Victorian porches designs uk
The English Porch Company Questions And Answers About Our Porches
What's included in a porch kit
Each porch kit includes all the timber elements that make up the porch frame, including posts, side frame, front cross beam, roof rafters, decorative brackets, facia mouldings, temporary rafter battens and softwood or hardwood plugs to cover any visible screw fixing holes. We also include an assembly fixing kit, post base plates where applicable and full instructions. To assist you or your builder to assemble and install the porch, you should retain the manufacturing drawing we send to you for your approval before we begin production. Please note, we do not supply wall fixing bolts as these should be purchased by the customer after having taken advice from their builder, or fixing supplier as to the most appropriate fixing to suit the construction of their property.
Will you require planning permission
The installation of a porch may be subject to planning permission. We are unable to offer advice in respect of planning matters which might apply to your particular installation and we recommend that you contact your local planning authority to ascertain if you require planning permission, or building regulations before placing an order for one of our products.
Do you need to prepare a step, or base for the porch
Our porch frames and kits can be installed onto an existing slab, step, dwarf wall or base. Whether you have an existing base, or are constructing a new base, it is important that this is solid and will not sink. When ordering your porch, we will ask you for information about the base, including dimensions, this will enable us to take the size into account when preparing our manufacturing drawing.
Can we make a porch to fit your property
Every porch is manufactured to order so you can be confident that we can supply a porch to suit each customer's individual requirements. All we require are a few photographs of the building and some basic dimensions etc.
This information can be found on the 'Get a Quote' page in the menu above.
How long will it take to produce your porch
The process from first enquiry through to delivery can take as little as 5 weeks. However, a typical order usually takes 8 - 10 weeks from the first enquiry as we go through a process of discussion, drawings and customer approvals before manufacture.
What timbers are our porches manufactured in
Our porch kits are manufactured from sustainably sourced timbers. Options include joinery grade softwood and hardwood, including green oak and cedar.
Will you be able to assemble and install the porch yourself
We design and manufacture our porch frames and porch kits to ensure they are easy to assemble and install by a competent DIY homeowner, or builder. Each porch is generally supplied part assembled, along with an assembly fixing kit, full instructions and manufacturing drawing. It is important that you consider carefully your level of ability when deciding whether to carry out the installation yourself.
The installation does require the lifting of heavy items, the use of power tools and also working on ladders, or trestles. If you are not experienced in such work, or have any concerns, we recommend that you ask a qualified, or capable company or individual to carry out the work. If you are in any doubt, please call us.
A note about our assembly instructions
We have all experienced the frustration caused by incomprehensible Assembly Instructions. For this reason, we have gone to added lengths to make our instructions as clear as possible. Do not be intimidated by the detail, it is simply intended to make the assembly process as clear and straightforward as possible for your or your carpenter.
What will your quote include
For porches which will be painted, our quotes include a price for an all softwood porch, plus option for hardwood posts. For a green oak porch all components will be in oak, including oak fixing dowel. We try to include everything and our price will only change if there is a meaningful change in size, design, or materials after quoting.
Finally, we also include the delivery cost as a separate item as some customers prefer to arrange their own collection. After receiving your quote, if you are unclear about anything, please call us for an explanation.
Will you be able to contact us for advice
We pride ourselves on the high level of customer service we provide and encourage all prospective customers to ask as many questions as they like. Once you have placed an order, we will keep you updated throughout the process, including full support for you and your builder once your porch arrives.
How can you decorate your porch
Our porch kits are delivered unfinished, but have been prepared ready for final sanding and finishing by the customer. Our porches can be painted or stained and we would recommend each customer seeks professional advice to ensure a suitable product is used. If the porch is stained, customers should note that this method of finishing will not obscure knots, fixing positions, or natural imperfections in the timber.
Once you have decided on your preferred finish, we can offer you further advice. For cedar and oak based porches, customers' are made aware that if left unfinished, the colour will fade to a silver grey. Green oak porches will fade over time to a silver grey but can be treated after the oak has dried out. PLEASE NOTE, GREEN OAK WILL RELEASE TANINS WHICH MAY CAUSE STAINING TO BRICKWORK AND PAVING.
