As we look to develop a new Design Code - a tool that will shape future development within the National Park - we want to get your thoughts on the below profiles and short films that we have created based on our villages.
Within these we have tried to identify the aspects of design that create a village’s ‘sense of place’ and are asking you to think about places in the same way. We are inviting you to look around a village and tell us what you like about the area, and what you notice. What are the 'design cues' which make a place distinctive? What is good design within the context your local area?
You can submit your thoughts via the link at the end of each profile. The villages included on this page include: Ainthorpe, Aislaby, Ampleforth, Appleton le Moors, Battersby, Battersby Junction, Beck Hole, Boltby, Botton Village and Broxa.
Ainthorpe
Ainthorpe is a large village located in Danby Dale. Development is generally of single plot depth along the highways of Brook Lane and Ainthorpe Lane, with post-war developments extending the village along Strait Lane, Easton Lane and the cul-de-sac of Valley View. Several steep sided open fields dissect the village separating the historic core to the east from later expansions to the west. Historically the village evolved little until post-war development infilled and extended street frontages. There are clear building styles within the historic core, including sandstone farm buildings and houses and small 1 ½ storey terraced cottages. Later developments include detached properties, often single storey, set within larger plots.
Window details are varied. Timber vertical and horizontal sashes feature in many traditional properties, but casements and uPVC are also commonplace. Traditional red clay pantile is the predominant roofing material, interspersed with slate, while concrete pantiles are common in post-war developments. Boundaries are generally stone built, both coursed and dry stone, sometimes with hedging and picket gates. Picket fencing is also a feature along with the birds-mouth fencing alongside Toad Beck.
Many of the verges and greens are areas of designated Common Land and these contribute to the openness of the village. Trees are also a particular feature, with the mature sycamores at Ainthorpe Farm and the horse chestnuts at the corner of South View and Ainthorpe Lane forming focal points. Two sections of historic trod exist along Claymire Gate and adjacent Rose Cottage on Brook Lane and there are six listed buildings, including the Victorian School and Masters House on Yall Flat Lane.
Negative factors: Overhead wires and poles. Erosion of verges. Loss of traditional window styles.
Central Valley Landscape Character Type
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Aislaby
Aislaby is located on the upper edge of the central valley with long-ranging views towards Sleights and along the Esk Valley. The village has a strong agricultural character with farmhouses and barns at its core, along with several higher status dwellings, unusual in their density for a small village. Post-war development lies to the edges of Aislaby along Egton Lane and Moor Road. The historic core of the village was designated a Conservation Area in 1995.
Most buildings are generally simple and modest 1 ½ storey cottages, in contrast to the higher status buildings which are adorned with architectural features. The village is mainly linear in form with small terraced or semi-detached properties fronting Main Street and Egton Road, some set back behind small gardens with small stone boundary walls providing an enclosed feel to the village. In contrast, larger properties are set further back from the highway, such as Pond House and Aislaby Hall, which provides a more open character. Back land development is rare. Trees are common throughout the village, most prevalent at the eastern end around Aislaby Hall.
Sandstone, quarried locally from the village, is the only building material of the historic buildings and pebbledash and brick are prevalent in later developments. Pantile is the predominant roofing material with slate limited to key buildings. Stone water tabling is common with traditional guttering and gutter spikes.
Windows are generally painted timber of vertical and horizontal sashes although in some locations, uPVC is evident. Doors are generally painted boarded timber or panelled, some incorporating glazing. Porches are evident but are not a predominant feature. Dormers are generally limited to cottages. Glimpses through buildings and side gardens provide important gaps through to the surrounding countryside and the large open field in the centre of the village contributes significantly to the rural agricultural character of Aislaby. Boundaries are almost entirely a mixture of formal coursed stone walls and dry-stone walls of varying heights.
Negative factors: Loss of boundaries in some areas. Some loss of traditional window proportions and styles. Urban lighting columns. Overhead wires and poles.
Ampleforth lies to the southwest of the National Park midway between Oswaldkirk and Wass. It is a linear settlement. The historic core is on either side of the main street which runs east-west along a south facing valley side. This area makes up most of the Conservation Area which was designated in 1977. Modern 20th and 21st century development has extended the village to the south and this, along with the southern side of the main street, falls outside of the National Park.
