For Hudson's Country Life offices at Tavistock Street, Covent Garden, London (1904), Lutyens drew on Wren's work at Hampton Court Palace for the façade, and at Hampstead Garden Suburb, London (1908–10), he designed the formal centre with two Churches, the Institute, and surrounding houses. Castle Drogo, Drewsteignton, Devon (1910–32), however, is an allusion to medieval domestic architecture, built of granite, with mullioned and transomed windows and powerfully composed interiors and stairs. (1905–8), was a vast pile in the early Neo-Georgian style, and William-and-Mary was used with great sensitivity at The Salutation, Sandwich, Kent (1911), one of his most serene creations. ![]() He employed a William-and-Mary style at Folly Farm, Sulhampstead, Berks. Heathcote marked the period when Lutyens was fired with enthusiasm for what he called the ‘big game, the high game’, of Classical architecture. The house is a palazzo, with the Doric Order as used by Sanmicheli at the Porta Palio, Verona ( c.1545), but Lutyens made the antae of the Order disappear into the walls, re-emerging only as base and capital (a device also used with pilasters on many of his buildings, including the Midland Bank, Poultry, London (1924–39)). (1901), and aspects of Mannerism were explored at Overstrand Hall, Cromer, Norfolk (1899–1901). Classical pilasters graced Homewood, Knebworth, Herts. At Little Thakeham, Sussex (1902), for example, the exterior continued the vernacular late- Tudor manner, but the interior, with its double-height hall and stair, contains Classical Mannerist elements. From around this time his work began to draw on a wider range of styles. For the same client, Edward Burgess Hudson ((1854–1936)), founder (1897) of Country Life, Lutyens reconstructed and reworked Lindisfarne Castle, Holy Island, Northum. (1899–1902), but the prominent axes connecting elements inside and outside the building had a similarity to ideas then being pursued by F. He again used vernacular motifs at Deanery Garden, Sonning, Berks. With Tigbourne Court, Witley, Surrey (1899–1901), a new theme of Classically composed formal symmetry began to emerge. At Les Bois des Moutiers, Varengeville-sur-Mer, France (1897–8), certain elements, such as the tall windows, pre-empted some of Mackintosh's work, notably the Library windows at the Glasgow School of Art (1907–9). Among his best houses of the late-Victorian period are Fulbrook, near Elstead (1897–9), Orchards, Munstead, near Godalming (1897–9), both in Surrey, and Roseneath, Dumbartonshire, Scotland (1898). Jekyll commissioned Munstead Wood, Munstead, Surrey (1896–9), where Lutyens's use of finely crafted traditional building-materials and the subtle relationship between house and garden demonstrate a new sensitivity prompted by Jekyll's Ruskin-inspired beliefs. steeply pitched tiled roofs, tall brick chimneys, and casement-windows with leaded lights, but he began to achieve real distinction shortly after he met and began to collaborate with Gertrude Jekyll, the artist and gardener, who was to work with him on the design of many gardens over the next two decades. Indeed, his early houses were pleasant Arts-and-Crafts buildings incorporating Surrey vernacular elements, e.g. In 1889 he set up his own practice, and designed the house, gardens, and stables at Crooksbury, Surrey, influenced by works of George, Norman Shaw, and Philip Webb. ![]() ![]() He began his career in the office of George and Peto, where he met Herbert Baker. English architect held by some as the greatest since Wren.
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