‘Floats like a butterfly’: the flights of the remarkable butterfly houses; Happisburgh Manor for sale

Happisburgh Manor, Norfolk (Image: The Beautiful House Company)

Happisburgh Manor, Norfolk (Image: The Beautiful House Company)

The design of country houses has been influenced by many things; politics, religion, the Greeks, the Romans, India, to name a few – but it’s rare for an insect to do so.  Yet for hundreds of years, the humble butterfly has inspired some remarkable houses, and for one lucky buyer, there is currently the rare chance to purchase Happisburgh Manor, one of the best of the Arts & Crafts versions of the ‘butterfly’ house.

Architects have long been inspired by nature, particularly in the decoration of the interiors.  Yet it would always be a greater challenge for the more organic forms to be accommodated by the hard-edges of brick and stone – but never underestimate the inventiveness of architects.  Although often thought of as a 19th-century/Arts & Crafts plan, the ‘butterfly’ actually has a single precedent dating from 1612-20.

Westwood Park, Worcestershire (Image: Knight Frank)

Westwood Park, Worcestershire (Image: Knight Frank)

The definition of a butterfly plan house is ‘…where two or four wings of a house are constructed at an angle to the core, usually at approximately 45 degrees to the wall of the core building.‘.  The house which was the first manifestation of this plan is Westwood Park, Worcestershire, which, it is thought, was originally built as a conventional rectangular, three-storey hunting lodge. Begun in 1612, and although probably not originally intended, sometime before 1620 four full-height wings were added at 45 degrees, creating the distinctive shape we now know.  The reason for this innovative design is lost but is quite likely to be a response to the elevated location.  The butterfly plan is also known as the double-suntrap as it increases the number of rooms which benefit from their orientation towards the sun  and increases the number with views – hence its popularity with any number of seaside hotels.

The Chesters, Northumberland (Image: The Journal)

The Chesters, Northumberland (Image: The Journal) – link to news story about when it was put up for sale in 2009

Despite these advantages, the butterfly wasn’t to make another appearance for nearly three centuries until it appeared in Northumberland in 1891. The butterfly in this case was a house called The Chesters, which had originally been built in 1771 but which the leading Victorian architect Richard Norman Shaw had been commissioned to dramatically enlarge. Shaw’s scheme was bold and grand, adding three wings to create the butterfly (the service quarters obstruct the construction of the fourth ‘wing’), and linking the two southern arms with a grand colonnade – although Shaw strangely omitted to include many windows on the sunniest aspect.

The Chesters was the first of a series of these houses which appeared over the next two decades as an idea explored by a small group of architects.  Where the butterfly plan found its best expression was in the hands of the Arts & Crafts movement whose love of natural forms perhaps gave them a greater sensitivity to the opportunities it offered – either in the country or an urban setting (see ‘Baillie-Scott Corner‘ in Hampstead – Google streetview).

The next appearance of a butterfly plan in the countryside was initially in imagination only and shown in a drawing by Edward Schroeder Prior (b.1857 – d.1932) which was exhibited at the 1895 Royal Academy Summer Exhibition.  Prior had started his career in 1874, articled to Norman Shaw, which had a profound influence on the young architect as the older architect’s willingness to experiment with forms and materials probably helped give Prior the courage to follow his own determined views.  Prior became a leading light of the Arts & Crafts movement having had Philip Webb (regarded as one of the founding fathers of Arts & Crafts) as a mentor, as well as working with William Letherby, another leading thinker and friend of William Morris.

Drawing for The Barn, Exmouth, Devon by E.S. Prior - 1895 (Image: RIBA)

Drawing for The Barn, Exmouth, Devon by E.S. Prior – 1895 (Image: RIBA)

The drawing shown at the Royal Academy shares many similarities with the design Prior produced for a house known as The Barn, which was built in Exmouth, Devon in 1896-7.  The house was relatively modest in scale, and not quite a complete butterfly, but it demonstrated Prior’s commitment to the use of vernacular materials with the walls built of local sandstone and with stones from the beach and rivers embedded in the concrete.  One aspect of the butterfly plan is its ability to capture the sun and the break in the wings at the centre allows light to flood into the core of the house.  Sadly, the commitment to local materials included the use of traditional Devon thatch which, although treated to be incombustible, caught fire and gutted the house in 1906.  Although the house was rebuilt using the original walls, the interiors are not Prior’s.