When to decorate your porch
Untreated timber will deteriorate quickly if left to the elements. This may result in swelling, cracking and twisting. We advise customers' that they should treat their porch or wooden product within one week from receipt to protect it even if they are unable to install the porch within one week. If this is not possible, or convenient, the porch components must be stored undercover in a dry location. Please note however that if the porch is delivered during a period of high humidity, the components may show signs of cracking. This is the natural process the timber is going through to aclimatise to its location and any cracks will not affect the integrity of the porch.
Once the porch has setteld, any cracks can be filled with a suitable grade of filler before finishing. Please see our terms & conditions which make further reference to this matter and the storage of timber components.
Timber characteristics
Every piece of timber we use on our porches, whether softwood, oak or Sapele will be different. Some will have more knots than others and some may be slightly rougher and some will have higher humidity levels than others. These are all normal features of a natural product, designed for exterior structures. Unlike our other designs, the Yeovil green oak porch has a sawn finish, meaning you will be able to see the marks made by the teeth of the blade and you will find that some areas have surface blackening which is caused by oxidation when the metal tools come in contact with the oak during manufacture. In addition, we do not trim the oak on all sides, as a result you may find that some pieces have a silvered colour. This is the finish and colour your porch will turn after it has been installed and has weathered.
You can rejuvenate the finish and remove black tool marks by using oxalic acid, which is readily available through online resellers and is simple to use.
Copyright
We have invested a great deal of time creating our designs which are protected under copyright laws. Whilst we are flattered that people may wish to copy our designs, please avoid making this mistake as we will enforce our rights of product protection.
If you have any questions which are not dealt with here, please contact us by going to the 'Contact' page, or call us.
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Style History: Victorian Design and Architecture
Design
We talk about the interiors and architecture of one of the most controversial and interesting eras in British history.
Ksenia Oshchepkova
The concept of “Victorian style” appeared when art historians tried to describe the dynamic eclectic era of the 19th century. At the same time, they thought in obsolete categories: indeed, if in the 18th century interior fashion changed with the coming to power of new rulers (primarily numerous Louis in France), then it was logical to assume that the art of the era of Queen Victoria would be just as characteristic. This reasoning gave rise to the myth of the "Victorian style" - a composite image of "typical" houses, interiors, and furniture for the second half of the 19th century.
Franz Xaver Winterhalter, portrait of Queen Victoria, Prince Albert and their children.
Of course, there has never been a single Victorian style in the UK. The fact is that the reign of Queen Victoria was so long (63 years!), And the economic and technical development of the country was so active that it is absolutely impossible to imagine that from 1837 to 1901 the tastes of the British did not change at all.
They were changing, and much faster than in previous pre-industrial eras, and this was facilitated by the emergence of many factories that mass-produced inexpensive household goods.
X-chair, 1840–45, England. Design: Lewis Nockalls Cottingham.
The Backgammon Players, 1861. Phillip Web.
If before the 1860s eclectic versions of the classics were at the peak of popularity in Great Britain, then in the second half of the 19th century they were opposed by the Arts and Crafts style, Liberty and early examples of Art Nouveau. At the same time, it was an era of endless "revivals" - revivals. In search of sources of inspiration, architects and craftsmen turned not only to the classical tradition, but also to the aesthetics of the Gothic and Renaissance, bringing back to life the “Elizabethan”, “Jacobite”, “Tudor” styles. The development of the colonies brought exotic elements to the “Victorian” interior.
Victorian mahogany sideboard inspired by Japanese design.
Vases, 1900, Royal Worcester manufacture, England.
In the first half of the 19th century, numerous ceramic, textile, wallpaper, furniture and glass manufactories began to appear like mushrooms, which could offer an unprecedented range of goods. New technical capabilities of enterprises made it possible to recreate paintings on penny jugs that were previously available only to wealthy people for solid money. Various catalogs and albums with ornaments fell into the hands of enthusiastic, but not always sufficiently educated factory owners, whose work gave rise to the first examples of eclecticism. Now even the middle class could afford items that were previously only available to aristocrats: richly embroidered fabrics, ornate classical furniture, gilded china and silverware.
Osborne House on the Isle of Wight, Queen Victoria's summer residence.
Interiors of Osborne House on the Isle of Wight. Main corridor. Designer Thomas Cubitt.
