a&c movement

  • Asilomar restored!

    IFV_8614

    IFV_8456

    Celebrated as Monterey Peninsula's "Refuge by the Sea," Asilomar State Beach and Conference Grounds has been restored to its former glory. Preservation architecture firm, Page & Turnbull, played an important role in the Phoebe Apperson Hearst Social Hall and the Mary Ann Crocker Dining Hall. 

    Phoebe Apperson Hearst Social Hall

    In this building, Page & Turnbull removed alterations that were not agreeable to the original design and restored the configuration of spaces in the building to be as close as possible to Morgan’s original layout, while improving its functionality. Restoring the Registration Area and rebuilding the hall’s historic Tearoom returned a sense of harmony and order to the Social Hall. In replacing the non-original existing flooring in the Social Hall, the size and grain pattern were matched to the original oak strip floors. Highlighting the ceiling structure and illuminating the room’s beautiful redwood trusses are replicas of the original wall sconces and historical chandeliers produced with a lighting manufacturer. Stains and varnishes were tested on the new redwood boards in the walls and, where possible, many of the existing boards were reused and salvaged. 

    Crocker Dining Hall

    In this building, a visual connection was created between the historic dining hall and the servery, and the building’s commercial kitchen was completely renovated. 

    Asilomar Background

    The Pacific Grove retreat was originally designed by Julia Morgan, the first female architect to be licensed in the State of California. The grounds were founded by the YWCA as a young women’s leadership summer camp in 1913 and has been part of the California State Parks system since 1956. A National Historical Landmark, the 100-year-old site features the largest collection of buildings designed by architect Julia Morgan, who embraced the Arts and Crafts Movement. 

    You can learn more and book a room at Asilomar online.

  • Frank Lloyd Wright, cast in stone

    5182676318_9492e52254_b


    Frank Lloyd Wright’s shingle, as it were: this is the cast concrete lettering (the etch marks, I am told, come from the form, which was chiseled) advertising FLW’s architectural and design practice in front of the office portion of his home and studio in Oak Park, Illinois.
  • brown shingle, alpenhaus style

    Architektur lp mt house
    This 398-square-meter (approximate 4000 sq ft) German home combines some of the best aspects of the traditional German mountain farmhouse and the Western Stick brown shingle design – so popular in the United States – with modern materials and engineering. Germany’s LP Architektur built it in six months and finished primary construction in 2008.

  • The Craftsman: Almost Every Issue, Now Online

     
    1901-10-1

    I've recently been gifted a large archive of every issue (bar two – issues 8 and 9 from the 1916 volume are missing) of Gustav Stickley's The Craftsman, beginning with volume 1, number 1 in October of 1901. I'll be posting one every few days for the coming weeks, starting with the first issue today. 

    Here you go: Volume 1, number 1 of The Craftsman: October 1901 (3 meg PDF)

    Thanks very much to the archival-minded friend – another big fan of the public domain – who passed these on to me!

  • Gustav Stickley library table, from the Metropolitan Museum collection

    Hb_19763891

    Library table, ca. 1906
    Gustav Stickley (American, 1858–1942); Craftsman Workshops
    Syracuse, New York
    Oak, leather; H. 30 in. (76.2 cm), Diam. 55 in. (139.7 cm)
    Gift of Cyril Farny, in memory of his wife, Phyllis Holt Farny, 1976 (1976.389.1)

    Inspired by William Morris, Gustav Stickley founded The United Crafts
    (later known as Craftsman Workshops) in 1898. Stickley was greatly
    influenced by Ruskin and Morris, his travels to Europe, and important
    contemporary journals such as The Studio and Deutsche Kunst und Dekoration.
    Initially managing the firm as a guild, Stickley participated in
    profit-sharing with his employees, but as the operation grew, regular
    factory standards were implemented. The Craftsman line was introduced
    to the public in 1900. This hexagonal library table is made of oak with
    a leather top ostensibly adhered by overt circular tacks, and utilizes
    visible joinery with tenon-and-key joints. Illustrated in the November
    1902 issue of The Craftsman, the Arts and Crafts periodical
    published by Gustav Stickley between 1901 and 1916, the hexagonal
    library table became a popular item in Stickley’s sales inventory.

