History of Architecture: Liberty Department Store, Regent Street - Assignment Example

The Interior of a Building in Relationship with its Social Function: Liberty Department Store Architectural designs are meant to convey a lot of information about a given construction. In particular, the function of the structure should be relayed through the design of the structure. This means that before a plan is developed and the subsequent design, the architect ought to know the purpose for which the construction is meant. In this essay, an analysis of the Liberty Department Store, Regent Street in London will be put into perspective in relation to its social function. Particular attention will be given to the interior design, which apparently corresponds to the purpose for which the owner of the building intended it. Liberty Department Store is strategically located on Regent Street, on the West End shopping district of Central of London in England, United Kingdom. There are two wings of the store, with one of the oldest wing facing the Marlborough Street. There are a number of items that are sold in the department store including men’s, women and children’s fashion, furniture, gifts, stationery, jewellery, beauty products, homeware and cosmetics among other luxury goods. In addition, a brand of luxury accessories exists and is branded ‘Liberty of London’. The store is distinguished by its graphic and floral prints, which are found within the interior of the building. The building serves as one of the spectacular demonstrations of the Tudor Revival Arts and Crafts architecture not only within London but also across the world (Liberty London, 2014). From the look of interior view, one can easily tell that the building has been designed for luxury products. The window displays in the store are quite spectacular. They complement the design by providing a clear relationship with its function. The Liberty Department store has a long history that relates to its current use. The development of the structure relates to the life of Arthur Lanseby Liberty who established a retail shop in 1875 at the Regent Street. The shop dealt with artistic objects and ornaments from Japan and Asia. This initial business thrived enabling him to buy other properties within the same locality. Around 1884, he began engaging in fashion items where he dealt with costumes. A year later, Liberty shop became the most fashionable place to shop providing stiff competition to the convectional markets such as the Paris fashions. Over the years, the store grew and was redesigned by Edwin T. Hall together with his son Edwin S. Hall using the Tudor Style that stands to date (Liberty London, 2014). Liberty stands out as the most ideal place to shop in London. It is highly aesthetical and carries the theme of fashion. As designed by Edwin T. Hall and Edwin S. Hall, the building has three light wells, which gives a very magnificent appeal. The wells are surrounded by small rooms that are significant in giving it a quality finishing. Spectacular features that connect with the purpose of the store are evident. Instead of having escalators, there are elevators, which are decorated in a fashionable manner (Godwin, 1999). In addition, there are very intimate staircases within the building; they are designed in a way that they are small to allow people to make small steps. On the other hand, the balconies are made of wood that gives the interior a good look. As if that is not enough, the atriums are specially made of sparkling glass, which gives the building a touch of elegance from the interior view. A so much historic meaning can be derived from the building based on the design that was developed. It is evident that the designers had in mind the need to establish stores, which would deal with ornamental and fashionable products. Based on the designs of the time, the Liberty Department Store was ahead of its time. On the exterior of the building is the carving that seems to have been done onsite while the Portland blocks used in the construction gives the building a rough designer look (Case & Moloney, 2010). The roofing was made of special hand-made tiles with each of the original windows having a displayed picture in one of the windowpanes. On the way into the building through the main entrance are Mayflower models that have been made of copper. Right at the doorway, the arms of the six wives of Henry VIII welcome you. As if that is not enough, the gamble that faces the regent street bears the arms of Queen Elizabeth I (Adburgham, 1975). The displays are quite impressive. Getting into the building, the items on the display are clearly seen courtesy of the open or glassy displays. Taking time to go through the building one gets to enjoy the look and the arrangement of items on the display. It is clear that what the architects wanted to produce, a fashion-based shopping center. On the upfront, the ceiling casts a nice look; it is adorned with twinkling lights, which comes in thousands. This makes the building very much appealing as a shopping center, specifically for fashionable items (Morphet, 2009). Two portraits of ships are found on the store. This creates the impression of the two ships, HMS Impregnable and HMS Hindustan that were used in the construction of the interior finishing of the store (Liberty London, 2014). Photograph 1: An Interior view of the Liberty Department Store in London (Source: Dreamstime.com, 2013) (Retrieved from http://www.dreamstime.com/stock-image-liberty-department-store-london-indoor-view-regent-s-street-june-image34636791) From this aerial look of the indoor view of the Liberty Department Store, the architectural design is clearly seen. The brown and blue colors have been well combined to give the interior a fashionable and elegant look. From this view one is able to locate the positioning of the stalls. Actually, the display of the various fashion goods is well seen. This means that while moving up or down the building, the items on the display are very much identifiable. From the view, it is possible for one to tell what the building was meant for. The ample space allows shoppers to walk in and out conveniently. In addition, the large space on the ground floor serves as an ideal play for displaying fashion items that are not bulky. The ground floor has ample space to accommodate a number of small businesses, which can allow people to pick items as they move out of the store. Photograph 2: A display of textiles in the Liberty Department Store (Source: Rob & Pamela Holland, 2002). (Retrieved from http://planetpatchwork.com/travel/london.htm) This spectacular display of textiles is found on the mezzanine on the floor and it overlooks the central atrium of the store. From the view the display has been innovatively developed such that there is a match between the garments on the display with the decorations on the wall. The displays are able to accommodate a number of garments while ensuring that every space is adequately used. In this floor, the mezzanine there is a display of textiles all across the four sides. From the display, the items are well seen neatly arranged. Photograph 3: A Window Display at