Design in The Historic Environment

Design in the Historic Environment
29/11/14 19:10

Michael Davies
On this small island that is Britain it
seems more difficult to build than ever.
There are huge demands on our towns,
cities and countryside. A growing
population and a seemingly endless
army of experts ready to shoot down
any hint of development, protected by
mountains of preservationist policy
which seem to stifle the very idea of
imaginative design. So it is not
surprising that when development is
proposed in an historic environment
these difficulties are magnified many
times.
It is right that we should be concerned
for our historic buildings. Lessons have
The Corinthian Villa by Erith & Terry: a new house

in an historic style which works because of its
accuracy, attention to detail and exquisite
craftmanship
been learned from the 1960s and '70s

where a Brave New World threatened to remove all traces of our past. Since then
the planning control system has been developed to try to ensure that the many
historic buildings and areas which have survived throughout the country are
conserved, not lost or damaged, and that any new development in these areas is
sensitive to its historic environment. Unfortunately, the word 'sensitive' is a very
subjective term coined by conservationists; nevertheless it is an excellent
watchword, serving to raise awareness of the issues at stake. But have we
overreacted to the mistakes of the '60s and '70s? Have we become too conservative,
http://www.buildingconservation.com/articles/design/design.htm
Pgina 1 de 9
29/11/14 19:10
losing the confidence to build well in an historic context? For some people, one of
the most appealing aspects of an historic building is seeing the various phases of
development, not least because they help to show how the building has evolved over
time, each adding to the building in its own style. So, if we were to add to the past
by building an extension, or by making minor alterations to the inside or outside of
an historic building, or simply by creating a new building next door, how should we
leave our mark, and how will our buildings be judged by future generations?
STYLE, SCALE AND PROPORTION

The criteria of 'style, scale and proportion' generally represents the basis upon
which design in the historic environment is judged. Most design guidance will tell
you that the scale and proportion of the new building should be subservient to the
old. There should be respect for the historic status of the existing, and designers
should adopt a sense of awareness to the historic circumstance of their
surroundings. This is a sound basis upon which to design. The scale and proportion
of new buildings can have a varied affect upon the neighbouring buildings. If the
new building dominates the existing, the historic character might also be
diminished, while a relatively indifferent design might heighten the historic
qualities of the existing building. However, these prescriptions for 'good' design are
no substitute for the skill of the designer. Even the most subservient design can ruin
the appearance of a beautiful old building or street. If only all buildings could reflect
the hand of skilful design.
QUALITY COUNTS
In recent years much has been written about the quality of architecture. Prince
Charles popularised the debate in 1988 with his Vision of Britain - a passionate cry
from the heart with which the British public could identify, if not the professional
fraternity. Here the Prince searched for the answer to why all the buildings he liked
Pgina 2 de 9
29/11/14 19:10
were old and none of them modern. The Vision of Britain did go on to identify some
good modern examples, but the clear message was one of tradition and the past.
This led to the Prince of Wales building a new village in Dorset as an exemplar of
his gospel. Walking into Poundbury is like walking into the past. However, if you
compare this with another new town - Milton Keynes (planned upon a modern
grid), the appeal of Poundbury becomes clearer. So it is not surprising that we hark
back to the comfort of what we know and love - it is safe and enduring; it satisfies
our needs. But is this the answer? After all, most villages and towns were built up
over many years and evolved their own peculiar character.
We often struggle to find an identity in a style as if this is the panacea for good
design, and yet some of the most outrageous designs have succeeded in the most
sensitive context. The Sagrada Familia, Gaudi's inspired cathedral in Barcelona, is
outrageously original and a triumph of modern design: the quality of its design
speaks volumes and it dominates its setting. Will the same be said of Daniel
Libeskind's extremely bold extension to the Victoria & Albert Museum? The success
of quality is often the test of time. What we might see as a success today might not
be seen in the same light in the future.
John Ruskin had the foresight to realise the endurance of good quality by
proclaiming 'When we build let us think we build forever' (the Lamp of Memory).
Edward Cullinan believes it is a lack of aesthetic sensibility by planning committees,
government agencies, and pressure groups which have accepted that new buildings
should reflect the old buildings surrounding them, resulting in a mild mannered
architecture composed of simplified or watered down components, lifted from the
past. He believes that this insults both the past and the present and enhances
neither.
A MODEL
Pgina 3 de 9
29/11/14 19:10
There is therefore more than one way to design in the historic environment, and
much will depend upon other influences, such as the aspirations of the building
owner, cost, the aesthetic sensibilities of the planners, the skill of the designer, and
so on.
1) Pastiche
Richmond
Riverside
Development
by Erith & Terry
A very skilful
approach that
requires an
academic
understanding
of the period.
Every detail and
choice of
material is an
essay in the
historic
language of
architecture.
This building
could easily be
mistaken for the
'real thing', but if
the detail and
materials are
watered down it
will result in a
poor imitation.
The model at the bottom of the page

