Westminster Abbey, London church that is the site of coronations and other

ceremonies of national significance. It stands just west of the Houses of Parliament in

the Greater London borough of Westminster. Situated on the grounds of a former
Benedictine monastery, it was refounded as the Collegiate Church of St. Peter in
Westminster by Queen Elizabeth I in 1560. In 1987 Westminster Abbey, St.
Margaret’s Church, and the Houses of Parliament were collectively designated a
UNESCO World Heritage site.
Architectural history

Westminster Abbey: flying buttresses

Legend relates that Saberht, the first Christian king of the East Saxons, founded a
church on a small island in the River Thames, then known as Thorney but later called
the west minster (or monastery), and that this church was
miraculously consecrated by St. Peter. It is certain that about 785 CE there was a
small community of monks on the island and that the monastery was enlarged and
remodeled by St. Dunstan of Canterbury about 960. St. Edward the Confessor built a
new church on the site, which was consecrated on December 28, 1065. It was of
considerable size and cruciform in plan. In 1245 Henry III pulled down the whole of
Edward’s church (except the nave) and replaced it with the present abbey church in
the pointed Gothic style of the period. The design and plan were strongly influenced
by contemporary French cathedral architecture.

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sons of Edward III wearing heraldic gipons
The rebuilding of the Norman-style nave was begun by the late 1300s under the
architect Henry Yevele and continued intermittently until Tudor times. The Early
English Gothic design of Henry III’s time predominates, however, giving the whole
church the appearance of having been built at one time. The chapel of Henry
VII (begun c. 1503), in Perpendicular Gothic style, replaced an earlier chapel and is
famed for its exquisite fan vaulting. Above the original carved stalls hang the banners
of the medieval Order of the Bath.

Westminster Abbey: choir

The western towers were the last addition to the building. They are sometimes said to
have been designed by Sir Christopher Wren, but they were actually built by Nicholas
Hawksmoor and John James and completed about 1745. The choir stalls in the body
of the church date from 1847, and the high altar and reredos were remodeled by Sir
George Gilbert Scott in 1867. Scott and J.L. Pearson also restored the north transept
facade in the 1880s. The abbey was heavily damaged in the bombings that ravaged
London in World War II, but it was restored soon after the war.
Coronations, weddings, and burials
Catherine Middleton: wedding

Princess Margaret and Antony Armstrong-Jones: wedding

Since William the Conqueror in 1066, every British sovereign has been crowned in
the abbey except Edward V and Edward VIII, neither of whom was crowned.
Additionally, Westminster Abbey has a long tradition of royal weddings, beginning
with Henry I’s marriage to Matilda of Scotland in 1100. The only other reigning
monarch to be wed in the abbey was Richard II, who married Anne of Bohemia in
1382. The abbey was the venue for the wedding of Prince William and Catherine
Middleton in 2011.
Henry VII Chapel

Westminster Abbey: monument to Isaac Newton

Dietrich Bonhoeffer

Henry VII
Many kings and queens are buried near the shrine of Edward the Confessor or in
Henry VII’s chapel. The last sovereign to be buried in the abbey was George II (died
1760); since then they have been interred at Windsor Castle. The abbey is crowded
with the tombs and memorials of famous British subjects, such as Isaac
Newton, David Livingstone, and Ernest Rutherford. Part of the south transept is well
known as Poets’ Corner and includes the tombs of Geoffrey Chaucer, Ben
Jonson (who was buried upright), John Dryden, Robert Browning, and many others.
The north transept has many memorials to British statesmen. The grave of the
“Unknown Warrior,” whose remains were brought from Flanders (Belgium) in 1920,
is in the centre of the nave near the west door.

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Interesting facts about Westminster Abbey
 Westminster Abbey is called a “royal peculiar” because it is under the jurisdiction of
the British monarch and not the Church of England.
 Thirty royals are buried in the abbey, including 13 kings, 4 queens regnant, and 11
queens consort. In addition, James I’s mother, Mary, Queen of Scots, and his
daughter Elizabeth are interred there.
 Geoffrey Chaucer was the first poet to be buried (1400) in what became known as
Poets’ Corner. However, he was initially recognized for his service as the clerk of the
king’s works. It was not until Edmund Spenser was buried next to him some 200 years
later that the idea for Poets’ Corner was formed.
 In a plot worthy of a novel, Charles Dickens was interred at Westminster Abbey against
his wishes. He had requested a simple burial in a location close to his country home in
Kent. Rochester Cathedral was ultimately chosen, and a grave was dug there. However,
in a scheme reportedly instigated by Arthur Penrhyn Stanley, the dean of Westminster,
the author was buried in Poets’ Corner. Stanley thought Dickens added prestige not
only to the abbey but also to himself.
  Poet Lord Byron was refused burial in Westminster Abbey after his death in 1824
because his life was considered to have been too scandalous. However, a memorial
stone was finally placed on the floor of the abbey in 1969.
 The abbey is home to the oldest door in Britain. Using dendrochronology, scientists
discovered that a wooden door leading to the Chapter House was built in the 1050s.
 British artist David Hockney was commissioned to design a stained-glass window
that commemorates the reign of Elizabeth II. The vibrant The Queen’s Window was
installed in 2018.
 In 1998 statues of 10 modern martyrs were added over the abbey’s west door. The
martyrs are from around the world and include American civil rights leader Martin
Luther King, Jr., and Dietrich Bonhoeffer, a German theologian who was executed for
his involvement in a plot to kill Adolf Hitler.

CHAPTER 3: THE CHURCH OF ST. MARTIN-IN-THE-FIELDS

The Mediaeval Church
Of the earliest church of St. Martin-in-the-Fields, little is known except that it came into
being between the date of Domesday Book and the reign of Henry II, (fn. 70) and that it
was a parish church before the close of the 12th century. (fn. 71) The church and
churchyard were excepted out of the exemption from the jurisdiction of the Bishop of
London which was confirmed in 1222 to the Abbey of Westminster concerning St.
Margaret's Church and parish, (fn. 70) but the rectory appears to have belonged to the
prior of Westminster from the first. A list of all the known vicars is given in Appendix A.

