Movement itself had been born out of the Birmingham Set: a group of undergraduates, most of whom were from Birmingham, that formed at Oxford University in the 1850s and whose members included William Morris and Edward Burne-Jones. The direct relevance of the practice of design and production to the Birmingham economy gave such issues a high-profile within the town, and the aesthetic and social philosophy of the key Arts and Crafts influence John Ruskin was well established among Birmingham's governing Liberal elite by the 1870s. It was on a trip to Birmingham in 1855 that Morris had decided to pursue architecture as a career, and he was to maintain close links with the town over following decades, serving as President of the Birmingham Society of Artists in 1878. By the 1890s Arts and Crafts architects dominated the Birmingham Architectural Association and architectural teaching at the Birmingham School of Art, and the Movement provided the first two Directors of the Birmingham School of Architecture from its foundation in 1905. The first sign of this newly-simple and free approach to architecture was a series of buildings in the Queen Anne revival style by Ball and by Arthur Harrison in the 1880s. The most influential early Arts and Crafts domestic work was Lethaby's The Hurst in Four Oaks of 1892 (since demolished), with major surviving works including Herbert Tudor Buckland's 1899 and 1901 houses in Yateley Road, Edgbaston; J. L Ball's Winterbourne of 1903, also in Edgbaston; and C. E. Bateman's Redlands of 1900 in Four Oaks. The dominance of Arts and Crafts culture among Birmingham's growing manufacturing, commercial and professional classes saw the development of a wide variety of detached suburban houses in upmarket districts such as Edgbaston, Moseley, Four Oaks, and Yardley, and outside the city boundaries in areas such as Barnt Green, Olton and Solihull, designed both by celebrated local Arts and Crafts architects and by less well-known but prolific local figures such as Owen Parsons, Thomas Walter Francis Newton & Alfred Edward Cheatle and William de Lacy Aherne. Notable commercial buildings in Arts and Crafts styles included Lethaby's 122-124 Colmore Row of 1900 – a building of European importance in its break with revivalism – and Arthur Dixon's 1898 Birmingham Guild of Handicraft in Great Charles Street, whose "virtually styleless" design reflected his radical socialist views by using round arched windows in an explicit rejection of the Gothic Revival.