Chartered Architects Francis Johnson and Partners was founded in 1937 by the late Francis Johnson. We have a high reputation for the design of new buildings in classical and traditional styles as well as the scholarly repair and restoration of historic buildings. We pride ourselves on the quality and refinement of our designs, coupled with the soundness of our construction.
We are best known for our Country Houses but we also design smaller Village Houses and Cottages as well as Garden Buildings, Commercial Buildings and Interiors.
We are best known for our Country Houses but we also design smaller Village Houses and Cottages as well as Garden Buildings, Commercial Buildings and Interiors.
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We are proud of our lineage, as successors to Francis Johnson.
Francis Johnson was the subject of a major exhibition at the RIBA and an architectural biography by John Martin Robinson and David Neave in 2001.
Craven House, in the Old Town of Bridlington, has been home to our office since 1946.
It is of late seventeenth century origins but was remodelled in 1805-6 when it was given an elegant three bay faade.
The simple refinement of its interior is a continuous inspiration to us.
Although our office is on the Yorkshire coast, good communications by road and rail mean that we can work anywhere in the country.
Francis Johnson was the subject of a major exhibition at the RIBA and an architectural biography by John Martin Robinson and David Neave in 2001.
Craven House, in the Old Town of Bridlington, has been home to our office since 1946.
It is of late seventeenth century origins but was remodelled in 1805-6 when it was given an elegant three bay faade.
The simple refinement of its interior is a continuous inspiration to us.
Although our office is on the Yorkshire coast, good communications by road and rail mean that we can work anywhere in the country.
This house, proposed for a site in Somerset, revives the form of the "Cottage Orn" popular in the late Georgian and Regency periods.
A previous scheme for a classical house on the site was felt to be too formal for the rural setting.
The Cottage Orn often combined elements of vernacular architecture with fanciful touches of "Gothick" in a whimsical and deliberately picturesque way.
Our version draws on the work of Jeffry Wyatt at Endsleigh Cottage in Devon and Angeston Grange near Uley in the Cotswolds.
A previous scheme for a classical house on the site was felt to be too formal for the rural setting.
The Cottage Orn often combined elements of vernacular architecture with fanciful touches of "Gothick" in a whimsical and deliberately picturesque way.
Our version draws on the work of Jeffry Wyatt at Endsleigh Cottage in Devon and Angeston Grange near Uley in the Cotswolds.
Mickley Park belongs to the classic tradition of the country house set in landscaped grounds; but until 2008, the site was occupied by a complex of ugly and dilapidated buildings serving a dairy farm.
The clients have created two new lakes and augmented existing mature woodland with new planting to complement the house.
With four formally composed elevations, a nearly square plan and a hipped roof the house has much in common with the domestic architecture of the late seventeenth century; however, close to, the details have a late Georgian refinement.
The clients have created two new lakes and augmented existing mature woodland with new planting to complement the house.
With four formally composed elevations, a nearly square plan and a hipped roof the house has much in common with the domestic architecture of the late seventeenth century; however, close to, the details have a late Georgian refinement.
This house has Tudor origins, but consists mainly of a late Georgian villa to which a large Victorian extension had been added.
The Victorian work, although superficially similar to the Georgian work, was larger in scale, awkwardly proportioned and peculiarly detailed.
By the beginning of the twenty-first century the house had an unpleasantly institutional feel.
The enormous and undistinguished service wings had been abandoned after World War I and were dilapidated; they contained numerous long and gloomy corridors and redundant rooms.
The Victorian work, although superficially similar to the Georgian work, was larger in scale, awkwardly proportioned and peculiarly detailed.
By the beginning of the twenty-first century the house had an unpleasantly institutional feel.
The enormous and undistinguished service wings had been abandoned after World War I and were dilapidated; they contained numerous long and gloomy corridors and redundant rooms.
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