Progressive Reform Era
Chapter 5
In the beginning, “The Bungalow craze did not arise in a cultural vacuum, but was one expression of a boarder artistic movement at the turn of the century known as Arts and Crafts” (110). In the nineteenth century, the Progressive reform era promoted simple architectural styles. As the era progressed society changed living styles. But did they keep them conservative or radical? “The Bungalow’s appeal was also related to dramatic changes overtaking women in late nineteenth century” (111). The supporters of the Bungalow style of architecture were radical because of the progression or era, and simplicity that proceeded throughout society. Progression concerns how well we appreciate artifact and intend to uphold everything or architecture. In other words, keeping it nice and conservative. Gwendolyn Wright observes progression, “In the early twentieth century, many different groups were campaigning for what they called a progressive approach to house design and upkeep” (111). However, this was not enough; times were changing, women roles had become more complex. Wright shows, “There were some reservation about architectural changes that were tied to new sex roles” (117). Domestic changes in magazines claimed “Modern Women” houses needed more. According to Lloyd, “technology promised individual freedom and social equality” (116). This caused for drastic changes in the economic development. Tradition could not keep uphold as time went on. Gustav Stickley explains why tradition was not good enough, “To preserve these characteristics and to bring back to individuals life and work the vigorous constructive spirit which during the last half-century has spent its activities in commercial and industrial expansion, is, in a nut-shell, the Craftsmen idea” (123). Tradition was not good enough. People in twentieth all had reputations to uphold. Stickley claims, “That the influence of the home is of the first importance in the shaping of character is a fact too
In the beginning, “The Bungalow craze did not arise in a cultural vacuum, but was one expression of a boarder artistic movement at the turn of the century known as Arts and Crafts” (110). In the nineteenth century, the Progressive reform era promoted simple architectural styles. As the era progressed society changed living styles. But did they keep them conservative or radical? “The Bungalow’s appeal was also related to dramatic changes overtaking women in late nineteenth century” (111). The supporters of the Bungalow style of architecture were radical because of the progression or era, and simplicity that proceeded throughout society. Progression concerns how well we appreciate artifact and intend to uphold everything or architecture. In other words, keeping it nice and conservative. Gwendolyn Wright observes progression, “In the early twentieth century, many different groups were campaigning for what they called a progressive approach to house design and upkeep” (111). However, this was not enough; times were changing, women roles had become more complex. Wright shows, “There were some reservation about architectural changes that were tied to new sex roles” (117). Domestic changes in magazines claimed “Modern Women” houses needed more. According to Lloyd, “technology promised individual freedom and social equality” (116). This caused for drastic changes in the economic development. Tradition could not keep uphold as time went on. Gustav Stickley explains why tradition was not good enough, “To preserve these characteristics and to bring back to individuals life and work the vigorous constructive spirit which during the last half-century has spent its activities in commercial and industrial expansion, is, in a nut-shell, the Craftsmen idea” (123). Tradition was not good enough. People in twentieth all had reputations to uphold. Stickley claims, “That the influence of the home is of the first importance in the shaping of character is a fact too