Crown Paints Exterior Colour Book

Guidance and inspiration for professional exterior decoration projects.

EXTERIOR Colour book

It’s not just paint.

FOREWORD

The Exterior Colour book has been created by the Crown Paints Colour Service to provide both guidance and inspiration for exterior decoration projects. We understand the importance of colour and aim to share our knowledge and experience to help with the selection process.

When choosing colour for exterior buildings you should consider factors other than personal preference as the decisionwill have an impact on the surrounding area. The Exterior Colour Book provides information about the built environment and covers topics such as historical styles, geology and building stones, regional

colour and colour application. Beautiful colour palettes and a variety of colour schemes provide visual inspiration and creative ideas. With our Sandtex Trade and Sadolin brands, Crown Paints has solutions for every exterior decorating project.

SD: Colour available in a range of Sadolinproducts. SX: Colour available in a range of Sandtex Tradeproducts. For technical reasons connectedwith colour reproduction andprintmanufacture the colours shownwill not exactly match thepaint colour anddonot represent a particular texture or finish. For further informationor for colour samples, please contact our Customer RelationsTeam on 03300240302.

CONTENTS

01 Introduction ................................................................................. p 4 02 Product information ............................................................... p 6 03 Geology . .......................................................................................... p 8 04 Regional colour . ....................................................................... p 16 05 Architectural styles . ............................................................. p 36 06 Colour inspiration .................................................................. p 66 07 Colour & application . ......................................................... p 80 08 Specification and Colour Services ............................ p 92

01 Introduction

Colour has been used through the ages to decorate and document our lives. It is found in examples of cave paints, wall frescos, art and architecture.

Colour was and still is a prominent feature of our buildings for both domestic and commercial properties. Originally pigments were produced from substances that existed naturally in the environment. In the UK, cohesive colour palettes were created almost accidentally, limited to local construction techniques andmaterials.

The developments of the Industrial Revolution enabled constructionmaterials to be produced on a larger scale and transported nationally. Today, the latest technologies have produced such an extensive variety of buildingmaterials and colour pigments we can be overwhelmed with toomuch choice. The idea of a sensitive colour palette can

be lost. When choosing a colour palette for an exterior project the one great determining factor is that the building will formpart of the landscape and the surrounding environment. A balance of respect and innovation is a good starting point, the Exterior Colour Book provides inspiration and colour knowledge to help with the selection process.

When choosing a colour palette for an exterior project the one great determining factor is that the building will formpart of the landscape and the surrounding environment.

Theremay be a fewbrands in the construction industry boasting a 50 year pedigree, but few claimto serve the very same purpose today as they didwhen they first appeared in themarket . Sandtex Trade however has stayed true to its origins and continues to serve the same industry needs in verymuch the same way as it did in 1961; protecting and decorating the nation’s external substrates using a system approach. Over the decades Sandtex has gone fromstrength to strength and with the launch of a brand specially developed for professionals. The Sandtex Trade brand and its product portfolio has benefited from extensive investment in research and development and features state of the art coatings technology. That’s why you will find BBA accreditations and anti-carbonation certificates which ensure our formulations include the most durable, weather resistant and light-fast productsmoney can buy. The Sandtex Trade systemnow consists of products that encompass wood, metal and even uPVC as well as stone, brick, pebble-dash and render, and of course concrete which is where it all began. 02 Product information

• 20 years protection • Ultimate dirt resistance • Excellent adhesion • Quick drying • Anti-carbonation concrete protection • Highly flexible, covers & resists re-appearance • Based on high performance Pliolite R resin • Tested & proven performance in ‘all weather’ conditions • Resistant to showers after only 20minutes • BBA approved 15 years proven durability • Solvent-based, Matt finish

The ultimate defence against the elements. A superior durable, smoothmasonry paint which provides up to 20 years protection against weather exposure

Specially developed for use in adverse weather conditions, Sandtex Trade 365 All Weather Masonry can be used in temperatures as low as -10°C.

