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"Widely considered as one of the most significant examples of modern architecture, Upper Lawn was designed by the late architects and celebrated pioneers of brutalism, Alison and Peter Smithson. Rooted in a peaceful rural pocket of Wiltshire countryside, the house was conceived as a retreat for creating and communing, providing peace, quiet, and the opportunity to live in rhythm with the seasons. Occupied by the Smithsons between 1959 1982, Upper Lawn came to embody some of their most significant architectural ideas, and was sensitively updated under the expert guidance of Sergison Bates architects. The house is now for sale for the first time in 23 years.

The Architects

Wife and husband pair Alison 1928 1993 and Peter Smithson 1923 2003 formed a partnership that led British brutalism through the latter half of the 20th century. Among the first to question and challenge modernist approaches to design and urban planning, they helped form the core tenets of brutalism low cost modularity, material focus, and purity and, most importantly for the Smithsons, buildings that reflected their inhabitants and location.

The Smithsons shaped their body of work through creating sensitively thought out yet radical schemes for high profile commissions, including the headquarters of the Economist, the British Embassy in Brasilia, a new building at St Hilda s College of Oxford University, and what they hoped would be a beacon of modern housing design 1972 s Robin Hood Gardens.

The Tour

It was 1958 when Alison and Peter Smithson acquired Upper Lawn a derelict thatched cottage with a demolition order. The house was one of a group of stone buildings set in the remains of an 18th century farm worker s yard, once forming part of The Lawns on William Beckford s estate at the edge of Fonthill Abbey, and the original stone wall still forms the peripheral boundary.

On the approach, the openness of the natural landscape sets the stage; the site lies off a quiet country lane, with views across sweeping fields set against the backdrop of dense woodland.

The lower half of the original cottage provides a framework for the floor to ceiling, timber framed glass walls above a spectacular piano nobile with an almost 360 degree panorama across the valley. In an aim to create a simple climate house within which they could experience first hand the inclement weather conditions of the English seasons, experimentation in solar gain was a significant part of the Smithsons process.

Floor to ceiling glass walls remain extensive throughout, though updated with double glazing on the upper level, and modern, high performance, toughened glass throughout the ground floor to suit more comfortable modern living.

Retaining the building s legacy has been integral to its three custodial owners, and the detailing has been beautifully preserved. Internally, the Smithsons commanded a masterly command of space, light, and a simple material palette. In a careful gridding of the footprint, the living space across both levels has been appropriately orientated to provide the best natural daylight.

The westerly side houses the kitchen, pantry, and service areas an exercise in function and form, with storage areas and shelving artfully embedded in lines of hand crafted joinery. A dining area is loosely arranged opposite, with handmade in built furniture, by Sergison Bates, adding sculptural character and form. Walls are of exposed stone and rendered concrete, and timber framed glass doors slide open to the terrace and gardens, providing a natural transition between the interior and exterior spaces.

The original, artfully crafted solid oak staircase adds to the many original features, leading up to the living and sleeping spaces. The upper level has been cleverly conceived to harbour both individual and communal activity, with a natural sense of open flow and an exceptional quality of natural light through the course of the day, into early evening. Douglas fir lines the walls and ceilings, bringing sensory comfort, and a modern log burner adds warmth in cooler months.

Adjacent to the upper living space, a more intimate area provides a quiet place for study, reading, or rest, softly lit by the southerly sunlight streaming through the corner glazing.

Outside Space

Intended to minimise the intervention of the house on its historic setting, the gardens and terrace, enclosed by the original stone walls, are an integral part of the overall experience at Upper Lawn.

The former living room of the 18th century cottage now forms the terrace, which was removed during the renovation in order to restore the relationship between the terrace and the house. An inglenook fireplace now a log store remains intact, alongside a casement window with shutters, set in the external wall. The renovation was carried out under the expert guidance of Sergison Bates architects, who also designed the concrete dining table positioned centrally. The gardens have been tended and cared for over the course of many years, a mindful restoration by the current owners of the undulating lawn and borders. The Area

For the Smithsons, the location was as important as the building itself; they wanted to be part of the surrounding countryside and contribute to its story. The rich landscape and spectacular views overlooking Fonthill Woods and Salisbury Plain are very special, and the upper level acts almost like a hide from which to enjoy the energetic, vibrant local wildlife deer, skylarks, lapwings, buzzards, hares, badgers, bats at dusk, and owls in nearby trees at night.

The village of East Knoyle is less than five miles to the west and has an excellent village shop, post office, a church, and the popular Fox & Hounds Pub. The larger town of Shaftesbury is reachable in 20 minutes, while Bruton, Frome, and Mells are around a 40 minute drive away. The city of Bath is reachable in under one hour.

Despite its rural location, road and rail connections are very good. The train station at Tisbury is a five minute drive away, with direct services from here to London Waterloo in around one hour and 50 minutes.

Council Tax Band B"