Garden buildings are private spaces away from the house, if only by a few meters. This small separation however, fosters enthusiasm and productivity. It becomes a space for reflection, concentration and creativity, as well as a space with a sense of individuality that makes it perfect for children to have outside of the home. They are being reinvented as desirable contemporary extensions to the home. The design may modern in style, but at its heart, the principles are the same as for a traditional architectural design. It must be safe, sturdy and fit for purpose. It should integrate positively within the garden and utilise the natural resources of the sun and atmosphere so as to require a minimum of extra energy for heating and lighting.
the contemporary garden building
part 1 establishing what you want from your new space in the garden
My aim for this guide is to provide you with the information you need to create a contemporary garden building of your own, where the design decisions are reflective of your needs and requirements.
Garden Office, 2011
henry posner
forward
the contemporary garden building
In the summer of 2010, I designed and built an office in the garden of my family home. At the time I had little knowledge of construction, but I felt confident that I would be able to arrive at a design, having completed two years of training as an architecture student. The most useful skills I had learnt from my experience in architecture were principles and processes for designing - the steps I would take from a blank page to a finished building. The information in this guide consists of key issues I learnt from designing and constructing two garden buildings, from my architectural study and the experience of living with my garden office over the past two years. My aim through the writing of this guide is to aid you in the process of designing a contemporary garden building. The goal is to lay out the scope in the design possibilities so that you can choose the aspects that are most beneficial to you. Before putting pen to paper on the details of construction, the whole building can be planned out, from the furniture you would like to have, to how to position the windows to take advantage of the sunlight without letting the building overheat. These decisions may not be set in stone until your building is finished, but the final process of detailing and construction will be made quicker and more enjoyable by considering your goals and the design possibilities in advance. This is a hugely rewarding task in design, not just for an architecture student, but for anyone who needs functional space in their home. There is flexibility within the laws of planning not present for house design which allows you the scope to create a truly bespoke space. Garden buildings are gaining increasing exposure, being showcased on blogs, in publications and through competitions such as the RIBA small building awards. This is a testament to the extent to which these projects are seen as an opportunity for creativity. The possibilities for their use are as wide as that of their design. The studio my family and I built for my brother to run his printing business has since surpassed it’s initial function. It is also used as a games room, a music room, a space to have friends over and as the office in which I’ve written this guide.
the contemporary garden building
contents Introduction - what defines a contemporary garden building?
case study - garden office, 2010
What are the advantages of having a garden building? What is a contemporary design?
Chapter 1 - what will your building will be used for?
Is your building a ‘studio’ or an ‘overspill room’? Where to start? What do you want to put in it? How much space you will need? How to set about planning the internal layout Establishing a set of requirements
Our reasons for building a garden office The overall requirements and our roles during the project Furniture and zones of activity External requirements and the consequences of the building’s placement Refining the internal layout Environmental considerations
Chapter 2 - bringing the building into the garden
What are the individual issues associated with your garden? Choosing a place in the garden to put your building How can you utilise the character of your garden? How can your building integrate positively in the garden? Bringing together the internal and external requirements
Chapter 3 - bringing the garden into the building
What are the effects of climate on a garden building? What are the conditions needed for a comfortable internal environment? How can a building be designed to maintain comfort? Fixed design features to regulate the internal environment Manually-controlled systems to regulate the internal environment
Conclusion
What to do now that you have established your design specification?
the structure of this guide The three chapters are a series of questions for you to ask about what you want from your new building. Decision-making at this stage is a fluid process, and questions will often need to be revisited and decisions re-evaluated before you are comfortable in the requirements of your design. If you are stuck at a certain stage, you can return to previous chapters and move forward with fresh insight. Nonetheless, I have aimed to provide an order to the design process to help you refine rough ideas as new information is considered. The outcome will be a set of requirements for the function, position and comfort of your building to act as rules for generating the design of your building.
introduction -
the contemporary garden building
what are the advantages of having a separate building? As a space to be lived in, a garden building is unique. The opportunities afforded to you are hugely varied in comparison with other forms of development in the home.
why is this? The laws of planning require that several conditions be met in order to build under permitted development (i.e no planning needed). In comparison with houses, planning provides much fewer restrictions, generally only involving the scale and location of the building. You should have the opportunity to create an original design that is practical to your needs.
what kind of space can be achieved?
1
2
<2m from boundary
>2m from boundary
3
4
5
6
7
You can generally allow a far greater amount of light and views into the building than in another room in your home. You could create a pavilion that opens all of its walls to the garden, a sound-proofed music studio, or an office that is tailored to the specific needs of a single user.
what does this mean for the house? Being separate from the home, a garden room can free up existing rooms from uses that were not intended. Working on the kitchen table, having your childrenâ&#x20AC;&#x2122;s friends sleeping on sofas after a party or sharing the TV in your living room with games consoles is often an impractical use of space in the home. The pressure on these rooms could be relieved by an extension, but a separate space will have the advantage of greater privacy, insulation of the noise from the house, as well as a reduction in cost.
how does it compare to other forms of redevelopment? The alternatives to a garden building vary in cost, permanence to the infrastructure of the house and timescale of development. Building an extension or conservatory can be more expensive and time consuming, being more likely to require an application to planning. Re-designing an existing room or converting the loft is a cheaper alternative, but it may sacrifice useful functionality or storage space in the home. Extra functionality could be achieved outside the home, i.e. renting office space or getting a gym membership, however this may prove more expensive in the long term.
1
the advantages of a garden building
N.B. For further information on planning restrictions for small buildings see the Planning Portal section on outbuildings. Visit: http://www.planningportal.gov.uk/permission/commonprojects/outbuildings
the conditions that must be met to avoid the need for planning 1 - The building cannot be situated in front of the house. 2 - The floor area of all the buildings in the garden cannot exceed 50% of the total available land around the house (including the front garden). 3 - If the building is situated within 2m of the garden boundary the total height of the roof must not exceed 2.5m. 4, 5 - If the building is located further than 2m from the boundary, then the eaves must not exceed 2.5m. The total height in this case cannot exceed 4m for a dual pitched-roof (5) or 3m in any other case (4). 6 - There must be no raised platform or balcony. 7 - There must be no more than 1 storey.
