ENGLISH STYLE ACCLIMATISED.
In this, the home of Mr. and Mrs. H. K. Hancock, of Mackay Street, Coorparoo, an English style has been charmingly modified to Queensland conditions. Archictect, Mr. C. H. Griffin.
An English Home Style is Fashioned
TUDOR PERIOD CULTURE IN BRISBANE HOUSE Artistic Qualities of Wood Fully Vindicated
In querulous tone the comment is often made that Australia is entirely without architectural tradition, and the complaint is usually aimed at local domestic building styles. The philosophically-minded reflect that, after all, there is nothing new under the sun, and that, if the home-builder harks back to English tradition for his inspiration, there is. nothing seriously against his so doing.
It is good to notice, however, that in these days of more expansive ideas in home-building, very successful endeavours are being made to adapt domestic styles of other climes and other times to local conditions. In illustration of that success, the half-timbered house recently erected by Mr. and Mrs. H. E. Hancock, of Mackay Street, Coorparoo, has been selected this week for the purposes of description.
Briefly described, a half-timbered house possesses a lower storey in brick or stone, and the upper storey in wood. Why, the thoughtful reader may ask, should a timber merchant compromise his business interests by mixing brick with wood? Mr. H. R. Hancock, a member of the well-known Brisbane' timber milling firm of Hancock and Gore, was deeply conscious of. the obligation placed on him to demonstrate the artistic qualities of old wood in homebuilding, but in using brick as a supplementary constructional material he gave support to the opinion so often expressed in this section of The Courier-Mail that, if aesthetic aims are to be achieved there is no reason for the slavish loyalty to one kind of building material, and one kind only. At this stage it is appropriate to reveal that the exterior of the lower storey is merely a brick veneer — brick on edge, with a three-inch thickness. Without the use of bricks, the whole character of the house would have been' entirely destroyed. The timbered exterior of the upper floor and the interior finishes carried out in a magnificent variety of cabinet timbers, vindicate in the fullest measure the use of wood in the creation of an architectural tradition that is completely Australian. Exterior Medley From the accompanying illustrations the general character of the house as it is viewed by the public from the street is apparent, but a seeing eye is necessary to discover the reasons underlying the exterior treatments. The architect (Mr. O. H. Griffin) was anxious that the perky, the stilted, and the lanky characteristics which mark many two-storey houses should be absent from this one, and this was accomplished chiefly by studied gradations of roof levels; and examination of the illustrations will show how skillion roofs below gable ends have tended to 'bring down' the levels of the roof. They rise gradually from the ground. Rising from the ground the first band of colour is cream textured plaster, broken (to prevent monotony) by a line of windows. Above this is the skillion roof level, distinguished by terra cotta tiles. Above this again Is a line of English cottage casement windows, the squatness of which is accentuated by large areas of dark green weatherboards, which, in the front, fill the lower part of a gable end. The apex of the gable is in cream, and this forms a background for vertical framing, picked out in dark chocolate. The barge boards outlining the gable end are also in chocolate. Above all is the main roof, a gay area of colour, the crowning piece of a medley of material and tones. The composition arrests the eye.
Massive Car Porch: The chief feature of the front of the home is the arched car-porch, which shelters the main entrance to the house itself. This car porch is. in-tended as a temporary shelter, to be so occupied only in those intervals in the day when it is inconvenient 'actually to drive into the garage. A semicircular car drive, which will' sweep beneath the porch, and branch to the garage, is planned. The first feature on entering the house is the front door,' distinguished by a massive panel of 15 bevelled glass lights, behind ' which is an artistic arrangement of rich- curtain materials. The door is flanked by smaller windows, also containing groups of 15 lights. Throughout the entire house systems of such window, lights have been installed.
Rich Cabinet Woods Any thoughtless criticism that the house is not entirely in wood is countered from the outset in the vestibule, because the staircase which ascends from this point is a lesson in the use it Queensland woods. The treads are in figured pine, and the fluted bannisters and hand-rail are in maple. Toning with the polish of these woods are the panels of figured maple with which the vestibule is walled. The staircase definitely is a decorative feature. There is a lack of sameness throughout the house, for the walls of the lounge room, off the vestibule, are papered in light brown and gold mottled texture, which harmonises with the carpet and chesterfield upholstering. Again variety is provided by the broad brick fireplace, and an unexpected note of colour is afforded by the green shutters which protect the leadlight casements overlooking the garden. This lounge communicates with a sun-porch, which, in turn, leads to the dining room. The flooring in these departments in kiln-dried, polished rose gum— gives the keynote to the flooring treatments in the rest of the house. Rose gum is a lighter shade than red stringy bark, and thus it does not so quickly show the dust. Probably there is not a better example in Queensland than in the living room of this home of the superlative qualities of butt maple veneers for wall panelling. The maple has been finished in a dull glass, thus preventing the confusing reflection of light so often noticed where high polishes have been used. By way of contrast the flush-fitting doors ire in full-figured maple, and the three-ply ceiling in Queensland pine is distinguished by mock beams to match the walls. To describe the kitchen after dwelling on such magnificent work savours of descending from the sublime to the ridiculous, but as it is cheek-by-jowl with the dining room it is convenient to pass to it, and to the garage and laundry with which is communicates. Opposite the kitchen is a small shower room for the use of any one who has been working the garden or in the garage. In the laundry is a modern mechanical water-softening system.
'Inferior' Timbers Throughout the house there are numerous examples of the exquisite effects that may be obtained by the use of 'bird's eye' pine (Bird's eye Araucaria) and hoop pine (Araucaria Cunninghami) . The popular name for the first-mentioned timber describes its characteristics perfectly, but Mr. Hancock, who is an enthusiastic student of timbers and their uses, has demonstrated that staining and polishing are required to reveal the whorls which pattern the timber. The beauty of pine has been revealed in an astounding manner in Mr. Han;ock's study at the head of the staircase. Here the furniture has been constructed of bird's eye pine, and the walls are of knotty hoop pine, which Australians have been pleased to class as 'inferior.' Realising the value of knotty hoop pine, but also realising the difficulty of painting it (because of the resinous seepage through the knots). Mr. Hancock experimented and discovered a process of staining and polishing the wood. The clear texture comes up under the treatment smoothly, but the knots, instead of being disfigurements, appear as irregular patterns, which definitely have on them the stamp of art. - To stain the timber costs no more than painting, and the little extra cost in waxing and polishing it gives a return in beauty out of all proportion to the expense. The chief feature of the main bedroom, which -is papered in cream, is the furniture, which is a classic example of the rare beauty of crotch maple veneers. The bathroom, also on the upper floor, Is notable npt only for its blend of cream and light green, tiles, but also for a small self-draining shower box, enclosed in obscure glass. An hydraulic door hinge that automatically closes the door of this tiny shower room is the last word in convenience, and the use of this simple device is recommended to all who would prevent 'splash' in their bathroom.
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