The farmhouse was originally a three-bay farmhouse of three storeys constructed in the early 1700s. The property has been greatly altered and extended over the past 200 years. The western gable was repositioned in the 1700s (including at least one original stone skew-putt relocated), and in the 1800s an extension to the centre of the south elevation formed a new formal drawing room with bedrooms above. This transformed the plan from linear to T-shaped. The attic floor had fallen out of use and the stair to the attic was removed. An earlier single-storey extension to the north housed a dairy. This has two pan-tiled roofs (the main house is slated) and forms a distinctive elevation with rounded corners and a hipped pan-tiled roof, split to accommodate the main stair window.
The proposals included the removal of dilapidated lean-to outbuildings to the east; creation of a new stair to the attic to provide additional sleeping accommodation; re-organisation of the northern lean-to to include a larger rear entrance and coats area; relocation of the modern kitchen from the east wing to the centre of the house. Work beyond the house included the creation of a long new outbuilding along the east boundary to accommodate garden stores, ground source heating plant room and home offices, a new garage with gym and relocation of the main drive to enable reinstatement of the garden and improved access to the re-modelled north entrance.
GRAS is currently leading the sensitive refurbishment of a Category B listed Georgian residence in Edinburgh’s Stockbridge, reimagining domestic life through a lens of quiet purpose and measured elegance.
At the heart of the proposal is a study niche, discreetly embedded within a wall of bespoke joinery—designed as a space for stillness and focus, carefully calibrated to the pace and patterns of contemporary living. Created in close dialogue with our clients, the niche embodies a desire for an environment that is both introspective and architectural.
The material palette is restrained and textural: softened contours, layered finishes and moments of exposed hardwood lend warmth and tactility. Throughout the apartment, from reimagined bathrooms conceived as spa-like sanctuaries to flexible storage solutions shaped by modern routines, the project balances heritage sensitivity with personal utility, creating spaces that feel both grounded and quietly expressive.
GRAS was commissioned to undertake feasibility studies for retrofitting and extending this mid-century suburban home for a growing family with increasing spatial and environmental comfort requirements.
Whilst the project looked to make fabric and spatial improvements for energy, comfort and organisational reasons, it also used the opportunity to reconsider the existing building’s setting and, in particular, the flow of exterior to interior spaces, along with the figurative expression of the house through gable forms and eaves details.
GRAS was commissioned by a private client to prepare a full planning application for the conversion of two redundant barns at Gwendreath Farm, located in the rural, wooded landscape of Cornwall’s Lizard Peninsula, into a single residential dwelling. The barns sit within a mature setting, surrounded by dense shrubs and established trees on three sides, with a woodland valley extending northward down to Kennack Sands.
The two barns are distinct in character. The South Barn is a compact, two-storey structure constructed entirely of natural stone, while the larger North Barn is a single-storey, L-shaped building combining traditional stone and concrete blockwork. The design approach centres on a sensitive renovation that respects and enhances the existing setting, delivering the improvements required to transform the buildings into a contemporary family home that fulfils the client’s brief.
Careful attention is given to repairing and retaining original stonework, while new materials are selected for their natural qualities and agricultural aesthetic. This considered palette preserves the visual character of the barns and ensures the completed home sits harmoniously within its rural context.
Located just south of the iconic Kyle of Tongue on Scotland’s north coast, Kinloch Lodge is a Victorian sporting lodge reimagined for the 21st century. What was a rather spartan and tired holiday home has been transformed into a luxurious oasis over several phases of work in conjunction with Wildland’s creative director, Ruth Kramer. The main house has been carefully repaired and upgraded inside using warm tones and natural materials, enhanced by the addition of a new conservatory to link the house and beautifully replanted gardens in all seasons. The kitchens have also received a full rethink, creating practical but beautiful workspaces befitting the carefully selected Scottish ingredients used to prepared the curated guest meals.
Outside, landscaping by Richard Preston Garden Design softly connects the main house with the collection of corrugated-iron clad outbuildings; each of which has been repaired and then reconfigured internally. While the smaller buildings contain necessary back-of-house facilities, including all new heating and power equipment, the larger Annex provides indoor space to play with room for film nights, yoga, as well as spa treatments.
This modest development offers compact living accommodation for two people within the grounds of a rural cottage in East Lothian. It evolves from an existing single-pitched rubble-stone and clay tile outhouse, expanding into three intersecting volumes crafted from reclaimed materials. These volumes step, twist, and shift in response to the natural topography, optimizing daylight and framing views.
The resulting form is rooted in its place yet possesses a timeless quality. Internally, the spatial proportions and arrangement provide just enough room for comfortable living and working, maintaining constant visual connection with the surrounding rural landscape of cliffs, river, forest, and fields.
A restrained material palette of concrete, oak, lime plaster, black steel, soft leather, and glass defines the interiors, enhancing the tactile and sensory experience while reflecting the simplicity and calmness of the setting.
This Georgian maisonette in Fitzrovia had suffered from a series of unsympathetic interventions, leaving the interior fragmented and disconnected from its architectural origins. GRAS was appointed to develop a design that would gently bring back the character while responding to the specific needs of a growing family. Informed by close research into Georgian and Regency domestic interiors, and shaped through an ongoing dialogue with our clients, the approach balances authenticity with comfort and use.
On the main floor, the drawing room was reimagined as the heart of the home. Original proportions were reinforced through the introduction of ordered mouldings and period detailing, designed to support the existing fabric without resorting to replication. The adjoining kitchen, compact but robust, was conceived as a working “mother’s kitchen”, with bespoke joinery accommodating modern appliances and layered domestic activity. Upstairs, the existing layout was reconfigured to include a shower room and two bedrooms. New timber panelling brings warmth and rhythm to these spaces, concealing storage and allowing the plan to breathe within its original constraints.
The project demonstrates how careful conservation and contemporary living can work in tandem. Through research-led design and restraint in detail, a once-altered interior finds a renewed sense of order, purpose and belonging.
The existing two-bedroom dwelling on King Edward’s Road in London was extended to create a larger living area and incorporate an additional master bedroom. The design transformed what had been a dark and compartmentalised property into a bright, open, and spacious family home.
A carefully considered material palette was selected to enhance the sense of light and warmth throughout the space. Subtly textured plaster walls provide a soft backdrop, complemented by white oiled Douglas fir joinery that introduces natural warmth. Pale brickwork adds tactile interest, while accent features in warm dark wood, chrome, and matt black metal bring depth and contrast to the interiors.
The overall effect is a balanced and cohesive design that supports contemporary family living while respecting the character of the existing structure. Photography by Sustainable Kitchens captures the refined detailing and atmosphere of the completed home.
The Log Store and Cart Shed project are two buildings for a highly regarded interior designer client based in Yorkshire. The Log Store contains storage at ground floor and a large home office at the upper level, which the client will use as his base when in Yorkshire. The Cart shed includes covered parking and storage at ground floor with flexible use space and guest accommodation at first floor.
GRAS worked closely with the client to develop a refined design that takes reference from the Yorkshire Sided timber barns and stone Field Barns which characterise this part of the Yorkshire Dales. The project forms part of a larger master plan for the estate which will see the building of a new farm house and steading alongside the conversion of an agricultural shed in to art gallery and workshop spaces.
