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

The Client’s Taste vs. the Architect’s Province

Parker and Unwin repeatedly return to the relationship between client and architect. In the introduction, Parker notes that a client who lacks artistic feeling will “stamp his own individuality” on a house regardless of the architect’s skill—a problem they acknowledge as “only too true.” Yet the authors maintain that the right architect can help a client with genuine taste achieve far more than he could by selecting ready-made items. The client can “make known to his architect his own personality, habits, and feeling” from the beginning, influencing the design rather than accepting whatever chance offers.

This is not a call for amateur design. The authors distinguish between having things “to his own design or to that of another”—the real question is whether the client gets things “designed to fit in with him and his requirements” or must “do the best he can with what chance may offer.” The architect’s role is to translate the client’s needs into a coherent whole, not to impose a predetermined style.

Simplicity as a Social and Artistic Reform

In one of the most pointed passages, the authors declare that “socially morally and artistically one of the most necessary reforms to-day is that we should simplify our lives.” They call for shaking off “this hampering web of artificialities” and sweeping away “fussy substitutes for ornament.” The goal is not bareness but making “those things which are necessary and helpful to real life and true refinement also beautiful.”

Yet they admit that a room with only “the bare necessaries of educated and refined life” can feel uncomfortable. People naturally try to supplement baldness with “added ornament and bric-à-brac.” This observation complicates the call for simplicity: the authors recognise that stripping down requires a disciplined eye, and that many will find the result cold. The challenge is to achieve a simplicity that is not barren but genuinely satisfying.

Function, Construction, and Place as Design Drivers

Parker and Unwin state a core principle: “the only right way to go to work to design anything is to give it that form which will best enable it to fulfil its functions.” They add that the form must also be adapted to the methods of production and must explain “these conditions of purpose and construction.” Beyond that, the position the object will occupy must be considered; it must be “designed for its place,” and ideally “its place must even be designed for it.”

This integrated approach applies to houses, furniture, and fittings. The authors criticise the typical client who selects from shop stock, because that process gives the designer “to whom he probably never gives a thought” control over form. By contrast, an architect designing for a specific client and site can ensure that every element relates properly to the whole. The excerpts do not provide detailed examples, but the principle is clear: good design emerges from a chain of specific decisions, not from applying generic templates.

Readers should approach this book as a series of arguments rather than a manual. The lectures were written for different occasions, and the authors sometimes repeat points or shift emphasis. The accompanying plates—mentioned in the contents but not reproduced in the excerpts—likely illustrate the principles discussed. Because the text is incomplete, the full scope of the authors’ practical recommendations remains unclear. What emerges clearly is a consistent critique of convention and a belief that domestic architecture should be a genuine expression of its inhabitants’ lives.