying degrees of relief, and work in the time of Elizabeth I of England will often represent figures, birds and foliage.

Today's craftsmen carry on an ages-old tradition. (Courtesy of The Pargetting Company)

Today, the Pargetter's art is kept alive by experienced craftsmen like Bill Sargent, based in Mid-Suffolk, who has been practicing pargetting and decorative plasterwork since the 1960's. Amongst the highest regarded pargetters in the country, Bill's work can be seen in Suffolk, Essex, Kent and Norfolk. He handles most all areas of Conservation Plasterwork and pargetting (also spelled pargeting) including conservation plastering for listed buildings, Lime washing, Lime plastering (mouldings etc.) Arches, Lime floors and Brick stone and slate work.

Note: This article was recently updated with new images, due to the fact that the original featured a gallery hosted on Jux.com, which was shut down a few years ago.

Back in May, I provided a brief overview of this year’s UK trip, which centered around London and areas close by. One of our stops was at Highclere Castle, the home of Lord and Lady Carnarvon, and the house made famous by the Downton Abbey TV Series. Thankfully, the great success of the show has increased the number of visitors over the years to such an extent that many needed repairs have been made. Ongoing restoration continues, and many educational and tourist programs have been added as well.

A little rain shower did not diminish my daughter's enthusiasm for the tour.

While perhaps not my first choice, I succumbed to the desires of my wife and daughter to go see the house, which I had first read about in Mark Girouard’s book, The Victorian Country House. Designed by architect Charles Barry, and featuring a park designed by Capability Brown. The 5,000-acre estate is in Hampshire, about 5 miles south of Newbury, Berkshire. Reportedly the original site of the home was recorded in the Domesday Book, and the first house was built on the foundations of the medieval palace of the Bishops of Winchester, who owned this estate from the 8th century. Highclere has been home to the Earls of Carnarvon and their forebears since 1679.


What was originally a mansion built in the classical style was totally redesigned by Barry in 1839–1842, during his construction of the Houses of Parliament. It was re-worked in a Jacobethan style, with some Italianate touches.

We visited on a dreary day marked by on-and-off drizzle and showers; upon arriving we discovered that our scheduled tour of the gardens had been cancelled as a result, but a substitute tour of the Egyptian artifacts and displays would be provided. This was fine by me, since ancient Egypt had always been an interest of mine, and we were all aware of the 5th Earl’s co-discovery of Tutankhamun’s tomb and the legend of its curse.

I found the service wing at the rear of the house to be interesting as well.

We entered by the rear of the home for this tour, and I must note that the service part of the house at the rear is almost as interesting as the front. Built in an ancient-looking red brick, in a simpler, Tudor-inspired style, it welcomed us out of the rain and then down a long, dark hall toward the display rooms inside. We found the Egyptian displays fascinating—many were original and authentic, while most all the better-known examples were exact copies of the originals, which are now in museums.

After the tour, we made our way through the guest tea room and out to a large hospitality tent that was set up just behind the house. Here, with approximately 100 other visitors and guests, we were treated to a very nice box lunch as it continued to rain outside. Indeed, the event scheduling caused us to have a great deal of time to fill between the Egyptian display and our tour, which was to include a presentation covering Jane Austen’s association with the Highclere and the literature and popular culture of the early 19th century. Eventually we made our way back into the house, relaxed in the tea room briefly (with a beer) and then were called back out to the front door of the house for our tour.

We were ushered through the front door and into the soaring central hall of the house, which fans of the TV show would instantly recognize. It is a grand space, to be sure, but it also seemed smaller to me that I had expected, based on photographs I had seen. This did not diminish it in any way, as I found the scale to be more human and more comfortable anyway. We sat with a group of about 60 people and enjoyed the historical presentation, which was provided by Jane Austen scholars and two vocalists dressed in early 19th century garb, who sang a selection of period songs. Not my favorite period in terms of music, but it was highly enjoyable, just the same.

This was all followed by a tour of the principal rooms on the ground floor of the house, and a few bedrooms on the first floor. Apparently, we were asked not to take photos inside the house, as I could not find any on my phone. That said, the interiors—which would be immediately recognizable to fans of Downton Abbey, were all in fine form, and very impressive. We can all be thankful to the efforts of Lord and Lady Carnarvon in maintaining and restoring this fine example of Victorian architecture.

Visit Highclere / Information Here: [Official Site]

When Frank Mason, a senior executive of the B. F. Goodrich, built this grand home on Turkeyfoot Lake and gave it to his grandson and his newlywed wife, Zeletta Robinson, he may not have dreamed that it would one day be a local civic center. Today, the Frank Mason Raymond home—known locally as Tudor House—or the Franklin park Civic Center, continues to charm guests as a serves as a popular wedding, meeting and banquet facility, often available without charge to non-profit organizations.

