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PROGRAMME Peter Cowman BArch.
Director, Living Architecture Centre
livingarchitecturecentre.com
cc creative
commons
Version 1.0. 2017
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SHELTERMAKER DESIGN PROGRAMME 1
SHELTERMAKER DESIGN PROGRAMME

This Design Programme has been in development since 1989 when I ran the
first of many Workshops under the title of Be Your Own Architect. Back in
1989, I had only a vague understanding of what I was embarking upon in these
well-attended workshop sessions. As was quickly revealed, I was attempting to
revive a dormant tradition but information on how to practice this
‘sheltermaking’ was nowhere to be found!
In a world awash with information on various types of building,
knowledge of the sheltermaking process itself was completely absent.
While there were many books which detailed aspects of house design,
instruction on how to utilise this wealth of information to create
meaningful, practical and affordable buildings was non-existent. Neither
could I find a dedicated school of house design or a body of experts
conversant with the house design process. So, I set out to write a book on the
subject, based on the experience of teaching and assisting my eager students
as they designed and constructed their own homes. This Sheltermaker’s Design
Programme is a comprehensive summary of the design process that emerged
from these experiences. 1989 Be Your Own Architect
This Design Programme is being released at this time under a Creative workshop poster and resulting
Commons copyright-free license as a contribution to the urgent need to Sheltermaker’s Manual, published in
reappraise, rethink and reimagine the architecture of our dwelling places. 2 volumes by Python Press
SHELTERMAKER DESIGN PROGRAMME CONTENTS

Worksheets are available at sheltermaker.com to support the various design exercises.
INTRODUCTION 2 House Design & Construction 3; Inside, Outside 4; Maintaining Aliveness 4;

Architecture 5; The Sheltermaker’s Journey 6
STARTING OFF 7 Giving your project a title, drawing up a list of spaces, considering location and budget.
DEVELOPING A BRIEF 7 A Brief is the name given to the information gathered into a series of files, organised under
various headings such as ‘List of Spaces’, ‘Budget’, ‘Planning’, ‘Heating & Ventilation’ and
so on, that contain the results of the investigation into the various topics related to the
overall question: What kind of home do I wish [need] to create?
MEASUREMENT 8 The common language of design and construction, allowing accurate information to be
transmitted and communicated to the various people who will become involved in your project.
DRAWINGS & MODELS 10 Representing buildings and other 3 dimensional objects on paper.
GETTING ORGANISED 10 Setting up a system whereby particular items can be found easily when required
ENVIRONMENT 11 Setting out your environmental preferences and ‘bottom line’.
HEATING & VENTILATION 11 Creating a comfortable, healthy and energising internal environment.
MATERIALS & PRODUCTS 12 Investigating and selecting materials with which to realise your design ambitions.
STRUCTURE 13 Giving consideration to the structure of your building.
CONSTRUCTION 14 Assembling your chosen materials and products to make your building.
BUILDING SERVICES 14 Giving consideration to the plumbing, drainage and electrical systems to be installed
in your building.
PLANNING & BUILDING REGULATIONS 16 Managing planning and building regulation issues.
SITE ANALYSIS 18 Gathering information on access, orientation, ground conditions, views, exposure to weather,
neighbours and so on.
LAYOUT 18 Laying out your spaces to satisfy the varying demands of your design intentions and of your site.
COSTING 23 Accurately costing your design.
PLANNING & WORKING DRAWINGS 23 Preparing drawings for planning and construction.
LIVING IN YOUR ARCHITECTURE 25 The reality of reclaiming your space and time.
This Sheltermaker Design Programme is licensed under the Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License
INTRODUCTION
Human shelters offer testament to the strength of the human will to survive. As such, they
are a vital component of settled life and a stimulus for cultural expression. These functions
are sustained by establishing connections with the physical and metaphysical realities of
life on planet Earth, traditionally an integral part of the building design and construction
processes. Traditional sheltermaking
Accessing shelter, water and food are essential to our physical survival while accessing the activity has been central
metaphysical or the ‘intangible’ world of emotions, beliefs, values, meaning and so forth to the nurturance of
are vital to our psychological survival. Because houses have the potential to satisfy both of human life as well as to
these survival needs traditional sheltermaking activity has been central to the nurturance of cultural development
human life as well as to cultural development across the planet. across the planet.
Shelter design and construction have always been community based activities and an essential component in the
development of living cultures. In the move away from an agriculture-based survival strategy, spurred by the Industrial
Revolution, the creation of simple, natural, handmade shelter was superceded by the introduction of new dwelling
types designed to conform with an industry and technology-based survival strategy.
Because the work ethic of the industrial era demanded the surrender of a person's time in exchange for a wage, shelter
design and construction activity came to be dominated by profit-motivated economic forces which could exploit the
need for workers and their families to have secure dwelling places. The new dwelling types that emerged, essentially
physical in nature, made no reference in their design or construction to the intangibles of life. Emotional nourishment
had to be sought elsewhere, done without, or, ersatz satisfaction sought through physical consumption.
As people became captivated by the promises of the industrial age, traditional
sheltermaking activity died out. Because these were oral traditions, perpetuated by
hands-on community building activity, once people stopped building and inhabiting
traditional type dwellings connections to life’s intangible aspects were not generated
and therefore could not be fed into the cycle of cultural development in the same
way as before.
As a consequence of the decline of traditional sheltermaking activity, precipitated by
the way-of-life fostered by the Industrial Revolution, the knowledge of how to design No responsible body exists to
and construct simple, natural, handmade dwellings was lost. This loss was oversee and direct the
compounded by the fact that sheltermaking was never part of the architectural development of house design
profession which only ever catered for the housing needs of wealthy and influental solutions that can satisfactorily
persons. This has eventuated in a situation whereby no responsible body has and affordably cater for the
emerged to oversee and direct the development of house design solutions that can needs of people enmeshed in
the industry-based way-of-life.
satisfactorily and affordably cater for the needs of people enmeshed in the industry-
based way-of-life.
This situation has resulted in a lack of useful knowledge, information, initiatives, actions, choices or debate in respect
of creating affordable, adaptable, meaningful and healthy buildings in which to live. This situation severely
compromises people's ability to disengage from the current self-destructive economic system on which they rely to
maintain their aliveness. This system is hugely reliant on the creation of debt to perpetuate its agenda, with much of
this debt being generated by offering people little option but to borrow money in order to obtain a secure place in
which to live.
Mortgage debt is the primary instrument of modern indenture, shackling people to a
life-threatening cycle of consumption and waste from which it can be difficult to Mortgage debt is the
escape. Such debt is ‘secured’ by paperwork generated by the building industry that primary instrument of
attests to the compliance of buildings to planning and building regulations. This modern indenture,
paperwork concerns itself with the physical aspects of a building but pays no heed shackling people to a
whatsoever to the intangible aspects of the building which will affect the wellbeing of life-threatening cycle of
consumption and waste
its occupants. With its emphasis entirely focussed on the physical, no comfort is
from which it can be
offered by this ‘system’ to sooth the anguish inherent in the struggle to transcend this
difficult to escape.
destructive cycle in the search for a more satisfying and meaningful life.
When the coupling of sovereign currencies to the value of gold was terminated in the latter part of the 20th century
property became the ‘repository of value’ of ‘borrowed’ pounds, euros, dollars and so on. The expansion of the
money supply which resulted from this, assisted by the deregulation of the financial system, allowed developed
economies to expand exponentially by facilitating personal indebtedness, largely based on the ‘security’ offered by the
paperwork attesting to the ‘value’ of buildings people bought for their personal use - their homes. As a consequence
of this, property values rose dramatically, encouraging further borrowings by homeowners based on the notional rise
in value of their homes.
While robust economic growth might be touted as a ‘miracle’ the reality of the situation
is that mortgage debts generated by people are based on their promise to generate money
by working and to repay, over time, with added interest, a large percentage of these
earnings to pay off the amount they have borrowed. Such promises presuppose a future
where the fulfillment of such promises remains viable. Given the realities of climate
change, environmental degradation, fossil fuel depletion, recessionary economies and so
on such promises become harder and harder to keep. The consequence of failing to
honour such promises is the threat of losing one’s home.
On close examination, the true ‘repository of value’ of property is not ‘bricks ‘n mortar’ at
all, despite what the supporting documentation might attest to. Most people are aware On close examination, the
that a vacant property is prone to decay and can, in fact, be a liability, not an asset. So true ‘repository of value’ of
what is it really that the supposed monetary ‘value’ of property is secured against? It is property is not ‘bricks ‘n
people’s will to survive. The monetization of this remarkable human quality as the mortar’ at all - it is people’s
driving force of economic growth is not only cynical but inhumane and, ultimately, will to survive!
unsustainable.
HOUSE DESIGN & CONSTRUCTION