• For everyday conditions • Highly durable • Good opacity • Covers fine cracks • Water-based, Matt finish

A smoothmasonry paint specially formulated for the professional user, which provides a quality protective and decorative finish

• Very lightly textured finish, with excellent opacity • An aggregate reinforced film, for extra protection • Anti-carbonation coating • BBA approved 15 years proven durability

A premiumquality, finely texturedmasonry paint which provides a professional quality finish and long lasting protection

• Helps fill hairline cracks • Water-based, Matt finish

• 10 year exterior Gloss with mirror shine • High Gloss finish for wood • Added inhibitors to reduce UV damage • Good flow levelling & filmbuild • Manufacturers 10 year proven durability • Solvent-based, Gloss finish • Smooth finish for wood &metal • X-tra durable, outdoor specific formulation • Added inhibitors to reduce UV damage • Flexes with substrate to alleviate flaking & cracking • Solvent-based, Eggshell finish

Aflexible high-performance exterior Gloss systemwhich provides greater resistance to cracking and flaking than traditional Gloss

Aflexible high performance, solvent-based Eggshell finish, specially formulated to provide long lasting protection for exterior joinery and suitably primedmetal

sandtextrade.co.uk

• UV advanced protection • Provides tough weather protection & excellent durability • Resists blistering & flaking • Long lasting colour • Use with Sadolin Classic for optimumperformance on windows & doors • Solvent based • Provides tough weather protection & excellent durability • E asy to apply, especially over large surface areas • R esists blistering & flaking • Ideal for use ondecking, cladding, &other large surface areas • P erfect basecoat when used with Sadolin Extra Durable Woodstain on windows & doors • Solvent based • 10 year protection • Self priming & undercoating • Opaque woodstain ideal for hiding timber blemishes whilst maintaining the natural texture of the wood • Highly flexible formulation • Exceptional durability • S uitable for all exterior wood excluding decking • Solvent based • Up to 7 years protection • Flexible coating with beautiful long lasting finish • Solid colour finish with superb colour retention • S uperior weather resistance, particularly to UV & water • Suitable for all exterior wood, including decking • Solvent-based

Highly versatile all purpose woodstain for deep penetrating protection.

SUPERIOR WOOD PROTECTION

Advanced technology underpinned by over 200 years of history At Sadolin we pride ourselves on creating the very best in wood protection products, drawing on more than 200 years of innovation to offer customers the widest range of commercial and trade solutions. At the forefront of wood technology, Sadolin’s seal of quality has been centuries in the making, and the brand has come a long way since its early days in the wilds of Scandinavia. When Swedish born Jacob Holmblad founded his paint and varnish business in 1777 he dedicated himself to creating products that could withstand the harsh northern European winters. When it merged with pioneering wax colour producer, Sadolin, in 1912, the modern product was born. Today we continue to invest in technology that allows us to develop premiumquality wood treatment solutions for the modern market, channelling years of experience to create a brand you can truly trust.

Extremely durable finishing coat for all exterior joinery

Opaque wood protection, with ultimate flexible finish

sadolin.co.uk

Opaque woodstain with excellent light fastness

03 Geology

Building stone is the main building material for more than 1/2 million buildings in the UK. This map (right) shows the location of some of Britain’s best known building stones.

On the following pages, examples of the main types of building stones are shown alongside harmonious colour palettes. The proposed colours are for wood and metalwork and door areas only and we do not suggest bare stone to be painted. Britain’s towns and villages are in many cases a reflection of the local geology. The surrounding landscape and geographical character is a result of the underlying geological column. Building stones are naturally occurring

(granites), sedimentary (sandstones and limestones) andmetamorphic (slates andmarbles). Building stones are cut or shaped into blocks and slabs and used for walling, paving or roofing materials in buildings. Building stones vary greatly in appearance, colour and texture. Traditionally towns and villages were built using stone local to the region, whole towns were and can be created using one dominant type of stone. As a result, a local distinctness is apparent in our historic towns, villages and cities across the UK.

BUILDING STONES

Caithness Flagstones OldRedSandstone, Devonian Used as a building stone since prehistoric times, the height of Caithness Flagstone production was during the 19th century when its exceptional qualities as paving flags were recognised. The location of the quarries near the coast originally facilitated easy shipment tomany of Britain’s rapidly expanding industrial cities.

Granite Igneous

Throughout the 19th and early 20th centuries Britain was the world’s leading granite producer. The industry was in two areas, the north-east of Scotland and in south-west England. Small production centres also developed in Cumbria and Leiceistershire. The ‘granite city’ of Aberdeen provides a good example of the early importance of the building stone industry to the local economy and in creating the character of the area. Most of the notable buildings in the city are built of this stone and considerable quantities were exported overseas.

