Faux Rock Fireplace Makeover -Fireplaces were a significant feature of Arts and Crafts design. In the era from which the Movement drew its inspiration the hearth only agreed to be starting to be sited on the sidewalls of great halls inside the houses of the extremely rich. So the style adopted by Arts and Crafts would be a nineteenth century day pastiche of what was constructed during the Wars from the Roses Faux Rock Fireplace Makeover. Designs were often in brick although stone might be used where it would be a local material.
The fireplaces were large, often rounded and had an inglenook feel. Bricks would vary in proportions, with courses laid vertically as well as conventionally or it could be in the herringbone pattern. Later designs often included tiles and the type of sinuous designs that are linked to Charles Rennie Macintosh and Art Nouveau Faux Rock Fireplace Makeover. Tiles may have a pastoral scene or even a complex flower motif and the Rockwood Pottery that produced early designs was closely linked to Morris & Co, the corporation that William Morris ran from 1875. We still experience the Arts & Crafts legacy in mock Tudor houses, twentieth century wall panelling and old brick fireplaces. Like almost all styles from the last two hundred years the popularity declines simply to reappear up to a hundred years later.
Charles Rennie Mackintosh is regarded as one from the greatest influences on architecture this century. His much too short career spanned the turn from the century and produced a number of innovative buildings and interiors around his birthplace of Glasgow. Some see Mackintosh as a modernist, others since the link between Art Nouveau and Art Deco. He was probably neither, drawing his inspiration as much from classical shapes since the new industrial art which was starting to prevail across Europe.
Mackintosh has not been just an architect. His design brilliance extended towards the interiors from the buildings he designed. Together with his wife Margaret, Mackintosh belief that the lining layout was as important since the exterior form and designed individual items to compliment the whole look from the building. Fireplaces were, as part of his opinion, the 'glowing focus with decorative and symbolic interest'. It was important for him that all design should meld into the room and stay personalised for the needs from the owner Faux Rock Fireplace Makeover. His most popular brief was Hill House in Dumbarton, that they designed for the publisher, Blackie. In this house each fireplace is different. The family room design has niches for ornaments, while the hearth inside the library links areas from the room to make a whole. Each has been considered and tailored in order that is part from the room, not really a fitting.
Today's fireplaces inside the Mackintosh style usually reflect his graphic style rather than his design flair. Art Nouveau roses interpreted by Mackintosh are typical features and evoke turn from the century style. His designs for mantelpieces and finish fireplaces are far too personal for 'off the shelf' production and definately will remain unique inside the houses where they were installed.
Whilst the Charles Rennie Macintosh first comes up when early 1900s architecture is mentioned, it is probably Edwin Lutyens that has left the best impression on country houses and official buildings inside the UK and beyond Faux Rock Fireplace Makeover. Macintosh, from his base in Glasgow rose just like a shooting star throughout the turn from the 20th century simply to disappear as quickly only for 10 to 15 years of architectural design. Lutyens, often along with garden designer Gertrude Jykell, produced houses in the wonderful late Victorian / Edwardian vernacular style that still impresses today.
An examination of most of Lutyens Country House designs highlights the benefit he, and more importantly his clients, placed on the design of fireplaces. Many of his major, well-known designs - Castle Drogo, Great Dixter, Little Thakeham and others - feature over 10 fireplaces - many specially designed to enhance the ambience from the room.
Barton St. Mary near East Grinstead is a just to illustrate. 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 earlier than its actual turn-of-the-20th century construction. In the living area a big fireplace with projecting shelf and converging firesides in herringbone brickwork has a beautiful simplicity that is almost ageless.