Contemporary house design and construction practices, based as they are on a purely rational approach to physical
reality, lack any in-built connection to life’s intangible aspects. It becomes the task of homeowners to add this
humanising dynamic to the properties they acquire, an undertaking that is normally hampered by the nature of the
physical structure they are working with. The proliferation of books, magazines and television programmes
documenting such undertakings attest to the strength and success of such commitments. However, developing a
methodology whereby people can input such commitment at an earlier stage of the design and construction processes
is likely to yield far more satisfying and versatile results.
A wider awareness of the realities of the design, construction and economics of sheltermaking is a
foundation upon which constructive debate regarding the issue of ‘housing’ can be based.
A wider awareness of the realities of the design, construction and economics of sheltermaking is a foundation upon
which constructive debate regarding the issue of ‘housing’ can be based. Such debate is an essential precursor to
people playing a more active role in shaping their dwelling places to satisfy not only their physical but also their
psychological needs. In truth while there is a need for regulation and for a building industry to manage the physical
aspects of sheltermaking activity, the responsibility for managing the metaphysical or intangible aspects of
sheltermaking belongs to people themselves. Where the taking of such responsibility was an innate part of traditional
sheltermaking, when these traditions were superceded by commercial sheltermaking, the consequent cultural vacuum
was largely filled by the myriad distractions and possibilities offered by this machine-based survival paradigm. When
such distractions and possibilities fail to satisfy or prove to be inimical to the health and wellbeing of people and
planet, the time has clearly come to, at the very least, open a debate regarding the nature of the buildings that need to
be designed and constructed to ensure the primary aim of sheltermaking can be satisfied - the nurturance of human
life and the fostering of cultural development.
The deeper implications of the changes wrought by the shift from an agrarian to an industrialised economy are now
being felt on a vast scale within all developed countries. While the loss of emotional connectivity resulting from this
can seemingly be endured, the present threats to physical survival are less easy to bear. This has prompted a search for
deeper meaning, a process that stimulates strong emotions with the potential to reunite the separated strands of our
physical and psychological worlds. This manifests as the desire for a natural and sustainable life, nourished within a
secure, healthy, adaptable and affordable home territory.
In the absence of traditional house design and construction knowledge and lacking a responsible
and trustworthy authority that is overseeing the development of affordable, imaginative and
adaptable house design solutions, people must now rely on the compilation of fresh knowledge
regarding the shelter design and construction processes, and the free circulation of this, in order to
achieve the objective of creating secure, healthy, adaptable and affordable homes for themselves.
Such 'sheltermaking information’ must acknowledge the inner connections which make us whole as
well as the external connections which tether us to the outside world.
Re-engaging with house design and construction activity is one way that people can satisfy the Re-engaging with
desire for a natural and sustainable life. This can be achieved on many levels by being informed house design
regarding the houses they live in or aspire to live in, by clearly articulating what they need and want and construction
from their homes and by broadening the usual discussions regarding houses to include their activity is one
intangible aspects which are so vital to the inner lives we all have to live. These are very much way that people
contemporary issues, aspects of evolutionary change which require clarification of what we can satisfy the
understand individuality, community, progress and even life itself, to be. It should be borne in mind desire for a
however, that such inquiry, debate and involvement with the ‘establishment’ runs counter to the natural and
mechanism of the global economy which exploits the need to be housed in order to satisfy its own sustainable life
agenda. People should temper their excitement at the prospect of being more directly engaged with the design of their
homes with the expectation of a large degree of ‘push back’ from a well-established and powerful industry. Such
reactions are part of the chemistry of life. Approached positively and handled skillfully such encounters can provide
useful energy for the inevitable struggles that are always associated with radical change.
INSIDE, OUTSIDE
Our dwellings engage us on a physical as well as on a metaphysical, or emotional, level.
This is a function of the architecture which acts to separate ‘inside’ from ‘outside’ allowing
us to engage outwardly with the physical ‘outer’ world and inwardly with the emotional
‘inner’ world. The inclusion of 'inner' and 'outer' aspects of life within the house design
and construction equations stimulates our rational as well as our intuitive faculties, allows
for the proper balancing of physical and metaphysical considerations and facilitates a deep
and harmonious engagement with life - the essence of sustainability.
If our dwelling places are imagined to be at the centre of a web of outward connections
that link to water, food, the environment, community, transport, education, work,
economics, leisure and so on, we can appreciate how vital such outward connections are An important function of
to the maintenance of our physical aliveness. Similarly, if our dwelling places are architecture is to separate
imagined as the centre of a web of inward connections that link to dream, imagination, ‘inside’ from ‘outside’
which allows us to engage
intention, aspiration, emotion, ego, instinct, personality, destiny and so on we can
outwardly with the
appreciate how vital such inward connections are to the maintenance of our inner
physical ‘outer’ world and
aliveness. Imagining our homes in this way reveals the amazing potential of the house inwardly with the
design and construction processes - the architecture - to facilitate a deep, harmonious and emotional ‘inner’ world.
meaningful engagement with all aspect of life.
The creation of shelter relies on two primary activities - design and construction. When we wish to design buildings
suited to a sustainable life we must first express what this means before we can hope to ‘construct’ it in the physical
world. To do this we must first engage with the intangible aspects of our lives - our feelings, our aspirations, our sense
of entitlement, our hopes, our imaginations, our dreams and so on. This process of self-enquiry raises many interesting
questions! Answering these is what building design is all about - proceeding from an abstract conception of what it is
one needs and wants to the manifestation of this in physical reality.
The stimulation of our inner selves that the design process provides goes to the heart of the notion of the ‘dream home’
- a place where we can truly be our selves. This allows us to think of our homes as a nutrient for our self-development
- a place into which we can literally plant our selves so that we can grow into selfhood. This possibility has been
delivered to us thanks to the widespread use of fossil fuels. Liberated from traditional communities laboring to provide
themselves with food and shelter, we have been graced with the freedom to ‘be our selves’ pretty much anywhere on
the planet we choose to live. This is a positive side of the modern world. Maintaining this freedom without destroying
the environment on which we rely for our aliveness is one of the deep challenges of the sustainable agenda.
Maintaining the freedom to ‘be our selves’ without destroying the environment on which we rely
for our aliveness is one of the deep challenges of the sustainable agenda.
MAINTAINING ALIVENESS
Because sheltermaking is all about maintaining aliveness houses provide a natural context for our lives to be lived out.
This is facilitated by the striking similarity between people and buildings. Architecture consists of two essential parts -
a physical external fabric enclosing an intangible internal space. People are constituted in a very similar way with
physical bodies enclosing an intangible inner ‘space’. In both cases it is the physical fabric defining the boundaries of
the enclosed space that separates ‘inner’ space from the vastness of ‘outer’ or, universal space.
The enclosing aspect of architecture provided by its physical fabric generates a feeling of security,
of space that is protected from intrusion. In the case of people, their physical bodies similarly
generate feelings of security and protection for their delicate ‘inner’ worlds. It is the transference
of the protective role played by the human body to the enclosing fabric of the home that provides
the feeling of being ‘at home’ in one’s home which, in turn, inspires the feeling of being ‘one self’.
This transference of one’s ‘inner’ space to the safety and security of the space enclosed within the
home literally allows one to be within one’s own inner world. The perspective offered from this
vantage is self-awareness, the consciousness that we are an integral part of a dynamic universe
largely invisible to our physical senses. By designing and constructing homes in this Sheltermaking is all
consciousness we stimulate our rational as well as our intuitive faculties which allows us to about maintaining
balance the physical and metaphysical aspects of our lives and to enjoy a deep and harmonious aliveness
engagement with life.
It is the similarity between buildings and people that makes architecture such a
powerful tool in our quest not only to survive but also to thrive. Understanding the
puzzle of our selves and of modern life is an integral part of re-engaging with the
sheltermaking process - identifying who we are, where we are going and how we plan
to get there. This begins by acknowledging the intangibles qualities of life that are so
critical to the process of harmonization with nature. These are invisible and
mysterious, residing within our deeper selves. When we articulate our desires about
how we wish to live it stimulates these parts of ourselves that long for a deeper
connection to life. This signals the beginning of a painful but necessary evaluation of
our values, beliefs, ideals, aspirations and dreams. Such a perspective invites us to
reclaim ownership of our time and our space, to engage more deeply with It is the similarity between
consciousness and to alter our entire way of life. The dynamics of such a shift are as buildings and people that makes
architecture such a powerful tool
much cultural as they are personal allowing us to embark on a process of renewal,
in our quest not only to survive
the forging of a new cultural paradigm that acknowledges and integrates the physical
but also to thrive.
and metaphysical aspects of life into a seamless whole.
Because a sustainable life is an emotional as well as a physical one, it is vital that buildings designed for sustainable
living take this into account from the outset. While such an approach might appear challenging, this is merely a
consequence of including an ‘inner’ dimension in the design process. This tracks right to the heart of our deepest fears
concerning our survival. The potential onslaught from such encounters are indeed challenging, however, the strength
derived from facing such challenges will comfortably carry one through the ordeals that will inevitable arise as a
consequence of this, largely because our will to live is being stimulated.
Challenges and ordeals, arising from a deep engagement with life, were traditionally understood to be aspects of ‘fate,
fortune & destiny’. Stimulated by our desire to maintain our aliveness, such engagement leads us unerringly in the
direction our inner selves need to move as we live out our destiny. In practical terms these life encounters are
managed by accepting their dynamic but invisible nature, by acknowledging that our fear is the inseparable
companion of our longing for a meaningful life and by trusting in life despite the fact that we cannot clearly see a
destination. In respect of sheltermaking, such trust is reinforced by one’s ‘sheltermaking gene’ - an innate facility we
all have in respect of creating shelter, which, if it’s call is honored, will prove to be a steadfast ally in the quest to live a
meaningful life. It is from this vantage that one can ‘live one’s architecture’, in the process contributing vitally to a
culture of sustainability. Even just imagining such a life, or only building a model of ones dream home is sufficient to
activate this potent chemistry.
Generally, architecture is presented as being complex when, in fact, it can be very simple - literally,
a floor, four walls and a roof. It is life which is complicated and full of hidden meaning.
ARCHITECTURE
Generally, architecture is presented as being complex when, in fact, it can be very
simple - literally, a floor, four walls and a roof. It is life which is complicated and full
of hidden meaning. When we accept this fact, and the nature of this invisibility, we
can begin to distinguish between the visible and invisible aspects of buildings. This
allows us to interpret the abstract nature of the space enclosed by the fabric of our
homes as being a reflection of our own ‘invisible’, or, inner selves. As a
consequence of this we gain the opportunity to shape the architecture to suit our
selves and the planet we inhabit by virtue of the fact that the design process allows
to see all aspects of our selves, our lives and the life of planet Earth.
Exploiting the potential of architecture to enhance our lives requires a defined
procedure in order to activate the potential of the design and construction processes.
This begins with the clear expression of ideas, needs, aspirations, dreams and so on.
These abstractions are rendered in words and images, are given 3-dimensional form, The abstract nature of the space
refined, constructed and then inhabited. To design homes in this way, or to modify enclosed by the fabric of our
existing ones, requires self-honesty in order for the deep purpose of our lives to be homes is a reflection of our own
encountered and for this potentiality to be manifest in physical reality. ‘invisible’, or, inner selves
The abstract conception of the role of your building in your life will emerge from within you. It is this intention which
will enliven the inner space of the building. The role of the building fabric - the walls, the floor and the roof - is to
enclose this inner space and to separate it from the outside world. Because clear intention is what brings a building to
life it is essential that intention dominates the design process. This requires that a harmony be achieved between the
inner and outer aspects of the design. This balancing of abstract and physical, visible and invisible, is characteristic of
life itself.
To achieve the necessary harmony between the inner and outer aspects of the design your mind has to be encouraged
to share power with your intuition. This will allow you to tune in to the harmony of your life and to infuse your design
with that life. Bringing your design to life is, in many ways, about bringing yourself to life.
THE SHELTERMAKER’S JOURNEY

