reproduction is prohibited - the watch hill conservancy ·...
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WatchHillStyle
RichardC.YoungkenIncollaborationwithChaplinB.Barnes
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WatchHillStyleTableofContents
Preface 5
WatchHillStyle 9Doorways&Entrances 11Roofs 15Porches&Loggias 19Windows 23Textures 27Landscapes&Gardens 31ArchitecturalCompositions 34
Architects&Designers... 39...SomeofTheirWorkatWatchHill 41
LandscapeArchitects&TheirWork 49
Glossary 52
ReferenceswithSelectAnnotations 54
Acknowledgements
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TheWatchHillConservancyCopyright2009ISBN0-9770586-1-1
TheWatchHillConservancygratefullyacknowledgesthemanyWatchHill“cottage”ownerswhohavesupportedthisproject,welcomingustotheirhomesandpermittingustousethephotographicimagescaptured.AsimilargenerosityonthepartofthevariousWatchHillnon-profitorganizationsprovidedvaluableaccesstotheirresources,includingtheirarchives.BothJoanYoungkenandBarbaraT.Barnesprovidedvaluableproofreading,editing,andformatsuggestions.Finally,weexpressourdeepappreciationtoTheAlfredM.Roberts,Jr.CharitableFoundation,whosegeneroussupportmadethisenterprisepossible.
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WatchHill,RhodeIsland’sdistinctivelate
19th-andearly20th-centurysummercolony
architectureanditssurvivingintegrityhaveearneditalistinginthe
NationalRegisterofHistoricPlacesmaintainedbytheDepartment
oftheInterior.Thisisthenation’slistofbuildings,sites,and
districtsthataresignificantfortheircontributiontoourAmerican
heritage,theirstateofpreservation,andtheirabilitytoconveythe
Americanexperiencewithconsiderableauthenticity.
ThedevelopmentofWatchHill’sprivatesummerhomes
followedanerawhenlargepost-CivilWarresorthotelshad
dominatedthelandscapeofthispointoflandframedwithwater
onthreesides.Itwasduringthatearlierperiodthatthehealth-
restoring,recreationalaspectsofWatchHill’ssomewhatisolated
seasidelocationwerediscoveredbyurbanfamiliesofmeanswho
soughtasummerescapefromtheheat,noise,grime,confusion,and
densityofcitylife.Heretheyfoundarespiteclosetonaturewith
thecoolingandrestorativeaspectsoftheAtlanticOceanathand.
ManyofWatchHill’ssummervisitorscamenotjustfromthecities
oftheEasternseaboardbutalsofromtheMidwest,theearliestof
thecottagersfromCincinnati,Ohio.
Familiesreturnedeachsummer,laterparticipatinginashiftto
summercottagebuildingasthehotelvenuesgenerallylostappeal
towardtheendofthe19thcenturyandassurroundingfarmland
becameavailablefordevelopment.Theirnewcottages,together
withprivateclubs–golf,tennis,yacht,andbeach–becamethenew
focusofsociallife.
ThisshiftfromhotelstocottageswasnotuniquetoWatch
Hill.ItalsooccurredatotherNortheastseaside
resorts,amongthem,inRhodeIsland,thoseat
Narragansett,Jamestown,andNewport.AtWatch
Hill,thewaveofhousebuildingfollowedtheinitial
landinvestmentintheearly1880sofaCincinnati-
basedsyndicateofsummervisitorswhosawthe
appealthatprivatesummerresidenceswouldoffer
overcommunalandmoreformalhotellife,bought
farmlandadjacenttothehotelarea,andsoldlotsto
friendsandfellowsummervisitors.
Thelargecollectionofsummerhousesthatcomprisemostof
theWatchHillHistoricDistrictwerebuiltovertherelativelyshort
spanoftwentyyears,roughlybetween1886and1906,within
anexpandingcurvilinearstreetpatterninspiredbythedesignsof
landscapearchitectFrederickLawOlmsted,Sr.These“cottages,”
astheywerecalled,weredesignedandbuiltincompatiblesummer
housearchitecturepopularatthetimeandare,asaresult,rather
homogeneousincharacter.Theyareawindowintothetasteand
styleofthoseoftheperiodwhoweresuccessfulintheirbusinesses
andprofessions,andcouldaffordanextendedandrelaxingvacation
–atatimewhenAmericanenterpriseandaudacityweregaining
theworld’sattention.
Accomplishedarchitects,
designers,andbuilderswere
employedtocreateWatch
Hill’scottages.Inthebrief
timeperiodinwhichmost
ofthesecottageswerebuilt,
architecturalinterestand
tasteinthenortheastern
statescenteredprimarilyon
evolvingwood-framedandshingledAmericaninterpretationsof
earlierpost-medieval,colonial,andcraftsmanbuildingformsand
embellishments,theresultofwhichweretheShingleStyle,Colonial
Revival,andtheAmericanArtsandCraftsmovements.Muchof
thesummerresidentialarchitectureofWatchHillisa
blendofthesethreeartistictrendsintoadistinctiveand
iconicWatchHillStyle.The“cottagecolony,”asthe
WatchHillsummercommunitybecameknown,was
laterembellishedwithaneclecticmixofcottagesinthe
Norman,Tudor,andMediterraneanrevivalstyles,all
ofwhichsharewiththeearlierstructuresarelaxedand
organicarchitecturalconnection.
Preface
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Whatwastruemorethanaquartercenturyago(1985),when
WatchHillwaslistedintheNationalRegister,isstilltruetoday,as
statedinthenomination:WatchHill’s“...country-housearchitecture
forthewell-to-dorepresentedtheepitomeofgoodtaste….Watch
Hillisaremarkablywell-preservedhistoricalcommunitynotablefor
itsarchitecturalandenvironmentalqualityanditsevocationofan
importantphaseinAmericansocialhistory.”
WatchHill’spreservationisnoaccident.Thecolonyandits
cottageshaveretainedtheirdrawamongthefamilieswhohave
summeredhereovergenerations.Manyofthecottagestodayarestill
ownedbydescendantsoftheearlycottagersorthoserelatedthrough
marriageandkinship.Thiscontinuityofcommunity,whichChaplin
BarneschroniclesinWatchHillThroughTime,hasledtocontinued
interestinWatchHill’sarchitecturalresources,theirsetting,andtheir
preservation,andhasinturnattractednewfamiliestosettlehere.
WhiletheWatchHillHistoricDistrictislistedintheNational
Register,thisFederaldesignationcarriesnolocaldesignreview
authority.However,attheinstigationoftheWatchHillConservancy,
theTownofWesterlyhasadopteddesignreviewstandardsforthe
Villagecommercialarea.WesterlyTownCharterrevisionsin2008
providefortheestablishmentofatown-widearchitecturalreview
board,andtheRhodeIslandCoastalResourcesManagement
Council(CRMC)isrequiredtoseekopinionsfromtheRhode
IslandHistoricalPreservationandHeritageCommission(RIHPHC)
regardingtheimpactsofcoastalprojects.Theseinitiativesindicatea
growingcommunitysentimentthatdesignreviewcanbeextremely
beneficialinpreservingthecharacterofaplace.Absentspecific
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designreviewregulationsforWatchHill’scottages,however,anawarenessofthe
designelementswhichcontributetotheirspecialcharactercangofartoencourage
compatiblenewconstructionwhenitiscontemplated.
