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Arts & Crafts Craftsman-style Bungalow Drawing: Victoria Heritage Foundation.

We specialize in updating per­iod homes while pre­serv­ing the feel, style and crafts­man­ship of the his­to­ric era. Seam­less­ly in­cor­por­ate a mo­dern kitch­en, bath or ad­di­tion into your Arts & Crafts home.

Preserving our past, building for the future since 1996.


Redefining the Arts & Crafts Bathroom
Remodeled and Updated Arts & Crafts Bathroom in a Four-Square Arts & Crafts house. Designing a bathroom to fit a 1928 Four-Square house does not require slavish copying of every tiny Arts & Crafts design detail. Witness this elegant, comfortable bath that follows Art & Crafts design principles while incorporating modern fixtures and refinements. Read more.

Arts & Crafts Architecture:
Craftsman, Prairie & Four-Square Houses
J. M. Edgar, CMC, CRC


A Visual Catalog of Lincoln's Bungalows
Arts & Crafts Bungalows
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The Arts & Crafts period from the turn of the 20th century to the start of the Second World War1 is unique in American architectural history. First, it was the only period in which houses that ordinary people could afford were enriched with all manner of finely crafted detail. Rich wood trim, art glass and colorful tile mosaics had been used in houses for a long time, but only kings, potentates and industrial magnates could afford them. The rest of us had to do without — at least until the Arts & Crafts movement made rich detailing the standard in home building.

Second, all of the Arts & Crafts architectural styles — Prairie, Craftsman, Mission, Four-Square — are American. Unlike previous house styles that were imported from Europe, American Arts & Crafts homes are almost completely home­grown.

If you are fortunate enough to own an Arts & Crafts home, you own a gem — a true American original — full of handcrafted details that are rarely seen in modern housing. That 6,000 square foot McMansion that your boss just bought is full of 1/2" gypsum board walls, painted MDF mouldings and carpeting over OSB subflooring. Yours is full of thick, plaster walls, varnished quarter-sawn oak mouldings with oak strip flooring over a thick pine subfloor. Of course, your floor squeaks and his doesn't, but you have to put up with a few little quirks to own a littled bit of American history.

The Arts & Crafts Philosophy
It all began as a rebellion against heady excesses of the late Victorian age. Victorian architecture celebrated the abundance made possible by mass production and industrialization. Dimensioned lumber, inexpensive trim and good-quality mouldings could be made very quickly by machines in previously unheard-of quantities and could easily be shipped anywhere in the country on its ever-expanding national railroad system. They were used with increasing elaboration to embellish late-Victorian homes.

By the end of the 19th century, ostentation had reached its zenith in the elaborate Eastlake style house. But, by then a great many people had had enough of industrialization. There was a widespread and growing rebellion against the numbing imensity of massive mechanization and a longing for a earlier, simpler time.

The revolt began in England, where industrialization was the most advanced and its side effects the most odious. Largely inspired by the writings of John Ruskin, an influential moralist and social critic of the time, the Arts & Curious about the residential architecture that came before the Arts & Crafts Period?

Folk Victorian House.
Click here to learn more about it.
Crafts Movement was just one of many forms of rejection of the dehumanizing effects of factory system and mass production processes. Former days of villages, craft shops and artisans were thought healthier and more humanizing than assembly-line work in factory towns shrouded in smoke and dust.

All of these movements ultimately failed. The Industrial Revolution did not go away, or even slow down. But before finally dying out around 1910 the Arts & Crafts Movement in America spawned a stunning revolution in architecture and design that largely dominated the 20th century until the mid-1940s. Since this period is when most prewar Nebraska homes were built, the Arts & Crafts home styles are generously represented in our older urban neighbor­hoods.

Curious about the residential architecture that followed the Arts & Crafts Period?

Cape Cottage House.
Click here to learn more about it. With the end of World War II, Arts & Crafts architecture, quietly but abruptly, died. Challenged to build unheard of numbers of houses to meet the ravenous postwar appetite for new housing, homebuilders quickly abandoned the leisurely, handcrafted detailing of the Arts & Crafts period. It was just too time consuming and had to go in favor of new mass production techniques that built an average of 5,000 sturdy new homes in a single day.