attempts to set out five different
approaches to design and gives examples of
real buildings which might arguably fall
into each category. The model can be used
as an initial discussion tool to visualise and
debate the various approaches and decide
which one is suitable.
As in age and politics, design for the
historic environment is polarised by two
extremes: the very historic and the very
modern. Then everything else fits
somewhere in between on a sliding scale,
and it is possible to place any building on
the scale to determine its stylistic
relationship with its surroundings.
The 'Pastiche' approach (1) is where a
2) Traditional
Televillage,
Crickhowell
by Powys
County Council
architects
A safe option
that is often
encouraged by
the planning
building or extension is created as an

historic essay based upon academic
learning. Invariably this is very difficult to
pull off, and there are nearly always some
concessions to modernity. In the case of
our example at Richmond, modern open
Pgina 4 de 9
29/11/14 19:10
authorities, as it
tends to follow
the local
vernacular.
Much of its
form, detailing
and materials
are borrowed
from the past
but have
evolved into a
watered down
version. It takes
little imagination
and skill to
produce a
solution that 'fits
in'. If handled
sensitively it can
produce some
pleasing results.
plan offices sit behind a very fine replica

faade; its downside is that large expanses
of suspended ceiling are easily visible when
standing outside the building.
The 'Traditional' approach (2) is probably
the most common and is arguably that
which has 'watered down components
lifted from the past'. It could also represent
the modern vernacular of speculative house
building.
From the other end of the spectrum, the
'Arrogant' approach (5) is immensely
confident and pays little regard to its
historic context. For this to succeed
3) Subtle
Cathedral
Library
extension,
Hereford,
by Whitfield
Partners
Probably the
most universally
accepted
approach to
design in the
historic
environment. It
is a
conservationist's
approach, where
a light touch is
required. Note
the use of
historic
references and
traditional
requires the most skilful designer, and

many people would always find this
unacceptable.
The 'Modern' approach (4) provides an
unambiguous building clearly of its time
drawing its inspiration from the past and
respectful of its historic context. When
skilfully handled this is arguably the ideal
approach.
The 'Subtle' approach (3) requires a light
hand and a deft touch. This approach
probably pays the most respect to its
Pgina 5 de 9
29/11/14 19:10
materials, yet it
is still subtly
modern. It
combines a
respect for its
surroundings
with subtle
detailing that
confirms its
place in the
present.
historic context and is often adopted where

a quiet, gentle approach is appropriate, one
which allows the historic environment to
speak loudest.
There is no doubt that design, like art, is
subjective, and trying to understand the
meaning and the process of design is
difficult, let alone attempting to prescribe
4) Modern
Visitor Centre,
Caerphilly
Castle,
by Davies
Sutton
Architecture
Ltd
This approach
displays a
modern design
that is clearly of
its time, but still
respects its
historic
environment. It
will have a
strong and clear
philosophy
which draws its
inspiration from
the past. It might
assemble local
traditional
materials in a
modern way or,
use modern
materials in
historical forms.
This requires a
skilful hand and
a good
what is good design, and what is