Scottish Parliament Building, Edinburgh

Marshall College, Aberdeen

Granite

Photo ©martin bremner (cc-by-sa/2.0)

E6840D

Rust Red

M7550J

Polar White

C3710K

M9100C

SX | SD

T2081D

D9460L

N7100C

X5060W

X9082H

Hidcote Green

Magnesian Limestone Lower Permian The Magnesian Limestone is the only dolostone (dolomite) which has been used on a relatively large scale for building in the UK. It ranges in colour fromalmost white, through pale to dark yellow brown, andmay even be fine, even textured or coarsely crystalline in nature. It has provided stone for some of our most beautiful religious buildings and for village housing along the whole of its outcrop, which stretches from Nottingham to the Tees.

The Lincolnshire Limestones Bajocian Middle Jurassic The Lincolnshire Limestone has been the source of several of the country’s most famous building stones including Ancaster, Barnack, Clipsham (used for repairs at the Houses of Parliament) andmany others. They are dominantly oolitic (sedimentary rock) with variable proportions of shell debris. They range in colour frompale whitish brown to yellowish brown. They have been quarried since at least Roman times and have been used extensively in many prestigious buildings as well as in the vernacular houses in themany villages along the limestone outcrop.

York Minster

Wollaton Hall

Magnesian Limestone

Lincolnshire Limestone

Photo ©Andrew Curtis (cc-by-sa/2.0)

Photo © Kate Jewell (cc-by-sa/2.0)

Polar White

Atlantic Blue

B6740N

Iberis White

B9770J

C6850G

SX | SD

F1320J

Black

BrandyWine

Q4112E

Pea Green

Obsidian

SX | SD

BUILDING STONES

Chalk (with Flints) Upper Cretaceous Chalk This is a very fine grained limestone ranging fromwhite to grey in colour. It is sometimes termed Clunch, but its best known varieties are probably the Totterhoe (Beds), Burwell (Cambs) and Beer (Devon) stones. Beer stones have been widely used for intricately carved internal decorative stone work and vaulting. Both have been extensively used in Britain’s cathedrals e.g Peterborough, Ely and Exeter, and locally in houses and in churches (e.g Lincolnshire and East Yorkshire).

Caen Stone Middle Jurassic

This French Limestone is the only ‘foreign’ stone to figure prominently in the early building stone history of Britain. It was extensively used inmany of the larger historic buildings in south-east Britain dating from the time of the Norman Conquest. The limestone is very pale yellow-white, fine evenly grained and non oolitic. Its widespread use initially stemmed from the location of the quarries along the River Orne, near Caen in Normandy, providing ready access to the coast. Thismade shipment by boat to England easier, and therefore cheaper, than the overland transportation of most of our indigenous stones.

Dover Castle

Caen Stone

Exeter Cathedral

Chalk with flints

Photo ©Anne Burgess (cc-by-sa/2.0)

Chalk Hill B9760G

H8170W

C6320M

B6740N

Old EnglishWhite

Hudson Bay

SX | SD

B4840G

X6220L

P9331G

Dark Spice Z7070K

C2460Y

Y8121T

SD | SX

Portland Stone Portlandian, Upper Jurassic Portland Stone is perhaps the best known and possibly themost widely used of Britain’s building stones. It is an even grained, white oolitic limestone with varying proportion of shells. The coastal location of the quarries on the Dorset Coast was subsequently a very important factor in the stone’s rise to pre-eminence. Although it was used locally the stone first found favour in London with the architect Inigo Jones in the early 17th century and was subsequently, and perhapsmore importantly, used extensively by Sir ChristopherWren in the rebuilding of London after theGreat Fire.

Bath Stone Bathonian, Middle Jurassic Soon recognised by the Romans as a good building stone, Bath Stone is seen to best effect in themany splendid buildings of Bath itself and in the houses of the surrounding villages. The limestones are dominantly oolitic with variable proportions of shell debris. They range frompale to dark yellowish brown in colour. Bath Stone was and is still largely produced fromundergroundmines, which now form a network of galleries several tens of kilometres in extent beneath the City of Bath and its environs.

