ARTS AND CRAFTS

MOVEMENT
UNIT II

REACTIONS TO
EUROPE AND AMERICA
INDUSTRIALISATION
ORIGIN OF THE MOVEMENT

•It grew out of a concern for the

effects of industrialisation: on
design, on traditional skills and on the
lives of ordinary people.

•Reaction against a decline in standards associated with machinery

and factory production - artificial and ignored the qualities of the
materials used.
ORIGIN OF THE MOVEMENT
•The Movement took its name from the Arts and
Crafts Exhibition Society, founded in 1887, but it
encompassed a very wide range of like-minded
societies, workshops and manufacturers.

•Architects, designers and artists began to pioneer

new approaches to design. These, in turn, led to
the foundation of the Arts and Crafts Movement.

•Established a new set of principles for living and

working. It encouraged the reform of art at every
level and across a broad social spectrum, and it
turned the home into a work of art
BIRTH OF ARTS AND CRAFT MOVEMENT

“THE ARTS & CRAFTS MOVEMENT WAS BORN “

1. 19TH CENTURY and the early years of the 20TH CENTURY

2. As a reaction to the "soulless" machine-made production aided by
the Industrial Revolution.
3. WILLIAM MORRIS, the British poet, artist and architect rejected this
opulence in favor of
• simplicity,
• good craftsmanship, and
• good design.

Doctrine of the movement – honesty in terms of expression of

function, material, techniques of production combined
with a conviction that only hand craft can achieve such honesty.
EFFECTS OF THE INDUSTRIAL REVOLUTION
1. Separated humans from their own creativity and individualism.
2. The worker was a cog in the wheel of progress.
3. Cheap manufactured goods, which had flooded shops and filled
houses in the second half of the 19th century.

1.These proponents sought to re-establish the ties between beautiful

work and the worker, RETURNING TO AN HONESTY IN DESIGN
NOT TO BE FOUND IN MASS-PRODUCED ITEMS
2.The movement relied on the talent and creativity of the individual
craftsman and attempted to create a total environment.
BELIEFS OF ARTS AND CRAFTS MOVEMENT

•simple, refined aesthetics (beauty)

•functional design (utility)
•handcrafted objects
•high quality craftsmanship
•Creating objects which are well designed
•Creating harmony with nature
•Using and sustaining natural materials
•Maintaining a sense of space and environment
CHARACTERISTCS of ARTS & CRAFTS
(1850-1914)

•Simple forms
•Inspiration from nature
•Simple linear lines
•Use of high quality of materials
•Strong and bold forms and colours.
Features of the arts and crafts
movement
 Dark wood
wainscoting Beamed
and ceilings
moldings

Open
Built-in cabinets ,shelves floor
and seating's plans; few
hallways

windows
with
stained
Numerous
or
windows
leaded
glass
ARTS AND CRAFTS MOVEMENT IN EUROPE:-
1. In a period of political and social turmoil, the decorative arts were an area in
which ideas of national identity, social organisation and life in an industrial
society could be explored.
2. Same as in Britain and America, the homes designed and built by artists and
architects for their own use were proof of the idea that the home, as well as
life within it, could become a work of art. These houses celebrated individual
expression. Red House, Bexleyheath, London
3. BRITISH MOVEMENT focused on the richly detailed gothic style
4. The cost of paying craftsmen an honest wage resulted in higher prices than
the common man could afford.
5. This limited the movement to the upper class.

ARTS AND CRAFTS MOVEMENT ARCHITECTS:

1. JOHN RUSKIN (1819-1900)
2. WILLIAM MORRIS (1834-1896)
3. PHILIP WEBB (1831-1915)
4. RICHARD NORMAN SHAW
5. EDEN NESFIELD
6. GEORGE EDMUND STREET
JOHN RUSKIN:- • Art critic, a fine writer of profound insight
• 1836-1853-First volume book-“MODERN PAINTERS”
• 1849-“THE SEVEN LAMPS OF ARCHITECTURE”,
putting forward 7 basic precepts for the designer

1. Sacrifice -Involved in striving for excellence

2. Truth - in the honest use of materials
3. Power -of simple grand forms
4. Beauty -imparted by the use of nature as a source
of insipiration
5. Life -given by the hand craftmanship
1819- 6. Memory - offered to future generations by a work
1900 of art built for prosperity
7. Obedience -of disciplining oneself to the use of finest
styles of the past(which according to Ruskin’s view were
Italian Romanesque,Italian Gothic,English Gothic of the
late 13 th and early 14th century
JOHN RUSKIN:-
John Ruskin's principal insight was that art is an
expression of the values of a society
• DESIGN PRINCIPLES:
1. Beauty and Art are closely connected.
2. Beauty has a moral function: it helps us develop a
high moral sense;
3. Art contributes to the spiritual health of man.
4. All great art derives from deep morality.
5. Industrial society, lacks spiritual values, so cannot
produce great art;
1819-1900
In Oxford where he lived and taught , his ideas affected a whole
generation of buildings.
1. OXFORD MUSEUM-DEANE AND WOODWARDS(1855-1859)-
on which Ruskin collaborated for a while.

