The Craftsman Home Explained

13 09 2011

CRAFTSMAN STYLE

(c.1900-c.1930) The Craftsman Style was the dominant style for smaller houses built throughout the country during the period from

about 1905 until the early 1920s. It originated in southern California and most landmark examples are concentrated there. Like vernacular examples of the contemporaneous Prairie style, it quickly spread throughout the country through pattern books and popular magazines. The style rapidly faded from favor after the mid-1920s; few were built after 1930.

Craftsman houses were inspired primarily by the work of two California brothers – Charles Sumner Greene and Henry Mather Greene – who practiced together in Pasadena from 1893 to 1914. From about 1903 they began to design simple Craftsman-type bungalows; by 1909 they had designed and executed several exceptional landmark examples that have been called the “ultimate bungalows.” Several influences – the English Arts and Crafts movement, an interest in oriental wooden architecture, and their early training in the manual arts – appear to have led

the Greenes to design and build these intricately detailed buildings. These and similar residences were given extensive publicity in such magazines as the Western Architect, The Architect, House Beautiful, Good Housekeeping, Architectural Record, Country Life in America, and Ladies’ Home Journal, thus familiarizing the rest of the nation with the style. As a result, a flood of pattern books appeared, offering plans for Craftsman bungalows; some even offered completely pre-cut packages

of lumber and detailing to be assembled by local labor. Through these pre-cut examples, the one-story Craftsman house quickly became the most popular and fashionable smaller house in the country. High-style interpretations are rare, except in California where the have been called the Western Stick style. One-story vernacular examples are often called simply bungalows or the Bungaloid style. (Excerpt taken from A Field Guide to American Houses by Virginia and Lee McAlester.)

Cottage Style Craftsman – Typically a one-story building with a compact rectangular plan; a centralized main entrance consisting of a partial-width porch and flanked by windows; a symmetrical facade; a side-gabled low-pitched roof; horizontal wood siding (occasionally stucco); and Craftsman stylistic details (exposed rafter tails, wide window and door casings, triangular knee brace supports, etc.).

The Bungalow – The typical bungalow is a one-story house with low pitched broad gables. A lower gable usually covers an open or screened porch and a larger gable covers the main portion of the house. In larger bungalows the gable is steeper, with interesting cross gable or dormers. Rafters, ridge beams and purlins extend beyond the wall and roof. Chimneys are of rubble, cobblestone or rough-faced brick. Porch pedestals are often battered. Wood shingles and/or horizontal wood boards are the favorite exterior finish although many also use stucco or brick. Exposed structural members and trim work usually are painted but the shingles are left in a natural state or treated with earth-tone stains (although many of these shingles have since been painted). The wood windows are either sash or casement with many lights or single panes of glass. Shingled porch railings often terminate with a flared base. The bungalow, like other simple but functional houses, was subject to variations such as the California, the Swiss, the Colonial, Tudor and others according to locale and fashions of the time. (excerpt taken from Identifying American Architecture: A Pictorial Guide to Styles and Terms, 1600–1945 by John J.G. Blumenson.

 

Clipped-Gabled (or Hip on Gable) Craftsman – A Craftsman building covered by a gabled roof which has had its gable point “clipped off.” The roof can be front, side or cross-gabled. Typically this type of Craftsman is a one-story building. Sometimes the clipped-gabled roof will have gabled, hipped or eyebrow dormers.

Aeroplane Craftsman – A Craftsman building with a set-back second-story and wide overhanging eaves giving the impression of airplane wings. Can have a front, side or cross-gabled roof.

Eclectic Influenced Craftsman – A Craftsman building influenced by other cultures, other styles, the region it was designed in, by the preferences of its architect or builder, by the preferences of its owner and/or by the fashions of the time. Craftsman bungalows were subject to variations such as the Oriental, the Swiss, the Colonial and Tudor, among others.

Multi-Family Craftsman – A Craftsman building designed with separate complete living spaces to accommodate more than one household. A multi-family Craftsman building could be a duplex, multiplex or bungalow court. Bungalow courts tend to be in a “U” shape around a central courtyard. Often the short side of the “U” shape has a two-story, or substantial residential building that is either where the owner/manager lives, or could be a duplex.

