Shaw’s early work drew on the Gothic Revival. In domestic architecture he combined masonry and half-timbering in an “Old English” vocabulary, while adapting historical references to nineteenth-century houses.

By around 1870, Shaw had moved beyond strict Gothicism and developed what became known as the Queen Anne Revival style. This style, though sharing a name, had little in common with the original Queen Anne architecture of the early 18th century. Shaw’s Queen Anne houses—both in the countryside and in London—featured:

• Asymmetrical and irregular exteriors
• Rich red brick with white-painted wood trim
• Large multi-paned windows and bay windows

The interiors were equally distinctive. Shaw emphasized comfort and domestic charm with spaces broken into nooks and bays, filled with decorative detail and layered textures. Interiors typically included framed art, ornate Victorian furniture, and personal objects. A drawing room at Swan House in Chelsea (photographed in 1884) reveals the hallmark Queen Anne Revival features, including Queen Anne chairs, a Georgian spinning wheel, and wallpaper by William Morris. Such furnishings show how historical revival architecture could overlap with the work of designers associated with Arts and Crafts.

Shaw’s later work also explored Classicism and Eclecticism. These choices coexisted with Arts and Crafts activity, rather than marking a simple succession in which one movement had already disappeared.

• Bryanston, one of Shaw’s grandest mansions, drew inspiration from both Sir Christopher Wren and French château architecture, with heavy classical interiors.
• Chesters embraced monumental classicism, including a large Ionic portico and symmetrical planning, though the interiors were noted more for scale than for detail.
• The Piccadilly Hotel in London mixed Dutch Baroque details with Ionic columns, forming a bold and massive presence.
• Cragside, expanded by Shaw for William Armstrong, combined historicist architecture with the owner’s engineering experiments. The National Trust describes it as the first house lit using hydroelectricity: arc lamps were installed in 1878 and Swan incandescent lamps followed in 1880. The electrical innovation should be credited to Armstrong’s project, rather than attributed to Shaw alone.

• A foundation in Gothic Revival, especially for ecclesiastical projects
• A pivot to a distinctively English Queen Anne Revival that favored comfort, asymmetry, and decorative charm
• A broadening use of Classicism and eclectic historical styles alongside other late-Victorian design movements
• Architectural work for patrons such as Armstrong whose houses also incorporated new technology
• Connections with Arts and Crafts designers and makers: the National Trust’s account of Cragside identifies work by Morris and other associated figures in the house

Overall, Shaw is portrayed in the sources as a versatile and influential architect who helped define the character of Victorian domestic architecture while also foreshadowing the stylistic complexities of the early 20th century.