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.

When talking or writing about Tudor Revival homes here in The States, it’s clear that in terms of quality, they clearly run the gamut—from beautiful and authentic-looking examples like Akron’s Stan Hywet Hall, to decent-looking suburban homes, to less-convincing modern interpretations—and then to what can only be considered abominations, like a Tudor ranch or split-level. Whatever type you might happen to encounter, it’s best to always be ready for a surprise.

Sometimes it's all in the details...

So it was on a recent winter Sunday. There being no football (it was the week before the Super Bowl) the wife asked if I would go with her to look at some very large “open houses” for sale on the other side of town. Once in a great while, we do this for pure entertainment—or what I like to call “shits & giggles”—to see what is out there on the market and perhaps collect ideas for our own home.

All of the homes we visited were significantly larger than our present home, and about three times as costly. None were really practical for us, since investing in a far larger house at a time when most couples are getting ready to downsize for retirement doesn’t make sense. Nevertheless, we got in the car and headed out.

Only two of the homes we visited were really worthy of note; both were Tudor Revivals, and both had both good and not-so-good elements that caught my eye. They were built almost 20 years apart (1971 and 1988) and both had some interesting stories to tell.

Not a bad looking house at all - considering it's a relatively recent effort. Almost there.

The first of these houses I remembered quite well, having seen it well before I built my own house in 1992. The exterior is in excellent shape after almost 30 years, and I must say that in terms of overall design and massing, it is one of the better Tudor Revival-style homes I have seen built in recent times. The roof pitches are fine, the half-timbering work is reasonably robust—not thin and chintzy like so many other recent examples—the plan is angled and irregular, and the stone and brickwork is competently done. Parts of the second floor are even jettied-out over the ground floor, which is also nice to see.

It is not perfect. The house could stand some more detail in the timberwork. The windows are a little too tall, and feature a combination of both square and the cliché diamond-pattern grilles that are always too large and out of scale. Worst of all, they are all white, when they should be the same dark brown as the timber. The overhanging jetties also lack any corbels at the ends or other supporting structure, which gives them a stark and unfinished character.

Overall, the exterior provides an example of a fine, custom-built house (I would assume the work of an architect) that could have greatly benefitted from a little more care and research. I think a lot of American designers use houses built in the 1920’s and 30’s as traditional design guides, instead of resourcing original English examples or even old pattern and style books, like Garner & Stratton’s Domestic Architecture of England during the Tudor Period. The result is often a loss of detail and in less adept hands, some clumsy or incomplete results. The good thing about the exterior of this home is that it could be easily remedied with a few additional elements.

The door is nice. Not a fan of the parquet. The stair rail belongs in a colonial house.

As solid as the exterior was, the interior featured little if any historic detail. There was plenty of brown oak, yes, and a nice arched front door—but inside I found the traditional-style woodwork you’d see in any nice home; a spindly staircase with thin balusters and a curled volute newel detail at the bottom and the ubiquitous six-panel colonial doors. Where one might have employed a Tudor arch, or even a curved arch over a wide doorway, the builder had substituted rather crude-looking openings with the upper corners cut and cased at a 45-degree angle. The home’s fireplaces were either stone or brick, but were utterly plain and ordinary, and could have been found in almost any home. There were some nice built-ins and storage, but nothing extraordinary, though the master bath did have some very fine English-style cabinetry. One interesting feature was the slim doorway/balcony in the master bedroom that overlooked the two-story great room—a historical nod to the “squint” or “chaperone” window found in many ancient Tudor homes.

The way the cased opening here is handled leaves a lot to be desired.

All in all, for about $650k it was still a very nice house on a large and attractive treed lot, but one that deserved a little more attention in terms of detail. I was thinking another $50k of proper detailing and upgrades could bring it into line.