Great Pulteney Street

Bath Stone, The Cathedral Boxmine

Port of Liverpool

Portland Stone

Photo ©Nick Chipchase (cc-by-sa/2.0)

These galleries, are now largely abandoned but they provided safe storage areas during both world wars for many important and valuable documents and paintings. Today they host a thriving mushroom industry.

It would be difficult today towalk through central London without soon coming upon a substantial building of white Portland stone.

E3840E

C2880K

B9630K

E3840E

B5670T

H8170W

SX | SD

J1191L

N1210H

P3051W

Swedish Red

D8270S

N7100C

SX | SD

BUILDING STONES

Red Sandstone Devonian

Ironstones Jurassic

Glasgow University

Britain has produced such a wide range of red sandstones that it is difficult to single out just a few for mention. The range of hues is in fact quite extensive, passing frompale pinks to deep reds and red browns. Red sandstones have been extensively used for buildings in Strathclyde, Cumbria, Cheshire, Staffordshire, Nottinghamshire, Worcestershire, Herefordshire and Gloucestershire, Glamorgan and Somerset. Whilst colourfully decorative, they have shown to be widely varying in durability.

An ironstone is a sedimentary rock that has more than 50% iron-bearing minerals. The sedimentary ironstones may be hard and calcareous and contain quartz grains, pebbles and a wide variety of macrofossils. Ironstones are characterised by their strong yellow-brown or orange-brown colours when weathered. When quarried and in an unweathered state however, they may show more subdued grey and greenish grey colours, dependant on the oxidation state of the iron minerals. Fresh ironstone blocks are often “blue hearted” where the core of the block has been protected fromweathering and oxidation effects.

Old Red Sandstone at Auchmitie

Great Hall OakhamCastle

DeFacto CC BY-SA 4.0

Graeme Churchard (GOC53)

Ironstones

Carlisle Cathedral

poorer stones originally used, for example, Worcester and Carlisle Cathedrals. It should be noted that not all Triassic sandstones are necessarily red, e.g. yellow to buff Clashach (Moray) and white Grinshill (Shropshire).

John Mann (Own work) CC BY-SA 3.0

The resistant red sandstone used in Glasgow contrasts strongly with the

Iberis White

C3830E

B7600R

Iberis White

B9770J

B8550T

C8140U

Pea Green

Obsidian

Ilex Green

D0310U

Y7180H

SX | SD

Roofing Slate Metamorphic

Millstone Grit and other Carboniferous Sandstones Carboniferous These sandstones from the Upper Carboniferous, Millstone Grit and Coal Measures, produced some of the strongest andmost durable stones used in Britain. They were particularly widely used for major engineering projects such as reservoirs, quaysides and bridge building. In Yorkshire, where the greatest concentration of working quarries still occurs, these pale yellow- brown to grey sandstones are commonly known under the generic name ‘York Stones’. Many of Yorkshire’s industrial towns and cities (eg. Leeds, Bradford, Halifax and Huddersfield) are built entirely of these local sandstones or gritstones.

Geographically, a slate is a fine grained metamorphic rock with a pronounced cleavage. It is this cleavage, which enables themason to split the rock into thin sheets. The second notable characteristic of a slate is its relative impermeability which makes it an ideal roofing material. Five areas of Britain have produced high grade roofing slates, in some cases, for several centuries. In Scotland, slates were produced at a number of quarries, which all have now ceased operation. In Cumbria (green and blue slates) and in NorthWales (purple and blue-grey slates) slate production is very much active.

Welsh Assembly Building

Hebden Bridge

Welsh Slate

Welsh Roofing Slate

Photo ©Ceri Thomas (cc-by-sa/2.0)

In Leicestershire, production has long been abandoned. In the SouthWest, slates were once quarried very extensively in numerous small local quarries. Larger operations are still active at the Delabole quarries.

M1160N Seclusion

B9760G

C6850G

B4840G

B9630K

W8080X

SX | SD

V5111K

B4310F

Goldfinch

H8180J

Y0081Z

Olive D8270S

04 Regional colour

In the UK, cohesive colour palettes were created almost accidentally, limited to local construction techniques andmaterials. Originally, pigments were produced from substances that existed naturally in the environment andmaterials were used that could be sourced locally. Colour and building techniques have become a reflection of cultural traditions, local customs and current trends both in the UK and internationally. As a result, regions, cities, towns, villages and even streets can have their own individual colour identity. We can still see this today, especially in places like Tobermory & Norwich.