Located at 655 Latham Lane, in the Portage Lakes area of New Franklin, the beautiful 20-room, 2 ½ story, brick and stucco mansion sits on 5.8 acres, adjacent to Portage Lakes State Park, and has 335 feet of frontage on the west shore of the lake.


Built in 1927 by local builders William F., Samuel G. and G. Edward Schweikert, the home is a distinctive example of the Tudor Revival style of architecture, with its arched doorways, carved wood staircase, prominent Tudor arch fireplace with oak paneling, and exposed beams in the living room. Typical of so many large houses of this type, it displays a rambling, asymmetrical composition—designed to appear as though rooms have been added on over many years. The exterior also reflects Tudor design elements, with its gabled front entry, featuring stone trim, massive stone and brick chimneys, slate roof with prominent cross gables, and copper gutters. The gardens include an embanked grotto, constructed of stone.

After the Raymonds moved to Bath, northwest of Akron, Tudor House was rented by Goodrich VP George Vaught and his family. In 1943, prominent Akron jeweler Henry B. Ball and his wife, Helen, bought the mansion. They lived there for 25 years with their children, Skip and Betty (Mrs. Dick Walter) who was married at the mansion. From 1968 to 1974, Akron contractor Robert Fabbro and his family of six children occupied the home. In 1974, it was sold to the Ohio Department of Natural Resources, and in July 1977, a 50-year lease was signed with the State for the facilities to be used as a civic center.

Once again we take a brief moment to talk about one of the books in our collection; I have wanted this for some time, but was only recently able to obtain it on Ebay for a low price. Always a great fan of Country Life, I collected many issues years ago when it was commonly available at the local news stand (I never could bring myself to spring for an annual subscription) and I still keep some of these scattered about in the house. Lacking more recent issues, I was happy to report a successful effort to grab a single copy at Heathrow before we returned home from our recent UK trip.

I finished reading this book right before we left, and though it certainly relates a lively and interesting story of the magazine’s history and significance, it does an excellent job of weaving that history into a vivid panorama of Britain during the last 100 (now 120) years. It’s hard for me to imagine that this book has actually been out for so long; nevertheless, the subject matter is as essential today as it was in 1997. With a fairly substantial production run, it is still easily available from online booksellers such as Amazon and Abebooks.

As one might expect, the photography—which was primarily pulled from the magazine’s archives—is excellent. The vintage black-and-white images are so expressive and so “of their time” that they capture the feeling of their era in a way that modern color photography cannot.

Once surprising aspect of the book, and this is a tribute to Sir Roy Strong, is that it is an easy and comfortable read; though it is large and fairly substantial, the average reader would be able to get through it straightaway. The author pulls no punches in his observations regarding the magazine and its editorial positions; though helpful in preserving the country’s heritage and great estates in its early decades, he describes them as outdated and reactionary in the post war period.

Controversies aside, the book provides a useful record of the magazine’s history and outlines its role as a cultural icon. Outlining a long list of editors and contributors (including Strong himself) and surveying 100 years of social change, editorial policies, preservation issues and matters of taste, this book provides a great insight into a central period of English architectural and social history.

Country Life, 1897-1997  An English Arcadia
Hardcover: 128 pages
ISBN-10: 0752210548
ISBN-13: 978-0752210544
Product Dimensions:  11.8 x 9.2 x 1 inches

Decorative plaque - provided by TudorArtisans.com - USA

If you are interested in architectural and interior design of the Tudor and Elizabethan periods, or you’re looking to restore a home built in a revival of these styles, one of the primary challenges is to find appropriate materials here in the States. Eighty years ago, it was easy to source such items as plaster cornice and mouldings, fireplaces, brackets, corbels, light fixtures, hardware and furniture that would look right in a Tudor-revival home. Today, there is little available. Other than the handful of legacy remnants available from old line US suppliers like Decorators Supply or Fischer & Jirousch, almost no one makes them anymore, aside from high end custom crafters and cabinetmakers.

Today, most suppliers offer a range of classically-inspired products that would fit well into a colonial or Georgian home, but provide almost nothing that is suitable to an earlier time period. Whether it’s a chair rail moulding, a wooden mantel, or even a wooden interior door—the choices are generally limited to very common traditional designs. Think of egg-and-dart, dentil mouldings, colonial casings or the ubiquitous colonial six-panel door and you know what I mean.

Even in my own house, built in 1992, I was limited to these sort of items in terms of availability and budget. I did demand a rather chunky staircase balustrade and had a very large, custom newel post built—I also had a custom mantelpiece made for the family room that was essentially Arts & Crafts in design. Any other resulting detail items I could manage were best described as Victorian (small carved wooden brackets in the dining/living room openings, and faux-plaster ceiling medallions over the kitchen and dining room lights. My doors were six-panel colonial, since the only other affordable and easily-obtainable alternative was a plain surface hollow-core slab door.



