The Dining alcove, Modernist or Arts and Crafts? The detailing around the fireplace suggests the former. Note the ceiling light in the alcove. If I remember correctly this is the only one in this room; as I wrote in Part I, the Edes seemed averse to modern technology - the house was lit with candles.
Jim Ede's desk, barring the way to his bedroom.
Another view of Jim Ede's bedroom. A Neo-Georgian bay window with Modernist blinds. The important thing here though is the grouping of objects and the objects themselves. Firstly this low grouping is repeated three times in the house, and then the objects: the pre-industrial furniture, the Modern art (I think that figurative art just predominates in Kettle's Yard), and the found things. In assembling them thus he gave resonance to both furniture and found objects. They become art. In assembling natural objects as he did Jim Ede gave order to a Post Religious and Post Enlightenment world.
Neo- Georgian detailing on the stairs, but the material (teak) and the open treads suggest Scandinavian Modernism.
The upstairs sitting room. The alcove here provides a different sort of sustenance from the one blow. The chairs, though comfortable, are not for relaxation. Again the solitary light fitting. Perhaps because Mrs Ede's bedroom is the next room this room has a more 'femine' feel.
Another view of the upstairs drawing room, with Mrs Ede's bedroom beyond. Note the repetition of low table and chair found earlier in Jim Ede's bedroom
In the early 1970s Kettle's Yard was extended at one end, apart from this one section where I took this picture it is currently closed for renovation. The work, not by the original architect is completely Modernist, and although in sympathy is not entirely in keeping.