ThegoalofthismodestprimeronWatchHill’shistoricarchitecturalstyleisto
provideaguideforthoseconsideringnewconstructionorpreservation,toassistin
understanding,appreciating,andrespectingthecolony’sarchitecturalheritageand
character.
WhilenotallnewconstructionatWatchHillhasenhancedtheHistoricDistrict,
andinrecentyearsanumberofhistoriccottageshavebeenlostthroughdemolition
ormisguidedrenovations,muchnewconstructioncomplementstheHistoricDistrict,
demonstratingthatfinelywrought,context-sensitivedesignblendsinratherthan
detracts.Afewimagesshowingelementsofthisrecentworkareincludedinthis
booktogetherwiththoseofthehistoricarchitecture.Inmuchofthissuccessfulnew
building,historicdesigndetailsarecarefullyinterplayedandsubtlyreinterpretedwithrestraintintherightproportionanddetail,tocreate
newandinterestingcompositionsthataddtoWatchHill’sarchitecturalcharm.
NotshownisthenewconstructioninWatchHillthathasnotbeenassensitiveasitmighthavebeen.Herefeaturessuchasmannerist
orout-of-scalebuildingelements,super-sizedmassing,andlargewindowopeningshavecreatedanincongruouseffect.Butthisisthe
exception,ratherthantherule.
TheWatchHillConservancy,whosemissionincludesthepreservationofthenaturalandbuiltenvironmentsofWatchHillandthe
conservation,maintenance,andenhancementofitshistoricalvaluesandcharacter,hascommissionedthisintroductiontothearchitectureof
WatchHillinthehopethatitwillinspirecontinuedstewardshipofWatchHill’sarchitecturalresources.
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WatchHillStyle
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WatchHillstandsapartinthemindsofmanyasauniqueplaceontheNewEnglandcoast.
ButwhatmakesWatchHillsoremarkable?Itsnaturalbeauty,ofcourse,isstriking,butWatchHillhas
alsoevolvedarchitecturallytocomplementthatbeauty.
Developedasasmallresidentialsummerenclaveandremainingrelativelyintactforoveracentury,
WatchHillisdefinedbyitslocationonacoastalpeninsula,itsrollingtopography,protectedharbor,
milesofsoft,white,sandybeaches,andarchitecturallysignificant19th-andearly20th-centurysummer
houses.TheWatchHillstyleexemplifiedintheselargeShingle,earlyCraftsman,ColonialRevival,and
academicrevival-styledsummerhousesisrelaxedandsimple,centeredontheweather,timeofday,and
thepastimesofsummerontheNewEnglandcoast:gardening,tennis,fishing,sailing,golf,entertaining,
andenjoyingthebeach.Thearchitectureandthesurroundinglandscapeprovidethestagesetforthis
leisurelylifestyle.Asaresult,thecottagecolonyofWatchHillisan
iconoftheNewEnglandsummer.
What,then,isWatchHill’sarchitecturalessence?Byexploring
individualdesignelements–doorways,roofs,porches,windows,
textures,andmaterials,andtheiruse–onecanbegintounderstand
thecomponentpiecesofwhatmakesWatchHillarchitectureso
visuallyengaging.Theseelementsfromthepopularstylesoftheperiodarecombined
insummerhousearchitecturetoenabletheownerstoenjoyfamily,guests,andavital
connectiontotheoutdoors.Wide,furnishedporches,bothopenandenclosed,provide
indoor-outdoorlivingspacescooledbyoceanbreezes.Large,openroomsareoftenpainted
whiteandfurnishedinsea-inspiredcolors.Thesespacesoftenflow
fromalargecentral“livinghall,”aninnovationintroducedwiththe
QueenAnneandShingleStylearchitectureoftheperiod.Secondandthirdstoriesfullofbedrooms
bringthefamilytogether,although,atthetimeofconstruction,thetopfloorwasgenerallytherealm
ofservants.Populararchitecturaldetailsareoftencombined–QueenAnneflourishes,ShingleStyle
stonefoundationswithshingledwalls,ColonialRevivalentrancesandwindows,Craftsmaneaves,and
exposedrafters.Everythingiscomfortable,spacious,andunderstated.Theelementsareusedwith
restraintandasenseofproportion.
The“cottage”labelgiventothesesummerhousesismorereflectiveofaninformalandcarefree
lifestyle,withcomfortableinteriors,thandescriptiveofsizeorpretention.Mostofthecottagesappear
largerthantheyactuallyare.Manyarejustoneroomwide.Thearchitectureanditslandscapedsetting
fittogetherincomfortableunity.OneoftheremarkablefeaturesofWatchHillisthatithassurvived
asanarchitecturalandsocialensemble.Itenduresbecauseitisappreciatedandwell-loved,embodying
time-honoredtraditions,andasenseofplaceandpermanence.
WatchHillStyle
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Doorways&Entrances
Muchofthecharacterofthesecottagesis
pronouncedintheirentrances.Somearemore
imposingthanothers,butingeneralfrontdoorwaysare
downplayedtocreateasenseofsummerinformality,
especiallyconsideringthescaleofeachhouse.Oftenthe
frontdoorissetwithinaporch;manyarewithinsymmetrical
ColonialRevivalframeswithpilasters,cornices,fanlights,and
sidelights.ThedoorsthemselvesareoftenDutchColonial
doubledoorsthatcanbehalf-openedasawelcomegreeting
toarrivingguests.Thesedoorwaysarenotablyconsistent
regardlessoftheoverallformofthehouse.
Meticulouslygroomedprivethedgeshavenowbecome
aWatchHillsignature,manyhavingarchedopeningsand
distinctivegatestowelcomevisitorsarrivingbyfootorbicycle,
leadingthembyapathwaytothehouse.
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RoofsTextureandformarethebywordsforWatchHill’sroofs.Manyare
complexarrangementsofgables,hips,upsweptrooflines,projectingeaves,
anddormers.Somearequitesymmetrical,moundinguplikealayercake,
whileothersrambleandelongateafterrisingfromthefirstfloortoshelter
multi-storycottages.Manyroofsarestillwood-shingled.Theyarepartand
parceloftheShingleStyleandearlyCraftsmanhousestheyadornwiththeir
wide-bracketedeavesorexposedrafterends,andgabled,hipped,orshed-
roofeddormers.Inthesea-airclimate,theseroofsweatherafteronlyone
season.Someroofsareslate,resemblingmedievalstoneroofsandaddingto
thearchitecturalcharacteroftheNormanandTudorRevivalcottagesthey
shelter.Therearesomeredclaytileroofsaswell,providingadistinctivelook
toseveralSpanish,Moorish,orMission-inspiredhouses.Thereisevenone
whosewoodshingleswhimsicallymimicEnglishcottagethatch.Thevariety
ofchimneysisalsonotable.