Staircase - courtesy Distinctive Country Furniture LTD - UK

As it turned out, the result was ok; many of these items might have been found in similar combination in an “Old English” house of an earlier time—particularly here in America, where styles were often blended together. As time goes on and I embark on future projects, I may remedy this situation to some extent, as far as time and budget allow.

If one has the means to import items from the UK, the issue is not quite as severe. A better selection is available, not to mention salvage items available from both online and brick-and-mortar vendors. In addition, my Twitter feed is full of highly skilled craftsmen who work in stone, plaster, glass, iron and wood, and almost any of them can create something both appropriate and beautiful—for a commensurate price. Sadly, the exchange rate and shipping across the Atlantic remain serious considerations, but for many, this remains a worthy option.

For those who are fearless, and who possess some level of skill and imagination, the remaining alternative is to make these items yourself. If one is able to obtain at least one appropriate decorative item, it is not so hard to make a mold and cast (in plaster or resin) the additional number required. Originals can be shaped in clay, or carved from wood, if one has the patience and requisite skill. Even if one lacks the ability to do hand-work, modern technology makes it possible to model a decorative piece using 3-dimensional software and send a file to a woodshop with a CNC router that can carve the item from a block of wood in a matter of minutes. Not inexpensive, but often less costly than paying a craftsman to make it by hand.

Lovely medieval floor chest - courtesy Early Oak Reproductions - UK

Perhaps the best solution is to use a combination of all these methods when it comes to sourcing decorative items for your period home. Where common or traditional materials can be made to “fit the bill”—feel free to use them and flip the resulting savings into cash that can be used to purchase those few specialty “feature” items that will set your project apart.

Likewise, do not be afraid to try your hand at creating a decorative detail yourself. If it doesn’t turn out quite as perfect as you would have liked, you don’t have to use it in your entrance foyer; integrate it into a bedroom, a back hall, or even a basement rec room—places where any shortcomings will be slightly less visible.

Stone carved head - courtesy Nick Roberson - UK

I would also suggest that at some point you spend the money and have a craftsman build or create some feature item that you can integrate into your interior or exterior design. It may only be a single door, a carving for a fireplace, a plaster panel or a bit of iron hardware, but it will add both value and pride to your finished project. In this age of technology, traditional crafts cannot be allowed to disappear, and it is important that we support them so they will be available to future generations. Today’s best craftsmen work hard to learn their trade and spend many hours researching proper design and technique—whether it involves carving stone, building furniture or modelling in plaster. The results of this speak for themselves. Make use of them if you can.

Ben Taggart with his model of Henry VIII's Nonesuch Palace.

I’ve been interested in model building ever since I was a child, and even today still dabble in it from time to time—sometimes for historical miniatures wargaming, or building scenery for a slot car track in the basement.

I suppose this is why I can appreciate the magnificent skill that Ben Taggart displays with his highly detailed architectural models. My first introduction to his work was seeing a photo of one of his most impressive works—a miniature recreation of Henry VIII’s Nonesuch Palace, which is now on display in South London. I suppose I was so overwhelmed by the well-researched vision of Henry’s lost palace that I did not stop to consider the time, effort and craftsmanship required to actually build the model. Consider this a remedy to that oversight.



One of Ben's wall-mounted models

Ben applied his research and modelling skills to projects large and small. On the more modest side, he does unique, hand-framed, low-relief models of houses by commission. These present somewhat of a challenge due to the limitations in depth, so some elements of a home may be foreshortened to fit inside the frame. Nevertheless, the finished examples are quite fine to behold and would be a welcome addition to any homeowner’s wall.


On a more advanced level, Ben tackles larger, full 3-dimensional “house portraits” for clients as well; fully-detailed and capturing the full color and texture of special buildings that are cherished by their owners. Using wood as the primary material, Ben also utilizes fiberglass, plaster, plastic and brass to achieve a remarkable level of detail in each model—a process that may take several weeks or even months, depending on the size and complexity of the project.

The Nonesuch project represents Mr. Taggart’s range of specialist museum work, which is truly impressive. Besides the Nonesuch Palace model produced for Friends of Nonesuch, he has also created a scale model of the Auschwitz concentration camp for the Imperial War Museum’s holocaust exhibit and a brilliant model of the reconstructed Roman Baths for the City of Bath museum. All of these works represent many months of painstaking research and effort, all of which produce a significant “wow” factor wherever they are installed.

