Long Narrow Gas Fireplace -Fireplaces were an essential feature of Arts and Crafts design. In the era where the Movement drew its inspiration the fireplace was just starting to be sited around the sidewalls of great halls inside the houses of the very most rich. So the design adopted by Arts and Crafts would be a 1800s day pastiche products was really constructed during the Wars of the Roses Long Narrow Gas Fireplace. Designs were often in brick although stone could possibly be used where it would be a local material.
The fireplaces were large, often rounded coupled with an inglenook feel. Bricks would vary in dimensions, with courses laid vertically along with conventionally or even in a herringbone pattern. Later designs often included tiles as well as the type of sinuous designs which might be connected with Charles Rennie Macintosh and Art Nouveau Long Narrow Gas Fireplace. Tiles could have a pastoral scene or a complex flower motif as well as the Rockwood Pottery that produced early designs was closely connected with Morris & Co, the organization that William Morris ran from 1875. We still accept the Arts & Crafts legacy in mock Tudor houses, twentieth century wall panelling and old brick fireplaces. Like almost all styles of the last two hundred years the recognition declines only to reappear as much as hundred years later.
Charles Rennie Mackintosh is certainly one of the greatest influences on architecture this century. His very short career spanned the turn of the century and produced various innovative buildings and interiors around his birthplace of Glasgow. Some see Mackintosh as being a modernist, others because link between Art Nouveau and Art Deco. He was probably neither, drawing his inspiration all the from classical shapes because new industrial art which has been starting to prevail across Europe.
Mackintosh was not just an architect. His design brilliance extended for the interiors of the buildings that they designed. Together with his wife Margaret, Mackintosh believed that the interior layout was as important because exterior form and designed individual items to compliment the whole look of the building. Fireplaces were, in his opinion, the 'glowing focus with decorative and symbolic interest'. It was important for him that every design should meld into the room and be personalised to the needs of the owner Long Narrow Gas Fireplace. His most popular brief was Hill House in Dumbarton, which he designed to the publisher, Blackie. In this house each fireplace differs from the others. The living room design has niches for ornaments, while the fireplace inside the library links areas of the room to create a whole. Each has been thought through and tailored so that is an element of the room, not really a fitting.
Today's fireplaces inside the Mackintosh style usually 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 complete fireplaces are so personal for 'off the shelf' production and can remain unique inside the houses where these were installed.
Whilst the naming of Charles Rennie Macintosh first one thinks of when early 1900s architecture is mentioned, it is usually Edwin Lutyens who may have left the greatest impression on country houses and official buildings inside the UK and beyond Long Narrow Gas Fireplace. Macintosh, from his base in Glasgow rose as being a shooting star round the turn of the twentieth century only to disappear as quickly after only ten to fifteen numerous years of architectural design. Lutyens, often as well as garden designer Gertrude Jykell, produced houses in a wonderful late Victorian / Edwardian vernacular style that still impresses today.
An examination of many of Lutyens Country House designs highlights the significance that they, and even more importantly his clients, placed around the design of fireplaces. Many of his major, well-known designs - Castle Drogo, Great Dixter, Little Thakeham among others - feature over 10 fireplaces - many specially engineered to enhance the ambience of the room.
Barton St. Mary near East Grinstead is a just to illustrate. Designed in a rendered, South of England style, Barton St. Mary resembles two cottages joined together. Internally, massive stone inglenooks, wealth of oak beams and vaulted ceilings evoke a time much prior to its actual turn-of-the-twentieth century construction. In the dining area a substantial fireplace with projecting shelf and converging firesides in herringbone brickwork has a beautiful simplicity that is almost ageless.
Long Narrow Gas Fireplace
Built for local industrialist, Arthur Hemmingway, Heathcote near Ilkley is altogether a different proposition from Barton St. Mary. Finished in local stone, it's an imposingly grand house with echoes of a stately home. Internally neo-classical design reigns with pillars and ornate coving. In the Dining Room we have seen an 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 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 associated with modernisation of older houses where once again the simplicity of the bolection design helped blend new with old. Even today, bolection fireplaces have become much admired.
Lutyens designs were undoubtedly extremely influential from the select moneyed class who employed him. However, it absolutely was Minsterstone as well as a numerous other local manufacturers of stone, marble and brick designs who adapted his designs to the smaller fireplaces to cater to the emerging middle class. Many of the fireplace manufacturers because of this era have disappeared leaving Minsterstone, having its 120-year history as being a lone survivor from a time in the event the gap between rich and poor was bigger than today.
The dawning of the twentieth century also saw various different stylistic influences on the fireplace in a way that few other century had experienced. The heavy, gothic style that so typified the middle of the Victorian era had been created in vast numbers. But present and well-liked by the cognoscenti was the powerful Art Nouveau look, that have taken the nation by storm, pursuing the 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 from the constraints of the previous generation. The movement took fully briefed the surefire fireplaces, for so very long the trade mark of the suburban growth and development of our large cities, and added sinuous ornamentation, which gave these utilitarian items today's look. Tiles on tile sliders begun to appear in a wealth of designs inspired by rural images along with classic Art Nouveau references such because grapevine.
William Morris' Arts & Crafts movement continued to exert an influence well in for the twentieth century. The inglenook had been a trendy revival feature of Arts and Crafts' fireplaces because it created seating round the fire - some of the only warm part of the house. In fact Morris' followers liked many options that come with medieval and Tudor fireplaces that they adapted and included in their designs - some adding features like overmantels which may have never been part of the original.
The 1920s searched for a different approach that combined industry with art. After the First World war, revival had been the name of the game to the 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 at 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 design 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 quickly translated in a wealth of designs, which used traditional fireplace materials, but in a more spectacular, avant-garde way. Simple understated lines were embark by way of reflective chrome, lacquered wood or tiles to present today's 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 rich. 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 of the Mexican stepped pyramid or may 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 be in a nearby material, - brick inside the South of England, stone inside the North and tiles around Stoke on Trent. Designs during these areas 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 from 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 get off conventional fireplaces in favour of the 'easy to install' electric fire. However because UK became more prosperous during the 1950s local authorities and house builders began to install tiled fireplaces again creating a regular demand to the slabbed designs manufactured by members of the National Fireplace Manufacturer's Association, that have been formed in 1945Long Narrow Gas Fireplace. These fireplaces were made as a result of specification in lieu of including any design flair and, by the middle of the decade, even the wooden mantel shelf had disappeared.