Prefab Outdoor Fireplace -Fireplaces were an important feature of Arts and Crafts design. In the era from which the Movement drew its inspiration the fireside only agreed to be starting to be sited around the sidewalls of great halls inside the houses of the most extremely rich. So the fashion adopted by Arts and Crafts was obviously a 19th century day pastiche of the items really was constructed throughout the Wars with the Roses Prefab Outdoor Fireplace. Designs were often in brick although stone may be used where it was obviously a local material.
The fireplaces were large, often rounded and had an inglenook feel. Bricks would vary in dimensions, with courses laid vertically and also conventionally or it could be in the herringbone pattern. Later designs often included tiles and also the sort of sinuous designs which are linked to Charles Rennie Macintosh and Art Nouveau Prefab Outdoor Fireplace. Tiles could have a pastoral scene or a complex flower motif and also the Rockwood Pottery that produced early designs was closely linked to 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 the majority of styles with the last 2 hundred years the popularity declines only to reappear approximately one hundred years later.
Charles Rennie Mackintosh is regarded as one with the greatest influences on architecture this century. His very 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 a modernist, others because the link between Art Nouveau and Art Deco. He was probably neither, drawing his inspiration the maximum amount of from classical shapes because the new industrial art that has been starting to prevail throughout Europe.
Mackintosh wasn't just an architect. His design brilliance extended on the interiors with the buildings that they designed. Together with his wife Margaret, Mackintosh belief that the interior layout was as important because the exterior form and designed individual circumstances to compliment the complete look with the building. Fireplaces were, in his opinion, the 'glowing focus with decorative and symbolic interest'. It was important for him that each design should meld in the room and turn into personalised for your needs with the owner Prefab Outdoor Fireplace. His most famous brief was Hill House in Dumbarton, which he designed for your publisher, Blackie. In this house each fireplace is unique. The lounge design has niches for ornaments, while the fireside inside the library links areas with the room to form a whole. Each has been weighed and tailored to ensure that is a component with 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 common features and evoke turn with the century style. His designs for mantelpieces and complete fireplaces are extremely personal for 'off the shelf' production and will remain unique inside the houses where these were installed.
Whilst the name of Charles Rennie Macintosh first comes to mind when early 1900s architecture is mentioned, it's probably Edwin Lutyens who has left the best impression on country houses and official buildings inside the UK and beyond Prefab Outdoor Fireplace. Macintosh, from his base in Glasgow rose like a shooting star around the turn with the 20th century only to disappear as rapidly after only 10-15 a lot of architectural design. Lutyens, often as well as 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 that they, and above all his clients, placed around 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 designed to compliment the ambience with the room.
Barton St. Mary near East Grinstead can be a case in point. Designed in the rendered, South of England style, Barton St. Mary resembles two cottages joined together. Internally, massive stone inglenooks, insightful oak beams and vaulted ceilings evoke an era much earlier than its actual turn-of-the-20th century construction. In the dining room a big fireplace with projecting shelf and converging firesides in herringbone brickwork has a beautiful simplicity which is almost ageless.
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Built for local industrialist, Arthur Hemmingway, Heathcote near Ilkley is altogether an alternative proposition from Barton St. Mary. Finished in local stone, it is really an imposingly grand house with echoes of the stately home. Internally neo-classical design reigns with pillars and ornate coving. In the Dining Room we view a straightforward bolection design having a massive Adamesque fireplace design superimposed over it. This can be 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 entire 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 have become much admired.
Lutyens designs were undoubtedly extremely influential inside the select moneyed class who employed him. However, it was Minsterstone as well as a many 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 fireside manufacturers out of this era have disappeared leaving Minsterstone, having its 120-year history as a lone survivor from your time when the gap between rich and poor was bigger than today.
The dawning with the twentieth century also saw a variety of different stylistic influences on the fireside in the way that no other century had experienced. The heavy, gothic style that so typified the middle with the Victorian era was still being produced in vast numbers. But present and liked by the cognoscenti was the powerful Art Nouveau look, which have taken the country by storm, following a Paris Exhibition of 1881.
The roots of Art Nouveau lay inside the great European capitals of Vienna and Paris in which the artistic elite rebelled contrary to the constraints with the previous generation. The movement took on board the cast iron fireplaces, for such a long time the trade mark with the suburban progression of our large cities, and added sinuous ornamentation, which gave these utilitarian items a contemporary look. Tiles on tile sliders did start to appear in the insightful designs inspired by rural images and also classic Art Nouveau references such because the grapevine.
William Morris' Arts & Crafts movement continued to exert an influence well in on the twentieth century. The inglenook had been a popular revival feature of Arts and Crafts' fireplaces as it created seating around the fire - some of the only warm part with the house. In fact Morris' followers liked many top features of medieval and Tudor fireplaces that they can adapted and integrated into their designs - some adding features like overmantels which may not have been part with the original.
The 1920s looked for an alternative approach that combined industry with art. After the First World war, revival had been the name with 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 labor and leisure.
Art Deco filled this void and was created at the 1925 Paris based exhibition titled 'L'Exposition Internationale des Arts Deco et Industriels Modernes'. At the time, the fashion was often called Paris 25. The concepts behind the Art Deco included:
The sacrifice of decorative detail to operate.
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 into a insightful designs, which used traditional fireplace materials, but in the more spectacular, avant-garde way. Simple understated lines were tripped by the use of reflective chrome, lacquered wood or tiles to give a contemporary feeling, which shouted 'Modern!' without being too ornate.
Like many with the other trends, Art Deco somewhat the preserve with the well off. 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 with 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 hearth surround was very likely to take a nearby material, - brick inside the South of England, stone inside the North and tiles around Stoke on Trent. Designs in these areas weren't 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 in the 1930s and 40s.
World War II witnessed an entire 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 with the 'easy to install' electric fire. However because the UK became more prosperous throughout the 1950s local authorities and personal house builders did start to install tiled fireplaces again creating a regular demand for your slabbed designs made by members with the National Fireplace Manufacturer's Association, which have been formed in 1945Prefab Outdoor Fireplace. These fireplaces were made into specification rather than including any design flair and, by the middle with the decade, perhaps the wooden mantel shelf had disappeared.