References to the church in the 14th and 15th centuries are scanty. There are some rather
obscure references to digging for buried treasure in the church circa 1300. In 1406 William
Holt, a felon, took sanctuary there but was removed "by divers malefactors by force by
night, the men of the town of Westminster watching there being wounded and ill
treated." (fn. 26) In 1423 the vicar successfully carried through a suit against the master
and brethren of the chapel of St. Mary Rounceval who had been defrauding him of his
parochial dues. (fn. 54)

The only first hand evidence available as to the architecture and contents of the church
prior to the enlargement carried out in 1607 is contained in the Churchwardens' Accounts
and the Vestry Minutes. The former start in 1525, (fn. n1) the latter in 1574. The
information they afford with regard to the fabric of the church is somewhat fragmentary
and the early map-views add little to our knowledge since they show a purely
conventionalised unaisled building with a tower at the west end. On Agas the tower is
placed at the south-west corner but this may probably be attributed to the artist's desire to
put it in the picture. Vertue's plan and views reproduced on page 21 and on plates 8 and 9
give some indication of the size and plan of the original church. They show the tower at the
north-west corner, a position which is confirmed by Kip's view (Plate 53). (fn. n2) There is
no suggestion in the accounts that the tower was rebuilt in 1607 and it can, therefore, be
assumed that this was its original position. All the later illustrations show the tower
surmounted by a cupola of Renaissance design.

The church appears to have been built of rubble and repaired with brick, and to have
consisted of a chancel and nave under one roof, presumably without a chancel arch, but
with the division marked by a rood screen and loft.

There are several references in the accounts to chapels; e.g. in 1533 "Making pews in Saint
Johans aisle," in 1540–41 "For stuf and workmanship of the staires and ij pues in saynt
Cuthberdes Chappell," and in 1544 to "Making a new pew next Seynt Cutberd Ile." These
may have been chantry chapels. An entry in 1534 for mending the gutter of Saint John's
Chapel, may indicate a structural division and not merely an altar. In addition to the altars
of St. John and St. Cuthbert there are references to the Altar of Our Lady of Pity and to a
Jesus Mass endowed by Humphrey Cooke, which may indicate a Jesus Altar.

In 1525 there was a payment for carving and garnishing of the rood loft and for the making
of the image of Jesus and of Our Lady and the twelve prophets. There was also in the same
year an entry for wax to renew the rood light and, in 1541, for glazing the window of the
rood loft.

In 1525–27 timber, brick and tiles were provided for rebuilding the porch and at the same
time the body of the church was partly re-tiled and the floor re-paved. There are also pre-
Reformation references in the accounts to the bells, to the organ, and to pews for the
parishioners. The windows contained some coloured glass. The interior of the church was
whitewashed.

The religious changes of the Tudor period are reflected in the accounts which record the
acquisition of vestments after the dissolution of the monasteries, the sale of vestments,
candlesticks, etc., and the destruction of altars, during the reign of Edward VI, their
reinstatement after the accession of Mary, and the further changes of Elizabeth's reign.

In 1556–57 there were payments for mending and setting up the pulpit and "for the staye to
go vpp in to the powlpet," "for two clamps of yron to ffasten the powlpett to the pyller," and
"for Diggenge the whole and setteng the poste in the grounde, and pavinge thearof."

The walls of the church were repaired, and perhaps in part rebuilt, in 1542–43, when an
organ loft was set up, and stalls were placed in the choir. A more extensive repair was
carried out in 1596–99, when the accounts record "the Taking Downe of Peeres and Arches
of Stone that the People may the better here the preacher, the newe beareinge of the
Roofes w Stronge arches and Pillers of Tymber," and the making of "two greate windowes
th

w ij Dormors ouer them" as well as a number of minor matters.

th

By James I's reign both church and churchyard had become inadequate "by reason of the
late greate increase of howses and habitacions in the same parishe." (fn. 35) In 1606 the
king granted an acre of ground on the west side of St. Martin's Lane for a new churchyard
(see p. 112) and at the same time the churchwardens set about repairing and enlarging the
church. Reference to Vertue's plan (p. 21), shows that in 1606–09 the church was extended
on the north, south and west sides and a new chancel was built.

The prime mover in "amplifying and beautifying" (fn. 72) the builiding was Sir George
Coppin, Clerk of the Crown in the Court of Chancery. A sordid dispute arose after the work
was completed, some of the parishioners, Ralph Dobbinson, John Thorpe and others,
accusing Coppin of having embezzled funds provided for the building, and Coppin retaliating
in kind by suggesting that Dobbinson had forged the accounts, and had combined with
other parishioners to annex the "highest and principal pewes" to the deprivation of "Earles,
knightes and other bountifull benefactors of the same Church." The appropriation of pews
was discussed several times by the vestry about this time, and in 1618 the churchwardens
were ordered to see that parishioners could "enioye the liberty of their own pewes w out
th

beeing troubled w children or waiting women or others W have no Right to sitt in such
th ch

pewes … excepting the children of such honorable and worthy persons as the churche-
wardens … shall thinke fitt." (fn. 35) The question of seating-room in the church in a
growing parish in an age when nonattendance was a punishable offence was a constant
source of difficulty. The gallery on the north side was enlarged in 1621 and that on the
south side in 1623, nevertheless a few years later the parishioners petitioned the king for
the use of the hall in Durham House as a church since the parish church could not "contain
one half of those who would come to it." (fn. 35) (fn. n3) Owing to the troubles of Charles
I's reign, the Civil War, and the natural dilatoriness of the parish authorities nothing
effective was done. After the Restoration the scramble for pews recommenced. In 1661 the
Churchwardens were ordered to "cause a little gallery to bee made from the Vestry Gallery
unto ye second piller from ye sayd Gallery and that Sir Edward Nicholas one of the
Secretarys of State bee placed in parte of ye sayd new built Gallery, leaving of it to himself
what his honor wilbe pleased to give for it". (fn. 35) Sir Edward Hungerford and Sir Thomas
Clarges were among the other applicants for pews. The formation of the parishes of St.
Anne, Soho, and St. James's, Piccadilly, in 1678–85 did much to relieve the pressure, but it
was found necessary to retain the subsidiary chapel in Oxendon Street, first used as an
offshoot of St. Martins in 1678, until 1726, when St. Martin's was rebuilt.

Figure 7:

The plan of [old] St. Martin's Church.