Happisburgh Manor, Norfolk (Image: g7bmp via flickr)

Happisburgh Manor, Norfolk (Image: g7bmp via flickr)

The first “fully worked” four-wing butterfly was Happisburgh Manor, Norfolk, designed by  Detmar Blow in 1900.  Commissioned by the prominent local Cator family, the architectural writer Lawrence Weaver said, in 1909, that ‘[Blow] rightly determined that it should be characteristic of the locality, and he has succeeded so well that, …[if] any section were mixed up among a set depicting the village, it might be taken as belonging to any of the old houses nearby‘.  Interestingly, Blow credits inspiration for the design, not to Prior or Norman Shaw but to his friend, and also noted architect, Ernest Gimson who ‘…sent the little butterfly device on a postcard‘.  There is considerable ingenuity in the design and execution of the house, partially due to the tight £4,000 budget but also due to the local environment, with its blustery winds, sandy soil, and paucity of materials.  To create a house as brilliant as Happisburgh truly demonstrates the skill of an architect.

Papillon Hall, Leicestershire - demolished 1950 (Image: Lost Heritage)

Papillon Hall, Leicestershire – demolished 1950 (Image: Lost Heritage)

The next house was by the most famous of the architects of that period, Edwin Lutyens. In 1902, Lutyens was commissioned by Fred Bellville to remodel an existing house in Leicestershire called Papillon Hall, named after the original Huegenot family. Conveniently, ‘papillon’ is the French for ‘butterfly’ and Lutyens would have been aware of the architectural innovations going on elsewhere and obviously felt he would try his hand at this novel plan.  One of the challenges of the butterfly is that by placing the main rooms at angles this creates awkward spaces. However, Lutyens, as inventively as the other architects, used these spaces for staircases, and his particular innovation was to include the Basin Court as a single storey curved connection between the two ends of wings. As with The Barn, Papillon Hall was not to last long, being demolished in 1950 with only sparse rubble showing where was once one of Lutyens most interesting commissions. (Certainly not to be confused with this poor, modern ‘re-creation’ in Warwickshire which uses a very similar name!).

Voewood, Norfolk (Image: Voewood)

Voewood, Norfolk (Image: Voewood)

E.S. Prior’s next commission, Voewood, Norfolk (also known as Home Place and Holt Place) was perhaps his most successful use of the design.  Built between 1903-05 for the Rev. Percy Lloyd, this was a radical house; pulling together a fully developed butterfly plan, hyper-local materials, and great craftsmanship.  These together not only pushed the build cost from £12,000 to £60,000 but also created what Pevsner described as ‘a most violently idiosyncratic house‘; rich in local texture provided by a varied palate of materials mainly dug from the ground on which it stands.  The house unfortunately was tenanted almost as soon as it was built (apparently Lloyd’s wife didn’t like it!) before becoming a boys school from 1906-1914/15 and then a series of care and convalescence homes until it was bought around 10 years ago by rare book dealer Simon Finch who was exactly the right character to sensitively restore the house and make it a home again (though it can be rented).

Kelling Hall, Norfolk (Image: Albanpix via Daily Telegraph)

Kelling Hall, Norfolk (Image: Albanpix via Daily Telegraph)

The only other notable house of this plan to be built in this period, Kelling Hall, also appeared in Holt, literally just down the road from Voewood. Kelling truly was a country seat for an industrialist as the man who commissioned it was Henry Deterding, one of the founders of the Royal Dutch Petroleum Company (which later became Shell). Deterding had seen and liked Voewood but commissioned another Arts & Crafts architect, Edward Maufe, to create a larger version of his neighbour.  The house certainly takes the concept of the butterfly too a larger scale but there’s no doubting the craft and innovation involved in creating one of the most interesting houses to lie at the centre of an estate. Proving its charm, the house was sold by Deterding’s grandson in 2008, along with its 1,600-acre estate, for £25m.

For all its charms and advantages, the butterfly house only enjoyed a relatively brief period of popularity.  By World War I, the relatively niche appeal of Arts & Crafts (at the time) and, afterwards, a post-war nation less tolerant of such quirky designs and more interested in the Modern, meant that architects moved away from suggesting it and instead largely headed back to the comfort of the classical or the more radical art deco, putting the butterfly into hibernation.

'Piddle' House, Hampshire - official name unknown (Image: Selway Joyce)

‘Piddle’ House, Hampshire – official name unknown (Image: Selway Joyce)

However, no good architectural idea is ever completely forgotten.  The most recent manifestation is Robert Adam’s response to the demanding requirements of a client who wished to maximise the views from a riverside site.  The architect’s website is sparse on details of both its name, the year that it was built or the exact location beyond saying it was near the River Piddle, Dorset, so we’ll call it ‘Piddle’ House, actually it’s called Hyde House (thanks Stephen – see comments), and it seems to have been built within the last 15 years.  Interestingly, it appears to blend elements of the Picturesque, with varied forms and heights whilst still adhering to the butterfly shape. Again, perhaps this shows the adaptability of this innovative plan.