Transitional – A building which appears to be “transitioning” from the Victorian-era into the Craftsman-era in design and materials. Typically, this type of building still retains its strong vertical emphasis on the façade, and Victorian-era design elements such as bay windows, long skinny windows and decorative knee brackets and rafters. What differentiates this type of residence from a Victorian-era residence is its Craftsmanesque features such as stonework on porch pedestals, more square windows, surrounded by wide casings, sometimes a hipped roof with a squat dormer at the façade side of the roof, and foundations and rafter tails under the roof line.





What Kind of Window do you Have

13 09 2011

Many homes have only the basic types of windows – meaning square and boring. Updated windows can make a nondescript home into one that shines with curb appeal. But you need to know what is available (and what it’s called) when talking to your window professional. Here are some terms you should know:

Awning Windows

awning windowPros - Awning windows are designed to provide light and breeze. They’re great for bedrooms and other areas that need to maintain privacy but still let some light in. Awnings can be opened slightly to allow ventilation. They can be positioned in a variety of places: next to other windows, arranged in columns, or placed above large patio doors to create a wall of light and fresh air.

Cons - Screens for awning windows are set on the inside, which can mean that all the dirt and dust that normally falls into the sash makes its way onto your floors instead.

Casement Windows

casement windowPros - Casement windows open outward for light, fresh air and side breezes. They’re tightly sealed for energy efficiency and great for hard-to-reach places, such as over sinks and appliances in the kitchen. Casements crank open, as opposed to sliding up and down, making them easier to maneuver.

Cons - If you’re moving into an older home, check on the stability of your casement hinges and hardware. Though casements are usually tough to break into, faulty or rusty hardware increases your risk factor. Consult with a professional for replacement parts or quality new casements.

Double Hung Windows

double hung  windowPros - Double hung windows are chosen for their unique style, ease of access and superior ventilation capabilities. The top of the window can be opened while the bottom remains closed – great for kids’ rooms. Double hung windows can go practically anywhere in your home. They’re perfect for kitchens, offices and bedrooms.

Cons - Double hung windows tend to leak more air than other windows. And keep in mind that only half of this window opens up, whereas different types can open completely.

Picture Windows

fixed windowPros - Picture windows create unobstructed views of the outdoors. They’re best in areas where ventilation isn’t a big concern. Think about installing them high on the walls of dark rooms and hallways for infinitely better lighting. In combination with patio doors or open-and-close windows, picture windows bring the perfect balance of light and ventilation.

Cons - These windows are for looks only. And the large expanse of glass can make them more vulnerable to breakage.

Bay Windows

bay windowPros - Bay windows create an open, peaceful feel indoors. Their multiple views allow light to stream in from different angles. Plus, the sides of the window can be opened for air circulation. Bay windows dress up any home with uniqueness and style. Replacing a flat window with a bay can completely change the amount of light that room receives. They’re primarily used for kitchens, but can also add character to family rooms and master bedrooms.

Cons - Only the sides of bay windows open and typically don’t come with screens, so incoming pests could be a problem.

Jalousie Windows

jalousie windowsJalousies are made of glass slats set in metal clips that can be opened and closed in unison. Also called a louvered window, a jalousie is made like a glass shutter. This type of window is manually rotated to open or close the overlapping panels as required, and can be opened by degrees to control how much air or light passes through. Jalousie windows are best suited for areas with year-round comfortable climates. They help cool a home, but are impossible to seal, making it difficult to keep heat and A/C air inside and extreme weather out.

Hopper Windows

hopper windowsThese popular windows are most often installed in basements. The hopper window is basically a casement window flipped on its side. The entire pane tilts inward to open, allowing for maximum ventilation. Hopper windows can make privacy and home decor an issue. Because they tilt into the room, blinds, shades and other window dressings are difficult to use in conjunction with hopper windows. Their tilt designs also makes them a poor choice for ventilation on a rainy day; water will drip right into the room. Also, they’re usually placed in basements, so there’s an added security risk for any windows installed at ground level.

The right windows can make the world of difference to the look of your home. You are now equipped to talk with your local home improvement store in the language of windows.





What Makes it a Craftsman Home?

22 08 2011

What makes a home a Craftsman? There are many different styles and looks but only a few main ingredients that make it a true craftsman. A true cra-ftsman home comes only from the design and plans from Gustav Stickley between 1858-1942 only a house originating from plans published by Stickley through his magazine, The Craftsman, can be a true Craftsman Home. He published descriptions and drawings of homes in this magazine beginning in 1901. In the January 1904 issue, he featured the first official Craftsman Home and announced that henceforth the magazine would feature at least one house a month, and subscribers could send away for a set of plans for one house from the series per year, free of charge.