2. CHURCH OF ST.PHILIP AND JAMES,OXFORD(1860-1862)- by

Geroge Edmund Street-which was rich in Ruskinian
Polychrome Masonary
JOHN RUSKIN:-

1819-
1900

OXFORD MUSEUM
-DEANE AND WOODWARDS(1855-
1859)-on which Ruskin collaborated
for a while.
 JOHN RUSKIN:-
Name: Church of St Philip
and St James;
Type of site: Parish church
Faith: Anglican
Date:1862
Architecture:Neo-Gothic

CHURCH OF ST.PHILIP AND JAMES,OXFORD

(1860-1862)
 The Red House
 The Red House, designed
in 1858-1860 by Philip
Webb for his friend
William Morris.

 Webb rejected the grand

classical style and instead
found inspiration in British
vernacular architecture.

 With its well-proportioned

solid forms, deep
porches, steep roof,
chimneys, brick fireplaces Red House in
and wooden fittings. Bexleyheath in the
southern suburbs of
 Medieval in appearance London, England is a
key building in the
history of the Arts
and Crafts movement
 Its plain brick walls and steeply
pitched clay tile roof gave its
name RED HOUSE.

 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 warm red brick

with a steep tiled roof and an
emphasis on natural materials

 It was the first domestic dwelling

to have stained glass windows.
Red House is L-shaped, with the rooms laid out for maximum
efficiency and clarity. The L-shaped plan also allows the house
to embrace the gardens as the integral part of the house,
providing a seamless experience .

The house is entered through a

large wooden door that leads to a
rectangular hallway.

The hallway is filled with light from

the stained-glass windows.

The original rustic dining room

table remains, along with the
decorative arch in the brickwork
around the fireplace
Stained glass decorated by Other original built-in
Morris, his family and their furniture is present in the
friends is found main living room on the
throughout the house. second floor.This room
also has paintings by
Edward Burne-Jones.

The dining room to

the right contains
the original hutch
designed by Philip
Webb, which has
Gothic trifoil motifs
 The concept of an integral whole
extended to the interior design as
well. Webb, Morris, his wife, Jane,
and the painter Edward Burne-
Jones all worked together to
design everything in the home,
from the wallpaper to the
stained-glass windows to the
built-in cabinets and furniture,
so that all celebrated the
beauty of nature and the
medieval guild ideal

The house was to

represent a protest
against industrialism
through its:
Informality
Absence of decoration
Simple vernacular
 William Morris(1834-
1896)
London, England.

 William Morris was the central figure in the Arts and Crafts Movement and one of the
most important and influential designers in British History.
 William Morris was an artist, poet and social reformer.
 Founder of Morris & company ,The kelmscott press
 Who rejected the opulence on the Victorian era and urged a return to medieval
traditions of design, craftsmanship, and community.
 He was inspired by the writings of John Ruskin and Augustus Pugin who championed
the return of gothic architecture (the last true architectural movement in their opinion.)
 The Red house built for his marriage to Jane Burden, was designed according to his
principles
 His main idea art should improve the lives of ordinary people.
  Morris was a brilliant two
dimensional pattern designer.

 In 1861 he founded his first

He believes that nature company which produced a
was perfect example of wide range of decorative
objects for the home
God’s creation. including furniture, fabrics,
wallpaper and stained
glass.
WILLIAM MORRIS
CHAIR
ARTS AND CRAFTS MOVEMENT IN AMERICA
Expression that reflected the confidence of the relatively young nation.

Took a more commercial approach to Arts and Crafts, but maintained a strong sense
of individuality and national identity in their work.

A&C came over to the US around 1890-1920s titled as Craftsman by Gustav Stickley as
American A&C needed its own name.

The movement later was also referred to as the Mission style after an article published in a
newspaper about Gustav where he referred to one of his designs “in a Spanish Mission in
Southern California.”

Hand crafted furniture, vases, and goods but everything must have a function. NO
Victorian clutter in the house!

Quarter sawn oak and best natural materials used.

Embellishments and decorations are restrained and/or functional (contrast to Victorian).

Elaborate wood joinery: mortise & tenons.