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the contemporary garden building
what defines a traditional garden building? The traditional method of designing garden sheds and summer houses has been to create a log-cabin style building in miniature. The impression of such a building is one of quaint and cosy charm, low-cost and lightweight, ensuring that it does not draw attention away from the natural setting of the garden. The actual form and style is designed for stylistic purposes rather than out of functional requirement. The small windows look picturesque, which is more important than providing views and light to the interior. Good views and lots of comfortable living space are not neccesary, as its traditional function has either been a storage space for tools, or as a rough and ready workspace.
how does a contemporary garden building differ? The recent changes in the design of garden buildings are representative of a change in the use of these spaces. Modern buildings are still designed in a style that speaks of a natural setting, in most cases that of a scandinavian cedar-clad cabin however, the larger windows, internal finishes and improved quality of construction all suggest that these are spaces to be lived in much like any other room in the home. These buildings have become prominent in the garden rather than shying away like a shed might. They are designed to not only take full advantage of the surrounding environment and views but to be seen and acknowledged as a part of the home.
man-made
nature
why is a natural style important?
Any addition to a garden should aim to compliment the unique character of its outdoor setting. A garden has always been a natural environment to balance the man-made construction of a house. The scale of a garden building is small, inbetween the size of a shed and a house. Rather than being heavy in feel to provide the security and permanence of the home, it should seek to separate itself both physically and stylistically. Whilst still a man-made object, it must appear to be part of its organic setting. This may not mean that it is simply made of wood, but that its whole design makes a concession to its setting, changing and weathering over time. This might involve any part of the design, from placing a window to take advantage of the sunpath, adapting the shape of the building to retain a tree, or by choosing a roof construction that collects water for the plants.
lightweight design for garden buildings Lightweight design is not only a stylistic decision to make the building appear more suited to its natural setting, it is also reflective of the more temporary use of the space. A garden building is not a permanent investment in altering the infrastructure of the home in the same way as an extension. It is more suited to providing a benefit for the family that lives there and their needs in the present. The building may still last thirty or fourty years, but that is still less than the same structure if built of brick.
a shed - often hidden away
3
a contemporary garden building
the advantages of a garden building
The advantage of a lightweight construction of timber is not that it will last longer than a brick house, but that it is simple to build, affordable and attractive.
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chapter 1 -
the contemporary garden building
what will your building will be used for? At the beginning, when the final outcome is unknown, the best approach is to ask yourself a number of questions, and establish some definate answers as soon as possible. This section is concerned with how to begin in the task of planning a functional internal layout. It will aim to guide you in establishing what you want to achieve from your building, ultimately arriving at a set of requirements and guidelines for the use of the space that will drive the design throughout the project.
a studio providing a dedicated space for an activity that away from the shared functions of the house
studio room
garden studio
two different types of space I have given names to two catagories at either end of the spectrum of uses for contemporary garden buildings. In most cases a well-considered functional layout will conform to one type over the other. The first question you should ask yourself is which of these you want your building to be?
a studio
an overspill room
A studio is a room that is dedicated to accommodating a particular function. Other complimentary uses may exist but they cannot detract from the focus of the main activity. This room will most likely be a space to work, where efficiency and concentration are required. It will normally be unsuitable in the house for this reason, as the everyday workings of the home can be distracting.
combining the activities of many of the rooms in the home
an overspill room This type of garden room is more flexible to a variety of functions. Extra space may be needed in the home to allow children to play, entertain friends and make a lot of mess and noise. It may be a room for the whole family to relax and watch films, play games, or simply enjoy a better view of the garden.
5
what will your building will be used for?
garden room
6
the contemporary garden building
designing the building from the inside, out How you would like to use your studio, or overspill room is the most important first decision to make about the space. This question is a consideration of what will occur inside the building, and what furniture or equipment you will need. An estimation of the required size for the room will result from this investigation and will enable you to plan the budget and the position of the building in the garden.
activity
design possibilities
working
Locate the desk or work bench near to a window to give a pleasant view and natural light Strong directional lighting above a work area to provide good visibility at all times and in all conditions
The best way to set about the task of deciding what you want from the building is to list the activities that you want to accommodate. You can then consider the environment for this activity as you would like it to be. Think about how you work at your office, or your current work set-up in a room of the house. Ask what you like about that layout or maybe what you would change. Does your ideal studio contain a large window with a view of the house? Or a more private desk area looking out over the garden? Is there a window above your desk? Or at right angles to it, to avoid being distracted by the view?
Locating a window with a view of the house so that you can see what is happening inside Shelves and drawers near to the work area for books, files and stationary Cables for internet and telephone located near to work area and possibly hidden in the wall to keep the room uncluttered
entertaining Insulating the walls to prevent loud noises from TV, console games, and relaxing musical instruments or indoor sports/gym equipment Washable flooring for muddy shoes
Does your new gym contain equipment for one type of excersize? or a variety of machines, mats and space to even play snooker or tabletennis? How will this affect the requirement for flexibility and storage of equipment? The more you ask yourself about what you want from the space at this stage, the more it will help later during the final form design and drawing up the budget. Everyone who will use the space should have an input, and if you have children, consider how their use of the space may change as they get older. Document this information in the form of mind maps, spider diagrams or lists. It should be organised so that it can be revisited and refined. The table on the right shows a few examples of how considering an activity can influence early decisions about the requirements for the design.
Washable surfaces for drinks / food spills Sofa-bed for childrenâ&#x20AC;&#x2122;s friends to stay after parties and therefore blinds or curtains for privacy Enough space for extra seating to be brought in. Larger items of furniture not fixed or built in to walls to provide flexibility
media
Wall-mounted TV on a rotating arm to enable viewing from sofa or desk area Controllable lighting and good placement of windows to avoid glare Greater expense for locks on doors and windows to ensure security of expensive equipment
don't limit yourself by designing too early Your initial goals for the space should be decisions about the functionality as opposed to the form and aesthetics. Trying to decide on a form too early can limit your choices for the internal layout and what you can put in the space.
