John Taylor's Birchington Bungalows

A bit of context for this won't come amiss. I've been researching the actress Barbara Hicks and part of that involved looking at her second husband's family. Her second husband was Peter Mandeville Aldersey Taylor, son of Sidney George Taylor. Sidney's father was born Frederick Walsh Barlow. Although registered with the surname of his mother's husband, he was actually the son of Felix Frederick Taylor, and later used the name Frederick Aldersey Taylor. Which took me to architect John Taylor, first cousin, three times removed, of Barbara's husband Peter.

'Fair Outlook' - John Taylor's last remaining bungalow
Courtesy, ITV Meridian

Building News - Friday 16 September 1870

SUNDRY WORKS IN THE ISLE OF THANET. 

We were more struck with another rather large groups of buildings just erected near them by Mr. John Taylor, architect, who is well-known as the clever and scientific inventor of special materials for almost every portion of a dwelling, and whose roofing tiles render this group of houses conspicuous from a distance.

The first John Taylor bungalow at Birchington
Building News, 15 August 1873

It is a pleasure to see such an effort as this to rescue this class of building from the commonplace character invariably given to them by speculating builders, who seem to have no higher thought than how to make the most out of every foot of frontage, and carry up their flimsy houses to the same regulation heights and to the same dreadful regulation patterns in town and country.

Mr. Taylor's attention has rather been given to the development of the value of his land by the acre, and has given bungalows, as it were, in which real comfort has been combined with pleasing rusticity. The site has nothing between it and the sea, and nothing but sea between it and the North Pole, and must be as bracing a spot as our island could supply.

By the use of his patent building blocks and tiles the first bungalow Mr. Taylor built was begun on the 14th August last year, was completely furnished and dry within two months, and inhabited on the 14th October.

Since this he built another, which was purchased by Mr. Erasmus Wilson, and four others afterwards, which have been sold as soon as built.  

A description of the accommodation of one of them will, we think, be useful as well as interesting, thus.

There are eight rooms all on one floor. The two side rooms of the front elevations have doors into the garden, and are for dressing after bathing.

The "serving flap" in 'Fair Outlook'
Courtesy ITV Meridian

There is a serving flap or buttery hatch from the kitchen in the dining-room, to economise labour of service, a matter of importance in such an establishment, and indeed the whole arrangement is such as to require the least amount of household work. 

There is a double-bedded room in the attic.

A verandah at front and back gives coolness in summer. The roof has deep rafters, ceiled beneath and covered above with felt and patent tiles, producing a perfectly cool roof.

The basement is sunk into the chalk, and contains a larder, wine, beer, coal, and general cellars.

Not only the building itself, but the whole of the furniture and fittings have been designed and arranged by the architect in a thoroughly simple and practical, while pleasing and appropriate manner.

The entire selling price of this furnished freehold marine residence, with its garden complete, was, we were told, only £1,000, and all we can say is that we could not help envying  the lucky purchaser.

 

Building News - Friday 20 September 1872

THOSE WHO INTEND BUILDING are invited to inspect some novel BUNGALOWS, at Birchington-on-Sea, near Margate, Isle of Thanet. They contain 12 rooms and more on one floor under one roof, and are supposed to be complete in their sanitary and general arrangements.

Direct to John Taylor, architect, 6 Whitehall, and Westcliff, Birchington-on-Sea, Isle of Thanet. 

 

Building News - Friday 15 August 1873

MR. TAYLOR'S BUNGALOWS AT WEST CLIFF AND BIRCHINGTON-ON-SEA.  

It is very difficult in these days to hit upon a new and successful idea. Mr. John Taylor, of Whitehall, has, however, unquestionably done so in his "Bungalow" residences that he has for some time been engaged in erecting in the neighbourhood of Margate, and illustrated in the present number of this journal.

In an article upon recent buildings in the Isle of Thanet, given in the BUILDING NEWS some time since, attention was called to these buildings, and it was remarked that it was a pleasure to see such rescued from the hands of speculating builders and made tasteful as well as useful, and that positively without the addition of anything that could he considered in the nature of ornament.  

Professor Erasmus Wilson, who was one of the earliest purchasers of some of Mr. Taylor's Bungalows, thus speaks of them from experience, now of some duration:—

I find everybody is charmed with my Bungalows, and I believe if there were many Bungalows there would be many buyers. The house is a novelty, very convenient, fitted for a single family, and easy as to price. The idea of Bungalows seems to take people's minds immensely: they are novel, quaint, and pretty, and perfect as to sanitary qualities. The best sanitary house for a family is a Bungalow. 

