Upper Lawn: A Manifestation of Alison and Peter Smithson's Architectural VisionSave this picture!Upper Lawn / Alison and Peter Smithson. Image seier+seier via Flickr under CC BY 2.0Nestled near the ruins of Fonthill Abbey in the English countryside, Upper Lawn Pavilion also known as the Solar Pavilion is a modest yet profound architectural experiment by Alison and Peter Smithson. Built between 1959 and 1962 as a weekend retreat and laboratory for ideas, the pavilion embodies their ethos of economy, material honesty, and respect for context, reflecting the pioneering spirit of New Brutalism.Upper Lawn's thoughtful interplay between the new and the existing is particularly compelling. Built on the remains of an 18th-century English farmhouse, the pavilion repurposes thick masonry walls from the original structure, incorporating elements such as the well, trees, and lawn into its design. Using prefabricated materials like timber, glass, and aluminum, the Smithsons constructed a light-filled space that harmonizes with its surroundings, embodying their principle of "as found architecture" a concept rooted in honoring and adapting to preexisting conditions rather than imposing on them.Beyond its role as a dwelling, the pavilion serves as an architectural manifesto. Reinterpreting the primitive hut, the Smithsons crafted a space exploring shelter, domesticity, and sustainability. In later years, Sergison Bates Architects' thoughtful restoration of the pavilion bridged the Smithsons' legacy with contemporary architectural challenges, cementing Upper Lawn's enduring importance as a beacon of experimental, environmentally conscious design. Related Article Alison and Peter Smithson: The Duo that Led British Brutalism The Primitive Hut and New Brutalist IdealsThe concept of the primitive hut, rooted in architectural theory since the Enlightenment, offers a compelling lens through which to understand the Upper Lawn Pavilion. Advocated by theorists like Marc-Antoine Laugier, this archetype seeks to return architecture to its essential purpose: providing shelter in harmony with nature. For Alison and Peter Smithson, Upper Lawn Pavilion embodied this elemental ideal, offering a retreat from the frenetic pace of urbanization. It reflected a deliberate effort to reconnect architecture to its most fundamental principles a reaction against the rapid transformation and growth of cities, and a search for clarity and authenticity in design.Save this picture! In memorable experiences of architecture, space, matter and time fuse into one singular dimension, into the basic substance of being, that penetrates our consciousness. we identify ourselves with this space, this place, this moment, and these dimensions become ingredients of our very existence. Architecture is the art of reconciliation between ourselves and the world, and this mediation takes place through the senses. Juhani Pallasma, The eyes of the skin At Upper Lawn, the primitive hut ideal manifests through an open plan, a restrained material palette, and a design that emphasizes light, air, and the surrounding landscape. The pavilion's simple rectangular form, slightly elevated off the ground, underscores the Smithsons' belief that architecture should respond to its environment, offering inhabitants an immersive connection to nature. Large glass windows frame the countryside, transforming the external world into an integral part of the living experience. The play of sunlight, the passing seasons, and the ever-changing landscape become central to life within the pavilion, making the natural environment a participant in the daily rhythms of its occupants.Save this picture!This approach aligns with the principles of New Brutalism, a movement the Smithsons championed. At Upper Lawn, this philosophy is evident in the unadorned use of prefabricated concrete blocks, timber, and glass. These materials, presented in their natural state, invite a tactile and intuitive engagement with the space. The rawness of the pavilion, rather than being a limitation, becomes an invitation for deeper reflection a way to connect architecture to the realities of its site and the needs of its users. It is this reverence for materials a realization of the affinity which can be established between building and man which is at the root of the so-called New Brutalism. It has been mooted that the Hunstanton School, which probably owes as much to the existence of Japanese Architecture as to Mies, is the first realization of the New Brutalism in England. - Theo Crosby, Architectural Design Upper Lawn is more than a retreat; it is an experimental laboratory where the Smithsons explored critical architectural questions. How does architecture define home? How can it coexist with nature? How can simplicity foster well-being? These questions, rooted in the idea of the primitive hut, guided the design without seeking definitive answers. Instead, the pavilion offered a space for exploration and introspection through its simplicity, material honesty, and experimental spirit. Continuing to inspire and remind us of architecture's capacity to address both our most basic needs and our most profound questions.Save this picture!This dual function as both a home and a site for architectural experimentation allowed the Smithsons to challenge conventions, testing ideas about domesticity, materiality, and sustainability in a real-world context. Something was seen in other Smithson projects, such as the House of the Future (1956). While the House of the Future projected a futuristic vision of domesticity with modular systems and cutting-edge materials, Upper Lawn turned inward, revisiting fundamental architectural questions. Both projects, despite their contrasting approaches, reflect the Smithsons' enduring fascination with pushing the boundaries of design and redefining what constitutes a home. Together, they illustrate the couple's ability to engage with both the speculative and the essential aspects of architecture.Save this picture!Modernist Influences: Mies' Tectonics and Le Corbusier's PilotisWhile deeply tied to the principles of New Brutalism, Upper Lawn Pavilion also stands as a Modernist enclave, reflecting the broader lineage of architectural experimentation. Its tectonic clarity and structural expressiveness echo the work of Mies van der Rohe, particularly his pursuit of material precision and spatial minimalism. The Smithsons' meticulous attention to how materials meet, align, and define spaces resonates with Mies' ethos ofless is more, where strength emerges from simplicity and exactitude. This approach imbues the pavilion with a disciplined elegance, even in its modest scale and rural setting.The pavilion's slightly elevated platform draws inspiration from Le Corbusier's use of pilotis, a hallmark of his modernist vision. This subtle gesture not only