The proposed family dwelling is located in Uig, a small village at Timsgarry on the Isle of Lewis. The house sits on an exposed site with immersive coastal views towards the southwest. The massing of the development is divided into three volumes containing the house, annex accommodation and garage which helps to break up the overall scale. The staggered arrangement of these elements references the asymmetric plans that are typical in the area, while the inclusion of prominent chimney stacks also evokes the local vernacular.
The building’s orientation on the site takes into consideration the views, sun path and prevailing winds. The main spaces are oriented to take the full advantage of the main southwest panoramic view and to allow morning and evening sunlight to enter. The main entrances to the house and annex on the north facades are protected from the southeast prevailing winds.
The material palette for the property responds directly to the built heritage of the immediate surroundings, whilst also aiming to provide a modern take on the farmhouse dwelling. The proposed cladding is a mixture of textured, painted wet-dash render on the lower part of the facades, with lighter timber above. The materials are distributed across the development to create a sense of scale more characteristic of the area. The pitched roofs of all three volumes are covered with corrugated metal sheets reminiscent of typical agricultural buildings.
The Lake House is a bespoke family home located on the Finger Lakes in upstate New York. The client engaged GRAS to design a residence capable of accommodating both a parent couple and their extended family, including children and grandchildren.
GRAS approached this challenge as a typological exploration of the evolving North American home, with particular attention to the suburban model. The design navigates the complex brief of creating a home that can comfortably expand and contract, functioning both as an intimate space for two and a larger gathering place for up to fifty people.
The project draws on a rich dialogue between domestic and vernacular architectural traditions, tracing influences from the earliest periods of Western settlement in America through to contemporary design. This cross-pollination of styles imbues the Lake House with a distinctive character. It aims to create an American suburban home informed by European and Scottish architectural heritage, blending cultural references to craft a unique and layered living environment.
This project involved the renovation and remodelling of an eclectic house overlooking Granton Harbour and the Firth of Forth. The property holds historical significance as the former home of the harbour’s chief engineer, who monitored the harbour’s construction from this vantage point.
The extensive proposals reconfigured the internal layout, notably relocating the kitchen to the centre of the house. This move not only enhanced the spatial flow but also opened up the interior to take full advantage of the spectacular views across the Forth. The redesign successfully unites the original farm cottage with its later Victorian extension, creating a coherent and connected home.
The project carefully balances respect for the building’s layered history with a contemporary approach to living, allowing the character of both architectural phases to coexist within a functional and visually engaging environment.
GRAS was appointed to upgrade and convert two flats back into a single townhouse, including a new rear extension to accommodate a swimming pool and spa facilities. Originally subdivided into flats in the 1960s, a key intervention was the reinstatement of the first flight of the central staircase in stone, restoring a sense of architectural continuity. Additional works included the installation of en-suite bathrooms for all bedrooms and the fitting of new hardwood parquet flooring throughout.
Situated in the village of Tongue, Sutherland, in the shadow of the iconic Ben Hope, Lundies looks over its stone walls and gardens towards the ancient ruins of Caisteal Bharraich and the dramatic Kyle of Tongue. The former 19th-century manse has been meticulously repaired and sensitively adapted to create accommodation in the form of three period-inspired guest suites and an attic-level apartment. The creative team at conservation and hospitality organisation Wildland were deeply involved in all aspects of the project, from defining a clear, ambitious vision to sourcing and commissioning unique pieces of furniture and artworks at completion.
Traquair House is a large fortified country house dating from the fifteenth century and is believed to be the oldest continuously inhabited house in Scotland. Its core is a three-storey tower house constructed around 1492. Over the sixteenth and seventeenth centuries, the building was progressively enlarged and extended, resulting in its distinctive and architecturally complex form.
GRAS has maintained a long-standing relationship with the estate, overseeing multiple phases of alteration and repair across the house and its associated buildings.
The most recent commission involved a detailed investigation and condition assessment of the external harling and stone masonry on the house’s exterior walls and other architectural features. Based on this survey, GRAS prepared a comprehensive set of recommendations for repair. Following the appointment of a specialist contractor, an extensive programme of conservation and repair works was agreed upon and successfully carried out.
GRAS completed a contemporary extension and refurbishment of a family home in Corstorphine. The ground floor was extensively reconfigured and extended to create a spacious kitchen, family room, and dining area, featuring large slim-profile sliding doors opening onto the garden. The first-floor extension adds an additional bedroom and is designed as a simple sculptural form clad in tiles that match the existing roof.
BE Residence is a proposed new home for a growing family in Northern Ireland. It was conceived as a modern farmhouse drawing on the vernacular form and groupings of existing properties throughout the region.
The gentle slope of the site allows the building to hunker down into the landscape so it appears unimposing on approach from the north. The south, east and west elevations, however, open up to frame long views and maximise natural light throughout the day.
The building comprises several distinct but permeable volumes containing a variety of different functions, which are connected by an open central living space. The positioning, orientation, elevation and arrangement of forms allows uninterrupted views from and between these spaces and towards the surrounding open fields. A series of open-air terraces slotted in between offer unique views whilst allowing sunshine and shelter from the wind to be found. These terraces border the fields on all sides without walls or fences, gently connecting the house to the expansive, open landscape.
The house is split into three volumes, breaking the programme into the main two-storey family wing, the single-storey guest wing, and a connecting element in between that houses the kitchen, living and dining areas. Extended fingers of landscaping and stone retaining walls interact with the slightly sloping ground to help root the dwelling within the landscape. A single-storey garage projecting from the central link introduces the house on arrival as a stone wall that extends through the building to bridge the inside and outside.
As a direct response to the built agricultural and residential heritage of the immediate surroundings, the main material palette for the dwelling comprises stone rubble walls, untreated timber and a corrugated metal roof.
RB Residence is contemporary building in a rural setting, which embodies a clear departure from the traditional notion of a farmhouse. Inspiration for the building’s form and materiality came from the agricultural vernacular of the adjacent farm buildings and those found throughout the Tweed Valley. The new accommodation is conceived as a reinterpretation of these utilitarian sheds and barns, built from readily available and low-cost materials such as rough-sawn timber, mild steel and profiled metal sheet roofing.
The house’s primary orientation follows a northeast to southwest axis, which is typical of agricultural and industrial buildings along the length of the Tweed Valley. On approach, the property appears as a simple, low-slung pitched roof, built in corrugated sheet metal and supported by a functional steel and glass frame – a ubiquitous form throughout the Borders. Overhanging eaves soften the building’s edge, blurring the threshold from inside to out and heightening engagement with the surrounding landscape. Beneath the eaves and the projecting gable roofs, a continuous terrace extending around the perimeter of the house creates a series of covered spaces of varying scales and outlooks.
Continuous timber walls running the length of the house are broken by sliding screens that can be drawn aside to reveal floor-to-ceiling glazed openings. These glazed screens also slide away so that living spaces can be opened up to the terraces on all elevations. This series of internal, covered and external spaces combined with the layered façade provides adaptability to suit seasonal uses. A rational plan with generous circulation both inside and out provides a series of single- and double-height linked spaces, each with their own character, scale and framed views across the fields to the Cheviot Hills. Glazed gables provide focused views to the farm steading and to the forested areas to the northeast.
Located at the southern end of the Kyle of Tongue in Sutherland, Kyle House occupies an elevated site with uninterrupted views in all directions. The humble, peaceful, low-energy house is built to last for generations and is perfect for two people to live slowly and comfortably while immersing themselves in the dramatic, natural setting. The building dates from the early to mid 19th century and is believed to have been built using stone salvaged from the nearby iron-age Dun Mhaigh broch.
