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Latitude: 51.7294 / 51°43'45"N
Longitude: -2.1249 / 2°7'29"W
OS Eastings: 391468
OS Northings: 203420
OS Grid: SO914034
Mapcode National: GBR 1MW.HLB
Mapcode Global: VH950.3SZL
Entry Name: Lyday House and the Sugar House
Listing Date: 3 December 2009
Source: Historic England
Source ID: 1393583
English Heritage Legacy ID: 507893
Location: Bisley-with-Lypiatt, Stroud, Gloucestershire, GL6
Civil Parish: Bisley-with-Lypiatt
Built-Up Area: Oakridge Lynch
Traditional County: Gloucestershire
Lieutenancy Area (Ceremonial County): Gloucestershire
Church of England Parish: Oakridge St Bartholomew
Church of England Diocese: Gloucester
BISLEY WITH LYPIATT
1372/0/10011 LYDAY CLOSE
03-DEC-09 LYDAY HOUSE AND THE SUGAR HOUSE
LYDAY HOUSE, formerly a farmhouse and now a detached house, dates from the C17, with extensive alterations in the period circa 1902-1910 by the Arts and Crafts architect and designer Alfred Hoare Powell (1865-1960); and some later C20 alterations.
MATERIALS: Lyday House is constructed from Cotswold stone rubble with roughly-dressed limestone quoins, with stone-mullioned windows and some metal and timber casements, under a thatched roof, with stone rubble stacks.
PLAN: The house is a single-depth, three-bay rectangle on plan, formerly with a central entrance.
EXTERIOR: The house is of two storeys and attic, with a steeply-pitched roof, hipped to the south-eastern end. The fenestration is mainly C17 or later replacement two- and three-light stone-mullioned windows, with hood moulds. The main elevation has a C20 gabled porch set to the left of centre, with the original front entrance door inserted in its exterior. The windows have iron frames housing rectangular leaded lights. To the right of the ground floor is an early-C20 single-light oak-framed window, and a small dormer of similar date is set high in the attic. To the first floor a series of doveholes is set roughly centrally in the elevation. There is a gable-end stack to the left, and a ridge stack towards the right, with limestone cappings. The rear elevation has irregular fenestration, including a horizontal eyebrow dormer; two windows have been converted to doors on the rear elevation, and a door to a window.
INTERIOR: The interior has a two-room plan, with principal rooms to either side of an entrance hall which houses the winder stair. The ground-floor rooms retain C17 stone fireplaces remodelled in Arts and Crafts style during the early part of the C20, with hand-made metal hoods of this date. The doors throughout the interior are Arts and Crafts plank and batten doors, with a decorative pattern of ventilation holes and decorative spear-headed cast-iron strap hinges. Cast-iron windows of the same date with decorative latches have been inserted within both the stone-mullioned and oak-framed surrounds. The dining room retains early-C20 shutters, and a C17 chamfered and stopped ceiling beam, whilst the living room has a ceiling structure of the early C20, using chamfered beams offset at an angle, rather than running parallel to each other, set on hand-dressed stone corbels. The first and attic floors have similar doors and windows to those in the ground floor rooms. There have been a number of alterations and replacements during the later C20, including the introduction of new ceiling joists atop the C17 beam in the current dining room, the creation of new triangular windows to either side of the stack in the north gable end, and the replacement of much of the superstructure of the roof and the first-floor ceilings.
SUBSIDIARY FEATURES: THE SUGAR HOUSE, originally a two-storey cottage built in the mid-C19, later converted to a workshop for Alfred Powell circa 1902, is set into the rising ground behind Lyday House. Currently in use as an office, it is constructed from Cotswold stone rubble with dressed stone quoins, with stone mullioned windows, some having hood moulds, added in the early C20; the roof is covered in Cotswold stone slates. The cottage has a simple one-room plan with a small single-storey lean-to extension and a terrace with a conservatory above, on the rising ground. The main elevation has a three-light window to each storey, and a modern entrance door under a wooden lintel; the rear elevation is blind. The entrance is via the lean-to extension, which houses a small kitchenette and bathroom. The main ground-floor room has a modern spiral staircase giving access to the first floor; the room is spanned by a large-section oak ceiling beam with chamfers and stepped stops, set on moulded stone corbels. The first floor room is completely plain, with a modern, arched double-doorway giving access to the modern conservatory and terrace beyond.
