The first stage of the design brief was to construct an 1:20 Doll House base of an Georgian Terrace.
I'm designing a staircase linking all 5 projects over 5 floors. The project has to be inspired from previous design projects based about learning.
Georgian Research:
Summerson, J., 1991. Georgian London. England: Penguin Books.
P65. L3. :"The typical site of a London House is therefore a long strip of ground running back from the street. The house covers the front part of the strip, the middle part is garden or courtyard, and at the back is, in the larger type of house, a coach-house and stable served from a subsidiary road."
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p67.L1.: "Minor Variations, However, art infinitely possible. The stair can be turned this way and that, made to descend into a great hall, or built in a circular well; columns and entablatures, double doors, coved recesses and niches can be introduced."
(An entablature (pronounced /ɛnˈtæblətʃər/; Italian intavolatura, from in 'in' and tavola 'table') refers to the superstructure of moldings and bands which lie horizontally above columns, resting on their capitals. Entablatures are major elements of classical architecture, and are commonly divided into the architrave(the supporting member carried from column to column, pier or wall immediately above), the frieze (an unmolded strip that may or may not be ornamented), and the cornice (the projecting member below the pediment). )
P67.L14. "The insistent verticality of the London House is idiomatic. The French learnt at an early date to live horizontally and most, if not all, continental captials followed the French lead. In London , only bachelor lawyers lived in 'chambers', and the block of apartments of high social standing was unknown till Henry Ashton built the flats in Victoria street, in the 1850s. The vertical living-idioms produced many comments from foreigners, the best of which is Louis Simond's, written just after Waterloo:
These narrow houses, three or four storyes high - one for eating, one for sleeping, a third for company, a fourth underground for the kitchen, a fifth perhaps at top for the servants - and the agility, the ease, the quickness with which the individuals of the family run up and down, and perch on the different storeys, give the idea of a cage and its sticks and birds."
Modifications in building techniques.
Continued fear of conflagrations.
Abolishing the prominent wooden eaves-cornices which were sch a striking feature of the streets and squares of the restoration. Roofs were hidden by a parapet wall.
Changes in building practice under the Acts of 1707 and 1709. The parapet, stone cornice, and recessed window frame.
Vitruvius Britannicus
Palladio
P.79 : Georgian London's native building material was brick, made of the London clay in hundreds of suburban brick fields, whose smoking kilns marred the prospect. In quality these bricks ranged from the good hard 'stocks' of which all outer walls were constructed, to the worst 'place' bricks, whose composition included as much ash as clay but which, for cheapness' sake, were used for the unseen work in party walls and partitions, sowing the seeds of structural defects which are constantly becoming apparent today, under stress of time, traffic, and bombs.
The 'stocks' were of two colors - grey and red, the latter being a trifle more costly. The grey bricks, however, were preferred for walling in general. Red had been fashionably in Queen Anne's time but the later builders considered them not merely unfashionable but too 'hot' in color, and ugly in combination with stone and white painted wood.
After bricks , the London builder's chief material was timber, and under this head we need only mention Baltic fir and English oak.
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