Kyle House is part of Wildland, an ambitious 200-year project established by Anne and Anders Holch Povlsen, which aims to protect and restore large parts of the Scottish Highlands through a process of careful conservation and re-wilding. At the beginning of the project, the derelict house consisted of a stone shell with an asbestos roof, which was windowless on three sides and had lain disused for two decades. Anne Holch Povlsen and Swiss-based interior designer Ruth Kramer developed a vision for the building that brings together the best of Scottish and Scandinavian design to create a special and emotive work of architecture.
The Bothy is one of several buildings carefully revived by GRAS as part of the wider Killiehuntly project, a working farm and guesthouse located within the Cairngorms National Park. Positioned at the end of a row of traditional stone outbuildings, the structure would once have housed farm workers and remains closely tied to the history and daily life of the estate.
Formed from two modest dwellings joined into a single footprint, the plan follows a linear arrangement. A central kitchen links the rooms, with a sitting room at one end and sleeping areas set along the length of the building. GRAS undertook a considered upgrade of the structure, retaining much of its original character while introducing warmth, practicality and craft.
Timber-lined interiors bring a sense of softness, balanced by exposed stone and limewashed surfaces. A narrow corridor, defined by a single stone wall, connects the spaces with clarity and rhythm. Built-in bunk beds, developed in close collaboration with the creative team at Wildland, were fabricated by Bodan Workshops in Edinburgh, alongside a number of bespoke joinery pieces that respond to the compact nature of the plan.
To the rear, a small walled garden has been planted with herbs and seasonal flowers. It offers a quiet place to sit and gather, with views out to the surrounding farmland and hills. Like the other buildings at Killiehuntly, The Bothy has been gently renewed through a process rooted in care, context, and craft.
This first-floor flat in a 19th-century building in Edinburgh’s historic New Town had suffered from several unsympathetic alterations before being carefully refurbished by GRAS in close collaboration with our design-led clients, Nina and Craig Plummer. Original features were delicately revealed and new elements thoughtfully introduced throughout the property, which was built in 1878 to house a church hall and offices. An expanded kitchen and enlarged opening onto the living space retain the sense of the original layout through the addition of panelled double doors that fold back to reveal crafted pieces of furniture by designer Sebastian Cox for deVOL Kitchens.
Highly curated new details sit beautifully alongside time-worn elements, whether existing or introduced. The flat has been attentively updated to reflect the slow-living philosophy promoted by Nina and Craig through their online homewares store, Ellei. The flat also serves as a studio used for styled photoshoots of Ellei’s products, so the design had to encapsulate the values of thoughtful homemaking. The renovation project retains the bright and spacious feel of the rooms along with a sense of building’s history, whilst providing spaces that are suited to a contemporary, considered way of living.
Geordie’s Cottage is one of several buildings revived by GRAS as part of the wider Killiehuntly project in the Cairngorms. Originally occupied by workers at Killiehuntly Farm, the cottage is a traditional Highland but and ben, typical of the modest rural dwellings found across the region. Over time, it had been altered and adapted, and GRAS’s work focused on upgrading the structure while retaining its original character and scale.
Two small extensions were added to support the rhythm of contemporary life. One forms a simple entrance vestibule, while the other houses the kitchen. These additions allowed the interior to open out more generously, creating a practical and comfortable arrangement of rooms. On the ground floor, there is a large sitting room with exposed stonework, two bedrooms, and a bathroom. A timber-lined stair leads up into the attic space, where a twin bedroom and adjacent shower room are tucked beneath the roof pitch.
The interiors are defined by the use of timber linings and a warm, earthy palette. Materials were chosen for their simplicity and familiarity, with traditional techniques used throughout the work. In the sitting room, a wood-burning stove is set into the stone wall, offering both heat and a quiet focal point for gathering. The layout and details remain true to the modest scale of the original house, but are lifted by a sense of care and craft in every element.
Geordie’s Cottage continues the broader Killiehuntly approach of bringing traditional buildings into new use through thoughtful upgrades, sensitive construction, and a deep respect for the rural setting.
Part of the wider Killiehuntly Farm complex in the Cairngorms, the steading building once served as a working part of the agricultural landscape. Over time, the structure had deteriorated and was being used for storage and farm use. GRAS undertook a careful process of renewal, returning the building to its original U-shaped form, arranged around a cobbled courtyard that sits quietly at the heart of the site.
Each wing of the steading was adapted to support the needs of the contemporary estate. One side now houses the laundry and estate office, with a meeting space that serves both practical and communal functions. To the rear, within the footprint of the original hayloft, a compact self-catering retreat has been introduced. The plan is modest and efficient. A small kitchen and shower room are tucked into the lower level, while a large bedroom and sitting space occupy the upper floor. A new Douglas fir stair links the two levels, bringing warmth and light to the interior.
As with the other buildings at Killiehuntly, the material approach balances care and restraint. Lime-plastered walls and exposed timbers frame each space, preserving the agricultural character of the building while accommodating comfort and simplicity.
To the side of the courtyard, the original water wheel has been carefully repaired. New oak blades and a replacement launder were fabricated and installed by Knockando Blacksmiths, who also cast new metal sections to complete the structure. The restored wheel now turns once again, linking the present life of the steading to its working past.
The project draws together utility, craft, and quiet atmosphere. It adds another layer to the evolving story of Killiehuntly, where traditional buildings are reimagined with care for their context, materials, and memory.
Pre-fabricated modular house type suitable for a variety of sites in the Scottish Highlands. The principle ambition of this project is to create a series of high quality dramatic but functional spaces which have a strong relation with their natural surroundings in every direction and make effective use of natural light and ventilation. The square plan means the building can be sited in many different locations without significant alteration while the plan can be easily rotated or mirrored to suit different orientations and access points. The living / dining room is the largest space, located centrally and connected via covered external spaces to each of the four external elevations. This space is connected directly to each of the surrounding internal spaces: study / library, art studio, kitchen and the main bedroom. Each of these spaces can be opened to the surrounding wilderness and living spaces or they can be closed to create more intimate, private spaces. The large glazed openings to the main living space provide dramatic, framed views to the surrounding loch and woodland and a large roof-light allows clear views to the sky above.
The building has a simple, rational plan and utilises common tried and tested materials and techniques to create a unique, sculptural building. The outer walls consist of a well insulated timber frame, cedar clad construction which weathers naturally over time allowing the building to gradually blend in to its surroundings as a result of local weather patterns. The roof is also constructed using a well insulated timber frame, clad with lapped cedar boards as is commonly found in the traditional buildings of Scandinavia. The continuous timber cladding on all external faces gives the building a clear sculptural identity.
Formal in design, Thistleborough draws inspiration from Ireland’s rich tradition of indigenous neo-classical architecture. This proposed Palladian-style country house, located south of Crumlin, Northern Ireland, encompasses approximately 1,380 square metres. The design integrates the main dwelling with ancillary accommodation, including a swimming pool, creating a cohesive estate that balances classical elegance with contemporary living.
The architectural language reflects the symmetry, proportion, and restrained detailing typical of Palladian ideals, while responding thoughtfully to the surrounding landscape. The project aims to establish a timeless residence rooted in heritage yet equipped for modern domestic life.
The Pavilion is a newly built, self-contained three-storey house within the curtilage of Lamb’s House in Leith. Built in the style of early 18th century garden pavilions, with an iconic ogee roof, the compact tower sits comfortably alongside the recently restored 17th-century Lamb’s House and its two-storey office extension. The romantic little building took three years to complete and now provides self-catering accommodation in the heart of the medieval Leith Conservation Area.
