The English House
[6][7] In Part I, Muthesius discusses the individuals involved in the parallel development of architecture and the Arts and Crafts Movement.
Critic John Ruskin introduced the synthesis of artistic creation, nature and construction, which became a guiding principle of the Arts and Crafts Movement.
[9] Morris established communal craft workshops[10] and the formation of the Century Guild increased awareness of this movement.
The movement grew stronger as the number of artistic craftsmen who were graduates of the South Kensington Schools increased.
[9] Domestic architecture of the late nineteenth century was a mix of classicism, renaissance and gothic styles and therefore needed redefinition.
Through Bradford Park (sic) Shaw resolved the issues facing the small house in the late nineteenth century by combining the principles of aestheticism and practicality.
[12] The independent development of art and architecture in the nineteenth century relied on the architect's view of them as separate entities.
Nevertheless, new artistic ideas of pragmatics and materiality did penetrate through a purist architectural approach, evident in the work of W.R. Lethaby and Ernest Newton.
This development encouraged the division of architects with a common value of craftsmanship but in opposition on acceptance of traditional forms.
The Glasgow Movement pioneered by Charles Rennie Mackintosh expanded this idea, emphasizing design as colour, form and atmosphere.
[13] In Part II Muthesius discusses geographical, legal, social and systematic influences upon the planning of the country house.
The widely distributed clay soils, although problematic as a foundation for houses, are processed for bricks, now a common building material.
[15] Muthesius explains that the English (landowners) enjoy a comfortable life and therefore provision must be made for domestic quarters for servants such as a butler and housekeepers.
Land was leased for a given period, an annual rent was paid and the leaseholder could construct a house within the specifications outlined by the owner.
[17] The Building Act of 1894 legislates on points of health and fire safety, yet virtually ignores issues of construction.
Muthesius is critical of the fact that responsibility for construction is placed upon the individual and only involves authorities if the building is considered a "dangerous structure".
The new movement in garden design returns to a perfect, formal plan, with a clearly defined layout and with attention to the cultivation of indigenous plants and flowers.
When room functions must be compromised due to spatial limitations the hall typically supplies the omitted services.
Wallpapering began as an imitation of materials, but evolved through William Morris and the Arts and Crafts Movement to become a variety of flat patterns commonly of naturalist motifs.
[28] In decor the ceiling has returned to its Elizabethan form, which involves either timber with exposed beams or flat patterned stucco.
Free-hand stuccowork and inset stucco have also been revived as they enable a small amount of ornamentation on a generally flat surface, although both are quite costly.
He notes that Japanese felt and Indian matting are also used for their aesthetic appeal whilst linoleum is regarded as appropriate only for purely utilitarian rooms such as the lavatory.
[31] The fireplace is important as a facilitator of domestic comfort, family happiness and as a decorative focal point.
Muthesisus also remarks that technological advances such as the throttle, which opens and closes the flue and thus the up draught, have lowered the rate of fuel consumption.
[34] In this section Muthesius considers the application of materiality in combination with the selection of furnishings for the creation of room-specific atmospheres.
Typical furnishings include a fireplace, a hall table where visitors may rest their belongings, a bench seat, two chairs in front of the fireplace, a tall case clock and a seat by the front door for the servant on duty to receive visitors.
The dressing room provides a place for the man (or the woman) to undress privately and to store clothes and is therefore decorated simply.