Overall, the village has a strong cohesive appearance, with two storey limestone cottages, brick chimneys, stone cills, and lintels (some painted) with painted timber vertical sliding sashes and painted timber 4 or 6-panel doors, many with fanlights above. The use of uPVC is less common. Stone steps leading to front doors are a feature of most properties. Porches are not a feature of the village but the lightweight lattice style iron porches and metal railings at Thwaite House are a particular feature. Properties generally form rows of terraces fronting onto the footpath which in turn is set back behind deep grass verges. This linear character changes to the periphery of the village where more modern infill development is present, particularly to the western end of the village, where detached properties are set back from the road in larger plots. There is little back land development. Dormers are not common, and where porches exist these tend to be of lightweight metal or timber construction. The roofscape is uninterrupted with a combination of traditional red clay pantiles and slate. Water tabling is noticeably absent in Ampleforth and instead, verges are finished with a simple mortar fillet with traditional gutters on brackets to the eaves. The streetscape is punctuated by single width driveways which allow views through to the tree clad hillside behind. Where boundaries exist these are generally hedges, picket fences or stone walls with some use of metal railings.
Negative factors: Loss of traditional window styles. Cement pointing. Widened accesses.
Appleton le Moors lies in the south of the National Park close to Kirkbymoorside. The moors run from the top of the single street and to the south views of the Vale of Pickering can be seen. Appleton le Moors is a classic example of a 12th century planned village. Houses originally had long gardens, or garths, 330 feet long, stretching to a back lane. It is now a compact linear settlement. The historic core of the village is included within the Conservation Area, designated in 1977. It includes many listed buildings and notable monuments; including the medieval wayside crosses of High and Low Cross. The orientation and positioning of many buildings, either parallel to the street or at right angles, results in a planned medieval tofts and crofts character. Many historic facades front the main street, providing distinct clean lines and a defined roofscape. Later buildings are generally set back within their own plot. Subsequent development has mostly remained sympathetic with the continuation of predominantly limestone and clay pantile. Although varied, windows are mostly of timber sash construction, with some good examples of handmade glass, and showing an art deco and Gothic influence. The gothic influence can also be seen in Christ Church, the design of which was commissioned from celebrated Victorian architect J.L. Pearson (who also designed the school - now the village hall - and who went on to design Truro Cathedral) and which was called 'a little gem among moorland churches by poet John Betjeman. Its tall bell tower with a 90 foot high pyramid spire is a prominent feature in the landscape.
Where boundaries are present, they are generally low-level stone walls with timber gates or iron railings. Whilst gardens are minimal, there is a grassed verge down the length of the village and some areas include an open drainage channel. Between dwellings and to the rear there are many outbuildings of an agricultural nature, with characterful traditional timber openings. The vast array of buildings reflects a wide variety of industries, periods, and styles, ranging from the Grade I Listed Christ Church and Appleton Hall, to farms and cottages. The small, corrugated iron reading room remains a community space. Despite being a modest village, Appleton le Moors is rich in architectural detail. Notable features include the telephone box, three stone faces, later ornate porticos, and remnants of ESLA (Electric Street Lighting Apparatus Company) lamps. A public bridleway to the south leads to great views over Dogcroft Hill and the Vale of Pickering. Keep an eye out for the house known as 'Three Faces' (opposite the Village Hall), whose carvings above the door are of three 'bloodsuckers' – namely a priest, a doctor, and a lawyer.
Negative factors: Some non-traditional ½ and flat roof dormers, loss of traditional ironmongery, taller stone boundaries, and poor mortar replacement. Cluttered street signage.
Battersby lies in the west of the National Park close to Kildale. It sits in a gently undulating landscape. Settlement form is nucleated; however, buildings are spaced out, and development lies almost entirely to the northern side of the road, the exception being High Farm and The Lodge. A traditional farming village, Battersby’s building style is reflected in its agricultural heritage. There is little back land development and buildings are set back from the road. The beck runs through the village, with a ford crossing forming a central feature, and this, together with mature trees and hedges brings a sense of enclosure. Properties are typically sandstone with traditional red pantile roofs, however, there is the occasional mid-20th century brick-built or concrete pantile roof house.