To see more of Ben’s work, be sure to visit his website at modelhouses.co.uk 

For owners who wish to commemorate a special house, government or business planning groups who might benefit from a 3-dimensional rendering of a project, or museums desiring a very special attraction, we are convinced that Mr. Taggart offers the commensurate attention to detail and skill needed to pull it off.

Sometimes a fence is more than just a fence. When I built our house back in 1992, I needed something to help “enclose” the small space created when I pushed the garage back about 15 feet from the front of the house. With an entry to the kitchen placed in-between and room for a small patio on either side of the driveway, the result was a modest “courtyard” that begged to be enclosed by a fence of some sort.

I eventually settled on a white picket fence, which runs only about 8 feet on either side of the driveway, connecting to the house at one side and ending at the property line on the other, then turning back along the boundary there for about 15 feet before ending even-up with the front of the garage. The result was a nice, semi enclosed space, where I could keep a table and chairs on one side and storage/waste bins on the other, all hidden behind a 3 foot fence.

To frame it all off properly, I asked the fence contractor to include some large gate posts on either side of the driveway; something about five feet high and reasonably substantial—about 8” to 12” square. I may have given him a rough sketch, but the design he came up with was almost exactly what I was looking for.

Here you can see the way the fence was designed to wrap around the house and tie it into the landscape.

Before he had started on the project, I had looked at the plans and decided that all of this going on at one side of the house needed to be balanced by something on the other side. As a result, I added an 8 foot length of fence (and a gate post that matched those on the other side) on the opposite side of the house; this also turned at the property line and went back about 24 feet along the boundary, enclosing a small part of the yard surrounding our enclosed porch/garden room. Eventually, this area hidden behind the fence would become known to our children as The Secret Garden.

I was rather happy with the finished result—the fence really served to “anchor” the house and integrate it into the landscape. It also made it appear larger, since it visually stretched the house and the attached fence all the way across the 90 foot lot.

Maintenance & Durability
While the pickets were of cedar and the rest of the fence framing were of pressure-treated lumber, I was concerned that the three large gateposts might be a long term problem due to the fact that their upper portions were not constructed from treated lumber, but shop built off site from standard 2” thick framing pine. They were well-built, with mitered corners, neat moldings and tight joints, but I knew eventually that the weather (and the carpenter ants) might take their toll.

You can see how the upper portion has taken a real beating.

With plenty of paint and stain, the large wooden columns held up pretty well for the first dozen years or so; eventually, however, the top sections and surrounding trim began to rot. Wood filler, calk, and additional paint helped me get through another few years, and the last season or so I even resorted to applying duct tape and a thick coating of FlexSeal ™ sprayed over the worst parts.

This wasn’t the only issue. Many of the nails used to construct these columns were rusting away, with the result that the lower portions—which were built from 1” thick pressure treated lumber—were coming loose from the bottom of the posts, too. As for the balance of the fence, it was still in good shape; the cedar posts would just need a light sanding and maybe a few nails here and there, and the other standard 4x4 posts were solid as a rock. Nevertheless, as I looked at the fence this spring, I knew that it was time for a major restoration.

Planning & Materials
The ground post anchors that the large columns were built upon were still sound; the fluted sides of the columns were cedar, and in very good shape, as was the edge molding at the corners, which only needed a few new nails. Even the horizontal tops of the posts and the finials were not rotted—some straightening, a screw here and there, and some sanding and re-sealing with silicone caulk would bring them up to snuff.

The upper column panels and the molded trim were another story. They had to go, and not wanting to do this job again, I purchased some Azek PVC trim to do the repair work.

The material is not cheap, but it is a dream to work with—it saws better than wood and takes screws better than wood, too. I wouldn’t use it in every application, but here, where it is painted white anyway and is so exposed to the elements, I have no reservations.

Rebuilt, Re-fastened, caulked and new paint.

I eschewed the mitered corners on that large upper column panels and used butt joints this time around. Again, being painted, I think the result looks just fine. I did miter the upper trim corners carefully, and they look better than the original.

As for the bottom of the posts, the mitered 1” thick panels were re-attached with some new screws and also some stainless L-brackets screwed in at each corner. Not quite as neat as the original, but very secure and will end up being hidden by paint and the flowers which grow in front of the fence.

Hopefully the result--with regular maintenance--should hold up for a good while longer. We can only hope; the core materials still seem pretty sound, and the post remain well-anchored.

That’s Part One of our fence project. Part two will involve some spade work, as we revitalize the plantings in front of and behind the fence.

Sometimes a fence is more than just a fence. When I built our house back in 1992, I needed something to help “enclose” the small space created when I pushed the garage back about 15 feet from the front of the house. With an entry to the kitchen placed in-between and room for a small patio on either side of the driveway, the result was a modest “courtyard” that begged to be enclosed by a fence of some sort.