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what will your building will be used for?
8
the contemporary garden building
how can you start to plan the interior layout? When you have developed a clearer idea about what you intend to happen in the building, you can begin to consider the amount of space you will need. You can actually start to design the internal layout of the building at this stage simply by deciding on items of furniture you require and then placing them on the page as sketches or cut-outs. The examples on the right are items of furniture that have been grouped into categories. Some are grouped by size, others by their type of fixing. Large items such as sofas or desks should generally be given first priority when planning the room layout. It will be difficult to move these around in a small space and it is important therefore, to design the building around their ideal position (a technique I will discuss further in the coming pages). Small items are fairly unobtrusive, although it is important to still consider how each of them will affect the overall layout. Wall-mounted items are useful as they take up little space, a flatscreen TV or fixed radiator can provide a greater space-benefit than those that are on the floor, or a stand.
large items furniture
of
large moveable or storable items
Storage is key to the successful planning of a small space. Flexible items of furniture such as sofa-beds or equipment that can fold up (shown in the box on the right) are ideal. Where possible, devote whole areas of the plan specifically to storage of small items, i.e. recesses and large shelves. small items
considering the requirements for pieces furniture
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equipment
effect on building design
gym equipment
stronger floor structure + washable surfaces
musical instruments
high level of sound insultation
TV
aim to reduce the potential for glare
sofa / sofa-bed
require greater privacy
desk
good level of lighting
office / studio equipment
large provision for circulation space
art materials
good control of heating + ventilation
electrical equipment
good ventilation to remove heat generated
what will your building will be used for?
wall-mounted
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the contemporary garden building
how much space will you require for a single activity? Arranging items of furniture on a page will give you a good idea of the scale of the space that you require. It is important to establish a likely area of the internal space early on so that it can influence your decision-making about the budget and the building’s position in the garden. For any item of furniture, it’s spatial requirements extend beyond it’s dimensions to include further space around or adjacent to it. I have labelled this ‘movement space’ and it is a useful consideration when planning the layout of furniture. The distance that you pull back a chair when sitting down at a desk, the height that you can reach to a shelf, and the distance from your sofa to the TV all constitute your personal anthropometric data - or the amount of space you need to be comfortable.
activity zone movement space
The best way to determine the dimensions of space you need is to measure the way you already use your furniture at home, or at work. The diagrams on the right illustrate ‘activity space’ represented as a zone containing both the item of furniture and the required movement space. Sketch these out to scale for each single activity, whether working, watching tv or even entering the room.
arranging multiple items of furniture for one activity
desk
filing
shelves
In some instances, an activity may require multiple items of furniture. The diagram on the right shows how a few different items can be brought together to create a larger zone of activity. Movement is shared or overlapped as the extra items of furniture may only be used one at a time. This will be more efficient than by keeping them apart.
planned activity space
achieving a comfortable layout It is important to be generous with movement space in the layout. The overprovision of empty floor space will help to avoid the room feeling cramped. It will also allow for the room to accommodate extra people during parties, or for the growth of your family in the future.
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what will your building will be used for?
12
the contemporary garden building
arranging multiple activities in the layout of the building A garden studio (i.e a room dedicated to a single function) may contain only a one or two items of furniture for its use, especially if the room is intended for only a single user. The plan can therefore be designed to accommodate this single zone of activity, often resulting in a small functional space. Alternatively a larger studio or an overspill dwelling (often built to accommodate a greater number of users) may require furniture for a number of different functions. The size of the building and arrangement of space should reflect this requirement.
layout - unoccupied Circulation space in the centre of the room. The amount of empty space appears generous for the size of room.
Arranging the layout at this early stage is important, as it will give you a greater insight into the scale and use of the space however, there must still be an allowance for flexibility in the arrangement. It can be restrictive to become too attached to a particular layout before the issues of building location and form are considered in greater detail.
circulation space Internal circulation is an extension of the idea of movement space as discussed on the previous page. It is a larger shared area leading from the entrance into the room, in which all the movement for multiple activities will take place. The most efficient layout of a small room will generally involve placing the furniture around the outside of the walls to leave space in the centre. Certain items of furniture may utilise much of this space at certain times, for example in the case of a sofa-bed, however it is advisable to keep the area free and uncluttered for the majority of the time.
layout - occupied With multiple occupants, or when furniture such as the sofa-bed is being used, this generous space is taken up and without it, it may have felt cramped. Dotted areas show individual activity spaces
The diagrams on the right illustrate the idea of circulation space, and show the difference in the amount of space that is used when the building is being occupied.
the entrance to the room It is useful to provide a large amount of circulation space on both sides of the building entrance. This will give the room a feeling of openness and freedom of movement.
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what will your building will be used for?
14
the contemporary garden building
what are your individual requirements of the space? Before moving forward to consider the realities of the garden site and environment, it is important to reassess and organise the concepts you have thought about so far. Aim to write a definitive set of requirements for what you want from the space as a few short sentances or even keywords. It is likely that these will remain un-changed throughout the design process, as the decisions at later stages will not aim to readdress your key principles for the use of the space.
key requirement
potential design solution
consistant light - no glare, Ensure that where glazing is used, sunlight will not stark shadow strike work surfaces directly. Artificial light sources must be of a high quality and a mixture of directional and ambient light clean working environment
Washable walls, surfaces and furniture Some work surfaces can be removable / replaceable for ease of use
The table on the right shows key requirements listed as short statements, as well as potential ways that the design can address them. The example used is a possible set of conditions for an artistâ&#x20AC;&#x2122;s studio. safe working atmosphere
Separation of wet and dry working areas of the room Good provision for rapid ventilation as well as constant low-level ventilation even when the building is unoccupied Extract ventilation for use of solvents or aerosol paints Secure storage areas for hazardous materials
Durable work and floor surfaces Working areas sheltered from view of the house or from neighbouring houses good storage for materials Dedicated storage space for materials, equipment and finished work privacy
Storage should be in well insulated areas to ensure there is no warping or drying out, and away from direct sunlight to avoid discolouration provision of relaxation Include a day-bed in a separate area of the plan, to space allow for relaxation whilst still in the studio space to review work in Ensure working area is given priority in the plan, progress with the longest room dimension behind to allow artist to stand back and view work.