By the beginning of Victoria's reign, in the 1830s, there was already an active development of factory production - and, with it, an eclectic style that merged features of baroque, rococo, neoclassicism and empire.
It is worth noting that many of the objects of this period were overloaded with decoration, tasteless and gaudy. However, eclecticism as an approach began to be practiced not only by small manufacturers, but also by decorators and cabinetmakers with good taste. One of the best examples of “mature Victorian” interiors is Osborne House, built by Queen Victoria and Prince Albert on the Isle of Wight in 1845–51.
Interiors of Osborne House on the Isle of Wight. Office of the Prince Consort. Designer Thomas Cubitt.
Interiors of Osborne House on the Isle of Wight. Dressing room of Queen Victoria. Designer Thomas Cubitt.
Queen Victoria's bedroom at Osborne House on the Isle of Wight.
The summer residence of the royal family was designed by architect Thomas Cubitt under the strict guidance of Prince Albert himself, who was an ardent admirer of the classical style. His sources of inspiration were Italian Renaissance architecture and its interpretations by the German Romantic architects Karl Schinkel and Ludwig Persius.
The strict and stylistically verified appearance of the palace was combined with an eclectic setting: neoclassical frames and mirrors were side by side with baroque paintings, characteristic rococo patterns were used in the decoration of the cornices along with sculptural decor in the Empire style.
Interiors of Osborne House on the Isle of Wight. Living room.
Like other state interiors of the 19th century, the halls of Osborne House are richly decorated with textiles with upholstery and curtains of the same color and contrasting carpets. Unlike the palace rooms of previous eras, the furniture here was arranged in zones, including in the center of the room, instead of the old custom of grouping objects along the walls.
Interiors of Osborne House on the Isle of Wight. Fragment of a living room designed by Thomas Cubitt.
Queen Victoria's bedroom at Osborne House on the Isle of Wight.
Another landmark building of the mid-19th century is the Palace of Westminster, the building of the British Parliament, which embodied the patriotic dream of the British about the return of medieval Gothic.
The competition to build the building was won by Charles Barry, and the interiors and furniture were designed by architect and designer Augustus Pugin. This serious building for serious business, made in a strict Gothic style, seems to oppose the festive and frivolous aesthetics of classicism.
The Great Hall of the Palace of Westminster.
Palace of Westminster, Norman Porch.
The Palace of Westminster and other examples of Gothic Revival revived in the memory of the Victorians the motifs that will long remain in the memory of decorators as traditionally British: wood paneling, dark carved furniture, stained glass windows, tapestries and wrought iron lamps.
Palace of Westminster, House of Lords.
Palace of Westminster, House of Lords.
King's throne in the House of Lords, 1847.
Sir Henry Cole, an inventor and public figure, head of the National School of Design and first director of the Victoria and Albert Museum, played a huge role in the development of design and decorative art in Great Britain in the 19th century.
In 1847, Cole persuaded Prince Albert to support his idea of holding a large-scale industrial exhibition in London. The “Great Exhibition of the Industrial Works of All Nations” of 1851 was a major event that demonstrated both the engineering and scientific advances and the stylistic confusion of the mid-nineteenth century. Many art historians and critics noted the decline of production culture, sense of form, material and construction, and for the young William Morris, visiting the exhibition was the impetus for the search for a new, functional, honest and modern style.
Victoria and Albert Museum, 1852. It is the world's largest museum of applied and decorative arts and design, with a collection of more than 2.27 million objects and works.
Victoria and Albert Museum, 1852. It is the world's largest museum of applied and decorative arts and design, with a collection of more than 2.27 million objects and works.
Aware of the need for education in the field of design and Henry Cole.
Thanks to his activities, most of the proceeds from the World's Fair went to the founding of the South Kensington Museum (from 1899 years - the Victoria and Albert Museum), and part of its exhibits formed the first collection of the museum. In the "good" Victorian style, the museum building was also built, on which the architect Francis Fowke worked for more than ten years. It looked like a palace with luxurious galleries and rectangular courtyards and was made in the style of the Italian Renaissance.
The Paul and Jill Ruddock Gallery, Renaissance art.
Fowke recruited young architects, designers, artists and craftsmen. Thus, British majolica, first demonstrated at the World Exhibition, was used in the decoration of the building. The first museum cafe in history was also an innovation - three grandiose halls, one of which was designed by then little-known William Morris.