From an engraving by G. Vertue in the Council's collection
The influence of Archbishop Laud is probably to be seen in the order of 1626 "touchinge a
Frame or pillers to be made about the Communion Table," and in that of 1629 for seeing
that the "glasse wyndowe of the Chauncell at the East end of the Church be forthwith
repayred with Cullored glasse suitable to that W remayneth." (fn. 35)
ch

On the whole the authorities of St. Martin's in the 17th century occupied themselves with
their own concerns and were content to swim with the tide in larger matters. An exception
was Dr. Everard, "reader" of St. Martin's, who was so often imprisoned for preaching
against the proposed marriage of Prince Charles with the Infanta of Spain that King James,
in a rare burst of jocularity, is reported to have suggested that his name should be changed
from Dr. Ever-out to Dr. Never-out. (fn. 73) He was later accused, apparently quite unjustly,
of Anabaptist tendencies. (fn. n4) There is little to record of the Commonwealth period
directly affecting the church. Puritan zeal was displayed by the vestry in 1646 when they
desired that the vicar and the "Sabbath day lecturer" should have public prayers and
expositions at 6 o'clock every morning in summer and at 7 in winter "for the better
informacion of Laborers and the poorer sort who cannott come to Church on the Lord's
Day." When in 1649 the vestry requested that "people of quality" might "freely come to ye
Communion as formerly" the reason put forward was the need for collections "for ye
preservation of the Poore," and not any solicitude for the spiritual welfare of the rich. (fn.
35) Lady Frances, daughter of Oliver Cromwell, was married at St. Martin's to Robert Rich
in November, 1657, and John Hampden, the younger, was christened there on 21st March,
1652–3.

The question of the safety of the tower was first discussed by the vestry in 1657. In his
will, (fn. 74) made in 1658, William Wheeler left five pounds towards "the building of the
Steeple of the parish Church of Saint Martin's, in case the same Steeple beint built in my
lyfe tyme." Nothing was done until 1669, when the tower was re-cased with stone. Anthony
Ellis, the mason responsible for the work, did not fulfil his contract either in materials or
workmanship, (fn. n5) and when, in 1680, Mr. Wise was given the order for a new clock,
the vestry took the precaution of ordering the churchwardens not to make the final
payment for it until "a considerable time after the said new Clock shall be sett upp, to see
that the same goe well."A new organ, made by Father Smith, was installed in 1667, and was
overhauled by "Mr. Renatus" Harris circa 1699.

The best extant account of the old church is that given by Hatton (fn. 75) in 1708: "This
Church was very small till the Year 1607, when that part which is now the Chancel, was
taken out of the Church-yard, and builded on, being an Enlargement of about 1 third of what
the Church and Chancel now contains, as may easily be perceived by the Roof. And the old
Church was about that time repaired and beautified, the W. Doorcase having the date 1609.
And the Situation of this Church being so far W[estwar]d as happily to escape the dismal
Flames of 1666, it was wholly new beautified within, in the Year of Christ 1688, and again in
1701. The Enlargement was done partly at the charge of King James the 1st, and
Prince Henry; the rest at that of the Parish.

"The Roof is cover'd with Tile, the Walls of Brick and Stone, with a Finishing; but the Tower
is of fine Stone, with strong Buttresses; the Roof within is a little arched, and supported
with Pillars, of the Tuscan and Modern Gothick Orders; the Windows of the like Orders;
and the Floor of the Chancel is 2 Steps above that of the Nave of the Church.

"It is wainscotted about 6 Foot high with Oak, of which Timber are also the Pews and
Pulpit, the latter having a square sound Board, with a Glory painted on the inside, and on
the sides, I Cor. 9 and 16.

"There are Galleries on the N, S, and W. sides of the Church painted Deal; and at the
entrance into the Chancel, the Aperture is adorned with 4 Columns, with their Entablature,
of the Corinthian Order; above which are placed the Queen's Arms carved, and
Enrichments of Cherubims, Figures of Plenty, &c., gilt with Gold.

"The Communion-Table is enclosed with Rail and Banister, and the Foot-pace within is
Marble; over the Table is a Window, which is betn the two Tables of the Commandments."

In 1710 several master craftsmen were appointed to survey the Church. They reported to
the vestry: "We find That all the Walls round the said Church being built with Rubble and
decayed with time are spread out by the Weight of the Roof and in all probability cannot
long support the Roof and in diverse places are only tyed in with severall Cramps of Iron.
Wee do also find That the Roof of the said Church is very defective. Wee are also of opinion
that the said Church cannot be supported by repairing but must be rebuilt." (fn. 35) The
vestry therefore petitioned the queen for assistance in rebuilding; negotiations were
carried out with the Commissioners for Rebuilding Churches and finally, in 1720, an act (fn.
76) was passed for rebuilding St. Martin's, the money, to a sum not exceeding £12,000, to
be raised by a rate on the parishioners. The act contained a clause authorising the
purchase of ground from Westminster Abbey for the enlargement of the churchyard and a
provision that the owners of Northumberland House in the Strand, who had occupied a pew
"in the Lords' Gallery on the South side" of the Church 5 feet 6 inches in breadth and 6 feet
in length, with a similar seat for servants below should have equal space allotted them in
the new building.

A temporary church was erected partly on the churchyard and partly on ground bought from
the Dean and Chapter of Westminster in Lancaster Court, and notices were inserted in the
newspapers that bodies and monuments of those buried in the old church or churchyard
could be taken away for reinterment by relatives. Among those removed was the alabaster
monument of Sir Amyas Paulet, which was set up in the church of Hinton St. George. The
rest of the monuments were stored in the temporary church and afterwards transferred to
the present crypt.

The Present Church.

The present church was erected from the designs of James Gibbs, (fn. n6) who was
selected for the appointment of surveyor by the rebuilding commissioners. Gibbs submitted
two designs for the new church one of which is shown on Plates 10a and 10b. These were
circular on plan, but they were disapproved on account of expense, though according to
Gibbs they were "More capacious and convenient" than the design finally selected. The
church as carried out cost £33,661 16s. 7¾d., including the architect's fees. The foundation
stone was laid on 19th March, 1722, and the last stone of the spire was placed in position
in December, 1724.

The building is of Portland stone. With its commanding portico and elegant steeple it forms
a worthy example of Gibbs' work and is a striking feature of Trafalgar Square, where its
position at the northeast corner enables it to be viewed to advantage. The hexastyle
portico, which is approached by a flight of steps, comprises eight columns of the Corinthian
order and is two intercolumniations in depth. The columns support a pedimented
entablature with the Royal Arms of George I with supporters, crown and garter, carved on
the tympanum. On the frieze is inscribed the following:

D. SACRAM AEDEM: S. MARTINI PAROCHIANI

EXTRUI FEC. A.D. MDCCXXVI
and over the centre bay on the architrave is "Iacobi Gibbs ArchiTectus." The soffit to the
portico has deep coffers formed by ribs carved with a guilloche. The order, which is raised
on a deep plinth, continues round the whole church and is surmounted by a balustraded
parapet. The wall surface to the sides is divided by pilasters into bays of two stages
containing arched windows with a plain band between. On the flanks are recessed bays,
with detached columns, containing pedimented entrance doorways. The eastern end has a
pedimented gable slightly breaking forward, with a carved cartouche in the tympanum
masking a circular louvred opening. The wall surface is divided into three bays by pilasters
with the large three-light window to the chancel as the central feature. The steeple, which
measures 192 ft. in height above the church floor, is square at the lower stages and
changes at the clock face to octagonal, finishing with a steeple surmounted by a ball and
weather-vane. It will be seen by referring to Plate 16 that the interior of the upper stages is
cylindrical in construction, the several contractions in the design being formed by a series
of domes.