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what will your building will be used for?
16
chapter 2 -
the contemporary garden building
bringing the building into the garden Having established a solid idea of the functionality of your building in the previous section, you will now want to consider how and where the building can to fit into the garden.
small scale plan
The aim for your building is not to create a template for a form that could be placed anywhere and in any garden, but a design that is an extension of your garden and it’s character.
• end plot - garden not visible by houses over the road
• road noise
• end plot - greater security risk
Your home and garden will be individual to the project in the same way that your functional requirements (established in the previous chapter) are individual to you. It is your opportunity to utilise the resources that exist to the maximum, and as such, to create a building that fits well in your garden.
mapping out your garden The best way to start to think about your site is to create your own map of your garden. This can be done to scale by measurement or by tracing over satellite images printed from Google Earth or Bing. Features can be drawn over, or placed on top by making card models of the house, boundary and trees in three dimensions. It is vital to not only map out your garden, but also the positions of neighbouring houses and their garden’s trees and walls (one reason why looking at satellite images can be so useful) This will then enable you to map privacy and the movement of the sun in greater detail. Once this is done you can more easily list all of the issues, both positive and negative about your site, and how it is affected by the surrounding micro-climate and microlandscape. The example on the right shows a possible garden layout and the issues associated with it.
write down everything you know about your garden Consider the sunlight, shade, privacy, security, the best views, entrances, prevailing wind direction, the features you want to keep and those you would be happy to lose. how you use your garden and any new functionality you might want. Label these with arrows, hatched areas or points.
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bringing the building into the garden
large scale plan • large amount of covering vegetation hides this area • no covering vegetation behind boundary - garden will be visible if tree is removed • evening light in this part of garden • favourite tree • you may want to keep as much of the lawn as possible • views into the garden
• everyday entrance to garden • summer entrance • what is the view of the garden from the first floor? • what are the privacy issues due to views from neighbouring properties? (consider at both large and small scale)
N
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the contemporary garden building
how will assessing the site help at this stage? When choosing a location for the building, you need to determine whether the size and layout of the garden will allow you to acheive the requirements you set out in the previous section. This should be possible even for small gardens but it is important to assess whether the full size of the space that you want may compromise the gardenâ&#x20AC;&#x2122;s existing character.
1
2
3
b
A new addition such as a garden building can become overpowering in itâ&#x20AC;&#x2122;s site if it is disproportionatly large or prominent. The dimensions of the garden are an essential first consideration when deciding on the general location. Using the information from planning the interior of the building as a guide, map out areas of the garden over the drawing you made and then test these dimensions directly in the garden by using string to lay out the floor area and bamboo canes or poles for height.
choosing a space in the garden
a
The drawings on the right depict the process of determining your preferred options for the site of the building. They are drawn in top-down view and follow on from the example garden shown on the previous page. The left diagram shows all viable locations for a new building shown as hatched areas. I have highlighted two regions (a) that could be initially discarded as they would be unsuitable under the conditions of permitted development, therefore requiring planning permission (this may not be an issue as having to get planning permission need not always deter you from creating a garden building). The middle diagram discards a further two locations (b) on the basis that they are close to the house and would block the view of much of the garden from the house. The final drawing shows the revised possible locations (1,2,3) loosely positioned within a single zone. It is useful to only loosely define the boundaries for where the building might go and have more than one option at this stage. They can each be developed and assessed for their suitability as further aspects of the site and the environment are considered.
further information on planning It is always advisable to double-check with your local authority whether any works will require planning. It is best to contact them now that you have a clearer idea of the likely size and position of your garden building and can therefore give a greater insight into the scale of the work you are proposing. A separate department within council planning is Building Control, who advise on the ability of a structure to conform to building regulations. It is useful to ask whether your local authority require an application submission to be sent in, although this process is much more rapid than planning. Whilst sheds and even most garden buildings will not require this submission, it is always worth considering the benefit an certificate of approval can have, especially when coming to sell a property. Information about Building Control and Planning can be found on your Local Authority website or at their offices.
19 bringing the building into the garden
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the contemporary garden building
how can the features of your garden be utilised? Every garden is different - the height of the boundary walls, position of the lawn and flowerbeds, the level of the ground, the types and sizes of trees are all features that are unique to your site. How you choose to utilise these features will determine how your building will integrate in the garden. Depending on the size of the building that you want, you may have to remove a small tree or an area of lawn in order to accommodate the building in the garden. Removing a large tree may sacrifice some of the exisisting shelter and character of your garden so you may want to consider re-planting or introducing new features in and around the form. Successful problem-solving is a really rewarding part of the design process, and achieving a final form that balances the requirements for internal space without having to compromise the garden is well worth the effort. On an aesthetic level, placing a building next to vegetation in the garden will enliven large blank faces in the cladding, provide a pleasant play of light through windows and reinforce the natural feeling that a garden building represents. Evergreen planting will ensure that this effect is kept all year round. It is important to still consider the difficulties of placing the building too close to trees or boundary walls, this can lead to a requirement for planning permission or difficulties relating to the timescale of construction.
backdrop of tall trees and hedges
Building next to large trees or features such as high hedges and walls will reduce the perceived size of the building. It can also shelter the building from sunlight and prevailing wind.
backdrop of small trees and bushes
The building will be more exposed in the garden - avoid using features such as trellises or climbing plants to â&#x20AC;&#x2DC;softenâ&#x20AC;&#x2122; the form, instead make a feature of the position by using lots of glazing to allow in sunlight and make the building feel open.
alternative
Placing the building next to or behind existing vegetation is a good way of softening the form naturally, and will create a pleasant juxtaposition of organic and built forms.
regulating sunlight
Deciduous plants can be used to shade in summer, when it is beneficial to reduce heat. The plants will lose their leaves in winter when the temperature is lowest, allowing sun in to naturally heat the building.
techniques for sketching the placement in more detail Measure the relevant distances (space between trees or from boundries) and heights for the most important garden features, this information will give you an understanding of the available space in more detail. Features that you intend to remove or those that you want to re-plant can be altered on your plan of the garden and the building layout can be sketched over to test possibilities. Donâ&#x20AC;&#x2122;t attempt to refine the form at this stage, but instead plot shapes that utilize space well, gaps between trees or sheltered areas at the back of the garden. I always find that I am inspired by looking at space and trying to work out how a shape might fit in. This can be a useful way of arriving at a design for the form.