  • Arts & Crafts wallpaper today

    Morris_wallpaperminor updates to this article, originally from Hewn & Hammered in 2004:

    People often think of the interior of Arts & Crafts period homes as austere, minimilist spaces devoid of pattern. They envision tasteful rich woods and plain walls with only a jewel tone paint shade as a foil. There may have been some interiors like that, but the height of the Arts and Crafts movement coincided with the height of Victorian decorating. Rather than homes and design books of the period only embracing one or the other style, what often occurred was a blending of the two styles. One of the finest examples of graphic art to come out of this period were the many rich and detailed wallpaper designs.

    When you think of Arts & Crafts designs it is the iconic images that often come to mind. From the famous Morris chrysanthemums, pomegranates, daisies and marigolds to Frank Lloyd Wright’s hollyhocks
    and branch borders, these patterns from nature figure prominently in
    all manner of Arts & Crafts design. Morris was said to have
    considered wallpaper a ‘medium of communication’ and created over 144
    distinctive textile designs that were reproduced in several different
    mediums such as textiles, wall coverings and carpets. Historically, the
    actual creation Arts and Crafts period wallpaper was a painstakingly
    difficult and involved process. Long sheets of paper were rolled out on
    great tables and dozens of artisans using a primitive silkscreening
    process layered on paint in highly detailed repetitive patterns. This
    made the wallpaper prohibitively expensive for the average decorator.
    But when you have a great room sometimes painting techniques and
    stencilwork just won’t cut it; they just can’t give that ‘wow’ factor –
    that’s when it’s time to look to wallpapers.

    From a ceiling frieze to a feature wall to a room done completely in
    a bold pattern to mimic your favourite period estate, wallpapers is
    what you are looking for. But, where do you find them? Aren’t they
    prohibitively expensive?

    Not necessarily. The advent of laser printing techniques and
    computer-aided design have changed all of that, and as a result prices
    have come down so mere mortal restorers and decorators can work with
    the medium and get the same stunning effect. Currently, several
    companies are recreating these intricate designs.

    A local favourite and one of the few A&C suppliers on the East Coast, J.R.. Burrows & Company and Burrows Studio
    of Rockland MA consider themselves historical design merchants. The
    Burrows Studio, a division of J.R. Burrows & Co., produces and
    recreates designs that are representative of the Aesthetic and the
    early Anglo-American Arts & Crafts movements. The wallpaper designs
    are mainly English in origin, as the English A&C movement was – and
    continues to be – highly influential in New England. There are graphic
    samples of the papers as well as a provenance and a detailed
    description of each style on their extensive website.

    Heading out to the west coast one of the finer manufacturers is Bradbury & Bradbury Art Wallpapers.
    As recently as 2000, Bradbury and Bradbury began using computers to
    print their beautiful Arts & Crafts friezes, and they are gorgeous,
    lush, rich (okay, okay, I know – enough adjectives, but I can’t help
    it!) full of color and bold, beautiful designs.  The site is unique in
    that designs are grouped by color theme. Choose an olive room and the
    site will show how to coordinate various Bradbury designs into a single
    cohesive look. You can view it all on the site or order a catalog to
    peruse with a good cup of tea in your Morris chair.

    Last stop is way up north in Canada at Charles Rupert Designs Ltd.,
    dedicated to supplying "splendid items for the traditional home and
    garden." Not only do they have all the paper patterns you have been
    dreaming of, but they have the fabrics to match. One of their great
    features is a complete wallpaper and fabric sample cutting service
    which will allow you to see what you envision before you commit.
    Everything they sell is top quality and they strive to use traditional
    natural materials wherever possible, shunning plastic, vinyl and other
    synthetics.

    Thanks to Jo Horner of the always entertaining and often very touching Counting Sheep for this wonderful article!