The church, which stands upon an island site, has its yard at the eastern end, the whole
being enclosed by a high iron railing with heavy cast iron standards. The eastern and
southern ends have a rusticated dwarf wall to carry the railings. Similar railings with
double gates are continued between the columns to the portico, at the top of the flight of
steps. The steps and landing have undergone certain alterations owing to the footway
requirements.

The plan of the church is rectangular (Plate 11). The nave is divided from the aisles by a
series of five bays of Corinthian columns. The galleries over the aisles are continued across
at the western end over the last bay of the nave. At the eastern end the nave is reduced in
width by two coved quadrants culminating in the formation of the sanctuary. On either side
are the vestries and lobbies with stairs giving access to the private pews (fn. n7) above
and the galleries. At the western end are the side entrance lobbies with staircases leading
to the crypt and galleries and the main circular lobby to the lower stage of the steeple. The
columns to the main body of the church stand on high panelled pedestals and have block
entablatures from which spring the main ribs of the nave and aisle ceilings. Between the
columns are semi-circular arches forming vaulted spandrels. The nave ceiling is semi-
elliptical and is divided into panels by ribs enriched with the guilloche, while the panels are
decorated with cherubim, clouds, shells, and scroll work, being the work of the famous
Italian artists, Signori Artari and Bagutti. Over the chancel arch are the Royal Arms. The
aisles have shallow domes supported on pendentives which on the wall side spring from
consoles, consisting of cherub heads below a blocked cornice. The chancel arch is semi-
elliptical, the ceiling to the sanctuary being complementary.
Figure 8:
Sketch of whipping post in church crypt
The general effect of the interior, which is one of lightness and spaciousness, is produced
by the amount of ornamental plaster work, and by the windows being in two stages,
thereby obviating any interruption by the galleries.

The Crypt has a brick groined barrel vaulted ceiling springing from square piers which are
governed by the positions of the columns to the main body of the church above. The floor to
the southern bays is paved with old gravestones. Other stones have been erected against
the walls and in some cases monuments have been fixed on the brick piers. Fragments of
cartouches and other remains of monuments from the former church are also
preserved. (fn. n8) There is a very good wooden model of the church in the crypt. This was
prepared by Gibbs and cost £71 10s. A whipping post, a sketch of which is given here, is
also preserved.

Fittings
Bells.—There is a fine peal of twelve bells and a sanctus bell which, with three exceptions,
were recast in 1725 at a cost of £1,264 18s. 3d. All the bells bear inscriptions, records of
their casting and in certain cases the names of the churchwardens. (fn. n9)

Bust.—The bust of Gibbs which stands on a marble pedestal at the west end of the church
is by Rysbrach (Plate 27a).

Chest.—In the crypt is an elm chest 22 in. by 5 ft. 7½ in. by 24 in. The lid is 2½ in. in
thickness. In the Churchwardens' Accounts for Michaelmas Quarter, 1597, are records of
its construction and fittings.

Communion Rails.—These are in wrought-iron divided into bays with interspacings of

balusters and finished with a mahogany moulded rail.

Font.—There is no record of the mediæval font, but the present, one, presented by William
Bridgeman in 1689, which consists of an elliptical grained marble basin supported on a
spirally fluted and foliated pedestal with a carved oak cover, was removed from the earlier
church (Plate 27b). The cover narrowly escaped destruction, as it was sold by one of the
churchwardens in 1845, who considered it to be of no value. It was subsequently recovered
from an antique dealer. The enclosing rail round the font is the altar rail of the former
church of St. Matthew, Spring Gardens.

Figure 9:

Font rails
Figure 10:

Communion rails
Glass.—The following extract from the Church Building Accounts (fn. 77) refers to the
chancel window—

"1726, September 26th.—By painting the glass of the east window of St. Martin's Church—
James and William Price—£130."

The window was described by Gibbs as a large Venetian window with ornamental stained
glass, and is shown in a print of 1809. It was probably in position until 1867 when the
present window by Clayton and Bell, depicting the Ascension, was inserted. The other
windows of the church are filled with mid-Victorian stained glass.

Organ Case.—The first organ was the gift of King George I as compensation for his inability
to carry out the duties of churchwarden. It was built by Christopher Schirider, a son-in-law
of Father Smith, and cost £1,500. In 1799 this organ was sold for £200 to the Church of St.
Mary, Wotton-Under-Edge, Gloucestershire, where it still remains. It bears the inscription:
"The gift of His Most Sacred Majesty King George, 1726" on the front (Plate 22 a). A larger
organ was provided, but was replaced in 1854 by one built by Messrs. Bevington. This has
been several times extensively overhauled and partially reconstructed.

Peal Boards.—There are two gilt peal boards in the crypt with carved frames. They are
painted black with gilt lettering. The one on the south wall records that in 1727 the Society
of London Scholars rang the "First Compleat Peal of Six Thousand Cinques," while the
other, on the north wall, states that the College of Youths in 1788 rang "a Compleat Peal of
6204 Cinques on Steadman's Principle" in 4 hrs. 47 mins.
Figure 11:
Detail of stair balustrading
Pulpit.—The pulpit, originally a three-decker with an elaborate sounding board, was
formerly set up on the north side of the church. Plate No. 2 in Hogarth's series "Industry
and Idleness" (The Industrious "Prentice Performing the Duties of a Christian), published in
1747, shows the pulpit in its original condition as a three-decker with a staircase. The plate
is reversed and therefore shows the pulpit on the south side of the church. The original
drawings, reproduced on Plates 25a and 25b, show it on the north side. In Prebendary
Humphrey's time (1855–1886) it was re-erected on the south side of the nave without the
sounding board, and the reading desk and clerk's pew were taken away.

The pulpit is of oak, hexagonal on plan, and is supported on a hexagonal shaped stem with
a high base moulding. The panels to the main surface are inlaid, the front panel bearing the
sacred monogram and the side panels stars. The bolection moulding to the lower edge has
a well carved foliated design and below are cherubs' heads in strong relief, while the top
ledge is finished with escallop ornament. The pulpit platform is approached by a segmental
flight of steps with carved spandrel brackets, spiral balusters, three to a tread, and a
moulded handrail which finishes over turned newels at the foot. A portion of the stairs has
a panelled spandrel filling (Plate 24).

