We talk about craftsmanship a lot in the studio, but is it really that important?

Yes this doorcase would have looked beautiful a simpler frieze, but the extra visual lift the decorative carving here adds changes this from something beautiful, to something truly special. Entirely carved by hand, this is why we cherish craftsmanship so much.

Architects are always thinking about the spaces they are creating within the buildings they design. It is important to always consider the third dimension.

Generosity is not always a two dimensional construct, extra height to a space, increases the volume and makes an ordinary space feel for generous and dramatic. This stair hall in a country house we designed in Wiltshire shows exactly the result of this sort of consideration.

The important thing when converting a barn is to use the fabric of the building to lead the design. That way the resulting property still looks and feels like a barn.

This can throw up some issues with low head heights, strange window positions and unusual corners, but this Grade II listed barn in Hampshire is a good example of the beauty that can be created by being led by what is there. As you can see from the before and after photos it has clearly been converted with softwood shiplap cladding being replaced by a return to traditional feather edged boarding, but is definitely still the same building and still a barn.

It’s often the little details which add up and give buildings their unique aesthetic character. Something which on it’s own seems a small choice, but one which you’d really miss if a different decision had been made.

A case in point is these beautiful handmade Sahtas Terracotta Products clay bonnet hip tiles on a country house we’re building in Surrey. There’s nothing wrong with using hip ridge tiles, but the traditional swept form of these bonnet hips just add a certain something to an expertly tiled roof like this one.

We feel that when working on listed buildings we have a responsibility to be sensitive to them and their history. Over restoring a building is often as bad as doing nothing at all.

This Georgian townhouse was in a very poor state of repair having been both a hotel and offices for many years. Lots of elements needed repairing, but we had to be careful to do it in such a way that the repairs were not obvious. The craftmanship in this field of Moulding The Builder is evident on this rubbed brick window head and key stone where they have executed our repair scheme in such a way that looking at it now, it simply looks ‘right’ rather than rebuilt.

How much detail is there in a staircase?

Quite lot as it happens. The staircase in this award winning home we designed in Wiltshire is the result of careful decisions over lots of details. A cut string. Scotia mouldings. Full height balustrade. Rotated spindles. Contrasting finishes between riser, tread and string. All these decisions and more come together to create the design we were looking to build, the trick is to make it look obvious and therefore simple…

Old buildings often throw up unexpected challenges… For example, how to access the wine cellar of the Grade II* listed Georgian townhouse without compromising the original plan form of the room it is accessed from.

The solution was perhaps more Thunderbirds than George III, but installing a gib door and floor hatch minimise the visual intrusion and negate the need to bisect the space with an alien staircase. Sometimes our conservation work can challenge us, but the opportunity to work out neat solutions like these is why we relish that challenge.

When working in traditional styles of architecture it is important to get things ‘right’. Many different elements need to coalesce correctly for the finished scheme to look comfortable.

Take for example this country house in the North Wessex Downs AONB. Carefully modelling the form of the house by breaking the mass of the building into two forms with different but complimentary looks, rather than simply using the same style of all elevations gives the overall scheme a more interesting aesthetic of contrast that reflects a narrative of development over time.

The application of the Golden Section ratio to plan, elevation and openings of the building ensures comfortable proportions in keeping with traditional forms. Careful selection of materials (reclaimed brick, render and timber windows) allows the building to feel grounded and ‘at home’ on the site from day one.

All of these carefully considered choices add up to a whole greater than the sum of its parts.

Some things seem simple at first glance. To get the effect we were striving for with the brickwork on this property in Wiltshire, we had to select the bond, chose the brick (handmade by Michelmersh Brick Holdings PLC), specify the mix of lights and darks, select the aggregate mix to give the desired colour and texture for the lime mortar, specify the joint thickness (5mm rather than 10mm), and then oversee the work on site with co-operation from the excellent brickwork sub-contractor and main contractors. The outcome looks effortless, making the great effort worthwhile. Suffice to say everyone's hard work was rewarded by the project being shortlisted for The Brick Awards run by the Brick Development Association (BDA).