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bringing the building into the garden
22
the contemporary garden building
how will the new building integrate with the garden? Placing a new structure into the garden will have a strong visual impact in the space. The building will often become the focal point as a man-made object in nature. You may want to reduce this contrast or embrace it through the design of your new building. A single volume such as a cube or pitched-roof will tend to define the building as a stand-alone object. Depending on the site and design this could appear confident and well defined, or overbearing in the garden. For the garden buildings I designed, I used areas of decking with the aim of softening the impact of the form. Where the building wall meets the ground, a direct line can be a stark contrast. By building decking up to this junction, the contrast between vertical cladding and horizontal land is reduced. The decking forms a new area to relax and enjoy the garden, integrating the internal function of the building with the external environment of itâ&#x20AC;&#x2122;s site. This effect will be reinforced by placing a window to look out over the decking and a door to open onto it, providing a visual and physical link between the two spaces. The examples on the right show a few potential designs for decked areas, each depicting a different position and relationship with the building.
building decking
Listed clockwise from top left Open and facing the garden // facing the garden from one side // bordered on three sides // bordered on all sides // a narrow step that wraps around the building // a step weighted to one side // facing the garden with the building adjacent to it // enclosed on all sides and mostly hidden.
the threshold between the building and the garden A well designed threshold between the exterior space of the garden and interior of the building will tie the form to itâ&#x20AC;&#x2122;s location. It will give greater definition to the route and entrance to the building,. In the example shown on the right, the design uses an area of decking to form a step, which in turn leads to a defined porch cut into the volume of the building. The aim is to soften the boundary between house, garden and building to make the new object more integrated in the home.
23 bringing the building into the garden
The building has been placed back from the rear wall so that a space can be left enclosed on three sides and decked. It is hidden from direct view from the house and can be considered a private external space for the garden room.
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the contemporary garden building
bringing together the internal and external requirements At this stage, it is helpful to determine whether the chosen spaces in the garden are able to meet the internal requirements from chapter 1. Revisit your requirements for daylight, privacy, views, internal space and storage and sketch out the possibilities for these issues over each of your chosen locations for the building (discussed on page 12).
quick sketch to test the layout window
Re-assess the layout of the furniture. Decide which views you would like to let in through glazing, and which areas you would like to be visible from the house (i.e. a window facing a desk so that you can glance up at whats happening in the house whilst working). Identify walls that can remain blank and without windows in the plan (i.e. behind a TV or in areas of storage). Arrange these walls to back onto the garden boundary or a high hedge where sunlight and views are already blocked. Sketch multiple ideas simply and quickly without too much detail. You can scan and print off four or five versions of your garden plan including the dimensions, trees and features and then draw over the top. Try this excersize for the two or three different choices for building placement. You will be able to quickly assess which of these options is more suitable for what you need, and testing more than one may generate ideas for how to arrange the space that you may not have previously considered. Testing the layout at this stage will give you a greater insight into the final form as it could best fit in the garden, although it will not yet be set in stone. Donâ&#x20AC;&#x2122;t be afraid to break away from a rectangular or square layout. If there are areas that should be pulled out to create more space, or pushed in where less is needed, you may end up creating a more efficient layout, as well ideas for a more pleasing and dynamic building form.
best view
decking
house
route to/from house
planning the route to the building A defined route to the garden building is important when you wish to create a visual connection between the garden room and the house. Depending on the impression for the space you are aiming to acheive you may wish to create a strong line, loose or none. A more defined path will strengthen the perception that the building is a part of the house, a loose path suggests that it is a separate entity. In the example on the right the path is dotted rather than filled. It creates a visual link without becoming a dominant part of the garden. In this way it is reflective of the overall design for the building. A balance of man-made building and organic garden.
25 bringing the building into the garden
26
chapter 3 -
the contemporary garden building
bringing the environment into the building
A contemporary garden building is a usable space like that of your home and should be designed with the principles of environment and climate in mind. If these effects are considered during the planning of the design, then there will be lasting benifits in energy cost throughout the lifespan of the building. A garden building, which unlike a house is a comparatively small and lightweight structure requires less demand in energy for heating and cooling. The effects of sunlight and ventilation are therefore much more pronounced.
house -
garden building -
It is important to regulate the environment in your building, not just to create a comfortable living space, but also to ensure a long-lasting and sustainable design. Excessive heating and cooling can damage the building itself, cracking the plaster, joints or causing damage to electrical equipment. Problems can be mitigated by a well-designed layout of windows, use of insulation and means of natural ventilation.
Floor plan: Volume:
what are the effects of the climate on a building?
heat transfer in garden buildings
The most direct effects of the climate on any building centre around the heating and cooling of the building’s internal environment. Changes will occur as a result of:
The large surface area to volume ratio of a garden building in comparison with a house will mean that heat transfer will occur much more rapidly. This property is useful when you wish to heat the building for immediate use in mornings or in winter, as well as for rapid removal of heat during summer. It can be problematic however, when you are trying to retain heat in the building, which can be lost very quickly through a poorly fitted door or window. This is especially important when trying to maintain a comfortable environment for use into the night.
