A walk from Deal to St Margaret’s Bay, via Kingsdown and St Margaret’s-at-Cliffe, took in a variety of building styles, vernacular and polite.
Flint and brick is characteristic.
I liked the fretted fascia on this house.
Oldestairs House in Oldstairs Road, Kingsdown. Red-brick, roughcast and tile hanging. Large, Edwardian and intrusive.
Kingsdown Cottage, one of a pair of Arts-and-Crafts houses on the outskirts of St-Margaret’s-at-Cliffe, with its roughcast walls, high chimneys and steep-pitched roof, recalls Voysey’s High Gaut in the same village (which we didn’t get to see), but I couldn’t find out anything about it.
Tin shacks pop up everywhere for chapels and clubs. I thought the St Margaret’s Bowls Club looked homely.
Portal House, a Kent County Council special school, is well described by its architects, KSS: “The double pitched roof concept for the new building draws on the local Kent vernacular, and the use of humble traditional materials with simple modern detailing gives the building a quiet but distinct contemporary identity.”
The star of our walk was Ness Point, a bold, orginal design by Tonkin Liu, with curving white walls that echo the White Cliffs. There are plans and more photos, including interior photos, at Design Curial.
Leighton House Museum, the house Frederic Leighton built for himself in Holland Park, which I visited yesterday, will start a big improvement programme soon, due for completion in 2021.
Leighton House is famous for its Orientalist decoration, furnished from Leighton’s travels in the near East, and notable for walls covered in Iznik and Persian tiles set in glazed turquoise panels by William de Morgan. (No photos allowed, but good illustrations in the guidebook ISBN 0902242237.) Its lavish and exotic public spaces contrast with Leighton’s monastic bedroom. He fiercely guarded his privacy and left almost no personal documents, but the design of the house suggests that he never intended to marry and it is now generally supposed that he was gay, which influences the way we look at paintings like Daphnephoria, (above), where the youths are painted with more conviction than the girls.
The peculiar design of the house, with a large studio, one bedroom and public rooms unsuitable for family living, made it unsaleable on his death in 1896. The sale of the contents, however, raised enough to keep it as a museum. But it was really only eighty years after Leighton’s death that it began to be run as a proper monument to him. Disagreements between his sisters and Mrs Emilie Barrington, his adoring neighbour and biographer, blocked development for years. On their death the property was sold to the local council, then managed in a half-hearted way, a victim of indifference to Victorian art, and by the 1950s it had fluorescent lighting and cream-painted walls and was being used for exhibitions of modern art. John Betjeman spearheaded its revival, which began in the early 1980s, since when it has been carefully restored and appropriately furnished, original contents recovered wherever possible.
The final phase of the restoration will remove some late additions, restore the Perrin Wing, make a new entrance, improve disabled access and create stronger links with the local community.
I’m taking the opportunity to post a message from the SDC’s website about the refurbishment of our gallery and workspace in Rivington Street, a project that I’ve been involved with as a Trustee of the Society. I’ll continue to post news about the plan as it advances.
Fundraising for a Sustainable Future
“In our 130th year, the Society of Designer Craftsmen is excited to be working with Elliot Payne Architects to ensure the Society continues to be the success it is today. To help secure our future, we are currently fundraising to refurbish our headquarters in London’s vibrant Shoreditch to provide a members gallery for public exhibitions and creative spaces where members can meet clients and take part in workshops. If you wish to support us in this venture please contact email@example.com.”
Mackintosh’s innovative architecture and his link to continental design and modernism made me consider again why the English Arts and Crafts movement, after revolutionising design in the late 19th century, ran into a dead end in the 20th.
The movement created several initiatives that had more to do with social change than design, such as The Home Arts and Industries Association, Haselmere Peasant Arts Industries and the Clarion Guild of Handicraft. They tended to be backward-looking, utopian and to encourage the participation of the poor in the crafts, but they did not contribute to product design or the manufacture of of well-made goods at a reasonable price and they fostered amateurism. Lewis F. Day told a government inquiry into the Royal College of Art that, in his opinion, W. R. Lethaby, the professor of design, paid too little attention to the requirements of industry and that the Arts and Crafts Movement had drawn the College towards “the more or less amateurish pursuit of the Handicrafts.” After William Morris’s death, the Arts and Crafts Exhibition Society, the principal arts and crafts body, lost its way and repeated what it had done before, and by the First World War its leaders were elderly. Roger Fry said they “represented to perfection the hideous muddle headed sentimentality of the English – wanting to mix moral feeling in with everything.” I think it’s that mixing in of moral feeling that was the reason it was overtaken by design in in Europe and America.