I found the other Tudor Revival home on our tour to be a great curiosity. My first impression was that someone had taken a rather straightforward two-story colonial home and tacked a brick Tudor-style entry porch onto the façade. I see this feature on a fair amount of Tudor Revival houses, both new and old—when the entry roof pitch is too steep, it borders on the cartoonish. This one was a pretty close call. The front was extended a little to the right, ending in a long side-entry garage featuring a second story with shed dormers. The windows were too large for the style. From the street, it did not appear to be such a happy composition.

One of the only houses I've seen that looks better up close than at a distance.

Going up the driveway and standing up close, however, I found the overall effect to be far more pleasing. Closer inspection revealed that the ground floor was clad in fine, old-style brick all around—the same as on the high-peaked entry front. The upper story was covered in rough clapboards, but the edges were cut in a wavy, irregular style and finished in a very dark, almost black stain. The stonework around the entrance was very fine as well, and the doorway was flanked by some very large, black iron torchieres that looked like they were a hundred years old. Clearly, whoever selected the materials knew what they were doing, because the resulting combination of colors and textures felt very natural and appropriate.

Remember, this was a 1970’s house. I didn’t expect much from the interior other than harvest gold Formica and tired, avocado carpet. I was right on that count, and the furniture still in the house was from the same era. It was almost like a time machine.



The plaster fireplace surround and crown molding was superb - and terrifically Tudor!

But here again, there were many surprises. There were beautiful, authentic plaster details found throughout the house, and best of all, they were actual Tudor designs, including a splendid mantel, excellent cornice and crown moldings, ceiling medallions—each one looked like it had been picked out of a 1920’s catalogue. The doors were solid wood, and were of the appropriate 8-panel Tudor-style. Some of the rooms featured coffered ceilings or peaked ceilings with beams, and a couple of the bedrooms combined that with walls paneled in wide, hardwood boards. I had mixed feelings about the foyer stairway, it was broad and curving—and open to the basement level as well as above. Rather than wood, the stair had a curved iron railing, which would probably look much better if refinished in black rather than its current funky 70’s gold. Removing the carpet on the stairs would help too, I am sure. Then again—there was carpet just about everywhere; being a 70’s house, I wondered if there was hardwood underneath any of it.

Peaked ceiling...and paneled with real hardwood boards...not the cheap stuff you'd expect.

The kitchen and bathrooms all needed to be re-done. The fixtures and cabinetry, while clean and in very good shape, were old and outdated. The house even had an elevator, and the Realtor whispered to us that there was a secret staircase that went from the owner’s suit up to the attic and down to the basement. A secret staircase! How Totally Tudor of them.

Exterior aside, I left that house being quite impressed by the attention to detail and high standards of the original builder and owner. Though the exterior elevation left something to be desired, some of the interior details were totally unexpected. I can’t imagine many of the architectural products were commonly available when the house was built—as Tudor homes were seriously out of style in 1970. They must not have been that easy to source. Even today, with the help of the internet and its worldwide reach, it’s not always so easy, as I have noted previously.

Now if you combined the exterior design of the first house with the attention to detail of the second house, you'd really have something.

As I said, always prepare to be surprised.

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.

I have long been fascinated by old building technologies; in particular, some of the materials and designed that were developed during the early 20th century. A few months ago, I discussed magnesite stucco, and this time we’ll take a look at a synthetic stand-in for traditional carved woodwork known as Duretta.

Aside from design, one of the foremost properties considered by architects and builders was the ability to be fireproof. This is precisely why stucco, concrete and brick were so popular, and why asbestos was so common in stucco mix, shingles, siding, flooring and other items used in construction.


Finishes for Duretta varied; most items were finished to look like wood, and the company claimed that when so finished, it was practically indistinguishable from the real think. Other pieces were finished to look like hammered metal, and still others were provided a special, more durable finish for exterior work.


G.E. Walter was not the only manufacturer to follow this route – other companies like Cleveland’s Fischer & Jirousch (still in business) also developed similar products, like O’Kast (“oak cast”) which also mimicked the look of carved wood. Some of these old wood panel designs are still available, though I do not believe the O’Kast material is still being used in production.