The house design and construction processes are best be described as a ‘journey’.
This route consists of various explorations which lead to discoveries,
connections, insights, dead ends and so on. It the significance and the linking
of these experiences that facilitates the decision-making process that is at the
heart of good design.
Because the most vital aspect of buildings - space - is invisible there is
always a temptation to formulate a ‘plan’ in order to make a design visible as
quickly as possible. This is a fundamental error and should be avoided at all
costs. Such an approach sets arbitrary boundaries and supposes that people
are malleable and can conform to the preconceived shapes which result from
such a design procedure. Indeed it is true that people are malleable, as
evidenced in almost all contemporary house designs. However, the contortions
required of people in order to inhabit such shapes usually has nothing to do with the
lives they have to live and they find themselves endlessly constrained as a result.
This is so normal that it is taken for granted that this is how houses are! The Sheltermaker’s Journey
Properly, a plan of a building should only be formulated close to the end of the design process. This is the nature of
the sheltermaking ‘journey’ and, like all journeys, the destination comes at the end. As one proceeds towards this
destination myriad revelations, insights and synchronicities are experiened which reveal the living dynamics which
integrate the inner and outer aspects of an evolving design. Such insight affirms that the chemistry of the architecture-
to-be has been activated and that things are moving in the right direction. The task then becomes one of sensitively
shaping the container that will nurture and protect these living dynamics allowing them to unfold and to reveal their
mysteries.
The written word is used to get your sheltermaker’s journey underway. This activates the
chemistry of the architecture-to-be. How to arrive at your destination is the next question!
It is this question-answer-question pattern which allows one to clearly articulate what one
actually needs the design to deliver in respect of the life you have to live. Inevitably, your
answers will be subject to revision and refinement as the ‘shape’ of your life becomes clear
to you. It is this final shape which ultimately defines the plan of your home and of your life.
We all have ideas about how houses should be designed, about their style, construction,
layout and so on. All this knowledge will prove invaluable as you develop a unique design. The written word is used
However, it is important to commit yourself to the journey this Sheltermaker Design to get your sheltermaker’s
Programme sets out for you - this has been created after much thought and effort and in journey underway,
consultation with those who have already successfully made this journey. By adhering to activating the chemistry of
this you will avoid many of the pitfalls that house designers are normally prey to. the architecture-to-be.
This Design Programme is set out as a series of topics and design exercises which have been How to arrive at your
developed over the past twenty five years and have proven successful and practical in use. destination is the next
These exercises are supported with Worksheets. This approach facilitates the creation of a question!
properly balanced design that takes full account of your desired objectives, harmonising these with the larger world.
Within its careful structure the Programme is commodious enough to facilitate importation of ‘outside’ information
from the wealth of resources available in books and online that directly relate to the various topics to be dealt with.
The Programme also facilitates the integration of outside expertise relative to each particular topic - for example,
engaging a draughtsperson to prepare design drawings, consulting with a professional on how to remain off-grid when
electrical services are being considered, talking to carpenters, electricians, plumbers, wastewater disposal experts,
contractors and so on. Importation of any ‘outside’ information and expertise should conform to the structure of the
Design Programme and adhere to the principles set down by the project leader. No previous experience of building
design or construction is required to lead a sheltermaking project.
Overall, the step-by-step of the Design Programme allows you to make the best possible use of your time and energy,
allowing you tune in to and to clearly express what you need to live your life fully. So, it is important that you accept
the common sense of the Design Programme at this point and trust that it can lead you safely to your desired
destination. When you do this your creative energies will be freed to tackle the real work in hand.
It is a good idea to spend some time on your project every day. This will keep everything fresh in your mind and will
keep the project moving. Your greatest ally will be the good feeling and excitement generated by the creative process.
There will be moments when it might all seem too much for you to do. This is why it is important to focus on the work
in hand, confident of how it fits into the overall picture. Work steadily and enjoy yourself. Try to work at a table or
desk rather than sitting in an easy chair. As you progress keep your equipment, books, files and so on where you can
reach them easily, so that when you decide to work you can begin with the minimum of fuss.
There is no need to have a building site in order to develop a successful design with this Sheltermaker Design
Programme. Apart from developing original house designs, the Programme be utilised to replan existing dwellings, to
design extensions to them or to evaluate dwellings that one might be considering purchasing. The Programme can
also function as a consciousness raising exercise without the need to actually construct the design which has been
evolved. Also, the approach is applicable wherever on the planet one is operating. I am often asked if a building
designed to suit an individual might not suit anyone else but them - and therefore be inflexible or unsuitable to others!
The answer to that is to in-build versatility and adaptability into any design being formulated!
It can be useful to work in groups, either family groups or groups formed around a common interest in sustainable
shelter and living. Group energy can be a great motivator, though it is best that individual design solutions are
developed rather than everyone trying to agree on a single one. This is an excellent way to explore fresh and
imaginative solutions that can supercede traditional notions of what houses are supposed to be like.
SHELTERMAKER WORKSHEETS
To assist the gathering and use of information on the various topics to be explored, pre-formatted Worksheets available
for download from sheltermaker.com Design exercises are indicated thus: ☐
Sheltermaker Project Worksheet Sample Activity Analysis Worksheets Plumbing Worksheet
List of Spaces Worksheet Drawing Worksheets Drainage Worksheet
Budget Worksheet Environment Worksheet Electrical Worksheets.
Floor Area Worksheets H&V System Worksheet Site Analysis Worksheet
Space Analysis Worksheets Construction Worksheet Costing Worksheet
STARTING OFF
☐ Print the Sheltermaker Project Worksheet to get started on your design.
Give your project a title
and answer the question What kind of home do I wish [need] to create? Bear in mind that all
answers can and will be changed as things evolve.
☐ Print the List of Spaces Worksheet and draw up a list of spaces for living, work and creativity,
including outdoor spaces that you wish your design to contain.
If you are working on an existing building list the spaces you have and add to this spaces you To get started, give
wish to create. your project a title
This initial foray into the world of design can be carried out very quickly. Difficult questions and answer the
question What kind
will inevitably arise which is indicative of what the design exercise is all about - articulating of home do I wish
your needs then developing satisfactory solutions to the issues that arise from these enquiries. [need] to create?
What is most important now is that you cater for the entire range of activities
that you would like your building to host, particularly leisure, pleasure, Weekly shopping -
Occasional
10 - 15k ideal
relaxation, creativity, food production and storage, plus, the possibly of catering shopping+pub in
School village, 5 - 8k ...
for work and business related activities. Think in terms of what your building (on bus) ideally cycleable
can do for you. Complete multiple versions of the List of Spaces Worksheet Bus or train
assigning each version a Draft Number inserted into the box on the bottom
right of the sheet.
Best friend Home
☐ Map your ideal home location in respect of the outer connections to friends, 30k max. Neighbours -
neighbours, shops, resources, schools, work, public transport and so on. If you 0.25 - 2k ideal
have a building site or are working on an existing building use a large scale
map to carry out this exercise, tracing over it using greaseproof paper.
Builder’s Provider
☐ Set out your Budget, including an amount for the purchase of a site and for Cultural stimulus
10 - 15k ideal
possible consultancy fees. Give consideration to where this money might come
from. If it is to be borrowed note the conditions attached to such borrowings,
particularly those impacting your choice of materials and, of course, giving City, airport, family - max. 100k
close consideration to the payback schedule and how this might be managed.
Use the Budget Worksheet for this. Map your actual or ideal
home location
DEVELOPING A BRIEF The Project Brief is a series

The foundation on which the design process is based is given the of files containing your
general title of ‘The Brief’. This is a series of files containing your Worksheets along with the
results of the investigation
Worksheets along with the results of the investigation into the various into the various topics
topics related to the question: What kind of home do I wish [need] to related to the question:
create? These files are organised under various headings such as ‘List What kind of home do I
of Spaces’, ‘Budget’, ‘Planning’, ‘Heating & Ventilation’ and so on. wish [need] to create?
The evolution of a practical design solution is achieved by striking balances according to

the demands each relevant topic exerts - for example balancing budget with floor area, or
balancing building fabric construction with demands of a heating and ventilation system.
Balancing these various demands at the design stage, before a plan is formulated, allows for
immense flexibility and versatility to be achieved in the evolving design and yields a clear
overview of all aspects of the project.
The ‘journey’ involved in creating these files is non-linear and consists of many sub-
journeys, much as our journey through life consists of various experiences which, when
congregated into a whole, present us with an overview of the pattern of our lives. In order
to see such a pattern we have to experience life and be willing to honestly look at what the It is important to
acknowledge the nature
pattern represents and means - what it tells us about our selves. The house design or and significance of the
sheltermaker ‘journey’ is similar. Guided and encouraged by the experience of those who design journey at the
have already completed their design ‘journey’ and now inhabit the resultant dwellings, a outset - the enactment of
general pattern can be followed which streamlines the question-answer-question nature of a simple ritual or
the design process, speeding it up, providing clear signposting, hinting at possible shortcuts, meditating on the
suggesting useful techniques, offering proven solutions and so on. process is a useful way of
doing this.
Because the design process is a life-based one and gives consideration to the tangible and
intangible aspects of being alive, it is important to acknowledge the nature and significance of this journey at the
outset. The enactment of a simple ritual or meditating on the process is a useful way of doing this.
Devoting sufficient time to the process is also important. Such time, like the journey itself, is non-linear, so individual
explorations can be brief engagements interspersed within familiar day-to-day life. This suits the nature of the dream
world one will be exploring, striving to bring this into reality. This has its own timeframe, delivering answers through
coincidences, dreams, insights, sudden realisations and so on.
MEASUREMENT
Measurement is the common language of design and construction, allowing accurate
information to be transmitted and communicated to the various people who will become
involved in your project.
Choose a measurement
Space is measured using three dimensions - length, width and height. Time is the system, metric or
inseperable companion of space and is measured in units of time - seconds, minutes, hours, imperial, that suits the
days and so on. Between them, space and time constitute the 4 dimensions of the world as location within which
we perceive it. These are properly referred to as space-time. you are working.
☐ Choose a measurement system, metric or imperial, that suits the location within which you are working.
☐ Using your present living spaces as a guide or by measuring other spaces which appeal to you, assign an approximate
floor area to each fully enclosed space on your List of Spaces. Use the Floor Area Worksheets for this. You should end
up with a total floor area of between 100 and 200 sqm [1100 - 2200 sqft] for living+working spaces. If it is larger than
that eliminate some spaces by incorporating their activities into other spaces. Creating flexible, adaptable and multi-
functional spaces is the best solution when floor area estimates grow too large, particularly where budgets are tight.
Simpler working areas such as barns, workshops, polytunnels, covered areas and so on will be cheaper to construct,
so total these independently, but again, be careful not to let things get too big! Rember, it is life that is the magic
ingredient. The building is only going to be a container for this!
☐ Obtain approximate costs per square metre or per square foot for the type of construction experience you wish to have
- contractor or self-build. Insert these figures into your Floor Area Worksheets and relate them to your estimated floor
area. If your per square metre or per square foot costs are way below the figures you have obtained you need to scale
back on your List of Spaces, bring floor area and budget figures into alignment or plan on having a phased
development before going any further.
Economics is a critical aspect of any building project - how much your site and building will cost and how these will
be paid for. If you wish to build low-cost, you will inevitably have to become involved in the construction process
yourself. Also, the choice of construction system, finishes and overall size will become very important. If you are
borrowing in order to build, you will have to consider the attitudes of lending institutions towards self-building and
property values as well as your own attitude towards work, resale values and property generally.
Money exerts a greater influence on building design and construction than any other single factor so it is critical that
you get your thinking and your feeling straight on the matter. Basically, the more power you give to 'money' in the
design equation the more influence it will have. While this may seem like a truism, bear in mind that 'money' is no
respecter of persons or of life, so it can easily be the case that 'money' rules the day to the detriment of life
considerations. In many ways this is the core of the struggle to achieve 'sustainability'.
☐ Set out a timescale for the design (minimum 6 months) and for the construction work to take place. Use your
Sheltermaker Project Worksheet for this.
Assemble images of spaces and buildings that

