Barnwood Fireplace Mantels

Barnwood Fireplace Mantels

Barnwood Fireplace Mantels

Barnwood Fireplace Mantels -Fireplaces were an essential feature of Arts and Crafts design. In the era from where the Movement drew its inspiration the fireside was only beginning to be sited for the sidewalls of great halls in the houses of the most extremely rich. So the style adopted by Arts and Crafts was obviously a 19th century day pastiche of what was really constructed during the Wars with the Roses Barnwood Fireplace Mantels. Designs were often in brick although stone might be used where it was obviously a local material.

The fireplaces were large, often rounded and had an inglenook feel. Bricks would vary in proportions, with courses laid vertically in addition to conventionally or possibly in the herringbone pattern. Later designs often included tiles as well as the sort of sinuous designs which can be associated with Charles Rennie Macintosh and Art Nouveau Barnwood Fireplace Mantels. Tiles probably have a pastoral scene or perhaps a complex flower motif as well as the Rockwood Pottery that produced early designs was closely associated with Morris & Co, the organization that William Morris ran from 1875. We still accept the Arts & Crafts legacy in mock Tudor houses, 20th century wall panelling and old brick fireplaces. Like the majority of styles with the last two hundred years the popularity declines just to reappear as much as hundred years later.

Charles Rennie Mackintosh is considered one with the greatest influences on architecture this century. His all too short career spanned the turn with the century and produced a variety of innovative buildings and interiors around his birthplace of Glasgow. Some see Mackintosh as being a modernist, others as the link between Art Nouveau and Art Deco. He was probably neither, drawing his inspiration just as much from classical shapes as the new industrial art that has been beginning to prevail around Europe.

Mackintosh has not been just an architect. His design brilliance extended for the interiors with the buildings which he designed. Together with his wife Margaret, Mackintosh belief that the interior layout was as important as the exterior form and designed individual items to compliment the whole look with the building. Fireplaces were, in their opinion, the 'glowing focus with decorative and symbolic interest'. It was important for him that each design should meld in the room and be personalised for that needs with the owner Barnwood Fireplace Mantels. His most famous brief was Hill House in Dumbarton, which he designed for that publisher, Blackie. In this house each fireplace is unique. The lounge design has niches for ornaments, while the fireside in the library links areas with the room to make a whole. Each has been thought through and tailored to ensure that is a component with the room, not only a fitting.

Today's fireplaces in the Mackintosh style tend to reflect his graphic style as opposed to his design flair. Art Nouveau roses interpreted by Mackintosh are common features and evoke turn with the century style. His designs for mantelpieces and complete fireplaces are far too personal for 'off the shelf' production and definately will remain unique in the houses where they were installed.

Whilst the Charles Rennie Macintosh first pops into their heads when early 1900s architecture is mentioned, it is probably Edwin Lutyens that has left the best impression on country houses and official buildings in the UK and beyond Barnwood Fireplace Mantels. Macintosh, from his base in Glasgow rose like a shooting star around the turn with the twentieth century just to disappear as quickly only for 10 to 15 years of architectural design. Lutyens, often in addition to garden designer Gertrude Jykell, produced houses in the wonderful late Victorian / Edwardian vernacular style that still impresses today.

An examination of many of Lutyens Country House designs highlights the significance which he, and even more importantly his clients, placed for the design of fireplaces. Many of his major, well-known designs - Castle Drogo, Great Dixter, Little Thakeham among others - feature in excess of 10 fireplaces - many specially designed to compliment the ambience with the room.

Barton St. Mary near East Grinstead is often a case in point. Designed in the rendered, South of England style, Barton St. Mary resembles two cottages joined together. Internally, massive stone inglenooks, useful oak beams and vaulted ceilings evoke an era much sooner than its actual turn-of-the-twentieth century construction. In the living area a sizable fireplace with projecting shelf and converging firesides in herringbone brickwork has a beautiful simplicity that's almost ageless.

