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  Stockbroker Tudor    Stockbroker Tudor is a term with pejorative
beginnings.  It is a domestic
architectural style which has been reviled for being pompous and inauthentic
however it has some genuine links to the Arts and Crafts - a design movement of
ongoing interest to Kennedy Nolan.   



 The Arts and Crafts movement fascinates us because of the
complexities contained in it’s incipient Modernism
parallel to a pre-occupation with the crafts of making. During the twentieth century, the next time
that Modernism became preoccupied with craft and making was Brutalism - also a
movement of ongoing interest to this practice.  The house investigates a reconciliation of
high Modernism and the Tudor revival elements of the Arts and Crafts movement -
on first glance seemingly incompatible. 
The resulting new building fabric has the clarity of functionalist
planning and flexibility afforded by modern technology,also the relevance of
contemporary aesthetics such as de-limited horizontal space and breaking down of interior/exterior
thresholds.    The detail and resolution of
the architecture acknowledges the reality of domestic construction– that it is
hand-made - and expresses this through ostensible elements of carpentry,
metalwork, tiling and glazing and through colours and forms which touch on the
memory of ecclesiastical and pre-Raphaelite preoccupations of Arts and Crafts
design.    Photography by  Derek Swalwell      Plan      

Stockbroker Tudor

Stockbroker Tudor is a term with pejorative beginnings.  It is a domestic architectural style which has been reviled for being pompous and inauthentic however it has some genuine links to the Arts and Crafts - a design movement of ongoing interest to Kennedy Nolan. 

The Arts and Crafts movement fascinates us because of the complexities contained in it’s incipient Modernism parallel to a pre-occupation with the crafts of making. During the twentieth century, the next time that Modernism became preoccupied with craft and making was Brutalism - also a movement of ongoing interest to this practice.

The house investigates a reconciliation of high Modernism and the Tudor revival elements of the Arts and Crafts movement - on first glance seemingly incompatible.  The resulting new building fabric has the clarity of functionalist planning and flexibility afforded by modern technology,also the relevance of contemporary aesthetics such as de-limited horizontal space and breaking down of interior/exterior thresholds. 

The detail and resolution of the architecture acknowledges the reality of domestic construction– that it is hand-made - and expresses this through ostensible elements of carpentry, metalwork, tiling and glazing and through colours and forms which touch on the memory of ecclesiastical and pre-Raphaelite preoccupations of Arts and Crafts design.

Photography by Derek Swalwell


Plan

 

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