Pews.—The disposition of the seating in the church has undergone many changes. In 1799
the whole of the church contained high pews, the height of the pedestals to the columns.
The present seating, including the rearrangement of the sanctuary, was carried out in the
middle of the 19th century. The pews are panelled in oak and the end rows have high backs
with the top panels carved and finished with a carved capping. The walls of the church
have a high oak panelled wainscoting and moulded capping. Similar panelling is continued
in the vestries.

Stairs.—The staircases to the corner lobbies leading to the galleries are in oak and have
moulded close strings with their balusters turned. The moulded handrail finishes as a
capping to the square newels. The wall dados and spandrel fillings are also panelled in oak.

The Church Plate.

The changes brought about by the Reformation are indicated by items in the
Churchwardens' Accounts for 1558–59 for the sale of the chalice, weighing 10½ oz., and its
replacement by a communion cup, weighing 12¼ oz.

All the early plate, comprising 4 silver gilt cups with 4 silver gilt covers, 3 silver gilt pots,
one silver charger and one silver gilt flagour were stolen on 25th September, 1649. (fn.
78) The flagon, which bears the hallmark 1634, was recovered, probably in a damaged
condition, as it has an 18th century base, but the remainder is presumed to have been
melted down. The present church plate, which is of silver gilt, dates mainly from the late
17th and early 18th centuries. (fn. n10) Except for the articles in current use it is now kept
at the London Museum (Plate 33).
Figure 12:

Key plan showing position of monuments and wall tablets in the crypt of St. Martin's Church

Footnotes
 n1. The extant registers of baptisms, marriages and burials do not start until 1550, but the burial registers were begun in 1525
for in that year the accounts contain entries of payment of iijd "for a paper booke for the Clerk to wright in the buryalls" and iiijs
"for writying of the buryalls and other thyngs to the Churche."
 n2. It is not clear from the plan how the internal angle of the tower was supported.
 n3. Durham House had been used for this purpose in 1607–08 when the church was undergoing repair. No evidence has been
found of its being put to such a use temp. Charles I. (See Survey of London, Vol. XVIII, p. 93.)
 n4. The readers or Sunday lecturers were usually puritans and were not attached to one parish but preached at different
churches on Sunday afternoons. They came under the censure of Archbishop Laud who tried to put a stop to their activites.
 n5. "Dr. Wrenn surveyor of his Ma workes" was called in to give an estimate of the "Carpenters worke" on the Lanthorn. Wren
ties

also received a fee of 5 shillings for "drawing a draft of ye Cupilo" in 1672.

 n6. Gibbs was a native of Aberdeen. About 1695 he went to Holland to study architecture. There he met the Earl of Mar who
assisted him to proceed to Rome for further studies and, on Gibbs' return, was instrumental in having his name included in the
list of architects who were commissioned to carry out the work of building the fifty churches ordered to be built by an Act of
Parliament of Queen Anne. Gibbs' other works included the Radclifie Library, Oxford, the Senate House, Cambridge, Stowe
House, Buckinghamshire, St. Nicholas' Church, Aberdeen, St. Mary-le-Strand Church, and the steeple to St. Clement Dane's,
London.
 n7. At the eastern end on either side were the Royal Box and the Royal Household pews. The windows originally had glazed
sashes overlooking the sanctuary. These windows form an uncommon feature, as do also the iron balcony fronts in the galleries
over the doorways.
 n8. On one of the piers is fixed a carved roundel with an achievement of arms (Plate b.) The arms are quarterly of eight: 1. [Or] a
cheveron checky [gules] and [azure] between three cinqfoils [azure], with a crescent for difference—COOKE; 2. [Sable] a fesse
between three broadarrow heads [argent]—MALPAS; 3. [Or] an eagle with two heads [sable]—?; 4. [Azure] three eagles
bendwise between two cotises [argent]—BELKNAP; 5. [Gules] a fesse checky [argent and sable] between six crosses forming
fitchy [argent]—BUTLER; 6. [Or] two bends [gules]—SUDLEY; 7. Bendy of ten pieces [azure and or]—MOUNTFORD; 8. … a lion in
 a border …? The crest is a unicorn's head [or] between two wings [azure]. The arms and crest are probably those of Sir Hercules
Francis Cooke, 2nd son of Sir Anthony Cooke of Giddea Hall, steward of Havering atte Bower and J.P. for Essex in 1634. Hatton
describes "a spacious Marble Tomb and Monument" erected on the south side of the chancel of the old church by Frances
Cooke to her husband, William Cooke (owner of ground which formed part of the site of Northumberland House, see Volume
XVIII), and a son of Sir Anthony Cooke. A lozenge with coat of arms from this monument is also preserved and is attached to a
pier in the crypt.
 n9. Particulars of the inscriptions are given in John McMaster's "St. Martin-in-theFields," 1916.
 n10. There is an entry of a payment of £64 15s. on 11th November, 1726 "to Mr. Darker Goldsmith for Gilding and Altering the
Communion plate and New Plate in exchange for the old."
 26. Cal. of Pat. Rolls.
 35. St. Martin-in-the-Fields Vestry Minutes.
 54. Survey of London, XVIII.
 70. Westminster Abbey Muniments, Domesday Book.
 71. Ibid., Deeds 17141–2.
 72. P.R.O., Star Chamber 8/101/9.
 73. John Everard, D.D., Gospel Treasury Opened, 1659.
 74. P.C.C., 537 Pell.
 75. Hatton, A New Fiew of London.
 76. Act 6 Geo. 11 c. 62.
 77. Account book now kept in the church vestry.
 78. R. B. Wood, Sacrilege at St. Martin's, in St. Martin's Review, June, 1938.

For most students of architecture, the first few years of learning involve a demanding
crash course in architectural jargon. From learning terms as obscure as "gestalt" to
redefining your understanding of ideas as simple as "space," learning the
architectural lexicon is one of the most mind-bending processes involved in becoming
a designer.

This challenge is clearly a universal experience as well: when we asked our readers
last month to suggest their picks for the "weirdest words that only architects use," we
were inundated with suggestions - including 100 comments on the post itself and over
400 comments on our first Facebook post. Perhaps even more striking, though, was
the fact that in all of these comments, there was remarkably little overlap in the
words and phrases people were suggesting. The huge variety allowed us to select a
list of 150 words - just a fraction of the total suggested.
Why Do Architects Use Such Strange Language?