I eventually settled on a white picket fence, which runs only about 8 feet on either side of the driveway, connecting to the house at one side and ending at the property line on the other, then turning back along the boundary there for about 15 feet before ending even-up with the front of the garage. The result was a nice, semi enclosed space, where I could keep a table and chairs on one side and storage/waste bins on the other, all hidden behind a 3 foot fence.

To frame it all off properly, I asked the fence contractor to include some large gate posts on either side of the driveway; something about five feet high and reasonably substantial—about 8” to 12” square. I may have given him a rough sketch, but the design he came up with was almost exactly what I was looking for.

Here you can see the way the fence was designed to wrap around the house and tie it into the landscape.

Before he had started on the project, I had looked at the plans and decided that all of this going on at one side of the house needed to be balanced by something on the other side. As a result, I added an 8 foot length of fence (and a gate post that matched those on the other side) on the opposite side of the house; this also turned at the property line and went back about 24 feet along the boundary, enclosing a small part of the yard surrounding our enclosed porch/garden room. Eventually, this area hidden behind the fence would become known to our children as The Secret Garden.

I was rather happy with the finished result—the fence really served to “anchor” the house and integrate it into the landscape. It also made it appear larger, since it visually stretched the house and the attached fence all the way across the 90 foot lot.

Maintenance & Durability
While the pickets were of cedar and the rest of the fence framing were of pressure-treated lumber, I was concerned that the three large gateposts might be a long term problem due to the fact that their upper portions were not constructed from treated lumber, but shop built off site from standard 2” thick framing pine. They were well-built, with mitered corners, neat moldings and tight joints, but I knew eventually that the weather (and the carpenter ants) might take their toll.

You can see how the upper portion has taken a real beating.

With plenty of paint and stain, the large wooden columns held up pretty well for the first dozen years or so; eventually, however, the top sections and surrounding trim began to rot. Wood filler, calk, and additional paint helped me get through another few years, and the last season or so I even resorted to applying duct tape and a thick coating of FlexSeal ™ sprayed over the worst parts.

This wasn’t the only issue. Many of the nails used to construct these columns were rusting away, with the result that the lower portions—which were built from 1” thick pressure treated lumber—were coming loose from the bottom of the posts, too. As for the balance of the fence, it was still in good shape; the cedar posts would just need a light sanding and maybe a few nails here and there, and the other standard 4x4 posts were solid as a rock. Nevertheless, as I looked at the fence this spring, I knew that it was time for a major restoration.

Planning & Materials
The ground post anchors that the large columns were built upon were still sound; the fluted sides of the columns were cedar, and in very good shape, as was the edge molding at the corners, which only needed a few new nails. Even the horizontal tops of the posts and the finials were not rotted—some straightening, a screw here and there, and some sanding and re-sealing with silicone caulk would bring them up to snuff.

The upper column panels and the molded trim were another story. They had to go, and not wanting to do this job again, I purchased some Azek PVC trim to do the repair work.

The material is not cheap, but it is a dream to work with—it saws better than wood and takes screws better than wood, too. I wouldn’t use it in every application, but here, where it is painted white anyway and is so exposed to the elements, I have no reservations.

Rebuilt, Re-fastened, caulked and new paint.

I eschewed the mitered corners on that large upper column panels and used butt joints this time around. Again, being painted, I think the result looks just fine. I did miter the upper trim corners carefully, and they look better than the original.

As for the bottom of the posts, the mitered 1” thick panels were re-attached with some new screws and also some stainless L-brackets screwed in at each corner. Not quite as neat as the original, but very secure and will end up being hidden by paint and the flowers which grow in front of the fence.

Hopefully the result--with regular maintenance--should hold up for a good while longer. We can only hope; the core materials still seem pretty sound, and the post remain well-anchored.

That’s Part One of our fence project. Part two will involve some spade work, as we revitalize the plantings in front of and behind the fence.

The historic Natirar Mansion, built in 1912 for Walter and Kate Macy-Ladd, had served as a private estate for many years, as well as a convalescent home.
In 1983, the Peapack, NJ estate was purchased by King Hassan II of Morocco for his children, and subsequently sold back to Somerset County in 2003. The county has recently leased the site to a local developer, who is renovating the mansion to serve as the centerpiece of a high-end recreational and residential development.

Visually, the 40-room Tudor-revival mansion pays homage to grand Tudor palaces like Henry VIII’s Hampton Court, though in a much smaller scale. Nonetheless, it features a great deal of authentic detail, including intricate ironwork, leaded glass and authentic wood and stone carving.

Designed by noted Boston architect Guy Lowell, the house is now undergoing an in-depth restoration which includes repairs of the slate and copper roof, repointing of brickwork, and renewal of the oak paneling, carved stonework, molded plaster ceilings and period light fixtures.

