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This cheerful and uncontrived asymmetry became and remains such a familiar feature of English domestic architecture that it is easy to forget how radical it was after the formal terraces of the 18th century.

The principle it reflects, that form should follow function, remains central to much of today’s architecture.

Augustus Pugin came to Ramsgate in 1843, in search of 'the delight of the sea with catholic architecture & a Library.' Here he built St Augustine’s Grange, to live out his ideal of life in the Middle Ages in a family home nestling in the shadow of a benevolent monastery next door, completed by his son Edward and still thriving today.

The Grange reflects Pugin’s belief in the Gothic style as the only true Christian architecture (he was a fervent convert to Catholicism).

To stay here, in the home Pugin designed for himself and his family, offers a unique chance to step into his colourful and idiosyncratic world.

However, it is quietly revolutionary in the arrangement of rooms and their outward expression in architecture.

Pugin was reacting against mainstream Classical architecture, which had been the most popular style for the past hundred years and which he considered pagan.

Pugin’s starting point for The Grange was not outward symmetry but internal function - how he and his large family were to live in the house.

Windows, roofs and chimneys were placed to suit life inside rather than external appearance.

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