Faux Rock Fireplace Makeover
Built for local industrialist, Arthur Hemmingway, Heathcote near Ilkley is altogether some other 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 percieve a straightforward bolection design with a massive Adamesque fireplace design superimposed over it. This is a strange combination, possibly specified by Mr. Hemingway himself. Bolection designs, using unpretentious moulded shape were very popular, some within larger Adam-style designs, others forming the whole fireplace were common in other Lutyens houses - Great Maytham in Kent, Nashdom in Taplow, Berkshire and Temple Dinsley in Hertfordshire. Lutyens was often involved in modernisation of older houses where yet again the simplicity from the bolection design helped blend new with old. Even today, bolection fireplaces have become much admired.
Lutyens designs were undoubtedly extremely influential inside the select moneyed class who employed him. However, it absolutely was Minsterstone along with a numerous other local manufacturers of stone, marble and brick designs who adapted his designs for the smaller fireplaces to cater for the emerging middle class. Many of the hearth manufacturers out of this era have disappeared leaving Minsterstone, using its 120-year history as a lone survivor from the time in the event the gap between rich and poor was bigger than today.
The dawning from the twentieth century also saw a number of different stylistic influences on the hearth in the way that few other century had experienced. The heavy, gothic style that so typified the middle from the Victorian era used to be produced in vast numbers. But present and liked by the cognoscenti was the powerful Art Nouveau look, that have taken the united states by storm, following Paris Exhibition of 1881.
The roots of Art Nouveau lay inside the great European capitals of Vienna and Paris the location where the artistic elite rebelled contrary to the constraints from the previous generation. The movement took up to speed the certain fireplaces, for such a long time the trade mark from the suburban progression of our large cities, and added sinuous ornamentation, which gave these utilitarian items a modern look. Tiles on tile sliders began to appear in the useful designs inspired by rural images as well as classic Art Nouveau references such since the grapevine.
William Morris' Arts & Crafts movement continued to exert an influence well in towards the twentieth century. The inglenook had been a favorite revival feature of Arts and Crafts' fireplaces mainly because it created seating throughout the fire - usually the only warm part from the house. In fact Morris' followers liked many options that come with medieval and Tudor fireplaces they will adapted and incorporated into their designs - some adding features like overmantels which would do not have been part from the original.
The 1920s searched some other approach that combined industry with art. After the First World war, revival had been the name from the game for the middle classes who wanted their suburban houses gentrified with mock Tudor beams and fireplaces. However, the rich and the artistic longed for designs that reflected the twin ethos of training and leisure.
Art Deco filled this void and was born on the 1925 Paris based exhibition titled 'L'Exposition Internationale des Arts Deco et Industriels Modernes'. At the time, the style was categorised as Paris 25. The concepts behind the Art Deco included:
The sacrifice of decorative detail to function.
The rejection of history in preference 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 tripped using reflective chrome, lacquered wood or tiles to offer a modern feeling, which shouted 'Modern!' without getting too ornate.
Like many from the other trends, Art Deco were rather the preserve from the wealthy. The newly enriched suburban middle classes were very likely to have a straightforward tiled fireplace, normally in green beige or buff. Designs could reflect the Art Deco influence from the Mexican stepped pyramid or might be asymmetric, affected by the social realism movement. Many 1930s tiled fireplaces also featured a wooden surround or mantelshelf in English oak.
In the shires the fire surround was very likely to be in a nearby material, - brick inside the South of England, stone inside the North and tiles around Stoke on Trent. Designs in these areas are not so affected by decorative trends. Functional features such as bread ovens and hooks for hanging cooking pots lingered on in full or partial use inside the country cottage well into the 1930s and 40s.
World War II witnessed a total halt inside the house building programme as resources were funnelled into replacing and repairing bombed houses and inside the late 1940s the push to re-house families saw a escape from conventional fireplaces in favour from the 'easy to install' electric fire. However since the UK became more prosperous during the 1950s local authorities and private house builders begun to install tiled fireplaces again making a regular demand for the slabbed designs manufactured by members from the National Fireplace Manufacturer's Association, that have been formed in 1945Faux Rock Fireplace Makeover. These fireplaces were made as a result of specification rather than including any design flair and, through the middle from the decade, the wooden mantel shelf had disappeared.