The Art of Building a Home: A collection of lectures and illustrations

The Art of Building a Home: A collection of lectures and illustrations
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"The Art of Building a Home: A collection of lectures and illustrations" by Raymond Sir Unwin, Barry Parker. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.

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Barry Parker. The Art of Building a Home: A collection of lectures and illustrations

The Art of Building a Home: A collection of lectures and illustrations

Table of Contents

PREFACE

INTRODUCTION

THE SMALLER MIDDLE CLASS HOUSE

THE DIGNITY OF ALL TRUE ART

OUR EDUCATION IN ART

ART AND SIMPLICITY

OF FURNITURE. Part 1

OF FURNITURE. Part 2

BUILDING & NATURAL BEAUTY

CO-OPERATION IN BUILDING

THE ART OF DESIGNING SMALL HOUSES AND COTTAGES

LIST OF PLATES

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Raymond Sir Unwin, Barry Parker

Published by Good Press, 2021

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Now this fear of repetition is no imaginary evil, but a very real and living one. How often do we all attempt something fresh, knowing it not to be the best we can do, (best I mean more in kind than degree) simply from a weak dislike that people should say of us, that we have only one style. How often do we turn out a design for a certain purpose and position, knowing it to be not so good as one we have before made for a similar purpose and position, simply because we have not strength to repeat what we believe to be best, lest people should think that is all we can do. In so doing we preclude all possibility of development.

Now observe, this never occurs during the progress of any living art in the past. The man who had carved one Early English capital did not, when next he had a capital to carve, say, “I know nothing more beautiful, but I must at any rate do something different, I must not put the same capital here again.” On the contrary, his aim was to carve a similar capital again, only he would try to do a better one; for probably he had noticed some little point in which he could improve on the last he did; some way in which he could mass his light and shade so as to give them a more pleasing form when seen at a distance; or some more lovely feeling it was possible to introduce into the reveal of a leaf or the curve of a stem.

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