It is amazing to think that there were once a large number of firms designing and producing cast interior and exterior ornament for buildings in the United States. Today there are only a handful, and most of the currently-available designs are based on classical themes rather than the medieval and tudor styles that were so popular during the late 19th and early 20th centuries. One wonders what happened to some of the old proprietary formulas used for these products, as well as the fate of the molds that were used in their manufacture.

I have long been fascinated by old building technologies; in particular, some of the materials and designed that were developed during the early 20th century. A few months ago, I discussed magnesite stucco, and this time we’ll take a look at a synthetic stand-in for traditional carved woodwork known as Duretta.

Aside from design, one of the foremost properties considered by architects and builders was the ability to be fireproof. This is precisely why stucco, concrete and brick were so popular, and why asbestos was so common in stucco mix, shingles, siding, flooring and other items used in construction.


Finishes for Duretta varied; most items were finished to look like wood, and the company claimed that when so finished, it was practically indistinguishable from the real think. Other pieces were finished to look like hammered metal, and still others were provided a special, more durable finish for exterior work.

G.E. Walter was not the only manufacturer to follow this route – other companies like Cleveland’s Fischer & Jirousch (still in business) also developed similar products, like O’Kast (“oak cast”) which also mimicked the look of carved wood. Some of these old wood panel designs are still available, though I do not believe the O’Kast material is still being used in production.

It is amazing to think that there were once a large number of firms designing and producing cast interior and exterior ornament for buildings in the United States. Today there are only a handful, and most of the currently-available designs are based on classical themes rather than the medieval and tudor styles that were so popular during the late 19th and early 20th centuries. One wonders what happened to some of the old proprietary formulas used for these products, as well as the fate of the molds that were used in their manufacture.

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.

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.

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

When I used to work in Shaker Heights, I occasionally had to drive to downtown Cleveland, to see clients or drop off work. Passing through the University Circle area, I always noted the handsome old gothic-revival hotel (which has also served as a men’s club and student housing) with its exquisite architectural detailing.

I’ve never had the opportunity to go inside, but you can take a tour via the photos included in a recent Cleveland Plain Dealer story on the Tudor Arm’s induction into the Historic Hotels of America, an organization that celebrates the best of the past in the lodging world.

Completed in 1933, The Tudor Arms has been on the National Register since 1994. For more information: tinyurl.com/historictudorarms or historichotels.org. To read the article, go here: http://www.cleveland.com/travel/index.ssf/2015/04/clevelands_tudor_arms_hotel_in.html

When I used to work in Shaker Heights, I occasionally had to drive to downtown Cleveland, to see clients or drop off work. Passing through the University Circle area, I always noted the handsome old gothic-revival hotel (which has also served as a men’s club and student housing) with its exquisite architectural detailing.

I’ve never had the opportunity to go inside, but you can take a tour via the photos included in a recent Cleveland Plain Dealer story on the Tudor Arm’s induction into the Historic Hotels of America, an organization that celebrates the best of the past in the lodging world.

Completed in 1933, The Tudor Arms has been on the National Register since 1994. For more information: tinyurl.com/historictudorarms or historichotels.org. To read the article, go here: http://www.cleveland.com/travel/index.ssf/2015/04/clevelands_tudor_arms_hotel_in.html

A four-poster bed which was dumped in a hotel parking lot and later sold for £2,200 has been verified as once belonging to King Henry VII – and it could now be worth millions.

The intricately-carved Tudor-style bed was left outside the former Redland House Hotel in Hough Green, Chester, by builders who were renovating the property. Unaware of the bed’s value and history, construction workers dismantled the ornate example of oak furniture and left it to be picked up later by auctioneers.

Ian Coulson, a four-poster bed specialist from Northumberland, saw the item on an internet site, where is was listed as a 19th-century gothic revival piece. He managed to obtain it for just over £2,000 in 2010.

After the new 'Victorian' purchase arrived, he approached TV historian and period expert Jonathan Foyle, wondering if his new purchase may be an original, surviving Tudor bed. Over the fast four years, Mr Foyle has attempted to prove the authentic and historical nature of the bed, with recent DNA testing on the bed's timber proving that it once belonged to Henry VII.