The original purpose of a town or village, whether it originates from manufacturing, fishing, farming or mining helps to establish an identity within a community. In the following section there is an overview of the nine regions around the UK. The coastal, urban and rural landscape in each area reflects a unique colour palette and captures the essence of a place. The landscape is something to be considered when choosing colour for the exterior, it forms the backdrop to the building. A balance between respecting local customs and traditions and innovation is key to a successful colour scheme.

Coastal houses are often brightly coloured, and one theory for this is that returning fishermen can easily identify their home when approaching the shoreline.

Portree Isle of Skye

SCOTTISH HIGHLANDS AND LOWLANDS

D6340A

F0270J

Tobermory, Isle of Mull

B1830G

B4371F

Lovat Green D0310U

SD | SX

C8720A

P9161A

X6450M

B4181Z

V7083N

A4392R

Hebridean Coast

U1181L

Edinburgh

P8125R

X4094Q Rowan Berry Ready Mixed Flexigloss X-Tra

Plockton

Glen and Loch Trool

B8451A

N9110R

NORTHWEST; CUMBRIA AND THE PENNINES

L8390Y

Liverpool

C1790J

B8580X

P9331G

LythamSt Annes

SD | SX

Blackpool Pier

Mid Stone B0430U

Media City, Salford

B6770Y

SD | SX

M1160N Seclusion

B6740N

SD | SX

A9330F

River Hodder, Lancashire

Salford

M0620B

B3550M

D0310U Lovat Green

D7121E

SX | SD

University of Manchester

Little Langdale

Keswick

Y5120K

Y6271H

X5082S

NORTH EAST YORKSHIRE AND THE HUMBER

Whitby

C2880K

B6770Y

Ilkley Moor

K3520R

Bamburgh Castle, Northumberland

B8320J

Robin Hood’s Bay

Z3281K

Asteroid

Staithes

Oriental Blue

C3830E

C7500B

B9630K

Yorkshire Moors

Newcastle

C2460Y

Leeds

Hebden Bridge

SX | SD

Gingerbread

Y2460K

T7111K

V1150A

A3180M

WALES

N0440N

F055OJ

Llanddwyn Lighthouse

C3830E

Tenby

D1740B

D7520T

L8390Y

Anglesey Pentwyn Reservoir

Llynnau Mymbyr

Cardiff Bay

N1210H

Y5120K

Llangollen, Wales

B1760F

Beddgelert

B7770U

B0591J

D0310U Lovat Green

C8180Q

Z1220H

Swansea

SD | SX

Ogmore Valley

Y8121T

B9150G

Portmeirion

WEST MIDLANDS AND THE POTTERIES

Shrewsbury

C3830E

B9840R

SD | SX

Birmingham

Warwickshire

Shrewsbury

Plymouth Grey A6480D

Three Shires Head

Sandstone A9600R

Orpiment A8362B

Wye Bridge and Cathedral, Hereford

Malvern Hills

River Avon, Stratford Upon Avon

D0091L

Carolina Stone

Shakespeare’s Birthplace

SD | SX

Cathedral and Remembrance Gardens, Lichfield

Cinnabar X7162Y

Y5120K

Bournville Village Green

EAST MIDLANDS

C6850G

Country Stone B2630Q

Sherwood Forest

SD | SX

Cleethorpes

Hemlock

C3731S

Sutton Beach

C2460Y

Speculum

E8520Q

LincolnshireWolds

SX | SD

SD | SX

J7400R

B9150G

Chapel St Leonards

Mablethorpe

Newark Castle

Lincoln Cathedral

C6850G

Chalk Hill B9760G

Steep Hill, Lincoln

SD | SX

B7560L

C2520D Light Grey

Z4530G

Z2331D

Lincoln

Y0131V

Dark Mushroom A3180M

Stamford

EAST ANGLIA AND THE FENS

Alderburgh

C6850G

SX | SD

Cambridge

Mersea Island

G1640H

BarleyWhite B4800S

B3680X

Cromer

Norwich

X6450M

L9760P

L4441J

Y3551D

Z2331D

SD | SX

Orwell Bridge

Whisper Grey

B3550M

SD | SX

Suffolk Cottage Church

A8362B Orpiment

Lovat Green D0310U

L2450R

ElmHill, Norwich

SD | SX

Suffolk X9430Z

Y0261M

A7320K

Norwich

Cambridge

SOUTHWEST

C6850G

C0620F

Dartmouth

Cornwall

SD | SX

B9801B Cornish Cream

B0591J

H9471J

SX | SD

L4500S

P9311G

X6450M

Kynance Cove

SD | SX

Dartmouth

Devon

Salcombe

N8132S

Chalk Hill B9760G

BarleyWhite B4800S

Dartmouth

SD | SX

Castle Combe

Cotswold Cream B1731D

Cotswolds

Clifton Grey C9560Y

G6720G

Cheltenham

SD | SX

Bath

U6490N

X6450M

Lulworth Cove

Z2331D

D6120R

SOUTH EAST

C6850G

B4840G

Whisper Grey

FelphamSeafront

SD | SX

B7770U

Canterbury

L9760P

Brighton

Eastbourne

C0620F

X8590L

K6550J

Brighton

S2590K

B8240D

Leeds Castle

C6850G

Z7850F

Guildford

SD | SX

Cliffs of Dover

Z8650T

Y2460K

C0460Q

Canterbury River Stour