First up, to give our list some context we'll be discussing our readers' comments about
the issues surrounding architectural language - those who are here for the list alone,
feel free to scroll down!
Architectural language can, of course, be used for good reason. Sometimes, concepts
are too complex to express in everyday language, and some words refer to obscure
architectural ideas that the general public would likely not have previous knowledge
of. This was pointed out by jsarhitekt:

“Why limit, criticize or mute expression? Architecture has its own

language, not unlike other professions, pursuits, and genres. Does
everything have to be diminished and diluted to lowest common
denominator?” - jsarhitekt
But as noted in Dougilis' response to jsarhitekt, there's a difference between talking
to other architects and talking to people outside the profession:

“I don't think we are contributing to public discourse by using a

language that is incomprehensible to a layman. When I talk to a
physicist, I expect him to be able to translate his work into terms
that I can understand, and all trades and professions should be held
to the same standard. If you cannot explain your work simply, you
don't fully understand your work.” - Dougilis
As Lee Calisti points out, the important distinction to make is about intent:

“Perhaps it's the wrong question to ask. Motivation is more

important. Is one trying to be a better storyteller with their words or
simply being pretentious?” - Lee Calisti, AIA
Margit Rudy points out how our use of language therefore impacts the way others
think about architects:

“If those of us calling ourselves 'architects' want our hard-earned

skill sets taken seriously in the larger context that we actually view
to be our field of relevance, then it's high time we meet that broader
field at least half way in terms/terminology that we all understand.”
- Margit Rudy
And finally, perhaps the best argument for simple language was made by Greg
Hudspeth, a builder who clearly isn't impressed by architects' intellectual posturing:
“As a builder who has been in the industry for over 20 years, I
understand what I'm doing and consider myself intelligent enough to
grasp relatively complex concepts in construction. However, I have
a running list of the ridiculous words and phrases that the architects
we work with are using. I spend a portion of each day stripping
away the fluff and overly complicated explanations and descriptions
for simple ideas. It is the biggest waste of time and ego. Sell that
stuff to the client but give me the design and plans in the most direct
and correct manner. I can work faster and make fewer changes.” -
Greg Hudspeth via Facebook
150 Weird Words That Only Architects Use

Bearing in mind the above comments, it's important to remember that this isn't a list
of words you should immediately stop using; simply be aware of who you're talking
to, and be sure that if you do use any of these words they are necessary and
appropriate in the context you use them.

This list is by no means exhaustive; with over 750 comments across our original
article and three Facebook posts, we had to cap it somewhere! Included here are the
words that were mentioned most often and which we had encountered ourselves. So
without further ado, and in no particular order, here is our readers' list of 150 weird
words that only architects use:
Architecture-specific jargon:
 Pastiche
 Sustainability
 Ergonomy
 Genius loci
 Facade
 Charette
 Regionalism
 Threshold
 Massing
 Enfilade
 Materiality
 Poché
 Post-industrial
 Diagrammatic
 Vernacular
 Modular
 Deconstruction
 Typology
 Parametric
 Program
 Skin
 Building envelope
 Vault
 Arcade
 Fenestration
 Truncated
 Parti
 Flâneur
 Phenomenology
 Brutalism
 Cantilever
 Curvilinear
 Rectilinear
 Miesian
 Corbusian
 Permaculture
 Blobitecture
 Exurbia
 Walkability
 Pilotis
 Verticality
 Rebate
 Mullion
  Muntin
 Gentrification
 Stylobate
Simple words given new meaning by architects:
 Concept
 Space
 Fabric (urban or building)
 Metaphor
 Legibility (of something other than writing)
 Dimension (meaning a characteristic of something)
 Moment
 Celebrate
 Negotiate
 Dynamic
 Language
 Context
 Gesture
 Proud (“the countertop is proud of the cabinet”)
 Taxonomy
 Hierarchy
 Scale
 Section
 Formal
 Nodes
 Pods
 Grain
 Extrapolate
 Device
 Elevation
Obscure words that architects overuse (or misuse):
 Iconic
 Organic
 Dichotomy
 Eclectic
 Kitsch
 Sequence
 Stasis
 Interstitial / Interstice
 Iteration
 Juxtapose/Juxtaposition
 Stereotomic
 Tectonics (and architectonics)
 Liminal
 Articulate
 Ephemeral
 Domesticity
 Anthropogenic
 Regenerate
 Hybrid
 Generative
 Ambiguity
 Catalyst
 Penetrate
 Appropriate
 Inspiration
 Contemporary
 Amalgamation
 Performative
 Hegemony
 Curate
 Bifurcate
 Superimpose
 Confluences
 Gestalt
 Zeitgeist
 Banal
  Blasé
 Motifs
 Procession
 Homogenous
 Palimpsest
 Paradigm
 Dissonance
 Adjacencies
 Parallax
 Assemblage
 Aesthetic
 Monolithic
 Uniformity
 Morphology
 Duality
 Nuance
 Transient
 Redundancy
 Robust
 Bespoke
 Holistic (sometimes even wholistic)
 Simultaneity
 Esoteric
 Concretization
 Schism
Unusual terms or phrases that architects love:
 Play with (light, space, materials)
 Human scale
 Create/provide a gesture
 How the ____ is received by the ____
 Spatial composition
 Map out
 Explores the notion
  Programmatic adjacencies
 Activate the space
 Public Realm
 Outdoor room
Strange concepts within architecture:
 Solid/Void
 Interiority/Exteriority
 Push/Pull
 Bottom up/Top down
 Transparency/Opacity
 Served and Service
 Negative/Positive space

Each industry has its own jargon and terminology, and architecture is no
different. There are many different architectural terms you’ll encounter in
residential design and construction, and it can feel overwhelming when
you’re just getting started on your new build or remodeling project. A good
architect will happily explain them to you, but having a cheat sheet or
architecture glossary at your fingertips is helpful in your research and as you
review documents, drawings, and contracts.

Bookmark this list of architecture terms for quick reference, divided into five
sections: Design Process, Site, Plans/Drawings, Structural, and Trending
Terms.

Table of Contents
 Design Process
 Plans/Drawings
 Site
 Structural
 Trending Terms

Design Process
Program
Program is a word architects like to throw around — a lot! It means a wish
list — basically a written (or scribbled, drawn, recorded or other) description
of what you want, what you need, and what you’re willing to pay for. The
program is a vital part of the process as it defines scope, features, purpose,
and functionality of your home. The “vision” of the project is established in
the program.
Charrette
An intense and focused design session incorporating collaboration from
multiple sources and decision makers. The outcome from a charette may vary
from client to client — it could result in a bubble diagram, sketches, or even
computer-generated drawings depending on the meeting.