The Craftsman plans offered the average American family a house that was a home, based on the bedrock virtues of beauty, simplicity, utility and organic harmony. Stickley believed that the “nesting instinct” was “the most deep seated impulse” of humankind. Stickley designed at least 241 plans for Craftsman homes. There are several time periods that different craftsman styles are noted for:

The Experimental period is 1900-1903

The First Mission period, 1904-1907

The Mature period, 1909-1915

The Final Mission period, 1916 

Each of these time periods reflect different style renderings accordingly. We see alot of these homes with built in window seating, china cabinets, box beam ceilings, chunkier massive art nouveau influence, leaded glass, very arts and crafts. Many of the homes seen today exemplify heavy use of woods and architectural detail. The majority have a boxed effect and focus around a fireplace or inglenook. I have seen a great use of mission and art nouveau influence on the properties we observe in the Northwest. You might want to do a google search under “defining a craftsman style” and see what else you can learn as well as see different period examples. Hope this helps. Please visit the website below for more in depth information into Gustav Stickley and his original plans for Craftsman homes. You will see it was part of a marketing ploy to sell the whole package ie; furniture, accessories, and home as a larger luxurious product.

A great website I found has pre drawn plans for people that would like to build a craftsman home check it out: CLICK HERE

 





Historic Homes in Coronado

22 08 2011

Historic Properties

Historic Resources
CITY OF CORONADO
DESIGNATED HISTORIC RESOURCES

Address
(click for picture)
Architectural Style Year Built
450 A Ave Tudor 1929
509 A Ave Craftsman Bungalow 1908
526 A Ave English Revival 1925
536 A Ave Moderne 1920
550 A Ave Craftsman Bungalow 1913
575 A Ave Moderne 1928
600 A Ave Craftsman Bungalow 1912
611 A Ave Tudor 1908
623 A Ave Craftsman Bungalow 1909
625 A Ave Spanish Moderne 1926
629 A Ave Spanish Moderne 1925
723 A Ave Tudor 1903
917 A Ave Craftsman Bungalow Circa 1894
921 A Ave Craftsman Bungalow Circa 1896
710 Adella Craftsman Bungalow 1936
803 Adella English Revival 1915
1005 Adella Ave English Tudor 1903
1013 Adella Ave English Eclectic 1926
1015 Adella Ave Spanish Colonial Revival 1926
1021 Adella Ave Spanish Colonial Revival 1933
1022 Adella Ave Craftsman 1898
1027 Adella Ave Spanish Colonial Revival 1923
1033 Adella Ave Prairie 1924
633 Alameda Blvd Spanish Hacienda 1935
757 Alameda Blvd Spanish Eclectic 1926
1135 Alameda Blvd Colonial Cottage Bungalow 1923
1236 Alameda Blvd Italian Renaissance 1912
1241 Alameda Blvd Spanish Colonial 1925
1244 Alameda Blvd Eclectic English Tudor 1925
455 B Ave Colonial Revival 1919
520 B Ave Spanish Colonial Revival 1927
550 B Ave Tudor 1926
566 B Ave Tudor 1925
700 B Ave Craftsman Bungalow 1911
721 B Ave Mission Revival 1924
738 B Ave Craftsman Bungalow 1911
744 B Ave Craftsman Bungalow 1911
754 B Ave Craftsman Bungalow 1910
975 B Ave Craftsman Bungalow 1913
208 C Ave Craftsman Bungalow 1927
279 C Ave Victorian 1888
476 C Ave Craftsman Bungalow 1912
561 C Ave Spanish Colonial Revival 1927
731 C Ave Craftsman Bungalow 1911
749 C Ave Craftsman Bungalow 1909
763 C Ave Craftsman Bungalow 1911
765 C Ave Craftsman Bungalow 1909
936-954 C Ave Mission Revival Court 1925
1112 Churchill Place Queen Anne Circa 1888
108 D Ave Craftsman Bungalow Circa 1892
350 D Ave Spanish Revival 1937
721-727 D Ave French Normandy 1939
848-866 D Ave Moorish Mediterranean 1930
909 D Ave Mission Revival 1926
927 D Ave Tudor 1924
948 D Ave Colonial Revival Circa 1913
576 E Ave Foursquare Circa 1892
824 E Ave Craftsman 1908
900 E Ave Spanish Colonial Revival 1930
1025 E Ave Craftsman Bungalow 1919
1000 Eighth Street Queen Anne Circa 1886