A9290P

X9211V

B0382J

Loose Village, Kent

SD | SX

Sargasso Sea

Winchester, River Itchen and City Mill

05 Architectural styles

Historically, architectural styles were often named after the reigning monarch. Today, architectural styles are driven by social, economic, environmental and technological change. Until the availability of synthetically manufactured pigments, colours for exterior decoration remained broadly the same over many architectural periods. In recent years there has been an increasing interest in the conservation of period properties but even with detailed paint analysis, it’s been difficult to ascertain authentic period colours. However more sophisticated paint sampling and examination coupled

with increased knowledge of the original rawmaterials has led to a clearer understanding of the original colours used. ‘Common’ colours and those seen on the exterior of ordinary domestic properties were derived fromearth based pigments and were shades of white, stone, cream, yellow ochre, umber and red ochre as these were inexpensive tomake whilst being resistant to fading. In fact, these shades are still popular today. Over the following pages you will find an overview of some of themore well known architectural styles, along with key features and a typical colour palette.

ARCHITECTURAL STYLES

1485

1610

1680

1714

1837

1870

Tudor

Palladianism

Baroque

Georgian

Victorian

Arts & Crafts

A brief outlook of architectural styles which have been predominant in the UK. In the pre-industrial age, styles took time to spread so although dates have been given, some areas of the country might not have adopted a particular style until years later.

1901

1910

1920

1950

1970 1980

2000

Edwardian

Art Deco

Modernism

Brutalism

Postmodernism

Deconstructivism

Contemporary Architecture

1901-1910 .............................................. Edwardian 1910-1939 ............................................. Art Deco 1920-1960 . .......................................... Modernism 1950-1970 ............................................ Brutalism

1485 - 1603 .......................................... Tudor 1480-1620 ........................................... Elizabethan 1580-1660 . .......................................... Jacobean 1610-1652 ............................................. Palladianism 1680-1720 ............................................ Baroque 1714-1830 ............................................. Georgian 1837-1901 . ............................................ Victorian 1870-1910 ............................................. Arts and Crafts

1970-1990 ............................................ Postmodernism 1980-early 21st century ............. Deconstructivism 2000-present .................................. Contemporary Architecture

TUDOR, 1485-1603 A period of time as well as an architectural style. In 16th-century Britain, housing was characterised by thatched roofs and exposed timber frames, and built largely with practicality in mind.

KEYDESIGN FEATURES:

The few houses that have survived from this period are the finer quality buildings, made from local materials by masons and carpenters who passed their knowledge fromone generation to the next. During the years of Tudor rule, England became richer than ever before. Themining of tin, lead and coal became very popular thus towns grew and beautiful houses were built. However, there was a great divide in the style of the ordinary home and that of the great and famous palaces; the wealthy used the exterior of their homes to promote just how wealthy they were.

WOODEN FRAMES

TIMBER MULLIONWINDOWS

JETTIES

Most ordinary homes in Tudor times were half timbered - they hadwooden frames and the spaces between were filledwith small sticks andwet clay called wattle and daub. Tudor houses are known for their black &white effect. It was the Victorians who coated the beams with tar. The Tudors left thembare or painted them red.

