This Gothic-style conservatory is a sensitive addition to the house, offering a happy proportion to the main structure and echoing its fenestration with rows of similarly arched windows.
This Victorian-styled conservatory features a roof of curved glass and an ornate decor complete with traditional ceiling fan. For the year-round, glass-enclosed living area, large plants are a punctuation rather than the raison d’être, as they are with so many other conservatories.
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Under Glass
Conservatory Style: Garden Rooms, Glasshouses, and Sunrooms
by Jackum Brown
Universe Publishing, a division of Rizzoli International Publications, Inc., New York, NY; 2007
192 pp.; hardcover; more than 200 color photographs; $39.95
ISBN: 978-0-7893-15251-2
Reviewed by Nicole V. Gagné
The necessity of keeping the Roman emperor Tiberius supplied year-round with tasty cucumbers led to the prototype of the modern conservatory. This innovation was slow to spread, however, until European traders in the 16th century began importing exotic plant species from Asia, Africa and the Americas. “Citrus fruits – oranges in particular – were especially popular, but it was immediately obvious that these plants, like others from warmer climates, needed to be protected from European winter conditions if they were to survive and prosper,” writes Jackum Brown in the introduction to her new book, Conservatory Style: Garden Rooms, Glasshouses, and Sunrooms. And so it came about, Brown continues, that “the first ‘orangeries’ were built in the Netherlands.” From there it was a (relatively) short jump to the 19th century, when the mass-production of sheet glass enabled upper- and middle-class families to begin attaching small glass-walled and -roofed spaces to their homes where they could cultivate plants and entertain visitors.
That jump from freestanding greenhouses to attached conservatories is celebrated by Brown with a generous array of breathtaking color photographs. Her real achievement, however, is her ability to offer readers more than just a picture book of conservatory design. The scope of Conservatory Style is announced right from its introduction, in which Brown’s brief history of the structures concludes with her reminding readers of the basic questions they must ask before going about constructing a conservatory. This blend of historical overview with authoritative guidance in the realities of a functioning conservatory elevates her book from a sheaf of beautiful stills to a powerful resource. Yes, the flat-out-gorgeous color photographs of Conservatory Style outweigh its text; nevertheless, Brown’s book is far too practical and informative to be relegated to the coffee table. In this sense, Conservatory Style is far more likely to be found in the conservatory itself, or at least by the phone as the owner seeks out the ideal plants and accessories outlined in its pages.
One can only hope it also finds a home alongside the drafting tables of architects. The first chapter, “Choosing the Right Conservatory,” is loaded with real-world information, starting with locating a conservatory to fit the immediate geography (and light availability) as well as the needs of the house it adjoins. She continues with a knowledgeable survey of historical styles, describing the basics of hip-ends, lean-tos, and bull-noses. This chapter also covers types of structures, with an eye toward stylistic compatibility with the house, and offers an overview of the range of suitable building materials, with Brown examining conservatories of metal, wood, brick and UPVC (ultraviolet-resistant polyvinyl chloride).
The chapter entitled “Decorating Styles” is another eye-opener, providing examples of conservatories that shelter a good deal more than plants. Brown displays conservatories that double as sitting rooms, dining rooms, home offices, kitchens, spas, studios, music rooms, pools and even bathrooms. This unexpected account of domestic possibilities makes the conservatory all the more attractive and sensible, and will doubtlessly inspire a flood of homeowners to attach mixed-use glass additions to their homes – especially as Brown takes care to detail all the other necessary considerations: flooring (hardwood, tile, linoleum), heating system (radiators, stoves, under-floor pipes or cables), ventilation (ceiling fans, vents), glass (Low-E, double- and triple-glazing) and paint colors.
Even more impressive is the chapter entitled “Using Plants” – the truly indispensable section of the book, no matter how mixed one’s use of a conservatory may be. Brown outlines how to use plants of every variety – climbers, trailers, exotics, cacti and succulents, fruits and vegetables, and what she refers to as “architectural plants”: flora that’s “bold and striking, with either an architectural shape or extraordinary flowers or foliage,” such as palms, banana plants, bamboo or papyrus. This chapter also provides thoughtful advice on mixed plantings, overwintering plants, arranging a water garden, and selecting low-maintenance plants for those overworked homeowners whose time is limited.
In “Choosing Furniture,” Brown provides well considered descriptions of the wisest options, depending on whether one plans to use the conservatory for cooking or dining or as a more general living space. You know you’re in good hands when you read such sage comments as: “Upholstered sofas and chairs are lovely to sink in to, but bear in mind that fabric (especially dark colors) will fade rapidly in strong sunlight, and if the room is at all humid the upholstery could become damp and moldy.” Or how about this caveat for a conservatory kitchen: “Glazing should start at the level of the worktop, so that you can enjoy the view when preparing food, cooking, and washing the dishes.”
“Finishing Touches” continues Brown’s real-world perspective. “You will already have invested a substantial amount of time and money in the project,” she writes, “so try not to stint with window dressings or lighting.” She reminds her readers that, for both shade and privacy, most conservatory owners also need to install blinds and curtains, and guides them in making the selection most appropriate to the usage and style of their conservatory. This chapter also contains appropriate recommendations for selecting and situating something as essential as lighting, as well as such luxury items as sculpture and water features. In the closing chapter, “Freestanding Conservatories,” Brown comes full circle in the saga of the conservatory, and discusses glasshouses, with insightful comments on their styles, uses, materials, furniture and plantings.
When a book is this useful, it should come as no surprise that Brown has also included appendices that list an “A-Z of suitable plants,” in which she names scores of plants that fall within the categories of the third chapter; there’s also a directory of conservatory suppliers in both England and the U.S. Conservatory Style is indeed a first-rate navigational guide for anyone interested in owning a conservatory of any style or purpose. Don’t dare attempt to create, restore or utilize a conservatory without this indispensable book. 
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