HISTORY: The complex of which the current Lyday House and the Sugar House formed a part originated as a farmstead during the C17; until the C20 it was known as Gurners Farm. Lyday House dates originally from this period. The Sugar House was added after the completion of the tithe map, probably during the mid-C19.
The farm was bought in 1902 by Alfred Powell (1865-1960), the Arts and Crafts architect, designer and pottery decorator, who was a close associate of Ernest Gimson and Detmar Blow, after Powell had moved to the Cotswolds to work with Gimson and the Barnsley brothers. He adapted the house for himself in Arts and Crafts manner, and it retains internal features from his period: plank and batten doors with decorative finishes, shutters, metal windows by Bucknall, fire hoods probably also by Bucknall, new eyebrow dormers in the thatched roof and decorative details like the doveholes on the main elevation. He also made some structural repairs, such as the new floor inserted in the south end of the house, using offset ceiling beams in the manner of Gimson at other houses of the period; and inserted some new windows. The Sugar House, formerly a cottage, was used by Powell as a workshop ¿ Powell learned stonework and woodworking and undertook the manufacture of as many of his own designs as he was able.
In the later C20, Lyday Close was purchased by a charitable trust, which has undertaken significant repairs and alterations to Lyday House. There have been timber replacements, including the bressumer over the principal fireplace in the current dining room, the ceiling joists in this room and the superstructure of the roof. A new room has been inserted in the attic floor. Some new stone windows and lintels have been introduced. Windows have been converted to doors on the rear elevation, and a door to a window.
SOURCES: Carrick, P, Rhodes, K and Shipman, J: Oakridge - A History (2005)
Gordon, C: Cotswold Arts and Crafts Architecture (2009), 32, 63
Sarbsy, J: Alfred Powell: Idealism and Realism in the Cotswolds, in Journal of Design History, Vol. 10, No.4, Craft, Culture and Identity (1997), 375-97
REASONS FOR DESIGNATION: Lyday House and The Sugar House, a Cotswold vernacular farmhouse and cottage converted to a house and workshop in the Cotswold Arts and Crafts style by Alfred Hoare Powell circa 1902, are designated in Grade II, for the following principal reasons:
* Historic interest: Lyday House dates originally from the C17, and retains a good proportion of historic fabric from this period
* Historical association: It underwent substantial alteration during the early years of the C20, when for ten years it was the home of Alfred Hoare Powell, the Arts and Crafts architect, pottery decorator and designer, who was closely associated with the colony of artist-craftsmen centred on the Barnsley brothers' workshops at Sapperton
* Architectural interest: Despite some later C20 alterations, the house still retains most of the work associated with the remodelling of the house by Alfred Powell, which includes high-quality joinery, metalwork and stonework, all undertaken to Powell's designs and made here or at the nearby Sapperton workshops, by such figures as Gimson and Bucknall; the whole is of significant quality and clearly demonstrates Powell's thoroughgoing adherence to Arts and Crafts principles
* Design interest: Its combination of traditional Cotswold vernacular building and early C20 Arts and Crafts design and workmanship exemplifies the movement which was so significant in the area and was widely influential in the period
* Intactness: Despite later C20 alterations, some of which are unsympathetic, the elements which give the buildings special architectural and historic interest remain
* Group value: The Sugar House, though heavily altered in the later C20, served as Powell's workshop, and retains some details from his refurbishment of the building in the early C20; it has an intimate historic relationship with Lyday House linked with Alfred Powell's tenure of the buildings
This text is from the original listing, and may not necessarily reflect the current setting of the building.
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