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Porches&Loggias
WatchHill’sporches
arewideandgenerous,often
designedasatransitiontothe
gardenandframingviewsto
thesea.Herefamiliesenjoyall-weathersummeractivities:reading,
napping,cocktails,anddining.Onhotdaystheseporchescapturethe
seabreezesandonrainydaystheyprovideshelter.Porchcolumnsare
oftenTuscanorgothic-archedinaCraftsmanstyle;somehaveacertain
whimsyandplayfulness.Manyporchesarepartiallyenclosedwith
multiplewindowsinlight,transparentarrangementswhichhelpretain
anopenandrusticporchfeel.Someporcheshaveanendwallofglass
doorsasashieldagainsttheprevailingsouthwestwind.Somehavebeen
convertedtosunroomswithmulti-paned,inward-openingcasementsor
slidingmulti-panedwindows.Insomecasesthewindowsslidedown
intoaboxed,shingledbalustradeunderneath,vanishingfromsight
whenopen.Inafewcottages,interiorroomshaveasunroomfeeland
mayconnectdirectlytooutdoorspaces.
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WindowsMostwindowsinWatch
Hill,largeorsmall,aremulti-
paned,givingspecialcharacterto
thecottageswiththeirwooden
muntinbarsandframes.Some
windowsdisplaydiagonalmuntin
barpatternsinamedievalstyle.
Somegiveastern-gallerynauticalappearance.
Configurationsincludefanlights,projecting
bays,andglazedmulti-panedFrenchdoors
openingtoporches.Largerwindowsareoften
framedindecorativewayswithornamental
muntinconfigurationsinCraftsmanmotifs
addingabitofwhimsy.
Somewindowsfromtheearliestperiod
ofWatchHill’scottagedevelopmentare
round-headedandframedbydecorativegable
bargeboardsorbracketwork.
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Textures
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Textures
WatchHill’sdistinctivearchitectureisrichlytextured,from
cobblestonefoundationstoshingledwallsandroofs.
Textureisadrivingcharacteristicofcottageexteriordesign.
Manycottagesareshingledwitheitherredorwhitecedar.Redtends
todarkenovertime;whitemayturnsilvergray.Thelate19th-century
ShingleStylederivesitsnamefromsuchbuildings,theiridiosyncratic
formssheathedtightlyinshinglework,someofwhichisdecorativeand
patterned.
Othercottagesfromthesameperiod,butofamoremedieval
revivalstyleandNormanorTudorderivation,areofsolidstoneorbrick
masonryappearance.Someare“half-timbered”withexposedwood
framingsystemsordecorativework.Somearestuccoedorpargedto
resemblewhitewashedstone.Thesehousesbearasimilaritytothe
EnglishCraftsmantraditionspopularinsuburbanBritainandAmerica
atthetimeoftheirconstruction.
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Landscapes&Gardens
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TheroadwaysandlanesofWatchHillarebordered
byhedges,fences,andcobblestonewallstothedegreethat
someofthecottagesarebarelyvisibleandglimpsedonly
throughsmallgardengatesorfromdrivewayentrances.
Thiswasnotalwaysthecase.Inthelate19thandearly20th
centuries,thelandscapewasmuchmoreopenandthere
werefewhedges.Asthesummercolonyevolvedandmore
privacywassought,propertybordersalongtheroadswere
plantedwiththeubiquitoushedgingseentoday.These
hedgesarenowverymuchapartoftheheritageandcharacterofthearea.
Anumberofcottageshavesimpleperennialbordersalongtheirhedges.
Somehavedefinedcottagegardens,cuttinggardens,rosegardens,ora
fencedpotager.Drivewaysareoftengravel-surfacedwithbrickorBelgian
blockentrances;thosewithdrivewaycirclesorforecourtsmayhaveaporte-
cochere,oralevelentrancefromthedrivetothehouse.Terracesaround
thecottagesareoftenstone;otherwisethecottagemayhaveawood-framed
porchentrancefromthefrontwalkordrive.Whetherterraceorporch,
mostaredecoratedwithpotsofannuals.Garagesarerarelyvisible,norare
automobilesprominentlyinview.Similarlythemoderndeckorsystemof
decksisnotwidespread.
WhilethespreadofvegetationhastransformedWatchHill’slandscape
fromopenfieldstozonesofcoverandprivacy,thecottagersarezealously
protectiveoftheirviewstothewaterandthisvitallinktoaseasidelocation
andidentity.Bylongstandingtraditiontheytrytopositionandmaintain
theirplantingstoprotecttheviewsofneighbors.
Thissamesensitivityandintuitiveresponseto
placeinfluencesdecisionsorconcernsastothe
sitingofnewhousesandadditions.
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ArchitecturalCompositions
WatchHilldoorways,entrances,roofs,porches,windows,
andwallsurfacescombinewithindesignconfigurationsinhalfa
dozenorsodistinctivearchitecturalcompositionsorensembles
withduecaregiventotherightproportion,rhythmofwindow
anddooropenings,roofline,andotherdetails.Thescaleand
massingofthebuildingsandtheirrelationshiptotheirsettings
isequallyimportant.Althoughlandscapingnowshields
somecottagesfromview,manyareincloseproximitytoeach
other,necessitatingsensitivityandcarewiththeseelementsof
composition.
ForWatchHill’sShingle,ColonialRevival,andearly
CraftsmanStylecottages,descriptivelabelsarehelpfulto
distinguishonecottage
formfromanother.
Importantkeysto
identificationarethe
rooftype,footprint,and
massingofthehouse.
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Hip-RoofedBlockThebasichip-roofedblockmassing,usuallyinatwo-storyconfiguration
andeveninthoseofthreeormorestories,isusedtocreateconsiderable
volume.Thesecottagesaregenerallylarge,shingledhouseswithColonial
Revivalsymmetry,withfloorplansatleasttworoomswide,fronttoback.
Themassingandarchitecturaldetailscreateavertical,layeredlook.Often
upper-levelbalustrades,roofdecks,andrecently-addedwidows’walksadd
totheverticality.Generallythesehouseshaveshed-orhip-roofeddormers
toaccenttheirhippedroofsaswellasexposedrafterendsundertheirroof
soffits.
CrossGableThecross-gableformallowsformoreasymmetryandlessformalityof
designthanthehip-roofedblockform.Thesecottagesaregenerallymorein
theShingleStyle,withColonialRevivaldetails.Someofthemorerecently-
builtcottagesinthisformmaydisplaymoreornamentationthantheearlier
onesindecorativegable-endbracketwork,stylisticallyahold-overorre-
interpretationoftheearlierHighVictorianGothicandQueenAnnestyles.
HighGableThesimpleend-gableformisadominantfeaturereminiscentofchalets
inthemountainousregionsofEurope.Bythelate19thcentury,thechalet
hadbeenpopularizedinearlierandcontemporaryarchitecturalpatternbooks
forvacationcottages.Thehighgableisalsoathrowbacktothe17th-century
post-medievalformsofearlyAmericanhouses,gainingpopularityafterthe
nation’sbicentennialcelebrationin1876,afterwhichanostalgiaforallthings
“Colonial”heldsway.
