DOI Heft:
The British Empire
DOI Artikel:Reid, Arthur H.: Domestic architecture in South Africa
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21779#0119
DOMESTIC ARCHITECTURE IN SOUTH
AFRICA. BY ARTHUR H. REID, F.R.I.B.A.
THE enormous area under British domination in South Africa
presents such varying social, physical, and climatic conditions,
which of necessity affect the habits and requirements of the
European inhabitants, that the subject under review at first
sight is perplexing. If the axiom be accepted that the character of a
nation is reflected in its art productions, one may be excused for taking
refuge in the postulate that the South African nation is heterogeneous,
especially in view of the very limited space at the writer’s disposal.
From the British occupation of the Cape of Good Hope in 1806 up to,
say, 1890, perhaps the less said about Domestic Architecture the better !
There were many factors in the days before that militated against the
advancement of art, the chief of which were the lack of educational
facilities, a need of appreciation of the comforts and refinements of
modern life, due to isolation caused by the difficulties of transportation,
and perhaps a natural disinclination to depart from the limits of the
simple life then in vogue. These conditions have now more or less dis-
appeared, and the accompanying illustrations of Modern Domestic
Architecture will, it is hoped, bear comparison with the same class of
work elsewhere.
It is felt that it would be absurd to deal with the modern examples
without a retrospective reference to those of the past, because the pro-
fession should aim at the perpetuation and improvement of a style that
is to some extent original, not so much in conception as on account of
the exigencies of climatic conditions supported by the limits of local
materials and by national sentiment. The characteristics of the old Cape
country houses may be generally set forth as follows: They are invari-
ably single-storied, with thatched roofs and more or less elaborated
gables. The walls are of brick, plastered and whitewashed outside and
inside. The windows have massive solid frames, fixed flush with the
outside of walls, and the sashes are moulded and glazed in small panes.
The lower sashes are protected by shutters with solid panels, and effect
is gained by painting the frames and shutters dark green and the sashes
white. There are no architraves to the outside of the openings and the
inside reveals are plastered. Wrought and exposed wooden lintels and
broad window boards complete the fenestral details. The door frames
resemble those of the windows and are also fixed flush with the outside
of walls. The doors are usually hung in upper and lower leaves, the
former in many cases interchangeable with a sash to harmonize with
the fenestration. Fanlights are always a feature, and in the better houses
the astragals are executed in scroll form and sometimes are elaborately
carved. The openings are generally emphasized by plaster or wooden
105
AFRICA. BY ARTHUR H. REID, F.R.I.B.A.
THE enormous area under British domination in South Africa
presents such varying social, physical, and climatic conditions,
which of necessity affect the habits and requirements of the
European inhabitants, that the subject under review at first
sight is perplexing. If the axiom be accepted that the character of a
nation is reflected in its art productions, one may be excused for taking
refuge in the postulate that the South African nation is heterogeneous,
especially in view of the very limited space at the writer’s disposal.
From the British occupation of the Cape of Good Hope in 1806 up to,
say, 1890, perhaps the less said about Domestic Architecture the better !
There were many factors in the days before that militated against the
advancement of art, the chief of which were the lack of educational
facilities, a need of appreciation of the comforts and refinements of
modern life, due to isolation caused by the difficulties of transportation,
and perhaps a natural disinclination to depart from the limits of the
simple life then in vogue. These conditions have now more or less dis-
appeared, and the accompanying illustrations of Modern Domestic
Architecture will, it is hoped, bear comparison with the same class of
work elsewhere.
It is felt that it would be absurd to deal with the modern examples
without a retrospective reference to those of the past, because the pro-
fession should aim at the perpetuation and improvement of a style that
is to some extent original, not so much in conception as on account of
the exigencies of climatic conditions supported by the limits of local
materials and by national sentiment. The characteristics of the old Cape
country houses may be generally set forth as follows: They are invari-
ably single-storied, with thatched roofs and more or less elaborated
gables. The walls are of brick, plastered and whitewashed outside and
inside. The windows have massive solid frames, fixed flush with the
outside of walls, and the sashes are moulded and glazed in small panes.
The lower sashes are protected by shutters with solid panels, and effect
is gained by painting the frames and shutters dark green and the sashes
white. There are no architraves to the outside of the openings and the
inside reveals are plastered. Wrought and exposed wooden lintels and
broad window boards complete the fenestral details. The door frames
resemble those of the windows and are also fixed flush with the outside
of walls. The doors are usually hung in upper and lower leaves, the
former in many cases interchangeable with a sash to harmonize with
the fenestration. Fanlights are always a feature, and in the better houses
the astragals are executed in scroll form and sometimes are elaborately
carved. The openings are generally emphasized by plaster or wooden
105