Although the Bauhaus was at first inspired by arts and crafts ideals, it gradually abandoned them and turned to industrial design. Lethaby, whom Day may have judged too harshly, co-founded the Design and Industries Association with others who were concerned that the growth of the arts and crafts had “been arrested for the last ten years in the country of its birth.” They believed that “The principles of the movement are now more consistently and logically studied in Germany and America”.
Mackintosh also absorbed arts and crafts ideas and went beyond them. The Hill House, for example, (top) has Scottish vernacular features and uses local materials, and some of the decoration was executed by Mackintosh and his wife Margaret Macdonald Mackintosh. But he never thought that every designer should execute his own designs, that everything should be made by hand or that art was a moral crusade, and however much The Hill House resonates with Scottish precedent, its form is radical and anticipates modernism in its bold, abstract shapes.
When we were in Glasgow last week, the scaffolding on the art school obscured most of the Mackintosh building but indicated that it would soon be re-opened, improved beyond its condition when fire struck in 2014. Now comes the shocking news that another fire has damaged the building, undoing most of the painstaking restoration of the last three years.
The cause of the fire in not known yet. The 2014 fire was caused by gases from a canister used in a student project. (The Harrow art school fire at the University of Westminster in 2007 was also said to be caused by the ignition of materials used in a student project.) Will there be funds for another restoration? I hope so: the Mackintosh building is Grade A listed and an important part of Scottish heritage.
Glasgow was one of the first British government art schools to teach pottery. In 1893 the school opened its Technical Art Studios, teaching stained glass, needlework, bookbinding, painting on china, and metalwork. The chairman of governors was James Fleming, a pottery manufaturer.
I contrasted the plain walls and restrained patterning in Mackintosh’s houses with the busy Arts and Crafts style, by which I really meant the style of Morris & Co., which many middle class homes had adopted by 1900. But Mackintosh, of course, shared many design ideas with the Arts and Crafts movement, including attitudes to ornamentation. When I looked at the Society of Designer Craftsmen’s website, I found that Mackintosh was a member (when it was the Arts and Crafts Exhibition Society).
Alan Crawford’s biography relates an account of the Society deriding Mackintosh’s exhibits in 1896, but says that it’s hard to find evidence, and notes that he exhibited again in 1899 and 1916.
Glasgow is celebrating the 150th anniversary of the birth of Charles Rennie Mackintosh and we went to see the Hunterian Gallery’s reconstruction of the house he designed for himself at Southpark Avenue, the exhibition at the Kelvingrove Museum about the Glasgow Style, and The Hill House, his most important domestic project, made for the publisher William Blackie.
All the photos here were taken at Hill House, except the last, taken at Glasgow Art School.
Mackintosh lived at Southpark Avenue in the later years of his partnership with Honeyman and Keppie and just as he began to practice on his own, so the house was his business card. He and his wife remodelled it, added doors and windows and commissioned furniture, fittings and textiles. It was designed to be airy and open, they used pattern sparingly and most of the rooms have white walls. A rare innovation was fitted carpets, made from stitching together narrow-loom runners. The effect is forward-looking and modern and strikingly different from the busy Arts and Crafts style popular in England at the time.
Mackintosh’s inspirations are partly Japanese and partly Celtic but he made something new out of them, designing houses with light, clever management of space and controlled use of colour. (He objected to Mrs Blackie putting yellow flowers in Hill House.)
His buildings are so iconic that it is surprising to find that Mackintosh was not successful in Glagow and was more appreciated in Vienna, where he influenced the Secession and the Wiener Werkstätte. The Blackie family loved Hill House and lived there until the 1950s.
Mackintosh was meticulous and demanding and the Glasgow Art School was horribly late and over budget.
The Art School is still covered in scaffolding as it undergoes major repairs following the fire.