DoubleGable
Thedouble-gableformintheShingleandEnglishTudorRevivalstyles
popularattheturnofthecenturyharkenstoaromantically-inspiredlookat
medievalsources,includingthehalf-timbered,double-gabledEnglishcottage.
ThisformadvancedthroughtheShingleStyletomoredetaileddouble-
gabledmedievalrevivalhousesintheearly20thcentury,madepopularwith
themorerefinedarchitectureoftheEnglishArtsandCraftsstyle.Thedouble
gablealsohasbecomepopularinlate20th-centuryShingleStylerevival
architectureatWatchHill.
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FlankingWingsThesecottagesareamongthelargestinWatchHill,carryingintheirforma
GeorgianformalityandalsoharkeningbacktothemedievalH-shapedplanfoundin
manyEnglishcountryhouses.
SplayedWingsOftenthesecottagesarejustoneroomdeepfrombacktofrontandseemmuch
largerthantheyactuallyare,ramblingalongaridgeorpromontory.Usuallytwo-and-a-
halfstoriesinheight,theyhaveacentralcorewithwingsangledinwardtodefineafront
circleorentrycourt.ThesecottagesconveytheirCraftsmaninspirationwithdetails
suchasdiamond-patternedwindowsandexposedrafterends.Theyareusuallyhip-
roofedwithshed-orhip-roofeddormers.
GableonGableShingleStylecottagesoftenconveythemostcomplexmassinginadisarmingly
subtleway.Roofgablesarenotalwaysofequalsize,andtheirjuxtapositionallows
forsecondandthirdstoriestobeenclosedwithintheroof.Expressedwithaskinof
shinglesstretchedacrosstheframeofabuilding,wrappingundertheeaves,andwith
aminimumofornamentation,thiscottageformembodiestheShingleStyle.Here
thegreatintersectingroofgablesgivevolumeforthesecondandthirdfloorsandare
reminiscentoftheausterityofthe17th-centurygable-roofedpost-medievalhousesofour
Colonialforebears.
GablewithTurretTheshingledturretformiscarriedthroughfromtheQueenAnneStyle,usuallyas
anextensionoftheporchonthefirstlevel.Oftentheturrethasbeenenclosed.
GambrelAdoptedbyShingleStylearchitects,thegambrelroofformevokesnostalgiafor
thesimplevernacularAmericanNewEnglandandDutchColonialhousesofthe18th
centuryandalsoprovidesconsiderablespaceforbedroomsundertheeavesinasecond
andsometimesthirdfloororgarret.Oftenreferredtoas“ModernColonial,”thisform
isfrequentlyseenatWatchHill,sometimesenlivenedwithcrossgambrelsorgambrel-
roofeddormers.
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OtherFormsWatchHill’sshingledcottagearchitectureevolvedintheearly
20thcenturytolargerimposingrevivalversionsofEuropeancountry
housestyles.CottagesintheNorman,Tudor,andMediterranean
revivalstyleswerebuiltonlargeparcelsfurtherremovedfromthe
harborandtheVillage.ABermuda-stylecottagefromthe1950s
addsanotherunexpectedelement.Whilestrikinglydifferent,these
cottagesneverthelessblendinwiththeShingleStyle,Craftsman,and
ColonialRevivalworkofthelate19thcentury,andaddapleasing
varietyandromancetoWatchHill’sarchitecturalcharacter.
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AnumberofWatchHill’scottagesareknowntohavebeendesignedby
noteworthyregionalandnationalarchitectswhoseworklikelyinfluencedthedesign
ofmanyotherbuildingsintheNationalRegisterdistrict.Manyofthesedesigners
wereofthefirstgenerationofAmericanstoreceiveaformaleducationinarchitecture.
AmongthemwereGeorgeKeller,EdwardFooteHinkle,HenryW.Wilkinson,Albert
WinslowCobb,GrosvenorAtterbury,JohnA.TompkinsII,HoraceS.Frazer,H.
VanBurenMagonigle,EvartsTracy,WilliamRalphEmerson,WilsonEyre,John
RussellPope,WarringtonLawrence,andMottB.Schmidt.Well-knownlandscapearchitects,theOlmstedBrothers,Warren
Manning,WadleyandSmythe,andMarianCrugerCoffin,werealsoinvolvedincreatingafewofWatchHill’sgardenand
parklandscapes.
Providingastunningcollection,theworkofthesenoteddesignersatWatchHill,representedinoverthreedozencottages
andtheirgardens,interpretsthetasteofthelate19thandearly20thcenturiesandembodiesthetimelesssearchforhonest
materialsandcraftsmanship.ThearchitectsandlandscapearchitectswhopracticedatWatchHillrepresenttheverybest
designtalentoftheirtime,rankingwithsuchoftheirmentorsand
colleagues(withwhomtheytrainedorcollaborated)asPeabody
andStearns;McKim,MeadandWhite;GustavStickley;Delano
andAldrich;CarrereandHastings;andFrederickLawOlmsted,Sr.
Lesserknownarchitectsarealsorepresentedincluding,JohnCherry;
Gardner,PyneandGardner;andE.F.Gilbert.Thearchitecturalforms
atWatchHillaregenerallyreminiscentofmuchearlierbuildings,
bothinthecolonialAmericasandinmedievalEurope,wherefine
handworkandcraftsmanshipinnaturalbuildingmaterialswerethe
norm.MuchoftheworkisintheShingleStyle,ColonialRevival,
andearlyCraftsmanstyles,ubiquitousalongtheNewEnglandcoast.
Thecottagesconveyartisticexperimentationandablendingofthese
designinterestsoftheperiod.
ThepopularityoftheShingleStyleandtheAmericanArtsandCraftsmovementlastedfromtheearly1880stotheFirst
WorldWar.TheShingleStylewastherefinedbuildingstyleforthosewhohadtheconfidencetoembraceatrulyAmerican
architecturalform.Itwasparticularlyattractivefortherelaxedlifestyleofacarefreesummervacation.Summercottages
suchasthoseatWatchHillhavebeendescribedas“mansionsininformalsummerattire.”Followingtheromanticperiod
oftheVictorianera,thesebuildingsreflectthepastinartandarchitectureandconveyasenseofwhimsyanddelightinthe
unexpected.WhimsyisafundamentalpartoftheWatchHillStyle.
ThesummercottagesdesignedandbuiltalongtheNewEnglandcoastwerehighlightedincontemporaryperiodicals.
Patternbooks,suchasthosebyJohnCalvinStevensandAlbertWinslowCobb(above),andGustavStickley,amongothers,
alsocelebratedthelookandprovidedinspiration.UndoubtedlysuchresourcesinspiredWatchHill’scottagersandtheir
designersinbuildingtheirsummerhomes.
Architects&Designers...
