Harriman House
…room at the level of the west terrace. Across this room full-width steps rise to the grand staircase at the north end and descend to the salon in the centre…
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…room at the level of the west terrace. Across this room full-width steps rise to the grand staircase at the north end and descend to the salon in the centre…
…the Shaw style, with tile-hung South side and service wing. Nicholas Taylor notes that the garden side was ‘one of the best things he ever did, informal, with strong horizontals…
…brother of Margot Asquith. Neo-Georgian. Formal, handsome and extremely large. The centre block incorporates the Monypenny house, begun in 1721. Lutyens encased it, added a third storey and a high…
…Lutyens clearly enjoyed giving the house different moods on each elevation, but every detail is carefully considered, from the capitals to the pilasters carved with the initials of the Player…
…this restoration and prepared his own set of designs for it in 1886. The late 15th century wooden substructure of the wooden belfry was a remarkable feature, and its ‘Vanbrughian…
…up ‘the saloon and staircase- throwing them into one as it were’. He completely transformed the Georgian fenestration of the existing house into Tudor bays with gables. The project was…
…formerly the village shop and a pair of cottages; Lutyens kept the front, including the shop interior, and added a large tile-hung wing at the back, very similar to George’s…
…at Littleworth Cross, a house of 1873 in the Shaw manner, it is now embedded in a later house of c. 1920. Its high chimneys and ornamental half-timberwork are again…
…their gables, reflect the influence of Ernest George’s Onslow Almshouses in Guildford. The walls are of Bargate stone and the roofs covered with Horsham stone slates. There is, however, already…
…1840 with a delicate Baroque shell-hooded doorway by Lutyens, 1890. (O’Brien et al,2022, p.685) Although he only occasionally used Georgian for exteriors, he constantly used classical details for interiors, usually…