Fireplace Mantel Surround Kits -Fireplaces were an essential feature of Arts and Crafts design. In the era where the Movement drew its inspiration the fireplace was only start to be sited about the sidewalls of great halls inside houses of the most extremely rich. So the style adopted by Arts and Crafts was obviously a nineteenth century day pastiche of the items was constructed through the Wars of the Roses Fireplace Mantel Surround Kits. Designs were often in brick although stone could possibly be used where it was obviously a local material.
The fireplaces were large, often rounded coupled with an inglenook feel. Bricks would vary in proportions, with courses laid vertically along with conventionally or possibly in a very herringbone pattern. Later designs often included tiles and also the type of sinuous designs which can be related to Charles Rennie Macintosh and Art Nouveau Fireplace Mantel Surround Kits. Tiles probably have a pastoral scene or even a complex flower motif and also the Rockwood Pottery that produced early designs was closely related to Morris & Co, the corporation that William Morris ran from 1875. We still deal with the Arts & Crafts legacy in mock Tudor houses, last century wall panelling and old brick fireplaces. Like virtually all styles of the last 2 hundred years the popularity declines simply to reappear up to hundred years later.
Charles Rennie Mackintosh is considered one of the greatest influences on architecture this century. His all too short career spanned the turn of 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 start to prevail around Europe.
Mackintosh has not been just an architect. His design brilliance extended towards the interiors of the buildings he designed. Together with his wife Margaret, Mackintosh considered that the interior layout was as important as the exterior form and designed individual items to compliment the total look of the building. Fireplaces were, as part of his opinion, the 'glowing focus with decorative and symbolic interest'. It was important for him that each design should meld in the room and become personalised for your needs of the owner Fireplace Mantel Surround Kits. His most popular brief was Hill House in Dumbarton, which he designed for your publisher, Blackie. In this house each fireplace is unique. The family room design has niches for ornaments, while the fireplace inside library links areas of the room to create a whole. Each has been weighed and tailored to ensure is part of the room, not only a fitting.
Today's fireplaces inside Mackintosh style often reflect his graphic style in lieu of his design flair. Art Nouveau roses interpreted by Mackintosh are common features and evoke turn of the century style. His designs for mantelpieces and handle fireplaces are so personal for 'off the shelf' production and will remain unique inside houses where we were holding installed.
Whilst the naming of Charles Rennie Macintosh first comes to mind when early 1900s architecture is mentioned, it is probably Edwin Lutyens who may have left the highest impression on country houses and official buildings inside UK and beyond Fireplace Mantel Surround Kits. Macintosh, from his base in Glasgow rose just like a shooting star throughout the turn of the last century simply to disappear as rapidly for only 10 or 15 a lot of architectural design. Lutyens, often as well as garden designer Gertrude Jykell, produced houses in a very wonderful late Victorian / Edwardian vernacular style that still impresses today.
An examination of a lot of Lutyens Country House designs highlights the value he, and even more importantly his clients, placed about the design of fireplaces. Many of his major, well-known designs - Castle Drogo, Great Dixter, Little Thakeham yet others - feature well over 10 fireplaces - many specially engineered to enhance the ambience of the room.
Barton St. Mary near East Grinstead is a here's an example. Designed in a very rendered, South of England style, Barton St. Mary resembles two cottages joined together. Internally, massive stone inglenooks, insightful oak beams and vaulted ceilings evoke a time much prior to when its actual turn-of-the-last century construction. In the dining room a big fireplace with projecting shelf and converging firesides in herringbone brickwork has a beautiful simplicity that is certainly almost ageless.
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Built for local industrialist, Arthur Hemmingway, Heathcote near Ilkley is altogether another proposition from Barton St. Mary. Finished in local stone, it's an imposingly grand house with echoes of an stately home. Internally neo-classical design reigns with pillars and ornate coving. In the Dining Room we have seen a fairly easy 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 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 in modernisation of older houses where yet again the simplicity of the bolection design helped blend new with old. Even today, bolection fireplaces are extremely much admired.
Lutyens designs were undoubtedly extremely influential within the select moneyed class who employed him. However, it turned out Minsterstone as well as a several other local manufacturers of stone, marble and brick designs who adapted his designs for your smaller fireplaces to cater for your emerging middle class. Many of the fireplace manufacturers using this era have disappeared leaving Minsterstone, having its 120-year history as being a lone survivor from your time if the gap between rich and poor was larger than it is today.
The dawning of the last century also saw a variety of different stylistic influences on the fireplace in a very way that hardly any other century had experienced. The heavy, gothic style that so typified the middle of the Victorian era used to be manufactured in vast numbers. But present and well-liked by the cognoscenti was the powerful Art Nouveau look, which had taken the continent by storm, following a Paris Exhibition of 1881.
The roots of Art Nouveau lay inside great European capitals of Vienna and Paris the place that the artistic elite rebelled contrary to the constraints of the previous generation. The movement took fully briefed the surefire fireplaces, for so long the trade mark of the suburban continuing development of our large cities, and added sinuous ornamentation, which gave these utilitarian items a modern day look. Tiles on tile sliders did start to appear in a very insightful designs inspired by rural images along with classic Art Nouveau references such as the grapevine.
William Morris' Arts & Crafts movement continued to exert an influence well in towards the last century. The inglenook have been a trendy revival feature of Arts and Crafts' fireplaces as it created seating throughout the fire - the only warm part of the house. In fact Morris' followers liked many popular features of medieval and Tudor fireplaces that they adapted and integrated into their designs - some adding features like overmantels which will not have been part of the original.
The 1920s looked for another approach that combined industry with art. After the First World war, revival had been the name of the game for your middle classes who wanted their suburban houses gentrified with mock Tudor beams and fireplaces. However, the rich and also the artistic longed for designs that reflected the twin ethos of training 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 categorised as Paris 25. The concepts behind the Art Deco included:
The sacrifice of decorative detail to work.
The rejection of history in preference of modern ideas
The adaptation and adoption of industry - its designs and methods. Art Deco design was presently translated in to a insightful designs, which used traditional fireplace materials, but in a very more spectacular, avant-garde way. Simple understated lines were set off by the use of reflective chrome, lacquered wood or tiles to give a modern day feeling, which shouted 'Modern!' without having to be too ornate.
Like many of the other trends, Art Deco tended to be the preserve of the wealthy. The newly enriched suburban middle classes were very likely to have a fairly easy tiled fireplace, normally in green beige or buff. Designs could reflect the Art Deco influence of the Mexican stepped pyramid or could be asymmetric, relying on the social realism movement. Many 1930s tiled fireplaces also featured a wooden surround or mantelshelf in English oak.
In the shires the fireplace surround was very likely to take an area material, - brick inside South of England, stone inside North and tiles around Stoke on Trent. Designs over these areas just weren't so relying on decorative trends. Functional features such as bread ovens and hooks for hanging cooking pots lingered on in full or partial use within the country cottage well in the 1930s and 40s.
World War II witnessed a complete halt inside house building programme as resources were funnelled into replacing and repairing bombed houses and inside late 1940s the push to re-house families saw a escape from conventional fireplaces in favour of the 'easy to install' electric fire. However as the UK became more prosperous through the 1950s local authorities and personal house builders began to install tiled fireplaces again setting up a regular demand for your slabbed designs made by members of the National Fireplace Manufacturer's Association, which had been formed in 1945Fireplace Mantel Surround Kits. These fireplaces were made as a result of specification in lieu of including any design flair and, from the middle of the decade, even wooden mantel shelf had disappeared.