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TheTimbers,1917,designedbyJohnRussellPope
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CollinsCottage,1880
WatchHillChapel,1876-1902
...SomeofTheirWorkatWatchHill
By-The-Sea,1879
Seaswept(OceanMound),ca.1880
Keller
GeorgeKeller,Hartford,Connecticut(1842-1935)
AprominentIrish-bornHartfordarchitect,Kellerisresponsibleforavastcollection
ofbuildingsandstructures-churches,houses,publicbuildings,andmemorials
-throughouttheHartfordareaandtheregion.HetrainedintheofficesofCharles
F.Anderson,theWashington,D.C.architectoftheSenateandHousewingsofthe
NationalCapitolpriortotheCivilWar,andmovedtoHartfordin1864.Keller’s
associationwithWatchHillistheresultofthepatronageofJamesL.Howard,a
manufacturerofrailroadcarpartsandasummerresidentofWatchHill,afounderofthe
WatchHillChapelSociety,andLieutenantGovernorofConnecticutinthelate1880s.
Keller’sarchitecturalwork,includingtheinterioroftheWatchHillChapel,
emphasizesHighVictorianGothicformsanddecorationinspiredbytheenormously
influential19th-centuryBritishartcriticJohnRuskin.Throughhiswork,Keller
espousedabeliefinhonestyofmaterialsandthepicturesquewhichtheromanticGothic
stylesconveyed.Oftentheseformsarevertical,expressedinhightowersandsteeproofs.
KellerwasnotfondofpretenseortheClassicalRevival.Althoughhisworkisnotofthe
StickStyle,whichwaspopularelsewhereasapreludetotheQueenAnneandShingle
Styles,hisWatchHillwork,shownonthispage,isabridgebetweentheearlymansard-
roofedhotelsandtheshingledcottages.
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Wilkinson
HenryWilhelmWilkinson,SyracuseandNewYork(1870-1931)
ThesonofaSyracuse,N.Y.banker,Wilkinsonstudiedarchitectureat
CornellUniversityunderarchitect-professorandGothicistCharlesBabcock.
Aftergraduatingin1890,heworkedforCram,GoodhueandFerguson,the
celebratedBoston-basedfirmofRalphAdamsCram,afellowmedievalist
andnotedGothicRevivalarchitect.WhileinBoston,Wilkinsonwasa
foundingmemberoftheArtsandCraftsSociety.ReturningtoSyracuse
by1900,hejoinedwithGustavStickleytocreatetheinitialAmerican
Craftsmanmovement,combininginfluencesoftheEnglishArtsandCrafts
stylemadepopularbysucharchitectsanddesignersasWilliamMorris,Philip
Webb,RichardNormanShaw,andlaterVoysey,Scott,andMackintosh.
WilkinsondesignedfurnitureforStickleyandatleastoneofhishouseplans
waspublishedinTheCraftsmanmagazine.MovingtoNewYorkCity,he
embarkeduponanarchitecturalcareerofhisownafter1903.HisWatchHill
commissionsattheturnofthecenturycoincidewithaformativeperiodin
hiswork,presumablywhilehewasworkingwithCraminBostonandduring
hisearlycareerwithStickley.
Hinkle
EdwardFooteHinkle,NewYork(1876-?)
Hinkle,amemberofaprominentCincinnatifamily,attendedAndover
andYale,graduatingin1901.Thereafter,heattendedCambridgeUniversity
andtheEcoledesBeaux-Arts,completinghisstudiesinarchitectureand
designfrom1901-1905,andreturningtoreceiveanumberofWatchHill
commissionsonLighthousePointfromtheClementA.Griscomfamilyin
1906and1907.HebuiltAktaion(laterMoana)forhimselfonlandgiven
tohimbytheGriscoms.OthersshownhereareThePoint,Trespasso,and
Edgewater.
Taurento,1907,isshownonpage11,toprightandonpage50.Not
shownisNapatree,ca.1907(notextant).
ThePoint(TheManorHouse),1906
Trespasso,1907Edgewater(Edgecliff ),1907Moana(Aktaion),1906
Edgemere,built1886,enlarged1899
Graydon,1900
Neowam,1900
Wetumanetu,1899
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AtterburyandTompkins
GrosvenorAtterbury,NewYork(1869-1956)
BorninDetroit,educatedatYale,Columbia’sGraduateSchoolof
Architecture,andtheEcoledesBeaux-Arts,Atterburyinitiallyworkedinthe
officesofMcKim,MeadandWhitebeforepartneringwithJohnTompkins
inthelate1890s.AtterburyisknownforhisrestorationdesignsforNew
YorkCityHall(1902),themodelForestHillsGardenplannedresidential
communityinQueens,andnumerousseasideandcountryhousesthroughout
thecountry,notablyonLongIsland’sNorthShore.Atterbury’sworkwas
publishedwidely,includingbyGustavStickleyinTheCraftsman(1908).
JohnAlmyTompkinsII,NewYork(1871-1941)
BorninBaltimoreandeducatedatSt.Paul’sSchoolandColumbia,
TompkinstraveledextensivelyinGreatBritainandEuropefrom1894until
hisassociationwithAtterburyandtheirForestHillsGardenscommission.
TompkinsiscreditedwithmanyoftheWatchHillcommissionsofthe
AtterburyandTompkinspartnership.Tompkins’patroninWatchHillwas
Mrs.ClaraHunterStantonofNewYork,whocommissioneddesignsforfive
cottagesbetween1899andherdeathin1914(Tepee,
Wigwam,TheWickiup,TheBungalowandMarbella).
Tepee(Montrose),1899,isshownonpage17,
topright.Notshownare:Marbella(Chenowith,The
Ledges),ca.1914(notextant);Wigwam(Rosemont,
Redlac),1900(attributedtoTompkins).
HighWicket(Sowanniu,ChuckleHill,
GreysideNorth),1900
TheBungalow,1899
TheMisquamicutClub,1900-1919
TheKnoll
(TheFolly),
1899
SunsetHill,1915TheWickiup,1900(attributedtoTompkins)
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TracyandMagonigle
EvartsTracy,NewYork(1869-1929)
TracygraduatedfromYalein1890,attendedtheEcoledesBeaux-Arts,
andworkedintheofficesofMcKim,MeadandWhite.Hewasinassociation
brieflywithMagonigleinthemid-late1890swhilethepartnership’sWatch
Hillworkwasunderway.
HaroldvanBurenMagonigle,NewYork(1867-1935)
Unlikemanyofhiscolleagues,Magonigledidnotreceiveaformal
educationinarchitecture,buthedidacquireextensiveon-the-jobtraining
withanumberofimportantarchitecturalfirmsincludingCalvertVaux,
CharlesL.Haight,Rotch&Tilden,andMcKim,MeadandWhite.He
traveledabroadextensivelybetween1894and1896,enlarginguponhis
studyofarchitectureunderaRotchfellowship.TheWatchHillcottageshe
designedinpartnershipwithTracyappeartohavebeendesignedwhilehe
wasalsoworkingforMcKim,MeadandWhite.Magoniglealsocollaborated
withHenryW.WilkinsonondesignsforanalumnihallatCornellUniversity
(notbuilt)andacourthouseinBrooklyn,N.Y.After1903,Magoniglewasin
practicealone.Hewasaprolificarchitect,sculptor,andartist,winningseveral
medalsanddesigncompetitions.