Traditional materials feature, including cast iron rainwater goods, timber windows and doors and lime mortars. Examples of a typical farmhouse would be High Farmhouse with its coursed herringbone tooled stone and small panelled sliding slash windows and boarded door below a stone lintel. The Grade II Listed Holme Farm House with its outbuildings are a prominent feature. A cart lodge and byre on the roadside incorporates an opening for cart entry and also an Edward VII wall mounted red letterbox.
Negative factors: Introduction of some non-traditional elements such as dormers. Some loss of traditional style fenestration.
Battersby Junction is next to Battersby Station, on the Esk Valley line that runs from Middlesbrough to Whitby. A small village on the edge of the National Park, it sits in a flat, peaceful farming landscape and there are views out to the Cleveland Hills. Battersby Junction owes its existence entirely to the arrival of the North Eastern Railway (NER) in the mid-19th century. Historic maps show no development at Battersby Junction in 1850. In its early years, Battersby was known as Ingleby Junction and opened on the Picton to Grosmont line in 1858 when the Ingleby Mining Company's private line was first linked to the North Yorkshire & Cleveland Railway. The station was renamed Battersby Junction in 1878 to avoid confusion with the nearby Ingleby station. The station was simplified to "Battersby" in 1893. One notable feature is the 1907 NER ‘water column’ which once swung out to deliver water to the steam trains of the time.
The settlement is distinct in its form, with two terraces of 30 cottages. Two houses, built in 1875 to accommodate workers, sit alongside the railway buildings. Many of the railway buildings exist today including a water tower. The signal box has long since vanished, and traces of the third platform are still visible.
Buildings are laid out in linear form and front directly onto the highway. Brick is the only building material but most of the cottages are now rendered. Red clay pantiles would have been the original roof covering but concrete pantiles are now commonplace. The original timber sashes and doors are now mostly replaced with modern uPVC. More recent development - a terrace of five affordable homes has extended the village to the northeast. Boundaries are not common but where they exist, they are generally timber vertical boarded fences to rear yards. The surrounding fields are bounded by native hedging.
Negative factors: Introduction of modern render and windows leading to a less uniform type of development. Loss of traditional window proportions. Erosion of grassy areas. Close boarded timber fencing gives an urban feel to the streetscape.
Beck Hole lies around a mile northwest of Goathland. It is a small, picturesque village clustered around the base of a steep wooded valley. To the east of the village lies extensive moorland. Because of the topography, the village is hidden from wider views.
Whilst its origins date from the Middle Ages, the village has seen a variety of changes and uses, from mills to agriculture and latterly associated with ironworks and the Beck Hole incline which formed part of the original North Yorkshire Moors Railway line. As such there are a range of cottages, houses, and large farmsteads, many of which are listed buildings. Firtree Cottage includes a large central Scots pine in the garden, prominent across the green.
Key features of the village include the views across the valley, the bridge over the river and falls set beside it, central green spaces and the limewashed Birch Hall Inn with its stone paving and red K6 telephone box. Because of the openness of the village core, boundaries are few but where they exist, they are drystone walling and stone steps and picket fences with traditional timber gates, doors, and ironmongery, often the result of the agricultural or ironworking history.
Buildings are set at different levels, creating varied rooflines, views and a central focus encompassing Beck Hole bridge. The majority of buildings are one or two storeys, with sandstone, pantile roofs, timber sash windows, some with stone mullion features and timber doors. Doors are a mixture of boarded and panelled, some incorporating glazing. There are many indications of the buildings being previously lime rendered.
Negative factors: Overgrown trods, erosion of grass verges, loss of surface finishes. Loss of traditional window styles in some locations.