The Pavilion was built with impeccable attention to detail using locally sourced or reclaimed materials. The house was designed upside down, with the living areas on the top floor and the bedrooms below, which adds to the Pavilion’s uniqueness. The structure overlooks a south-facing walled garden that was inspired by the romantic gardens of the Italian Renaissance. With parterres, pleached hornbeams, roses and seasonal flowers, it provides the perfect setting for a drink or alfresco supper.
The property’s interior combines early 18th-century style with Scandinavian influences. The rooms feature a calming colour palette and are furnished with elegant antique pieces, perfectly in keeping with the main house. The living room on the top floor features a vaulted ceiling and an open fireplace that enhances the period feel. Other highlights include a bedroom with a timber-lined box bed, and the main bathroom’s freestanding cast-iron bath with a hand shower and traditional Victorian sink.
To book a stay at Lamb’s Pavilion see lambspavilion.com
Kennels Cottage is situated in the Cairngorms National Park offering breath taking views of the Glen with its ancient Caledonian Pine forest and the hills beyond. The Cottage was refurbished internally to upgrade the previous tartan inspired interior to a refreshing cool contemporary feel with an eclectic mix of the best of well-known design items and original Highland architecture.
The space holds a carefully selected range of handmade Scandinavian furniture with a bespoke and curated collection of Scottish handcrafted fixtures. This includes the oak kitchen table, bunk beds with oak ladder, built in display shelves and pitch pine boarding made from reclaimed floorboards. Slim underfloor heating has been installed and reclaimed floorboards were re-laid. The kitchen and utility room includes polished flooring made from Caithness slabs, handcrafted fitted units and oak worktops.
To create a more cosy and comforting interior the living room has been lined with wood-panelling which surrounds the open fire. This now contemporary interior combined with elements of the original mid Victorian cottage reflects the Scottish traditions of hunting and sheltering people from the harsh but stunning natural climate, representing comfort and warmth. Kennels Cottage is part of Wildland projects.
Interior design by Ruth Kramer and photography by Martin Kaufmann.
This detached private house has experienced considerable change over time, including the addition of several flat-roofed extensions to the north side and its division into two separate apartments. These later extensions were constructed to a poor standard and suffered from significant water ingress, dampness, and dry rot.
The project involved reconfiguring the internal layout and extending the main body of the house to create healthier and more functional living spaces. The previously unused roof void was converted to provide new sleeping accommodation, enhancing the overall capacity of the home.
By improving the spatial arrangement and connections within the house, the design now fosters a stronger relationship between the interior and the surrounding garden. The result is a home better suited to the needs of modern family life, offering improved comfort, flow, and adaptability.
In 2017, GRAS secured planning and building warrant approvals for a new four-bedroom PassivHaus-standard dwelling in Gifford, East Lothian. Construction began on site this year, with the house set to become one of the first buildings in East Lothian to achieve the Gold Label certification for sustainability under Scottish Building Standards.
The building is arranged in an F-shaped plan, featuring a long south-facing façade that maximises solar gain and an internal courtyard that provides sheltered outdoor space. The exterior is clad in sustainable timber supplied by Scotlarch, chosen for its environmental credentials and durability. The roof is finished with standing seam zinc sheeting, complemented by magnesium-coated galvanised rainwater goods to ensure longevity and low maintenance.
The building fabric is constructed from closed panel, twin-stud timber-frame walls and roof assemblies. These are fully insulated with pumped cellulose insulation, which combines excellent thermal performance with high thermal mass. This approach ensures outstanding heat retention and air-tightness, critical to achieving PassivHaus certification.
The timber frame is supported on a fully insulated passive floor slab designed to minimise thermal bridging at wall and floor junctions. The slab system also removes the need for traditional concrete footings, contributing to a more efficient and sustainable foundation solution.
Together, these design and construction strategies enable the dwelling to meet rigorous energy efficiency targets while delivering a comfortable, healthy living environment. The project represents a significant step forward in sustainable domestic architecture within the region.
Killiehuntly is a luxury self-catering property belonging to a collection of extraordinary restored retreats that form part of the Wildland conservation project. The large 19th-century farmhouse and steading form the centrepiece of a rural estate in the Cairngorms National Park. All buildings have been carefully restored under GRAS’s direction with the use of local, natural materials and traditional skills. The interiors have been sensitively upgraded for contemporary living, whilst retaining historic architectural features and character throughout. The farmhouse opened in spring 2016 as a serviced holiday let, with its various outbuildings serving as additional accommodation. The restoration included returning the original water wheel to working order, providing a strong reference to the agricultural heritage of the farm.
Lamb’s House is one of the finest surviving examples of a merchant’s house in Scotland and is now the most significant building of its age in Leith. The house, built in 1610, is category A-listed and lies within the medieval core of the Leith Conservation Area, close to the old harbour. Despite having suffered many inappropriate alterations over its long life, the form and essential character of the house remained intact and many of its original features survive today. These include the stone turnpike stair, fireplaces, slop sinks and most of the original pine beams.
Saved from demolition and partly restored by the 4th Marquis of Bute in 1938, Lamb’s House was given to the National Trust for Scotland by Lord David Stuart in 1958. The restoration was completed and the interior adapted for use as an old people’s centre, with the addition of a hall extension in 1960-62. In April 2010, GRAS’s directors acquired the building from the NTS. Its condition was poor, heavily vandalised and very institutional.
Strathmore Lodge is a self-catering retreat set at a gentle bend in the Strathmore River, just before it flows into Loch Hope. Built in the early 1920s, the lodge is one of a series of corrugated tin houses found across Sutherland, long associated with Highland utility and vernacular resilience. Its revival formed part of Wildland’s wider conservation ambitions and marked the first step in a broader effort to care for and adapt these modest yet distinctive structures.
The lodge accommodates up to six guests and is made up of three double bedrooms, a shared bathroom, a kitchen, and a compact living room. The layout remains simple and familiar, with each room carrying the quiet imprint of the building’s age. Inside, grey-painted floorboards and timber-clad walls create a calm and comforting atmosphere. Original features have been retained where possible, giving the interiors a sense of continuity. Furnishings and artworks from the early twentieth century have been carefully introduced, lending the space a layered, bohemian character that sits gently within the fabric of the house.
Externally, a palette of muted earthy tones allows the building to settle more naturally into its windswept setting. The works included a small rear addition and subtle upgrades to improve insulation and comfort, carried out as part of a phased and respectful process. The lodge remains true to its origins while quietly accommodating the needs of contemporary living. It stands as a thoughtful example of how renewal can take place without erasure, allowing traces of the past to remain present in the everyday.
Glenfeshie Bothy was carefully upgraded and extended to include an access stair to the attic space, increasing its capacity for the walkers who use it. The roof was replaced, fully insulated, and lined internally with Douglas fir boards. A new stone extension was constructed using traditional techniques to accommodate the internal access stair, which was also crafted from Douglas fir. This extension provides additional storage space for the bothy.
The two ground-floor rooms received new flooring throughout and had new stoves installed following the rebuilding of the chimney. New doors and windows were fitted throughout the building. The toilet facilities were fully modernised and expanded to provide two toilets instead of one.