Such praise, which we believe to be thoroughly merited, particularly the portion in italics coming from such an authority upon sanitary matters as Professor Erasmus Wilson, will, we doubt not, induce our readers to consider well the various points which are elucidated in our illustration.

We learn from Mr. Taylor that, as far as he is concerned, the principal advantage that has accrued to him from the undertaking—an advantage which his neighbours have acknowledged they have shared with him—has been by the increased value given to the sites and adjoining land.

We shall therefore repeat what we said in the article referred to—that the spots chosen for those operations at West Cliff and Birchington-on-Sea, both near Margate, have nothing between them and the sea, and nothing but sea between them and the North Pole, and must be as bracing as any our island can supply.  

Mr. Taylor says he has applied the term "Bungalow" to the residences he has built thereon as being one and two-storied buildings, under one span of roof of the most primitive and simple construction upon the lean-to principle, which practically admits of any span in the manner in which he has applied it.

Building News, 15 August 1873

The struts (see sketch showing the construction of roof and ceiling) form one side of the tent-shaped form of all the rooms. The chimney-shafts are carried up in the highest part of the roof, namely, from the ridge.

This is a matter of considerable importance, for in such a situation the wind strikes with such force that in any other position of the chimneys down-draughts of smoke would be more than probable, whereas, impinging on the sloped sides, the wind rushes upwards, aiding, by its force so directed, the exit of the smoke in the most stormy weather.

It is to be noticed that no framing nor roof trusses are required in the construction, but simply common rafters.

The roof is kept cool by reason of the common rafters being as deep as the floor-joists, namely 7in., but only thick, and strutted between. They are coiled beneath, and covered with asphalted felt, limewhited, and then covered with Mr. Taylor's well-known patent tiles, which lock one into another, and are easily removed and replaced when repairs are needed.

In the manufacture of these tiles, Mr. Taylor has recently effected some considerable improvements over those which are made and sold under his patent by the Broomhall Company, who, somewhat inexcusably, have lately ignored the name of the patentee altogether.

Those improvements were found to be rendered necessary by the effect of the boisterous winds that prevail in the neighbourhood of which we are speaking during the winter season.

We are told also that the character of the material of those tiles is also much improved.

The same simplicity of construction has been carried out in all the different parts of the building, down to the details of its various fittings, and even its furniture. Thus cornices, a modern weakness, are omitted throughout, as also all other ornaments and decorative features, usual  even in speculating builders' erections, and for which no one but the plasterers are ever one whit the better.

Nothing, however, really necessary, either for stability, or to insure comfort to the inmates, has been omitted, the object of Mr. Taylor having been to create novelty by attention to extreme simplicity and adaptability, so generally lost sight of in the over-refinement and finish of the present day.

The climate of the locality may truly be said to be Mediterranean in summer, and Arctic in winter; and to render the walls cool during the former, and warm in the latter, without increasing their thickness, and to keep out the driving rains, which are literally horizontal, and the salt sea sprays, has been an object which Mr. Taylor has only just been enabled completely to attain by his "damp-proof walls," which will prove, we think, as valuable an invention as his well-known one, now generally adopted, of the  damp-proof course," the object of which is to prevent wet rising into the walls from beneath.

We call, therefore, special attention to the construction, as shown in our illustration, of these "damp-proof walls." They are so built that the outer and inner faces are separated by slates, which overlap each other horizontally and vertically, supported upon ties of iron hooping, which at the same time, Mr. Taylor considers, bind and connect the two faces of the wall.

The outer face is of burrs or clinkers from the brick-yards, knapped, and the broken or sectional parts placed outwards.

The quoins, reveals, and strings are of gault bricks. The most penetrating rains and  salt sprays are found unable to get through these walls, and the temperature within is maintained equable.

As a wise provision for ventilation may be noticed (see interior view of corridor) hinged glazed flaps, easily opening inwards into the several rooms, and at the end of the corridor a light sash hung upon pivots, allowing it to remain open even during rain.

Thus all the apartments are so well ventilated, and the air so quickly changed, that they have the advantage over larger rooms not so well ventilated, and never have any of that too-well known odour of rooms in which persons have passed the night.

These Bungalows have gardens and croquet lawns reaching down to the sea, and communications thence to the bathing-sands and private dressing-places.

There is also a coach-house and stable to each tenement.

They are freehold, furnished and provided with plate, linen, and usual sundries, down even to a corkscrew, and are sold, all such included, at 11d. per foot cube.

If such Bungalows were built nearer London, we believe they would be very greatly prized.