appeal to you noting which spaces they relate to.
☐ Assemble design and style information - images of spaces and buildings that appeal to you, noting which spaces on
your List of Spaces they relate to. Create a Design & Style file to keep these in.
When your budget and floor area figures have been brought into alignment the detailed investigation of each space
can be carried out regarding the activities to be hosted in them and the furniture and equipment required to carry out
these activities. Use the dedicated Space & Activity Analysis Worksheets for this work.
You are now going to expand the information relating to the Spaces set out in your List of Spaces Worksheet. Much of
the drudgery has been taken out of these exercises by the pre-formatted Space Analysis Sheets. There is one of these
for each Space marked with an asterisk* on the List of Spaces Worksheet.
☐ Print Analysis Sheets relevant to the Spaces you have listed. If no pre-formatted Sheet exists use an Analysis Sheet
Blank, writing the relevant name/number on top. If you are planning an extension to an existing building print
Analysis Sheets for the existing and the proposed Spaces as set out on your List of Spaces.
As you will see each Analysis Sheet deals with Activities; Furniture & Equipment; Abstract; Location; Surfaces;
Furniture & Equipment Measurements and Floor Area/Volume. The significance of the first five of these headings will
be the focus of your attention now. The portion of the Sheets devoted to Furniture & Equipment Measurements and
Floor Area/Volume you will be leaving blank for the moment.
The completion of the Analysis Sheets is going to breathe life into the emerging design. Remember - it is easier to
write something down and then to change it, rather than spend hours trying to come up with a perfect description of
what it is you want. You can create as many versions of each Analysis Worksheet as you wish. Either discard the
earlier versions or number each new one in sequence.
Your Design & Style information will now prove of great assistance in helping you focus on what it is you want to
achieve particularly in regard to 'Surfaces'. It will be these surfaces - floors, walls and ceilings - that will eventually
enclose each Space in the building. Assigning a preferred orientation to each space under the Abstract heading is also
important to consider now. This will have a large bearing on the configuration of the plan or layout of your building
design as well as influencing your choice of site.
Information of the Location of spaces relative to each other is critical too, particularly when it comes to the layout
stage of the project. Moving between spaces is called ‘circulation’ and this should be designated as a space in its own
right. Add this to your List of Spaces and analyse this in the same way as the other spaces on your list.
How the circulation space in a home is designed and functions is key to creating a flexible and adaptable building.
The likely floor area of this has been taken account of by the addition of 20% to your floor area estimate of the spaces
in your design. Where work and/or food production are being designed in managing the circulation to and from these
is particularly important. The journey from a kitchen to a kitchen garden and back again might be a regular one which
would immensely benefit from a careful ‘circulation analysis’. Carefully locating work
space in such a way that one can have a day or a weekend off might make an immense
difference to the quality of one’s life.
A critical function of circulation space is in forging the connection between the inner
world of the house and the outer world surrounding it. This 'threshold' - usually at the
front or back door - is the interface between the two worlds. If properly designed, one
can move seamlessly back and forth across this interface, effectively integrating the life
of the house into the life of the site and of the outer world. Another aspect of
circulation that also needs careful consideration is how people and goods will move
back and forth between the inner world of the house and the wider world surrounding A critical function of
it. The location of neighbours, shops, churches, schools, fuel supplies, workplaces as circulation space is forging a
well as the doctor, dentist and mechanic, should all be carefully considered and connection between the inner
mapped. Consideration should also be given as to how such journeys might be made world of the house and the
without the direct assistance of fossil fuels. Circulation space can also usefully host outer world surrounding it -
functions such as storage, occasional workstations and so on. the 'threshold'.
☐ To assist in this exercise a Sample Activity Analysis Sheet has been drawn up. This describes the
Cooking/Eating Cycle and The Laundry Cycle respectively. Print and read this. Now, create
your own Activity Analysis Sheet or Sheets for the particular activities which you wish to
carry on in the various spaces of your building. This is critical if any work or creative activity
is to be carried on. Use the supplied Activity Analysis Sheet blank/s for this exercise.
Every home should be able to host work and creative activity easily. This is one of the keys to
the adaptability of a design because it opens up a wide range of options. Remember, you are
designing for an unseen future - in other words none of us knows what is going to happen ten or
even five years down the road. The design you create should be able to adapt to any change either
in the outside world or personal change. There is no doubt that creating your own house design
Every home
will change you. This is part of the reason why no one can really do it for you. To facilitate such should be able to
change you must be honest with yourself. This means searching within yourself and getting in host work and
touch with you own deep nature. creative activity
easily, a key to
These analysis exercise are thought provoking, puzzling and can be very time consuming also! If adaptability
you are keen to ‘press on’ in order to gain insight into the overall design process you may do so, because it opens
bearing in mind that the analysis work will, at some point, have to be carried out before a serious up myriad
layout exercise can be completed. options.
DRAWINGS & MODELS

Buildings and the items of furniture and equipment they contain can be
represented on paper by drawings. Because drawings are 2-dimensional and
these objects are 3-dimensional, it requires at least two drawings to represent
them on paper. These drawings can be made proportionally correct. Such
‘scale’ drawings illustrate only the surfaces of these objects but cannot show
their volume or the nature of the space contained within them. These same
drawings however can be used to make scale models which allow the outside
and the inside of the object to be seen in 3-dimensions.
Buildings and the items of furniture
☐ Many people say that they 'cannot draw'. This is OK. There is only one line and equipment they contain can be
represented on paper by drawings.
you ever need to learn! Refer to the Drawing Worksheets to find out more.
The prevalence of computer drawing programmes should not be a temptation to
those wishing to shy away from the task of drawing. Drawing by hand is a
certain way to activate our innate sheltermaking instincts. The benefits of such
engagement can easily by lost if a computer is used.
When it comes to formalising drawings for planning or construction purposes a
draughtsperson will probably have to be employed. It is critical that the
designer has developed competence in both in creating and reading drawings
in order to develop a good working relationship with such a person. It’s a good
idea therefore, to keep an eye out for such a person as you develop your
project.
GETTING ORGANISED
At this stage, in respect of you sheltermaker design project, it is important that the
information being gathered is organised in such a way that particular items can be
found easily when required. The first step in the direction of getting paperwork
organised will be to obtain some supplies and equipment These would be file folders,
some plain A4 paper and a file storage box. Having obtained the file folders, dedicate
one to each space you intend to have in your design, writing on the front the
name/number of the space. Also, as you progress, create files for each relevant topic
such as ‘Environment’. Keep the files in the box unless you have a dedicated
workspace or desk with a file drawer. Keep everything close to where you intend
working. No building can be properly designed in a hurry, especially a home. The
time spent in carefully evolving a design will only ever be a small fraction of the time
you will spend within the completed building. Remember, being reasonably organised Dedicate a file folder to
will allow you to get the best value out of your time. Also, it is best to spend a little each space you intend to
have in your design.
time each day on the project rather than trying to cram a lot of work into a weekly
session.
Also, bear in mind the life elements which this work will be stirring up! Pay attention to your dreams, take note of
features you like in buildings, be mindful of coincidences and so on. Should obstacles appear, or conflicts arise, pay
careful attention to these because they will be indicative of someting noteworthy. Do not expect your
design to magically appear or anticipate that by blindly forging ahead and creating a building that you can
then, somehow, make it conform to your dreams! Taking time with a design is the best way to create a
building that will deliver potential to your life to unfold as it was meant to. You will know what’s best for
you even though this might conflict with the current state of you life. Designing a building for yourself is a
way of working out the problems that arise!
Should obstacles appear, or conflicts arise, pay careful attention to these
because they will be indicative of someting noteworthy.
ENVIRONMENT
It is very important that the healthiness of a building's 'environment' is recognised at this
point. This encompasses both the 'internal' environment as well as the 'external'
environment within which the building is located. Environmental considerations
encompass both physical as well as psychological issues. What this means is that the
building design that is being created must be seen as a 'living' thing, not merely as an
assemblage of inanimate spaces. Equally, the relationship of this living architecture to
the 'outside world' must be considered as a dynamic living relationship. Such an
approach acknowledges that human life is marked by self-awareness and is composed
of visible and invisible aspects. While the visible aspects of life are, by definition, Environmental
visible to the eye, in order to detect its invisible aspects a different form of attunement is considerations encompass
required. Such sensitivity must be consciously acknowledged otherwise one can remain physical and psychological
issues so the building
blind to the effects of these invisible ‘forces’. This is particularly true of electromagnetic design must be seen as a
radiation, earth energies, dirty electricity, disturbing vibrations and so on. 'living' thing, not merely an
If you are designing an extension to an existing building you need to assess the assemblage of inanimate
spaces.
environmental quality of this, particularly where manufactured materials have been
used in the construction. It is also important to assess a property regarding the presence of invisible ‘forces’ such as
detrimental earth energies, electromagnetic radiation, dirty electricity etc. as these can cause pollution of the local
environment which might easily be overlooked in the desire to extend or renovate as a means of improving a place.
☐ Use the Environment Worksheet to set out your environmental ‘bottom line’ e.g. no toxic materials to be used in
construction; no pollutants to be emitted from building; locally available skills and materials to be used where
possible; etc., etc. Or, you can make a simple statement such as: ‘I want my building to be natural, healthy and non-
polluting.’ How to achieve these aims can be looked at in detail as your project progresses. Use the Environment
Worksheet for this. Store the worksheet in a file entitled ‘Environment’.
HEATING & VENTILATION

Heating and its companion, Ventilation, influence the layout, orientation
and siting of a building as well as influencing its structural type and the
choice of materials required to construct it. They are also critical to the
likely energy performance of the building which will have to meet
minimum standards set by national energy regulation bodies. Also,
H&V, as it is commonly referred to, has a bearing on the creation of a Heat always tries to move towards cold so
healthy internal environment and affects the external environment also. buildings loose heat through their 'fabric' -
The topic of H&V also includes the subject of Cooling and should walls, windows, floors and roofs and when
properly be referred to as ‘Heating, Cooling & Ventilation’. More than warm air is vented away.
any other aspect of building design, this topic will key one into the
crucial aspects of sustainability - climate change; the burning of fossil fuels; solar
energy; waste; pollution and so on.
The critical factors influencing H&V system design are as follows:
(a) Heat always tries to move towards cold.
(b) Our bodies produce too much heat.
In respect of item (a) - buildings loose heat through their 'fabric' - walls, windows,
floors and roofs. Heat is also lost when warm air is vented away. Also, buildings
gain heat from their occupants, from appliances, lights and potentially from the sun. Our bodies, like a car engine,
A H&V system makes up for the difference between these losses and gains by produce too much heat which
collecting, generating and distributing heat within the building . Sometimes the begs the question - What are
we heating when we heat a
H&V system also has to cool a building down. building if the people within it
Item (b) begs the question - ‘What are we heating when we heat a building if the are normally shedding heat in
people within it are normally shedding heat in order to remain at a safe and order to remain at a safe and
comfortable temperature?’
comfortable temperature?’
The answer to this puzzling question relates to the fact that heat always
tries to move towards cold. In a building whose fabric [walls, floors and
roof] is colder than a person who is inside it, that person will begin to
deliver some of their heat to that fabric, making them feel cold. To
compensate for that loss the air in the building might be heated to ‘pay
back’ lost heat to the person. Or, the building fabric might be made in
such a way that a temperature balance between fabric and people is
achieved, minimising heat losses from the occupants.
Understanding how buildings gain and loose heat guides us as to how
best to create a heating system and a building fabric that will perform In a building whose fabric is colder than a
person who is inside it, that person will
well in the conditions that are likely to prevail when it is constructed. begin to deliver some of their heat to that
The choice of materials will be affected by this system design as will the fabric, making them feel cold.
internal layout of the building and its orientation and siting.
☐ Broadly speaking the choices are - to heat the air within the building or to heat
the building fabric itself. This can be achieved by utilising solar gain or by
burning wood or fossil fuels or by utilising a combination of both. Consider this
carefully and set down on the H&V System Worksheet your general preferences,
bearing in mind that you can always change your mind at any point. Create a
H&V file to store the Worksheet in and begin the assembly of information on
fuels, boilers, stoves and so on. Also state your preferences in respect of
available fuels, the possible utilisation of solar energy, your attitude to fresh air
availability within your design and so on.
The configuration of the building fabric will follow on from the choice of
heating (and/or cooling) system when Materials & Products are being
considered. In many ways choosing a suitable building fabric is a little like
choosing one’s clothing to suit the weather.
It is critical to understand that a building is a living environment and that the
operation of the H&V system, to a large extent, is the heart or, hearth, of that
environment. The human body and its living functions are the models to follow
in the design and creation of an efficient and healthy system. An internal
environment must be not only healthy, comfortable but also energising to its
occupants.
If you are working on extending or replanning an existing building you will
have to be versatile and realistic in your approach. Some even relatively new
housing stock is so deficient in respect of energy performance that it might be
prohibitively expensive (as well being impractical) to upgrade it to a ‘liveable’ Buildings can be heated by utilising
standard. In such cases it might be best to consider creating a highly efficient solar gain or by burning wood or
extension which might be isolated from a cold house, rather than try to upgrade fossil fuels or by utilising a
existing poorly insulated external building fabric to an acceptable standard. combination of both.
MATERIALS & PRODUCTS