The butterfly plan is complex and requires great skill to be manipulated correctly to achieve the correct balance internally and in the use of materials, which probably explains why it was never broadly adopted.  Short of commissioning your own, the chance to own a true ‘butterfly plan’ house is certainly a rare one, especially when the architect was one of the leading exponents of the idea who also ensured that the build quality was exemplary.  Happisburgh Manor has been for sale for several months and the price was recently cut from £975,000 to offers over £800,000.  This may reflect market weakness but also that, although freehold, Happisburgh is in danger from coastal erosion which may see the house become a beach-hut within the next century (but maybe longer, who knows!).  This would be a tragic end for this rare and special house and one can only hope that the next owners fully appreciate the beauty of their home and perhaps can find some way to save it.  And if the next owners ever read this, please can I visit before it does go?

————————————————————————–

Property details: ‘Happisburgh Manor‘ [Strutt & Parker]

Brochure: ‘Happisburgh Manor‘ [PDF, Strutt & Parker]

Listing description: ‘Happisburgh Manor‘ [British Listed Buildings]

News story – Westwood Park: ‘My £1.2m taste of Tudor living: Country house apartment with 3,000sq ft – and most is in the drawing room‘ [Daily Mail – 2009]

Article on Simon Finch and Voewood: Lifestyle – for House & Garden [Dominic Bradbury]

Article: ‘Arts and Crafts houses stand the test of time‘ [Daily Telegraph]

Other examples:

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About Matthew Beckett - The Country Seat

An amateur architectural historian with a particular love of UK country houses in all their many varied and beautiful forms.
This entry was posted in News and tagged , , , , , , , , . Bookmark the permalink.

9 Responses to ‘Floats like a butterfly’: the flights of the remarkable butterfly houses; Happisburgh Manor for sale

  1. Andrew says:

    Another thorough and interesting article. Adam Architects certainly like their butterfly houses, with Nigel Anderson designing two, Laines near Aldbourne in Wiltshire and a smaller Arts & Crafts house in Derbyshire, with Hugh Petter designing one in North Warwickshire which does not yet appear to be built.

  2. ldm says:

    An outstanding and fascinating post. Thanks.

    There’s yet another semi-butterfly house by Adam Architecture:

    http://www.adamarchitecture.com/residential/Palladian_Home_g.htm

    The principal fronts are truly beautiful; however I’m not that fond of the ‘wings’ for some reason.

  3. Jeff Aldridge says:

    A great joy to read this and see pictures of these magnificent houses. Many thanks from the prairie!

  4. Evelyn says:

    I have been looking around to see if I could find a U.S. folly of this butterfly configuration and so far have come up with nothing truly like it. Kudos to you for finding a unique niche in England. Perhaps, though, if I keep an eye out for such…
    ; )

  5. Nick Baker says:

    Hi Matthew, Great article. While I appreciate that your work here revolves around houses, Edgar Wood’s seminal First Church of Christ Scientist here in Manchester (1903) made excellent use of butterfly planning and I would argue that you can see it’s influence passed on to several places (most notably ‘Het Schip’ in Amsterdam but also local buildings in Greater Manchester such as John Swarbrick’s ‘Castle House‘ in Bramhall of 1927). Hammerton Hall was also influenced by Wood’s work, combining elements of EW’s magnificent ‘proto-modern’ Upmeads (1908) (Matthew: interior photos) with a butterfly house Wood built up in Dore on the outskirts of Sheffield called ‘the Dingle’ (1904). Charles Holden (then a EW-admiring youngster) then helped export the ‘butterfly church’ idea down south with his open-air design for the King Edward Sanatorium. The Sanatorium itself is also an impressive and extensive butterfly design. Wood pushed the ‘butterfly’ concept (and indeed English Arts and Crafts architecture as a whole) to an extraordinary place with the second residence he built for himself, ‘Royd House‘, Hale, Greater Manchester (1914-16). But that’s enough babel regarding one of Art History’s most neglected souls. Looking back to find ES Prior’s major source for the Barn (as I see it at least – not sure if it’s ever been officially noted), you might be interested in George Devey’s Cheddington Lodge (c.1859). Effectively, the ‘butterfly’ faces out into the back garden and the overall feel is somewhere between Prior’s ‘Barn’ and John Nash’s (‘proto-Arts & Crafts’) houses at Blaise Hamlet from the start of the ninteenth century. Keep up the great work and be sure to note EW (we intend to get his reputation built up again to where it once was), Regards, Nick Baker.

    (Links added by Matthew Beckett)

    • Matthew Beckett - The Country Seat says:

      Hi Nick – thank you for such a fascinating and comprehensive post (hope you don’t mind that I added links). It is important to understand the influences which can appear in country houses but which had been developed elsewhere. I had come across Hammerton Hall in the research but didn’t include it as it wasn’t a country house but I’ll perhaps look at how I can at least mention them. Cheddington Lodge is a particularly interesting antecedent to the larger houses.

      I look forward to finding out more about Edgar Wood – he at least gets a few mentions in ‘Edwardian Architecture’ by Alistair Service.

      Thanks again for your comment and support.

      Matthew

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