1. Arts & Crafts to Modernism.
ARCHITECTURE
Arts & Crafts to Modernism.

2. A Very Brief Guide to the Arts & Crafts Movement
The Arts & Crafts movement began in mid-Victorian Britain in reaction to industrial and commercial advancements, and celebrated craft production of decorative arts and architecture.
The Arts & Crafts movement was motivated most of all by a desire to change the way buildings were made. Industrial production had resulted in a split between the designer deciding on the look of a building, and the contractor (building firm) deciding how and with what it would be built. For many in the Arts & Crafts world, the ideal would be for the architect and the builder to be one and the same.

3. Arts & Crafts architecture is characterized by a number of vernacular features, as Arts &. Crafts architects consciously chose to highlight local traditions in their work - low, pitched roofs, decorative brickwork, tall chimneys, irregular patterns of windows and doors, and mixtures of different kinds of material, including wood, stone, brick, tile, lead, iron and thatch. These were not only stylistic effects, but also the result of two key principles that the designer should collaborate with the builder, relying on and supporting the builder's knowledge of materials and craft techniques; and that the resulting building should be comfortable and fit within its immediate landscape.

4. The most celebrated examples of Arts &
The most celebrated examples of Arts &. Crafts architecture are domestic homes, which were organized around a communal core - the hearth and inglenook, a semi-enclosed seating area around a fireplace. The interiors appear casual and comfortable, and the building and furniture demonstrate the handcrafting of the materials used. Beginning in Britain, the Arts &. Crafts movement had an international influence. German designers were particularly interested in the domestic designs, but the most enthusiastic take-up was in North America, where Arts &. Crafts principles fitted neatly with ideals of nature, landscape and community.

5. BIOGRAPHIES:
WilLIAM MORRIS British socialist, designer and leading theorist of the Arts & Crafts movement. Designer, craftsman, writer, he was born into a wealthy family in Walthamstow, London and educated at Marlborough School and Exeter College, Oxford. Morris became associated with the Pre­Raphaelite Brotherhood, particularly the painter Edward Burne-Jones and the poet Dante Gabriel Rossetti. In 1861 he founded the firm of Morris, Marshall, Faulkner and Company, designing and making wallpaper, textiles, stained glass, and furniture. In 1890 Morris set up a publishing house, the Kelmscott Press, for which he designed typefaces and ornamental borders.
" Have nothing in your houses that you do not know to be useful, or believe to be beautiful "

6. Red House in Bexleyheath in southeast London, England, is a major building of the history of theArts and Crafts style and of 19th-century British architecture. It was designed in 1859 by its owner,William Morris, and the architect Philip Webb, with wall paintings and stained glass by Edward Burne-Jones. Morris wanted a home for himself and his new wife, Jane. He also desired to have a "Palace of Art" in which he and his friends could enjoy producing works of art. The house is of red brick with a steep tiled roof and an emphasis on natural materials. Red House is in a non-historical, brick-and-tile domestic style. It is now a Grade I listed building

7. Window detail in Red House

8. Red House by Philip Webb for William Morris.

9. The garden is also significant, being an early example of the idea of a garden as a series of exterior "rooms". Morris wanted the garden to be like an integral part of the house. The "rooms" consisted of a herb garden, a vegetable garden, and two rooms full of old-fashioned flowers—jasmine, lavender, quinces, and an abundance of fruit trees—apple, pear and cherry.
Morris lived with Jane in the house for only five years, during which time their two daughters, Jenny and May, were born. Forced to sell the house for financial reasons in 1865, Morris vowed never to return to it, saying that to see the house again would be more than he could bear.
The house was lived in as a family home for nearly 150 years. From 1889 until 1903 it was owned by Charles Holme, who later founded The Studio, an art magazine that also gave importance to arts and crafts.[1] From 1903 the architect Sir Edward Maufe, famous for designing Guildford Cathedral, lived in the house with his parents, Henry Maufe and his wife Maude. Henry Maufe died in the house in 1910 and Maude remained there until her death in In 1952,
Ted and Doris Hollamby moved into Red House; they, along with the members of two other families, the Toms and the McDonalds, restored the house and reinstated many of the original arts and crafts features.
Occupancy

