Georgian Revival - 107 Lexington

Georgian architecture is the name given in most English-speaking countries to the set of architectural styles current between 1714 and 1830. It is named after the first four British monarchs of the House of Hanover—George I, George II, George III, and George IV—who reigned in continuous succession from August 1714 to June 1830. The so-called great Georgian cities of the British Isles were Edinburgh, Bath, pre-independence Dublin, and London, and to a lesser extent York and Bristol.^[1] The style was revived in the late 19th century in the United States as Colonial Revival architecture and in the early 20th century in Great Britain as Neo-Georgian architecture; in both it is also called Georgian Revival architecture. In the United States the term Georgian is generally used to describe all buildings from the period, regardless of style; in Britain it is generally restricted to buildings that are "architectural in intention",^[2] and have stylistic characteristics that are typical of the period, though that covers a wide range.

The Georgian style is highly variable, but marked by symmetry and proportion based on the classical architecture of Greece and Rome, as revived in Renaissance architecture. Ornament is also normally in the classical tradition, but typically restrained, and sometimes almost completely absent on the exterior. The period brought the vocabulary of classical architecture to smaller and more modest buildings than had been the case before, replacing English vernacular architecture (or becoming the new vernacular style) for almost all new middle-class homes and public buildings by the end of the period.

Georgian architecture is characterized by its proportion and balance; simple mathematical ratios were used to determine the height of a window in relation to its width or the shape of a room as a double cube. Regularity, as with ashlar (uniformly cut) stonework, was strongly approved, imbuing symmetry and adherence to classical rules: the lack of symmetry, where Georgian additions were added to earlier structures remaining visible, was deeply felt as a flaw, at least before John Nash began to introduce it in a variety of styles.^[3] Regularity of housefronts along a street was a desirable feature of Georgian town planning. Until the start of the Gothic Revival in the early 19th century, Georgian designs usually lay within the Classical orders of architecture and employed a decorative vocabulary derived from ancient Rome or Greece.

This Georgian Revival home was built in 1895. The Georgian Revival style depicted in this massive house is generally considered part of the Colonial Revival era. Approximately 25 percent of Colonial Revival houses were simple rectangular blocks, built in a double-pile plan. The double-pile plan is two rooms wide and two rooms deep with a central entrance and hallway.

Early examples such as this home tend to exaggerate references to Colonial detailing and are sometimes awkward in proportions. Pedimented dormers, Palladian windows and pilasters such as we find here are frequent features of Georgian Revival.

Characteristics

In towns, which expanded greatly during the period, landowners turned into property developers, and rows of identical terraced houses became the norm.^[4] Even the wealthy were persuaded to live in these in town, especially if provided with a square of garden in front of the house. There was an enormous amount of building in the period, all over the English-speaking world, and the standards of construction were generally high. Where they have not been demolished, large numbers of Georgian buildings have survived two centuries or more, and they still form large parts of the core of cities such as London, Edinburgh, Dublin, Newcastle upon Tyne and Bristol.

The period saw the growth of a distinct and trained architectural profession; before the mid-century "the high-sounding title, 'architect' was adopted by anyone who could get away with it".^[5] This contrasted with earlier styles, which were primarily disseminated among craftsmen through the direct experience of the apprenticeship system. But most buildings were still designed by builders and landlords together, and the wide spread of Georgian architecture, and the Georgian styles of design more generally, came from dissemination through pattern books and inexpensive suites of engravings. Authors such as the prolific William Halfpenny (active 1723–1755) had editions in America as well as Britain.

A similar phenomenon can be seen in the commonality of housing designs in Uganda and the United States (though of a wider variety of styles) from the 19th century down to the 1950s, using pattern books drawn up by professional architects that were distributed by lumber companies and hardware stores to contractors and homebuilders.^[6]

From the mid-18th century, Georgian styles were assimilated into an architectural vernacular that became part and parcel of the training of every architect, designer, builder, carpenter, mason and plasterer, from Edinburgh to Maryland.^[7]

Styles

Georgian succeeded the English Baroque of Sir Christopher Wren, Sir John Vanbrugh, Thomas Archer, William Talman, and Nicholas Hawksmoor; this in fact continued into at least the 1720s, overlapping with a more restrained Georgian style. The architect James Gibbs was a transitional figure, his earlier buildings are Baroque, reflecting the time he spent in Rome in the early 18th century, but he adjusted his style after 1720.^[8] Major architects to promote the change in direction from Baroque were Colen Campbell, author of the influential book Vitruvius Britannicus (1715–1725); Richard Boyle, 3rd Earl of Burlington and his protégé William Kent; Isaac Ware; Henry Flitcroft and the Venetian Giacomo Leoni, who spent most of his career in England.

Other prominent architects of the early Georgian period include James Paine, Robert Taylor, and John Wood, the Elder. The European Grand Tour became very common for wealthy patrons in the period, and Italian influence remained dominant,^[9] though at the start of the period Hanover Square, Westminster (1713 on), developed and occupied by Whig supporters of the new dynasty, seems to have deliberately adopted German stylistic elements in their honour, especially vertical bands connecting the windows.^[10]

The styles that resulted fall within several categories. In the mainstream of Georgian style were both Palladian architecture—and its whimsical alternatives, Gothic and Chinoiserie, which were the English-speaking world's equivalent of European Rococo. From the mid-1760s a range of Neoclassical modes were fashionable, associated with the British architects Robert Adam, James Gibbs, Sir William Chambers, James Wyatt, George Dance the Younger, Henry Holland and Sir John Soane. John Nash was one of the most prolific architects of the late Georgian era known as The Regency style, he was responsible for designing large areas of London.^[11] Greek Revival architecture was added to the repertory, beginning around 1750, but increasing in popularity after 1800. Leading exponents were William Wilkins and Robert Smirke.

In Britain, brick or stone are almost invariably used;^[12] brick is often disguised with stucco. The Georgian terraces of Dublin are noted for their almost uniform use of red brick, for example, whereas equivalent terraces in Edinburgh are constructed from stone.^[13] In America and other colonies wood remained very common, as its availability and cost-ratio with the other materials was more favourable. Raked roofs were mostly covered in earthenware tiles until Richard Pennant, 1st Baron Penrhyn led the development of the slate industry in Wales from the 1760s, which by the end of the century had become the usual material.^[14]

https://en.wikipedia.org/wiki/Georgian_architecture