enhances the pavilion's relationship with its surroundings but also serves practical purposes, such as protecting the structure from ground moisture. The elevation emphasizes the pavilion's horizontal form, creating a visual lightness that contrasts with the solidity of its materials. By elevating the structure, the Smithsons echoed Modernist ideals of openness, fostering a seamless dialogue between architecture and landscape while respecting the site's natural flow.Save this picture!What makes Upper Lawn particularly compelling is how the Smithsons adapted these Modernist principles to a rural, rather than urban, context. Unlike the urban environments addressed by Mies and Le Corbusier, the pavilion responds to the pastoral qualities of the English countryside. The Smithsons embraced the site's specificities its sloping terrain, varying light, and panoramic views translating the universal ideals of modernism into something intimate and place-sensitive. The result is a pavilion that integrates modernist rigor with the organic qualities of its natural surroundings, creating a delicate balance between integration and distinction.Prefabricated Materials and Low-Cost ArchitectureOne of Upper Lawn Pavilion's most distinctive features is its reliance on prefabricated materials, reflecting a commitment to low-cost construction without sacrificing design integrity. Conceived during Britain's post-war reconstruction era, the pavilion embodies an architectural response to the economic austerity, material scarcity, and shifting societal priorities of the 1960s. For Alison and Peter Smithson, these constraints were not limitations but opportunities platforms for innovation, adaptability, and a forward-thinking approach to design.Save this picture!Alison and Peter Smithson embraced readily available industrial materials valuing their unembellished qualities and efficient, straightforward assembly. These materials echoed the Smithsons' earlier work, such as the Hunstanton Secondary Modern School (1954), where structural clarity and raw materiality established their architectural language. At Upper Lawn, they refined these principles for a domestic setting, creating a space that balanced economy with warmth and functionality with experimentation.Save this picture!This ethos was more than an aesthetic or functional choice it was a response to the socio-economic realities of post-war Britain. Housing shortages, rising construction costs, and a growing awareness of finite resources demanded new approaches to building. The Smithsons viewed prefabrication not just as a cost-saving measure but as a means of addressing these broader societal challenges. By reducing the dependency on skilled labor and traditional materials, they demonstrated how architecture could remain ambitious and experimental even with limited means.Save this picture!In this way, the pavilion connects with ongoing conversations about resource-conscious design. Its reliance on prefabricated elements and efficient construction techniques mirrors contemporary efforts to address housing affordability and sustainability. Upper Lawn's legacy lies in its ability to show how architecture, even at its simplest, can engage with pressing global challenges while maintaining a sense of place, purpose, and innovation.A Model for the Past, Present, and FutureBeyond technical innovation, Upper Lawn reflects the Smithsons' belief in architecture as a tool for resilience and adaptability. Their writings often explored the interplay between built environments and their broader ecological systems, advocating for a sensitive, context-driven approach a conviction that architecture should operate on both personal and universal levels. In this sense, Upper Lawn transcends its function as a modest countryside retreat to become a prototype for sustainable design that addresses challenges still relevant today.Save this picture!This dual purpose mirrors the Smithsons' broader architectural philosophy a seamless interplay of theory and practice. Projects like Upper Lawn, paired with writings such as Without Rhetoric: An Architectural Aesthetic, reveal how they continually pushed the boundaries of architecture, challenging conventions and exploring the discipline's potential. For them, the act of building was as much about questioning the status quo as it was about constructing functional spaces.This legacy was thoughtfully extended in 2006 when Sergison Bates Architects undertook a sensitive restoration of Upper Lawn. Their intervention exemplified a contemporary approach to heritage architecture, carefully balancing preservation with adaptation. Together, the Smithsons' original vision and Sergison Bates' respectful intervention underline Upper Lawn's timeless contribution to architecture. By responding to the challenges of its era while anticipating future needs, the pavilion bridges the post-war emphasis on reconstruction and innovation with contemporary concerns about environmental stewardship and adaptive reuse.Save this picture!This layered history ensures that Upper Lawn remains a compelling study of how architecture can negotiate the past, present, and future. Its reliance on prefabricated materials and innovative environmental strategies reflects modernism's democratic ideals, making design accessible and purposeful. Simultaneously, its adaptability and enduring relevance underscore architecture's ability to evolve with changing needs and values.By intertwining resilience, sustainability, and experimentation, Upper Lawn provides timeless lessons for architects addressing contemporary global challenges. As both a product of its time and a blueprint for the future, it demonstrates how even modest projects can embody profound architectural ambitions.This feature is part of an ArchDaily series titled AD Narratives, where we share the story behind a selected project, diving into its particularities. Every month, we explore new constructions from around the world, highlighting their story and how they came to be. We also talk to the architects, builders, and community, seeking to underline their personal experiences. As always, at ArchDaily, we highly appreciate the input of our readers. If you think we should feature a certain project, please submit your suggestions.Image gallerySee allShow lessAbout this authorDiogo Borges FerreiraAuthorCite: Diogo Borges Ferreira. "Upper Lawn: A Manifestation of Alison and Peter Smithson's Architectural Vision" 10 Jan 2025. ArchDaily. Accessed . <https://www.archdaily.com/1025366/upper-lawn-a-manifestation-of-alison-and-peter-smithsons-architectural-vision&gt ISSN 0719-8884Save!ArchDaily?You've started following your first account!Did you know?You'll now receive updates based on what you follow! Personalize your stream and start following your favorite authors, offices and users.Go to my stream