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Volume XVII 
May, 1910 
Number 5 
An Italian adaptation in Cedarhurst, L. I. Color is employed in the frieze by using mineral colors in a cement wash applied 
through a stencil. Louis Boynton, architect 
Italian Adaptations for American Homes 
by Louis Boynton 
Photographs by Julian Buckly and others 
[The problem of choosing an architectural style for the American country or suburban home is one of the most puzzling that confronts the 
home-builder. In order to bring about a better understanding of the more common types and with the idea of clarifying, as far as possible, this whole 
matter, we have asked a number of prominent architects to present each the case for one particular style. In the December issue Mr. Frank E. IVallis, 
the well known authority on Colonial architecture, told why a house of that type is the only one to build. Mr. Allen IV. 'Jackson presented in the 
January issue the case for the Half-timber house. In February Mr. Aymar Embury, II., added his convincing argument for the picturesque 
Dutch Colonial. Mr. J. Lovell Little, Jr., told the merits of English Plaster houses in March. A number of other styles will be explained and 
illustrated in future issues. The Editors will gladly do all in their power to answer any questions regarding style, details or construction.] 
L ET us begin by frankly admitting that the style employed in 
the design of a house should be determined by the special 
conditions of environment, by the material used, and by the social 
and intellectual characteristics of the people who are to occupy it. 
For instance, it is often appropriate to build a camp in Maine 
or in the Adirondacks of logs, and in its place this seems the most 
fitting material and properly influences the “style” or character 
of the building. However, while one may admit this, it would 
not make a structure built of this material with its resultant 
“style” seem especially appropriate or fitting on, say, Fifth 
Avenue, New York. It is difficult to imagine an architect who 
really designs his buildings saying, “Go to, let us now design a 
building in Tudor Gothic or Dutch Colonial,” without having 
first studied his problem. No; a design should grow from the 
conditions imposed by the site, the material to be used and the 
needs of the owner and his family, and the style should be deter¬ 
mined, almost automatically, by these requirements. 
Granting all this, there are still valid reasons why an adaptation 
of the Italian Renaissance is the logical style to use in an increas¬ 
ingly large number of cases. Undoubtedly all good design is 
the result of a frank use of the materials employed; and any forc¬ 
ing of the materials is sure to result either in a distorted design, 
or in what, I think, may fairly be called “building scenery,” 
that is to say, in constructing an effect that looks like something 
different from what it is. 
For instance, building in frame with a covering of stucco is. 
(169) 