 

Building News - Friday 13 February 1874

BUNGALOW, WEST-CLIFF, BIRCHINGTON-ON-SEA.

Some time ago we gave an illustration and  description of a one-story dwelling, built at Birchington-on-Sea, in the Isle of Thanet, by Mr. John Taylor, architect; and last week we gave a view of another variety of that gentleman's somewhat unique houses in the same locality.

The accommodation is much the same as in the former example, but arranged upon two floors instead of one. The construction is also as detailed in the former case with external walls, 9in. in thickness, with a coat of slating in the centre.

The inner half of the wall is 4in. brickwork, and the outer half is formed of brick-burrs, which have a picturesque effect.

The slating is placed between these two and is carried by pieces of hoop-iron band, which tie the two parts of the wall together to a certain extent.

This construction, which Mr. Taylor has patented, is economical, pleasant in appearance, and absolutely secured against the most driving rains, which, at Birchington-on-Sea, during storms, are driven horizontally with the utmost violence against the walls.

Notwithstanding this, the interior of this two-storied house does not show a spot of damp in any part. and in the coldest weather the atmosphere within is maintained as equally as in buildings whose walls are far greater is thickness.

The quoins and dressings are of white Gault bricks. The roofs are covered with tiles. The eaves overhang the walls, and from the simple construction of the roof, this part of the building is also very economical.

Situated on the cliff and commanding extensive seaview, with a plot of freehold-ground of about ¾ acre, arranged in front as a croquet-lawn and flower-garden, and behind as vegetable-ground, with a private tunnel down to the beach, and a bathing-room, &c., built in the cliff; well for water supply, and every convenience, and furnished throughout.

Mr. Taylor has been in the habit of selling these bungalows for the last few years, and they seem much appreciated by their purchasers.

The drawing and dining-rooms have square bay additions, from the main structure the lean-to roof of which is continued beyond them the full width of the facade, thus giving a verandah at each end, the shade of which in summer is agreeable, and it shelters the garden entrance to each of those rooms.

A serving-sideboard at the end of the dining-room, near, but not directly in connection with the kitchen, saves labour, a point of consideration in sea-side houses, to which families only take a portion of their servants.

All the fireplaces are arranged in the centre of the building so that the chimney-stack is at the ridge of the roof, and not a single smoke-preventer defaces any of those bungalows, even those of a single story in height.

Weber's "Oberon" - a first-night review

A performance of Oberon, or the Elf-King's Oath, as part of 2026 BBC Proms got me wondering. Why, when every effort to present the music in as historically-informed form as possible, had a new text been written by children's author Timothy Knapman? Surely the aim of historical-informed performance does not just extend to the music, but to the text as well?

Weber's original libretto was by James Robinson Planché (27 February 1796 – 30 May 1880). As his Wikipedia article explains:

Over a period of approximately 60 years he wrote, adapted, or collaborated on 176 plays in a wide range of genres including extravaganza, farce, comedy, burletta, melodrama and opera. Planché was responsible for introducing historically accurate costume into nineteenth century British theatre, and subsequently became an acknowledged expert on historical costume, publishing a number of works on the topic.

So how did this very experienced writer produce a libretto that needs to be "modernised" for contemporary audiences. A first-night review in The News of Monday 17 April 1826 dismissed Planché's contribution in one line which hints at the difficulty:

As to the story of Oberon, dramatized by Mr. Planché, we need not fatigue our readers with any particular details. 

The rest of the review follows:

THEATRE.

COVENT-GARDEN.

On Wednesday (after a full dress and fashionably attended rehearsal on the preceding evening)  the long-expected "Fairy Opera" of Oberon; or, the Elf-King's Oath, was represented. Wieland's poem on the subject is tolerably well-known, through the medium of translation especially; but Weber's music, and the splendid manner in which the Opera was known to have been "got up," failed not to arouse the most lively interest. 

We never recollect  to have witnessed a more brilliant house to behold even a first performance, certainly not a more crowded and increased performance, was given to the introductory scene, by the enthusiastic manner in which Weber was received on taking his station to preside in the orchestra. Indeed the laudatory disposition of the audience was with no ordinary difficulty hushed so as to prepare the way for the overture.

It had hardly commenced, when the magic power of the Composer was manifest; there was soon the agreeable stillness, and charmed breathing, of fabled fairy land. The music of the overture naturally prepared the way for the character of the performance that was to follow—more especially the earlier portions of it; it was light, fanciful, and airy, and had some exquisite touches of simple and romantic melody. 