It was sad to see such wonderful craftsmanship go by the wayside, but it was inevitable. The Depression and World War were over. It was a bright, exciting, new era. America had changed, and so had its housing needs. The legacy, however, is still with us in the form of thousands of Arts & Crafts houses throughout the country and especially in the upper Midwest.

Ancestor Styles
No architectural style is born in isolation. It borrows from earlier styles, emphasizing some features, deemphasizing others until a new, identifiable form emerges. The Arts & Crafts styles are no exception. While the Arts & Crafts Movement provided the philosophy and rationale, the nuances of the architecture were taken from a great many sources: late Victorian shingle-style and other purely American influences such as Shaker and Southwest Spanish Mission; as well as some distinctly Asian influences, particularly the broad horizontal lines, low roofs and well-crafted natural materials characteristic of the traditional Japanese house

Craftsman, Prairie and Four-Square styles also borrow freely from each other. Although distinct and identifiable styles, with some common characteristic features such low pitched hip roofs, minimal decoration, and extensive hand crafting, they each have elements unique to their style. But they also blend into each other to such an extent that it is often impossible to positively classify a particular house as one or the other style. A Craftsman bungalow with Prairie elements is as common as a Prairie house with Craftsman elements. Four-square houses freely purloined elements of both. Arts & Crafts styles borrowed liberally from Art Deco and other "modernism" decorative styles — and just as freely were borrowed from by modernist designers. So while these uniquely American styles are identifiable, and excellent examples of each can be found in Nebraska communities, most Arts & Crafts era houses are hybrids of the three main styles — incorporating many of the best features of each.

The Bungalow
There are a number of different craftsman-style houses, the American Four-square is actually a craftsman-style house. But the most popular Craftsman home was the simple 1-1/2 story bungalow. In fact, for most people, "bungalow" and "Craftsman house" are synonymous terms. Just about every Nebraska town boasts at least one bungalow.

Bungalows are modest, inexpensive, low-profile houses faced with wood siding and brick or, less commonly, stone. Wood siding was often applied in contrasting wood bands or courses separated by wide horizontal trim boards. Characteristically, they possess broad, low gable or hip roofs, usually with one or two large front dormers, wide eaves with exposed rafters and brackets (actually called "corbels") under the eaves. Wide, open front porches were supported by heavy masonry or wood piers. Windows are abundant and distinctive: "4 over 1" (4 panes in the upper sash to one pane in the lower sash) or "6 over 1" double-hung. These are now commonly called "Craftsman" windows.

The house's condensed floor plan made use of all available space. A single living room replaced the front and rear parlors, entry hall, and library characteristic of the Victorian house. The living room almost always had a fireplace, often set in a niche called the "inglenook". It opened directly into the dining room, which also served as a multi-purpose family room. The dividing wall usually was only five feet high so the rooms were connected visually. The kitchen connected to the dining room through a swinging door that provided easy access but kept food odors out of the rest of the house. (These have usually been removed now that kitchen ventilation is available, and most are lost, but the swinging door hardware often remains attached to the doorjamb.)