Foyle noted that tests have confirmed the bed was constructed from European oak, “typical of the origin of the finest, slow-grown oak imported by the medieval elites”, with analysis of the historic paintwork proving its age. The medieval bed is now reportedly worth up to £20million, although it is not forr sale and is instead on public display in the Long Gallery at Hever Castle in Kent until November 22.

A four-poster bed which was dumped in a hotel parking lot and later sold for £2,200 has been verified as once belonging to King Henry VII – and it could now be worth millions.

The intricately-carved Tudor-style bed was left outside the former Redland House Hotel in Hough Green, Chester, by builders who were renovating the property. Unaware of the bed’s value and history, construction workers dismantled the ornate example of oak furniture and left it to be picked up later by auctioneers.

Ian Coulson, a four-poster bed specialist from Northumberland, saw the item on an internet site, where is was listed as a 19th-century gothic revival piece. He managed to obtain it for just over £2,000 in 2010.

After the new 'Victorian' purchase arrived, he approached TV historian and period expert Jonathan Foyle, wondering if his new purchase may be an original, surviving Tudor bed. Over the fast four years, Mr Foyle has attempted to prove the authentic and historical nature of the bed, with recent DNA testing on the bed's timber proving that it once belonged to Henry VII.

Foyle noted that tests have confirmed the bed was constructed from European oak, “typical of the origin of the finest, slow-grown oak imported by the medieval elites”, with analysis of the historic paintwork proving its age. The medieval bed is now reportedly worth up to £20million, although it is not forr sale and is instead on public display in the Long Gallery at Hever Castle in Kent until November 22.

To some, the very thought of using one material to simulate another is a vile concept; the quest for “truthfulness” in every aspect of building construction is of utmost importance—and anything that might be considered “fake” or “simulated” should be shunned at all costs.

Of course, this truthfulness has a price, in pure monetary terms, maintenance requirements, or in sustainability. That’s why I gave up the game a long time ago, and decided that I would happily compromise when needed—and if the results looked fine from ten or twenty feet away.

I admire the philosophy of the Craftsman movement, but I cannot afford to sustain it in my own building projects. Clay wall tiles or even wood shingles are beautiful, but I have substituted vinyl where I wanted that effect. Clay or even slate roof tiles are always preferred, of course…but the very-expensive dimensional composite roof that I finally managed to afford 15 years after I moved into my house will have to do (and it does look wonderful). Likewise, the Tudor-style vertical timbering found in some of my gables is wood, yes—but wood that was wrapped in white aluminum, so I wouldn’t have to paint it every few years. I could go on, but I think you get my point.

I know this approach may sound like heresy, but the overall effect is pretty effective, and frankly, I think the house looks better than a lot of modern “Mock-Tudor” houses I’ve seen that do use slightly more traditional materials. This is probably due to the fact that the overall design and proportions are more authentic—the second floor really is jettied out over the front entrance porch, the roof is the proper pitch, and the extra detail I’ve added, like the carved floor-level banding, real wood corbels and even the flowerbox—make it look…right.

Which brings me to the subject of this post, which is a new product available in the UK: Telford-based Faux Wood manufactures and sells reproductions of English oak planks, which have been developed for replacing high-maintenance timber used on Tudor-revival homes. It turns out that a few years ago, one of their customers asked if they could replace the rotten mock Tudor planks on a house facade with a maintenance-free alternative, that better resembles timber than the smooth PVC.

The product that they finally developed is molded from original oak timbers, using high-density rigid polyurethane. It comes in a range of colors, and is designed to be as realistic as possible. While not cheap – about $45 wholesale/$62 retail for a 10 foot plank, I think the product certainly hits the sweet spot with a combination of great looks and low/no-maintenance qualities.

Overall, I think it represents a great example of when original thinking, great technology and good design come together to solve an age-old problem. To read more about Faux Wood, check out this article in the Shropshire Star.

