1.
Arts and Crafts Style 1900-1920.
[Ord. No. 2579, Repealed and Replaced, 3-20-2012]
The Arts and Crafts movement originated in England in the 1880s when the designer William Morris (1834-1896) began writing and lecturing about the need for a "new birth" of the arts. He rejected classically inspired art and looked instead to the Middle Ages, local traditions, and nature for inspiration and subject matter. According to Morris, art was for everyone, not just the wealthy, and everyone was a potential artist or craftsperson. He feared that the prevailing doctrine of "art for art’s sake" was causing artists to lose touch with real people and life, and that his attitude would eventually kill art’s vitality. Ardent and articulate in his views, he persuaded others to look at common objects such as furniture, metalwork, wallpaper, textiles, and houses as subjects worthy of artistic expression. His philosophy became so influential that the Arts and Crafts Society was formed; it espoused the virtues of natural materials and fine craftsmanship, encompassed all aspects of design, and elevated the crafts to the status of art.
Although Morris was not an architect, he influenced many creative English architects, including Philip Webb (1831-1951), who designed Morris’s house, known as the Red House, in 1859. The design, modeled after local Gothic vernacular houses, was considered radical because vernacular houses were generally regarded as inferior and unworthy of emulation. The ideals of the Arts and Crafts movement – love of nature, and respect for the common man and craftsmanship – led many architects of the time to base their designs on traditional, rather than classical, houses built by country people out of available materials.
Two other English architects, C.F.A. Voysey (1857-1941) and Sir Edwin L. Lutyens (1869-1944), also influence the architecture of the Arts and Crafts movement. Voysey, who also designed furniture, wallpapers, and fabric, simplified and adopted English country house designs, creating a "new" usually smaller home for middle-income families. His work was published in Europe and the United States throughout his life. The Wade Pipes House (120), in Portland, with the medieval roof pitch of 45°, and the low opposing slopes of the two gables, clearly shows Voysey’s influence.
*The style descriptions are borrowed from the book "Architecture, Oregon Style."
[Cross-Reference: Clark, Rosalind. "Architecture, Oregon Style." Portland: Professional Book Center, 1983.] |
Arts and Crafts Style 1900-1920 | |
Characteristic Elements of the Style | |
• | Steeply pitched gable roof, often with intersecting or double gable dormers, or with one slope occasionally sweeping close to the ground. |
• | Prominent chimneys. |
• | Asymmetrical composition, generally rectangular, with roof, window and porch projections. |
• | Casement and sash windows with many small panes, segmental and round arched openings used for accent. |
• | Stucco, shingle, brick, or horizontal siding sometimes used in combination. |
• | Simplified English vernacular elements such as simulated half-timbering and simulated thatched roofs. |
2.
English Tudor Style 1910-1935.
[Ord. No. 2579, Repealed and Replaced, 3-20-2012]
Characteristic Elements of the Style | |
• | Steeply pitched gable roof, often with double gable dormers, or lower roofs behind ornamental parapets. |
• | Prominent fluted chimneys. |
• | Rectangular shape with vertical projections. |
• | Bay, oriel, dormer, and many-paned windows, sometimes with leaded glass. |
• | Brick construction, with bricks sometimes set in intricate designs; wood-frame construction, with stucco finish; or a combination of brick and stucco construction. |
• | Tudor-arched or round-arched openings, especially in the entrance door; quatrefoil or medieval designs in decorative trim; imitation half-timbering. Brick buildings have contrasting stone moldings. |
The English Tudor style was one of the most popular styles in the years following the First World War. Wealthy Americans were attached to the English country manor house and used it as the model for their suburban homes. The characteristic half-timbering, usually only a superficial design placed upon a stucco wall, was based on the medieval tradition, which called for heavy timber framing with wattle and daub (a mud-and-straw or twig mixture) or brick infilling between the timbers. The sources for this fashion are to be found in English buildings of the sixteenth and early seventeenth centuries. Good examples can be found in most towns and cities throughout the state.
3.
Oregon Rustic Style 1915-1940.
