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Arts and Crafts Movement

In: Historical Events

Submitted By cotimes
Words 736
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Through out the 19th century, England engaged many artists, designers and manufactures together expanding the design border. However, in 1836 a report of the Parliamentary Select Committee on Art and Manufactures (MET) commented on how British-manufactured goods were lacking in quality. This indeed created the Arts and Crafts movement in 1860, where the movement rejected modernity and industry, mainly towards the output of British Industry.

As history reaches the 2nd half of the 19th century, the mission of Arts and Crafts movement did not completely establish but instead it provided more opportunities for new designers and more options on the market for consumers. With great support of the design society one of the many talented designers stood out and influenced the style of that period, it was Charles Rennie Mackintosh.

Charles Rennie Mackintosh was born in Glasgow, Scotland, 1868 where the Arts and Crafts movement was happening. The time period where Mackintosh grew up was between the influences of Japan, which significantly influence his style later on. Mackintosh was part of the Scottish School, where a group of artists and designers establish new and strikingly modern style in 1880s. (V&A) They together worked in Glasgow and created decorative schemes for architectures and design. It can be concluded that Mackintosh grew up in an artistic environment and design was his main passion. He has three outstanding designs that were eye opening during the period and beyond, it is the Glasgow School of Art, The Gallery, Willow Tea Rooms and The Hill House.

The Glasgow School of Art (1897) was truly Mackintosh’s work of art. He designed every aspect of the building, from exterior to interior. The north front façade of the building described by architectural historian James Stevens Curl, that it was a mixture of tough Scottish native style taken from factories, warehouses and buildings of the Arts and Crafts Domestic Revival. (The Victorian Web) Mackintosh’s design style was a clear understatement of his interpretation of the Arts and Crafts movement characteristics, such as truth to materials, simple forms, natural motifs and keeping the vernacular.

The interior of the Glasgow School of Art, mainly the library, was a strong influence of Japanese style. Recapping the period that Mackintosh was born when Japan opened borders to the West to provide fresh source of inspiration, his work echoes Japanese style. The library cooperated many of the Japanese style such as geometric forms and ebonizing. From floor to wall to ceiling, the library showed important use of straight lines and geometric shapes. Also, the dark use of wood reflects Japanese style of ebonizing wood. The overall atmosphere is similar to the design of Japanese tearooms.

Mackintosh’s passion of Japanese style continued to his next significant design, The Gallery, Willow Tea Rooms (1903). The tearoom is a combination of gallery space combined with place for one to relax and enjoy tea. The design of the space had limited colour range mostly white finishes and limited use of pink. The room was filled with geometric and flower motifs with elongated chair-backs designed by Mackintosh, this room once again proves Mackintosh’s influenced by Japanese style of art. Mackintosh enjoys designing every single detail of a space, from exterior to interior and down to furniture. It shows his passion of design and the importance of art.

Lastly the Hill House (1904), designed for Walter Blackie by Mackintosh famously argued that construction should be decorated and decoration should not be constructed. (The Victoria Web) Mackintosh’s design of the guest bedroom proves clear evidence of symmetrical balance, constructed with simple lines and form. The lack of ornamentation, clean lines and uncluttered spaces of the Hill House reflects Mackintosh’s style to focus on the space, mood and the aspect that architecture could be preserved.

Charles Rennie Mackintosh was one great example to collaborate with vernacular and modern design. Which proved concrete examples for future projects to embrace existing architecture and use modern design to enhance overall practicality. The post office project in Cambridge, using the historical exterior structure, the challenge is to incorporate functional programming within it. Growing out of the vernacular tradition style might not receive acceptance from society and even face rejection, but the artists in the 19th century proved the successful rebellion of not following tradition style. And stepping into 20th century, it is not about reforming design but instead collaborating with traditional and modern to form greater design.

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