The Paul and Jill Ruddock Gallery, Renaissance art.
For Morris, his collaboration with the South Kensington Museum was a chance to draw public attention to his work on a new interior style.
The Arts and Crafts Movement he founded discarded the eclectic aesthetic popular among mid-19th-century Victorians.
William Morris House, Red House, Kent.
Instead of excessively bright, saturated colors, Morris suggested using natural and muted tones, he replaced the color cacophony of wallpaper and floral fabrics with dense ornaments reminiscent of medieval tapestries, gilded furniture - with wooden painted objects. The designer managed to create a homely, cozy version of the gothic, in which there were a lot of natural materials and meaningful ornaments. By the 1880s, the Art & Crafts style had made its way into most Victorian homes, making interiors darker, more reserved, and more romantic.
Strawberry Thief, 1883, William Morris.
Another source that greatly influenced the appearance of Victorian homes in the second half of the 19th century was exotic colonial goods, which were once luxury items.
The British Empire continued to expand, and by the 1820s had annexed over a quarter of the land. In 1858, control of India passed into the hands of the British government, colonies continued to grow in Australia, New Zealand and Africa, the economy of China and Argentina was subordinated. Indian woven carpets and skins of tigers killed by oneself, Chinese porcelain and bronze figurines, carved tables made of exotic woods eventually appeared in every second British house and became as integral elements of a traditional interior as a tea set and a fireplace chair.
Porcelain vase, 1875-1910, 34 cm high. Japan, 19th-20th century.
Double vase, glaze painted in red and gold, Edo period (1600-1868), restored okoko 1830-1840. Porcelain, glaze, glazing.
Fireplace in the Durbar room at Queen Victoria's summer residence, Osborne House.
One of the galleries in the Durbar room, Osborne House.
The mixture of decorative traditions and the economic boom of Great Britain made the life of the Victorians rich and varied.
Tireless inventors from Europe and the United States improved a variety of furnishings: in the middle of the century, the first samples of domestic plumbing appeared, Thomas Crapper invented the toilet tank (1860s), Frederick Walthorn - linoleum (1863), Daniel Hess - a vacuum cleaner (1860), Ignatius Lukasiewicz and Rudolf Dietmar - a kerosene lamp (1853), and Thomas Edison - an electric incandescent lamp (1879). All of these novelties complemented an already heterogeneous selection of eclectic furniture and decor, forming a combustible mixture, without which the radical ideas of the modernists of the early 20th century would not have been born.
Armchair designed by Augustus Pugin.
Shawl, 1865. Author unknown.
Photo: GettyImages
TagsHistory of styleDesignVictorian style
Victorian house. Magnificence or swagger?
Architecture
Hours
Victorian house.
Sounds royal, don't you think? Yes, but it's not a palace. Although outwardly the house looks status, reliable. Yes, and the Victorian era fell on the age of industrialization, in the second half of the 19th century. And the name of the direction in architecture and interior was given by Queen Victoria, who ruled during this period.
The eminent and wealthy bourgeois had Victorian houses. But just thanks to industrialization, mass production, such houses became available to ordinary people. And even though it was an imitation of the bourgeois, that is, a real Victorian style, and the size of the houses was compact, but the conventions were observed.
Outwardly, even frame houses in this style looked beautiful and expensive. This, of course, warmed the soul of ordinary inhabitants, and the bourgeois reproachfully called such dwellings "fakes".
If you watched the TV series "All the Women of the Witch" about three witch sisters, then remember their family nest.
This is an example of the style that we will now tell you about.
Contents
- Architectural features of a Victorian house
- Interior decoration
- Status of a Victorian house
- Variations of the Victorian style
Architectural features of a Victorian house
The design of a Victorian house, like the design of a one-story 10x10 house, must take into account some features that are common to such buildings.
These features are:
- Brilliant but not harsh colors for facade and roof finishes.
- Roof tiles.
- Various materials for finishing the facade from brick and plaster to siding.
- The roof itself is broken and multi-stage.
- Diverse decoration on the facade in large quantities.
- Narrow windows with and without shutters, dormer windows on the roof that serve more as decoration than as an opening to the world.
