The nature of our country houses is one of evolution in design, form, and function. As society has changed, so too have the requirements of the wealthy and, as their houses have been a direct expression of their wishes, these changes can be traced through the architectural record. Much as we love the many beautiful houses we have already there will always be the desire to build anew, which will constantly reinvigorate this branch of architecture. As always, some designs will not stand the test of time and will be replaced but the best houses of today will be appreciated by generations to come. Estate agents often have sites with planning permission for sale and the most interesting come with a design already approved – and in an interesting trend, they are almost all classical, rejecting the avant-garde in favour of brick, stone and Palladian proportions.
Once Britain became a more domestically peaceful land under Elizabeth I, the form of our country houses changed from defensive, to one of show as exemplified by the Prodigy houses such as Longleat, Wollaton and Hardwick. Gone was the need for walls, keeps and battlements and instead the requirements of the aristocracy became focused on courtly entertainments, sport and the display of one’s level of taste and education. This largely set the pattern which can still be seen today, with only the architectural choices as to style varying according to fashion and whim.
Yet it seems that for the wealthy who commission these houses, the overall exterior style has evolved as far as necessary because, despite the efforts of the last Labour government to promote the bold and radical as the only appropriate response, a majority of the houses designed and built today are in a form that your average 18th-century gentry would broadly recognise. Although most construction in the countryside is largely forbidden, rules introduced by the Conservative government in 1997 – known as PPG7 section 3.21 – allowed for planners to approve houses where:
“An isolated new house in the countryside may … exceptionally be justified if it is clearly of the highest quality, is truly outstanding in terms of architecture and landscape design, and would significantly enhance its immediate setting and wider surroundings.”
In 2004 the Labour government sought to drop this, ostensibly because they thought it a loophole, but many suspected an undercurrent of class warfare (an early day motion put down that year by the former Member for Denton and Reddish, Andrew Bennett, stated that “this House … further believes that if the countryside is to be preserved by not building ordinary houses, it is even more important that is should not be polluted with big houses for the arrogant, vulgar and rich.“). After a strong backlash with MPs (well worth reading is Alan Howarth’s spirited defence of the country house) and architects leading the charge, the rules were amended to become PPS7 which largely retained the status quo giving owners the opportunity to continue the fine tradition of new country houses but with a distorting preference for houses which would reflect “the highest standards in contemporary architecture.“. In fact, the market proved that clients know what they want more than misguided politicians and civil servants.
In response to the proposed changes the RIBA put on an exhibition called ‘The New English Country House‘ which looked at houses commissioned between 1997-2004 under PPG7. Of the 24 houses included, 15 were in a historical style and only 9 contemporary, with a majority of the former being seen through to completion. Interestingly, of the houses listed, at least half (by my reckoning) are replacements for previously demolished country houses perhaps providing an object lesson in the folly of their original loss.
The poster child for the new ‘modernist’ country house was the design produced by Ushida Finlay in response to the 2001 RIBA competition to build “the country estate of the future”. The original Tudor Grafton Hall in Cheshire had been demolished in 1963 after becoming derelict but the 200-acres of parkland offered the ideal opportunity to create an excellent smaller country estate. Yet for the limited pool of those wishing to spend the estimated £20m to build this vision the design ticked none of their boxes. After 7 years of marketing by the estate agents, it was decided to commission a new design from one of our best Classicists, Robert Adam, whose new proposal was described as “an exceptionally outstanding design“. However, the opportunity to create this new house is still being marketed with Jackson-Stops for £5m – so the argument hasn’t been decisively won in this instance just yet.
In much the same way as those in previous centuries wished to express themselves through their architecture, so it is the case today. Houses such as the proposed Alderbrook Park in Surrey for the billionaire Lakshmi Mittal are a radical re-interpretation of the country house but driven by the particular requirements of the client. Also of particular note is Ferne Park in Wiltshire for Lady Rothermere – easily one of the finest country houses to be completed in the last 100-years and very much the product of the client working in conjunction with her architect, the brilliant Quinlan Terry. Speculative developments seem less likely to find buyers as they become more an expression of the ego of the architect rather than the reflecting the personality of the buyer. The prime example of this is the poorly designed Updown Court in Surrey, once the most expensive house for sale in the UK at £70m, which now faces being carved up into flats or becoming a hotel.
So what other architecturally attractive opportunities are out there? One quite close to London is Nyn Park, Hertfordshire to replace a house which burnt down in 1963 with a design by another icon of the Classicists, Julian Bicknell, who designed the brilliant Henbury Rotunda in Cheshire. The proposed plan bears no relation to the former house and shows the type of new design allowed under PPS7. Just to underline the level of wealth required for these projects, the estate is being marketed at £10m, built costs could easily be £1m-2m, and the buyer must lodge £3m with the local council as a Landscape Bond that they will fulfil their obligations with regards to restoration which will be returned in tranches as the work is completed.
Another house which has featured before in this blog is the impressive ‘The Ridge’ in Gloucestershire; another replacement for a lost house designed by Humphrey Repton and demolished in 1934. Designed by Ross Sharpe (who also designed the Icomb Grange), this 33,000 sq.ft. design takes the form of the original house but adds an extra level of architectural flair. As expected, this is £5m for the opportunity with build costs on top. Interestingly, the Knight Frank website also says that alternative plans for a smaller 15,000 sq.ft. house have been drawn up, hoping to draw in a wider pool of potential owners.
The Parkwood Estate in Surrey, designed again by Robert Adam, has also been featured previously on this blog back in July 2010 as part of the discussion around justifiable replacement.
For some, a new build will never be a substitute for a historic country house but for those with specific requirements or where there is a shortage of suitable houses, then the option of creating from scratch will always be enticing. It is also important that the tradition of country house building is allowed to continue as it is only through development that it is shown that these fine buildings can contribute to, and enhance, the much-loved countryside. PPS7 provides an important legal support for the principle that architecture should be allowed to flourish where it is justified and supportable and should be defended against any narrow-minded interests who would deny our history and diminish the future.
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The websites of the leading country house architects show the broad range of fascinating projects they are involved with, and that, fingers crossed, will one day be built:
The Country Seat 