Heritage Statement Design and Access Statement

PROJECT ‘Sevenways’ 1 College Road, Buxton, Derbyshire, SK17 9DZ

Mr N Sheikh

16th April 2018 Revision C Sevenways, 1 College Road, Buxton CONTENTS PAGE INTRODUCTION 3

01 - HERITAGE STATEMENT 4

02 - HERITAGE IMPACT ASSESSMENT 21

03 - DESIGN & ACCESS STATEMENT 28

04 - PLANNING POLICY STATEMENT 31 Sevenways, 1 College Road, Buxton INTRODUCTION This report has been prepared to accompany the The current owners bought ‘Sevenways’, application for planning listed building consent approximately 15 years ago. They were for the property known as ‘Sevenways’ 1 College passionate about owning a house designed by Road, Buxton. Parker and Unwin and they have researched and understood the significance of the architects and The proposals are for a change of use from the house. current single dwelling, previously used as a bed and breakfast, into 4 apartments. The proposals At the time of purchase, the house was in poor also enhance the Grade II listed building. condition following little maintenance since the conversion. Aside from the division of The house is a three storey semi-detached rooms and major changes, all woodwork and property, with cellar and was constructed in 1886. internal stone was covered by modern paint. The house was designed by Barry Parker and During maintenance they have sympathetically Raymond Unwin. Two architects of the Arts and removed these inappropriate finishes, such as Craft movement renowned for their work within the stone column to the hall. However the clients Litchfield Garden City and Hampstead Garden wish to return the house holistically to a more . sympathetic condition.

The house is constructed of stone to the ground They have always had a long term plan to fully floor, side and rear elevations. The front elevation restore the house and ensure a sustainable is dominated by the projecting timber framed future. However as a small household, parts of first and roof storey (second floor). The windows the house remain unused for much of the time, are mixture of stone mullion, metal windows to the proposals will allow all parts of the house the front ground floor and the main side and rear to be in continuous use. They believe that the rooms. The first floors are a mixture of metal and proposals contained within this application meets timber windows. Five brick stack chimneys sit this aspiration. within the large and dominant tiled roof. The owners wish to replace the majority of the The property is located on College Road, at missing fireplaces. Which will be appropriate the intersection with Temple Road, overlooking to the character of the room; this will provide a the Pavilion Gardens. The house sits within the significant enhancement to the property. College Conservation Area. The proposed works predominantly are to the In 1988 consent was given to convert inside of the property and see a significant (documentation not seen) the property into a bed reduction in the ‘clutter’ of previous alterations and breakfast. The majority of the alterations, which took place during the previous which we understand were carried out during conversation. the conversion, remain in place. They were unsympathetically planned and executed. For Careful consideration has been given to the most example the many bathrooms have not only appropriate solution, minimising any impact. The subdivided all bedrooms, but also resulted in proposals also seek to restore the house to an many leaks and subsequent damage. Also the appropriate condition and were possible enhance maintenance during this period was often low the significance. quality and inappropriate; which is now starting to be detrimental to the fabric of the property. This document is split into four main sections: - Heritage Statement / Impact Assessment - Planning Policy Statement - Design and Assess Statement