• Heating or cooling due to daily or seasonal changes in the external air temperature. • Heating due to energy gains from direct sunlight. • Cooling due to heat loss from the building’s materials. The humidity and air quality of a building’s environment is an indirect effect of climate. Changes can caused by:
• Natural fluctuations in relative humidity due to seasons, or differences in internal and external air quality due to building occupancy.
• Unwanted ingress of damp due to poor building construction.
140 m2 450 m3
Floor plan: Volume:
12 m2 30 m3
surface area to volume ratio 0.75 : 1
2:1
Insulation can be effective in maintaining an even temperature. Enough of it in walls, the roof and the floor will ensure that the building will remain cool during the day in summer as well as being stored for night-time use in winter.
daily and seasonal fluctuations Day: Climate conditions throughout the day are characterised by large fluctuations in temperature and the angle of the sun. Season: annual changes in air temperature and sun angle are slower, but it is important to account for extremes during the heights of Summer and Winter.
27 bringing the environment into the building
28
the contemporary garden building
what are the conditions for required for comfort? There are standards for thermal comfort and health that architects and building designers aim to meet for all new buildings. Whilst it isn’t a requirement that a garden building meets these standards, it is useful to keep them in mind as guidelines for basic levels of comfort. The recommended ranges regarding internal air temperature (21 - 24 oC), humidity (30 - 50 %) and various levels for lighting are all acheivable through simple design systems. Whilst it is possible to achieve these ranges through natural lighting alone, it is likely that you will need some artificial lighting and a small electric heater (100 Watts / m2 of floor area) for use at night, in mornings and for a few months in winter. In most cases a balance of natural and artificial systems is the best way of minimising energy cost. Electric heating can quickly raise the air temperature in buildings with a small volume however, overall thermal comfort also requires the internal surfaces to be comfortable to touch. This can be achieved through sustained periods of heating and storage of heat in insulation. It is preferable to choose furniture with ‘warmer’ surfaces, i.e. a wooden desk over a glass or metal. Insulation for the building need be no thicker than 100mm, which is ideal for keeping the wall thickness to a minimum (and therefore maximising usable internal space). In most cases this will be enough to ensure that even a large garden building can be comfortable throughout the day and early into the night, heated in the main by energy from sunlight. Humidity is less immediately perceptible, however it’s negative effects are wellestablished. Damp and condensation can lead to mould, whilst dryness, which is especially noticeable in winter can cause material shrinkage and cracking, dry skin, and susceptibility to illness. Issues can be prevented through the use of natural ventilation from opening windows and trickle vents, as well as a good overall quality in building construction and damp-proofing. An important condition for perceived comfort is the provision of systems of user-control. There is a psychological benefit to being able to affect your environment i.e. by having the ability to open windows to quickly refresh the air, or close a blind to stop glare. The scope of garden buildings is that they are an addition of space that you require, and should be adaptive to your needs.
too much
too little
heat
overheating through glazing
heat loss due to position of glazing or poor construction
light
glare from low angle sunlight
poor light through small window
humidity
damp due to high humidity
dry air due to poor ventilation
The diagrams above illustrate the ways in which a building can become uncomfortable as a result of the effects of the environment. It is important to provide ways of protecting against the problems of too little or to much of any condition. Solar control and ventilation are the principle ways of achieving a balanced and comfortable environment, with heat, light and humidity being the conditions to regulate.
29 bringing the environment into the building
30
the contemporary garden building
how can you maintain a comfortable environment? In order to ensure that your building is habitable and comfortable to use throughout the year, systems must be in place to regulate the internal environment. The building must be able to do this at times when it is not being used to ensure that it can be left unoccupied without fear of damage to it or the equipment inside. When the building is used again, it should already be broadly within the range of comfort so that it can quickly be fine-tuned to individual requirements.
orientation
All future design decisions involving form and construction should be considered by how they will affect this balance. for example, the addition of a window on the south elevation during the design process may vastly increase the likelihood of overheating during the summer, thus requiring a consideration of how to increase ventilation through aperatures or solar control through screening systems.
fundamental design features relating to climate The building’s orientation, apertures and materials will control the direction, amount and storage of sun energy respectively.
apertures
The building’s orientation relates explicitly to the path of the sun throughout the day. Depending on the angle of the building and the area that is exposed to sunlight and, a building may receive light at different times of the day.
• East-facing will capture morning light, useful for heating the building quickly. • South-facing will allow the strongest sunlight in. • West-facing will allow evening light, providing a warm feel for entertaining during the summer.
• North-facing light is constant throughout the day as direct sunlight does not enter. Apertures (windows, doors or vents) are the points of entry for sunlight, views, air flow and humidity, and can also control the removal of air from the building.
materials
The materials used for construction will not only ensure that the building is weathertight, but will also slow the gains and losses of heat between the building and it’s surroundings. Investment in quality of construction and insulation will serve to reduce costs in heating and lighting throughout the lifespan of the building.
31
bringing the environment into the building
32
the contemporary garden building
building features designed to mitigate climate extremes The form of the building must be able to react to changes in the climate throughout the year. Daily and seasonal variations are fixed cycles, in that they are both characterised by the regular movements of the sun and itâ&#x20AC;&#x2122;s subsequent effects on temperature. In summer, the sun climbs higher, and heats for longer, whereas in winter, the heating period is short, and the angle of the sun remains low throughout the day. After the period of heating, insulation can store heat into the night, releasing it slowly, wheras a building with large amounts of single glazing, low levels of wall insulation or inadequate measures for draught-proofing will lose this heat more rapidly quickly reverting to the outside temperature.
summer - sun travels higher
winter - sun remains low
day - heat stored in insulation
night - building slowly cools
Despite the sun not always shining, the building must still provide safeguards against overheating when it does shine; a building can even overheat in winter.