904 Fifth Street Craftsman Bungalow 1915
1427 Fifth Street Spanish Colonial Revival 1936
300 First Street Hawaiian Plantation Circa 1903
624 First Street Dutch Colonial Revival 1907
1127 F Ave Mission Revival 1924
1015 Flora Ave Victorian Circa 1892
1111 Flora Ave Italianate 1931
1119 Flora Ave Spanish Colonail Revival 1925
1125 Flora Ave Late Victorian Circa 1897
160 G Ave Spanish Hacienda 1938
329 G Ave Craftsman Bungalow 1916
465 G Ave Mission Revival 1926
471 G Ave Mission Revival 1926
720 G Ave Folk Victorian Circa 1892
751-761 G Ave Spanish Mediterranean 1937
777 G Ave Spanish Hacienda 1936
941 G Ave Bungalow 1904
1027 G Ave Craftsman 1913
1038 G Ave Craftsman Bungalow 1924
1111 G Ave Bungalow 1914
1117 G Ave Transitional Ranch 1915
1125 G Ave Spanish Revival 1928
600 Glorietta Blvd Neoclassic 1921
848 Glorietta Blvd Mediterranean Villa 1919
940 Glorietta Blvd Tudor 1925
1000 Glorietta Blvd Pueblo Revival 1916
1504 Glorietta Blvd Spanish Revival, Eclectic 1927
928 H Ave Spanish Colonial Revival 1930
165 I Ave Spanish Eclectic 1933
266 I Ave Spanish Hacienda 1936
930 I Ave Folk Victorian 1887
1100 Isabella Ave Craftsman Bungalow 1913
1156 Isabella Ave Prairie Tudor 1910
710 J Ave Spanish Colonial Revival 1929
740 J Ave Mission Revival 1928
909 J Ave Bungalow 1912
941 J Ave Spanish Colonial Revival 1928
961 J Ave New Mexico Territorial 1919
1015 Loma Ave Mediterranean 1926
1045 Loma Ave Mission 1926
1110 Loma Ave Victorian 1913
1111 Loma Ave Victorian Cottage 1888
1115 Loma Ave English Country Cottage 1925
1116 Loma Ave Victorian 1906
1126 Loma Ave Late Victorian circa 1898
1135 Loma Ave Craftsman Bungalow 1898
1118 Loma Lane French Eclectic 1898
535 Margarita Ave Spanish Hacienda 1938
1807 Monterey Ave Spanish Colonial Revival 1935
300 Ninth Street Mediterranean 1924
1006-1008 Ninth Street Craftsman Bungalow 1913
1012 Ninth Street Craftsman Bungalow 1913
535 Ocean Blvd Italian Renaissance 1911
541 Ocean Blvd Foursquare 1919
1015 Ocean Blvd Tudor 1902
1043 Ocean Blvd Italian Renaissance 1908
1010 Olive Ave Spanish Colonial Revival 1931
1030 Olive Ave Tudor 1924
1032 Olive Ave Tudor 1924
640 Orange Ave Neo Classical 1909
465 Palm Ave Spanish Colonial Revival 1929
1022 Park Place Queen Anne 1896
320 Seventh Street French Provincial 1936
1212 Sixth Street Prairie 1915
1306 Sixth Street Italianate 1927
1101 Star Park Colonial Revival Circa 1897
605 Tenth St English Tudor 1925
1313 Tenth Street Spanish Colonial Revival 1926
801 Tolita Ave Tudor 1911
826 Tolita Ave Craftsman Bungalow 1913
834 Tolita Ave Craftsman Bungalow 1913
1704 Visalia Ave Tudor 1907
1710 Visalia Ave Craftsman 1896
1718 Visalia Ave Craftsman 1896
1401 Ynez Place Italianate 1906




Check this San Diego Craftsman Out

25 07 2011

I came across this little gem while searching for a client. I am a huge fan of Craftsman style homes. I love their elegance and attention to detail. Ideally if I can the fund I would go victorian but realistically a Craftsman is more in my immediate means. Click on the link below to check out these pictures there insane. This home have been kept in amazing condition.

The seller is a 5th generation San Diegan, whose respect for the heritage of this community is reflected in the careful preservation and upgrading of this Arts and Crafts 1921 home. 9-foot ceilings, extravagant premium wood trims and mouldings, hardwood floors, a broad-mantled fireplace which serves the living room, and a house-spanning front porch ideal for enjoying the gated garden and visiting with neighbors, lovely sunny South-facing backyard. Homes like these are amazing as they stand but if the buyer is so inclined add ons and upgrades can be done to help this home become more energy efficient. Solar voltaic roofing tiles, tanksless water heaters, new windows and energy star appliances are a few ideas that could really push this historic home to the next level.

