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Rooms were oriented so as to take advantage of the movement of the sun for warmth and light during daylight hours.The grandiose central entrances of so many other styles were replaced by side entrances that allowed for useable space on the front facade for light or garden use.He believed that if a craftsman made good and heartfelt designs based on a study of nature, and then connected with other people who were making similar quality objects, then the character of the craftsman was improved and society as a whole would then also be improved.In 1860 Morris commissioned a similar minded architect, Philip Webb, to design a house for him and his new wife.

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The well was necessary as there was then no main water.

The roots of the movement can be found in the writings of John Ruskin, the major critic of the century, whose violent reaction to mass produced decoration and artifacts found in the Great Exhibition in London 1851 can be read in The Stones of Venice and The Seven Lamps of Architecture.

Ruskin argues that British decoration should be based on a Northern aesthetic as opposed to an Italian one, and that art and architecture both should reflect man's connection with nature and the curious kinship between man and his craft.

The overlying theme was that the house was to be a living element within the natural environment; it was based on the function of the house as opposed to the house being built in a style and with decoration that would herald the owner's position in society.

Houses were meant to fit intrinsically with their sites: orientation of the house was based on the relationship of the house to the garden.

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