To some, the very thought of using one material to simulate another is a vile concept; the quest for “truthfulness” in every aspect of building construction is of utmost importance—and anything that might be considered “fake” or “simulated” should be shunned at all costs.

Of course, this truthfulness has a price, in pure monetary terms, maintenance requirements, or in sustainability. That’s why I gave up the game a long time ago, and decided that I would happily compromise when needed—and if the results looked fine from ten or twenty feet away.

I admire the philosophy of the Craftsman movement, but I cannot afford to sustain it in my own building projects. Clay wall tiles or even wood shingles are beautiful, but I have substituted vinyl where I wanted that effect. Clay or even slate roof tiles are always preferred, of course…but the very-expensive dimensional composite roof that I finally managed to afford 15 years after I moved into my house will have to do (and it does look wonderful). Likewise, the Tudor-style vertical timbering found in some of my gables is wood, yes—but wood that was wrapped in white aluminum, so I wouldn’t have to paint it every few years. I could go on, but I think you get my point.

I know this approach may sound like heresy, but the overall effect is pretty effective, and frankly, I think the house looks better than a lot of modern “Mock-Tudor” houses I’ve seen that do use slightly more traditional materials. This is probably due to the fact that the overall design and proportions are more authentic—the second floor really is jettied out over the front entrance porch, the roof is the proper pitch, and the extra detail I’ve added, like the carved floor-level banding, real wood corbels and even the flowerbox—make it look…right.

Which brings me to the subject of this post, which is a new product available in the UK: Telford-based Faux Wood manufactures and sells reproductions of English oak planks, which have been developed for replacing high-maintenance timber used on Tudor-revival homes. It turns out that a few years ago, one of their customers asked if they could replace the rotten mock Tudor planks on a house facade with a maintenance-free alternative, that better resembles timber than the smooth PVC.

The product that they finally developed is molded from original oak timbers, using high-density rigid polyurethane. It comes in a range of colors, and is designed to be as realistic as possible. While not cheap – about $45 wholesale/$62 retail for a 10 foot plank, I think the product certainly hits the sweet spot with a combination of great looks and low/no-maintenance qualities.

Overall, I think it represents a great example of when original thinking, great technology and good design come together to solve an age-old problem. To read more about Faux Wood, check out this article in the Shropshire Star.

Now is the time to plan ahead for guided tours of the ground floor of historic Skylands Manor at the New Jersey State Botanical Garden will be available on March 4th and April 1 from 11 a.m. to 3 p.m. Sponsored by the NJBG/Skylands Association, the group that works with the state to preserve the gardens, the 45-minute guided tours of Skylands history and architecture are conducted by NJBG volunteers.


The suggested donations for Manor House tours are $7 for adults, $5 for seniors and students aged 13 to 18, $3 for children aged 6 to 12; and free for children under age 6.

Now is the time to plan ahead for guided tours of the ground floor of historic Skylands Manor at the New Jersey State Botanical Garden will be available on March 4th and April 1 from 11 a.m. to 3 p.m. Sponsored by the NJBG/Skylands Association, the group that works with the state to preserve the gardens, the 45-minute guided tours of Skylands history and architecture are conducted by NJBG volunteers.


The suggested donations for Manor House tours are $7 for adults, $5 for seniors and students aged 13 to 18, $3 for children aged 6 to 12; and free for children under age 6.

• Inspiration in Bloom, a display of floral arrangements by local floral designers, gardens clubs and award-winning gardeners, April 13 to 15.

• The exhibit Finer Things: Jewelry & Accessories from 1885 to the 1930s, April 1 through Oct. 28.

• Citrus Garden: Luxury of the Day, featuring citrus plants in the Corbin Conservatory, May 1 to Oct. 28.

• Beauty in Flight: Butterflies of North America, an exhibit of domestic butterflies, July through September.

Stan Hywet is at 714 N. Portage Path, Akron. It is open form 10 a.m. to 6 p.m. Tuesdays through Sundays.

Ticket prices and other details at are www.stanhywet.org.