April 2018 Page 3 of 43 Sevenways, 1 College Road, Buxton 01 - HERITAGE STATEMENT INTRODUCTION LISTED BUILDING DESCRIPTION Sevenways, formally known as Farringford was The listing is for the pair of semi-detached houses; SEVEN WAYS (no.1) AND SOMERSBY (no. 3). constructed in 1895/96. It doesn’t appear on the 10 feet OS Map of 1878, but is shown on the List entry Number: 1259367 1898 OS Second Edition Map. Grade II The house is attributed to Barry Parker and Sir Date first listed: 23-Mar-1981 Raymond Unwin, two renown architects that were in partnership in Buxton from 1896. Although Pair of semi-detached houses. Pevsner attributed the houses to Parker, it is likely Uniwin was involved in the design, prior 1896. By Barry Parker and Raymond Unwin. Rock-faced millstone grit with ashlar dressings and to the formalisation of their partnership, as they timber-framing. Plain tile roof with 4 tall red brick stacks. lived together in Chesterfield prior to relocated to Buxton. EXTERIOR: 2 storeys and attic. Chamfered plinth. Street front has stone ground floor with timber- framing above. Irregular 5-window front. Parker and Unwin went on to become the prominent planners of the Garden City No 1 has central recessed doorway with flat headed Tudor style door with moulded cornice, to right a Movement. stone bench and various mullion windows. To left at corner a stone canted bay window. Above jettied first floor has 5-light casement to left and to right a balcony with wooden balusters and set-back door Grade II listed, the house is one half of the pair and overlight. Above jettied 8-light oriel window with curved framing in gable. Left return has irregular of semi detached houses that Pevsner described fenestration and projecting 2 storey gabled wing. as an “interesting pair of houses”. The Buxton Conservation Appraisal in April 2007, identified No 3 has recessed doorway with flat headed Tudor style door with moulded cornice, flanked by stone the houses as ‘A series of highly individual Arts & mullion windows. Above a 4-light wooden casement window to left with balcony above and small 1878 - Ordinance Survey Crafts houses arguably of national importance set set-back gabled dormer with 3-light casement. To right a jettied gable with a 4-light mullion to left within generous gardens’. and a balcony to right with wooden baluster and door, above a jettied 5-light wooden oriel window and curved framing in gable. Right return has 3 irregularly spaced windows. To left a 2 storey gabled This section will assess the significance of wing with 4-light mullion windows to each floor. To right a square window and a 4-light mullion window Sevenways, both locally and Nationally, to beyond, similar arrangement above with further 4-light window in central gable. understand the value of the house in it’s present arrangement, but also the context locally and INTERIOR: much of the interior of No 1 (Seven Ways) survives intact. The dining room with corner nationally. fireplace has original copper canopy (but grate removed), and distinctive pillar, shaped to capital and chamfered and stopped to base, with fitted seats and book case: the polygonal corner further emphasised by a shallow arched “entrance”. Stairs of pierced splat balusters. The right-hand room retains an inglenook with painted brick arch, beams and “fire window”. Original doors with panels of diagonal boarding and original ironmongery survive. A dumb waiter (to left of entrance) has been removed.

Somersby is reputed to retain its original hall fireplace and the stone staircase, some doors and cupboards and the sitting room inglenook arch. Barry Parker was articled to Faulkner Armitage and his influence is seen here in the use of Cheshire Revival studwork.

1898 - Ordinance Survey Second Edition

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BARRY PARKER SIR RAYMOND UNWIN COLLABORATIVE WORK 1867-1947 1863-1940 In 1902 their first major commission was the By 1896 Unwin had joined Parker to form a design of a model industrial village, New partnership, they were close friends, half-cousins Born in Chesterfield to a bank manager father, Sir Raymond Unwin, Born in Yorkshire grew up Earswick, near , for Joseph & Seebohm and brother-in-laws. Richard Barry Parker trained at T.C. Simmonds Oxford (where he heard lectures by Ruskin and Rowntree. Atelier of Art in Derby and the studio of George Morris) and returned northwards.1 Their early career is defined by this partnership. Faukner Armitage in Altrincham1, a northern Arts Parker and Unwin, in 1904 were retained to Unwin would work on the more practical side and Crafts architect with Studio in Altrincham, In may 1887, he took a job as an apprentice implement the design in plan and detail for of things while Parker on the more creative, Cheshire. engineer for Stavely iron & coal company near .2 Park and Unwin’s successful master including the design if fixtures and fittings, as well chesterfield. Here he designed industrial buildings plan for the Garden City thrust them into the as being an accomplished artist. 1 In 1891, he joined his father in Buxton and and machinery and was also given the brief to limelight. designed three large houses in the town for him.2 construct housing for mine workers, albeit at During this early period they worked on private minimum possible cost, to bye law standards, In 1906, Unwin left Letchworth to work on residential commissions often for socially giving him first hand experience of the housing he . Barry Parker conscious professionals. Greenmoor, Buxton was would later strive to improve.2 remained in Letchworth becoming the sole there first commission for Parker’s parents. consulting architect to First Garden City Ltd.3 They jointly wrote ‘The Art of Building a Home’ Unwin published two influential books following (1901), of which documented their early his departure from Letchworth. ‘Town planning considerations and included many of the plates of and practice in 1909 and in 1912, ‘nothing gained sketches and photographs document Sevenways. by overcrowding’. 1 English Heritage. English Garden Cities: An Introduction. 1 http://www.garden-cities-exhibition.com/ 2 English Heritage. English Garden Cities: An Introduction. 1 http://www.garden-cities-exhibition.com/ 2010 2010 2 http://www.garden-cities-exhibition.com/ 2 http://www.garden-cities-exhibition.com/ 3 http://www.garden-cities-exhibition.com/

Barry Parker and Sir Raymond Unwin- Image First Garden City Heritage Museum The Parker & Unwin Layout for Letchworth 1904 - Image English Heritage. English Garden Cities: An Introduction. 2010 (Purdom 1913)

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CONTEXT OF SEVENWAYS To understand the significance of Sevenways, it needs to be viewed in the context to their work and the wider Arts and Craft Movement.