10. St Martin's Church, Brampton, is in Front Street, Brampton, Cumbria, England. It is an activeAnglican parish church in the deanery of Brampton, the archdeaconry of Carlisle and the diocese of Carlisle.[1] It is designated by English Heritage as a Grade I listed building and is the only church designed by the Pre-Raphaelite architect Philip Webb.[2] The architectural historian Nikolaus Pevsner described it as "a very remarkable building".[3]

11. Street view of the Victorian Norman Shaw Buildings on the Victoria Embankment, Westminster, London, previously home of New Scotland Yard, which opened there in November 1890,
Architect: Richard Norman Shaw.

12. Studio House (1885) designed by Richard Norman Shaw for Kate Greenaway, 39 Frognal, Hampstead, London

13. Bedford Park (1877), Architect R
Bedford Park (1877), Architect R. Norman Shaw, is a suburban development in west London. It can be justly described as the world's first garden suburb. Although it was not built in the co-operative manner like some later developments (Brentham Garden Suburb, Hampstead Garden Suburb) it created a model that was emulated not just by the Garden city movement, but suburban developments around the world. Sir John Betjeman described Bedford Park “the most significant suburb built in the last century, probably in the western world”. Herman Muthesius, the celebrated German critic who wrote The English House in 1904 said, "It signifies neither more nor less than the starting point of the smaller modern house, which spread from there over the whole country."

14. The front (north) facade of Charles Rennie Mackintosh's Glasgow School of Art ( )on Renfrew Street, Garnethill in Glasgow, Scotland.

15. The Room de Luxe at The Willow Tearooms features furniture and interior design by Mackintosh and Margaret Macdonald.(1904)

16. The striking façade of the Willow tearooms on the south side of Sauchiehall Street was added by Charles Rennie Mackintosh to an existing multi-storey commercial building in The highly original and stylish frontage has retained its freshness a century later with a timeless modernity.  Both internally and externally, Mackintosh skillfully managed to combine the elements of architecture and interior design to produce a stunning result.  The subtle effect of the bowed windows (below) creates a 3-dimensional shop front different from any other, either modern or old, in Glasgow's premier shopping street.
The striking façade of the Willow tearooms on the south side of Sauchiehall Street was added by Charles Rennie Mackintosh

17. All Saints' Church. Brockhampton 1902, the work of the Arts & Crafts pioneer W.R. Lethaby.
Straddling a sloping south-facing site, the first impression of All Saints' is that of a traditional English thatched church. In fact, Lethaby's ingenious 'partnership' of a thatched roof sitting on top of un-reinforced cast-concrete roof, pre-dated current thermal insulation thinking by more than a century. The interior's most striking feature is the lofty vaulted roof, formed of four bays of lime-washed shuttered concrete, divided by slender sandstone arches (the stone came from the now-redundant local Capler quarry). At Brockhampton, Lethaby predicted the Modern Movement's short-lived passion for patterned concrete surfaces, by leaving the internal face of the Nave's roof lining unplastered.
In The Buildings of England - Herefordshire, Nikolaus Pevsner describes All Saints' as "perhaps the most thrilling church in any country of the years between Historicism and the Modern Movement".
In the introductory section of the revised edition of Herefordshire, All Saints Brockhampton is described as "One of the most convincing and impressive churches of its date in any country".

18. St Jude's Church (1909), Hampstead Garden Suburb
St Jude's Church (1909), Hampstead Garden Suburb.  Edwin Landseer Lutyens (1869–1944).

19. The Free Church is a building located in Hampstead Garden Suburb, Barnet, London. It was built to a design by Sir Edwin Lutyens in , and, like St Jude's Church at the opposite side of Central Square, is a Grade I listed building.