The bungalow style is thought to have its roots in the native architectural styles of the Bengal in India. During the last decades of the 19th century, English officers had small houses built in the "Bangla" style. The houses were one Do You Own A Mail Order House?
Aladdin Marsden House Kit. Thousands of Arts & Crafts and Craftsman homes were built from kits. Click to enlarge image.
Click to Enlarge
Many Arts & Crafts houses were built from kits manu­fac­tured by Sears, Roe­buck & Co., Alad­din and other kit makers. Kits weighed about 25 tons, included a detailed assembly manual, extensive blueprints, and about 10-30,000 individual pieces. Sears alone sold over 70,000 kit homes from 1908 to 1940. So many mail order kit homes were built in Nebraska that the odds a pretty good that your pre-1940 home is a kit house. If so, congratulations are in order. You own one of the best designed and built homes in America. Here are some clues to look for.
  1. Look in your attic, basement, garage and crawlspace for blueprints, shipping documents or the assembly manual. These were often tucked in out-of-the-way places. The document will tell you the name of the company that made the kit, and the model number.
  2. Kit houses were often modified by their original owners. But usually the overall dimensions remained the same. Measure the width across the front and sides of your house and look for those exact dimensions in plan books.
  3. Compare the front and side views of your house with published plans and illustrations. Look at the overall configuration, roof style, type of porch and placement of the front door and chimneys. These are unlikely to have been modified. Windows, on the other hand, were sometimes moved around or omitted, so they are of less help.
  4. Compare your floor plan to similar plans in pattern books and mail order catalog illustrations. Keep in mind that rooms may have been added since the house was built, and porches may have been enclosed.
    5. Sears Lumber Mark Typical Sears lumber code on a rafter.
  5. Look for stenciled markings on floor joists and rafters in the attic or basement where they are exposed. These marks were keyed to the blueprints that came with the kit. Companies marked their lumber differently, so the type or marking can tell you who made the kit. Sears used a code number system to mark lumber. Each piece was marked with a letter and number for each size of board, so all boards of the same size would bear the same code number. Aladdin marked its lumber with dimensions and use, for example 2x10x14-6 - Rafter.
  6. Look at original mortgage or purchase papers, building permits, utility company records (particularly those relating to water and sewer installations), for clues as to the origin of the house.
  7. Don't forget newspaper archives. Many communities required building permits and land sales to be published. Look for articles about new home construction, especially if it mentions that the home is a kit home. The quality of Sears and Aladdin homes was such that builders often built the kits on spec, knowing there would be considerable interest in the home simply due to the reputation of the company.
  8. If you have a local historical society or association devoted to the preservation of period homes, they often have considerable research material and experts who can authoritatively determine whether your home is a kit.
The nice people at Antique Home Style have put together a handy index of ready-cut house plans from the major manufacturers and builders, including Sears. William Radford, Wards, Lewis Manufacturing, and others. Well worth a look.

story with tile or thatched roofs and wide, covered verandas. The style was introduced to American architecture in 1906, through an article that appeared in The Craftsman magazine published by Gustav Stickley. It was adopted by period architects such as an answer to the need for small, affordable homes, and rather quickly became a staple of homebuilding in America. The Craftsman routinely published plans for bungalow homes, which were available free to Craftsman readers and could be used anywhere in the country. Although a number of attempts to catalog Stickley Bungalows have been made, the full extent of Stickley's influence will probably never be known since he urged homeowners to modify plans to fit their needs, and they did. So, identifying a house as a Stickley design is often nearly impossible.

Stickley was probably the most influential, but hardly the only proponent of bungalow homes. Bungalow designs were spread by the practice of using mail-order plans available from illustrated catalogs. Many bungalow plan books were published. Stickley himself published collections of his plans from the magazine in Craftsman Homes (1909), More Craftsman Homes (1912) and Craftsman Houses: A Book for Home Makers (1913). Other influential plan books published at the time were William P. Comstock's Bungalows, Camps and Mountain Homes (1915), which contained detailed instructions on how to build a bungalow, Frederick T. Hodgson's Practical Bungalows and Cottages for Town and Country (1912); Henry H. Saylor's Bungalows, Their Design, Construction and Furnishings (1911) which featured a number of Bungalow house plans.

A number of companies offered pre-fabricated, or what were then called "ready-cut" homes, which were shipped by rail and assembled on site by the owners or local builders. Sears, Roebuck & Co. began selling its "Modern Homes" from a catalog in 1909. Kit homes were a giant step in affordable housebuilding. Ready-cut houses were "assembled" from lumber already cut to the correct size at the manufacturer's mill. Everything from nails to millwork, even paint was shipped by rail on pallets to the nearest terminal, then trucked to the building site. Precut lumber and trim, and pre-assembled doors, windows and mouldings, even cabinets were carefully numbered to match the plan books that guided assembly. It made construction faster, and therefore less costly, although the common claim that a ready-cut house replaced 10 carpenters was probably a bit of an exaggeration.

Although Sears dominated the market, Montgomery Ward (Wardway Ready-Cut Homes), Aladdin Homes ("Redi-cut" Houses) and Gordon-Van Tine Company also offered extensive lines of kit homes. The cost of a bungalow kit in 1915 was about $600.00 (about $13,000 in inflated 2012 dollars).

Due in part to the widespread availability of plan books and ready-cut kits, Bungalows, like Four-Squares (see below) were seldom built with the assistance of an architect. A builder got comfortable with a certain style and floor plan and built the same house with minor variations in detail over and over again — often on the same block. Many builders built only kit houses. The reputation of ready-cut houses for quality was such that the fact that a house was a ready-cut kit was a strong selling point. (For more information on how most pre-war homes were built see A Brief History of Homebuilding.)