Click here for more info





Old Homes Going Green: Worth the Trouble?

18 07 2011

I found this article on a blog called “Historic Home Blog”. I thought it was interesting and wanted to share it. Click Here 

Whether it’s a cozy urban bungalow or a rambling Georgian mansion, renovating old houses is one of the best things homeowners can do for the environment. Not only are they preserving the cultural heritage and craftsmanship of a bygone era, they’re eliminating the environmental impact of constructing a new house. As preservation architect Carl Elefante of Quinn Evans Architects in Washington, D.C., puts it, “The greenest building is the one you don’t build.”But sustainable historic preservation can be tricky, as anyone knows who has tried insulating a drafty Victorian without destroying original plaster walls or leaded windows. Renovating an old house usually entails some sacrifice of the original structure to create a healthy, energy-efficient environment — but not as much as you might think.RELEARNING OLD LESSONS

Much of what we think of as modern green design was taken for granted a century ago, when most homes were built with local and recycled materials, reflective roofs, permeable walkways, operable windows, proximity to public transportation and natural-energy heating sources. “Greenbuilding is nothing new. We’re just relearning old lessons,” says Walter Sedovic, a New York architect who specializes in both historic preservation and sustainable design, and is certified by the U.S. Green Building Council’s LEED (Leadership in Energy and Environmental Design) program.

Alas, what works for building new green homes doesn’t always work for renovating historic ones. Preservationists complain that sustainable design advocates often promote new building at the expense of preservation and adaptive reuse. Even the term “sustainable building” seems to refer to new construction. “In most of the English-speaking world, historic preservation is called ‘heritage conservation,’ so there’s a direct parallel with resource and environmental conservation,” points out Mike Jackson, chief architect of the Illinois Historic Preservation Agency.

Many traditional materials and assemblies are not acknowledged by current greenbuilding standards. “Timber, for example, is considered inconsistent and prone to insect damage by today’s standards, but it’s actually far more resilient alone than with steel added [as braces and connectors], which makes it rigid,” Sedovic explains. “Buildings need to move with the seasons.”

Likewise, lime mortar and old bricks are softer, less consistent and more malleable than modern cement and bricks, qualities that have allowed old buildings to survive, Sedovic says, even through hurricanes. “There is a fallacy that stronger is better,” he says, “but with historic buildings, the ‘weakness’ of traditional materials is better suited to last for centuries.”

Going for the green in a historic home is, in many ways, the antithesis of achieving the solar-paneled modern house. Green preservation is all about invisible sustainability. “People want to say, ‘Aha! That’s the sustainable house, right there!’” says Sedovic. “But when it comes to a green historic home, what you will see is not something readily identifiable, just a traditional building doing what it was originally designed to do.”

HERITAGE ZONES

When undertaking a restoration project, it helps to divide the home into three levels of historic value, or heritage, according to Jackson. “Most important in terms of preservation is the front, the part visible to the world, and historical features just inside the front door like the fireplace, pocket doors and ceiling medallions,” he says. Original windows and exterior surfaces in this zone should be preserved if at all possible.

The sides and back of a house are considered a secondary zone, where materials like siding and windows are replaceable if necessary. The third zone is the part of the house that is invisible to the outside world, such as basements and attics, where alterations don’t affect the home’s historic appearance.

As long as it works aesthetically with the rest of the house, a kitchen can usually be updated without destroying heritage. “If you’re looking at a house built in 1900 with a kitchen from the 1970s, that history was already altered,” says Jackson. “People tend to remodel kitchens every 15 years, and the cycle is getting shorter. What you do with the kitchen is a modern question, not an authenticity question.”

Trying to make a home energy efficient is where preservation and green design objectives typically clash. But lighting and heating upgrades often can be done with minimal damage to historic features if major alterations take place in attics and basements, the least visible zone. Also, if there is sufficient space between lathe and frame, you can pump foam or cellulose insulation into the chambers behind plaster walls.

“With historic homes, the biggest issue is with windows and walls,” says Stephen Farneth, a principal at the Architectural Resources Group in San Francisco. “How do you insulate the wall assembly if the interior finishes are really outstanding? Sometimes we don’t. We find other ways of conserving energy.”

