n New Zealand in the early 1920’s and through to probably the 30’s, this shift towards a new expression in architecture was dramatically underlined with the introduction of the “Californian Bungalow”. The term “bungalow” in English is derived from the Hindu word “bangla” which referred to single-storeyed, thatched roof dwellings in the North of India during the Imperial days of the British Empire. These dwellings often had an enclosed verandah as additional shelter from the extreme heat experienced in this region. In twenty first century architectural terms it generally refers to a style originating in California. As to any stylistic relationship, the Queen Anne Cottages of the 19th century were probably its predecessor. Other strong influences came from Japanese Interior design and architecture. In broad terms the philosophy behind the style was a home reduced to its simplest form. Nicely proportioned and in harmony with nature and its surroundings, (a strong ethos of the movement) and with little, or restrained decoration.

The beauty of its style was that it was cheap to construct, due largely to the availability of suitable native timbers milled and transported throughout the country. Unaffected in appearance, these new Craftsman homes most importantly- suited peoples needs.

Many of these bungalows were built by speculators and designed by draughtsmen from the new American movement of “Craftsman Homes” and plan books that were becoming readily available through Australia, and the face of New Zealand suburbs after the First World War began to change dramatically. Most of these early Plan books were published by architectural firms and insurance companies, but it wasn’t long before they were being published here. At the height of the fever for this new style whole houses were being imported into Australia! Early suburban New Zealand was dominated by this style of dwelling. Externally, low pitched multi-gabled roofs with overhanging eaves and exposed beams or rafters which were commonly “skew cut” were a feature, with long sharp pointed barge boards. Tongue and groove detail under roof lines was often used. A New Zealand interpretation of the American Craftsman Bungalow was to include English fanlight casement windows and flat roofed bow windows, clad below window lines with cedar shakes and sometimes suspended off the ground. Splayed clinker brick columns supporting entrances or porches often designed in Japanese style with thick simple supports and staggered cross members like interlocking blocks or puzzles that were imposing, strong, and dominant elements for an entrance.

On the roof, tapered chimneys and wide brick or shingled verandahs below. Sometimes, for those who could afford the luxury, they were two-storeyed designs with open sleeping porches, but most were single storey with shed-type dormer windows in the roof-usually more for effect. Internal layout followed a fairly standard pattern, but there was a greater emphasis on the orientation of the home. Whereas the old Villa style often had the living areas in the darkest, and coolest part of the house, the bungalow revolutionised the thinking of the public, sensibly facing these to maximise the effects of the sun. Front doors often opened directly into Living Rooms, adjacent to this (and sometimes part of) was the Dining Room featuring rustic brick fireplaces, solid timber doors throughout with large hinges and cottage latches. It is fair to say that this style of home could be called the “Vernacular” New Zealand dwelling. Then, as now the secret of maintaining these homes was the protection of their large timber component with a regular painting regime.

t should be remembered that the Arts and Crafts style in New Zealand was at least 10-15 years behind its English counterpart, and continued on here about the same time later.

As the interest began to wane in England just prior to the First World War with the onset of leaner times, this did not translate until much later here. Indeed many fine Arts and Crafts homes were built right up to 1930 and beyond, a tribute to its universal appeal, sensible accommodation, and style.

Expressed in its grandest form the Arts and Crafts home in New Zealand has come to be known as “The Gentlemen’s Residence”. This is perhaps a far cry from the original intent of the philosophy behind their design, but never the less as the new breed of young architects found their designs were being eagerly sought by an affluent section of New Zealand society, many such” grand” examples were built throughout the country.

To the credit of their architects, craftsmen builders and subsequent owners, a large proportion of these still survive today.

Early practitioners such as Chapman-Taylor placed a strong emphasis on hand applied stucco, hand-hewn timber, and hand-wrought iron detailing, to support the principal of “function before decoration.” He also designed furniture for the interiors of his homes, and these have become quite collectable -where they have become available.

Others such as Basil Hooper, were not afraid to use manufactured hardware, decorative timbers, and plasterwork to exteriors, and his interiors were well lit and airy.

In style this “grander” form of design featured imposing entrances of clinker brick or natural stucco plastered columns with enclosed porches and leadlight glass to panelled entry doors, a brick vestibule with a large internal reception area that often featured a recessed brick fireplace with seating or “inglenook” to welcome visitors to the home on a cold night, before being conducted through to the living room. Fine timbers such as Oak, Canadian Oregon, and New Zealand native timbers Rimu and Matai were used for panelled walls, while polished natural tongue and grooved flooring was the preferred finish. There was sometimes provision for interior panelling or “wainscoting” to be from 4 feet high right up to a dado line at around 6 feet or higher- depending on the stud height, with restrained timber rail and plastered section above for accessories to be displayed. This was always in proportion; two-thirds/ one third. This panelling would be either painted white (as preferred by William Morris) or dark stained. Internal walls were often plastered and finished white or cream, but this was subsequently superseded with the introduction of the early fibrous plasterboard, the forerunner to today’s “Gibraltar-Board”.

Copper shrouded lanterns with warm “mica-glass” inserts on chains hung in welcome areas and were often fixed to brickwork for exterior lighting at entrances or on dark corners on the outside of the home under the eaves. Solid timber beams (more decorative than constructional) detailed the interiors, and bow windows featured ornate leadlight glass, sometimes coloured, but mostly bevelled and textured, with built in bookcases and seating to maximise the living spaces of the homes. Built-in cupboards in hallways, bedrooms, and attractive timber stairways with tall tapered newel post, a landing, exposed timber tread and riser, and finished with carpet stair runner fixed with mitred timber batons. These were often on quite a grand scale with the stairs featuring a “motif” cut-out of the timber balusters, usually a craft icon such as a flower, or symbolic shape relating to the Arts and Crafts movement. This “detailing” would often extend as far as the gate on the street, or in timber trellis work on brick fences. Some of these show a Japanese influence in design and many fine examples can be seen, again a tribute to the craftsmen who built them and the integrity of the designer, they still look perfect in today’s settings.

Roofs were tiled or slate traditionally either the “Marseille” tile or “Abbotsford Orange”, with well proportioned dormers, but unlike the Californian bungalow dormer these were highly functional. In the South Island especially, much use was made of plastered stucco walls and a local beach gravel known as “Moeraki sand” which was found in the East coast of Otago. This gravel, which has a coarse orange, white, and multi textured cream colour was used to render a decorative effect when mixed with cement tinted ochre and plaster finished to foundations of house and fences, usually to accent clinker brick detail.

Stained glass was much in demand from local artists such as John Brock, who also rendered many feature murals on internal walls, often with exotic “Venetian” themes.
Gothic aesthetic influences such as stylised timber corbels, brackets, and arches, with low or stepped roofs at entrances were common, and the overall appearance was one of fine proportion and detailing and a structure of substance and “style”.