When completed, the house will become the highlight of a property that will ultimately include private residential villas, a boutique hotel and spa in conjunction with the existing pool, tennis courts and fitness and wellness center, surrounded by 400 acres of riding, walking and biking trails.

Natirar already boasts one of New Jersey’s most acclaimed restaurants, Ninety Acres. Built in the estate’s restored carriage house, this exceptional facility includes a cooking school, a private club and a 12-acre farm.

The historic Natirar Mansion, built in 1912 for Walter and Kate Macy-Ladd, had served as a private estate for many years, as well as a convalescent home.
In 1983, the Peapack, NJ estate was purchased by King Hassan II of Morocco for his children, and subsequently sold back to Somerset County in 2003. The county has recently leased the site to a local developer, who is renovating the mansion to serve as the centerpiece of a high-end recreational and residential development.

Visually, the 40-room Tudor-revival mansion pays homage to grand Tudor palaces like Henry VIII’s Hampton Court, though in a much smaller scale. Nonetheless, it features a great deal of authentic detail, including intricate ironwork, leaded glass and authentic wood and stone carving.
Designed by noted Boston architect Guy Lowell, the house is now undergoing an in-depth restoration which includes repairs of the slate and copper roof, repointing of brickwork, and renewal of the oak paneling, carved stonework, molded plaster ceilings and period light fixtures.

When completed, the house will become the highlight of a property that will ultimately include private residential villas, a boutique hotel and spa in conjunction with the existing pool, tennis courts and fitness and wellness center, surrounded by 400 acres of riding, walking and biking trails.

Natirar already boasts one of New Jersey’s most acclaimed restaurants, Ninety Acres. Built in the estate’s restored carriage house, this exceptional facility includes a cooking school, a private club and a 12-acre farm.

If you love traditional Old English homes, there can be no doubt you will run into some type of stucco or exterior plaster at one time or another. It may be on the exterior of an ancient cob house, the roughcast finish on a Voysey house, the fancy plaster pargetting of an Elizabethan townhouse or even some exterior panels on a “stockbroker Tudor”.

Built in 1914, the traditional-styled English Cottage I lived in for 8 years in Akron’s Goodyear Heights had asbestos stucco covering its first (ground) floor and foundation, with cedar shingles on the upper floor. (I’ve always thought wall shingles were a poor-man’s substitute for the clay tiling used on many English vernacular houses.) The stucco on that house had been painted over, and due to some neglected maintenance, had begun to crack in several places.

On the driveway side of the house, the stucco and its expanded wire lath were both coming loose from the exterior sheathing, to the extent that I could easily insert my hand fully into the gap for almost a foot, which was right next to our dining room window. This could have been the result of some foundation settling and some moisture penetration, but it eventually resulted in the decision to remove a 6’ x 4’ section of the stucco and make a major repair.

Of course, I did not know this was asbestos stucco at the time—but it came off in large pieces, and not being too concerned with short term exposure outdoors—I have no regrets or adverse effects some 25 years later. There was horse-hair in that stucco, too!

What I did know is that I could not just go out and buy modern stucco mix and plop it onto the wall. I first reattached the wire lath, which was actually still in pretty decent shape, and added some securely stapled chicken wire here and there, just for good measure. I then referenced an old-fashioned stucco recipe which I probably sourced from The Old House Journal—remember, this was pre-Internet. That meant plenty of lime and not just Portland cement.

Having a substantial section of the house exposed while repairs are being made can be discomforting, but thankfully I was blessed for an extended dry period. A thick base coat, covered with a second, thinner brown coat, brought the surface to the proper level. This was followed by a finish coat—with some small pebbles added—to try and match the rest of the exterior wall surface as best as I could. I wasn’t too happy with the match until I got the hose and sprayed the surface ever-so-lightly with some water from our hose, which smoothed it to the extent that it finally matched the old stucco perfectly. Once this section of the house was coated with paint to match the rest, you could not tell the repair from the original work.

The house needed more repairs higher up on the facade, which had more cracks but was not failing to the extent that it was on the one side, probably due to the fact that it was sheltered from the prevailing winds, rain and direct sunlight. Sadly, I never got around to doing more repairs before we began the process of designing and building our new house in 1992. Nevertheless, I was proud to note during a recent neighborhood visit that the house still retains its original exterior materials and my repair looks just as solid as it did 25 years ago. Even the front of the house has held up to some extent, though it does look worse for the wear.

When we built our new(er) house, I considered using some synthetic stucco for the exterior, but decided against it for cost reasons. Over the years, some of these newer, lighter synthetic blends, installed over various types of insulating foam, have come under fire, having failed due to poor installation techniques or unsuitability for a particular climate. If I was to utilize stucco today, I would probably go with a more traditional type.