acceptable. Sir Henry Wotton (1568-1638),
translating from the writings of the first
century Roman architect Vitruvius, passed
down an enduring interpretation of what
represents good design: 'In Architecture, as
in all other operative arts, the end must
direct the operation. The end is to build
well. Well building hath three conditions commodity, firmness and delight'.
It is therefore left to the individual to
decide how to approach design in the
historic environment. But beware the
opinions of others. Like many other things
in life, it is the diversity of opinion and
personalities that enrich our lives, and so it
is with architecture. The historic
environment is capable of absorbing the
many personalities of our new and old
buildings, and there is room for all the
Pgina 6 de 9
29/11/14 19:10
understanding
of its historical
surroundings.
many different approaches to design in the

appropriate place. However, the one thing
that must prevail is quality - quality of
5) Arrogant
Extension to
the V & A,
London,
by Daniel
Libeskind
The tension
created between
old and new can
be quite
breathtaking,
but requires
great skill and
vision to pull it
o. A bold
approach that
needs an
enormous leap
of faith by all
those involved,
from client to
planning
authorities. This
may be
considered a
'building of the
future' and will
inevitably
receive mixed
reviews.
design and quality of materials. We should

not just see it as 'building'; we are creating
'architecture'. Ironically, it was the most
famous modernist of all who captured the
meaning of design and beauty in
architecture when he said: 'You employ
stone, wood and concrete, and with these
materials you build houses and palaces;
that is construction. Ingenuity is at work.
But suddenly you touch my heart, you do
me good, I am happy and I say: "This is
beautiful". That is architecture. Art enters
in' (Le Corbusier, 1927).
VISITOR CENTRE, CAERPHILLY

CASTLE
At Caerphilly Castle, the new visitor centre
has provided a solution to placing a new
building in the grounds of a scheduled
ancient monument. The building is

unashamedly modern and of its time, and
yet it is sensitive to its surroundings by
looking to its past for inspiration. While the
castle is constructed of massive stone walls,
it once also contained other structures of
Pgina 7 de 9
29/11/14 19:10
timber frame construction, such as small

buildings, fighting platforms and lean-to
roofs or pentices. Being of timber, these
structures have long since rotted away,
although Cadw has rebuilt for interpretive
purposes several siege engines and a
hourd, a timber structure which protected
people on the castle walls from arrows. The
dominating oak framed structure of the
new building fits well within this theme,
and nestles against a protective stone wall
near the entrance to the castle. As the new
building was never part of the original
castle, it is alien, an invader, and as such its
roof can be seen rising up to attack the
inner gatehouse, reintroducing drama to a once dramatic environment in more
dangerous times.
The extensive use of timber also satisfies another 'conservation' issue - one of
sustainability and the environment. Timber from a locally managed resource has a
very low embodied energy factor and can ultimately be recycled when the building
has expired. By placing the building against the north wall and facing directly south
it is protected from the cold northerly winds, and the large area of glass generates
large amounts of free heat from the sun. The dark natural slate floor absorbs the
sun's heat and radiates back into the building when the temperature drops. The
underfloor heating is operated from a heat pump, which is connected to the vast
moat surrounding the castle, extracting more clean, free energy from the
environment.
Recommended Reading
Pgina 8 de 9
29/11/14 19:10
John Warren, John Worthington and Sue Taylor (eds), Context: New
Buildings in Historic Settings, Butterworth-Heinemann, Oxford, 1998
Quality in Town and Country, Department of the Environment discussion
document, July 1994
Power of Place: The Future of the Historic Environment, The Historic
Environment Steering Group, English Heritage, 1994
HRH The Prince of Wales, A Vision of Britain, Doubleday, London, 1989
National Planning Policy Guidance
PPG01 General Policy and Principles, February 1997
PPG07 Countryside: Environmental Quality and Economic and Social
Development, February 1997
PPG15 Planning and the Historic Environment, September 1994
Pgina 9 de 9

Design in The Historic Environment

Transféré par

Informations du document

Titre original

Copyright

Formats disponibles

Partager ce document

Partager ou intégrer le document

Options de partage

Avez-vous trouvé ce document utile ?

Ce contenu est-il inapproprié ?

Droits d'auteur :

Formats disponibles

Design in The Historic Environment

Transféré par

Droits d'auteur :

Formats disponibles

Design in the Historic Environment