This project involved the remodelling of a Category A listed Georgian villa that had been substantially altered and extended over the course of two centuries. The approach focused on re-establishing spatial coherence within the historic plan while accommodating the needs of contemporary family life.
A central intervention was the repositioning of the main stair to regain clarity in circulation and introduce daylight into the core of the building. A new four-storey pen-checked stair, constructed in limestone, was inserted to rise through all levels of the house. At each landing, new windows were introduced, bowed in plan and bow-topped in elevation, bringing natural light into the interior and establishing a formal order to the previously irregular rear façade.
Elsewhere, the internal arrangement was improved through the rationalisation of secondary spaces and the reconfiguration of principal sleeping accommodation. The kitchen and informal dining areas were combined to form a generous, connected space suited to contemporary patterns of use.
The project carefully balanced the retention of significant historic elements with the introduction of new interventions that align in scale, proportion, and material character with the original structure. The result is a coherent and well-functioning family home that respects the architectural language of the Georgian villa while supporting its continued occupation and use.
GRAS collaborated with the owners of Springkell to sensitively upgrade and convert this Category A listed house into a distinctive wedding venue with guest accommodation. The project aimed to secure a sustainable use for the building, providing a steady income stream to support its long-term care.
A discreet intervention was carried out to address a dry rot outbreak threatening the structure, carefully protecting the building’s exquisite plasterwork ceilings and panelling. Further phases are planned to reinstate the currently unused service wing and basement, with works scheduled to commence as funding becomes available.
Photography by Duncan Ireland.
On the Isle of Vaila, Vaila Hall, a late seventeenth-century castellated mansion, has undergone comprehensive conservation. Minor alterations and sensitive additions were incorporated to transform the historic building into a distinctive private residence set within the dramatic Shetland landscape.
Alongside Vaila Hall, Mucklaberry Tower, a nineteenth-century two-storey square-plan Baronial reconstruction, was refurbished to serve as a secluded retreat. Additionally, the nearby Arts and Crafts farmhouse known as Cloudin received a full refurbishment and was carefully harled to provide protection against the harsh Atlantic weather.
Together, these works reflect a thoughtful approach to conserving and adapting a group of architecturally and historically significant buildings, ensuring their ongoing use within a challenging coastal environment.
This category ‘A’ listed building, the first ‘Palladian’ style house to be built in Scotland, dates from the late seventeenth century. By the early 1990’s, gutted by fire, and a derelict shell, it was acquired by the Scottish Historic Buildings Trust (SHBT). Work started on its restoration in 1993 and continued in phases as grant funding became available.
The final phase was completed in March 2001 with assistance from Historic Scotland and the Heritage Lottery Fund. The restoration of this building demonstrates the adaptability of a 300 year-old house to provide modern office accommodation and function rooms. Groves-Raines Architects was appointed by the SHBT in 2011 to carry out a detailed condition survey, prepare a prioritised schedule of repairs and provide a fully costed 20 year forward maintenance plan covering both the building fabric and services.
This project transformed a seventeenth-century Category B listed farmhouse and steading range into a comfortable and contemporary family home. The work included the careful conservation and re-instatement of historic elements, notably the original tower house and mill wheel, both integral to the site’s heritage.
New accommodation was sensitively introduced within the existing steading buildings, connected by lightweight architectural elements designed to minimise intervention and preserve the overall integrity of the courtyard. Alterations to the steading fabric were limited, prioritising the retention of its character and spatial arrangement.
The resulting residence balances dignity with practicality, providing modern living spaces within a historic setting. The project exemplifies how thoughtful adaptation can extend the life and use of important rural buildings while respecting their architectural and cultural significance.
Completed in 2010, Station Road House was the first home in Ireland to achieve a Category 6 (Excellent) environmental rating and comes close to passive house standards. Designed to sit comfortably within a conservation area, the house draws from traditional Tuscan forms to align with the character and scale of its nineteenth-century villa neighbours. High-performance detailing is paired with a considered material palette, quietly combining energy efficiency with lasting architectural presence.
Belmont House is an A-listed Georgian country house, constructed in 1775 on Unst, the most northerly of the Shetland Isles. By the late twentieth century, Belmont had fallen into severe dereliction, with extensive loss and deterioration of both internal and external fabric. Recognising the significance of the building, the Belmont Trust was formed in 1996 with the explicit aim of conserving and securing the future of this architecturally important house.
The conservation strategy followed a rigorous philosophy of minimal intervention, aiming to protect surviving historic fabric and limit unnecessary disturbance. Original architectural elements were carefully repaired and consolidated, with every effort made to preserve surviving materials and features. Salvaged or reclaimed materials were sourced and introduced where original elements had been irretrievably lost, ensuring visual and material consistency with the existing fabric.
All conservation works, including detailed interior finishes, joinery, plasterwork and decorative surfaces, were undertaken by a dedicated team of local tradespeople from Unst. Their specialised knowledge of traditional construction methods and techniques ensured that the work remained authentic and appropriate to the character and historical context of the house.
The project received considerable support from multiple heritage bodies and charitable agencies, including Historic Scotland and Shetland Islands Council. The successful conservation of Belmont House now secures its future as a significant example of Shetland’s architectural heritage, demonstrating best practice in sensitive adaptation, skilled craftsmanship, and informed conservation methodology.
Photographs by Mark Sinclair
This project involved a series of internal alterations to a B-listed, three-storey townhouse on India Street, located within Edinburgh’s New Town World Heritage Site. The approach combined architectural sensitivity with careful technical upgrades, aiming to enhance the function and comfort of the home while preserving its historic character.
Several rooms were returned to their original configuration following a detailed assessment of historic plans and fabric. Original features, including cornices, fireplaces, window shutters and skirtings, were reinstated or repaired using traditional methods and materials. Where possible, existing timber floorboards were retained and refinished.
On the exterior, essential conservation repairs were carried out to the stonework, slate roof, drainage systems and timber sash-and-case windows. These works contributed to the overall maintenance of the building envelope and its continued weather performance.
New mechanical and electrical systems were introduced with great care to minimise disruption to the historic fabric. Radiators, switches and sanitary fittings were selected to align with the Georgian character of the building, ensuring that interventions were discreet and respectful. The exception to this approach was the kitchen, where a clearly contemporary insert was introduced. Designed and installed by Newcastle Kitchens, the kitchen offers a purposeful contrast within the otherwise historically consistent interior.
The project demonstrates a balance between conservation and renewal, maintaining the architectural integrity of the townhouse while adapting it to meet the demands of modern domestic use.
Niddry Castle is a scheduled ancient monument and a Category A listed building. It comprises a large and imposing late fifteenth to early sixteenth-century L-plan tower house. After many years of abandonment and decline, the castle had become largely ruinous by the late twentieth century, with only limited repair work carried out.
In 2006, GRAS was appointed by the new owners to conduct a detailed survey of the building and assess the extent of repairs and remedial works required. GRAS also prepared and submitted an application to Historic Environment Scotland for grant funding, which was successfully awarded, providing generous support for the project.
Following the securing of necessary consents, a comprehensive programme of external and internal conservation and repair was undertaken. Key works included the rebuilding of the gable walls and parapets, extensive masonry repairs, and the complete renewal of the roof covering. These careful interventions respected the historic fabric and architectural significance of the castle.
The project was completed in 2010, returning Niddry Castle to full occupation and securing its long-term future as an important part of Scotland’s built heritage.