ARTS AND CRAFTS MOVEMENT IN AMERICA

Armchair, 1907–9,
Charles Sumner
Greene and Henry
Mather Greene

Living room from the Little House,

Wayzata, Minnesota, 1912–14,
Made by Frank Lloyd Wright
Library table, 1906,
Gustav Stickley
Craftsman
Workshops,
ARTS AND CRAFTS MOVEMENT IN AMERICA

ARCHITECTS INVOLVED IN THE MOVEMENT:

• GUSTAV STICKLEY,

• FRANK LLOYD WRIGHT,

• GREENE AND GREENE

MISSION STYLE:-

 The term Mission style was also used to describe Arts and Crafts
Furniture and design in the United States.

 The use of this term reflects the influence of traditional furnishings and
interiors from the American Southwest, which had many features in
common with the earlier British Arts and Crafts forms.

 Charles and Henry Greene were important Mission style architects

working in California.

 Southwestern style also incorporated Hispanic elements associated with

the early Mission and Spanish architecture, and Native American
design.
MISSION STYLE:-

 Mission Style interiors were often embellished with Native

American patterns, or actual Southwestern Native American
artifacts such as rugs, pottery, and baskets.

 The collecting of Southwestern artifacts became very popular in

the first quarter of the twentieth century.
MISSION STYLE:-
Mission Style, the Morris Chair
MISSION STYLE:- Charles and Henry Greene
Characteristics of their work:
•Drawing on the skills of outstanding craftsmen,
•High art aesthetics,
•Beautiful and functional spaces.

The Gamble House in Pasadena, California, is an

outstanding example of American Arts and Crafts
style architecture. The house and furnishings were
designed by Charles and Henry Greene in 1908 for
David and Mary Gamble of the Procter and Gamble The Thorsen House
Company.
MISSION STYLE:- Charles and Henry Greene
GUSTAV STICKLEY: (March 9, 1858–April 21, 1942)

 Gustav Stickley created the first truly American furniture,

known throughout the world as Craftsman.

 A hardworking, dedicated man, Stickley achieved success

in the early 1900s as THE LEADER OF THE
ARTS & CRAFTS MOVEMENT IN AMERICA.

 GUSTAV STICKLEY was a furniture maker and architect

as well as the leading spokesperson for the American Arts
and Crafts movement

 His trip to the 1900 Paris Exhibition confirmed his bias

against reproductions. While taking his philosophical
inspiration from the Arts & Crafts European movement,
STICKLEY took his artistic inspiration from America.

 STICKLEY felt that art should be of and by the people,

stemming from their everyday lives..
GUSTAV STICKLEY: (March 9, 1858–April 21, 1942)

Stickley brought A&C style to the US and

named it “Craftsman” to differentiate from the
UK A&C.

Later it was also called Mission Style: “furniture

must fill its mission of usefulness.

Stickley published the “Craftsman” magazine

that had detailed drawings meant to inspire
people to build their own pieces.

Stickley designed at least 241 homes and

published over 221 plans between 1901 and
1916.

There are two Stickley companies today both

descendents of the original Gustav Stickley.
GUSTAV STICKLEY: (March 9, 1858–April 21, 1942)

DESIGN PRINCIPLES:-
• These ideas had an enormous influence on Frank Lloyd Wright. Stickley
believed that:

• A house ought to be constructed in harmony with its landscape, with

special attention paid to selecting local materials;

• An open floor plan would encourage family interaction and eliminate

unnecessary barriers;

• Built-in bookcases and benches were practical and ensured that the
house would not be completely reliant on furniture from outside;

• Exposed structural elements, light fixtures, and hardware are all

considered to be decorative; and

• Artificial light should be kept to a minimum, so large groupings of

windows were necessary to bring in light.
GUSTAV STICKLEY: (March 9, 1858–April 21, 1942)

Stickley furniture, Stickley philosophy and Stickley

design means honesty of materials, utility, solid
construction, place adaptability, proportion,
Morris Chair, Gustav
effect aesthetically, and colour.
Stickley
 Characteristics of Craftsman House
General Characteristics
The typical Craftsman home usually has the following features:
•Low-pitched roof
•Deep eaves with exposed rafters
•Decorative knee braces.
•1–1½ stories
•Built-in cabinetry
•Large fireplace, often with built-in cabinetry on either side
•Dormers
•Large, covered front porches with massive, battered columns
•Windows were typically double-hung with multiple lights in the upper
window and a single pane in the lower
 Characteristics
of the
Craftsman
House Exterior

A wide, unenclosed front porch with overhanging eaves PORCH

spanning the full or partial width of the home is a recognizable
feature of the craftsman style. Porches are often framed by
substantial columns, often square or tapered and extending all
the way to the ground.
 Characteristics
of the Craftsman
House Exterior

FRONT DOORS

Glazing – Fitting glass into windows and doors.

