Over the last couple of months I’ve been challenging the most ill-conceived piece of planning legislation that I’ve come across since working as an architect. Permitted Development is a very sensible policy that enables certain development to be carried out without applying for planning permission. It has always been restricted to minor works that would not have a detrimental affect on the appearance of a building or the landscape. It allows people to ...
The first time I saw the work of the Dutch garden designer Piet Oudolf was ten years ago on a visit to Bentley in Hampshire where he had collaborated on the gardens of Bury Court, a hop farm that was converted to a plant nursery in the 1990s. Since then I’ve seen a ...
Driving back from dropping my son at nursery this morning I saw this rather splendid haystack next to the road. (It’s actually a strawstack but I’ve never heard one called that…) Remembering this storyfrom a few years ago about a farmer who built a house behind a haystack hoping to conceal it from the planners, I had to go and see what ...
Very excited this week about the opening of Hauser & Wirth Somerset in Bruton. Its not often a leading international art gallery decides to set up shop on my patch so I was keen to go along and have a look. My review will be in the August issue of the journal Architecture Today . Fundamentally it is a ...
This week Emily & I went for a rare night away at the Talbot Inn in Mells, a 15th Century coaching inn with great food and atmosphere. We had been keen to go there for some time but my enthusiasm was only partly motivated by the ...
Gorgeous colours in the spring sunshine in Teignmouth this weekend. The sand on the beaches is redish-brown from the underlying sandstone and the sea was a slick of greens, blues and greys with reflections of moody clouds. I kept finding this palette recurring around the town in painted walls, doors and shopfronts.
I’ve been getting rather agitated recently about a planning application submitted for a new house in our village. As new-comers we’ve kept our heads down, particularly as our neighbours have been so generous and welcoming to us and our unconventional house, but this proposal exemplifies a superficially benign type of development, the cumulative effect of which is a creeping erosion of the character of the countryside.
A trip this weekend on the Gloucestershire Warwickshire Railway rather unexpectedly turned up some splendid mid-20th Century interiors. Not being up on my trains I had to do some research and found out these are Mark 1 coaches built between 1951 and 1963. They were intended as ...
I visited an intriguing building this week at Shatwell Farm near Castle Cary in Somerset. Its a cow shed but one with rather higher ambition than your typical farm building. Designed by Stephen Taylor Architects the barn is part of a cluster of agricultural buildings in a small valley at the edge of the Hadspen Estate. The owner has carried out a ...
I spent last week in Cadaques, a coastal town in north-east of Catalunya. I was struck by how well some of the new houses on the outskirts of town have been built into the natural landscape.
Once a sleepy village, Cadaques was made popular as a tourist destination by its seclusion from the crowds on the Costa Brava and associations with artists of the Modern era such as Marcel Duchamp and Salvador Dali. Since the 1950s the original whitewashed fishing village has been expanding out of its little bay over the surrounding hillsides. The town is hemmed in by the Cap de Creus national park on one side and the sea on the other so there is immense development pressure on any available parcel of land. Most of the buildings in the old town are painted white but recent new developments on the periphery use the local stone. I don’t know the planning policy but it looks like it has been decided that beyond a certain limit new buildings would have to be clad in stone to preserve the visual clarity of the original nucleus of the town. The policy wasn’t to stop development but rather to impose a kind of school uniform that all the individually designed houses have to wear that gives maintains a sense of place.
The hills behind Cadaques have been terraced with dry stone walls and planted with olive trees for centuries. In many of the new developments stone walls form terraced gardens on the steep slopes and I noticed quite a few where the terraces merge into the walls of houses. The houses are all concrete framed and the stone is just cladding but the homogenous material blurs the distinction between the buildings and the natural forms and colours of the hillside.
The gardens of the houses around where we stayed were planted with indigenous species, particularly Mediterranean stone pines (pinus pinea) that go some way to absorbing the houses into the landscape. It helps that all new buildings in Catalunya have to be drawn up by an architect so there is plenty of invention within the restrictions. The house below reminded me of our Newington Green House:
In June I submitted an exhibition proposal for the British pavilion at the 14th International Architecture Venice Biennale. The title of the 2014 Biennale is “Fundamentals” and overall Director Rem Koolhaas has called on national pavilions to respond to the theme “Absorbing Modernity: 1914-2014”. The competition to curate the British pavilion is being run by the British Council.
The brief called for a historical perspective on the past 100 years and crucially used the word Modernity with a ‘y’ rather than Modernism. The story of Modernist architecture in the British context has been well told and it is predominantly a history of an urban elite imposing artistic ideas imported from abroad on a largely unappreciative public. The interesting thing to me about the theme was the opportunity to look at Modernity not from the point of view of style but from its practical application by the wider population. This idea resonated with attempts I had been making to understand my new situation as a county dweller and as an architect how I should respond to the rural environment. A relationship to the natural landscape is accepted as a core part of the British consciousness. A theme began to emerge of how has this sensibility has been challenged by modernity and how the landscape has been adapted to the needs of a changing society.
A primary ambition of Modernism was to bring people closer to nature in a reorganised industrial society away from the pollution and disease of the traditional city. Through the re-colonisation of the countryside, new practices developed, and mass communication has increasingly enabled non-urban dwellers equal access to the global discourse. Agriculture, the armed forces and industry, all drivers of technological progress make use of the space, resources and development opportunities in the countryside. As such, far from being parochial backwaters, many rural areas have been laboratories of Modernity.
Building in the city is a self-conscious affair where context, precedent and often challenging briefs have to be intricately woven into an architectural whole to the satisfaction of strict planning authorities. In rural areas there was a much more laissez-faire attitude through much of the 20th Century and most built-structures from the period were erected without troubling an architect. Perhaps steel barns, concrete missile silos and pre-fab houses could tell a parallel story of Modern development determined by need, practicality and economy.
above: Steel hay barn, Somerset
above: Military installations at Orford Ness, Suffolk
above: Bridge over the M3 at Fleet Services
I submitted the proposal, entitled “Landscapes of Modernity” in collaboration with Rob Gregory, Programme Manager at the Bristol Architecture Centre. Some of the questions we raised include:
– What characterises the British landscape?
– How has its identity changed during the period 1914-2014?
– Does a conflict exist between those seeking to protect their notion of a rural idyll and those embracing modernity?
– Is the vernacular a relevant concept in architecture today?
– What is the role of nature in a country where much of the landscape is man-made?
– Why are traditional or historic features of the rural landscape more valued than modern equivalents?
– What is the appeal of functional buildings?
– Does romanticising the past or picturesque structures help or hinder the search for solutions to present-day problems such as housing provision and infrastructure?
– How has government policy affected development in rural areas during the period?
– What has been the role of planning authorities in shaping development?
Ours was one of 4 proposals short-listed and we attended an interview but we did not win. I was rather looking forward to spending the next year researching the subject and decided to start this blog as a place to gather information on rural architecture, landscape and the identity of the countryside. I hope it might also become a forum for discussion of these issues and I welcome your comments.
At the bottom of the field in front of my house is this shabby Dutch barn. Most people’s reaction is ‘I bet you wish that barn wasn’t there’, but I actually rather like it. It is prominent but doesn’t block the view. There aren’t many buildings I’d be happy to see there but this utilitarian shed represents something about why I moved to the country and how man and nature co-exist in the English landscape.