During the early part of this period, these were used with no glazing. Shutters or oil cloths were used to keep the worst of the weather out. The use of glass becamemore widespread during Tudor times but larger pieces were difficult tomake and very expensive, so glass panes were tiny and held together with lead in a criss cross pattern (Lattice).

This was the overhang and a way of creating extra space on the upper floor of a home as well as a status symbol. The urban houses of merchants and tradesmen often had a shop on the ground floor with accommodation above. Darker ends of burnt bricks formed the decorative detail of diagonal crosses which were called diaper patterns.

Cinnabar X7162Y

C3830E

Hampton Court Palace

REDBRICKWITH STONE DRESSING

Stone, and later brick, began to replace timber as the standard buildingmaterial. Brick had been reintroduced into the country in the 14th century andwas popular in the south and east. Stone dressings were often used for the corner stones as well as around the windows.

Black

SD | SX

PALLADIANISM, 1610-1652 Palladianism is a classical style named after the 16th century Italian architect Andrea Palladio (1508-1580). Palladio was inspired by the buildings of ancient Rome and his designs were rational in their clarity and symmetry.

Queens House, Greenwich

Palladio also employed the correct use of classical orders which were types of columns used to support the building and described by the labels Doric, Ionic, Corinthian, Tuscan & Composite. Palladian exteriors were plain and based on the rules of proportion. Inigo Jones, born in 1573, introduced Palladian architecture to Jacobean England in the early 17th century. His use of temple fronts and the Venetian window became hallmarks of Palladian design. This Palladian style became influential, only ending due to the onset of the English Civil War and Jones’ death in 1652. Palladianismmade a revival in the early 18th century, inspired by many designers (including Inigo Jones) the work became known as Anglo Palladianism. Palladianism is still very influential in architectural design today.

Palladian 3 B5710P

Chiswick House, London (Anglo-Palladian style)

SD | SX

KEYDESIGN FEATURES:

COLUMNS

SYMMETRY

With acanthus leaf capitals at the top (called ‘Corinthian’) are characteristic of Palladian design.

InspiredbyancientGreekand Romanarchitecture. Eachsideof the facade isamirror of theother.

B3550M

Country Stone B2630Q

PALLADIANWINDOWS (also known as the Surlina or Venetian window).

PEDIMENTS

Pediments were used over doors andwindows and on the outside of buildings.

TEMPLE FRONTS

SD | SX

BAROQUE, 1680-1720 Baroque was established during the early 17th century but it wasn’t until later that it became popular and was regarded as a take on Classicism.

Palladian 3 B5710P

St Paul’s Cathedral

SX | SD

Many gentlemen & nobles were inspired by the latest European trends and built grand buildings reflecting them. The great fire of London in 1666 saw the introduction of the ‘Rebuilding of the City of London Act of 1667’ and specified that houses must be built frombrick or stone. To prevent the spread of fire, wooden houses were no longer permitted. The grandest houses were built of solid stone but that was expensive and not always available locally so a cheaper imitation, stucco, was used to cover brickwork and give the impression of stone. The late 1690s saw the appearance of the first Baroque country houses, with themost iconic figures of themovement including Sir Christopher Wren, Sir John Vanbrugh and Nicholas Hawksmoor. The British Baroque was about reasserting authority. The style is heavy, rich and flamboyant. In the Baroque period of architecture, the intensity and interplay of natural light and shadow was carefully considered and resulted in outstanding examples of ‘building with light’. Key colours derived from the colours of stone, clay, granite &marble.

Chalk Hill B9760G

KEYDESIGN FEATURES:

PROTRUDING ARCHITECTURAL DETAILS To produce strong light

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and shade contrasts (chiaroscuro effect).

Castle Howard

CYLINDRICAL DOMED TOWER

B0430U

B5380R

THE CENTRE OF THE FAÇADE IS THE FEATURE

DISPLAY ELEMENTS OF CLASSICAL DESIGN

Chris 論 - Own work, CC BY 3.0, httpscommons.wikimedia.orgwindex. phpcurid=10539450

“Natural light & shadow was carefully considered and resulted in outstanding examples of building with light.”

GEORGIAN, 1714-1830 Encompassing the Regency period (1811-1820), this is the name given to the set of architectural styles between 1714 and 1830.

