The Textbook of Architecture

Arthur Stratton · Series VIII. Vestibules, Vaulted Loggias and Covered Approaches

Introduction

1 live illustration in this chapter

THE functions of the vestibule are many; and according to its main purpose, it may be considered to fall into two distinct types: first, when it serves as an ante-room to a large waiting hall or other apartment (Fig. 10), and secondly, when it is used to give access to a building or courtyard from the street and is designed to accommodate both foot and wheeled traffic. The theory underlying the design of the latter form of vestibule is similar to that governing the design of the corridor and many of the features described in Series VII apply to this type, which is primarily a means of communication. In features of this kind it is usual to adopt a scheme of vaulting in order to give an imposing effect, and one of two systems is generally followed. Either a series of intersecting vaults is carried on supports to form a three-way disposition conforming to the main axis, in which case the passages are equally disposed slightly greater width being given to the central one — or the treatment follows the well-known “Palladian motive” in which the central thoroughfare is much wider and is spanned by a barrel vault, while the side ways are covered with flat ceilings at the level of the cornice from which the central vault springs. There are few examples of either of these arrangements to be found in England where planning has not been developed on the principle of the internal courtyard, and with the exception of the magnificent vestibule designed by Sir William Chambers to connect the Strand front of Somerset House with the courtyard (Plate XLIX), there is nothing approaching the grand character of the vestibules often found in palaces of Italian cities. The vestibule in France has been developed according to Italian precedent for close upon three centuries, and it is to be seen in its modern form in the public and private buildings of Paris where unique conditions of planning have favoured its evolution on those lines. Some attempt has been made in this country, not without success, to incorporate the vestibule in modern public buildings, such as the entrances to the India and Foreign Offices as well as certain new Government buildings in Whitehall.

Fig. 1The ‘Palladian motive’: a wide arched opening between two narrow flat-headed ones, the scheme of vestibules with a wide central way (Series VIII). Open in Models ↗

The problem of a vestibule designed for wheeled traffic with two distinct thoroughfares, in addition to passage-ways for pedestrians, is likely to confront the architect, and this demands especial consideration in order to overcome certain difficulties which arise from æsthetic causes, because such an arrangement is never good unless the idea of an open centre is preserved. For a successful solution of this problem the student is referred to the example beneath the Hotel at Euston Station, London (Plate LI, Nos. IV-VI). Where possible it is better to have one large opening sufficient in width to allow two streams of traffic, and this implies guard posts and a central footway. It is important that vestibules should be designed to maintain traffic circulation and to accentuate points of axial interest in the plan of a building. Foot traffic must be guarded from the inconvenience of vehicles crossing lines of communication and adequate lighting is essential.

From experience it has been found that a square vestibule can be divided into three passage-ways over which barrel vaults, springing from intermediate colonnades form the architectural interest (Fig. 11). Several varieties of vestibule treatment are given on the Plates, and the remarks referring to elaboration of the corridor apply with equal force to the design of vestibules.

Public-domain text (1925), transcribed from the archive.org OCR of the first edition and cleaned for reading: line-end hyphens rejoined, running heads, page numbers and the captions of the text figures removed, and obvious misreadings corrected. Stratton’s hundred plates are not reproduced, nor their engraved captions or the index to the illustrations; each Series is divided at his commentary on each plate, and the chapter titles follow the plate headings. The live figures are this book’s own.