Bubble Diagram
A bubble diagram is a diagram that represents information visually in the
form of a series of bubbles. In architecture, the bubble diagram depicts the
spatial relationship of areas and rooms within a building and the required
circulation routes between these areas.

Schematic Design (SD)

An initial design scheme that seeks to define the general scope and
conceptual design of the project including scale and relationships between
building components. At the end of the schematic design phase, the architect
will present some loose, possibly freehand rough sketches or computerized
plans to the owner for approval.
Example of a hand drawn schematic design elevation and floor plan.

Design Development (DD)

An important drawing step between the preliminary sketches and the final set
of construction drawings. Design development drawings are where we really
start to pin down dimensions, details, materials, and begin integrating
systems. If plans have not already been put into the computer, they will be
computerized during DD.

Construction Drawings (CD)

Construction drawings mark the final phase of the design process after design
development and are a comprehensive set of drawings that detail exactly how
to construct the building. These will include the architect’s drawings, the
structural engineer’s drawings, as well as any other consultants involved,
such as an interior designer, civil engineer, landscape architect, etc. (For a
more detailed description, read our blog on Understanding the Architectural
Design Process.)
Scale
Because architectural drawings are not life-size, they must be drawn to a
scale factor to fit on a sheet of paper. The scale itself is a specialized ruler
designed to facilitate the drafting and measuring of these drawings, including
floor plans and elevations.

Redline
Redlining refers to marking up the drawings with changes. Typically,
redlining is used when two or more people are working on a drawing
together; each individual can redline the drawing with changes. The redlined
changes will then appear in a special color (or as bold) so that others can see
the changes that have been made.

Volume Spaces
Architecture is essentially the enclosure of space. Volume space is created
when a ceiling is raised above the typical ceiling height in a building. For
example, volume space is created in a home with 10’ ceiling by increasing the
living room’s ceiling height to 12’. The incorporation of volume space can
make a room look and feel larger while adding interest and excitement.
Unique interior dormers add even more interest to the volume space in this historic remodeled
home.

Finished vs. Unfinished

These terms are used to describe rooms or areas in a home to determine
square footage. Unfinished spaces are typically not counted toward square
footage and include garages, screened or open patios, porches, and unfinished
basements.

Massing
Massing is how a structure’s shape, form, and size look to the eye and in
relation to its surroundings.
Circulation
The way people move around and through a home, or circulation, should be
top of mind to your architect. Good circulation provides easy transitions
between spaces, improves flow, and increases a home’s comfort.

Plans/Drawings
Site Plan
A site plan is a specific type of scaled plan which accurately and completely
shows the site boundaries, dimensions, and locations of all buildings and
structures, uses, and principal site development features, proposed for a
specific lot. A site plan shows means of access to the site, and nearby
structures if they are relevant to the design.

As-built Drawing
A drawing of a home that depicts, to scale, the existing conditions of the
structure. As-built drawings are necessary on remodeling projects to have
before the architect can start designing. Most architects will produce as-built
drawings if you do not already have them.

Permit Set
Basic construction drawings consisting of the necessary floor plans, four
elevations, and a section or two which are required by the county or city
where the construction is slated are considered a permit set. While a permit
set is good enough to get a home’s construction started, it won’t have all of
the information that’s needed to actually complete the project. Finishes, built-
ins, cabinetry, special details, appliances, etc. are all things that will have to
be decided on but won’t show up in the permit set.

Section
A section represents a vertical plane cut through the building, in the same
way as a floor plan is a horizontal section viewed from the top. In the section
view, everything cut by the section plane is shown as a bold line, often with a
solid fill to show objects that are cut through, and anything seen beyond is
generally shown in a thinner line. Sections are used to describe the
relationship between different levels of a building.

A section represents a vertical plane cut through the building.

Elevation
An elevation is a view of a building seen from one side, a flat representation
of one façade. This is the most common view used to describe the external
appearance of a building. Each elevation is labeled in relation to the compass
direction it faces or by its position relative to the home (e.g. front or rear).
Buildings are rarely a simple rectangular shape in plan, so a typical elevation
may show all the parts of the building that are seen from a particular
direction.
3D RenderingAn elevation is a flat representation of one façade, whereas a 3D rendering creates a
flat image from a three-dimensional model. Both are commonly used architectural terms.

Specifications
A detailed description of requirements, composition, and materials for a
proposed building. Specifications will include all selections made for a
building as well as written descriptions, of a technical nature, for those
materials.
Design Review
Sometimes a project is located in an area that has a designated entity that
establishes and reviews design guidelines. A homeowners association (HOA),
design review committee (DRC), or design review board (DRB) are examples
of the most common design review authorities.

Authority Having Jurisdiction (AHJ)

This is a blanket term that refers to any authority that has some controlling
power over the project. It may vary from one jurisdiction to another and may
include a county, city, HOA, DRB, or similar.

Site
Easement
Written and recorded authorization by a property owner for the use of a
designated part of the property by others for a specified purpose. Examples
of easements include the use of private roads and paths, or the use of a
landowner’s property for utilities. For instance, the back 20 feet of your
property may contain an easement that was granted to the local power
company for the purpose of running a gas line. The power company has the
right to enter and use that portion of your property no matter what
improvements may exist.

Survey
A property survey report is a legal document that clearly indicates the
location of all improvements relative to a property’s boundaries. A real
property survey report generally contains an illustration of the physical
features of the property such as roadways, rivers, creeks, structures,
easements, and encroachments. Some surveys also note topographical
information. There are different types of surveys, and you may need a
specific kind depending on your project and its jurisdiction

Building Setback
The minimum distance required by code or ordinance between a building and
a property line or other reference.
Deed Restriction
A limitation, which is recorded with the county register of deeds and to which
subsequent owners are bound, on development, maintenance, or use of a
property

Bulk Plane Regulations

Standards that establish the maximum size of structures on a lot and the
location where a building can be, including coverage, setbacks, height,
impervious surface area ratio, floor area ratio, and yard requirements.

Building Height
Each jurisdiction has requirements on the maximum building height, or the
vertical distance between the land’s finished grade and the tallest point on the
structure.

Lot Coverage
This is the percentage of a land parcel that is covered by a structure’s
footprint. This may include eaves, overhangs, or anything else that extends
from the structure, depending on the jurisdiction.

Grade
Grade is the ground elevation of a lot or site. Often a site will need proper
grading to level the land, remove or add slope, or make improvements for
drainage and weight-bearing construction. A property’s grade will impact
building height.