Ninigret,1899
LaMaritima(TheBoulders,Arcadia),1898
GitcheGumee(Seaview,TheDug-Out),1895,1898
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ChapmanandFrazer
HoraceSouthworthFrazer,Boston(ca.1865-1931)
FrazerattendedYaleandtheMassachusettsInstituteofTechnology
(MIT),receivinghisdegreein1885.Afterwardheassociatedwiththe
architecturalfirmsPeabodyandStearns,andLongfellow,Aldenand
Harlow,beforejoiningwithJohnChapmanin1892.Chapmandiedin
1895;however,FrazerkepttheChapmanandFrazername,concentrating
onresidentialwork.Manyofhisdesignswerepublishedintheleading
architecturaljournalsoftheday,includingArchitecturalRecord,American
Architect,andAmericanArchitectandBuildingNews.Agreatbodyofhis
suburbanresidentialworkexistsintheBostonarea,particularlyatBrookline
andChestnutHill,whereover67housesbyFrazerareextant.HisWatch
Hilldesignsprogressstylisticallyfromtheshingled,gambrel-roofed“Modern
Colonial”tothestuccoedEnglishArtsandCrafts.Theselatercottagesare
similartohissuburbanBrooklinecommissions.
NotshownistheMemorialBuildingoftheWatchHillImprovement
Society,1917.
SunshineCottage,1898
Cloverly,1900
Ridgeleigh(Ridgeleigh,FarLook),1902Meadholme,1900
Tredegar(Russula),1900 RedTop,1900
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Emerson
WilliamRalphEmerson,Boston(1833-1917)
KnownasoneoftheprincipalarchitectsoftheShingleStyle,Emerson
wasnotformallyeducatedasadesigner.AcousinofRalphWaldoEmerson
andafriendofartistanddesignerWilliamMorrisHunt,hegrewupin
BostonandMaine,andapprenticedwithJonathanPreston,ahighly-
regardedBostonbuilder.Emerson’sarchitecturalpracticefocusedon
individualresidencesfornotableclients,includingaCambridgehouse
forWilliamJames;heisparticularlywell-knownforthesummercottages
hedesignedintheShingleStyleatdevelopingsummercoloniesalong
Boston’sNorthShoreandontheMainecoastandislands,includingFelsted
forFrederickLawOlmsted,Sr.onDeerIsle.Hiscottagesaresensitively
designedinharmonywithfeaturesofthesite,expressingthemselvesasone
withtheirsettingthroughtheuseofstoneandshingledwalls,usuallywith
aboldorexposedcoastallocation.Emerson’sShingleStyleworkrankswith
thatofPeabodyandStearnsandMcKim,MeadandWhiteasinnovative
stylisticexpression.Hisshort-livedperiodofexperimentationand
exuberanceintheShingleStylewasinthe1870sand1880s.Theknown
EmersonWatchHillcommissioninthelate1890s,Minnebama,conveys
Emerson’smovementintothemoreformalandconservativeColonial
Revivalidiom,awayfromtheinventivenessoftheShingleStyle.
GreenleafandCobb
AlbertWinslowCobb,Springfield,Massachusetts(1868-1941)
CobbwaseducatedatTuftsandMIT.Hetrainedinarchitecturewith
twonotedBostonfirmsoftheperiod,firstwithPeabodyandStearnsand
laterwithShepley,RhutanandCoolidge.HealsoworkedwithWilliam
RalphEmerson.Afterward,hejoinedtheprolificcoastalMainearchitect
JohnCalvinStevensinhisBostonandPortlandpracticeandcollaboratedon
aninfluentialShingleStylepatternbookofthetime:ExamplesofAmerican
DomesticArchitecture(seepage39).Publishedin1889,thisillustrated
book,amongothers,helpedtosolidifytheShingleStyleastheiconicstyle
forseasidesummerhousesontheNewEnglandcoast.CobbandStevens
designednumerousShingleStylesummercottagesalongtheMainecoast.
Inthe1890sCobbmovedtoSpringfieldtoopenanofficewithLuther
Greenleaf.Cobb’ssingleknownWatchHillcommission,Appleby,isfrom
thisperiod,althoughatleastoneothercottage,Sunnyside,1895(page24,
dormer,topright),maybederivedfromhispatternbook. Appleby(SunsetView,Wasigan),1899
Minnebama(Pinecroft,Tick-TockHouse),1899
46
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Lawrence
WarringtonLawrence,NewYork(1861-1938)
AnativeofBaltimore,LawrencegraduatedfromMITandbeganhis
careerintheofficesofMcKim,MeadandWhite,whereundoubtedlyhewas
inspiredbythefirm’searly20th-centuryrefinementoftheColonialRevival
style.Lawrence’sdesignsreflectamoreacademic,formal,and“grandestate”
approachtodomesticseasideandcountryhousedesignsthantheShingle
Stylecouldprovide.HisworkatSeabrightandGlenRidge,NewJersey,
reflectthisdevelopingtaste.AnearduplicateofhisWatchHilldesignfor
ClarmarexistsatGlenRidge.
Eyre
WilsonEyre,Philadelphia(1858-1944)
EyrewasborninFlorence,Italy,butraisedinNewport,R.I.He
attendedcollegeatMITforonlyoneyear,departingforPhiladelphiawhere
hebeganworkforJamesPeacockSimsin1877,takingovertheofficeon
Sims’deathin1882.EyreiscreditedbymanyasafounderoftheShingle
Styleandhisbestknownworkisinthatstyle.HelecturedattheUniversity
ofPennsylvaniabetween1890and1894andwasafounderofHouseand
Gardenmagazine.In1911heformedapartnershipwithJohnGilbert
McIlvaine;itistheircountryhouseworkintheearly20thcenturythatdrew
acclaim,providingEyrein1917withtheGoldMedalofthePhiladelphia
chapteroftheAmericanInstituteofArchitects(AIA).Eyre’sknownWatch
Hilldesign,ChannelMark,isintheColonialRevivalstyle,includinga
centralPalladianwindow,butalsofeaturinganoff-centerentryporchand
doorway.ChannelMark(Anchorage),1914
Clarmar,1931
47
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Windansea,1922 NormanHall(StoneHouse),1915
TheTimbers,1917
48
Pope
JohnRussellPope,NewYork(1874-1937)
PopestudiedarchitectureatTheCityCollegeofNewYorkandColumbia’s
SchoolofMines,graduatingin1894.HewonascholarshiptotheAmerican
AcademyinRomein1895,spendinganadditionalyeartravelinginItalyand
Greece.HeattendedtheEcoledesBeaux-Artsin1896,openinghisNew
York-basedarchitecturalpracticein1903.Popebecameapremierdesigner
inthepopularstylesoftheearly20thcentury,notablytheTudor,18th-century
French,Georgian,andBeaux-ArtsClassicalRevivalstyles.In1919hecreated
amasterplanforYale,and,severalyearslater,oneforDartmouth(1922-23).
Heisparticularlycelebratedforhistwolargepubliccommissions:theNational
GalleryofArtandtheJeffersonMemorial,bothbuiltpost-humously.His
greatTudorhousesincludetheBranchhouseinRichmond,Virginia(1917)
andhisownsummerhouse,TheWaves,inNewport,R.I.(1927).HisWatch
Hillcommission,TheTimbers,isacomplexTudorRevivalestateconsistingof
asprawlingmainhouse,gatelodge,andguesthousewithmulti-levelterraces
situatedonaknolloverlookingdunesandbeach.