Dean Hawkes in his introduction to the republished Barry Parker essays, suggested that ‘This aspect of their work (as architects) has, surprisingly been largely neglected by their work by historians of the period, perhaps because it was overshadowed by their work as planners of the Garden City’. 1

Although this is very difficult to argue, as they have an enduring affect through the planning works, much of there ideas were born out of these early works.

Many of their earlier ideas are present at Sevenways, and were considered inventive and individual, particularly in the design of the main rooms, and it is possible to detect characteristics which were to become hallmarks of the later houses. However, Hawkes did note that ‘the overt The Art Of Building a Home - Plate 22 - Sketch of Hall Buxton (showing ideas evident at Sevenways) medievalism of these early houses, with half- timbering both inside and out, and heavy joinery details was an unsatisfactory medium for their purpose.’2

Even when Parker returned to Moorlands, Buxton, the first house he designed for his parents he noted that “In many respects it shows immature work”.

Hawkes considered that it wasn’t until later in their portfolio the house ‘Whirriestone’ becomes the summation of all that Parker and Unwin had been working towards in their earlier houses. It achieves its end by the use of simple constructional methods and by playing-off the complexity of its interior against the simplicity, even serenity, of its exterior’.3

1 p.2. Modern Country Homes in England. The Arts and Crafts Architecture of Barry Parker. Ed. Dean Hawkes. 2 p.19. Modern Country Homes in England. 3 p.27 Modern Country Homes in England. The Art Of Building a Home - Plate 42/43/44

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CONTEXT OF SEVENWAYS At Sevenways, it is clear that these key ideals that were explored through these first houses are present within the house.

The house plans, especially the main rooms would be a consistent geometry, a principle rectangular communal area, which was ‘elaborated by the addition of a series of smaller spaces associated with a specific function’.1

This arrangement is evident not only in the early sketches for the property but also the existing arrangement of the hall and living room. The hall has serval areas off the main area; the fireplace under the stairs and the projecting bay.

As Parker stated “no sacrifice is too great which is necessary to enable us to bring plenty of sunshine into all livings rooms”. There was always a drive to face the principle rooms south, but unable to do so at Sevenways presumably due to the site constraints, the projecting corner bays not only brought light into the rooms, but also provide The Art Of Building a Home - Plate 21 - Sketch of Living Room Buxton additional secondary spaces.

During his return visit to Moorlands Parker commented on the success of the ingle fireplace “This resulted in a great proportion of the heat which in an ordinary fireplaces goes up the chimney coming into the room, and three sides of the fire on which there could be seats instead of only one.”

The ingle fireplace at Sevenways clearly was designed and executed to achieve the same intent, with an open fire and enough space for seating and a fire window to the side.

1 p..22 Modern Country Homes in England. The Art Of Building a Home - Plate 61 - Living Room Buxton

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EXTERNAL ELEVATIONS The front or East Elevation is the principle elevation addressing College Road. It is constructed on the ground floor of course stone, with a rough finish. The windows and doors are defined by dressed stone reveals. The first and second floors are timber framed, both projecting over each previous floor. The timber frame is defined by the large sloping roof line. A main balcony is present on the first floor, recessed behind the facade line and a discreet second balcony is located on the second floor.

The north elevation is coursed stone with a project gable to the rear most portion. A dormer window at the intermediate landing to the second floor is present within the large roof slope, as is a small window to the rear bedroom. The elevation resolves the plan arrangement and allows the change in the scale to the west elevation.

The West Elevation is coursed stone, but domestic in scale with a series of small gables and projecting pitched dormers to the second floor. One modern small rooflight exists with the second floor roof.

The elevations remain larger as intended, and are in reasonable condition, save for some failing and poorly repaired mortar. The timber framing has been heavily decorated, and in places is in need of repair as decay is apparent.

There are few modern lights and sensors fixed to the facade. The west elevation suffers to consequence of the conversion with a great deal of drainage present to the elevation.