fixed systems for solar shading In summer it is important to minimise the amount of high sun that enters through strategic location of glazing or features such as louvers or an overhang (shown right). The same features that blocked high sun in summer can allow low sun to heat in winter, when it is most needed to heat the building. You can design the length of the overhang or the angle and spacing of the louvers based on the amount of glazing you are trying to shade. Shading systems are generally most effective where a large, exposed (to the sun - from the south or from above) view is desired, and when over-heating must be avoided. Louvers or overhangs are not always required, changing the orientation of glazing or utilising lightweight controls (shown on next page) might be more suitable. There are positives and negatives with any option and it is about finding out which one will provide the greatest practical and aesthetic benefit for your building and itâ&#x20AC;&#x2122;s site.
overhanging roof
external louvers
33 bringing the environment into the building
34
the contemporary garden building
manual systems for climate control Flexible user-controlled systems work in conjunction with the building fabric and its environmental design systems by allowing you to fine-tune the climate to your needs. Being able to directly affect the internal space contributes to a feeling of comfort. Whilst permanent features for shading or insulation are generally heavyweight and in-built, manual controls are often lightweight, flexible and replaceable. Ventilation encompasses a variety of potential ways to allow air into the building. It could be a single openable window or a openable trickle vent in the window casing that allows a constant flow of air across the buildingâ&#x20AC;&#x2122;s skin. For garden buildings, a small window and a door is more than enough to provide a rapid flow of air to remove heat or refresh the air inside the building. You will need to consider which ventilation system is best to avoid problems with security, restriction of movement and insects. Placing a window near to equipment that produces a lot of heat will be effective in reducing over-heating in summer.
rapid ventilation
internal solar shading
Internal shading will ommit glare and provide greater privacy. It is particularly effective in mornings and evenings when the sun is low and when it is used in parallel with fixed external systems such as overhangs and louvers. It should not be used solely as a control against overheating for large amounts of glazing. Internal blinds and screens are much less effective in reducing heat gains than external shading as air on the inside of the building is still being heated. Additional heating, lighting and ventilation is useful at certain times of the day and year. Where possible, systems can be thermostatically controlled or on a timer to avoid unnecessary energy consumption. These systems can draw power from the mains or from a separate power source such as solar panels. The requirement for these systems will depend on the size of your building, the conditions of climate and the function of the space.
controllable heating, lighting and ventilation
A garden building is a small space in comparison with a house. Sophisticated heating or air conditioning systems would be uneccesary in most situations however, it is likely that one or several of the simple controls mentioned above will still need to be provided. It is useful to consider during the design phase which are definitely required and whether others could be added later. It is then important to be flexible in planning for potential future need. For example fitting windows to finish 100mm below the ceiling to allow for a blind to be installed, or choosing an opening window for a bit of extra summer ventilation.
35 bringing the environment into the building
36
conclusion -
the contemporary garden building
moving forward to design & construction With a clearer idea of the possibilities for your building, you should be in a good position to focus on the practicalities of form and construction. All decisions relating to the use of the space, the location of the building in the garden and the way that the internal environment will be managed should now be developed in enough detail to begin to finalise what your building will look like, the external materials and internal finishes you want.
location plan
The task of bringing all of these elements into a working building form is tied into the initial planning of the space. It is essential to make sure that none of the new decisions compromise the key requirements you established through creating your design brief. It is often easy to overlook the effects that changes to the form can have and it is useful therefore, to have a clear idea of your design requirements beforehand. For me, the requirements took the form of a set of lists and drawings. I dug them out as references for myself when creating the content in this guide. The drawings on the right are examples of plans that can be done to realise the design brief for building location or furniture layout, albeit in a much more stylised way than my hand drawn sketches at this stage. This information is still at the same level of detail, showing the walls and windows as lines and hatches, positions of furniture and surrounding garden features. I would recommend strongly that you get the ideas down in any way that you feel comfortable, whether as plans, sketches or models made of cardboard (which are often be the most useful way of imagining your design, even if they do take a while!).
furniture plan
In moving forward there are two ways that you can go about completing the design and getting the project underway. You can choose the create the details yourself, researching the specifics of construction, or you can employ a builder/designer to do it to your completed specification. In each case the creation of a comprehensive design plan will stand you in good stead, acting as a brief to outline the requirements and constraints for the final form.
37 moving forward to design & construction
38
the contemporary garden building
case study garden office, windsor, 2010
case study -
the contemporary garden building
garden office 2010, windsor From July until October of 2010, I designed and built (with the help of my family) an office in the back of my garden. My brother, who was the client, needed a space to run his business, which at the time was done from the spare room of our house. His work, printing personalied items of clothing required machinery, storage of stock and workspace for a range of processes.
dedicated studio space The guest room of the house was unsustainable as an office. A garden studio building was chosen as a solution.
office
As well as this room, he was using other areas of the house to store new stock or equipment, and his bedroom for some office work. This set-up was often difficult to manage when relatives would come to stay, or when extra storage space might be needed in the home. He would also want to work late into the night before a deadline, which could disturb other people in the house who were trying to sleep.
garden studio
reasons to build We decided that a garden building would be a manageable and low-cost alternative to an extension or loft conversion. It would have to provide my brother with a dedicated workspace to work, containing all of his machinery and stock and also allow him to work for long periods without creating noise in the house.
before
after
small shed in back corner
garden office in space where the shed once stood
We looked at a number of options for how to arrive at a building before we began. These included flat-pack systems, off-the-shelf models, large sheds that could be insulated and bespoke designs showcased online or in magazines. There were several disadvantages with these options. The difficulty in placing a building comfortably in our small garden was a primary concern, and we quickly realised that if we wanted to find a design that worked, the simplest solution would be to design it ourselves. The idea of having creative license was especially exciting for me as I was training to become an architect. My family also recognised this, which factored strongly in the decision to design + build ourselves. This process proved however, to be hugely rewarding for everyone involved, providing the family with a valuable and functional addition to our home and garden.
41
case study 1 - garden office, 2010, windsor
42
the contemporary garden building
establishing overall requirements + defining our roles The creative process began by establishing a set of requirements, or a brief for what we wanted to achieve from the building. The client was mainly focussed on issues of internal space, functionality and how the building would adapt to his needs. He required:
• •
• •
A larger workspace than the one he already used in the home. An internal layout providing two workstations, room to comfortably operate machinery and storage space for stock items. Space for a TV, a sofa and a mini-fridge. The space should be comfortable to work all year round, as well as at night.