Central Valley Landscape Character Type
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Boltby
Boltby lies on the southwestern edge of the National Park, below the western escarpment, close to Thirsk. It is a linear village said to have been historically associated with linen weaving. Its linear form is predominately characterised by closely knit vernacular cottages, many with small porches, fronting the high street with low stone walls and timber gates. A few dwellings are sat in an elevated position following the topography of the landscape. The elevated position at either end of the village provides dramatic views across moorland, valleys, and forest, giving a distinctly soft landscape within the village, particularly when combined with the grass verges and natural stone boundaries. Gurtoff Beck cuts through the village, which enhances the tranquil atmosphere, particularly where it flows under the central humped stone bridge. There is a stark contrast between the large, elevated church and a small chapel, however, both are distinctive features of the village.
The buildings are predominantly sandstone with some occasional brick. A combination of slate and pantile roofs of varying forms are mostly uninterrupted, providing characterful views across the roofscapes. The steep pitch of some suggests a previous use of thatch. There are many deep decorative white painted barge boards and a range of well-maintained agricultural outbuildings and features interspersed between dwellings and plots. White painted horizontal Yorkshire sliding sashes are evident with some casement and bowed windows, alongside examples of historic glass, traditional timber boarded doors and lime render. Of note, there are distinctive scars of previous buildings, a few stone water spring features and mosaics set across the village, providing some bursts of colour.
Negative factors: Some loss of traditional styles of windows, doors, and concrete roof tiles.
Western Escarpment Landscape Character Type
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Botton Village
Botton Village is located at the head of Danby Dale. Surrounded by high moorland and steep valley sides this dramatic and spectacular landscape forms an important and imposing backdrop to the village, creating a sense of enclosure, remoteness and wildness.
Although Botton is a dispersed settlement it has a clear nucleated core centred around Botton Hall and community buildings such as the Church, community centre and the village store. Botton has a varied architectural character with buildings ranging from the first vernacular farmsteads and dwellings dating from the early 1800s to the modern 20th century Steiner style buildings, surrounded by agricultural land, gardens, and planted woodland. The vernacular buildings include Botton Hall and surrounding farmsteads which are constructed of sandstone with red clay pantile roofs or plain rosemary clay tiles with stone water tabling. Many of these buildings have red painted cast iron gutters, a feature of the settlement. Timber clad buildings form the main building material of later developments which includes those with the Steiner influence, as well as the more traditional workshop buildings. Steiner’s principles were based on the use of natural building materials to create sculptural forms that draw the eye. These buildings were designed to create open spaces and lots of windows to provide natural light and views.
Buildings are often stained brown or blue with shingle roofs and painted windows. Brick and concrete tiles are the other common material used in later developments often with hipped rooflines which is unusual for the North York Moors. The traditional vernacular includes more substantial buildings, whereas much of the later development is more modest in its scale, often single or 1 ½ storeys.
Boundaries are generally mature hedges interspersed with trees with timber fencing creating a natural but enclosed streetscape, opening out into grassed communal areas which are boarded by timber birds mouth fencing. Tracks and paths connect areas to one another. Low level bespoke lighting columns and traditional black and white signposts all contribute to the character of the settlement.
Negative factors: Lighting around the car park can be seen across the valley.
Broxa lies in the southeast of the National Park. It occupies an elevated position offering far reaching views over the surrounding valleys. The village itself has a peaceful agricultural character which has seen little infill development over the years. The village is laid out in linear form where dwellings are generally of single plot depth, facing the highway but set back behind well-maintained gardens with ranges of traditional outbuildings to the rear. The village contains a mixture of detached and semi-detached two-storey houses, but the charming 1 ½ storey terrace cottages are amongst the oldest in the village. The layout, together with open fields and paddocks between dwellings, gives a spacious feel to the village. The Grade II Listed red K6 telephone box is a feature of the streetscape which stands in front of what appears to be a historic water tower.
Buildings are entirely of limestone construction with a combination of both slate and natural red clay pantile, brick or stone chimneys and stone water tabling. Decorative white painted barge boarding to gable ends and dormers along with modest lightweight porches are also a notable feature. Vertical sashes are evident along with the occasional Yorkshire sliding sash, but casements are the predominant style, mostly white painted or white uPVC. Doors are generally painted timber. Boundaries are almost entirely of dry-stone wall construction interspersed with native hedging and five-bar gates. Trees are also a feature.
Negative factors: Overhead wires and poles. Some loss of traditional window styles.