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ROOF & RAINWATER GOODS The roof is tiled and is of large scale and dominates the front elevation, while it’s scale is reduced to the rear elevation, with a change in geometry. The roof covering appears to have reached the end of its life and needs to be replaced.

Four red brick chimneys with light clay pots of simple style that match are present.

The original rainwater goods consist of half round gutters with square section down pipes. Although the majority of these have been lost or replaced by round and/or low quality plastic pipes, there remains sufficient to understand the original detailing.

There are also some small diameter rainwater pipes to the dormers, which distribute the water to the main roof.

The gutters are supported by a ‘twisted’ gutter bracket with a curved drop, many of these remain, but are in need of repair. The square rainwater down pipes were supported off distinctive brackets. Where square sections of down pipes are present these remain, however some have been removed, but have been safely stored by the current owners.

The plastic rainwater goods and temporary repairs detract from the elevations. The front and side elevation suffer the most, while the cast iron round down pipers do not appear out of place on the more domestic elevation, it is apparent to the kitchen outshoot that this elevation would have also had square pipes.

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WINDOW There is a collective mix of windows through the property, that clearly not only represents the original design intent, but also the changes over time (most windows are original).

With the exception of the cellar the windows are leaded.

The main window types are; • Stone mullion windows to the principle ground floor windows, with ornate latches, likely to have been designed by Parker. • Metal windows to east elevation, with timber sub frames. • Painted timber casement, to rear elevation, these are a possible later alteration, but are consistent with the neighbouring property. • Timber casement to stairs and rear bedroom, are likely to be hard wood given the durability displayed. Some have metal opening lights, that were probably a later alteration, as previous joinery marks exist and the stairs window is detailed the same with timber casements. • Simple timber casement and sash windows to cellar.

Only two windows, to the second floor, appear to have a modern fixed secondary glazing.

The current arrangement of windows is important to the building. Although careful repair should be undertaken to ensure the life of these windows.

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DOORS The hardwood front door, with a leaded light and openable bottom hung overhead panels. The door retains the majority of its hardware and ironmongery, although the door bell is poorly fitted.

The first floor balcony door is timber frame with lead light panel. The second floor balcony door is modern and of low quality, detracting from the elevation.

The rear door and the second floor balcony door are modern and detract from the elevations and significance of the property.

FIREPLACES All fireplaces have been removed and the chimneys have been blocked. Some rooms have additional electric fires and/or modern surrounds propped against the chimney breast.

The loss of these fireplaces, affects the significance of the rooms, as these would have been the dominate feature of the bedrooms and secondary rooms.

The remaining copper hood to hall fireplaces is all that remains.

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GROUND FLOOR - HALL The ground floor is defined by the main principle rooms, the hall (and stairs), living room and to a lesser extent the rear living room. These define the internal character of the house and remain central to the function and significance of the interior.

The layout and principle architectural design has remained and can be clearly understood when comparing a present image to one that can be found within the ‘The Art of Building a Home’.

The copper fire hood is in place, but the grate removed. The surrounding stone is painted, although the column is not.

The majority of the joinery remains. The corner stairs cupboard door has been removed (but is located in cellar), by an electric fire. This would positively contribute if the door is re-hung and fire removed.

The parquet timber floor is reasonable condition, albeit heavily varnished and with a few marks. The herringbone tiles to the under stairs fire are in place.

The cornice to the bay remain and the plaster ceiling remains.

Wall lamps have been removed, and are assumed lost, replaced by generic modern pendant fittings.

There is evidence of the alterations of carried out Hall during previous B&B occupation during the earlier conversion although in the most part these have been removed, with a few minor scars remaining.

The hall contributes significantly to the asset.

Hall during previous B&B occupation

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GF - LIVING ROOM The layout reflects the original room intent with the brick arched ingle fire place central to the room.

The original fire has been replaced with modern concrete block fire surround and log burning stove. The current fireplace does not allow the fire to be visible when sat in the nook. This alteration fails to consider the original intent that the fire should be seen from 3 sides.

The hearth and surround has been tiled heavily. It is likely that this is over the original floor tiles and stone/brick fire surround.

It is understood the timber floor remains intact under the carpet and would have been level with the ingle fireplace floor.

The fireplace, window seat joinery is modern and of poor quality, in the fire ingle and bay window, these negatively impact the room, as does the heavily patterned carpet.

