The layout
Set into the trees, off the road.
The house sits centrally against the linear tree belt, well back from Long Itchington Road, with the existing access retained and the survey building kept in the south-west corner. A ha-ha, not a fence, divides the garden from the alpaca paddock, so no hard line breaks the setting.
The proposed site plan. Zoom for the meadow, the ha-ha and the retained trees.
The concept
One volume, split, then rotated.
The accommodation was first massed as a single block beside the treeline, then split into three, bedrooms, heart and ancillary, then rotated to lengthen the edge shared with the woodland and open views out to the paddock and the countryside. Splitting them again made the courtyards.
Six steps from a single block to the built arrangement. Zoom for the sheet's own notes.
The plan
Three wings, and the courtyards between.
The bedroom wing, the living heart and the ancillary rooms each take a volume, with the green courtyards drawn between them. Three bedrooms, all en suite, a study, snug, pantry and greenhouse around the open kitchen, dining and living space.
The proposed floor plan. Zoom for the rooms.
The elevations
Long, low, and deliberately dark.
Front above, side below, at the same scale. Solid forms clad in charred timber laid in a herringbone pattern, broken by recessed full-height glazing. The plan is rotated so no elevation faces due south, which cuts solar gain and breaks the view from the church on a corner rather than a flat wall.
Proposed front and side elevations. Flat roofed throughout, so the house sits under the canopy.
The materials
Charred timber, stone, and long life.
The palette is led by charred timber, dark and recessive against the trees, drawn from Japanese craft tradition and chosen for longevity and low maintenance. Natural stone, dry-stone walling and soft plaster sit behind it. The Inspector called the choices laudable, and the panel praised them.
The material board taken to both design reviews.
The garden side
Glazing between solid, dark walls.
From the meadow, in early morning light, the house reads as bands of full-height glazing between solid charred-timber volumes, with the wildflower planting running up to a narrow mown apron at the terrace.
At dusk
Lit from within, under the canopy.
At dusk the recessed glazing reads as lanterns between the dark volumes, and the house holds its place under the treeline rather than standing against the sky.