This new housing development received planning permission and listed building consent as part of an enabling strategy to support the restoration and reconstruction of the seventeenth-century Sydserf House in East Lothian. The scheme features a new ‘steading’ complex inspired by the original nineteenth-century farmstead on the site.
Comprising five new dwellings arranged around courtyards and gardens, the development responds sensitively to the historic setting while providing contemporary homes. The design carefully balances heritage considerations with modern living requirements, ensuring the ongoing preservation of Sydserf House by securing its wider estate’s viability.
The project involved the careful reinstatement of missing period features in a distinguished Greek Revival house, alongside essential repairs and the introduction of modern services. The cast iron balustrade of the main staircase was carefully conserved, while panelled doors and cornices were reinstalled where required to maintain the architectural integrity of the interiors.
The works included re-roofing and extensive masonry repairs to secure the building fabric. The finely carved entrance doorway was sensitively conserved, with severely eroded elements fully replaced to preserve its historic character.
New interventions were designed to enhance contemporary living while respecting the house’s classical form. These included the creation of an open-plan kitchen and morning room, as well as the addition of a large glazed garden room featuring timber lining and an encaustic tile floor.
To complement the period detailing, new decorative etched glass panels were designed and incorporated into various doors and windows, adding a bespoke layer of artistry that unites the historic and new elements.
Designed by architect Charles Wilson, Park Circus represents a departure from Glasgow’s rigid grid layout, taking full advantage of its elevated site with sweeping views over the city. Constructed around 1860, the townhouse at No. 18 features interiors by William Leiper, a leading figure of the Gothic Revival in Scotland. Leiper’s contribution is evident in the rich decorative detail, including elaborate plaster ceilings, carved timber panelling, and stained glass windows that survive throughout the principal rooms.
Originally built as a private residence for a transatlantic cotton merchant, the property was later converted to office use and suffered from neglect over time. GRAS was appointed to carry out the sensitive conversion of the Category A listed building into six apartments and an associated mews property. The design approach was guided by a commitment to retain the integrity of the original plan while upgrading the building to meet contemporary standards of comfort, safety, and environmental performance.
The existing central stair remained in use, providing access to the new apartments and preserving the building’s spatial hierarchy. Essential services, including kitchens, bathrooms and building services infrastructure, were integrated with minimal disruption to the historic fabric. Key features, such as ornate plasterwork, joinery, and glazing, were carefully repaired and conserved.
Fire separation and a sprinkler system were introduced to meet current building regulations, with these interventions coordinated to avoid conflict with the building’s character. The result is a considered residential conversion that secures the long-term future of this important Glasgow townhouse, while respecting its architectural and historic significance.
This project involved the careful transformation of a listed country house, parts of which date back to the seventeenth century, with significant nineteenth-century additions. Previously operated as a hotel, the property was converted back into a private family home through a comprehensive refurbishment of the main house. Extensive stripping out was required to remove unsympathetic alterations, arrest ongoing decay and rot, and introduce modern building services. These interventions combined to create a comfortable, functional home while respecting the historic fabric.
The project also included sensitive adaptation of the nineteenth-century stable block, which was altered and restored to provide staff accommodation and a flexible party room. Additional conservation work was carried out on ancillary buildings, including the nineteenth-century Lodge House, which was extended with a new timber-framed addition. Repairs and restoration were also completed on the historic doocot, apple house, and greenhouse, securing their long-term preservation and enhancing the estate’s architectural ensemble.
Together, these works demonstrate a holistic approach to conservation and adaptation, balancing heritage values with the demands of contemporary living.
This stone-built pavilion, completed in 2006, extends the domestic life of Cakemuir Castle into the surrounding garden. Topped with an elegant ogee roof, the new structure accommodates a dining room and ancillary spaces, opening out to the landscape while maintaining a quiet architectural dialogue with the adjacent buildings. Positioned between a Georgian wing and the original 16th-century towerhouse, the pavilion is designed to sit comfortably within its historic setting—complementing rather than competing.
The castle itself was built by Adam Wauchope, advocate to Mary Queen of Scots, and is rich with architectural detail and layered history. Over the centuries, its form has evolved, yet the spirit of the place remains. The new addition continues this tradition of sensitive adaptation, contributing a thoughtful and lasting presence.
Photography via jamesedition.com
Rock House, located at the foot of Calton Hill, is an important site in the history of photography. It was once the home of Octavius Hill, the artist and early photographic pioneer who, alongside Robert Adamson, helped to establish the foundations of modern photographic technique in the mid-nineteenth century. The site originally included both the house and the adjoining studio where Hill and Adamson produced some of their most celebrated work.
GRAS was appointed to carry out a comprehensive upgrade of the main house, alongside the design and construction of a new structure on the site once occupied by the photographic studio. The project involved the careful refurbishment of Rock House, with sensitive internal alterations to bring the building up to contemporary standards while respecting its historic character and significance.
The new building, named The Minnow House after one of Hill and Adamson’s prints, is a compact belvedere set just below the main house. Its traditionally detailed exterior features an ogee-profile roof and finely scaled stonework, allowing it to sit comfortably among the varied architectural forms of Calton Hill. While modest in size, the interior is both inventive and refined. The octagonal living space on the upper floor offers expansive views across Parliament House, Arthur’s Seat, and Princes Street.
Designed to meet modern building standards while drawing from historic precedent, The Minnow House provides self-contained accommodation with a distinctive character. The project as a whole reflects a careful balance between conservation and contemporary design, reinstating the architectural coherence of this significant site while contributing a new, contextually sensitive addition to Edinburgh’s East End.
This new-build private residence, located on the edge of Gullane Golf Course, is designed in the Italianate manner, drawing from classical proportions and detailing. The building is carefully positioned to take full advantage of its elevated site, offering expansive views across the course and towards the surrounding East Lothian landscape.
Traditional materials were specified throughout, including natural stone, lime render and high-quality timber joinery. The architectural language is defined by balanced symmetry, deep eaves, and carefully crafted cornices and mouldings, all contributing to a sense of permanence and refinement.
Internally, the plan is arranged to respond to both the site and the needs of contemporary domestic life, with principal rooms oriented towards the views and informal living spaces opening onto garden terraces. The result is a house that combines the formality of classical architecture with the warmth and practicality of a modern home.
Drumskew is a new-build private house located on the site of a former farmhouse, positioned on an elevated plot with expansive views over the surrounding countryside. The design responds directly to both its setting and the memory of the agricultural building it replaces, balancing outward views with an internal focus on a sheltered, south-facing courtyard.
The building is arranged to frame the landscape while creating a sense of enclosure and refuge within. Carefully proportioned openings capture key views, while more private spaces open onto the courtyard, offering protection from the elements and a calm focal point at the heart of the plan.
The architectural language draws from local building traditions, with pitched roof forms, natural materials and a restrained use of detail. The result is a house that sits comfortably in its rural setting, reflecting the character of the region while meeting the needs of contemporary life.
Constructed around 1575, this L-plan tower house is a scheduled monument and a Category A listed building of national significance. Having stood in a ruinous state for many years, the structure required extensive consolidation and repair before any adaptive reuse could be considered.
Following a rigorous application and assessment process, Ancient Monuments Consent was granted for its conversion to a private dwelling. The project was undertaken in close collaboration with the Ancient Monuments Division of Historic Scotland, ensuring that all proposals were informed by a careful understanding of the building’s archaeological, architectural and historical value.
