22. Craftsman Bungalow, thought to be the curator's house at the Frankston golf club: the broad gabled roof form, heavy porch piers in the rustic stonework, white painted window architraves and the stained boarding were al part of the Bungalow philosophy of suitability for place, in this case a rural setting [Veale collection held by Ian Armstrong].

Siting
Detached siting with larger front setbacks and now with provision for a driveway to one side, leading to a garage at the rear.

Walls

Timber Wall Cladding
Painted or more popularly dark-stained bullnose softwood (oil stain on Baltic Pine, Western Red Cedar) weatherboards and green or brown stained shingling in the gables.

Brick Wall Cladding
Red and clinker brick, with flush mortar joints (rarely tuck-pointed) and set in a cavity bond.

Stucco
Rough-cast stucco (actual or simulated on metal sheet or asbestos sheet), in gables, was a variation or addition to shingling. An all-stucco wall finish was uncommon for the Bungalow.

Roofing
Marseilles pattern unglazed terra-cotta tiles were dominant as was the wide gable of the porch or main roof, set facing the street. Eaves extend further beyond the wall with rafters often expressed with shaped or fretted ends in a Far Eastern pattern.

Verandahs
Generally in a central or offset, gabled porch form, with either the characteristic red brick or stuccoed piers, with cement often round Doric or Ionic order columns, or less commonly timber as derived from the 'Swiss Chalet' bungalow form: Verandah roof cladding was generally as the main roof but sometimes flat, using Malthoid. Verandah decoration was minimal in the typical bungalow, being confined to the carved timber valanes of the 'Swiss Chalet' variant.

Typical Californian Bungalow design of the 1920s

23. Typical Californian Bungalow design of the 1920s [SSB]

24. Typical Indian Bungalow of the 1920s [SSB]

Roof Drainage
Eaves were extended and rafters often expressed over a verandah bressumer; quadrant and (rarely) ogee profile gutters were used on g.s.i. brackets attached to a plate nailed to the rafter ends. Round downpipes prevailed, by now, attached to walls with galvanised sheet strapping.

Openings
Windows were either double hung or casement and generally in groups of. three, if not semi-circular bays, fronting the street. Glazing still used leaded joints but in clear diamond or rectangular patterns with small coloured glass geometric or Greek Revival pattern designs, usually set in the top sash only and usually pale blue and white or other pastel shades.

Front doors were typically of vertical V-joint tongue and grooved boarding with perhaps a segment-arched half-light, using leaded glazing as above; variations included timber mullioned, multi-paned top glazing and three vertical panels below.

Chimneys
Red brick, some using transitional decorative banding or rough cast from the previous period but more typically with a plane shaft finished at the top by a soldier-course or perhaps a terracotta cap with a central pot.

Fences
Some examples use the old Edwardian capped picket fences: these were in the minority.

Chain or wire .fabric in double palisades of hoop-shaped crimped wire, typically of the Cyclone brand, were set between shaped posts and optionally below timber cappings. Scrolled strap-iron decoration, combined with the wire and framed by tubular iron pipe provided the gate. An alternative is the wrought iron gate, with Japanese-pattern metal work. Chain mesh (still common today) was also used with pipe rails between timber posts. The emphasis was on more light into gardens, integrating of garden with the new-found 'a nature strip' and less maintenance. Despite this philosophy, the clipped privet hedge placed behind a fence provided an opaque boundary, albeit a green one.

Other options included a broad, low, round-head or capped timber picket.

Typical sizes were: 95 x 20 mm picket with 52 space, posts 120 x 120, capping 120 x 33, rails 94 x 45 and plinth 145 x 38; the capping height is 1240mm and the posts 1370mm. A more unusual timber fence is that comprised of widely-spaced square trellis panels, under a capping.

Brick houses often had matching brick fences with expressed capped piers and some cement-render detail. There was also masonry fences hung with stout chains between piers which were matched in masonry in the form of swagged brick panels. Brick houses often had matching brick fences with expressed capped piers and some cement-render detail. There was also masonry fences hung with stout chains between piers which were matched in masonry in the form of swagged brick panels.

Colours
Colours, like the architecture were simpler. Shingling was stained deep cedar brown or sometimes greet, wall boards were either stained (engine oil or creosote) and lacquered (cedar) or painted in the brown or cream ranges and window joinery in a deep maroon, brown or green which matched the shingles. These joinery colours and cream wall shades were to continue in later styles until the early Modern period introduced white wall colours and fixed on deep Brunswick green for its joinery.

Doors from different eras

25. Doors from different eras [after Stapleton]

NOTES