Although a dumb water located in the corner of the room has been removed, part of the timber joinery remains in situ, presumably operating as a hatch during the life of the Bed and Breakfast.

The significance of the room is reduced due to the poor adaptations of the ingle, however it remains of high significance.

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GF - REAR OF HOUSE The rear living room, or drawing room, would have been a principle room of the house. This is suggested by the remaining features; • Stone mullioned windows • Form relating to a possibly large fireplace (see below) • Cornicing to the ceiling.

The fireplace is removed and it appears to have been heavily modified with two arches either side of the central (now closed) chimney. The ceiling drops down from the cornice line, and is then trimmed out by joinery. When comparing this is other designs within ‘The Art of Building a Home’, this is likely to have been a fireplace of significance within the room.

These changes detract from the significance that this room would have had.

The remaining rooms have been heavily modified with modern kitchen and sanitaryware.

There are suspended ceilings (part down due to water ingress) and modern ‘decorative’ plaster.

The existing electrical systems are visible and are outdated and require modernising to a modern standard.

The kitchen has a poor imitation ceiling with exposed joists, which are set below the original ceiling level.

The kitchen fireplace/range has been heavily modified with a raised plinth, the stove/range has been removed and replaced by a modern range.

It is likely these rooms would have been more utilitarian in their appearance and less central to the architectural response as the principle rooms.

The heavy alterations to theses rooms have detracted from their significance, although their layout remains largely intact.

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STAIRS The stairs are central to the house across all floors and play significant role in the character and internal significance of the house.

The hall is dominated by their location and detailing. As the stairs rise the joinery is simplified and reflects the hierarchy of the floors.

The windows on the half landing bring in natural light to the landings on each floor.

The heavily patterned carpet does not contribute to the character, and almost certainly on the first rise of stairs would have had a central runner of carpet.

The condition of the stairs is good, and the current joinery finish is likely to represent the original finish. The current owners have removed the inappropriate finishes applied by the previous owners.

Previous finish of stairs during B&B occupation

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FIRST FLOOR

The landing to the first floor retains the original geometry, with the two archways, leading to portions of the house and a single bedroom door.

The two archways have been divided by which are presumed to be fire screens installed during the conversion to a bed and breakfast. These are not only obstructive but are of poorly quality detailed.

Beyond the landing the original accommodation layout has been lost during the conversion. All the bedrooms have had ensuites added. In the most part these are lightweight and poor quality constructions set within the original room. These breakdown the room with no consideration to the original layout. Picture rails and cornicing are discontinuous, cut by the modern walls.

The front two rooms have been modified to create the bathrooms, which have resulted in the loss of what appears to have been an original route through from the landing onto the balcony.

The North West bedroom has an additional lobby within the room, as it is directly accessed off the landing, which is presumed for fire compartmentation.

Furthermore, the bathroom and toilet central to the rear elevation have been converted into a bedroom and ensuite.

The floor retains some of the original joinery, which is similar but simpler than the ground floor. Although in places has been heavily modified and adapted. All the modern joinery is of low value.

The character of the floor and scale of the rooms has been lost due to this poorly considered subdivision, although much original joinery remains.

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SECOND FLOOR The second floor was clear conceived as ‘secondary’ accommodation, has a continuation of the ideas demonstrated through the rest of the property.

The fire screen has been located behind the balustrade. The resolution of this detail does not sit comfortable with the geometry of the space and although glass, creates an abrupt and visual barrier.

The small window in the rear northern room, has clearly a similar intent to the one illustrated within the The Art Of Building a Home, plate 19 shown to the right. It is impossible to confirm whether a similar room was intended and/or constructed, or just a detail replicated for the window.

It is likely that during the conversion to a bed and breakfast the exposed timber, the second floor was modernised. The fireplaces would have been removed.

As with the first floor the layout has been heavily modified to accommodate ensuites to two rooms and a bathroom to the two remaining rooms. Arches have been closed, doors converted to arches and door openings made.

The door to the balcony, as noted before, is modern and the condition of the fenestration is poor. An external secondary glazing is presumably attempting to stop water ingress. The balcony has a low quality and visually heavily secondary balustrade to increase the protective height.