The work involved the reinstatement of lost internal features, including stone vaulting, floors, and a new stair, guided by surviving fabric and comparable precedents. Traditional lime-based mortars, hand-worked stone, and appropriate timber detailing were used throughout. Every element of the construction was carried out using materials and techniques compatible with the original structure, with minimal intervention to surviving fabric.
The completed project respects the character and complexity of the original tower house while securing its future use. It stands as an exemplar of how scheduled monuments can be repaired and adapted through thoughtful design and skilled conservation practice.
Broadwoodside Steading is a highly successful adaptation and conversion of a Category B listed farm steading located near Gifford in East Lothian. The original buildings date primarily from the late eighteenth and early nineteenth centuries and once formed part of a working agricultural complex. The project involved careful repair, sensitive conservation, and well-considered new construction to create a generous family residence with extensive guest accommodation and equestrian facilities.
The architectural approach prioritised preserving the robust character and essential form of the historic stone buildings. Masonry walls were repaired using traditional lime mortars, while the roofs were renewed with natural Scottish slate and pantiles to maintain the original rural aesthetic. Internally, the spaces were adapted to provide comfortable modern living while retaining the scale, proportion, and texture of the existing structures. The layout carefully balances openness with the enclosure typical of historic farm buildings, ensuring that contemporary interventions sit harmoniously alongside the original fabric.
To unify the otherwise fragmented cluster of buildings, a series of new architectural elements were introduced with great care and restraint. A prominent arched gateway marks the principal entrance and frames the central courtyard, creating a coherent and welcoming arrival sequence. A newly constructed doocot draws on local vernacular forms, providing a visual link to the agricultural heritage of the site. A loggia offers sheltered outdoor space, while an ogee-roofed garden room completes the ensemble with a refined yet contextually appropriate addition.
Together, these interventions provide cohesion and clarity to the complex, supporting a modern family lifestyle while celebrating the site’s layered history. Broadwoodside Steading stands as an exemplary example of how historic farm buildings can be sensitively adapted, extended, and brought back into use through thoughtful design and skilled craftsmanship.
.
Hopes House, located in the Lammermuir Hills of East Lothian, was built in 1823 for the Hays of Yester by James Burn of Haddington. Now a private shooting lodge, the house forms part of a wider estate set within a remote upland landscape.
GRAS was appointed to undertake the full refurbishment of the original house, upgrading the accommodation while retaining the architectural integrity of the early nineteenth-century structure. Internally, works focused on the renewal of finishes, services and fittings throughout, with careful attention given to the building’s historic character and rural setting.
To the rear, the existing service wing was entirely redesigned and rebuilt to provide improved support spaces, including a catering kitchen and modern staff accommodation. The new wing follows the footprint of the previous structure but introduces greater clarity in plan and a more refined relationship with the main house.
Within the adjacent walled garden, two new pavilions were constructed with ogee-profile roofs, providing additional staff quarters. These small buildings adopt a traditional form and sit discreetly within the sheltered garden walls.
External works included hard and soft landscaping, the introduction of a new tennis court, and the installation of a fountain to enhance the setting of the house. The project balances functional requirements with architectural continuity, ensuring that Hopes House remains both historically grounded and fit for purpose.
Arniston House is a significant example of early to mid-eighteenth-century Scottish classical architecture. Designed by William Adam and completed in the 1750s under the supervision of his son, John Adam, the house underwent later interventions by both John and Robert Adam. These works introduced a more refined internal arrangement, most notably in the drawing room and dining room, which represent the architectural culmination of the Adam family’s involvement at Arniston.
By the 1950s, prolonged water ingress had resulted in extensive decay, leading to widespread dry rot and the loss of much of the ornamental plasterwork, joinery, and finishes within the principal reception rooms. The damage rendered these interiors largely unusable and at significant risk.
With grant support from Historic Scotland, a programme of repair and reinstatement was undertaken. This work included the removal of damaged fabric, detailed archival research, and the reconstruction of key architectural features using traditional materials and techniques. Surviving elements were consolidated, and missing components were replaced following historic precedent, with careful attention paid to proportion, materiality, and finish.
Now under the stewardship of the Dundas-Bekker family, Arniston House is once again accessible to the public. The conservation project has reinstated the architectural integrity of the principal interiors and ensured the long-term viability of one of Scotland’s most important domestic classical buildings.
This project involved the repair and conservation of the listed external fabric alongside a complete internal reconfiguration to support contemporary living and working. The original timber roof structures, which had deteriorated beyond repair, were carefully dismantled and replaced using appropriate materials and detailing to match the character of the existing building.
Internally, the space was redesigned to introduce greater light and openness while preserving the proportions and rhythm of the historic structure. The layout was adapted to accommodate both domestic and workspace functions, with new finishes and services integrated discreetly within the retained envelope.
The result is a thoughtful combination of restoration and renewal, preserving the architectural integrity of the listed building while creating a flexible and modern interior.
Goblusk House sits on the southern banks of Lower Loch Erne, its form shaped by classical precedent and a deep connection to its setting. The design draws inspiration from Palladio’s Villa Forni-Cerato, reinterpreting its symmetry and proportion for a contemporary family home. Further influences were taken from a nearby Victorian Italianate mansion, lending a regional continuity to the architectural language.
At the heart of the house, a dramatic elliptical stair winds upwards beneath a glazed cupola, anchoring the plan and drawing natural light deep into the interior. This central volume creates a strong sense of procession and orientation, around which the living spaces are arranged. Externally, crisp stone detailing and carefully modulated façades lend the building a quiet dignity, sitting with confidence in the open landscape
Liberton House is a Category A listed fortified house dating from the late sixteenth century. It served as the home of the Groves-Raines family and the offices of Groves-Raines Architects until their relocation to Lamb’s House in 2010. After a prolonged period of neglect, the building was severely damaged by fire in 1991, leaving the structure gutted and the gardens overgrown.
Since then, careful conservation and repair works have been undertaken to return the house to use as a comfortable modern residence and professional workspace. The restoration involved consolidating the historic fabric, repairing masonry and timber elements, and sensitively adapting internal spaces to accommodate contemporary needs while respecting the building’s architectural significance.
The surrounding gardens have also been thoughtfully revived, featuring a beautifully designed Renaissance-inspired layout that complements the character and history of the house. Liberton House now stands as a successful example of how a historic building can be carefully renewed to support both living and working, while preserving its cultural and architectural heritage.
Tollcross House, designed by David Bryce and completed in 1848 for the Dunlop family, is a Category A listed building set within Tollcross Park. At the turn of the twentieth century, it was adapted for use as a local museum. After falling into dereliction, the house was purchased by Groves-Raines Architects in 1992 for a nominal sum.
In collaboration with the National Trust for Scotland, the building was carefully conserved and converted into thirteen flats designed specifically for elderly residents. The project balanced the preservation of the house’s historic character with the provision of accessible, comfortable modern accommodation. This sensitive adaptation secured a new future for Tollcross House while contributing to the local community.
Edinample Castle is a Category A listed 16th-century towerhouse overlooking Loch Earn in Perthshire. When the Groves-Raines family acquired it in 1985, the building stood as a roofless shell, long neglected and partially collapsed. Over six years, the castle was carefully brought back to use, with traditional oak roof structures reinstated, masonry consolidated, and a large Victorian extension reworked to better suit the original form. Completed in 1991, the project returned the building to use as a family home and safeguarded its future.