Barnwood Fireplace Mantels

Built for local industrialist, Arthur Hemmingway, Heathcote near Ilkley is altogether another proposition from Barton St. Mary. Finished in local stone, it is an imposingly grand house with echoes of your stately home. Internally neo-classical design reigns with pillars and ornate coving. In the Dining Room we have seen an easy bolection design using a massive Adamesque fireplace design superimposed over it. This is often a strange combination, possibly specified by Mr. Hemingway himself. Bolection designs, using their unpretentious moulded shape were popular, some within larger Adam-style designs, others forming the complete fireplace were common in other Lutyens houses - Great Maytham in Kent, Nashdom in Taplow, Berkshire and Temple Dinsley in Hertfordshire. Lutyens was often involved with modernisation of older houses where again the simplicity with the bolection design helped blend new with old. Even today, bolection fireplaces are very much admired.

Lutyens designs were undoubtedly extremely influential within the select moneyed class who employed him. However, it absolutely was Minsterstone in addition to a myriad of other local manufacturers of stone, marble and brick designs who adapted his designs for that smaller fireplaces to cater for that emerging middle class. Many of the fireside manufacturers from this era have disappeared leaving Minsterstone, using its 120-year history as being a lone survivor from the time in the event the gap between rich and poor was bigger than it is today.

The dawning with the 20th century also saw a variety of different stylistic influences on the fireside in the way that hardly any other century had experienced. The heavy, gothic style that so typified the middle with the Victorian era was still being manufactured in vast numbers. But present and favored by the cognoscenti was the powerful Art Nouveau look, that have taken the nation by storm, following the Paris Exhibition of 1881.

The roots of Art Nouveau lay in the great European capitals of Vienna and Paris in which the artistic elite rebelled against the constraints with the previous generation. The movement took up to speed the certain fireplaces, for such a long time the trade mark with the suburban continuing development of our large cities, and added sinuous ornamentation, which gave these utilitarian items today's look. Tiles on tile sliders began to appear in the useful designs inspired by rural images in addition to classic Art Nouveau references such as the grapevine.

William Morris' Arts & Crafts movement continued to exert an influence well in for the 20th century. The inglenook have been a popular revival feature of Arts and Crafts' fireplaces since it created seating around the fire - often the only warm part with the house. In fact Morris' followers liked many top features of medieval and Tudor fireplaces they will adapted and incorporated into their designs - some adding features like overmantels which will have never been part with the original.

The 1920s sought out another approach that combined industry with art. After the First World war, revival had been the name with the game for that middle classes who wanted their suburban houses gentrified with mock Tudor beams and fireplaces. However, the rich as well as the artistic longed for designs that reflected the twin ethos of work and leisure.

Art Deco filled this void and was born with the 1925 Paris based exhibition titled 'L'Exposition Internationale des Arts Deco et Industriels Modernes'. At the time, the style was called Paris 25. The concepts behind the Art Deco included:

The sacrifice of decorative detail to operate.

The rejection of history in favour of modern ideas

The adaptation and adoption of industry - its designs and methods. Art Deco design was almost immediately translated right into a useful designs, which used traditional fireplace materials, but in the more spectacular, avant-garde way. Simple understated lines were embark using reflective chrome, lacquered wood or tiles to offer today's feeling, which shouted 'Modern!' without being too ornate.

Like many with the other trends, Art Deco tended to be the preserve with the wealthy. The newly enriched suburban middle classes were very likely to have an easy tiled fireplace, normally in green beige or buff. Designs could reflect the Art Deco influence with the Mexican stepped pyramid or may be asymmetric, influenced by the social realism movement. Many 1930s tiled fireplaces also featured a wooden surround or mantelshelf in English oak.

In the shires the hearth surround was very likely to be in a nearby material, - brick in the South of England, stone in the North and tiles around Stoke on Trent. Designs during these areas weren't so influenced by decorative trends. Functional features like bread ovens and hooks for hanging cooking pots lingered on fully or partial use within the country cottage well in the 1930s and 40s.

World War II witnessed a whole halt in the house building programme as resources were funnelled into replacing and repairing bombed houses and in the late 1940s the push to re-house families saw a escape from conventional fireplaces in favour with the 'easy to install' electric fire. However as the UK became more prosperous during the 1950s local authorities and house builders begun to install tiled fireplaces again creating a regular demand for that slabbed designs manufactured by members with the National Fireplace Manufacturer's Association, that have been formed in 1945Barnwood Fireplace Mantels. These fireplaces were made as a result of specification as opposed to including any design flair and, from the middle with the decade, even the wooden mantel shelf had disappeared.

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