Insulating in that third zone, especially the attic and basement, should be the first step of any green restoration. Pay particular attention to the sill plate, the point where the frame meets the foundation, a notoriously leaky point in old houses. Use caulk and expanding foam where possible.

An energy audit by a utility company or energy contractor can help pinpoint trouble spots using infrared photography and/or a blower door test, in which a powerful fan device is set up in an exterior doorway to create a strong draft inside the house, making it easy to identify air leaks in the building envelope. “Owners of historic homes can cut 25 to 35 percent off their heating bills by doing an energy audit, then insulating attic and basement,” says Jim Cavallo, an energy auditor and associate editor of Home Energy magazine. Cavallo notes that he charges between $350 and $500 for an energy audit, depending on house size.

MYTHS ABOUT WINDOWS

Leaded and stained glass windows are integral to the character of an old house. Unfortunately, they are frequently as drafty as they are charming. Replacing them with vinyl or aluminum windows can drastically change the appearance of a historic house, but many people assume this is the only solution. Everyone knows double-glazed panes beat leaky, century-old singles, right?

Actually, the draft has only partly to do with glass. “At least half the problem is in the way the window meets the sash and wall structure,” says Sedovic. “Often, manufacturers’ claims of efficiency are actually a measure of the glass, not the window unit. As a result, poor choices are made relative to the expense and aggravation of doing window replacements.”

Preservationists sometimes suggest installing storm windows on the interior in order to maintain the outer appearance of original windows facing the street. However, replacement windows have pushed storm windows out of the marketplace, so you might have to look beyond your local home improvement store to find good ones.

Wooden storm windows such as the storm-and-screen combination sold by Marvin Windows and Doors are effective and authentic-looking. Less expensive options include weather-stripping and insulating wood frames with spray insulation, and reglazing panes. In general, restored wood windows look better, last longer and add more to the resale value of a historic home than vinyl or aluminum replacements.

Roofs on old houses can often be worse energy eaters than windows. “On a lot of old houses, the walls and windows are proportionally overwhelmed by the size, character and performance of the roof,” says Elefante. “In that case, don’t tear the windows out. Address the condition of the roof.”

Even a small roof can have a big impact. An experiment on a couple blocks of Philadelphia row houses a few years ago found that black tar on the flat roofs was absorbing sun and heating up the upper floors. Replacing the tar with a reflective silver coating not only reduced temperatures inside the houses but in the surrounding neighborhood as well.

A SCIENTIFIC APPROACH

Along with their aesthetic value, original materials also contain significant “embodied energy,” an environmental benefit destroyed by modern replacements. “You need to look at the fundamental quality of the materials — whether plaster walls, slate roofs, copper gutters or wood windows — and understand they have lasted a long time and will continue to last if treated reasonably well,” Sedovic says. “If a window has to be replaced in three to 10 years, how does that compare to something that’s been in place for 50 to 100? It’s important to look at the cost long-term.”

Unfortunately, there is not a lot of hard evidence to help owners of historic homes, who are contemplating “improvements” such as replacement windows, make the right decisions. “It’s hard to make a comparative discussion between the benefits of a historic casement vs. replacing it,” Sedovic admits, “because there is almost no data available.”

That may be about to change. Interest in sustainable building has led to experiments in green historic home renovation around the country. In Chicago, for example, the Historic Chicago Bungalow Association (HCBA) gathered a team of preservation and greenbuilding experts and began renovating abandoned 1920s brick homes five years ago, with the idea of sharing the results with local homeowners. Where possible, original exteriors, windows and walls are preserved and paired with various modern and efficient energy systems.

This partial insulation ended up being more cost-effective than the $10,000 geothermal system installed in a bungalow down the street.

Annette Conti, executive director of the HCBA, says she expects better results with a geothermal system the HCBA will install in a larger historic home this year. “The larger the house, the better geothermal works,” she notes. “Every project will be slightly different because every home is different and its energy use is different.”

Conti, whose background is in historic preservation, plans to focus on the issue of windows this year. “It alters an old house so much to lose the interesting old window styles,” she says. “The best compromise we’ve come up with is to save the windows on the front of the house and use [replacement] vinyl ones on the sides. Now we get to test it over the next 20 years and compare the performance of historic to vinyl windows.”

Likewise, the Green Building Program of the Office of Sustainable Development in Portland, Ore., is helping local owners of historic homes renovate responsibly. Since winters are relatively mild in Portland, insulating old houses is less of an issue than in Chicago.

