| Historic Name: |
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Common Name: |
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| Style: |
Arts & Crafts - Craftsman, Arts & Crafts - Prairie Style |
Neighborhood: |
Wallingford |
| Built By: |
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Year Built: |
1917 |
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| Significance |
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This house was built in 1917 by the owner, Juliaetta Clancy, who apparently lived next door at 2305 N. 44th Street. It appears Clancy intended to hire tradesmen directly rather than work with a contract builder (the permit lists the builder as "day work"). The house was designed by A. A. Hirtle (or perhaps Histle) according to the building permit.
A garage was added to the house in 1924 by Gus Cohn, who appears to have acquired the property in 1923. A portion of the garage was housed within the existing basement; however, the remainder of the space had to be enclosed by an addition to the structure.
The house is significant as an example of bungalow design incorporating several elements of the prairie style. Although the siding has been modified several times over the years, it currently appears much as it did when the house was initially constructed.
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| Appearance |
| This building is a one story, wood clad frame residence on a concrete foundation over a full basement. It is situated on a corner lot. Its entry façade faces N. 44th Street to the north and a longer side elevation fronts on Corliss Avenue to the west.
The rectangular plan is capped by a hipped, overhanging roof with an enclosed soffit. A hipped extension of the roof covers the entry porch which projects toward the street at the northeast corner of the house. This projecting hip is supported by two square built-up wood piers which bear on the cap of the solid porch rail. A horizontally oriented rectangular window opens to the porch, as does the north-facing entry door.
The gutter, and the fascia to which it is attached, provide a continuous horizontal roof edge that runs without interruption around the entire house.
The chimney is located at the west elevation where it rises through the eave (the roof overhang projects well beyond the face of the chimney). A bay extends westward from this elevation just to the south of the chimney.
The gutter line is echoed by a horizontal drip mold that acts as a belt separating the upper portion of all four elevations from the lower half of the structure’s volume. The porch railing caps and most of the window sills appear to be integrated with the drip band, which the designer has deftly employed to coordinate the details of the façade.
The windows themselves are tall rectangular casements organized in horizontal bands. A group of five casements open to the street at the north elevation to the west of the porch; groups of two open to the west either side of the chimney, and another group of five is centered in the rectangular bay projecting toward Corliss Avenue. At the back end of the house, the heads of the windows remain in alignment with windows elsewhere on the elevations; however, the sills do not reach all the way down to the drip band, perhaps reflecting an accommodation to the requirements of the kitchen cabinets. Most of the windows have two vertical muntins and three horizontal muntins. One of the horizontal bars divides the sash in half, the remainder of the muntins are located near the edges of the window, forming the characteristic prairie pattern of slender rectangular edge panes and square corner panes around two larger central panes.
The hipped roof, the closed soffits, the emphasis on horizontal trim elements, the horizontal banding of the casement windows, and the distinctive arrangement and vertical emphasis of the window muntins, are all typical elements of the prairie style.
Photographs of the house made in 1937, 1957 and 1961 clearly record the siding changes that have occurred at this residence. However, the current configuration is nearly identical to that illustrated in the earliest of the historic photos and there is no record of changes to other elements of the design. With the exception of a small addition at the back of the structure, no significant modifications to the characteristic elements of the building are apparent. |
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