TIMBER
The process of investigating and selecting materials with which to realise your design
ambitions now begins. The selection of these will be based on your previous decisions
about the Environmental and H&V aspects of your design. The pending exercise can be
imagined as the selection of ingredients with which to make a meal.
If you wish to an easily adaptable building, to create a healthy internal environment, to use
sustainable materials or to have high levels of insulation, you will have to use timber
extensively in your building. Timber is the most critical and important building material that
exists. Because it is a natural material, timber manages to stimulate a wide range feelings
and responses which, if not properly assessed, can critically imbalance a project. A full
understanding of the nature and performance of timber, or wood, as it is commonly referred
to, is therefore essential to the success of any design.
The critical information is as follows:
• When trees are felled and the timber in them is made ready for building, it is called wood. Timber is the most
• There are two basic types of wood - softwood and hardwood. critical and important
• All wood contains a certain percentage of moisture. building material that
• The Moisture Content of wood, when in use, determines how safe it will be from decay. exists, stimulating a
• Decay in wood is a consequence of its food content - desirable to fungi and insects. wide range feelings
and responses.
It is the issue of decay that is responsible for the bulk of adverse reactions to the use of
wood for building purposes. This is a deep-seated fear and should not be underestimated.
While you yourself might be fully aware of the emotional issues concerning the use of
wood for building, others involved in the design/construction process may not be so
informed. For example, lenders, insurers, friends and relatives may well have a different
attitude to the use of wood and may well insist on imposing their views to you. Generally,
the evocation of fear is the method used to dissuade people from the widespread use of
wood for building purposes. Because it’s aimed at our emotional selves - as opposed to
our rational selves - the invocation of fear can be devastating to the natural evolution of a
building design. Decay in wood is a
consequence of its food
To make it ready for building purposes timber, in the form of trees, is felled, cut and dried, content which is
resulting in the availability of seasoned (dried) sections of wood in a range of sizes. desirable to fungi and to
Generally, for building purposes, softwoods are used. insects.
Even after seasoning (drying), wood continues to absorb and release moisture as it seeks to
come into balance with its surroundings. This is a distinct advantage of the use of wood
for building purposes.
Wood has a great appeal to our senses, and as such, it is an ideal building material.
The normal method of dealing with the issue of decay in wood is to 'preserve' it. Wood
preservation usually involves the use of toxic chemicals which act by killing any life forms
which threaten to devour the food contained within the wood. Chemical preservatives
are threatening to all forms of life - not just insects and fungi. A natural preservatives
combined with careful detailing are the only safe alternatives to chemical preservation.
Wood preservation
usually involves the use
OTHER MATERIALS & PRODUCTS of toxic chemicals -
Apart from understanding the properties and special qualities of wood, it is necessary to natural preservatives
combined with careful
evaluate and select other Materials & Products to use in the creation of your building detailing are the only safe
design, the most critical aspects of which are: alternatives.
• The manufacturing process of Materials & Products from the 'raw' to the 'finished' state.
• The 'true' cost of Materials & Products in monetary and environmental terms.
• The impact of Materials & Products on living systems.
• How selected Materials & Products might be recycled.
☐ Begin collecting brochures and sample as well as information on cost and availability,
particularly of items available locally. Store all this information in a Construction File.
One may find it easier, at this stage, to eliminate the use of certain Materials & Products,
as opposed to making final selections. For example, one might rule out the use of PVC
windows and doors, synthetic paints and concrete blocks. In any event, the 'final'
selection of Materials & Products will only take place after consideration of Construction,
conditions attached to borrowings, detailed site analysis, planning considerations, the Carefully evaluate the
availability of skills locally and so on. 'true' cost of available
Materials & Products in
☐ At this stage what is important is to recognise the deeper aspects of selecting Materials & monetary as well as in
Products and to assess the feel of these. Outline the Materials & Products which most environmental terms.
appeal to you on the Construction Worksheet.
STRUCTURE
A building’s structure concerns itself with how the building is made to stand up. The primary
influencing factor in the design of a building structure is gravity. This is a mysterious force which
pulls everything inward towards the centre of the earth. Structures also need to cope with the
effects of wind.
There are two main structural types. These can be described as 'solid' and 'frame' structures. A
'solid' structure would be one made with stone or blocks usually with a concrete floor while a
'frame' structure would be a skeleton made of timber with, possibly, a timber floor. Essentially
both types of structure provide paths to 'channel' gravitational and wind energy down to the
ground. The primary
'Solid' structures, once constructed, are difficult to modify because the entire construction acts as influencing factor
a path for the movement of energy. These types of structure also require substantial foundations in the design of a
building structure
and, ideally, level sites. Frame structures, on the other hand, provide clearly defined paths for is gravity.
energy to follow. Such structural 'skeletons' are easy to work around, allowing
changes to be made to a building without disturbing the paths which the flowing
energy uses to find its way to the ground. Foundations for frame structures can be
simple isolated pads which can easily cope with sloping sites.
Many buildings combine both types of structure - for example, a 'solid' building
made of concrete blocks will normally have a timber 'frame' roof, or a timber frame
structure might have a masonry outer covering. While the choice between 'solid'
and 'frame' structures is, in part, made on the basis of inbuilding flexibility there are
other consideration involved the the choice of structural type. For example,
insulation, self-building and cost all play a role. What is important at this stage of
the design process is to grasp the principles of structural design, to acknowledge the
influence of psychology on our choices [fear essentially!] and to commit oneself to Frame structures are versatile
the observation of structures in the real world. and easy to work with.
If you are renovating an existing building or planning an extension to
one it is essential that a clear understanding of the structure of this is
understood. How to gather such information can be found out by
close examination.
CONSTRUCTION
The topic of Construction draws together issues covered in
Environment, H&V, Materials & Products & Structure. If these are the
'ingredients' then Construction is the recipe itself.
The sequence of decision making in regards your individual project
will have begun when you declared your preferences in regards to In respect of constuction, broadly speaking
Environmental and H&V issues and in the selection of Materials & the choices are - to construct either a timber
Products. These decisions are now applied in the selection of a framed or a masonry structure.
construction system that suits those particular choices.
Broadly speaking, the choices are - to construct either a framed or a
masonry structure. The former is a quicker and easier option,
particularly for self-builders and is better suited to sloping sites while
the latter is a slower and wetter system and more challenging for those
planning on building for themselves.
For example, if you have decided to create a healthy internal
environment, to gather and store solar energy, to have high levels of
insulation and to use natural materials then your Construction options The key issue of natural, sustainable, eco-
will probably be to build a breathable timber frame on-site; to treat the building is - who will/can build it and who
will/can supervise it?
timber frame with a natural preservative; to use an ample thickness of
cellulose or wool insulation or hemp-lime or clay-straw; to gather solar energy; to use wood as the primary [back-up]
fuel; to use softwood windows and doors along with natural roofing, paints and finishes.
If these are the 'ingredients' for the meal you wish to prepare then the 'cook' - whether it be you or, more likely,
someone else - will have to be skilled in that type of cooking. This is the key issue of natural/sustainable/eco-building
- who will/can build it? To put it another way - if you wish to eat healthily you do not go to McDonalds or Burger King
for dinner or invite a fast-food chef to prepare you a healthy banquet. The right person for the construction job, when
they can be found, might be very expensive, in which case self-building might become an option. To do this a person
needs to obtain some training and, when construction gets underway, they must have the time to carry out the work.
All of the required Materials & Products with which to build naturally are available on the open market but finding the
person/persons to put these together (affordably) and a Supervisor to 'sign off' on mortgage certification and draw-
down payments are the biggest challenges facing those wishing to build naturally. If these realities are faced now, then
the likelihood of finding the right personnel for the planned work will be increased considerably.
☐ So, begin to make enquiries as to who might build and supervise your project when it goes on-site.
Outline your preferences on the Construction Worksheet.
BUILDING SERVICES
PLUMBING Plumbing covers all aspects of delivering water to the various parts of the Plumbing covers all
aspects of delivering
building that require it. Like its companion Services, Drainage & Electrical, Plumbing can be water to the various
thought of as a kind of 'insert' into the 'body' of the building design. What this means is that parts of the building
the pipes, tanks, panels and wires associated with these Services are inserted, or, threaded that require it.
through, the building fabric occupying little space but nonetheless carrying out
vital functions. While the relative 'smallness' of these hardly affects the
building size at all, minimising pipe and cable runs is important for various
reasons. This has an effect on the layout of the various Spaces in the design and
consequently this must be taken into account before the building 'plan' or
If you wish to heat water utilising
layout, is finalised. solar energe clearly indicate this on
☐ Print the Plumbing Worksheet and list on this Spaces that require hot & cold the Plumbing Worksheet.
water supplies. Remember to include supplies to the outdoors, to covered
areas, to sheds and so on. Include the Boiler/Heat Pump Room, if are going to have some
form of central or underfloor heating. If you wish to heat water utilising solar energe
clearly indicate this on the Worksheet.
As piped-in water supplies become more expensive and more degraded with chemical
additives, collecting rainwater becomes more and more attractive. A ‘collector area’ for
rainwater is essentially a roof delivering water to gutters and downpipes which discharge
into a storage tank or tanks. Such tanks can stand above ground and should be of such
quality that they do not contaminate the stored water which can therefore maintain its
potable quality. Equally, roof coverings and rainwater goods should not contaminate
rainwater as it is being delivered into storage. Alternatively stored water can be used As piped-in water
exclusively for use in toilets, in the garden, etc. If you wish to harvest and store rainwater supplies become more
expensive and more
it is critical to state that now, as it will influence the choice of roofing and guttering as well degraded with chemical
having an impact on the roof construction. Also, if you wish to use solar panels to produce additives, collecting
some of your hot watern note this now. Also, begin gathering information on the various rainwater becomes more
products available - particularly their likely cost. Gathering information on local suppliers and more attractive.
and expertise is also vital.
☐ Create a Plumbing File to keep the Worksheet in.
The critical things to take into account when designing a Plumbing System are:
1) Consumption of hot and cold water.
2) Wherever hot water is required should be close to where it is being produced.
3) Central heating or underfloor heating systems require extensive pipework and the installation of radiators
which can be intrusive unless 'designed in'. If this is your chosen system you will need to consider where in each
Space radiators are going to be installed. Also, bear in mind that the principle set out in 2) above applies to central
heating systems. Also, in respect of underfloor heating systems, the possible negative effects of this on a buildings
occupants should be investigated.
Finalising a Plumbing system is a post-planning, 'Working Drawing' exercise - in other words it happens at the
'detailed design' stage of the project, just before you go on-site to build. It is work that should be discussed/agreed at
that stage with a plumber - preferably the one who will carry out and maintain the installation. At this point of the
design exercise meeting the demands set out in Items 1-3 above will suffice to ensure that the building layout or plan,
shortly to be created, will facilitate that detailed design and installation.
☐ On the Space Analysis Sheets enter the fact that the space requires plumbing service, noting what this is. Under
‘Location’ specify that the space should be close to other spaces requiring plumbing services. If you intend to have
some form of boiler or heat pump, make sure that you have a Space designated for that.
If you are working on replanning, upgrading or extending an existing house you will need to gather information on the
existing system. In the case of wishing to install solar hot water panels the orientation of the existing roof will have to
be ascertained.
DRAINAGE Drainage is the 'other side' of Plumbing because it carries waste

