“We both had slightly different ideas, but combined them”
years to come. They turned to architect Richard Norwood of Leaf Architecture and Design, who had been part of the team involved in altering their previous home. “Richard told us our brief was the most comprehensive he had ever received,” says Sarah, who felt that Leaf’s work stood out when compared to other architects they had researched. “We wanted four bedrooms for the family, a guest suite on the ground fl oor suitable for my parents, and offi ce space because on and one of our daughters work from home. Living in the bungalow also made us realise that – with farms all around and constant mud – we needed a dedicated boot room, a good sized utility, and somewhere to wash dogs outside.” The setting itself added complexity, as the Scheduled Monument at the end of the garden is one of only twelve medieval manorial ponds in the country. Bat surveys and an archaeological watching brief were also required, together with a detailed heritage statement from heritage experts Montagu Evans. Before submitting the planning application,
on presented the concept to the parish council. “They were supportive from the start, had a list of preferred materials, and liked the overall direction of the design,” he says. “We weren’t going to copy the beautiful old properties in the village, but our proposal still needed to sit comfortably with neighbouring 1960s and
26
70s houses.” Leaf Architecture arranged the house as three linked wings around a front courtyard, echoing farmstead layouts in the area while breaking up the building’s overall mass. A section of vertical glazed slats to the front facade creates an unusual cloister effect on both levels that captures morning light, while the entrance has been aligned to provide a long view straight through to the rear garden. ichard designed the interior fi rst, in terms of thoughtful space and overall layout, then wrapped it to create the external look,” Sarah says. “Each part of the plan has a clear function, and everything fl ows. The ground fl oor guest suite is private, and the children’s rooms are all on one corridor, which can be shut off if they’re away so we’re not heating empty spaces.” The building’s exterior combines light grey brick with charred cedar cladding, and is roofed in slate and standing seam zinc. Slim aluminium- framed glazing completes the restrained palette. “The bricks were our starting point,” Sarah says. “We went to Manchester to look at another project that used them, then chose materials to work with their colouring. We liked the idea of charred cladding and the zinc roof from the start.” Leaf Architecture produced a physical model, along with CGI images, to clarify the massing and siting of the house. Both the conservation offi cer and nglish eritage responded
LOW POINT
Feeling impatient at the end and rushing paint colour decisions just to move in.
HIGH POINT
The day the kitchen was installed, it transformed the heart of the house.
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