- Large windows, including panoramic ones.
- Porch and obligatory terrace at the entrance.
- Columns supporting the terrace roof.
- Balconies with columns, ledges with a window, turrets under an acute-angled roof.
One gets the feeling that there was a house and new premises were gradually attached to it, which eventually formed such a complex volume.
If a compact house is planned, complex volume can be sacrificed. But a terrace with columns, different-sized and different-shaped windows should certainly be. And choosing juicy, but light colors for decoration, you can visually increase the size of the house.
The task of the owner of a Victorian house was to stand out, show his taste, demonstrate education (not everyone can dream up a project), wealth. Since people with the same idea of the project and plan do not theoretically exist, it is very problematic to meet two people who are identical in appearance and architecture of the house. Interiors can be somewhat similar - remember about the mass production of household items?
Interior
The plan of the Victorian house features many rooms flowing into one another.
We present a few of them.
The dimensions indicated on the plan can be varied at your discretion, but there should be enough space in the house for everyone.
- From the entrance you immediately find yourself in a spacious bright hall with a high ceiling or a living room.
- There are no corridors or their minimum. But there may be walk-through rooms.
- There are bay windows in the living room and other rooms (they look like ledges from the outside).
- Lots of technical rooms and corners, such as a boiler room, pantry, built-in wardrobes, laundries.
- There may be several bathrooms, but they are all small in area.
- The hall, living room, dining room and kitchen are striking in their size, which cannot be said about the guest rooms and bedrooms.
- There is a fireplace in the living room - in houses where the owners could afford it.
- Walls may not form a right angle, but go at an angle of 45 degrees.
Modern adaptation of the style can also fit into the project and the garage.
The status of a Victorian house
Since the main task of the inhabitants of such a house was to demonstrate their status (at least externally), the lifestyle had to correspond to this intention.
- The interior of the house is rich and luxurious, so that there is something to show the guests.
- And the guests were often and in large numbers. After all, receptions in the Victorian era were often arranged. Here is the explanation for the spacious living and dining rooms. And in the spacious kitchen, it's easier to cook dinner for a bunch of hungry guests.
- Dinner is an indispensable part of such receptions. Exasperated by the delicious dishes, the guests were clearly positively disposed to evaluate both the hosts and the atmosphere.
- The discrepancy between small latrines, bedrooms and spacious living rooms and dining rooms forced people to decorate everything they could - from the facades of the house to the wall above the fireplace (to hide the empty space).
The echo was literally drowning in all this splendor.
Those who like free space, who prefer not to litter their home with unnecessary, non-functional things, will not like the Victorian style. Although…
Variations of the Victorian style
Real Victorian houses in their original form have been preserved only in England, where the style originated. It has changed in other countries. New projects were created, the details of which were borrowed in other directions.
Presenting photos of Victorian houses in various versions.
Neo-Gothic Victorian style. These are medieval windows, arches above them, brick and wood. On top of the walls were small turrets. They even remotely resemble middle-class medieval castles.
Folk style. Ordinary people could not afford such a luxury as the bourgeois. Therefore, they did not build not brick, but frame houses, and then transformed them with siding, finishing materials.
But on the outside, the house had the same characteristics as classic Victorian houses.
Victorian style by Italian architects. Such houses quickly spread to North America. They are distinguished from the English ones by low roofs, brackets supporting the roofs, and wide cornices.
Pebble style. Such houses do not look luxurious, although they have features of the Victorian style. But go inside. Outside, conciseness and rigor. Inside - the interior of wealthy people.
Attic style. By the name it is clear that the house has an attic, or even more than one. And for this reason, the roof is appropriate - sloping.
The Romanesque style was applicable to non-residential premises, although private houses were also found. It could be large and compact houses with stone facades, similar to castles.
Queen Anne style. She introduced a fashion into architecture to decorate roofs, ledges, terraces with turrets.
Modern Victorian style also has a right to exist. Modern materials are used (artificial stone, textured plaster or wood siding).
The stone pillars are replaced by metal supports supporting the roof over the terrace.
The interior is also modern - space, lots of light, air, light colors. The condition is natural materials and no plastic.
For dessert, a short video about the beauty of the interior decoration of Victorian houses accompanied by Mozart's Little Night Serenade.
Administrator
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