water away from where it has been used and delivers it to some form of
treatment system for cleansing. It is this latter aspect of Drainage that requires
most consideration at this stage of the design process. Drainage also covers
rainwater disposal.
Drainage requirements mainly affect the outside of the building where pipes,
manholes and so on need to be buried in the ground. Prevailing site levels
become critical in many cases, especially where a site slopes. The ability of
the installed treatment system to properly cleanse waste water are critical in
the protection of the wider environment. Because a Drainage system is Drainage is the 'other side' of
Plumbing - it carries waste water away
essentially hidden and the effects of system malfunctions may take place from where it has been used and
away from view, it is critical to install a system that is certain to work delivers it to some form of treatment
properly. Clearly, the minimisation of the volume of waste water produced system for cleansing. Drainage also
reduces the 'work' the system has to do in achieving this. covers rainwater disposal.
☐ Print the Drainage Worksheet and note on this what type of system you wish to use. If you already have a site the
system information can be 'keyed' into this when the Site Analysis is being carried out. Any specific requirements of
the Local Authority for that area should also now be assembled. Percolation and Water Table Tests should also be
carried out. Check with your Local Authority the exact form of the Tests required in your area - and who is
empowered locally to carry them out. If you are going to acquire a site its drainage capability should be considered
before purchase. Enter Percolation and Water Table Test results onto the Drainage Worksheet, where available.
The option of installing a compost toilet should be investigated as a means of by-passing the difficulties of disposing of
septic tank effluent. This will be a matter for the Local Authority or other regulatory body to agree to.
Where the drainage system in an existing house is being altered or extended thorough survey information of the
existing system will be required in order to formulate realistic proposals.
ELECTRICAL
Key issues concerning domestic Electrical services are:
1) Consumption
2) Health
The issues surrounding consumption are obvious. These will become particularly
clear if you opt for an 'off the grid' system! The issues surrounding health will be
there whether you are making your own 220v electricity or 'buying it in'. In
particular, bedroom areas are those in most need of protection from the 'negative'
effects of the electromagnetic radiation that accompanies 220v electricity flow in The issues surrounding electricity
cables. The location of the electrical distribution box and/or meter box needs and health arise from the
careful consideration and should ideally be isolated from living and sleeping 'negative' effects of the
electromagnetic radiation that
areas. Phenomena such as ‘dirty electricity’ also need to be thoroughly accompanies electricity flow in
investigated as part of the design exercise as this can be detrimental to health. cables. Phenomena such as ‘dirty
Dirty electricity is electricity which instead of having a smooth and consistent electricity’ also need to be
wave profile has acquired ‘spikes’ in its waveform as it made its way through the thoroughly investigated.
grid to the location where it is going to be used. Such spikes can be detrimental
to health. Properly, all forms of electromagnetic radiation likely to impact a
building need careful attention, particularly where it might be planned to
broadcast wi-fi within a building or it is planned to use handheld phones.
☐ Print the Electrical Worksheets. Note the lights, switches, sockets, appliances and
so on that each Space will require. Phone, internet and TV outlets should also be
included.
If you intend to install some generating capacity of your own - photovoltaic cells,
a windcharger or turbine - you will have to carefully calculate your anticipated
consumption. Using a figure for your current daily consumption get an estimate
for the cost of installing an alternative energy supply to meet such a demand. You
will quickly learn from this why 'consumption' is such a critical issue. You will
also need to decide if you wish to export your electricity to the grid or wish to
store it on-site. This latter option will be expensive but will facilitate the option of
utilising the power you produce at 12 or 24v DC, a far more user friendly form of
electrical energy. If you intend to install some
generating capacity of your own -
☐ An Electrical File should be created to store the Worksheets and any other photovoltaic cells, a windcharger
relevant information, such as catalogues. or turbine - you will have to
carefully calculate your
Electrical installations take up minimum space in a building and consequently anticipated consumption.
have little effect on the evolving layout or plan. What might have an effect
however is space for battery storage and a back-up generator. If you are 'going down that particular road' update your
List of Spaces Worksheet to accommodate such storage space, if necessary.
Where you are working on replanning, extending or renovating and existing building a thorough survey of the existing
system will be required.
PLANNING & BUILDING REGULATIONS

PLANNING
The subject of Planning is a rendezvous with the Real World! It is important to
develop a strategy to negotiate your way around the obstacles which might be
placed in your path by this subject. Generally speaking one should, at an early The subjects of Planning &
Building Regulations are a
stage, familiarise oneself with the planning policies pertaining to the location rendezvous with the Real World.
where you are considering building. This should be done even if you do not
currently have a site in the area you are considering living in.
Generally, it is advisable to avoid 'going against' specific policies as set out in any
local policy documents. Also bear in mind that Planners are primarily concerned
with the general location of dwellings and with how a building looks on the
outside. This leaves immense room to manoeuvre your way through what is
essentially a restrictive, cumbersome and paper-bound system. Also, check if your
Local Authority publishes Design Guidelines that you must pay heed to. Planning
permissions/permits are usually granted for specific designs - what you are granted
permission for is what you are supposed to build. If you vary too much from this
problems might ensue, particularly with 'signing off' or ‘certification’ for mortgage If you intend to build ‘under the
purposes. radar’ it is important not to over-
expose oneself, quite literally! It
If you intend to build ‘under the radar’ as it were, it is important not to over-expose is usual that neighbours are the
oneself, quite literally! It is usual that neighbours are the first respondents to first respondents to unapproved
unapproved construction, contacting the local planning department who are then construction.
obliged respond officially. So, if you are following this route make sure that your
neighbours are on-side. Also bear in mind that the market value of property partially derives from the paperwork
which supports it - in other words some form of permit or permission to build at that location as well as certification
regarding compliance with building codes and regulations. Selling a property without such documentation will limit
the asking price as well as limiting the range of likely buyers. The lesson to be learned from this? Do not over
capitalise. Keep any buildings small and simple and construct these in such a way that they can be deconstructed and
re-erected elsewhere, or the materials salvaged for re-use, if required.
If you already have a site, carry out a planning assessment. If you intend to purchase a site it is important to carry out
the planning assessment exercise before you buy!
If you are working on an existing building you may be able to forego the need for planning permission/permit by
working under ‘Exempted Development’ guidelines. Check this option out with the local planning office.
BUILDING REGULATIONS
Building Regulations govern the 'technical' aspects of building and, as such, are dealt with at
the Working Drawing stage of a project. Regulations vary from country to country and from
place to place. It is critical that one appraises oneself of the particular regulations pertaining
at the location where you intend to build.
In reality these issues are 'down the road' from where your design presently stands. However
at this point consideration needs to be given to the question of who will oversee the technical
aspects of the design and construction processes? This will most likely be a technician, an
engineer or an architect who can also prepare the Working Drawings, supervise the
construction and 'sign off' on mortgage draw-down payments. A variety of qualified persons
can competently do this. The issue however is not one of qualification but rather one of
liability. Where a mortgage is to be put in place to finance the construction of a building, the Consideration needs
lender will require that the construction be Certified as to its compliance with the relevant to be given to the
Building Regulations. Such certification must be backed up with professional indemnity question of who will
insurance so that, in the event of a problem arising, the lender has someone worth suing. oversee the technical
aspects of the design
This makes building professionals very cautious in their approach particularly if they are not and construction
familiar with a particular structural system - for example, breathable timber framing, post and processes.
beam, hemp/lime, straw bale or cob, for example. In the case of using a conventional timber
frame, one way round this is to engage a specialist timber framing company to create a suitable frame that will meet
the relevant regulations as far as the structure is concerned. For more innovative building systems one may need to
seek out a professional familiar with the particular approach you wish to take.
So, if you intend to get a mortgage it is essential that the technical/supervisory person is brought on board at an early
stage. If that is not feasible or possible it can be left until later - bearing in mind that 'alternative' construction and
conventional mortgaging may not make happy bedfellows.
If you are building ‘under the radar’ it is still important to take on board the intention of building regulations,
particularly in respect of energy efficiency, hygiene, sanitation, fire safety and so on.
In the case of replanning or extending an existing building, compliance with Building Regulations, and possibly
Planning Regulations, will also be required.
☐ Create a file entitled 'Planning & Building Regulations' and use this to store information on the issues involved -
particularly the strings attached to mortgage financing but also details of builders, craftspeople, framing companies
and so on operating in the area you intend to build.
SITE ANALYSIS
Detailed Site Analysis is the final piece of the house design 'puzzle'. In some ways the site
is, in fact, the 'board' on which the house design 'game' is played. Imagine your spaces
laid out on this 'board' then moved around to satisfy the demands of your Brief,
particularly in relation to access, orientation, drainage, views, exposure to weather,
neighbours and so on. The laying out of your spaces to satisfy all the varying demands of
your design intentions, is actually what the 'planning' of a house is all about. Where this
exercise is carried out against the 'background' of the site, the design can forge the
necessary connections between ‘inside’ and 'outside' worlds.
A scale map of a site, enlarged to a reasonable size, is necessary to guide this
investigation. One begins the site analysis exercise by examining the way in which the sun
moves around it. Moonrises and moonsets can also be observed and their directions
recorded. Prevailing winds and views can also be noted. Included also should be an
investigation and confirmation of site boundaries, ground conditions, road access, location
of water, drainage and electrical services, strength of mobile phone signal and so on. A scale map of a site is
Plenty of photos should be taken with note made of the point they were taken from. necessary to guide the
site investigation
Generally speaking, as much time as possible should be spent examining a site, even one process.
that a person might be familiar with. Spending time on a site at night is a good
exercise before a person might commit to purchasing it. It is also worthwhile to
‘pretend’ one is already living there and to enact the journey’s to and from shops,
schools, workplace, public transport stops and so on to discover how practical the
location really is. It is also a good idea to connect with those living in the vicinity
of a site or potential site.
Consideration might also be given to employing a geomancer or other specialist to
assess the energies at a particular location to ensure its suitability for human
habitation. Introducing oneself to potential neighbours is always a good idea too.
☐ Use the Site Analysis Worksheet to record analysis information on: trees, hedges,
views, poles, wires, boundaries, etc. Create a Site Analysis file to store this
The site analysis exercise begins
information in. by examining the way in which
Another option is to develop an ideal house plan then to investigate a variety of the sun moves around it.
sites seeking out the one that most suits that particular design.
If one is working on an existing building similar site analysis exercises should be
carried out despite the fact that a person might be familiar with all aspects of the
location.
LAYOUT
The layout exercise can only be carried out successfully if comprehensive information
on spaces and activities is available along with information on environmental
preferences, H&V systems, building services, local regulations, site analysis, etc. If
you are developing a serious design proposal - as opposed to carrying out a quick The layout exercise can only
layout exercise to see if a site under consideration is worth purchasing, for example - be carried out successfully if
comprehensive information
you need to first carry out the work detailed earlier in this Design Programme. on spaces and activities is
There is a strong connection between the path the sun takes around a house on its available along with
daily journey and the path of your life. Recognising this can be the key to forging a information on environmental
preferences, H&V systems,
strong inner/outer connection that links the intimate world of the house to the outside building services, local
world. A good design should key one into the natural world otherwise the inner world regulations, site analysis, etc.
of the house will be cut off from the outer world which surrounds it. This will starve
the occupants of natural vitality and make the building difficult to live in fully.
'Living fully' is an unfolding, the development of your life as nurtured within your
design. This is the living of an unseen future, fed by the vitality of nature. This is the
core of sustainability, recognising how we are part of the living world and depend on
its sustenance for our survival. Solar energy is the primary source of such vitality.
Gaining heat and light as well are a bonus.
To a large extent, because it is unseen, we cannot clearly 'plan' for this future.
However, it is most likely that a closer harmony with nature will be key to living this
future fully. Observing how the sun moves around a fixed point on your site - the
centre of your design - is the first step in forging this living connection and
incorporating this into the layout. These are meaningful actions, a fact that should be
acknowledged ritually. You are seeking to enter the realm of aliveness which already exists within
yourself and on the land you intend to settle on. If you do not have a site you could 'borrow' for
this exercise. This might be a site that you are considering buying, or, you can imagine a perfect
site for your design then seek this out in the future.
The element
The element which animates these exercises is your sense of your own future. If you are prepared which animates
to accept whatever direction this suggests for you, the forward path will meander gently uphill, the layout
affirm your choice and deliver a sense of relief even while you continue to labour at your ascent. If exercises is your
you are resistant to such insight the forward path will not only be steeper but also more sense of your
challenging. It is our role to interpret these messages and to act upon them accordingly. own future.
This is best done by understanding the twofold nature of the mechanisms we use to
interpret the world we inhabit - reason and intuition. Balancing the responses these
deliver, ascribing equal weight to each, listening, feeling, sensing, opening the heart to
new possibilities despite what the head might say - undoubtedly such responses will
reveal where the most rewarding path is to be found.
You have now arrived at the heart of the sheltermaking mysteries. Armed with your facts,
figures and decisions, you are now ready to transform these 'ingredients' into a coherent
design. This creative act needs to be appreciated as a life process. Logic, intuition,
common sense, practicality, emotion, dream and reality all play their part. This requires
that a balance be found between these elements allowing them to be integrated and
harmonised. The challenges that will be encountered in reaching this objective will be The scope of the Design
Programme and its
demanding. However, the scope of the Design Programme and its structured approach structured approach will
will allow such complexity to be resolved more or less at the kitchen table. No matter allow the complexity that
how demanding this gets it is infinitely better than encountering these challenges while will be encountered to be
building and then having to live within the mistakes that inevitable result from such a resolved more or less at
situation. The key to successfully transforming your Brief into 3-dimensional reality, is the kitchen table.
time. You must allow yourself time both to carry out the design work as well as to probe
this for flaws before committing to constructing it full size. Feel everything through and
recognise that you are looking for what you possibly do not want to find! While this
might be difficult it is far better than discovering shortcomings or oversights after a
building has been completed.
The layout emerges as a ‘seed plan’ before growing into a clearly defined series of
interconnected spaces. The fluency with which this can be achieved will depend on the
clarity of your Brief, particularly details of your individual spaces. The other critical
element in respect of formulating a workable design is the information on the Plumbing, Before you begin
Drainage, Electrical and H&V systems. As stated earlier, these aspects of the building working on the layout
design can be overlooked in the rush to create a 'plan'. This can be disastrous, particularly phase of your design it
where the H&V system is concerned. It is imperative that all of the systems have been might be a good idea to
designed in principle have been integrated with each other before moving too far forward. go through your Brief
That you will have to revise system designs or modify spaces is inevitable as this is the documents one more
time and satisfy yourself
nature of the design process. Difficult as this might be, it is far easier than forging ahead that all is how you wish
and in-building basic errors or mis-matches. it to be.
We are living in an age when the current ways and patterns are being recognised
as being deficient. The way forward is not clear. Obviously, changes are on the
way. No one is quite sure what these will be. On a psychological level, the
onslaught of bad news and dire prediction that we are fed daily threatens our
very survival. Where the fear stirred up by this remain unconscious we are
driven into a senseless denial, hypnotised by indecision. The house design
process allows such unconscious fears to be uncovered and for life-based
solutions to be developed to deal with them.
The diligence with which earlier exercises in the Design Programme have been
carried out will very much assist the smooth and successfully completion of this
important layout exercise and will result in a plan that satisfies the myriad
requirements articulated within your Brief. So, before you begin working on this views
phase of your design it might be a good idea to go through your Brief documents
one more time and satisfy yourself that all is how you wish it to be.
SEED PLANS
☐ To begin, choose a point on the land as the imaginary centre of your design. Use To begin the layout exercise
a map of the site enlarged to 1:100 scale for this exercise. If you are working choose a point on the land as the
with another measurement system, for example, Imperial, the closest scale to imaginary centre of your design.
1:100 metric would be 1:96 whereby 1 yard would be

