Squaring the circle
The years had not been kind to the old flour mill, that is until Clare Winchester took it on. She renovated it and brought it back to life in style, creating a characterful living space full of home comforts
Clare Winchester took this neglected flour mill in hand, cleverly extending and adapting it into a characterful living space
Romantic notions of life with a windmill in the back garden soon faded when Clare took up residence in the old miller’s cottage in 2004. The mill in question had had a hard life since retiring from full-time service in the late 1930s, as Clare explains: ‘It really was a sorry sight. It had lost its sweeps – that’s what they’re called round here, not sails as they’re known up north – and had been boarded up to protect it from further weather damage.’ Before that it had been turned into a workshop and garage, with a hole gouged into its side to create a large doorway. This architectural vandalism had seriously compromised the mill’s structure. The previous owner’s decision to protect it from the elements by shrouding it in marine ply had saved its life and prevented further deterioration. Yet with all these challenges, the opportunity to own the old windmill was too good to miss.
‘The mill always felt lovely. Even though it was derelict, it was friendly and I knew I’d be working with good bones,’ says Clare. ‘I spent six years trying to work out exactly what to do with it, but the mill is a grand old duchess who wouldn’t be rushed. In any case, it’s a good idea to take your time and fine tune your ideas.’ Eventually, Clare decided to convert it into a home for her mother who was in her 90s and needed to be nearby, with the floors above being used as a holiday let.
Clearly the mill’s existing ground-floor footprint wouldn’t provide enough living space, and Clare drew inspiration from some old photos of the mill on a heritage website. She was delighted to discover that her mill had once been attached to a small, weatherboarded building and used this as a starting point for the bedroom and bathroom extension.
The old photos also proved useful in her planning application, as she could show that the proposed slightly larger weatherboarded building would be in keeping with the Grade Ii-listed mill. Thankfully the local authority agreed, and also approved her plans for a glass link building to connect the brick section of the mill to the wooden extension.
‘I wanted something really modern, but decided to use wood frames rather than steel,’ she explains.
‘I wanted to update it and make my mark on it, but it’s really important to listen to a building and to make changes that are in keeping and won’t crush its original character.’
First, however, Clare had to ensure the mill was structurally sound. It sits on very little foundation and the whole building had shifted after the garage door had been cut into its side in the 1950s, and there were cracks in the structure. The mechanism and cap had been removed from the windmill in the 1970s for safety, and the large cast-iron windshaft was found embedded in the ground at the foot of the mill and had to be unearthed with a mechanical digger when Clare arrived.
A team of local builders rebuilt the corner of the mill and skilfully stitched the brickwork back together to make it safe. ‘The next Grade Ii-listed hurdle we had to jump was to change a window opening into a door to the glass link,’ recalls Clare. ‘Luckily the conservation officer approved this, and we could get started.’
The doors in the glass link open out completely on one side, giving the impression that you’re in the heart of the garden, even though you’re inside. ‘I knew this would be a light, airy space, and easy for my mum to access, all on one level,’ says Clare.
Other comforts were important too, including underfloor heating, which kept a steady, even temperature all year round and was a practical solution for the octagonal building where there’s no obvious place to position radiators.
As a specialist paint effects artist, Clare had no doubts about the finish required for the mill’s newly restored walls. ‘You need to use natural paints,’ she says. ‘So I chose distemper and clay paints that allow the walls to breathe. They give a much softer look than you get with ordinary paints.
‘I wanted the interiors to feel comfortable and relaxed, and that everything fitted with the style and type of building,’ Clare adds. ‘The kitchen designed itself – there weren’t really any other options – you can’t knock holes through for fireplaces.’ To get the traditional, homely look she had in mind, Clare had a local joiner build simple kitchen cabinets, then added a farmhouse-style table and chairs, old family pieces. She installed a range cooker and wood-burning stove with catalytic converters, meaning they didn’t need a flue.
The furnishings are uncluttered, accessorised with special finds that Clare gathers from antiques fairs and shops in the area. With this simple aesthetic, the beautiful old mill is allowed to speak for itself and takes centre stage.
Sadly Clare was faced with more decisions on the mill’s future when her mother died a few years ago. In the end, it seemed only right to share this lovely piece of history and she now lets it as holiday accommodation. ‘My dream is one day to complete it all and put the cap and sweeps back on.’ Until then, Clare can congratulate herself that she has saved the precious building from certain ruin, and has brought it back to life.