Paneled door – A door with one or more recessed panels.
Batten door – A door constructed by nailing boards together
in various ways.
 ROOFLINE

Craftsman homes have lower pitch gables. Frequently the

brackets supporting the roof are visible. Decorative Beams &
rafters real or false are exposed. Multiple roof planes were
common. Tile and slate as well as shingles were favored.
 Characteristics of the
Craftsman House
Exterior

CHIMNEYS

Stone exterior chimneys were present in almost every single

Craftsman home. Some of the earlier versions used mix of
materials such as: stone at bottom becoming brick toward the
top.
 WINDOWS

Windows of craftsman style homes are often grouped together

in horizontal sets. Windows typically have noticeable frames
and may be double-hung or fixed, with some homes adorned
with a stained glass window.
 LANDSCAPING

A Craftsman home should be surrounded by planters, plant

beds, and carefully selected location appropriate plants native
to the area. The house should appear in harmony with its
surroundings.
Craftsman Interiors &
Furniture
Mission Furniture Characteristics
Carpentry
◦ Quartersawn Solid
Oak

◦ Joinery:
Mortise &Tenons
Tongue & Groove Joints
Blind Dovetailed
Crossrails

◦ Book Matched Door

Panels
Use of Art Glass
Ceramics
Craftsman Furniture Details
Quartersawn Oak
A method of sawing oak so the
cut is made parallel to the
wood's medullar rays instead
of across. This special cut
yields a limited quantity of top
grade boards featuring ray
flake, the decorative wavy
pattern prominent in
quartersawn wood.
Joinery: Mortise &Tenons
A signature element of Craftsman
construction is tenons – boards
whose ends have been cut for
insertion into a mortise.
Bookmatching
Resawing is a process of
splitting thick lumber into
thinner boards. Once
split, the halves are opened
like a book revealing
identical grain. This time
consuming and labor
intensive process assures
beautifully grained door
panels on all pieces.
Glass Panels In Furniture
Glass is incorporated into
the furniture to create a
sense of lightness and
visual impact.

Art glass is used in

windows to play with light
and give interiors additional
color / design without
cluttering the space.
Charles and Henry Greene

The Gamble House

•Originally intended as a winter residence built in 198 for David and Mary
Gamble (and Jeremy Case), the three-story Gamble House is commonly
described as America's Arts and Crafts masterpiece.

•The Arts and Crafts Movement in American Craftsman style architecture was
focused on the use of natural materials, attention to detail, aesthetics, and
craftsmanship.

•The Gamble House is located on a grassy knoll on a Pasadena Arroyo.

Because of the Gambles attraction to the environment, Greene designed the
house to compliment the rustic setting.

•The building itself appears as

if growing from the landscape,
achieved by a blend of man-
made and natural materials
such as vines covering the
house from the ground up.
•The Gamble House was built using multiple kinds of wood;
the teak, maple, oak, cedar, and mahogany surfaces are placed in sequences
to bring out contrasts of color, tone, and grain.

•Most rooms are regularly shaped and organized around a central hall.
Natural light was allowed through art glass in the windows and doors.

•Ceiling heights are different on the first (8'10") and second floors (8'8") and in
the third floor (9'10") and the forms and scales of the spaces are constantly
shifting, especially as one moves from the interior of the house to its second-
floor semi-enclosed porches and its free-form terraces, front and rear. The
third floor was planned as a billiard room but was used as an attic by the
Gamble family.
The Gamble House
•The living room was designed without any entry doors so that the room would be
as open and inviting as possible.

•The expansive window was designed to let light brighten the room during the late
afternoon. At the far end of the room lies bookcases, a small games table, and a piano
to offer entertainment and leisure.

•On the west wing of the house, the dining room is surrounded by the terrace and the
garden on three sides.

•The room was designed to offer "nature to the indoors". The entrance of the room is
diagonal from the hall with two doors. The doors are decorated with cloud-designed
glass panels. The transition from hall to room was designed to provide a sense of
"anticipation and discovery".

Outdoor
space was
as
important
as the
interior
spaces.
https://www.youtube.com/watch?v=CBq73yxha0o

https://www.youtube.com/watch?v=tYjNO2Y4m6c

https://www.youtube.com/watch?v=sjdCOUGrNK8

https://www.youtube.com/watch?v=CXM-IE0Tm_c

https://www.youtube.com/watch?v=q5z-pl2GxC0

https://www.youtube.com/watch?v=O_-xqvyoCcg

https://www.youtube.com/watch?v=pDpGsSWuGM8

https://www.youtube.com/watch?v=6eYKwdhS0F0