318 AMERICAN HOMES AND GARDENS September, 1911 
Cobblestones and Concrete in Bungalow Building 
By Kate Greenleaf Locke 
T often happens that the finish of a modern 
bungalow must be either cobblestones or 
concrete. Such really good effects may be 
produced with either that one may well 
hesitate between them. In the eccentrici- 
ties of the bungalow, in its freedom from 
conventions, in its yet unexploited possi- 
bilities, lie danger 
as well as fascina- 
ting possibilities. 
Judiciously treated, 
results that are 
novel and beautiful 
may be obtained, 
and ornamentation 
that might other- 
wise be deemed ec- 
centric becomes log- 
ical and sane. 
I have noted that 
the architect who 
scouts the idea of 7 ee ' 
building bungalows Ne eR ame 
for his clients often 
immensely enjoys 
working out a com- 
plete (rustic) con- 
from the would-be-impressive architecture of which we have 
had so much in our cities and villages. 
When the little volume of ‘“The Simple Life” came as a 
surprise to the world it was accepted with acclamation; it 
was ushered into existence just at the time of the establish- 
ment of the modern American bungalow. The book 
and the times, strangely enough, combined to suggest 
the same thought: 
to neglect the spuri- 
ous and non-essen- 
tial, and to urge the 
true and essential 
only. Therefore, if 
the main idea of the 
bungalow is simplic- 
ity, it is a sad mis- 
take to load it with 
fantastic ornament 
of any kind. 
The solid worth 
and rustic beauty of 
i s = cobblestones as _pil- 
ee ot wee §=6 lars, chimneys and 
sit —_ o foundations wit h- 
out,and as chimney- 
breasts and hearth- 
stones within, have 
fection for himself. The bungalow of Charles Parsons, at Pasadena, Cal., designed by Arthur S. Heineman, become recognized 
It does not pay him 
to potter over one 
for a wealthy client, 
but it pays infinitely 
to plan one for his 
own living, a con- 
venient and com- 
fortable domicile, (ees 
which holds all the 
modern —improve- 
men tse im steam, 
electricity, gas and 
pneumatic cleaning 
apparatus, and yet 
suggests the en- 
chanting primitive- 
ness of the Garden 
of Eden, and costs 
comparatively little. 
A bungalow, to be 
a bungalow at all, 
must be inexpensive, 
at least apparently. 
If it has cost much 
money, the cost In 
which runs around the building just above the windows, and which accentuates the low, 
smile, and be a vil- long bungalow lines 
lain; that is, it may 
look the picture of simplicity, and yet stand for a large sum, 
if the owner so chooses. It is a protest against that ostenta- 
tious display which is the sin of the hour; it is the reaction 
architect 
; Mr. Parsons’ bungalow, cobblestones, brick and plaster are employed, with the walls 
must be hidden. It above shingled. Each second course of shingles is exposed, with a one-half inch strip soleums. It would 
may sm les aad beneath to produce a more rustic effect. Note the heavy timber of the head casing, be well to study its 
by all who have 
made a study of 
bungalows, and one 
rarely sees an abuse 
of them. The new 
craze for concrete 
“ has in many in- 
se ie stances carried us 
far afield from its 
best possibilities, so 
that a matenial 
which affords so 
much pleasure when 
it is properly and 
artistically used, 
grates horridly on 
the senses when it 
takes the shape of 
the small, compact, 
box - like structures 
that we sometimes 
see yclept “bunga- 
low” — structures 
that too often sug- 
gest unfinished mau- 
artistic uses, its ne- 
cessities and possi- 
bilities, before misusing this comparatively new material, 
because ere long our houses will be composed of it entirely. 
When a shingled house is built around a paved court, and 
