When one thinks of a garage they might imagine standing in a room doused in greased concrete, leaving oiled silhouettes as you wander through, feeling the sharp scent of mechanical fumes with every inhale and wincing under fulgent tube lights above. Fiona's Studio is quite the opposite. It is radiant. Its gentle nature is palpable. Its modesty tactile. Not only can it be felt within, it can be felt in open palms. The purpose of the structure is absolute. Instil contempt. For

1961. Some would say the golden era for architectural beauty. A defining, grounding moment for homes to show some grit. Where an era dared not meddle with the bold - some did just that. Sir Basil did just that. Along with accomplice structural engineer Ove Arup and landscape artist Sylvia Crowe resides a home built on the edges of silt, against mischievous river waves and a congregation of evergreen timber - the architectural rectory of Sir Basil. Spence House. Despite Basil'

The country lane leading those to Chapel House offers nothing. Thick hedgerows. Weathered tarmac. The bovine curiosity of neighbouring cattle leaning over whatever fence is nearest, indifferent to the significance of what stands behind it. That is, perhaps, the point. Chapel House and the North Wraxall Congregational Chapel were built circa 1862. Coursed rubble stone. Slate roofs. Coped gables. Two ecclesiastical buildings on an unusually isolated site in Wiltshire, midway be

Ravine Guest House is a fitting choice of words to describe a building that invites even the senses of the natural world to linger between its creases. In the early 1990s, a quiet inauguration was held between an audience of two - to bind spirituality with architecture. Shortly after, the architectural practice Shim-Sutcliffe emerged with its purpose. To design homes which incorporate landscape with design, with exterior and interior. To fasten spirit of the natural world in

Before Pillwood's conception, if one were to stand in its place, brush shoulders against dense forestry - walk beneath the canopy and paddle over a tidal creek they would discover a seminal architectural movement nesting in the brush. Within the brush five minds, shortly to be four, in 1963, Richard Rogers, Su Rogers, Norman and Wendy Foster and Georgie Wolton - the often elusive founding member of Team 4 who allowed the practice to exist at all, painted an architectural blen

In a quiet pocket of the Suffolk Vale, where the landscape appears much as John Constable left it in paint, a steel framed pavilion awaits to be discovered. No gate pillar, no formal drive, no façade performing for the road. A pedestrian bridge carries the visitor across to an entrance that opens quietly inward. What waits on the other side is not a house in any conventional sense. It is a decision made once, in 1974, about what it means for a building to become unassuming wi

In the wilderness of the Wiltshire landscape there is a home that contains a story of admirable honesty. A home of a singular parable. Amongst a rural ocean and a neighbourhood of ancient woodland is a saturated canvas for something that rests with modesty. A gravel path leads wanderers through shrubbery to Upper Lawn – a home affixed to the bordered walls of a country manor. What rose in the wake of a former gamekeeper’s thatched ruin in 1958 is a feeling of eternal honesty

A passing insight into why Mango Homes was formed and what it means to a company that has gently risen to steward homes of singularity.