[Ord. No. 2579, Repealed and Replaced, 3-20-2012]
Characteristic Elements of the Style | |
• | Moderately pitched hipped and gable roofs, sometimes in combination. |
• | Large stone chimneys. |
• | Asymmetrical composition. |
• | Numerous small windows with many panes and simple undecorated frames, dormer windows. |
• | Log construction, unpeeled logs or half-round logs applied as siding; board-and-batten or shingled siding left unpainted; natural materials such as river boulders or rough stone used in foundations or as siding for first-floor levels. |
• | Handcrafted rustic decorative elements: carved newel-posts, handwoven textiles, and log or bent-twig furniture. |
The Oregon Rustic style is comparable to the National Park style used for the lodges and buildings in national parks around the country. These buildings, designed to harmonize with their forested settings, used natural materials such as logs and local stone, and sometimes emulated to the look of pioneer or folk architecture. They resemble early log buildings but differ from them in their self-conscious use of rustic elements. The Rustic style was also influenced by the Great Camp architecture of the Adirondacks, a style used in resorts built for very wealthy American families between the 1880s and the 1920s. The buildings of these resorts were mansion-like wooden structures that used logs for siding, branches for posts and other rustic materials for furniture and decorative details.
Perhaps the first Rustic style building in Oregon was Cloud Cap Inn, built on Mount Hood in 1889. Its design by William H. Whidden featured log construction, a stone chimney, and a wood shake roof, trademarks of the style.
Crater Lake Lodge, built in 1914 with additions in 1924, and Oregon Caves Chateau, built in 1934, were both constructed in the National Park tradition. Timberline Lodge, built on Mount Hood between 1936 and 1938 as a Works Progress Administration (WPA) project, is the finest example of the Oregon Rustic style. The Timberline project employed some of Oregon’s most noted craftsmen and artists, and remains today as a monument to their skills.
The United States Forest Service used this style in ranger stations, shelters, and lookouts in the early 1900s. During the Great Depression, the Civilian Conservation Corps (CCC) adopted the style in the many structures it built in recreation areas across the country.
4.
LOC § 50.05.004 Figures.
[Ord. No. 2579, Repealed and Replaced, 3-20-2012; Amended, 12-17-2024 by Ord. No. 2949]
FIGURE 2 LOC § 50.05.004.5 (Street Corners) |
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FIGURE 3 LOC § 50.05.004.5 (New Building and Secondary Building Entrances) ALLEY (BEFORE) |
ALLEY (AFTER) |
FIGURE 4 LOC §§ 50.05.007.5 and 50.05.004.6 (Building Design – Storefront Appearance and Awnings) |
• | Shed type awning with open end (above) and closed end (below). Both with valance. |
• | Storefront appearance at ground level. |
• | Brick pavement panel (below): |
FIGURE 5 LOC § 50.05.004.6 (Building Design – Ground Floor Design) | |
• | Mixed use structures – retail below/office or residential above. |
• | Stepped cornice due to slope. |
• | The gable roofed building is masonry at lower level to establish a strong visual base. |
• | The flat roofed building is all masonry. |
• | Signage opportunities on awnings and in cornice band or hanging above cornice. |
New buildings borrow from the adjacent English Tudor building.
Note complementary massing, roof forms, masonry chimney and building base. One site defines the street with a hedge, the other with a masonry and metal fence.
FIGURE 7 LOC § 50.05.004.6 (Landscaping and Site Design Requirements) |
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FIGURE 8 LOC § 50.05.004.8 (Landscaping and Site Design Requirements – Street Furniture and Lighting) |
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FIGURE 10 LOC § 50.05.004.8 (Landscaping and Site Design Requirements – Walls) |
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FIGURE 11 LOC § 50.05.004.11 (Parking Structures) |
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Parking structures can be integrated with residential or commercial building by using similar materials and similar proportions of openings and by extending horizontal elements (i.e., cornice).
The garage entry takes advantage of topography to be visually subordinate to the pedestrian entry.
FIGURE 12 LOC § 50.05.004.12 (Street Alley and Sidewalk Design – A Avenue) |
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