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CELLAR EXTERNAL SETTING The cellar remains largely unmodified in layout. The house is set in gardens which, There are new modern services, boiler and characteristically to the location are shallow with security measures. a small rear garden. Unlike adjacent properties the garden extends to the left of property to The cellar is currently accessed from the kitchen. the corner of College Road and West Road (Macclesfield Road). The salting slabs/benches appear to remain in situ and are in reasonable condition. The landscape to the house is largely defined by the large mature trees that are on the Although relatively dry there is evidence of water roadside and within the boundary. There are ingress in locations throughout the cellar. The several mature trees, which are in need of some plaster ceiling has suffered as a consequence of maintenance (not within the scope of this project). the dampness and implementation of the services and modern plaster and paint finish. There is a timber framed outbuilding to the rear of the garden, of small garage size adjacent to the North West corner of the house. Timber framed and constructed in a similar style to the house.

The landscape has evidentially been altered during the conversion to a bed and breakfast to incorporate the parking for guests. This impacts less on the setting of the house as you would expect, predominately as you see the house from the road below the eye line of the surface.

What would have been a likely to have been predominantly soft landscaping with mature trees, historically the setting would have been a more appropriate setting.

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CURRENT CONDITION This is not intended to be full condition report, but provide an understanding of the overall condition in the context of the above discussions.

The roof is the major element which needs to be refurbished. The condition is poor with many broke, slipped and/or repaired tiles. The roof covering has reached the end of its life. Although the visible internal roof structure appears to be reasonable condition.

The majority of the rainwater goods are in a poor condition with broken or missing guttering and slipped or missing rainwater pipes. This combined with missing, broken, or no existing lead flashings has led to internal fabric damage.

As noted earlier, although the majority of the windows are intact, they are in decorative poor condition which has led to some local decay on the timber windows. Mechanically some of the windows need to refurbished to allow them to open and close effectively.

The chimneys appear to relatively good condition although there are some local areas of brick replacement needed as well as some localised repointing.

Throughout the house there is a lot of wallpaper, modern paints, and plaster. The internal decoration is at the end of its life and a full decoration is required. At which point the inappropriate wall paper and paints should be removed to improve the vapour porosity of the walls and prevent long term damage.

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CONCLUSION REFERENCE MATERIAL There is no doubting the importance of Parker The house is of clear of local importance given Parker B and Unwin R: The Art Of Building a and Unwin as town planners as they are the early association of these two leading Home considered ‘the presiding geniuses at Letchworth architects and planners. were Barry Parker and Raymond Uniwn’ 1. They Modern Country Homes in England. The Arts and are fundamental to the development of the The house also provides a context to their work Crafts Architecture of Barry Parker. Ed. Dean garden city ideal, which ‘most (modern) housing which became of national importance. Hawkes. development is conceived in terms of ideas which were first given expression in the Garden City - Although the house has been adapted and The Buildings of England: Pevsner N: Derbyshire: although, alas, seldom now with the sensitivity original features lost, the main spaces and their and flair which characterised the original models.’2 intents are easily recognisable. The conversion to Buxton Conservation Area Character Appraisal. a bed and breakfast, although crude in places has April 2007 Their importance as architects is less understood, not dramatically affected the significance of this predominantly due to their acclaim as planners, house, and is predominantly to the upper floors. English Heritage. English Garden Cities: An but also the Arts & Craft Movement became The main rooms and principle elevations retain Introduction. 2010 overshadowed by the modernist movement.3 their character. http://www.garden-cities-exhibition.com/ Their relationship to Buxton is important, as not The significance of the property is within the only did their partnership form in Buxton, but their external elevations, hall, stairs and the living first commissions were local. room and remaining joinery. The original layout is also significant although the current subdivision Parker and Unwin’s early work on private detracts. residential dwellings, is raw in execution in places, but allows a understanding of not only The loss of some details (fireplaces), poor quality their architectural skill, but also some of the ideals conversion and condition of some elements, they explored during the planning of Letchworth detracts from the significance of this property. and Hampstead Garden Suburb. Any proposal should look not only to enhance Sevenways (Farringford), clearly was an the house but also provide an arrangement and important project for Parker and Unwin as it function which can sustain such a large property was referenced heavily with plates within ‘The in a town which has an over provision of large Art of Building a Home’. The images provide a scale town houses. unique opportunity to understand the intent, built form and adaptation of the key spaces within Sevenways as we find it now.

1 English Heritage. English Garden Cities: An Introduction. 2010 2 Modern Country Homes in England. The Arts and Crafts Architecture of Barry Parker. Ed. Dean Hawkes. 3 Modern Country Homes in England. The Arts and Crafts Architecture of Barry Parker. Ed. Dean Hawkes.

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