Schmidt
MottB.Schmidt,NewYork(1889-1977)
BorninMiddletown,N.Y.,SchmidtstudiedarchitectureatthePratt
Institute,graduatingin1906.Hethenstudiedabroadforfouryears,and
establishedhisNewYork-basedarchitecturalpracticein1912.Throughhis
associationwithElsiedeWolf,thepre-eminentAmericandesigneroffashionable
interiorsinthefirstdecadesofthe20thcentury,Schmidtgainedseverallarge
commissionsandbecameknownasa“societyarchitect,”designingtownhouses
andcountryestatesforAstors,Vanderbilts,andRockefellers.Hisstylereflected
thetastefortherevivalstylesoftheearly20thcentury,includingTudor,
Norman,Georgian,ClassicalRevival,andMediterranean.HisWatchHill
commissionsareNormanHallandWindansea.
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OlmstedBrothers,Boston(1898-1961)
FoundedbyFrederickLawOlmsted,Sr.(1822-1903),whoalong
withCalvertVauxdesignedNewYork’sCentralPark(1858etseq.),the
notedOlmstedlandscapearchitecturepractice,bythelate1890s,was
ledbyhissons,JohnCharlesOlmsted(1852-1920)andFrederickLaw
Olmsted,Jr.(1870-1957).Thelegacyofthisfirmislegionwithmultiple
commissions,bothpublicandprivateacrossthecountry,spanning100
yearsofwork.Large-scaleestategardenswereaspecialty,alongwith
plannedresidentialcommunities,municipalparksystems,andcitymaster
plans.Patronsincludedthemost-celebratedAmericansofthetime.The
Olmstedsalsocollaboratedwiththemost-notedAmericanarchitectsof
theperiodandtrainedintheirofficemanyoftheperiod’sfinestlandscape
designers.Throughtheirprodigiouswork,theOlmsteds,father,sons,and
theirassociates,canbecreditedwithestablishinglandscapearchitectureasa
professioninAmerica,bringingtheneedforurbanparksandopenspaceinto
thespotlightforlivablecitiesduringthemid-late19thandearly20thcenturies.
Duetotheirenormouspopularity,itisunusualthattheyappeartohavehad
onlyafewcommissionsatWatchHill,makingtheextantdesignedlandscape
featuresofthesepropertiesallthemoreinterestingandimportanttopreserve.
NotshownisSunnyHill(WardHouse),1921.
LandscapeArchitects&TheirWork
SunshineCottage,garden,1918,1929
MisquamicutClub,1919clubhousegrounds,witha
DonaldRoss-designedScottishlinks-stylecourse
addedin1923(shownonpage32).
49
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Taurento,1907
Manning-designedlandscapeson
BluffAvenueandLighthousePoint.
Moana(Aktaion),1906
50
WarrenHenryManning,Boston(1860-1938)
Manningwasamongthelastgenerationofself-educatedlandscape
designerswhobegantheirworkbeforelandscapearchitecturebecamea
profession.HetrainedwithFrederickLawOlmsted,Sr.andwasassociated
withOlmsted’sfirmforeightyearsfrom1888-1896.Priortothisheworked
withhisfatherintheirfamily’swell-knownnurserybusinessinReading,
Massachusetts.Manningstartedhisowndesignpracticein1896andrapidly
becamesuccessfulwithcommissionsforcityparkprojectsandestates,among
theformer,WilcoxParkindowntownWesterly.Hewasvaluedforhisgreat
knowledgeofplantmaterialandtheenvironmentalsettingofhiswork.
AlongwithOlmsted,ManningwasafoundingmemberoftheAmerican
SocietyofLandscapeArchitects.HewasalsoafacultymemberatHarvard’s
GraduateSchoolofLandscapeArchitecture.AtWatchHill,alongwith
RobertF.BallantineandBradfordShinkle,theClementA.Griscomfamily
andtheirarchitect,EdwardFooteHinkle,werepatrons,commissioningwork
fortheirclusterofsummercottagesonLighthousePointandnearbyBluff
Avenue.
ShownelsewhereareJustholme(Seaesta,Weonit),1905,page35,upper
left;HillHouse(TheKedge),1903,page31,lowerright,andThePoint(The
ManorHouse),1906,page42.
Trespasso,Seaswept,Moana.
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SunsetHill,1915
51
WatchHillVillagePark,1936
WadleyandSmythe,NewYork(1865-present)
Establishedin1865,andlocatedonParkAvenueatonetime,Wadleyand
SmytheFloristsprovidedbothdesignandinstallationservicesonalargescalefor
societyclients.DocumentedlandscapecommissionsincludethegardenatArden
House(forEdwardHenryHarriman)inOrangeCounty,N.Y.;atWisteriahurst
(forWilliamSkinner)inHolyokeMass.;atAvalon(forRobertS.Brewster)inMt.
Kisco,N.Y.;andatVernonCourt(forMrs.RichardGambrill)inNewport,R.I.For
someofthesecommissionstheyworkedwithwell-knownarchitectssuchasDelano
andAldrich,andCarrereandHastings,bothofNewYork.Wholelandscapeswere
broughttotheirsitesandinstalled.Forexample,thefirmshippedplantmaterial,
trees,shrubs,andflowersinfourboxcarsfromNewYorktoLouisville,Kentucky
forinstallationofthegardenattheHoraceTrumbauer-designedFlorenceBrokaw
Satterwhitememorialin1928.Thefirmstillexiststodayinitssocietyflorist,
landscapedesign,andinstallationbusinessasIreneHayesWadley&SmytheleMoult
locatedatOneRockefellerPlaza.
TheirknownWatchHillcommissionisSunsetHill.
MarianCrugerCoffin,NewYork(1876-1957)
CoffincompletedthelandscapedesignprogramatMITin1904andtrainedwithBostonlandscapedesigner
GuyLowellbeforeopeningherownpracticeinNewYork.Shewasoneofthefirstwomenlandscapearchitectsto
establishanofficeandabaseofwell-knownpatrons,includingHenryFrancisduPont(atWinterthur),ChildsFrick
(athisestateinRoslyn,N.Y.),EdwardF.HuttonandMarjorieMerriweatherPost(atHillwood,inBrookville,N.Y.),
andMarshallField(atCaumsett,inLloydNeck,N.Y.).Thesecountryhouselandscapeandgardencommissionsare
amongthedozensofestateprojectsCoffindesignedfromthemid-AtlantictoNewEngland.Coffinisalsoknown
forseveralmunicipalandinstitutionalcommissions,includingthelandscapeoftheUniversityofDelaware,theNew
YorkBotanicalGarden,andtheharbor-frontparkinWatchHillVillage.HerdesignthereincludedplacementofEnid
Yandell’sbronzesculpture,“ChiefNingret,”struckinParisin1911.Coffinmaintainedasummerhome,Wendover,
onEastHillsRoadinWatchHillfrom1921untilherdeathin1957anddesignedthesmallterracegardentherewith
definedoutdoorrooms.
