The English country house is a symbol of timeless elegance, and we take great pride in continuing this tradition through thoughtful, well-proportioned designs.

Our work at this house in the South Downs is a modern interpretation of this classic style.

Flint has been a staple of British vernacular architecture for centuries, particularly in the South of England. Whether used in traditional flint-knapped walls or as a striking feature in contemporary builds, this locally sourced, highly durable material adds character and texture.

This Arts and Crafts style home demonstrates the distinctive visual appeal of flint, especially when placed in contrast with brick and stone.

This cottage in Wiltshire is in its final stages, having been transformed from a small outbuilding.

We designed the main house on this estate a few years ago and were excited to be invited back for this project.

The result is a picturesque cottage which perfectly compliments the main house, using the same combination of red brick and white accents.

This Georgian style country house was designed to have a formal character, reflecting the gentrification and rising affluence which led to the introduction of more formal and varied living accommodation to traditional farm holdings.

The first impression of a home should be one of generosity of space, regardless of the size of the house.

If the entrance hall feels spacious and welcoming, even a small house will feel more comfortable as a result. The entrance space of this country house we restored in Wiltshire feels generous as a result of being able to take statement pieces of furniture and by opening into and adjoining space to make it feel bigger than it is.

Some projects just lend themselves to different types of plan form, and we like to explore the possibilities an unusual project can allow.

This classical villa in an urban parkland is an excellent example of this. The main rooms radiate from a central octagonal stair hall and are linked with sweeping curved corridors. The enfillade of the central three spaces acts as a counterpoint to the ‘concealed’ drawing room to the rear which you enter through a journey of discovery.

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.

First impressions count. And nothing makes a good first impression like an well designed entrance hall.

For this project in Wiltshire we restored the entrance hall of this Grade II listed 19th century home, retaining, repairing and cleaning Victorian encaustic floor tiles and providing plenty of space for coats. The spaciousness of the room gives a generosity of feeling to the house from the very first room.

It is always very rewarding to see one of our designs starting to settle into it’s landscape.

Here is a photo of our recently completed North Downs project in Surrey. The careful choice of materials and detailing makes the finished home look grounded already. We’re really looking forward to see how the landscaping scheme we designed, at the same time as designing the house, develops over the next few years.

We really appreciate Classical architecture and count ourselves lucky to often work in this style in both our new build and conservation work.

The effortless elegance of this entrance porch could never be mistaken for being of any other style. The cyma recta moulding of the porch canopy is perfectly balanced by the corbel brackets which combine ovolo, cyma recta and cavetto profiles. An understanding of these different components and their language is key to producing architecture worthy of the Classical label.

Time can be unkind to buildings, they are modified and changed as time and requirements dictate over the years. Listing a building stops further harm happening, but does not undo the wrongs of the past. Sometimes an opportunity to can arise however to do so.

The pair of buildings, one 17th century and one 19th century had been modified on the ground floor to provide a single unified frontage for a car dealership. When this closed, our clients looked to convert the building back to shops and we were tasked with designing a more appropriate pair of shopfronts, more suited to the individual buildings.

When we design homes we are always striving for beauty and elegance whilst maximising value area. Including accommodation floorspace within the roof structure can provide useful additional area, but can make the roof look quite bulky. To avoid the roof looking bulky, we often introduce dormers, rooflights and sprocketed eaves.

Introducing a sprocketed eaves can help to disguise the mass of the roof and provide a deep eaves to cast a pleasing shadow on the façade of the building. This award winning home in Wiltshire includes three storeys of accommodation but the gentle change of roof pitch (the sprocket) as it runs up helps visually lighten the mass this extra floor would normally create.

There are different approaches that can be taken when extending a listed building. Alterations can be designed to contrast the historic building or to complement the existing fabric. Careful judgement is required to develop the right strategy for the building and the client.

For this Grade II* listed property in Hampshire, the right solution was to compliment, whilst remaining subservient to the original Queen Anne house.

People often assume windows must be white, but that isn’t the case. There are many historical precedents for windows being coloured, throughout the history of architecture.

This Georgian style property we designed in the Test Valley has its windows, door case and porch painted in a pastel colour. This keeps the joinery feeling light and bright but without the starkness that brilliant white can sometimes bring.

A lot of the pleasure of traditional architecture is the aesthetic pleasure that symmetry and balance of the elevations can bring to the eye. Where buildings are joined to others as part of the same composition, differing ownerships and approaches to maintenance can lead to this balance being upset.

The careful restoration of our Grade II* listed Georgian town house project brought harmony and symmetry back to the building by treating the elevation as a whole piece rather than two separate halves. Elegance is restored.

Elegance doesn’t have to mean grandeur.

We strongly believe that buildings can be elegant without having to be ostentatious. A home which looks relaxed will help the family living in it, feel relaxed. An example of how we employ this idea is this metal lattice porch on the front of a new build Regency style home we designed in Wiltshire. The entrance to this classic three bay form is clear and in keeping, without being overtly grand, making the whole building look more comfortable on the village lane on which it sits.

We really enjoy working on barn conversions.

Giving an historic building, now defunct, a new lease of life is a very fulfilling project. The key is not to lose the character. Here is a before and after image of a Grade II Listed barn we converted in Hampshire. The intention was to retain as much of the historic fabric and character of the barn as possible whilst converting the barn into usable residential space. Constructed by the talented team at Moulding The Builder, we think we were successful in retaining the essence of the original building whilst at the same time reinstating lost features such as the double height threshing door openings.

Context is key to a building feeling grounded in its location.

Although inspired by its surroundings, this award winning family home in Wiltshire does not borrow directly from its delightful Georgian neighbours. The design is instead the result of of the application of general principles of Georgian architecture. The outcome is a relaxed and pared-back design which is both comfortable as a modern family home should be, but with the elegance that comes with Classical architecture.

Sometimes the success of the new hinges on the past. We incorporate character into our new buildings by using materials specific to the local area, this allows them to sit more comfortably within their surroundings. In this case we used Chilmark stone from Lovell Stone Group, Michelmersh Brick Holdings PLC bricks and local flint.

This new country house in Hampshire was designed to appear as though it had evolved over time. The rear section was designed and details as a vernacular farmhouse, with the front section having a more formal Classical character, reflecting the evolution of many historic farmhouses, where their owners became more affluent and wished to enhance and gentrify their homes.