Aside from being a style of design, the style also conveyed a sense of the house as continuous volume. This effect—of the building as an envelope of space, rather than a great mass, was enhanced by the visual tautness of the flat shingled surfaces, the horizontal shape of many Shingle-style houses, and the emphasis on horizontal continuity, both in exterior details and in the flow of spaces within the houses.
McKim, Mead and White and Peabody and Stearns were two of the notable firms of the era that helped to popularize the Shingle style, through their large-scale commissions for "seaside cottages" of the rich and the well-to-do in such places as Newport, Rhode Island and the village of East Hampton on the southeastern tip of Long Island. Perhaps the most famous Shingle-style house built in American was "Kragsyde" (1882) the summer home commissioned by Bostonian G. Nixon Black, from Peabody and Stearns. Kragsyde was built atop the rocky coastal shore near Manchester-By-the-Sea, Massachusetts, and embodied every possible tenet of the Shingle style. The William G. Low House, designed by McKim, Mead & White and built in 1887, is another notable example.
Many of the concepts of the Shingle style were adopted by Gustav Stickley, and adapted to the American version of the Arts and Crafts Movement. Additionally, there are several other notable styles of Victorian architecture, including Italianate, Second Empire, Folk and Gothic revival.
The style was named, together with the Stick Style, by Yale University architectural historian Vincent Scully in his 1949 doctoral dissertation The Cottage Style. This was followed by several magazine articles on the subject, culminating in Scully's The Shingle Style with the Stick Style in 1971 and The Shingle Style Today in 1974.