Originally built by ‘Black’ Duncan Campbell of Glenorchy after acquiring the land in 1584, Edinample reflects the defensive and domestic characteristics of late Scottish Baronial architecture. Corbelled turrets, crow-stepped gables, and thick rubble walls mark its historic form. The work on the castle marked one of the studio’s earliest conservation projects, setting a precedent for the craft-led, context-sensitive approach that continues to shape its work today.
Annanhill House is a magnificent A-listed Georgian residence on the outskirts of Kilmarnock, originally built for the Dunlop family. The earliest parts of the house date from around 1700, with significant alterations carried out in the 1820s that gave the building its present classical form.
By the late twentieth century, the house had fallen into disrepair. Years of neglect had left the structure deteriorating, and many of its architectural features were at risk of being lost. In 1989, a major programme of restoration and conversion was undertaken. The work carefully preserved the building’s historic character while adapting it to accommodate six generously proportioned dwellings.
As part of the wider vision for the site, a new development was introduced within the grounds. Designed in a Georgian style to reflect the character of the main house, the new ‘stables’ development created twenty additional homes. The layout and detailing were designed to form a coherent setting that complemented the restored mansion.
The project offered a balance of preservation and renewal, securing the future of a significant historic building while bringing new life to the estate.
The successful repair and conservation of Bankton House marked the culmination of a long campaign to protect this important historic building from vandalism and decay. Constructed around 1700, the house suffered devastating damage when it was gutted by fire in 1966. Reduced to a roofless shell with the loss of all internal features, the structure stood vulnerable for many years.
Over an eight-year period, careful work was undertaken to rebuild the house, employing traditional materials and detailing that were sympathetic to the original design. The process involved extensive research and skilled craftsmanship to reinstate architectural features lost in the fire, ensuring fidelity to the building’s historic character.
Bankton House, together with its two distinctive pavilions, now forms a prominent landmark visible from the north side of the A1 near Tranent. The project was supported by Historic Scotland and the East Lothian Enterprise Trust, reflecting its significance within the region’s architectural heritage.
The project demonstrates the value of sustained commitment and sensitive intervention in rescuing vulnerable heritage assets, securing Bankton House’s place within the historic landscape for future generations.
Forter Castle stands at the head of Glenisla, guarding the entrance to the Balloch Pass to Glenshee and the Moncea Pass to Braemar. Built in 1560 by the Ogilvies of Airlie, the tower house occupied a strategic position in the Highland landscape. It was inhabited for only eighty years before being sacked in 1640 during the Covenanting Wars, after which it remained unoccupied and in ruin for more than three centuries.
By the time the Pooley family purchased the site in 1988, Forter Castle had been reduced to a roofless shell, with no surviving internal features. The stone vaults, staircases and timber floors were all lost, requiring extensive archival research and on-site investigation to reconstruct the original layout and architectural details with historical accuracy.
The rebuilding process took two years and was carried out with support from Historic Scotland. Traditional materials and techniques were used to reinstate the form and character of the sixteenth-century structure, while carefully integrating modern services to enable long-term use. The project returned Forter Castle to its former presence within the landscape, ensuring its survival as both a private home and a significant part of Scotland’s built heritage.
This project involved the change of use and careful repair of a derelict late nineteenth-century brewery to create twenty-two new townhouses and apartments. The former industrial building, long vacant and in an advanced state of disrepair, was reimagined as a residential development that retained its original character while supporting a new pattern of inhabitation.
The scheme reinstated the building’s internal courtyard and walled garden, restoring the spatial relationships that once defined the site. New architectural elements were introduced in timber, drawing inspiration from the building’s early industrial aesthetic and complementing the robust masonry fabric. Openings were carefully repaired or adapted, and the retained structure was upgraded to meet contemporary standards of performance and comfort.
The result is a considered integration of old and new, where the historical identity of the brewery remains legible within a high-quality residential setting. The project was recognised with a RIBA Award for Scotland in 1988 and received a commendation from the Edinburgh Architectural Association in 1987.
Balfour House, located near Cameron Toll in Edinburgh, is a retirement housing development completed in 1983 for Viewpoint Housing Association. The building comprises 49 flats arranged over four storeys, designed to provide comfortable and accessible accommodation for older residents.
A distinctive polychrome brick design deployed to balance visual interest with urban context. The primary construction uses red brick, enlivened by yellow brick detailing along lintels, cornices, and quoining around windows. This use of contrasting brickwork creates a subtle patterning that articulates the building’s structure and openings.
The façade composition is notable for its dynamic interplay of horizontal and vertical elements. Window glazing emphasizes horizontal lines, while the structural framework rises vertically along each bay. This vertical emphasis culminates in triangular balconies at the uppermost level, adding sculptural interest and enhancing the building’s rhythm.
Described in The Buildings of Scotland: Edinburgh by Gifford, McWilliam and Walker as “ingenious polychrome flats,” Balfour House stands as an example of thoughtful late twentieth-century housing design that combines traditional materials with considered contemporary form. It contributes positively to the residential character of the Cameron Toll area while providing well-designed homes tailored to its community.
The principal rooms at No. 3 Charlotte Square are part of Robert Adam’s celebrated Georgian masterplan for Edinburgh’s New Town. When the house was first completed in the 1790s, the main interiors lacked the elaborate ornamentation and refined plasterwork typical of Adam’s designs. Ceilings were left as plain boarding without moulded detail.
Following a programme of archival research, a new ornamental plaster ceiling was designed to reflect Adam’s original intentions. Working drawings recreated the classical motifs such as interlocking guilloches, paterae and acanthus leaf mouldings, with careful attention to correct proportions and relief. Master plasterers executed the work using traditional lime putty and horsehair plaster applied over timber laths. Each decorative element was cast from bespoke timber patterns, scribed on site for precise jointing and finished with a fine lime wash to match the surrounding surfaces.
The completed ceiling now restores the full complexity of Adam’s aesthetic and brings No. 3 into alignment with the richly detailed interiors found elsewhere in Charlotte Square. The project demonstrates how rigorous research, skilled craftsmanship and appropriate materials can reinstate historic architectural form and enhance the conservation of an A-listed landmark.
Peffermill House in Edinburgh, built in 1636 by Edward Edgar and his wife Margret, is one of three fortified houses rescued from dereliction by the Groves-Raines family. After years of neglect and vandalism, the house was carefully conserved and adapted in 1981, allowing the family to move in while sharing the ground floor with their architectural practice.
The surrounding grounds were subsequently transformed into a series of distinct gardens, including a water garden, flower garden, vegetable garden, and wild garden. These cultivated spaces complement the historic character of the house and provide a varied landscape for both private enjoyment and public appreciation.
In 1995, the house was sold. Today, part of the property operates as holiday accommodation, continuing to offer visitors a connection to this significant piece of Edinburgh’s architectural heritage.
In 1969, Nicholas Groves-Raines purchased a small stone cottage on Gola Island, located two miles off the coast of County Donegal. Set within a clachan of now mostly abandoned dwellings, the cottage sits within a striking Atlantic landscape shaped by weather, remoteness, and time.
Over several decades, the building has been gradually and sensitively upgraded. The approach prioritised the retention of original features and materials, avoiding unnecessary interventions and preserving the character of the cottage and its surroundings. Essential services such as running water and electricity were introduced with care, allowing for greater comfort while respecting the integrity of the building.
The result is a modest and much-loved retreat that continues to serve as a gathering place for the family. The cottage offers shelter, stillness and a strong connection to both place and tradition, quietly reflecting the value of long-term stewardship and careful, context-driven adaptation.