Many preservationists say regional initiatives like these may be the key to preserving old homes in a sustainable way. After all, climates and conservation issues differ dramatically from one region to the next.

“What’s important in New England is very different from what’s important in Tucson, where water conservation is a big issue,” says Jackson.

One point is certain: American homes are getting older and we have to find ways to make them work effectively.

“Many people are intoxicated with the new,” says Elefante. “But step outside and look around. Everything out there has already been built. We can’t just find solutions in the cool stuff built last year. We have to find solutions to the stuff that’s already there. Tearing it all down and starting over — that’s just not a good solution.”





Bungalow (Craftsman) Porch Styles

3 07 2011

Note that no matter the style of bungalow, they have one important feature in common – the bungalow porch. Because of the nature of design, the bungalow porch creates a sense of community.

You will find that most bungalows are built in specific sections of a town or city. Their owners would sit on the porch after a hard days work to rest and talk with neighbors and friends. Bungalows have great porches.

The American Craftsman bungalow typified the common styles of the American Arts and Crafts movement, with common features to include low-pitch roof lines on a gabled or hipped roof; deeply overhanging eaves; exposed rafters or decorative brackets under the eaves; and a front porch beneath an extension of the main roof.

Bungalow Porch

 

Chicago Bungalows are typically built of brick and have one and a half stories. The primary difference between a Chicago bungalow and others is that the roof gables are parallel rather than perpendicular to the street. Chicago bungalows are relatively narrow, an average of only 20 feet wide.

Chicago Bungalow Porch

 

The California Bungalow was a widely popular 1 1/2 story variation on the bungalow in America from 1910 to 1925.

California Bungalow Porch

California Bungalow

Milwaukee Bungalows: Many older houses in Milwaukee, Wisconsin, are bungalows similar to those of the Arts and Crafts style like Chicago’s, but usually with the roof gables perpendicular to the street. Milwaukee bungalows tend to have white stucco on the lower portion of the exterior.

Detroit Bungalows: Also built during the Arts and Crafts movement, Detroit bungalows were constructed using local building materials.

Types of Arts and Crafts Bungalow Designs

Bungalow Porch

 

Ranch Bungalows: Ranch bungalows are designed with bedrooms on one side and the living areas on the other. The attached garage, if present, is located on the living area side.

Raised bungalows: Raised bungalows have a basement that is partially above ground allowing for natural lighting in the lower level. Foyers are usually located at ground level half-way between the floors. Garage entrances are normally at basement level.

Airplane Bungalows: Variations of craftsman style home plans include the “Airplane” bungalow which has a much smaller area on its second floor that appears to “pop out”. Centered on the structure with windows on all sides it has a view much like that of a cockpit of an airplane. An LA company introduced a Japanese-pagoda roof-line inspired style at one time and called it an “aeroplane bungalow.”

Airplane Bungalow Porch

You might note that bungalows do not have attics. This allows for the distinctive roof line which is normally quite low. Natural materials like wooden shingles and clapboard are used for siding. Cobblestones and brick are normally used for the exterior walls, porch columns and chimneys.

 





Craftsman Green Renovation

20 06 2011

From Signonsandiego.com

When seeing the exterior of artist Doug Kipperman’s 1917 bungalow in South Park, no one would guess the eco-friendly house to be a century old.

The inviting front porch, stained-glass pieces, well-furnished gumwood paneling and beautiful country-style backyard could be deceiving. However, the importance of sustaining the environment and its people is what led Kipperman to improve the old home.

After stumbling across its sale in 2004, Kipperman and his wife immediately fell in love with the original craftsmanship and felt the need to bring the charming details of the house back to life. Patience with the long renovating process has given him and his family a beautiful space to call home sweet home.

To find inspiration for your living space, view this sustainable house along with four other homes showcased at this year’s Old House Fair, now in its 13th year and presented by the South Park Business Group and the Greater Golden Hill Community Development Corp.

Q: How long did it take to refurbish the house?

A: The physical building took about seven to eight months, but the property is evolving. The gardening took a little over a year, but the overall yard took about over three years. It’s been on a project-by-project basis. Our next project is a “living wall” on the backyard deck. It will be a tapestry with real plants and backlit stained glass. However, we’re calling it an “eternal wall,” because my attitude is to make sure it lasts for the rest of my life.

Q: What led you to want to renovate the house?