General design issues at this stage involved scale, budget, timespan and material construction:
•
•
• •
•
•
Ensuring that the building would not impact negatively on the garden’s perceived size or character. Ensuring that there would be no new issues of privacy as a result of construction, either into the house (through changes to the garden) or into the building itself. Be designed and constructed by the end of September (3 months). It must therefore be built under the conditions of permitted development, i.e. without the need for an application to local planning which can take several months and would have sent us over for build time. Be of sufficiently simple in it’s method of construction to be completed in by ourselves using basic tools and DIY skills. Have a budget for construction of £3000 (the fees for the electrician and plasterer brought the final project cost to £5000).
project manager
mum
Budget, building location, timespan of project, material sourcing
designer construction
dad
Materials + build time
client brother Spatial requirements + functionality
me
The design should aim to balance all the goals
the advantages of assigning roles Splitting up the project into different roles enabled each member of the family to focus on the aspect that was most important or relevant to their individual agenda and skill set. The client had a different set of requirements from the homeowner and the designer. The process of planning the design was sped up by assigning tasks and allowing each person to take on different responsibilities. Although this is by no means the only way of achieving a successful end result, it ties in with the successful model for a construction project in the industry. If you choose to design yourself, I would recommend sharing responsibilities between the different clients or skillsets as much as possible to ensure a balance in the voices of people who will use the building.
43 case study 1 - garden office, 2010, windsor
44
the contemporary garden building
activity and furniture in the space The clientâ&#x20AC;&#x2122;s list for furniture that he would need was the logical starting point when planning the space as it enabled me to test the possibilities for size and scale. We discussed the amount of space he might require for worktops, the number of seats for the sofa and the volume of space needed to store stock. We researched suitable pieces of furniture from retailers which I could then draw out to scale in top-down view.
The largest items of furniture were the strongest influence on the overall layout due to their inflexibility in a small space.
large items
Arranging these items in a drawing first aided the decisions in where to place windows, lighting and the entrance to the room.
Catagorising the items of furniture into their function (shown below) helped when starting to plan possible permutations of size and layout. In the final design, the grouped items of furntiture mostly remained in close proximity as this made for a more efficient use of space.
desk work area
storage These were a consideration that was unique to the clientâ&#x20AC;&#x2122;s needs. The design allowed for a lot of space in front of the equipment to ensure ease of operation. A major requirement was also how to remove heat from these, and this factored into the placement of windows.
tv
equipment area
45 case study 1 - garden office, 2010, windsor
Maximising the amount of shelving and furniture on the wall was really important in providing functionality in the small plan.
Despite their increased flexibility in comparison with larger items, I made sure to still include these in the plan of the layout as I did not want them to be ignored only to then become a problem later.
machinery
wall-mounted + shelving
small items
46
the contemporary garden building
considering the consequences of where to place the building Before deciding upon specific details of the shape and internal layout, I first aimed to consider the overall placement of the building in the garden. Its rough position could be affected by issues and circumstances over large distances as well as small. The positions of surrounding houses meant that by removing any trees or bushes at the rear of our garden, our house could be exposed to views from neighbours. I made it a requirement that as little, if any of the existing vegetation should be taken down in order to reduce the possibility of negatively affecting the privacy of the house and the garden. The other major consideration was the evening sunlight entering our next-door neighbourâ&#x20AC;&#x2122;s ground floor. I discussed the potential consequences of placing a new building in our garden and they were anxious that above all, our office would not block any of the sunlight entering their house, especially during the evening. In order to achieve this requirement I noted the movement of the sun around the high bushes and trees in our garden and mapped the angle at which the sun would pass these to enter their garden. This angle was dictated by two large trees to the west of the garden, which blocked the sun until late afternoon during summer (shown on the right).
1
2
3
issues affecting the placement of the building: 1, 2 - Views into the garden from neighbouring houses. 3 - Trees dictating the arrival of evening sunlight into the garden
The conclusion reached was that the most suitable position for the building was in the rear-left corner of the garden in the shadow of the bushes and the evening shadow of the two trees. In this position I could be sure that no evening sunlight that had previously shone into the neighbourâ&#x20AC;&#x2122;s garden would be lost. There would also be no issues of privacy in this part of the garden, whereas in the rear-right corner, there could have been a view into a neighbourâ&#x20AC;&#x2122;s house.
side view 1
0 3:0
18: 0
45 47 case study 1 - garden office, 2010, windsor
08:00
0
side view
46 48
the contemporary garden building
refining the proposed internal layout With an established idea of where the building will be going, the internal layout was ready to be planned in full, taking into account the exact amount of available space in the chosen area of the garden.
one trunk removed recesses between leylandii trunks
boundary
The principle requirement was to make sure the building was scaled apprpriately for the small garden and to ensure that it wouldnâ&#x20AC;&#x2122;t dominate the space. Using as much of the cover provided by the trees and Leylandii bushes as possible, much of the form would remain hidden, reducing its perceived size.
leylandii storage
In aiming to retain the vegetation cover, the layout had to adapt to the existing dimensions between the boundary and the trees. I decided to push the building as close to the boundaries as possible to avoid having to cut down either the large conifer or the willow.
tv desk
conifer machinery
When measuring the distances between the trunks of the leylandii, I discovered that if I removed only one of the trunks, then there would be enough space to fit one of the required pieces of equipment that the client needed. By cutting this one trunk down I was able to create two recesses in the walls that would contain all the shelf space needed to store the clientâ&#x20AC;&#x2122;s stock, mini fridge and vinyl cutter. This would be an effective way of taking the form back to the rear boundary without needing to remove too much covering vegetation.
top view
willow
most of the depth of the building is hidden from view
site clearance before + after
full depth of garden was previously hidden
49 case study 1 - garden office, 2010, windsor
side view
50
the contemporary garden building External view Aerial view
Internal view
51
case study 1 - garden office, 2010, windsor
52
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