1. Introduction
2. Influences
3. Red House
4. Morris, Marshall, Faulkner & Co
5. Later Years
6. Conclusion
1. Introduction
Whereas William Morris was the predominant figure of the Arts and Crafts Movement, Philip Webb was just as part of it. Therefore, this essay shall focus on the architect and designer Philip Speakman Webb, on the ideas he followed and his contribution to the movement.
2. Influences
Philip Speakman Webb was born in 1831 into the family of an Oxford doctor. He visited the grammar school and started his professional education thereafter. In 1854 he started to work for Georg Edmund Street as chief clerk. G. E. Street was a Gothic Revivalist architect and very active in restoring cathedrals and churches, but he also built non-celestial buildings in the Gothic style.
In 1856 Philip Webb met William Morris, as the latter became Street’s pupil. Morris introduced him to the Pre-Raphaelite circle around the painters Dante Gabriel Rossetti and Edward Burne-Jones.
Webb was very interested in vernacular architecture and therefore toured northern England, Scotland and northern France. Among his friends was the British architect William Butterfield, ‘who is said to have started the High Victorian Gothic by building the All Saints church in Margaret Street, London’ (Kostof, 1985, p.637). ‘Furthermore, his ideas of combining natural colours freely, as well as the functional secular style in which he built cottages and schools, inspired Webb’ (Hutchinson Dictionary of Arts, 2006, p.701).
3. Red House
In 1859 Webb started to work independently. His first job was to build a house for his friend William Morris. The Red House is seen ‘as the first building incorporating the Arts and Crafts style completely, in the construction and within’ (Design Museum, 2006).
The designing process followed the ideas of Morris and Webb about domestic architecture and decoration. Those ideas were strongly influenced by the Industrial Revolution, the ensuing mass-production of cheap decorative art and the felt loss in taste. The ideal of pre-industrial craftsmanship, leading back to the architect A. W. N. Pugin and critic John Ruskin, was the driving force, as well as the appreciation of simplicity by both Webb and Morris.
Although some sources mention Philip Webb as the sole designer of the Red House, Morris had notable influence during the designing process. The decoration within the Red House was partly Webb’s work. He designed among other things tables, chairs, cupboards and table glass.
Philip Webb combined domestic architecture with aspects of the Gothic style. He especially liked to use the effects of contrast in material and colour, as he did building the Red House. The interior was painted white and contrasted the red bricks on the outside, which gave the house its name. ‘Although his designs were very original, he always kept an eye on functionality and the local traditions’ (Britannica Online Encyclopaedia, 2010) [a].
4. Morris, Marshall, Faulkner & Co
Morris’ idea was to have a place where he could work surrounded by hand-made quality products, and his friends, who were helping to decorate and furnish the Red House. During that process the idea developed further and led into the foundation of Morris, Marshall, Faulkner & Co in 1961. The association included Philip Webb and the painters Rossetti, Burne-Jones and Ford Madox Brown. They produced stained glass, furniture, wallpaper, carpets and more. The firm collaborated with skilled craftsmen, who worked according to the painter’s designs.
Webb, unlike other architects, was also an excellent designer of small things. The ornamentation of the sideboard [Fig. 2] is an example of his abilities.
Furthermore he designed tables and chairs. Philip Webb developed the Morris chair [Fig. 3] on the basis of a traditional design, which he found in a workshop. It had an adjustable back and was made from wood, in contrast to the iron-made American mechanical chairs. However, the chair was especially well received overseas. Attributed to Webb is also the Sussex chair [Fig. 4], which had a simple design that was based on early country design. It was available in various styles and colours and commercially very successful. Another example of simplicity is the refectory table [Fig. 5] designed by Webb.
Webb’s talent for the little things also appeared on the famous Trellis wallpaper [Fig. 6 & 7], where he drew the birds, whereas Morris designed the roses. For the firm Webb also designed glass and decorative accessories from embroidery to metal works.
5. Later Years
Morris, Marshall, Faulkner & Co dissolved in 1875 and Webb continued independently, while Morris formed Morris & Co. Despite that, Webb provided Morris’ new firm with designs for furniture.
In 1877, Philip Webb and William Morris founded the Society for the Protection of Ancient Buildings. The society still exists and follows the founders’ aim to prevent old buildings from destructive restoration in order to preserve their authenticity by skilful reparations. Webb had big influence through the Society for the Protection of Ancient Buildings, as he used to teach young architects on principles and methods of conservation.
Webb led his own practice until his retirement in 1899. Afterwards he spent time travelling and advising colleagues, who were interested in the Arts and Crafts Movement. He died in 1915.
6. Conclusion
Philip Speakman Webb was an important figure in the Arts and Crafts Movement, especially as an architect of country houses, but also as a designer of furniture and stained glass. He shared the ideas of William Morris, the ideal of craftsmanship and, later in his life, socialism. Their friendship and professional collaboration highlighted in the Red House. The Philip Webb Award, which was launched by the Society for the Protection of Ancient Buildings in 1993, underlines the lasting appreciation of his commitment and his impact until today.
In the acceptance of the fact, that no building is going to live forever, lies the power of the work done by the Society for the Protection of Ancient Buildings. I appreciate old constructions, which still radiate the atmosphere of the days, when they had been built. Old buildings are allowed to look old, because then, they offer something unique: a journey in time.
Simplicity is timeless and nice to the eyes. Good design can be enjoyed without any effort. I sense that Philip Webb knew that.
Reference List
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Great post about Philip Webb. I’m not very familiar with his work so it’s interesting to learn more about his life and his main influences. Thanks for sharing!
I would check some of the dates that you have listed here. Example being, “During that process the idea developed further and led into the foundation of Morris, Marshall, Faulkner & Co in 1961.” I am sure you wanted to say “1861” for the year. Multiple wrong years are found throughout the article.