Bun­ga­low In­te­ri­ors

In­spired de­sign for vin­tage & new

Arts and Crafts Homes - - CONTENS -

In­spired de­signs for homes vin­tage and new: tex­tiles, wall­cov­er­ings, and or­na­ment.

In a de­par­ture from Vic­to­rian in­te­rior dec­o­rat­ing ad­vice, bun­ga­low writ­ers frowned on the dis­play of wealth and costly col­lectibles. Rather than buy­ing ob­jects of ob­vi­ous or as­cribed value, the home­owner was told to look for sim­plic­ity and crafts­man­ship: “a lux­ury of taste sub­sti­tut­ing for a lux­ury of cost.”

True, most wood­work treat­ments were rather sim­ple. More for­mal pan­el­ing or wain­scot­ing was re­served for din­ing room, par­lor, or stair­case. A board-and-bat­ten wain­scot is fairly sim­ple to in­stall. Wide (12") planks of oak, fir, red gum, or cy­press are butted to­gether ver­ti­cally; the joints are cov­ered with nar­row bat­tens (2½" to 4" wide strips of wood). Topped with a molded plate rail, it is a straight­for­ward means of cre­at­ing the look of three-di­men­sional pan­el­ing. Land­scape friezes and ab­stract sten­cil­ing above a plate rail were of­ten pic­tured.

Vari­a­tions in­clude what was called “skele­ton wain­scot,” where pan­els be­tween the bat­tens were not wood but rather cov­ered in leather, faux leathers, em­bossed wall cov­er­ings in­clud­ing Lin­crusta and Anaglypta, and the in­ex­pen­sive clas­sic, burlap. A cen­tury ago, the burlap ap­plied to such walls was pa­per-backed; mod­ern sub­sti­tutes in­clude dense, tightly wo­ven

Arts & Crafts rooms have been de­scribed as sim­ple—even dark and monas­tic—but by mod­ern stan­dards they are fully dec­o­rated and fur­nished, to cozy ef­fect.

fab­rics with a sig­nif­i­cant linen con­tent, such as linen union or Bun­ga­low cloth. Th­ese are avail­able today.

In­ex­pen­sive even when ma­chine-cut from South­ern pine and cy­press, bead­board was ubiq­ui­tous in back-of-the-house rooms fre­quented by ser­vants, like the kitchen and util­ity areas. Bead­board has be­come a con­tem­po­rary fa­vorite in kitchen and bath ren­o­va­tions.

A com­mon mis­take is try­ing to “brighten” a wood­pan­eled space with white paint, which flat­tens the room and over­whelms its other el­e­ments. It takes skill to use white in th­ese in­te­ri­ors, warns David Berman of Trust­worth Stu­dios. Berman spe­cial­izes in de­sign (in­clud­ing wall­pa­pers) based on the work of English Arts & Crafts de­signer C.F.A. Voy­sey, who fa­vored light-toned, airy in­te­ri­ors with wood­work ei­ther left nat­u­ral or painted white. But “white” is rel­a­tive. Berman fa­vors a warm, cof­fee-with-cream trim color, closer to beige and with the tonal­ity to com­ple­ment ter­tiary col­ors.

Bright white was used most of­ten for bath­room trim; pe­riod ref­er­ences to “white” could also sig­nify cream, yel­low, ivory, light cof­fee, or pale grey.

En­joy the re­turn of beau­ti­ful treat­ments for walls and ceil­ings—in wall­pa­per, paint, metal, plas­ter, and wood. In this chap­ter, you’ll also find pe­riod-in­spired tex­tiles that add color, pat­tern, and tex­ture to rooms in­spired by the orig­i­nal Arts & Crafts move­ment. Wood­work and trim, wall­pa­per and paint, rugs, pil­lows and por­tiéres all con­trib­ute to the cozy ef­fect. a

above Ap­pliquŽ and em­broi­dery are of­ten found to­gether in the pe­riod’s tex­tiles. op­po­site The din­ing room is a nook within a soar­ing great room in this un­usual 1901 bun­ga­low on Chicago’s North Shore. Pen­dant lamps and Roy­croft chairs are an­tiques.

above In a ca. 1900 house in Wood­stock, New York, the lively wall­pa­per is ‘Vine’ by the English de­signer Wil­liam Mor­ris—whose pat­terns have been in pro­duc­tion for 150 years. top Th­ese pil­lows are fin­ished in fab­rics in orig­i­nal de­signs taken from or...

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