Like the overture to Der Freischütz, it was an accurate prologue, or "chorus," to the coming scene; and equally appropriate; but from the very nature of the two Operas,—the one appalling by its incantations and "devilries," and the other charming by the magic of fairy feats,—neither the overture, nor the great body of the music will, on the first hearing, strike and take command of the senses like Der Freischütz.

As to the story of Oberon, dramatized by Mr. Planché, we need not fatigue our readers with any  particular details. 

Oberon (Mr. Bland) the monarch of Fairyland, has had a domestic dispute (such as will sometimes unavoidably occur in the best regulated families,) with  his Queen, on the subject of female constancy; the lady stickling stoutly for the existence of that quality in the sex, and the gentleman protesting it is moonshine.

Finally, the parties separate, the Elf-king swearing he will never take back his disputatious wife to his royal bosom, till not merely a faithful woman, but, still more difficult, "a constant couple" are discovered.

Sir Huon (Braham) and Reiza (Miss Paton) are the parties selected by Fate and the Fairies for the experimentum crucis. The knight has been banished from France by the Emperor Charlemagne, and ordered never to return to his country without bringing back with him the daughter of the Caliph of Bagdat. Huon,,nothing daunted, proceeds on his dangerous errand, accompanied by his faithful friend and attendant Sherasmin (Mr. Fawcett) 

On his journey Oberon appears, and prepares matters by introducing to him Reiza, the Caliph's daughter, in a vision. "Dream to dream replies;" Reiza gets a view of Sir Huon in the same magical manner; and  of course the parties become mutually enamoured.

To assist the projects of the Knight the Elf-king furnishes him with a magic bowl and ivory horn, both of infinite importance to the success of his undertakings. By the aid of these Sir Huon is eventually enabled to overcome all the difficulties and temptations which present themselves, and to return with his bride in triumph to the Court of Charlemagne.  

In the dramatizing of his story, Mr. P. appears to have forgotten by whom his characters were to be personated, and that singers are seldom very remarkable for their powers of acting. Had he borne this duly in mind, he would not have run the risk of exciting merriment in some of the more serious scenes; as, for instance, where he conducts Sir Huon to the stake.

A first-rate performer only could have given due effect to this scene; and we have no occasion to add, that Mr. Braham (however polished, effective and energetic as a singer,) is not remarkably forcible as an actor. His vocal efforts were, however, amazingly successful. He was in excellent voice, and evidently in good spirits: and appeared to be unusually warmed by the kindred genius of the composer.

Two compositions, mingling the martial and the bravura, giving preference to fame instead of love, Oh 'tis a glorious sight to see &c. &c., were eloquent and appropriate; and they were executed with becoming skill and force. 

Miss Paton, as the Caliph's daughter, Reiza, evinced considerable powers of  voice and execution. She has some excellent music allotted to her; but we have heard her more to our liking than in Oberon, and seen her more decidedly and successfully identify herself with the character and songs consigned to her care. Oh, why art thou sleeping, Sir Huon, was one of the best of Miss Paton's performances. 

Madame Vestris, as Fatima, rendered powerful aid by the ease, naïveté, and melody of her song, and the gaiety of her manner. The lonely Arab maid, and the lively ditty of O, Araby, dear Araby are pretty compositions, and were delightfully executed. 

Madame Vestris and Mr. Fawcett as Sherasmin, also execute a very playful duett On the banks of sweet  Garonne in a charming manner. 

There are several other of the Composer's productions that merit particular mention, and a repetition of that applause with which the audience justly greeted them. 

We would specially note the chorus of Fairies in Oberon's Hall,

Light as fairy foot can fall,
Pace, ye elves, your Master's Hall.

Also Puck's (Miss H. Cawse) incantation, and exorcisin  the spirits of the four elements: Whether ye be in the deep. It is a simple and pretty air. The poetry of the songs of this opera has more merit than usually belongs to such productions, 

The music of this piece, speaking of it generally, will sustain, but perhaps without advancing the fame of Weber in the way that some may have expected; and this is to be attributed to the different characters of the two Operas, to which we have already adverted. There are none of the deep mysteries of the Wolf's Glen, to seize and retain with wizard power the imagination as well as the senses. The chorus of spirits in the rock is, however, equal to any thing in Der Freischütz. 

This theatre has ever been famous for the splendour of its scenery, and the lavish expense bestowed on the dresses and decorations of its fairy pieces—but Oberon outshines all its predecessors. 

It is said that near £6,000 has been expended in its production, and we can readily believe it. As, however, it fills the house nightly, and is expected to last the season, we trust that the managers will reap a profitable harvest as a due reward for their liberality.