"Stunning" Future Vision Now

Suffolk is known for big skies and artists, some in the architecture variety with blue sky vision. Innovative projects are quietly tucked away in the beautiful rolling countryside of Suffolk. Here is one of them, the Authority Head of Planning called “stunning” ..... ​​

Ness House on Kessingland Cliff over-looks the expanse of the North Sea, just seen in the background of this photograph. You would see Amsterdam on the other side.

An architecturally innovative home, of the James Bond movie variety, calm and cool on the surface, but full of brilliant tailored articulations and packed with features underneath. Arrival, begs to come with a glass of champagne, each time celebrating the cliff view naturally articulated in the architect's mind............. “It was all about a view”.

And what a view. The North Sea.

The architect Vaughan Keal has distilled the essence of this grand site around the stunning view available. Transformation it was, as the plot originally had two buildings, a tired chalet and a brick barn, which blocked the views on arrival, but a little imagination goes a long way. With his x-ray specs on, Vaughan saw beyond, to appreciate those former buildings were placed where the big space, 'ought' to be, for that sea view. “Architecture” he espoused “....relates as much to the surrounding spaces as it does to the sculptures we create. It's all about utilising the available 'place', as in place-making”. The academic language he is careful to guage “It's genius loci and the phenomenology of space”. This is where a studied mind brings in the architecture with a capital 'A'. Knowing what is appropriate to bring the magic, 'je ne suis quoi'.

The great cathedral builders understood to prepare the mind coming from the outside into a lobby porch, before transition into the great soaring naves. Articulation not just of the materials, but also the human senses of those in the spaces. And so the journey was part of the architectural conception. Approaching from the South boundary, by placing the building to the North, a large 'arrival' space is framed by the building, guiding the eye out across the sweeping views to the sea. And so, tadha! you have the raison d'etre of this grand site, hit you, immediately at the threshold. This is made all the more dramatic as the approach is a narrow winding lane, that zig-zags between various constraining high sided walls and fishermen's cottages, climbing to a summit 'peek', a rather big surprise peek it turns out. A conceived delight bolsters the impact of arrival and place, as if saying it was worth the climb. This building sits with the view and place and so starts to become architecture because it is at one with the 'place'.

Ness House sits in a commanding position.

Once imprinted in ones mind, where you are, at the top of the hill now soaring above the beach, & sea-level, a spectacular viewing position remains indelibly etched into the sub-conscious as the details come into focus. The power of that 'rush' on the senses, is like the opening scenes in the Bond movies, you need a little time to adjust back into normal viewing. ​​

The house 'is' different, like a quality meal it unravels in visuals and tastes. Wide expanses of glazed walls and huge wing-like, roof over-hangs shelter the perimeter zone of the building footprint. It turns out carefully modelled in computer programs to ascertain exactly where the shadows will be cast. This eco-design, responds to the position of the sun across winter to summer, making the best possible use of solar energy gains, unlike a conservatory, without over-heating.....there is a lot of glass wall, for those views. And so it becomes clear what the 'wings' are doing; allowing low azimuth sunlight full penetration to warm in the winter while protecting against excess heat in high azimuth summer periods.....the shadow calculated, it transpired, laying exactly at the foot of the glazing without trespass at peak energy. The clean and simple lines hide the sophisticated thinking, and it does not end there. ​​

The views were everything after-all. Sites like this have a premium due to the view, so the view demanded to be seen, as prime importance, and here Vaughan capitalised on the design focus- all internal spaces relate to the view. No matter where you are in the building you are reminded of the position with sea views. Firstly outside, while there is building flanking and framing each side of the vista, it is noticeable that glass wraps round the edges each side, so you see through it, that much more horizon, a subtle and clever arrangement.

Secondly, from inside. The naturally inviting path to front door, hugging the line of the building reaches out to you at the entrance and while the front door is seamlessly part of the great glass wall, a subtle change in geometry marks it. The path shifts direction, widens to terrace and you can discern the elevation facing South, opens, with huge panels sliding back to allow the outside in, or inside out. Crossing the entry threshold breaks into a generous scale of Living Space with double height vaulted ceiling, space weaving beyond free-flow to a lower ceiling height dining space on the left, and sleek kitchen on the right beyond. Between in front, a level change inside rises to further accommodation up & beyond.