represented by 3⁄8”. Carry out the work on a reasonable size
table. Fix your base map to this using masking tape.
☐ Impose around this point a sun-path diagram and indications of
the directions and nature of particular views that you wish to vehicular access +
incorporate into your design. Also indicate established or water+electric in
desired vehicular and/or pedestrian and/or cycle access
point(s). Note the position of existing critical infrastructure
such as over or underground cables, water mains and so on.
This phase of the design exercise demands that a decision be
made in respect of the number of floors your building will parking
consist of. This issue will, in part, rely on the planning situation
at the location you are designing for. If you can and you wish front door back door
for a two storey design be careful not to develop an over-

stratified solution, such as, bedrooms upstairs, living spaces sitting
kitchen room
downstairs. Think more creatively, for example, children’s dining
bedrooms downstairs where they can entertain their friends
without disturbing the adults upstairs where they have a private
living space! Also, the location and design of stairs will be
critical to success in a two storey solution. So called ‘dog leg’ primary view
stairs oftentimes work better than a straight run of steps.
If your site slopes then you may opt for a design that has minor
north
changes of level, following the fall of the land. If this is the
case a framed structure is likely to be the most economical
solution. An accurate contour survey of the site will be
required to develop a viable design in such cases. These
contours should be indicated on your working map.
☐ Using greaseproof paper over your base site map you are
now going to fashion multiple versions of a ‘seed plan’
using a soft pencil. These seeds plans will illustrate the
various spaces within your design which are going to be
laid down in accordance with the information in your Brief
- your List of Spaces, Space Analysis, Floor Area, H&V,
Plumbing, Drainage, Electrical & Site Analysis Worksheets.
These seed plans, refined, will then ‘grow’ into the plan of
your building. This is why it is critical to review the
information in your Brief at this point to ensure it’s
accuracy.
It will be circulation space that will form the connective
tissue that will link the spaces in the seed plan together. As
with our bodies, good circulation in a building is essential
to maintaining 'aliveness' within it. This is normally
overlooked in house design yet people sense it by regularly
complaining about 'dead corridors'. Indeed poor
circulation can have just that effect in a building, causing
some spaces to be starved of light and vitality. Such vitality
comes from the people in the building - who move around
within the circulation system charging it up as they go.
Vitality also comes from the life outside the building
which, if consciously drawn inside and allowed flow
through the circulation system, will energise it too.
If you are working on a multi level design you will have to
make as many seed plans as there are floors in your
building. Stairs will be the vertical connective element
between these floors. If you are working on a design with
minor changes of level note on your seed plan where these
changes occur. Where one is working with an existing
building, the survey plan of this, imposed on a general map
of the site will form the background for the new Spaces to
be laid out on. In all other respects the Layout exercise, as
described, should be followed.
☐ Begin the seed planning by laying down what might be

called ‘circulation threads’ - for example, the route from
the vehicular access point on your site to the access
points in your design. Write notes alongside these
threads, as appropriate - for example information on
levels, ground conditions and so on. Depict the access
points as spaces assigning a title or number to them
according to your List of Spaces - for example Front Door,
Back Door, Home Office and so on. Add in spaces that
you wish to be located close to these access points,
making these ‘seeds’ roughly proportional to their
eventual size - so an entrance porch will be represented
smaller than a kitchen, for example. Make sure you pay
attention to the orientation you have designated for these
spaces.
☐ With reference to your Activity Analysis Worksheets, lay
in new circulation threads. Some of these will penetrate
the interior of the emerging seed plan while others will
snake outside connecting to sheds, kitchen gardens,
workshops and so on. Illustrate all spaces according to
their relative size and uses arrows veering off the circulation
thread to indicate door openings. Begin to add information on
such things as views you wish particular spaces to have,
Space plan cards laid out to accord
represented by arrows indicating the direction of the view. Where with satisfactory seedplan
solar energy is to be gathered in some spaces indicate the
necessary south-facing window arrays. Add information on
drainage requirements, garden areas, existing trees and so on.
☐ Play around with various combinations, making notes of any
shortcomings you perceive in the layout. These are likely to relate
to conflicts arising between wanting a space to have a particular
orientation and to enjoy a particular view, where these elements
happen to be in opposite directions! Issues such as this are site
specific. If you are working on a layout without having a site you
can idealise orientation and views as lying in the same direction.
You can then seek out a site that offers this. If you are working on
a specific site then you will have to modify your wishes by altering
either your ideal orientation for that space or by accepting that it
cannot have the view you wish it to have. In such cases, modify
the information on your space card and on its analysis sheet as
modifications are settled upon.
☐ Use a soft eraser to modify unsatisfactory results! Such changes Space plan cards with
furniture+equipment added, laid out
will be inevitable and should be regarded not as mistakes but to accord with satisfactory seedplan
rather as refinements. If you have to refine too much, begin work
on a fresh sheet of greaseproof, noting on the superceded version
what is unsatisfactory about it! Keep working on these seed plans
until a satisfactory version has been developed. To reach that
point modifications will inevitably have to be made to spaces -
note these changes in the relevant file. Assign version numbers to
sucessive seed plans. Store your drawings flat or roll them up
rather than folding them.
☐ Using your most satisfactory seed plan you are now going to use
this as a template to develop a plan which represents things to
scale. Lay a fresh sheet of greaseproof paper over your base map,
taping this down. Make 1:100 scale cutouts of each Space noting
on these cutouts the Space title, its designated floor area, an
indication of the desired orientation or a north point, the desired
access to particular views and optimum location relative to other
Spaces and to the outside world. The card used should be
reasonably thick. A normal metric ruler can be used as a scale ruler - 1mm will indicate 1cm and 1cm will indicate
1m. If you are working with another measurement system, for example, Imperial, the closest scale to 1:100 metric
would be 1:96 whereby 1 yard would be represented by 3⁄8”. Make the cards either square or rectangular according to
its designated floor area.
☐ Using small pieces of masking tape to lightly fix

your space cards to the greasproof overlay on your Nit picking evolving plan!
base map, according as closely as possible to the
pattern you have developed in your final seed
plan. Leave gaps between the cards to indicate
circulation space. This should be to scale - if it is
to simply be a corridor 900mm or 1 yard will
suffice but if it is to host a storage function, for
example, a width of 1.6m or I.7 yards will be
required. Indicate external circulation threads to
scale also - paths, driveways and so on.
☐ Pay attention particularly to plumbing and drainge
issues - spaces with these service requirements
should be congregated together and should relate
well externally to possible disposal facilities and
areas. Also pay attention to H&V requirements
particularly where there are to be a fireplaces or
stoves. Links to fuel stores should also be
explored.
☐ When you have a reasonable layout configured

overlay this with another sheet of greaseproof and
using a soft pencil trace the outline of each space,
use arrows to indicate possible door openings and
note the space name, floor area and so on. Allow
time for head scratching, puzzlement and
frustration! Try taping your evolving layout to a
wall where you can sit and gaze at it. Plan to
‘sleep on it’ quite a bit. As you persist, slowly but
surely you will clearly see which are the least
painful changes to embrace. Don’t hesitate to
make radical changes, to stamp your foot or to
express your puzzlement vocally. This is preferable
to finding yourself within a building design that is
unsatisfactory.
☐ Begin to add height information to each space card, noting
what type of ceiling you might want. Add the outline of
furniture and equipment also and indicate where doors and
windows might be located. Walls can now be added using
cards taped to the floors. Windows and doors can be
sketched onto these walls too. Suddenly the emerging
design is appearing in 3D! The information on orientation
provides the 4th dimension of time.
This will inspire further refinements
which should be carried out as they
arise. You will now be jiggling
greaseproof paper plans and space
boxes. Use your own judgment to
manage this, probably by playing
around with the boxes sitting on a
fresh greaseproof sheet then tracing
their ‘footprints’ to produce a fresh
plan.
☐ Turn your attention then to roofing over your collection of

