Stirling Prize 2024 shortlist: Wraxall Yard, Dorset, by Clementine Blakemore Architects

Holiday homes suitable for disabled people are extremely rare. That was something Dorset farmer Nick Read knew from the experience of his mother, a wheelchair user, and resolved to address in the conversion of derelict barns in the hamlet of Wraxall. Clementine Blakemore Architects has seamlessly integrated measures to ensure full accessibility with sensitive restoration of historic structures.

Five cottages are arranged around a landscaped courtyard, reached via curving paths that mitigate the sloping site. Inside, dozens of details were developed to make attractive yet accessible accommodation, from glamorous bathrooms to bump-resistant wainscotting. ‘You could spend a long time here and keep finding new things’, reported the RIBA Awards jury. ‘User comments agree that visiting Wraxall Yard is an emotional experience.’

What was the design process like?

Clementine Blakemore The project took four years and was very well-paced. The client was closely involved but didn’t pressure us to deliver within a certain time frame, so we had a proper briefing stage. Research clarified what we wanted from accessible accommodation, largely through identifying what we didn’t want.

This was my first barn conversion, so a lot of thought went into how much to keep, how to insulate: basic things, but they had principles behind them – being frugal, and building in lean ways with natural materials.

The team was initially me and one assistant. It was our only project, which in retrospect was a privilege. I was conscious that this was a good learning opportunity, which is one reason why I carried on working after having a baby during construction.

Beside practical requirements, what were your architectural priorities?

Rural barns are so interesting; I’m struck time and again by the grandeur of spaces which also remain very humble. We were keen to retain and exaggerate that, for example by playing with scale. You enter the courtyard through a ‘breezeway’, where we formed an opening with an asymmetrical trussed roof. It’s high on one side and low on the other, framing the view into the courtyard.

It took many visits to really get to know the barns: their different scales; slight variations in construction. Bits that are often unnoticed are drawn out in the finished building.

How did accessibility shape the scheme?

Achieving level access on a sloping site took a lot of time – it had implications for waterproofing and location of doors, and we went round in circles a bit – but it was also incredibly beneficial as it generated the long, meandering approach routes.

We wanted to put the entrance at the rear to keep parking away from a listed church, so might have developed a curving pathway in any case. But we might have cut its length had we not needed a gentle slope and that has all sorts of positive knock-on effects, from creating privacy for external patios to connection with the landscape.

Internally, the challenge was to integrate things like accessible kitchens and ceiling hoists in an elegant way. I don’t think it would be radically different without that constraint but we had to work to customise off-the-shelf solutions, for example adding solid timber edging strips to rise-and-fall beds. Many small things collectively made a big difference.

What other ideas informed the project?

There are many images in our reference folder. Early in the design process I visited sculptor Eduardo Chillida’s amazing house-museum in northern Spain. It showed a very sculptural approach to a barn renovation. We saw a similar opportunity to sculpt the barns, so that openings aren’t just windows but formal interventions into the mass of a stone wall.

Likewise, pathways were inspired by Ryue Nishizawa’s Teshima Art Museum on a Japanese island which has a long walk from the minibus drop-off to the building – a powerful part of the experience. This is a very different context, but we wanted guests to leave the car and feel like there was a process of transition before arrival.

What techniques did you use to develop the design?

We use Rhino a lot as a design tool, generating 3D views to understand scale and spaces. We also made a 1:20 model of the most complicated corner where the asymmetrical trusses of one building intersect with the symmetrical trusses of another. Photoshop images were used to test different tints to the timber or the depth of fins on the windows.

On site we had a lot of 1:1 mock-ups, which were included in the tender documents. With this type of project the hand of the maker does affect the outcome, so it’s best to get the person doing the work to make the samples. I wanted to leave some decisions with craftspeople. There weren’t exactly gaps in the drawings, but their input is visible in the building.

Were other collaborators important?

All the consultants were creatively invested in the outcome. M&E engineer Ritchie + Daffin had lengthy discussions about whether to use ground- or air-source heat pumps, or the biomass boiler we ended up with – a decision which affected the design of the farmyard. They understood that those choices had a ‘cultural’ as well technical impact.

Working with structural engineer Structure Workshop was fundamental because so much of the structure was exposed, and affected spatial decisions or choice of finishes. Again, their willingness to go through options to get to the right outcome was notable.

What was your greatest challenge?

Holding on to the design intention during construction. Until you physically intervene in old buildings you don’t really know what you’ve got. And things moved so fast we had to adjust quickly; knowledge of the building gained at design stage was a huge advantage.

There were difficult decisions. Insulating the barns meant we had few internal exposed stone walls. One big cross-wall was damaged during construction and had to be demolished. When things are moving at pace and everyone’s concerned about time and money, it’s important to know when to stick to the plan and when to adjust.

Which aspect of the project is most successful?

The sculptural approach produced moments that are successful spatially and programmatically. For example, our early drawings showed a grand piano in the breezeway, which is ridiculous but reflected the idea that it was an ambiguous communal space. It’s great to see that kids do gather there.

Another important feature is the use of sustainable materials. Many projects begin with that ambition but it gets lost. Wraxall Yard is not just about the things that you see, but what’s going on beneath the skin too. I’m proud that this project is responsible in all sorts of ways.

See all six projects shortlisted for the 2024 RIBA Stirling Prize

Key data:
Contract value £2.8m
GIA 781.9m²
Cost per m² £3,560