28 YEARBOOK 2025 changes had been made within the pleasure gardens. The new owner, Frederick Cawley, introduced terracing in the space between the lodge and the courtyard, alongside a formal regimented garden area with yew balls bounding the path. This design phase broke or severely dislocated the spirit of the late-18th- and early-19thcentury design, and critically, it broke the connection between the triumphal arch and the courtyard. To compound this a large linear planting bed was laid out at the rear, further breaking the connection between arch and the house. Whilst retention of the terraces and the border enabled the evolution of the country house and the social history of recreation to be understood, it abruptly disrupted the Brown and Holland design intent. Whilst the gardens and designed landscape have exceptional value, the terracing layer The new flower garden with the fountain at its centre and the triumphal arch beyond, adding interest to the route from the carpark to the house. (All photos this page: Jonathan Taylor) Careful detailing responds to evidence of what was here before, but creates something that is also distinctly modern. was of only moderate historic interest in the stories it told. DESIGN APPROACH Given the amount of change that had taken place, and the limited documentary evidence for the earliest phase from the early 19th century, full restoration was not proposed. The chosen option was one which aligned with the 1887 curved arrangement which retained the original Holland and Brown intent. It removed the Edwardian layer which had compromised value allowing the reinstatement of a more naturalistic garden experience. Through design development a range of different variations were tested and checked relative to heritage impact but also access, visitor enjoyment and cost. The options included a slight adjustment to the path and a number of others that retained the terraces to greater and lesser degrees. The chosen option was one that saw the full removal of the terraces. The alterations that needed planning permission were the introduction of the new paths and the engineering operation associated with the removal of the terraces. The design details that need more careful thought were the width of the path, its slope and the materiality of its finish. The main path was designed with access for all in mind, with a slope at or below 1:21 at any point and a width of 2.3 metres. Unfortunately, the red pea gravel evident in archaeological investigations could not be used because the local quarry was no longer working and, in any case, the pea gravel would have been unsuitable for the physical access requirements of a property open to the public. Its colour was matched using a mix of gravels, called Stowfield and Staffordshire Pink, providing a practical compromise. Steel edging was introduced abutting the borders. The new design reconnects with the small fountain positioned centrally and has encompassed the reinstatement of a pergola on the southern wall of the walled garden. At the house the western border has been removed and a random rubble boundary wall that directly abutted the outer wall of the courtyard was removed. The end solution is a beautiful one with the immediate setting of the listed structures opened up to reveal their architectural beauty, and the legibility of both house and landscape substantially enhanced. The newly planted southern flower garden gently feeds into the original design plan and when mature will recreate some magic in this key space, with quiet reflective areas for our visitors amongst the flowers. During the design development of this project, the planning adviser who had been integral to the work, Chris Lambert, passed away. His contribution was invaluable and this project will be one of many of his legacies. Simon Robertshaw is Buildings and Landscape Design consultant at the National Trust.
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