Drinking in the doorstop scene as you move inward you are drawn to the transparency both literal and phenomenal, formerly from glass with views beyond and latterly with the spatial flow, where areas beyond perceived, are denoted through varying ceiling heights off the high vaulted prime Living Space. Coming back again into consciousness is a reinforcement of the sea view where the broad, horizontal lines replicate, and reinforce the broad lines of the horizon beyond, the meeting of sea and sky, a full 180 degrees arc East, with by now an additional 90 degrees back into the cradled garden and from where you arrived with the driveway entrance. The position you got the initial 'rush'. It seems as you move through the spaces tend to unfold, in the peripheral side vision and line of sight, always reinforcing the horizontal sweep.

We perceive the subtle spatial controls, on the journey of experiencing these spaces. Imagine waves of varying sizes as the wind manipulates water form wishing always to settle on the level, all form constrained to horizontal spread. There may be steps and changes, but always the horizon dominates. The architect illustrates by contrast, cellular rooms belong to a dated form of construction relying on the short spans with timber of 4m and masonry to counteract gravity. Here tech borrowed from industrial sectors is applied with clever self spanning steel sheets, long trays that lock together, allowing up to massive 12m spans. This is where the space formed becomes unique...without interrupting walls and so, the horizontal can be achieved. Hidden underneath is the material tech that makes the difference and reinforces the geometries to support the focus on the horizontal and the starting design reference of the sea view. Innovative tech also enables the wing like roof and large over-hangs with economy of engineering. ​​

Inside looking out is a delight, this really is an inter-play of inside outside space, one is constantly in-touch with the weather; the light, breezes, water, rain, greenspace and sea. Occasional whisps of pine trees an artful addition. The elements surround you, glazing opened up, the air has the aroma of sea, with sea sounds of gulls. Closed, it cuts out the sounds and breeze, becoming protective. But always the view, always the light, and far reaching distances to yachts, fishing-boats and great tankers become little specs offshore ferrying to Gt. Yarmouth further up the coast. There are kites (on strings) competing with local sand-martins that bury into the sandy cliffs as their neighbouring abode. You then become aware of an engine note of a dune buggy, model size, remotely controlled zipping around the shingle shoreline called the Ness, an amoebic stretch of shingle that slowly creeps along the Eastern English boarder of sandy earth and sea. The gulls dance in the thermals and winds, to the foreground of distance atmospherics of mood and tone from bright sunny days with clear skies to billowing patterns of clouds and occasional water-spouts. Those big East Anglian skies beloved by artists, figure large here framed and focused by the design of the building.

You notice the muted colours of grays and sea washed wood floors, golden reflections from sandstone flags, and the special sandy finish of the render wall finishes, all tie together. The subtly neutral kitchen cabinet tones and upholstery of the clean lined furniture co-ordinate. Registered at the entry door like a sentry, stands a reclaimed 'groin post', offering the electricals for control in a recessed, smart stainless steel plate. Salt washed clean, with rusting steels it reminds again of the coastal position without pastiche, the proportion sufficiently large to carry it off with aplomb. It could have just been washed up on the beach and re-purposed. Then the striking red/purple circular columns, a take on the Chinese red painted columns with a neat rope ring to each base. There is an eye for detail here.

The space flowing into the Dining Area is pleasant with glass blocks set into the West walls in angled frames indicating the deep walls as if ancient, but actually due to strawbale insulation. Long horizontal (again) clerestory glazing over, allowing Western sun to burst though from the sunsets, enlivening the main spaces with dancing orange tones. Also gives a release cross ventilation in excessively hot times. Two doors beyond lead to bedroom ensuites for guests, turning to the middle zone steps rise up a half level change, to master bedroom suite and a larger ensuite wrapped around a crystal light-well. The master bedroom has the highest of bedroom ceiling heights, with largest proportions and bed facing the glass wall out to sea. A further large bedroom ensuite adjacent has a similar view East, sharing a deck, stepped for privacy. ​​

The Elevations and Plan in the original design, adjusted latterly in detail after the principle was set. The client reaction to an initial sketch scheme was “I am dangerously in love with this scheme”. It was the very first design concept and though refined, changed little in principle. ​

The Plan with South to left, and East down looking over the sea. One can see how the glazed wall faces both the East views and South having formed the important external space.