KEYDESIGN FEATURES:

A period of time spanning 116 years, there are a number of different architectural styles and whilst they do vary, they aremarked by symmetry and proportion based on the classical architecture of Greece and Rome. Palladian and Neoclassical were the key architectural styles of the Georgian era. Architects turned their back on the heavily embellished and dramatic Baroque style in favour of the earlier Palladian work produced by Inigo Jones. Neoclassical (1760-1790) was an academic revival of Classicism. Partly fuelled by the excavations at Pompeii and the rediscovery of the architecture of ancient Greece, there was more emphasis on Greek architectural design. Consequently, there was a slight change in proportion which resulted in architecture which was lighter andmore elegant in appearance. Regency Classicism (1800-1830) was essentially the same as Neoclassical but with added elements taken fromnature: from the art of ancient Egypt and fromFrench design of the mid 18th century.

STONE

Stone was the preferred building material of the era and where brick was the local building ma- terial it was sometimes faced in stone to appear more high status.

STUCCO

to cover brick on the entire façade. Originally, the plaster rendering would have been colour

This is the render applied to late-Georgian façades that could also be sculpted and moulded for decorative purposes. In the Regency period it was often used

washed to simulate stone. Later, stucco cements had the (Bath) stone colour within them.

SYMMETRICAL FAÇADES

Georgian buildings usually have a square symmetrical shape and are carefully proportioned according to fashionable Classical design principles.

UNIFYINGPORTICO

A row of columns supporting an entablature, and sometimes a pediment too, were often used to link the façades of a number of adjoining houses, or even an entire terrace.

ROOF STYLES

FANLIGHT

Roof with parapet imitating classical formandmoving away frombuilding designs with a steep pitched roof, designers began hiding the roof with a parapet.

A fanlight is the arched window found above a Georgian door, which would shed extra daylight into the hallway.

PALLADIANWINDOW

This was an essential ingredient for most neoclassical buildings. A window in three parts, with the central light rising taller to be rounded off in an arch and the two side lights flanked by pilasters.

WINDOWS

Small and six-paned towards the top of the property, while there are larger nine or even twelve panel windows on the main floors. The importance of a roomwas indicated by the size of its windows.

MANSARDROOF

Introduced in the late 18th century, this roof has four sloping sides, each of which becomes much steeper midway down. These were tall and spacious, and allowed owners of buildings to gain an extra floor without really looking like they’d done so.

GREEKMOTIFS

In true Neoclassical style, Greek motif designs would be introduced.

GEORGIAN, 1714-1830 (cont.)

The Georgian era is notably remembered as marking the summit of house design in Britain and it was a time of great urban growth. The density in towns meant that there was a need to pack a lot of houses into a small space. This need gave birth to the terrace. Terraces took several forms; often laid out in straight lines, but also in squares around a central garden space, or in crescents or oval ‘circuses’. Examples of these can be seen in London, Edinburgh, Bristol & Bath; their façades employing classical pilasters, pedimented doors and windows, and graceful mouldings.

Edinburgh Georgian Terrace

Palladian 3 B5710P

Amongst the most important architectural legacy of the Georgian period was the widespread use of the terrace plan.

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B9760G Chalk Hill

C3830E

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Brunswick F7122E

D6120R

Olive D8270S

Etruscan Red Y0141W

KEYDESIGN FEATURES:

Whilst Stucco was painted to replicate stone - stone was never painted. Regardless of whether the property was constructed of stone, red brick, London stock brick (yellow) or stucco, the elements and colours for decoration would have been: CORNICES, WINDOWS, WINDOWFRAMES, DOOR FRAMES AND FANLIGHTS: Pale stone colours or off white FRONT DOORS : Bronze greens, Brunswick greens, Invisible Greens, Red Browns, Olive Browns WINDOWBOXES: If there were window boxes, they would have been painted in the same colour as the front door.

RAILINGS ANDOTHER IRON-WORK: Greys, Stones

In the first half of the nineteenth century ‘invisible’ greens (so called because they would blend into a background of foliage) were used for fences, gates, railings and garden furniture. RAINWATER GOODS : Greys (Lead colour). On stucco or rendered façades, the rainwater goods would blend with the façade. FAÇADE (where painted): Stone colours. All of the houses on a terrace wouldmatch. What we know today as Brilliant White was never used (it wasn’t available until after WW II). Off whites or creams would have been used instead.

The Circus, Bath

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