The Prairie House The Prairie Style house is a product of the Prairie School of architecture. This new style of housing was coined the Prairie Style after a 1901 article in the Ladies Home Journal by Frank Lloyd Wright entitled, "A Home in a Prairie Town." According to architecture historian Dixie Legler:

"It was a new look for a new century. Low, ground-hugging houses with refreshingly spacious interiors under sweeping roofs, leading to terraces reaching out to nature, all dressed in the colors of the prairie in autumn and simplified with built-in furniture. A group of idealistic young architects in Chicago, led by Frank Lloyd Wright, had succeeded in their quiet revolt against the fussiness of Victorian houses. Gazing toward the horizon, they saw the prairie as the perfect metaphor for redefining the American home." (Dixie Legler, Prairie Style: Houses and Gardens by F. L. Wright, Harry N. Abrams Inc., 1999).

Arhchitects of the Prairie School sought to redefine American housing by designing homes with low horizontal lines and open interior spaces in deliberate contrast to the Victorian Era's tall, narrow houses with closed-in interiors. Victorian housing was the creature of Eastern cities with small, constricted urban lots. Prairie houses were children of the Great Plains; low, wide structures more suitable to its limitless horizons. Rooms were often divided by leaded glass panels or low cabinets rather than walls. Both American Southwest and Japanese influences are most apparent in this Arts & Crafts style, more so than in the Craftsman or Four-Square styles.

The first Prairie houses were usually finished in lime plaster with wood trim or sided with horizontal board and batten. Later Prairie homes used concrete block — a new material at the time. The spacious, open floor plans of Prairie homes took on many forms: Square, L-shaped, T-shaped, Y-shaped, and even pinwheel-shaped. Furniture was either built-in or specially designed by the architect just for the house.

The style was popularized by pattern books and illustrated magazines, but there was never, as far as we can determine, a kit for a Prairie Style House. Few Prairie style homes were built without the involvement of an Architect. They never received the widespread builder acceptance of the Craftsman and Four-Square styles, and are consequently much less common in our communities. The few that do exist, however, are usually little gems and well worth preserving.

The Prairie house is the only Arts & Crafts style to penetrate the great post-war housing boom. By the 1940s Prairie School architects had evolved the Prairie style into something resembling the Mid-Century Modern style by continuing to flatten the roof and adding glass wherever they could.

Wright's own work had already incorporated many Modernist elements into Prairie architecture by the 1930s. The post-war European influences also had their impact on the transition from Prairie to Modernist, including the Bauhaus and Scandinavian Modernist design schools.

The American Four-Square In 1890 there were no Four-Square houses in Nebraska. By the end of World War I in 1918, there were thousands. Where the style came from is somewhat a puzzle. The Craftsman and Prairie styles can be traced to specific architectural schools or historical antecedents. But the Four-Square style seems to have no such precise parentage, no renown architectural advocates, no underlying design philosophy, not even a distinct school of thought. It just got built.

Theories abound as to its architectural origins. One such theory is that it appeared when builders squared off the Folk Victorian house, stripped it of its elaborate orna­mentation, lowered the roof pitch, extended the eaves, added Arts & Crafts-influenced interior features and a big front porch.

Or perhaps it was the already square Italianate Victorian design that was the arcnitectural genesis of the style. Remove the cupola and gingerbread; replace the tall Victorian windows with Arts & Crafts-style windows, enlarge the porch, and you end up with a Four-Square house.

Still others believe that it is, in fact, a refinement of the traditional rectangular two-story colonial repopularized by the Colonial Revival school at the very end of the 19th century. The colonial was squared off, a porch added, its roof lowered and Craftsman detailing applied.

We think that the more likely explanation is much less complicated. The Four-Square is just the builders' two-story version of the popular Craftsman bungalow. Buyers liked the simplicity, open floor plan and interior efficiency of the bungalow, but many wanted a larger house. Builders responded with the larger Four-Square, preserving the essential design elements of the classic bungalow while adding a full second floor.

But, the fact is that while there are a great many varying opinions, no on really knows for sure where the Four-Square came from. We suspect that a number of different architectural influences intersected a large dose of Midwestern down-to-earth common sense to create this distinctive house that has become one of the most recognizable of American home styles. A classic Four-Square cannot be anything but a classic Four-Square. There is no other house style that resembles it.