Doors off the upper landing lead to cloakroom and airing cupboards, a lower door to hidden utility kitchen and back door access to the light-well and heat pump equipment. This is connected to a 'seasonal thermal store' below, in the foundations which are insulated. The idea is to use excess summer energy, shunting it to a large mass under the home. So as above ground winter temperatures drop, the building sits on a heat store. Like a whole floor heater. Heat is supplied via solar panels and to keep the air source heat pump running at higher efficiency it draws on the store during winter rather than cold air. PV solar panels top up electrics, you might say this was off-grid, were it not convenient to retain back-up and government payment tariffs. Much sophisticated underfloor heating controls, boiler, expansion valves, electronic controls, ventilation heat recovery unit and temperature monitoring systems are all tucked away. One cannot compromise the calm lines. Doors beautifully crafted with inset brass lines give a gentle nautical flavour without being crass. No portholes here! The finishing is restrained, natural good quality throughout.

Rainwater is guided to under ground storage tanks for reuse in greywater and landscape/amenity use, pressure washing cars, etc. Not after a proportion from the roof on the way down has entertained with trickling down chains that replace the normal downpipes. Water ripples, dancing in wind and sun light to spread through a splash pool base, a simple but effective feature which doubles to strap down the wing roof in strong winds. In fact the whole roof was strapped down just in case the Siberian winds whistled off the North Sea in a mood to cause trouble. The structure is unique as hinted, while using some traditional methods, straw bales insulate and the steel frame has the special self spanning steel sheet a method borrowed from the industrial sector to get those broad spans for open-plan feel and long cantilever over-hangs. Incidently these help keep the glazing clean and protected. A clever sighting line was incorporated where the public on the sea-wall, cannot see into the house, so no curtains are necessary with all the glazing. You can also sun-bath naked and won't be seen! Sometimes lights inside are turned off at night and the emphasis with external lighting is placed on the landscape. It is lovely sitting inside lights off, having the soft lighting of the landscape surrounding and lighting the inside too.

This building is often compared to the famous and now iconic C20th Stahl House, on the Hollywood Hills over-looking LA. A brilliant design by Pierre Koenig. Vaughan was fully aware if not influenced at a principles level, however, the two are quite different animals and as the client quietly said eventually visiting the American version, "I'll have mine over the other anyday". The difference climatically is telling in the detailing differences, with potentials of UK coastal climate having deleterious affect, the quality standards are stark following the owners visit. ​

Not many building designs have the firm clarity of this delight, a reinforcement of the raison d'etre, the views. One might suggest there's an anti-architecture at work here modelled as it is, around the key focus, and so calm in presence. At 250m2 it feels bigger than it is, a four bedroom house tailored to client needs. The place special, the owner's place of birth, returned after a successful career, with a retirement project and retirement home, working alongside builders and co-ordinating. There is a special bond raised here and he is justly proud of the results. You can't help but smile, it has that effect on you. The architect smiles in knowledge of the earth healers brought in at the very start of the project to balance the leys, electromagnetic energies, Hartmann Grid & more. Is he telling what 'more' means.......nope.

This is treat of a building, worth visiting to remind us of the quality of British Designers when allowed beyond the safe constraints of normal styles with an enlightened client. Here we have an undiluted pure response to a site, a very grand site indeed with a complimentary building on it. A creation greater than the sum of it's parts and confidently asserting it's 'restrained' character. Some mentioned in Planning circles it sets a precedent for new English coastal design.

If visiting, bring a bottle of champagne, a toast in recognition for all who sail in her, from present owners and those to come. They may have to wait a while. It won't be easy to part with.....

Marcus Shine

Footnotes:- ​​

During construction, laying the sandstone flags, note how the sandy finishes relate for consistency. Far right, the chain rainwater guide and holding down strap, on the significant corner.

Delivery of heavy goods via the sea wall and craned into position

Ariel view during construction.