Zoning
Most sites fall under a zone, which is a set of regulations that dictate what
kind of building can be constructed, building setbacks, easements, building
heights, and other structural and usage characteristics. Zoning is set and
enforced by jurisdiction.

Structural
Dormer
A dormer is a structure that projects out from a sloped roof. It is often a small
room, bedroom, or part of an attic and includes a window.

Traditional farmhouse with dormers.

Eave
An eave is the portion of a roof that overhangs a home’s exterior wall.

Façade
The façade is the exterior of a structure. In home design, it commonly refers
to the front-facing exterior.

Fascia
Fascia boards run along a roof’s outer edge to direct water away from the
home. The fascia provides the roof and rafters with a protective barrier and is
often where gutters are installed.

Frieze
A frieze board can be placed between a home’s soffit and siding as a
decorative trim.
In a boxed eave the soffit runs parallel to the ground, while in a raked eave the soffit is angled to
follow the roof.

Flashing
Flashing is a thin piece of metal that redirects water from a building’s areas
that are vulnerable to leaks, including roof valleys, chimneys, skylights, and
transitions from exterior wall siding to trim or stone, among others.

Fenestration
When architects talk about fenestration, they are referring to the arrangement,
location, size, and style of a home’s windows and doors.

Finial
A finial is a decorative feature to enhance the appearance of a roof, gable,
dome or other prominent exterior parts of a structure.
Traditional custom home with finials.

Fur out
Furring involves the installation of fur strips to raise a wall’s surface to make
it level, increase airflow, or add insulation.

Gable
A gable is a type of pitched roof with two sloped sides that create an “A” or
triangular form.
This contemporary farmhouse consists of 5 pods with gable roofs: the great hall, master suite, guest
suite, laundry and garage. The pods are linked by flat roof connectors.

Head Height
Head height is the distance from the floor to the top of a window.

Mullion
A mullion refers to a vertical divider between windows. When a window is
mulled together, it was factory built as a single unit instead of including
framing between multiple windows.
Muntins are the vertical and horizontal grids used in windows whereas a mullion is the vertical
divider between windows.

Muntins
Muntins are the vertical and horizontal grids used in windows to create
divided lites. Muntins extend to a variety of styles and are primarily used to
add character and visual interest.

Parapet
A parapet is a low wall that travels along the edge of a roof, terrace, or
balcony.
Rafters
Rafters is the set of sloped structural components, usually wood, that frame a
roof and support its deck, underlayment, roofing material (shingle, tile, etc.),
flashing, and vents.

Rake
Not to be confused with the common garden tool, the rake describes the roof
overhang along a gable.
The overhang along the gable (where it looks like a triangle) is called the rake. The overhang along
the other side is called an eave, or a raked eave. Notice the tongue and groove wood on the
underside of the roof – this is the soffit.
Roof Types
There are many different types of roof styles, however some of the most
common are gable, hip (similar to gable but features slopes on all sides), flat,
and shed (lean-to or a single-pitched roof).

Hip Roof
Flat Roof

Split Pitch Shed Roof

Gable Roof4 examples of common roof types.

Sidelite
A sidelite is a narrow vertical window that flanks one or both sides of a
home’s exterior door.
This shingle style home has a sidelite on both sides of the front door.

Soffit
A soffit is a material located on the underside of the eave that connects a
home’s roof to its outer wall. Soffits come in several different materials and
can be vented or unvented. Vented soffits improve a home’s attic ventilation
while offering protection against the elements.

Window Types
Windows help create the soul of a home, and there are many different types
from which to choose. Here are a few of the most common you’ll come
across in residential architecture:

 Casement
 Fixed
 Sliding
 Single hung
 Double hung
  Awning

Trending Terms
Urban Infill
The development of the last remaining lots in an existing developed area, the
new development within an area already served by existing infrastructure and
services, or the reuse of already developed, but vacant properties. Urban
infill is popular and valuable because:
 It increases the density of the built environment.
 It builds and fosters community.
 It focuses on the reuse and re-positioning of obsolete or
underutilized buildings and sites.
 It activates neighborhoods, making them more useful and livelier
for longer periods of the day and night.
 It uses what is already there to its advantage, as opposed to
starting with a blank canvas.

An urban infill project can be as small as a single home or duplex, or as big as an entirely new
neighborhood such as Berkley Shores (pictured here).

Net Zero Energy

A zero-energy building, also known as a zero net energy (ZNE) building, net-
zero energy building (NZEB), or net zero building, is a building with zero net
energy consumption, meaning the total amount of energy used by the building
on an annual basis is roughly equal to the amount of renewable energy
created on the site. These buildings consequently do not increase the amount
of greenhouse gases in the atmosphere. They do at times consume non-
renewable energy and produce greenhouse gases, but at other times reduce
energy consumption and greenhouse gas production elsewhere by the same
amount.
Green Building
Green building is the practice of creating structures and using
environmentally responsible and resource-efficient processes throughout a
building’s life cycle from siting to design, construction, operation,
maintenance, renovation, and deconstruction.

Passive Solar Design

Passive solar design is a collection of design methods and materials that
improve a structure’s collection or deflection of solar energy or heat. A home
constructed with passive solar design requires less energy to keep it warm
during winter and cool in the summer.
Build to Rent (BTR)
Build to rent is used to describe a product segment of new single-family
homes and/or townhomes built to rent long term. BTR distinguishes itself
from multi-family complexes and structures in that it aims to appeal to
renting households that desire many of the benefits of for-sale homes and
neighborhoods. Some examples include living in a home without neighbors
above or below, a small yard, and access to community amenities.

Emerson Olde Town: Build to rent townhomes in Arvada, Colorado.

Accessory Dwelling Unit (ADU)
An ADU is a self-contained residential unit that is either attached to or
detached from a property’s primary dwelling.
Adaptive Reuse
Adaptive reuse is the process of breathing new life into older buildings that
need an update or new purpose. It is often a part of a neighborhood’s
revitalization efforts and includes making repairs and improvements to older
structures, bringing them to code, adapting them for new uses, and
maintaining their foundational architecture and cultural legacy.
LEED
Leadership in Energy and Environmental Design is an international green
building rating and certification process for the design, development, and
construction of buildings, neighborhoods, and communities. It’s comprised of
a multi-tiered rating system that measures a structure’s environmental impact.
If you’ve made it to the end, give yourself a pat on the back! That was a lot of
words, many of which you’ll learn along the way and throughout your
project. A good architect will take the time to explain each architectural term
and step so you’re clear and comfortable with the entire process.