the Liberty Department Store (Source: Kollewe, 2010). (Retrieved from http://www.theguardian.com/business/marketforceslive/2010/mar/12/libertyinternational-agafoodservicegroup) This window display depicts some of the fashion items that are found on the Liberty Department Store. From the view in the image, the window is very wide that it is able to accommodate a number of items on the display. Therefore, as people walk outside, they are able to see some of the items within the store. The window has a good finishing; the transparent glass display is anchored on strong timber that is well decorated giving it a nice appeal from the outside. From the outlook, it is therefore possible to tell that the store was designed specifically for beauty and fashion related products. Photograph 4: An Interior view of the magnificent finishing and display. (Source: PhotographersDirect.com). (Retrieved from http://www.photographersdirect.com/buyers/stockphoto.asp?imageid=3006308) The interior wooden finishing is well demonstrated in this image. The pillars as well as the wooden guards have a fantastic wooden appeal. This gives the interior a brownish touch. The display on the third floor is spectacular; mats have been hanged on the interior side hence making a customer to realize their positioning right from the ground floor. Furthermore, clothes can be seen among other items displayed for sale. The choice of colors makes the interior look bright, an aspect that can be associated with fashionable products. Right from the interior, it is possible to tell that the nature of businesses that the building hosts. Looking at the individual floor, one cannot fail to see ample space that is left between the display and the walkway. Picture 5: A photograph showing the beauty hall that belongs to 20.20 within the Liberty Department Store (Source: 20.20, 2011). (Retrieved from http://www.20.20.co.uk/news/liberty-beauty-hall-shortlisted-two-retail-interior-awards-0) This image displays the outlook in one of the beauty halls owned by 20.20 in the Liberty Department Store. Just like many other parts of the building, the beauty hall has a flourish finishing and very elegant displays. The magnificent wooden pillars that are positioned in the middle of the hall provide support for the display stands. There is also ample lighting in the hall as characterized by the presence of closely arranged light bulbs. On the other hand, there is adequate space for the customers to make their choices. In order to allow a good view of the items, different items have been positioned at different places. The wooden bars appear on the roofs and provide the anchor unto which the bulbs are positioned. The floor has a spectacular wooden finishing that has been well polished. Just like in other areas of the store, this section has a similar brownish appeal that traverse from the light brown in the floor to the dark brown pillars and roof bars. The concept of ‘form follows function’ as advanced by Louis Sullivan in 1896 applies to the interior architectural design at Liberty Department Store. The form in which a building takes when developing an architectural design ought to be guide by the purpose in which the structure was meant for (Cruz, 2012; Sullivan, 1979). Having developed a passion for fashionable items, Arthur Liberty started engaging in developing a store that would have many businesses running within the premises; this forms the idea of constructing the Liberty Department Store. Arthur sourced the architects and instructed them on what he wanted to develop; this led to development of the structure, which stands as a spectacular place where people come in numbers to access fashionable items. The displays, the furnishings, and the overall finishing present the ideal picture that was in the mind of the architects. The building has a lot of flourish finish; based on the initial idea, some of the ornamental designs have been inculcated to bring forth the true image of a fashion shopping center. In what Wright (1953) described as ‘organic architecture, there is a natural connection between a building and what it is meant for. Otherwise, there will be a disconnect that will make a building lose its anticipated value. There is much information that can tell of the use of a building by just monitoring its interior. In the first place, the planning of the building will bring forth what the building is meant for. For example, office blocks will have unique characteristics such as interconnected rooms as opposed to shops, which will have large displays. In addition, the spatial arrangement in the building gives a clue on the amount of traffic expected in the place (Gunn & Burroughs, 1996). Ample space is always a requirement where a place is expected to have many people. Considering the design that has been used in the Liberty Department Store, it is clear that there is an expectation that many people will be expected to visit the shops. It is also possible to tell the nature of goods or services that are to be providing in a place by just checking the interior design. From the case of Liberty Department Store, one can easily tell that the goods dealt with are more inclined to beauty and fashion. The building is also designed in such a way that items can be displayed so that a person in any of the floors can be able to see them. In conclusion, the interior design of a building is quite important in defining the function thereof. The propositions of Sullivan on form following function holds. Therefore, an architect ought to be aware of the functions that a building is meant for before beginning the design. Every aspect of the design is very important including the choice of colors and the ultimate finishing. Considerations ought to be given to spacing, style, and the materials that used in decorating the building among others. Such should clearly align to the purpose to which the building is meant for. References Adburgham, A. (1975). Liberty’s: A biography of a shop. London: Allen & Unwin. Case, S. & Moloney, C. (2010). Factsheet on Arthur Liberty & the liberty store. River & Cloth. Retrieved from http://microsites.merton.gov.uk/riverandcloth/sites/default/files/Fact_Sheet_Arthur_Liberty%26Liberty_Store_compressed.pdf Cruz, C. A. (2012). Wright’s organic architecture: From form follows function to form and function are one. Retrieved from http://www.cloud-cuckoo.net/journal1996-2013/inhalt/en/issue/issues/112/Articles/2.2%20%20%20Cruz.pdf Godwin, E. W. (1999). Aesthetic movement architect and designer. New York: Yale University Press. Gunn, R. A., & Burroughs, M. S. (1996). Work spaces that work: Designing high-performance offices. The Futurist, 30(2), 19. Liberty London. (2014). Our history. Retrieved from http://www.liberty.co.uk/AboutLiberty/article/fcp-content Morphet, J. (2009). Local integrated spatial planning - the changing role in England. The Town Planning Review, 80(4), 393-414. Retrieved from http://search.proquest.com/docview/232851570?accountid=45049 Sullivan, L. H. (1947). Kindergarten chats and other writings. London: Dover Publications. Wright, F. L. (1953). The Future of Architecture. New York: Horizon Press. Read More