The case for a slow-build movement

The UK has more period housing stock than any other country in Europe. For many people there is a beguiling appeal to owning a period home that becomes a quest that must be fulfilled, but taking on a historical building project can be both confusing and contradictory.

This is, after all, the 21st century, where dishwashers, washing machines and microwaves are part of our daily lives; where cables and tech clutter our surfaces and floors. So, how do we marry the fast-paced, industrialised, materialistic reality of modern living with the ancient structures that were built for an era when life was slower, when we cooked over fire, handwashed our clothes and owned just a handful of pieces of furniture?

“People always want that aged, authentic look in their home, but generally when modern techniques or materials are used to restore historic buildings, it can start to look odd and ugly,” says Hilton Marlton, an historical building expert and interior designer, who has spent the last two decades carefully restoring Pant y Ffynnon, a 1796 Welsh farmhouse that is currently on the market.

Hilton has revived many historical buildings over the years, including the much-loved home of the TOAST founders, Goetre in Carmarthen, and Briar Cottage in Eastington – both of which have been featured in the pages of interiors magazines.  (His own sunshine-hued home recently appeared in the September issue of World of Interiors.) He is currently completing an MA in Historic Buildings at York University but his expertise goes far beyond theoretical knowledge. Over the years his deep dedication for the restoration and comprehension of vernacular buildings – the environment and climate in which they were built, and the unique craftsmanship of local building traditions – has informed Hilton’s unique design philosophy.

“My observations are that people want to do the right thing for the environment and to respect the history of their house to give it a sense of authenticity,” he explains. “But we are bombarded by commercial solutions that may not necessarily be in the best interest of the planet, or the fabric of old buildings.”

Hilton explains that most architects, builders and surveyors are taught design and construction methods that are based on industrial, processed products such as cement, steel or gypsum, rather than traditional materials such as stone, brick, timber and lime. “Many architects just cut and paste design and material solutions on to old buildings,” he says. “They may look good for a while but there are almost always unintended consequences further down the line. For example, old buildings don’t have wall insulation or damp proofing; they need to breathe to let moisture out. Tanking can cause damp through atmospheric pressure pushing moisture between the membranes. Similarly, insulating a loft space with non-breathable materials to create a ‘warm’ loft can cause condensation in the roofing timbers, which could lead to rot.”

For Hilton and many others, this is a distressing response to protecting the period houses we are fortunate to have in the UK, and with planning laws and regulations not rigorous enough to preserve the fabric of these historical structures what can potential and current homeowners do?

“Start at the beginning,” says Hilton. “Understand the history and the materials of your home before you even begin to think about changing it. We all need to get better at conserving what we have and futureproofing it in an environmentally responsible way.”

With the internet at our fingertips, uncovering the chronicles of a building is much easier today. Type your postcode into Historic England’s search engine (Cadw in Wales) to unearth deeds and information, find details on HM Land Registry and the 1862 Register, contact your local historical groups and delve into the National Archives. “When you understand how a building has been constructed, where the materials have come from and how they were processed, the building will speak to you and tell you how it needs to be handled.”

Empowering people to discover the narrative context of their home – who constructed it, how it was constructed, what was used to build it – will begin to provide answers towards the restoration process. “We have lost our connection with land in food production and the same thing has happened with our buildings, they have become commercialised,” Hilton laments. Every period building, be it Jacobean, Georgian or Victorian, speaks its own language, a language born of its period, location and materials. “You need to understand the language of traditional building, smiles Hilton. “It’s like learning to cook French cuisine; before you begin you must know the basic techniques; sautéing, braising, flambé, confit! It is the same with traditional building.”

“If you use good materials that are local and relevant to your building, you will get the authenticity you’re looking for,” says Hilton, adding: “Don’t be afraid to ask questions of your builder, architect or surveyor. Find out about the environmental impact of the work proposed. What materials and techniques are they suggesting, and do they honour those of the present structure? Where are they from and can they be easily replaced? Is it future proof? There are principals in traditional building that should be followed. When you understand what your building means historically, physically and socially, you can truly own and value it.”

Green strategies in historic buildings for Hilton are welcomed, but this could be as simple as fitting or restoring shutters or putting on another jumper. Likewise, layouts should remain loyal to the original floorplan: firelit snugs, boot rooms and pantries all work for a reason. In vernacular building, there is mostly very little detail. The coveted aesthetic Hilton has honed reflects his unwavering commitment to authenticity. This approach, he adds, “is the most sustainable and respectful of the environment. In terms of both environmental impact and design aesthetics,” Hilton concludes, “the past really is the future.”

Hilton Marlton

Hilton Marlton on Instagram