Which brings me to the discovery of a third type of stucco, with which I was totally unfamiliar—and that is magnesite stucco.

Some of the more popular brands were Kragstone,  Kellastone and Rocbond, proprietary blends of magnesium carbonate powder, asbestos and sand, which was mixed with an oily, magnesium chloride solution. It was not a cement-like product at all, and contained no lime, gypsum, or water. The result was a more plastic-like, all-mineral stucco product that was highly resistant to cracking and dried rock-hard when applied at least a half-inch thick.

Magnesite stucco was applied in two coats, and its unique properties allowed it to be applied even during freezing weather. Apparently it was introduced some time before WWI, and became quite popular before fading into obscurity a few decades later. In a few places, like California, there are some stucco specialists who can still repair and apply it, as it was often used for flooring surfaces, interior and exterior steps, and even countertops, sinks and bathtubs!

Here in Ohio, I know magnesite stucco was used in a number of locations many years ago, though I have not personally come across it myself. It seems obvious that repairs would represent quite a challenge, and I can’t see the use of more traditional types of stucco for repair being compatible. If you have any experience with this unique type of stucco, I’d like to hear about it.

If you love traditional Old English homes, there can be no doubt you will run into some type of stucco or exterior plaster at one time or another. It may be on the exterior of an ancient cob house, the roughcast finish on a Voysey house, the fancy plaster pargetting of an Elizabethan townhouse or even some exterior panels on a “stockbroker Tudor”.

Built in 1914, the traditional-styled English Cottage I lived in for 8 years in Akron’s Goodyear Heights had asbestos stucco covering its first (ground) floor and foundation, with cedar shingles on the upper floor. (I’ve always thought wall shingles were a poor-man’s substitute for the clay tiling used on many English vernacular houses.) The stucco on that house had been painted over, and due to some neglected maintenance, had begun to crack in several places.

On the driveway side of the house, the stucco and its expanded wire lath were both coming loose from the exterior sheathing, to the extent that I could easily insert my hand fully into the gap for almost a foot, which was right next to our dining room window. This could have been the result of some foundation settling and some moisture penetration, but it eventually resulted in the decision to remove a 6’ x 4’ section of the stucco and make a major repair.

Of course, I did not know this was asbestos stucco at the time—but it came off in large pieces, and not being too concerned with short term exposure outdoors—I have no regrets or adverse effects some 25 years later. There was horse-hair in that stucco, too!

What I did know is that I could not just go out and buy modern stucco mix and plop it onto the wall. I first reattached the wire lath, which was actually still in pretty decent shape, and added some securely stapled chicken wire here and there, just for good measure. I then referenced an old-fashioned stucco recipe which I probably sourced from The Old House Journal—remember, this was pre-Internet. That meant plenty of lime and not just Portland cement.

Having a substantial section of the house exposed while repairs are being made can be discomforting, but thankfully I was blessed for an extended dry period. A thick base coat, covered with a second, thinner brown coat, brought the surface to the proper level. This was followed by a finish coat—with some small pebbles added—to try and match the rest of the exterior wall surface as best as I could. I wasn’t too happy with the match until I got the hose and sprayed the surface ever-so-lightly with some water from our hose, which smoothed it to the extent that it finally matched the old stucco perfectly. Once this section of the house was coated with paint to match the rest, you could not tell the repair from the original work.

The house needed more repairs higher up on the facade, which had more cracks but was not failing to the extent that it was on the one side, probably due to the fact that it was sheltered from the prevailing winds, rain and direct sunlight. Sadly, I never got around to doing more repairs before we began the process of designing and building our new house in 1992. Nevertheless, I was proud to note during a recent neighborhood visit that the house still retains its original exterior materials and my repair looks just as solid as it did 25 years ago. Even the front of the house has held up to some extent, though it does look worse for the wear.

When we built our new(er) house, I considered using some synthetic stucco for the exterior, but decided against it for cost reasons. Over the years, some of these newer, lighter synthetic blends, installed over various types of insulating foam, have come under fire, having failed due to poor installation techniques or unsuitability for a particular climate. If I was to utilize stucco today, I would probably go with a more traditional type.

Which brings me to the discovery of a third type of stucco, with which I was totally unfamiliar—and that is magnesite stucco.

Some of the more popular brands were Kragstone,  Kellastone and Rocbond, proprietary blends of magnesium carbonate powder, asbestos and sand, which was mixed with an oily, magnesium chloride solution. It was not a cement-like product at all, and contained no lime, gypsum, or water. The result was a more plastic-like, all-mineral stucco product that was highly resistant to cracking and dried rock-hard when applied at least a half-inch thick.