A: The place was a diaster. It was neglected for a lot of years, but we just fell in love with the craftsmanship. We sat for six hours talking to the owner. There was this warmth, beauty and craftsmanship about the house that we don’t see anymore. Nowadays, we are in such a hurry we forget about before. We wanted to maintain the spirit of the craftsmanship, but put in our own personality.

Q: What was the most challenging aspect when fixing the house?

A: To make it safe. To make it a healthy environment. The construction and materials that are sustainable were not readily available, so it was hard, but it was important to make it safe. And accessible.

Q: Any advice for people who are interested in repairing their old homes?

A: Be patient and have deep pockets. Make sure people you work with know what you want. We’ve been blessed with the people we’ve worked with. Know the repertoire of the contractor. I talked to customers of contractors to know how they worked.

Q: Why did you feel it is important to show your house at the Old House Fair?

A: Pride. We’re proud of our house. As an artist, I look at a lot of different things, and I like to put my own signature on it. I look at everything and inspire to create my own art. Hopefully this will inspire others.

When seeing the exterior of artist Doug Kipperman’s 1917 bungalow in South Park, no one would guess the eco-friendly house to be a century old.

The inviting front porch, stained-glass pieces, well-furnished gumwood paneling and beautiful country-style backyard could be deceiving. However, the importance of sustaining the environment and its people is what led Kipperman to improve the old home.

After stumbling across its sale in 2004, Kipperman and his wife immediately fell in love with the original craftsmanship and felt the need to bring the charming details of the house back to life. Patience with the long renovating process has given him and his family a beautiful space to call home sweet home.

To find inspiration for your living space, view this sustainable house along with four other homes showcased at this year’s Old House Fair.

Q: How long did it take to refurbish the house?

A: The physical building took about seven to eight months, but the property is evolving. The gardening took a little over a year, but the overall yard took about over three years. It’s been on a project-by-project basis. Our next project is a “living wall” on the backyard deck. It will be a tapestry with real plants and backlit stained glass. However, we’re calling it an “eternal wall,” because my attitude is to make sure it lasts for the rest of my life.

Q: What led you to want to renovate the house?

A: The place was a disaster. It was neglected for a lot of years, but we just fell in love with the craftsmanship. We sat for six hours talking to the owner. There was this warmth, beauty and craftsmanship about the house that we don’t see anymore. Nowadays, we are in such a hurry we forget about before. We wanted to maintain the spirit of the craftsmanship, but put in our own personality.

Q: What was the most challenging aspect when fixing the house?

A: To make it safe. To make it a healthy environment. The construction and materials that are sustainable were not readily available, so it was hard, but it was important to make it safe. And accessible.

Q: Any advice for people who are interested in repairing their old homes?

A: Be patient and have deep pockets. Make sure people you work with know what you want. We’ve been blessed with the people we’ve worked with. Know the repertoire of the contractor. I talked to customers of contractors to know how they worked.

Q: Why did you feel it is important to show your house at the Old House Fair?

A: Pride. We’re proud of our house. As an artist, I look at a lot of different things, and I like to put my own signature on it. I look at everything and inspire to create my own art. Hopefully this will inspire others.

 





LEED Approved Craftsman Style Home

13 06 2011

According to its LEED for Homes score, the Gottfried family’s East Bay craftsman is the greenest private home in America. Fortunately, when they decided to retrofit the house for a greener lifestyle, they chose to keep the beautiful craftsman bones intact. The result is an amazingly harmonious combination of early-20th-century style with innovative new systems for everyday conservation, including wastewater recycling and solar energy.

Backstory. David Gottfried is the founder of the U.S. Green Building Council, and so when his family bought the long-neglected 1915 bungalow, they were determined to make it as green as green could be. Their decision to move in the first place was inspired by a desire to reduce their footprint; they went from a 2,600 square foot house high up in the hills to 1,500 square feet in a walkable neighborhood near a BART station. To eliminate his commute entirely, Gottfried built a home office, a LifePod shed in the yard powered by solar, and heated by the sun as well through an all-glass wall.

Green Details. All of the paints used in the bungalow’s renovation were zero-VOC paints by Mythic. Celluose insulation, recycled from newsprint, was blown into the existing walls through small holes drilled in the wood paneling. A gray water recycling system nourishes the native plantings in the yard, and also provides water to the house’s toilets. Solar panels bring the family’s electric bill down to net zero by feeding energy back into the grid on sunny days. And for the bungalow’s exterior stairs, which needed to be replaced, the family chose wood from a century-old bridge in Sacramento.