The style is well regarded of by today's architectural historians as one of the icons of American architecture. But, such recognition was long in coming. For decades the Four-Square was mostly ignored by the architectural community as just an uninspired, builder-designed curiosity: chunky, square, symetrical, unassuming and plain as an old shoe. It was thought to have little style and no architectural importance.

The design did not even have a name until the 1980s when the term "Four Square" was coined by Clem Labine, founder and editor of Old House Journal. Labine's 1982 article (with Patrica Moore), entitled "The Comfortable House: Post-Victorian Domestic Architecture" first suggested that the true importance of the Four-Square lay not in any significant architectural features, but in its extraordinary livability. It is one of the least expensive houses to build and one of the most comfortable and economical to live in. And, while its particular aesthetic appeal may be hard to define in strictly architectural terms, it does have a definite folksy attraction. As one of our designers observed: "It's the jovial, fat German grandma of houses: broad, squat and plain, but with limitless warmth and comfort. No house says 'welcome home' like the wide, smiling front porch of a classic Four-Square." It may be the most American of houses. With the exception of Canada, where the style is almost as popular, no other country has them in any significant number.

It is without question a "folk" house, utterly devoid of pretension of any kind. A spacious two-story dwelling with a low-pitched, hipped roof and widely overhanging eaves, its square or nearly square footprint is perfect for making the most efficient use of city lots. It is clearly designed for the vagaries and extremes of American Prairie weather. Its low-rise hip roof collects snow, a natural insulation in the winter, and its wide eaves protect the house from blistering summer suns and driving rains for which the Great Plains is justly famous. It is the ultimate "comfortable" house.

Typically, each floor contains four rooms, one neatly tucked into each corner. On the first floor, you will find an entry foyer, living room, dining room, and kitchen. Upstairs, three bedrooms and a bath surround a small foyer at the top of the stairs. Arranging each floor in quadrants eliminated the need for long hallways and made the most efficient use of interior space. Simple, symmetrical Four-Square homes were less costly to build than earlier, more complicated designs with protruding wings and complex roof lines. The houses are very efficient to heat, often designed so that the upstairs and downstairs were distinct heating zones separated by a door at the top or bottom of the stairs. The downstairs was heated by day, and upstairs at night.

Large tracts of Four-Square homes still exist in older Lincoln neighbor­hoods, particularly in the old "streetcar suburbs" in the Near South, Irvingdale, Country Club, Bethany, College View, University Place, and Havelock; but the design was universal and can be found in remote farmhouses as well as in the urban core of nearly all Nebraska cities. Omaha has several Arts & Crafts neighborhoods including our favorite, Dundee which houses the Happy Hollow Historical District.

The Four-Square was a popular mail-order era style along with the Craftsman bungalow. Sears alone offered a dozen different kits and other manufacturers as many as twenty. It arrived crated in a boxcar with a "free" assembly manual and all the parts pre-cut and numbered for "easy assembly" (uh-huh).

Four-Square houses were built with a variety of exterior finishes, including brick and narrow-strip wood clapboard siding. A few feature shingle siding or stucco, but these are relatively rare in Nebraska. Brick and stone facings, while uncommon elsewhere, are fairly usual here. The second story was often finished in a different siding than the first - shingles over clapboard, for example. A wood band usually separated the two treatments. Its entrance was the focal point of the front facade, and it often had a front and sometimes side-hipped dormers in its pyramid-shaped roof. The interior and exterior spaces of these houses were usually linked by a full-width first-floor front porch with massive, and very distinctive, square pillars supporting the porch roof.

Arts & Crafts Interiors
The Arts & Crafts period produced the first truly comfortable houses that regular people could afford1. They we well lighted, ventilated, heated, and pleasantly decorated, with the ultimate convenience of indoor plumbing. The paradox of the period is that this level of modern comfort was provided by the very thing that Arts & Crafts idealists despised — urban industrial mass production… more »

1 The Arts & Crafts period started in England around 1860 and had crossed to the United States by 1880. By the time the movement reached it peak of influence in the United States, around 1910, it was already dying out in England and most of Europe. In the U.S., its impact on architecture and design continued until it began tapering off in the mid 1930s. By the eve of the World War it was already being supplanted by several modernist schools that heavily influenced Post-War architecture.




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