Paste your essay in here…Annotated Bibliography:
1. Kirk, S, Philip Webb (1831-1915). in , University of Newcastle upon Tyne, 1990.
This is a thesis written by Shiela Kirk, submitted to University of Newcastle upton Tyne for Doctor of Philosophy. It provides information about Philip Webb, his biography, life story, relationships with his friends and clients. In the other part it studies Webb’s architectural philosophy and its evolution, based on his own comments in letters and supported by evidence from his buildings, and of the clients.
2. Kirk, S, & M Charles, Philip Webb. in , Chichester, Wiley-Academy, 2005.
It combines architectural history and biography and provides a broad account of Webb’s design philosophy and methodology of his ideas and designs, his architectural works, the challenges and his inspirations, it covers his relationships with his clients, contractors, artist and colleagues.
3. Lethaby, W, Philip Webb and his work. in , London, Raven Oak Press, 1979.
The book discusses Philip Webb’s life and works. It discusses some of the architects of the nineteenth century, theory of architecture, business of Webb as an architect.
4. Marsh, J, William Morris & Red House. in , London, National Trust, 2005.
This book outlines the extraordinary collaboration between William Morris (designer) and Philip Webb (architect). It provides the story of Red House: the house, the interior, the garden, life in the Red House.
5. "William Morris and Philip Webb, Red House". in , , 2018, <https://www.khanacademy.org/humanities/becoming-modern/victorian-art-architecture/pre-raphaelites/a/william-morris-and-philip-webb-red-house> [accessed 20 March 2018].
The article provides a quick summary of the Red House history. It explains the entire design, plans and ideas. In addition, it includes images of the interior and furniture which were designed by William Morris, also, images of the exterior.
6. Cooper, N, "Red House: Some Architectural Histories.". in Architectural History, 49, 2006, 207-221.
This article discusses an overview of the historiography of Philip Webb's 19th-century design of Red House, London, for William Morris examines various accounts of this building from the late 19th through the 20th centuries. Moreover, it discusses the arguments raised about Webb’s designs.
7. McNee, & Poppy E., "THE RED HOUSE IS NOT PERFECT, BUT THE GRACE OF HUMANISM IS VISIBLE IN THE GLEAMING OAT STAIRCASE..". in , 236, 2012, 44-45.
The essay champions craft and humanism over perfection, using as an example the Red House in Bexleyheath, England, designed by Philip Webb for the artist William Morris. The author emphasizes the relevance of the Arts and Crafts Movement in modern day and the difficulties architects.
8. Jones, P, "Architecture as mnemonic: The accumulation of memories around Morris's red house.". in Nineteenth-Century Contexts, 21, 2000, 513-540.
This article focuses on the architecture of the house of William Morris. Houses were important to William Morris, and Red House was the only new house ever commissioned by him, and the meeting place for his circle of friends, including the Pre-Raphaelites Despite a long and steady later career, Red House has remained architect, Philip Webb's best-known work.
Student name: Kimiya Taghavi
Student ID: 2181895
Topic Name: The Red House
Topic Number: 22
The architectural design of the Red house (1858-59) was by Philip Webb (1831-1915) , an English architect during 19th century in Bexleyheath, southeast London for his friend William Morris who got the responsibility for the interior and the furniture design of the building.
2 Webb is a key figure in the Arts and Crafts movement and a leading member of the Pre-Raphaelite circle. Webb’s devotion to architecture have begun as an expedient but had become his life after he moved to London. Webb, with his first two buildings, Red house and Sandroyd, introduced a new building type, the English studio-house which later, inspired many artists to design studio-houses.
Red House proved Webb to be a master of parsonage style. His later studio houses revealed the development of his own manner, such as fewer pointed arches to introduce some horizontal emphasis, to adopt ‘multiplication of the detail’, to admit English Baroque influence, and to reflect the local vernacular. Webb emerged as one of the most important architects of the nineteenth century.
1 The red house was considered and designed as a permanent family home as L-shaped, with a court between the two wings, having the entrance on the north front and the main rooms in the two storey wings facing the garden. Externally, the building combined influences from the fourteenth century English houses, from old houses of Northern France, and from Butterfield with chimneys on the outer walls. The windows had segmented arches inside and out, except the circular ones. Inside the house, had the medieval manner but without Gothic detailing. Red house was beautifully composed, well-controlled and proportioned, gathering of various parts, unified by red bricks of the walls and red clay tiles of the striking roof.
The interior provided a fairly plain background for the decorative schemes designed by Morris but was never fully completed. Geometric patterns were used into some ceilings, eastern rugs, cupboards, oak tables and chairs were made to Webb’s design.
8 The Red House, was never used as the creative living and working center as it was intended to be. It was built on Pugin’s idea of the English home. ‘The house is not perfect, but the grace of humanism is visible in the hunched form, the glossy oriels and colored birds in the gleaming oak staircase. There is craft, color, joy and intellect’. The principles applied by Webb in his design of Red House were consistent with the teachings of A. W. Pugin, who insisted that “the decoration of an object should always be in harmony with its function”.
As Arts and Crafts sample, Red House became part of the foundation of the Modern Movement, growing a new style in the twentieth century. Morris could consider the house to be medieval, but Nikolaus Pevsner marked it the beginning of the revolution to the Modernism. His first realization came through Hermann Muthesius, in Das englische Haus, which has remained the most detailed description of the Arts and Crafts architecture, Muthesius saw Red House as an inspirational work of the movement and for Pevsner, the discovery of Modernism had recognizable link between his home and adopted countries where as for British readers, an idea of a movement that was hardly yet arrived.
7 There have been many arguments in many accounts of Red House, for instance, the originated style and the movement. Muthesius believed that the Red House was revolutionary in style and material, and that it represents the English architecture according to his illustration in Das englische Haus, however, there have also been recurring themes and judgments by one writer from another which concluded that the house has also been seen as remarkably wide range of movements: High Victorian Gothic, the Queen Anne revival, the domestic revival and the Arts and Crafts and the Modern Movement. In understanding and appreciating Red House, there have been four periods until it became widely known, meanwhile, Webb refused to have his work to be included in the History of the Gothic Revival, but only thereafter, roughly from 1930 to 1960, Red house was seen as an originator of the Modern Movement.
Another issue that was raised about the architect was that William Morris often received credit for Webb’s ideas and influences where as it was not true, Webb just did not set his philosophy systematically or he did not publish his buildings. Therefore, I believe, this was the major misleading, maybe if Webb would have introduced or publish his ideology, there wouldn’t be arguments raised about the style of the Red House.
According to the readings, I concluded that the Red House includes elements of different architectural styles and movements but later, it became a new style where other artists and architects started to follow the style according to Webb’s methodology and after all the arguments and studies about building and its style, the Red House became an important building of the nineteenth century and Philip Webb’s best known work.