Magnesite stucco was applied in two coats, and its unique properties allowed it to be applied even during freezing weather. Apparently it was introduced some time before WWI, and became quite popular before fading into obscurity a few decades later. In a few places, like California, there are some stucco specialists who can still repair and apply it, as it was often used for flooring surfaces, interior and exterior steps, and even countertops, sinks and bathtubs!

Here in Ohio, I know magnesite stucco was used in a number of locations many years ago, though I have not personally come across it myself. It seems obvious that repairs would represent quite a challenge, and I can’t see the use of more traditional types of stucco for repair being compatible. If you have any experience with this unique type of stucco, I’d like to hear about it.

One of the more gratifying things one can do is to be able to put knowledge to good use, and I was able to do exactly this last weekend as I was able to lead a historic neighborhood tour of Akron’s Goodyear Heights through @Akron2Akron, a local group that helps organized and promote city neighborhood tours in an effort to help residents discover and appreciate the places where they live.

This pedestrian pathway and steps was dedicated to Clara Bingham,  a 47-year Goodyear employee who was popularly knows as "The First Lady of Goodyear."

I won’t go into a lot of detail in this post—there is a downloadable brochure I prepared; a PDF Dropbox link is HERE if you’d like to read more about it. In short, Goodyear Heights is one of the better American examples of the Garden City Movement as it was transformed into a high quality community for industrial employees of Frank Seiberling’s Goodyear Tire and Rubber Company. Planning began in 1912, when Seiberling used his master landscape designer, Warren Manning (who had already designed the grounds at his landmark Tudor-Revival mansion, Stan Hywet) to layout a small town for his workers.


Manning, who was a senior assistant to the legendary landscape designer Fredrick Law Olmstead, laid out a masterful plan that followed the topography of the site, leaving many open areas for parks and other public areas. Seiberling also hired noted architects to design attractive homes for the community; rather than settle for typical utilitarian worker housing, he insisted on a wide variety of higher-quality “cottages” – many of which were based on traditional English small home designs.
While the community is also home to a number of other popular early 20th century house styles, like bungalows, craftsman-style homes and quaint colonials, the English influence is clear, from the Tudor-revival Boy Scout Center to more modest homes reminiscent of small houses by Voysey, Baillie Scott and Lutyens. Other buildings in the area followed this trend, including the original high school (built to resemble a Tudor palace) the neighborhood’s public library and Goodyear Hall, which was the company’s educational center and recreation building.

Due to the neighborhood’s size and historic character, our @Akron2Akron tours were held over two days, with two distinct tour routes offered on each date. The tour I led followed a slightly more challenging uphill route, following a series of pedestrian paths and steps that had been integrated into the neighborhood’s original design, allowing convenient access between various street levels. Pour other tour followed a more level route, through the project’s initial phase and taking in some of the open park spaces that Manning had preserved.

On each route, the guides were able to discuss the history of the development, the challenges of construction and the wide variety of home designs found in the there. The weather was perfect, with everything so green and the flowers in bloom, the neighborhood showed quite well, and afterward, everyone was able to meet at the gazebo at the “square” on Pioneer Street for refreshments and cookies. This public area offers a great opportunity to capture Manning’s (and Seiberling’s) original vision, with its human scale and comfortable mix of buildings used for commerce, housing, social services and worship. In recent years, the R.I.G.H.T. Committee (Resident Improving Goodyear Heights Together) led by Sharon Connor, has done an outstanding job in helping to build the gazebo, restore and maintain the rose garden here, and helping to stabilize and improve the neighborhood. Overall, the tours were a great success; somewhere between 75-100 people attended the first Thursday evening tour on June 9th, and another 35 or so attended the Saturday 6/11 follow-up--making this the best attended @Akron2Akron event so far. It was nice to see that not only did we have attendees from all over Akron, but that a number of neighborhood residents came out as well to discover more about their neighborhood and celebrate its history!

The gazebo was built almost 20 years ago by community volunteers, using materials, proportions and a scale that would compliment the surrounding buildings on the public square.

The @Akron2Akron tour is the first of many activities planned for Goodyear Heights, as current and former residents, city officials, preservationists and other activists are finally coming together to develop plans to protect and preserve this historic neighborhood, which has been recognized for its significance on both the state and national level. During our tour, I discovered that part of the Heights had actually been nominated for the National Register of Historic places back in the 1970’s, but a short-sighted city planning director had discouraged the nomination. Currently discussion has centered on developing a simpler local historic designation as a start, in combination with educational programs and some local funding to encourage and support the preservation and restoration of neighborhood homes.

This was just some of our Thursday night tour group - one more busload of trolley riders was yet to arrive!

A city trolley bus was available to transport attendees from parking areas nearby to the starting point on Malasia Road.