NotshownisWendover(Araconda),ca.1912,gardenafter1921.
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GlossaryArtsandCraftsmovement:Alate19th-andearly
20th-centurystylistictrendinthedecorativearts,furniture,
andarchitecture,emphasizingsimpleandhonesthand
craftsmanshipovermachine-madeproductsanda
returntosimpler,morerefinedformswithouteclectic
embellishment.Themovementisoftenidentifiedwith
GustavStickley,hisperiodicalThe
Craftsman,andhisfurnituredesigns.
AlsoknownastheCraftsmanStylein
architecture.
Bargeboards:Alsoreferredtoas
vergeboards,thesearewidedecorative
trimboardsaccentingtherooflineofa
gableend.
Brackets:Decorativewoodsupportsunderroofeavesand
soffits,usuallyL-shaped.
ColonialRevival:Astylisticperiodinthelate19thand
early20thcenturiesemphasizingAmericanColonial
forms,butusuallyinalargerscalethantheoriginal.This
trendwasinauguratedwiththepopularityofthenation’s
centennialexpositionin1876,gaining
momentumintotheearly-to-mid-20th
century.
Eyebrowdormer:Aformofarched
windowdormerexpressedinaroof,
popularintheShingleStyleand
ColonialRevivalperiods.
Fanlight:Ashallow,fan-shaped,
archedwindowofmultiplepanes
usuallyplacedaboveaprincipal
exteriordoor.
Gableend:Theendplaneorwallofasimplepitchedrooforportion
thereof.
Gableroof:Asimplepitchedroofoftwointersectingplanes.
Gambrelroof:Abarn-likeroofformpopularwiththeAmerican
ColonialandColonialRevivalarchitecturalstylesconsistingoffour
planes,thelowertwoplanesbeinggenerallysteeperthantheuppertwo.
GothicRevival:AromanticVictorianarchitecturalanddecorative
artsstyleemphasizingEuropeangothicforms.Archedwindows
anddoorways,steeplypitchedgableroofs,andotherelementsfrom
medievalbuildingsareusedfordomestic,
commercial,andinstitutionalbuildings.
Half-timbered:Theexposedtimberwood-
framesystemofTudorhouses,oftenwith
interveningspacesstuccoedorfilledwith
brickwork.
HighVictorianGothic:Aninterpretation
oftheGothicRevivalstyle,butem-
phasizingpolychromematerialsand
banding,particularlyinbrick-workon
wallplanesandwithslateorwoodshingles
onroofs.Oftenverticalelementsand
artfulpatternsareemphasizedfollowing
thedesignphilosophyofJohnRuskin,a19th-centuryBritishartcritic,
amongothers.
Hippedroof:AroofformpopularintheAmericanColonialandArts
andCraftsmovementwherefourshallowroofplanesfromeachsideofa
buildingintersectinaridge.
Mansardroof:AFrenchroofformadoptedinAmericanarchitecture
aftertheCivilWar,wheretheprimaryroofplaneisnearlythesame
angleasthewallbelow,allowingforanatticfloorofgreatervolumethan
aconventionalroof.Oftenthisplaneiscurved.Theupperportionsof
theroofaregenerallyhippedinashallowspantocoverthebuilding.
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Mullion:Averticaldividingwall
memberbetweenwholewindowsash
units.
Muntin:Anarrowwoodormetal
bardividingwindowpanes,towhich
thewindowpanesareattached,
withinamovableorfixedwindow
sash.
Porte-cochere:Adeepporch
extendingfromadrivewayedge
toanentranceorextendedporch
providingsheltertopeopleand
vehicles.
Potager:Akitchengarden
combiningvegetables,herbs,and
flowersinanartfulandmutually
beneficialway;oftenfenced.
QueenAnneStyle:Alate19th-centuryromantic
architecturalstylederivedfromearlyAmericanColonial
orpost-medieval(late17thcenturyandearly18thcentury)
formssuchashighgables,brokenpediments,andbay
windows,andoftenembellishedwithturretsortowers
andspreadingporches.Decorativeshinglesandpanels
ornamentgableendsandupperfloorswhilelowerfloors
areclapboard-cladorbrick.Thisstyleisalsoreferredto
as“FreeClassical.”Inplan,oftenthereisalargecentral
“livinghall,”withastaircaseandinglenookfireplace,from
whichtheotherroomsopenfreelythroughwidearchways.
Rhythm:Therepetitivefrequency,uniformsize,andvertical
alignmentofwindowanddooropeningsinabuilding’s
facade.
53
ShingleStyle:Apopularlate19th-centuryAmericanseaside
architecturalstylederivedfromtheQueenAnneStylewith
extensiveuseofexteriorshinglesidingstretchedacrosswall
planes,corners,bays,soffits,androofs.Roofsoftenconceal
secondandthirdfloorsandsweepdowntocoverporchesor
upperbalconies.
Sidelights:Verticalwindowpanels,generallynarrow,that
framedoorways.
Soffit:Thepaneledundersidefacingofaroofeave.
Surround:Theornamentalworkordecorativetrim
surroundingadoor,windoworfireplaceopening.
TudorRevival:Anearly20th-centuryacademicrevival
architecturalstylewhichcapturestheEnglishmedievalperiod
ofhalf-timberedbuildings.Thisstyleissometimesreferredto
asElizabethan.Featuresincludediagonalwindowmuntins,
diamond-shapedwindowpanes,leadedglazing,andheavy
exposedtimbers(particularlyingableends),whichmaybe
structuralorapplied.Thespacesbetweenthetimbersmaybe
stuccoedorbrickedin.
Tuscancolumn:Asimpleroundcolumnpostusuallyused
forporchsupportsonlate19th-centuryShingleStylehouses.
Theseareornamentedwithsimplecapitals(ortops)and
moldingsinthe“Roman”Doricorder.
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ReferenceswithSelectAnnotationsAbbott,Steven.“JohnCalvinStevens:TheEarlyYears.”InMaineHome&
Design.Portland:ThomasReidPublishingLLC,September,2007.
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asectionontheseaside.
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IceAge,and,intermsofhumanhistory,fromaboriginalsettlement
tothepresent.Aparticularfocusisonthedevelopmentandsocial
historyofthecommunity,fromitsheydayasahotelresortdestination
toitstransformationintoa“cottagecolony.”Detailedinformation
isprovidedaboutthecottages(withmapsastotheirlocation)and
biographicalsketchesofmanyoftheirowners.
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andtheSyracuse,N.Y.centerfortheArtsandCraftsmovement
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AnextensivecatalogueofdesignworkinRhodeIsland,including
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54
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Lang,DerrylG.“TheDevelopmentofaSummerResort:WatchHill,Rhode
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CommunityDevelopment,February8,2005.
ManydwellingsinthedistrictweredesignedbyarchitectHorace
SouthworthFrazer.Theyarecataloguedbystreetanddescribed.
SomeareverysimilartothosehedesignedatWatchHill.
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Arespectedsourceforarchitects’biographies.
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AsurveyofWatchHilllandscapesisincluded,
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