It was believed by Hope Valley residents that this was one of the original Mebane and Sharpe
“spec houses” and that it was designed by George Watts Carr, architect for the original seven
spec homes built between 1927 and 1929. According to city records, however, this house was
built in 1930 and William Pearlzweig and his wife were not associated with this property until
March 1931. They probably purchased the home from a Mr. Lickle, who, records show, built
it approximately two-and-a-half years before the Perlzweigs. Lickle was the owner
responsible for the construction of this house but he did not live in it very long. If it was not built
until 1930, then the house is not one of the original spec homes, but one of the first generation
houses built in Hope Valley after it began to emerge as a community in its own right and
distinguishable from Mebane and Sharpe. The architecture of this house supports this view
because it has some characteristics which distinguish it from the original spec houses. For
instance, the house is clad in wood, not roughcast, there are no stone facings or knobbed stones,
but trim and architrave, and the overall massing of the form that make up this building have a
This house was probably designed by George Watts Carr. Like many of his “spec”
designs, this house utilizes English revival domestic architecture like that of Edwin Lutyens and
C.F.A. Voysey who sought an authentic English architecture which reflected a late medieval or
Tudor spirit. C.F.A.Voysey’s work was particularly influential in England between 1985-1910,
and subsequently on the Continent. It was Voysey who was largely responsible for breaking the
hold that classical architectural forms held over English patrons, and who brought us the English
lodge, or cottage style. While Voysey’s buildings were typically roughcast with stone facings
and iron casement windows, they often included a variation on a hipped tipped roof with a cross
gable or cross gables at each end over a rectangular form. There was frequently a shed roof at
one end as there is here, which slopes from two or three levels down to one. His designs were
often punctuated with porches, verandas, bays and dormers, all of which we can see here.
Although Voysey’s buildings were usually on a scale much larger than the Pearlzweig House, the
resemblance is more than passing.
Voysey’s buildings were intended to be suburban homes–comfortable, detached medium-
sized. The detached garage with steeply pitched roof was part of the original scheme.
Work or storage space built into the peak was accessible from stairs at the back of the building.
Since the house was originally built, little change has been made to the structure. Instead,
according to its current owner, the house not only has most of its original shingles, but als
retains its grey with white trim color scheme. An entirely new kitchen was installed in 1980.
The space in the peak over the garage was converted into a grandmother’s apartment and the
garage below into a family room–now known as the “white room.” A small two-story addition
was built to link these spaces to the main house. Both the upstairs and downstairs now have
direct internal access to the converted space via the original stairway of the house. Thus, apart
from interior decor (which is very different from its original) and extensive restoration work to
the original lath and plaster walls (which the owner prudently insisted on keeping), the original
home is structurally and visually intact and looks much as it did when it was originally built.
Since its beginning, this house has had six owneers. Stephen Barringer, its current owner.
Remembers coming here to play as a young boy. His childhood home, the Teer House,
across the way on Chelsea Circle, is also a storied memory.