spaces. This, in turn, will inspire more refinements. Carry
these out as they arise. What you are aiming to achieve is
to minimise the external wall area, to smooth this out so
that there are not lots of jutting out bits but more of a
continuous enclosing wall with openings in them for
windows and doors. Roof design also should aim to be
smooth and continuous rather than having elements such
as dormer windows poking through them. Chimneys and
flues ideally should emerge close to the highest point of the roof.
When this work has been completed sketch design drawings can be prepared - plans, elevations and cross sections. A
draughtsperson might need to be employed to carry this out this work. Such a set of drawings can then be used to
investigate likely cost and as discussion documents with building contractors, engineers, tradespeople, planning
officials and so on.
COSTING
It is critical that your design be accurately costed before committing it to the Planning,
Working Drawing and Construction process.
☐ Current costs for sustainable construction in your area need to be obtained for Self-
Build/Direct Labour, and for using a Building Contractor.
☐ If you are borrowing money it is critical at this stage to anticipate the demands of Mortgage Lenders in regards to
Certification. A suitably qualified person carrying Indemnity Insurance will normally have to be engaged to do this. If
you are planning on using any type of unconventional materials or construction methods - such as breathable, site-
constructed non-chemically preserved timber framing, cob or hemp-lime - the Certifying person should be chosen for
their familiarity with such materials and methods. It is a good idea to make enquiries at an early stage as to who that
person might be and, having tracked them down, to get their input into the project before things are finalised.
☐ Sustainable construction is a specialist area. If you are looking for a Building Contractor to build a sustainable house it
is best to find one with that speciality! Again, this work should begin early in the process and any input from the
Contractor should be invited before things are finalised.
If you are planning on self-building be realistic about the time commitment you can make to this and consider
upskilling before work proper gets underway. It is also a good idea to plan on paying yourself for the work you will
do! You are probably willing to work for yourself for the minimum wage - or even for less!
If you are planning on building ‘under the radar’, in other words without being bothering with paperwork, the costing
exercises will be even more important. If you over-capitalise, and, for some reason, find yourself having to sell at
some point in the future, the property, because it has no papers attesting to its conformity to planning and building
regulations, might have to be sold to a cash buyer because no lending institution might loan against it.
It may take several attempts to balance all of the conflicting demands that will emerge as one strives to arrive at an
affordable Cost for the building. If your calculations are repeatedly coming in over budget the only way to correct this
is by scaling back on floor area. Beware to opting for inferior materials, products or systems as a way of saving money.
The value of this 'quantification' work cannot be over-emphasised. If these exercises are not carried out rigorously the
cost of the building will inevitably escalate because critical decisions will have to be made during the construction
process itself. The pressures of this will result in compromise, bad decision-making and stress.
‘Bargain’ materials should always be looked at with suspicion. Salvaged materials should be carefully assessed as to
their practical usefulness and consideration given to the amount of time and effort needed to have them available on-
site, ready for use. The search for low-cost ecologically acceptable materials inevitably flows back to what nature, in
her bounty, can provide. If clay is available on-site and can easily be extracted, then much of the building fabric can
be made with that. It is when one gets to the choice of roofing material that the ‘low-cost ecologically acceptable
materials’ puzzle will strike one with most force, particularly if you are planning on harvesting rainwater! This is truly
a puzzle. Traditional solutions such as thatch are now limited by a lack of suitable material - apart from the fact that
insurers will likely demand such a roof covering be underlaid with a conventional fireproof roof. Apart from that, you
cannot easily collect rainwater from a thatched roof. Even if one is flying ‘under the radar’ the natural roofing puzzle
will remain. One solution is to opt for something like colour-coated corrugated metal sheeting which, if carefully
maintained, can be successfully be recycled at the end of a building’s natural life.
Such thinking points to the fact that buildings should be made so as to be demountable! Sensible as this might seem it
is rarely considered when buildings are being designed and constructed. If a building is made to come apart it can
either be reconstructed at an alternative location or its various parts can be utilised individually in other building
projects.
PLANNING & WORKING DRAWINGS

The changes wrought by the Costing exercise will usually require the preparation of a fresh
set of Sketch Design drawings incorporating the inevitable changes. This exercise may
take several attempts to complete satisfactorily. Indeed, one may find themselves
retreating back to their List of Spaces and moving forward again to achieve the desired
results. This is both normal and even desirable. Bear in mind that repeating the steps of
the Design Programme can be carried out more rapidly and effectively with each
successive attempt.
The Sketch Design drawings prepared of one's 'final' design

proposal should mirror what will be required for Planning and
for construction purposes. These are called 'Planning' and
'Working Drawings’ respectively.
Planning Drawings consist of plans, elevations, cross-sections
and information on drainage systems and external finishes.
Working Drawings include what is called a 'Specification'. This
is a written instruction 'specifying' the Materials & Products to
be used in the building. They also includes directions as to
how these items are to be installed and to the quality of the
workmanship, etc.
Because Planning drawings are required before Working
Drawings they are usually prepared first, a Planning Application
is then made and, subsequent to the granting of Planning
Permission, the Working Drawings are made. If the preparation
of the Planning drawings takes account of what the working
drawings will contain that might affect the appearance, shape,
size or height of the building. This is done by examining in
detail how the various components of the building will be
assembled. If the Planning system in your area is considerably
different, adjust your approach to take account of this.
The structure of the building should be the first thing to be
examined in detail, particularly the depth, height and thickness
of walls, floor and roof; the roof pitch and floor to ceiling
heights. This work can be carried out by drawing a cross section
or cross sections at 1:20 scale. Other questions of detail will arise as these drawings are prepared, particularly where
the cross section passes through a window or external door. The wall/floor and roof/wall junctions are also worth
examining. Details at these locations can be 'exploded' and worked on at 1:5 or 1:10 scale.
The nature of the construction details themselves will depend on the materials being used and the type of structure
being created. There are many 'standard' details available for particular types of constructions such as breathable
timber frame. Effectively, these can be 'copied' and the building 'detailed' very quickly. If one is using some
innovative form of construction such as hemp-lime, new details will have to be developed which involves an amount
of head scratching and a lot more work. Bear in mind that it is 'fine detail' that makes a building attractive on a
human scale.
The Plumbing, Drainage, Electrical and H&V systems also need consideration, preferably in consultation with the likely
installers. Even though much of this is 'post-planning' work if it is not carried out now when this work finally gets
underway changes to the design might be necessitated. Again, this work will anticipate the contents of the Working
Drawings, ensuring that when these are being prepared - subsequent to a grant of Planning Permission - no nasty
surprises await! Information on products, components, performance and so on are readily available, allowing one to
'size' the various systems if an expert is not on hand to do the work for you.
The external appearance of your building - an aspect of your proposal which the Planners will show particular interest
in - is governed largely by the overall proportions, by the external finishs, by the size and style of windows and doors
openings, by the form of the roof and by the covering on this. How the building will 'sit' in the landscape is also
critical to take into account. Bear in mind that certain building forms look strange when drawn in 2-dimensions. If it
is the case that your building has a strange appearance because of this, consider making a model. Photographs of this
can accompany the Planning Application.
The detailed work outlined above will, for the most part, not appear on the Planning drawings except for information
on the Drainage system. However, by examining the hidden details of the building and incorporating these into the
Sketch Design, its appearance will be much enhanced. This will both assist in the quest for Planning Permission as
well as facilitate the construction process which will follow.
After this detailed work has been carried out the Sketch Design drawings can proceed reflecting the 'refined' quality of
the building. This set should include plans of all floors, cross section/s, elevations and a site layout. An 'outline' of the
Specification will have to be included as well. This will comprise outline information on things such as the structure,
heating, ventilation, drainage, external finishes, windows, doors, roofing and so on.
☐ Abasis
draughtsperson may be required to 'draw up' your Sketch Design in AutoCAD. These drawings will then form the
of the Planning drawings to be submitted as part of a Planning Application. Ideally, the same person will prepare
Working drawings and therefore can anticipate this when the Sketch Design is being 'drawn up'. It is best to agree
with a draughtsperson the amount of time to be devoted to revision of the computerised Sketch Design drawings as
they grow into a set of Planning drawings. Changes can be kept to a minimum if detailed work has been carried out as
suggested.
The preparation of Planning drawings is the first step in having your design constructed. This is where your dreams
meet the real world. The trick to achieving the best result is to find a comfortable balance between your personal
expectations and the guidelines laid down by the Planning Office. These are set out in the County Development Plan
and possibly in a Design Guidelines booklet. It is worth studying such information again, noting which specific
aspirations your design harmonises with. If you are designing for another jurisdiction, adjust your approach
accordingly.
If you are flying under the radar your sensitivity can attune to your surroundings, endeavouring to harmonise with
these on all levels, visible and invisible.
With a Grant of Planning Permission in place work can commence on the construction of the building. Working
Drawings are generally beyond the scope of the unskilled individual. Ideally, the draughtsperson who prepares the
Planning Application drawings will also prepare the Working Drawings. If your design information is comprehensive
this collaborative effort will be enjoyable as well as fruitful. If your expectation is for the draughtsperson to have all
the answers you will be disappointed. In many ways it is ideal to select a builder who can be involved in the
preparation of the Working Drawing package. If you are self-building then you are the builder! Issues of finance,
guarantees, certification, insurance and so on will also have to be taken into account. All of this points to the creation
of simple buildings with simple systems within them. The more complex the design the more complex the
construction will be.
Unlike the issue of design, there is much information freely available on self-building. This type of information should
be sought out and studied at as early a stage as possible. Generally speaking the more thought-out a building design
is, the easier it will be to construct. Good site organisation and practices will all assist in keeping morale high and
keep things moving forward smoothly. Bad feeling should never be allowed to infest the building work as this will
become 'locked in' and can never be eliminated. Sensitivity is the order of the day.
You have arrived at the core of Living Architecture. This can be imagined as a threshold between inner & outer worlds.
The mysteries enshrined in this cannot be articulated but must be experienced.
LIVING IN YOUR ARCHITECTURE

Living in your design is an experience that will occur in future time. Because of this it is impossible to experience it in
the here and now. However, if one imagines that the potential for this future 'you' is an inherent part of your 'self' as
you presently exist, this wisdom will infuse the design process allowing you to live your life and your architecture to
the full in the here and now. You can imagine this as a dress rehearsal for your future!
The experiences of people who have progressed their sheltermaking journey to the point whereby they are dwelling
within their architecture have a consistency that validates the approach detailed in this Design Programme. My own
journey is a reflection of these.
From a timber cabin in a boggy meadow in Co. Leitrim to a timber cabin in a parched field in central Victoria,
Australia, then back again with lots of fascinating sheltermaking experiences in-between! This return to Leitrim
heralded the construction of a clay-straw studio alongside my timber cabin, the birthing of the idea to release this
Design Programme, developed during more than 25 years of teaching activity, under a Creative Commons lisence and
releasing this into the world.
Built on a foundation of deep trust this journey has been nurturing and fulfilling even as it regularly leaves me in the
dark as to where it all is leading me. Accepting this as a blessing, each day is new, each encounter rich with
possibility, each insight into the mystery of life a delight.
Enjoy your sheltermaking journey!
Peter Cowman
September 27th 2017
Co. Leitrim, Ireland.

Como Hacer Shelters

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SHELTERMAKER DESIGN PROGRAMME

SHELTERMAKER DESIGN PROGRAMME CONTENTS

INTRODUCTION 2 House Design & Construction 3; Inside, Outside 4; Maintaining Aliveness 4;

HOUSE DESIGN & CONSTRUCTION

THE SHELTERMAKER’S JOURNEY

DEVELOPING A BRIEF The Project Brief is a series

The evolution of a practical design solution is achieved by striking balances according to

Assemble images of spaces and buildings that

DRAWINGS & MODELS

HEATING & VENTILATION

MATERIALS & PRODUCTS

DRAINAGE Drainage is the 'other side' of Plumbing because it carries waste

PLANNING & BUILDING REGULATIONS

1:100 metric would be 1:96 whereby 1 yard would be

for a two storey design be careful not to develop an over-

☐ Begin the seed planning by laying down what might be

☐ Using small pieces of masking tape to lightly fix

☐ When you have a reasonable layout configured

☐ Turn your attention then to roofing over your collection of

PLANNING & WORKING DRAWINGS

The Sketch Design drawings prepared of one's 'final' design

LIVING IN YOUR ARCHITECTURE

Enjoy your sheltermaking journey!

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