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Land Rover Range Rover Cheap Insurance

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Land Rover Range Rover Cheap Insurance

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Land Rover Range Rover Cheap Insurance

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architectnews · 3 years

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RIBA House of the Year 2021 Longlist

RIBA House of the Year 2021 Winners, British Homes Shortlist, Buildings, UK Residential Property

RIBA House of the Year 2021 News

British Home Awards: Architects Prize Shortlist for Best New UK Properties

28 Oct 2021

UK’s best new homes – RIBA announces House of the Year 2021 longlist

Shortlist and winner to be revealed on Channel 4’s Grand Designs: House of the Year

RIBA House of the Year 2021 Longlist

Thursday 28 October 2021 – The Royal Institute of British Architects (RIBA) has announced the longlist for the RIBA House of the Year 2021.

Among the 20 projects in the running to win the UK’s most prestigious award for a new house or extension are:

A highly-sustainable home built on land that once belonged to the gardens of a large country house in Devon (Devon Passivhaus)

A skilfully restored stone cottage in the wilds of the Scottish Highlands (Kyle House)

An elegantly simple home, perched on stilts over the River Thames floodplain in Berkshire (River House)

The imaginative remodelling and extension of a semi-detached Victorian house in East London (Grain House)

The 20 longlisted homes are:

Corner House (London) by 31/44 Architects

Devon Passivhaus (Devon) by McLean Quinlan

Grain House (London) by Hayhurst & Co Architects

Harbour House (Hampshire) by John Pardey Architects

House for Theo and Oskar (Surrey) by Tigg + Coll Architects

House in Assynt (Sutherland, Scotland) by Mary Arnold-Forster Architects

House on the Hill (Gloucestershire) by Alison Brooks Architects

House-within-a-House (London) by alma-nac

Hove House (Brighton) by Turner Works

Kyle House (Sutherland, Scotland) by Groves-Raines Architects

The Modern Oast (Kent) by ACME

The Old School (Yorkshire) by ArkleBoyce Architects

The Outfarm (Devon) by TYPE Studio

Pele Tower House (Cumbria) by Woollacott Gilmartin Architects

River House (Berkshire) by John Pardey Architects

Simple House (Cambridge) by Haysom Ward Miller Architects

The Slot House (London) by Sandy Rendel Architects with Sally Rendel

The Water Tower (Norfolk) by Tonkin Liu

Weybridge House (Surrey) by Wilkinson King Architects

Wolds Barn (Yorkshire) by ID Architecture

The shortlist and winner of the RIBA House of the Year 2021 will be revealed in the sixth series of Channel 4’s Grand Designs: House of the Year, produced by Naked West (a Fremantle label), airing later this year.

The jury for the 2021 House of the Year is: Amin Taha (Chair), Chairman of GROUPWORK; Co-founder of Ash Sakula Architects, Cany Ash; Co-founder of McGonigle McGrath, Kieran McGonigle (RIBA House of the Year 2019 winner).

RIBA House of the Year 2021 Longlisted Homes

Corner House

photo : Rory Gardiner

RIBA region: London Architect practice: 31/44 Architects Date of completion: September 2019 Client company name: CASA London Project city/town: London Contract value: Confidential Internal area: 105.00 m² Cost per m²: Confidential Contractor company name: Martins Builders & Decorators Ltd

Consultants:

Structural Engineers: David Salter Associates

Building Control: Quadrant

Awards: • RIBA Regional Award • Regional Award Short List • London South East • House

Jury Report

This new end-of-terrace house, which adheres to the existing line of the street, is the result of a deep and careful study of its local context. It picks out and redeploys elements of the Victorian language of the neighbouring houses in a way that is both thoughtful and playful. It is welcoming and deceptively spacious for such a constrained site.

Entry is at lower-ground floor level through a paved brick front garden with a canopy that mirrors the geometry of the adjacent property’s stairs. Directly above this, an arched window on the upper-ground floor mimics the neighbour’s front door.

The entrance leads to the living quarters and, straight ahead, stairs that rise to the bedrooms above. Appropriately for a comparatively small house, the plan is very efficient, with almost no circulation space.

The detailing and materials are robust but subtle. There are many references and reinterpretation of Victorian elements from the neighbouring houses, including blind windows, cornices, and what from the outside looks like a rear conservatory but is, in fact, a bedroom – and feels right as such.

It is the playful subtlety of the design that wins one over. The pale and elegant brick is light and welcoming, even in gloomy weather: no wonder, then, that a retired architect should have purchased the house.

Devon Passivhaus

photo © Jim Stephenson

RIBA region: South West & Wessex Architect practice: McLean Quinlan Date of completion: December 2018 Client company name: Project city/town: Exeter Contract value: Confidential Internal area: 388.00 m² Cost per m²: Confidential Contractor company name: Goulden & Sons

Consultants:

Quantity Surveyor / Cost Consultant Hosken Parks

Environmental / M&E Engineers WARM

Structural Engineers Airey & Coles

Passivhaus Certification Cocreate Awards • Regional Award Short List • RIBA House of the Year longlist • House

Jury Report

Presented with difficulty of placing a family home within the confines of a perceptively well maintained and grandly scaled walled kitchen garden Devon Passivhaus plays the visual trick of apparently not being there at all. The new wall could easily be the old, built in the same handmade rubbed red bricks using the same coursing and mortar.

A wheelbarrow path of brick draws us to one of the garden’s axial doorways with the box bay window already suggesting more than a tool shed might lie behind. Once through we are in a secret garden of courtyards, comfortable domestic spaces, and picture framed views. The layout is both pragmatic, intimate, and deliberately far away from the formality and deference of the working stately garden.

Grain House

photo © Kilian O’Sullivan

RIBA region: London Architect practice: Hayhurst & Co Architects Date of completion: April 2019 Client company name: Project city/town: London Contract value: Confidendial Internal area: 210.00 m² Cost per m²: Confidential Contractor company name: Rebuild London

Consultants:

Structural Engineers: Webb Yates

Awards: • RIBA Regional Award • Regional Award Short List • London North • House

Jury Report

The architects have exercised care and imagination in remodelling and extending this Victorian semi-detached house in the de Beauvoir Conservation Area in Hackney.

Designed for a young family, it connects the original to new living spaces by creating an innovative visual link from the entrance through the family spaces to the garden beyond and on to a new artist’s studio at the back of the site.

These inventive interventions result in an unfolding spatial sequence of light-filled interiors, demonstrating an ambitious architectural response to the Victorian house typology.

Prior to the works, the house had been traditionally arranged as a series of cellular rooms with only a narrow servants’ stair connecting the living spaces on the lower- and upper-ground floors.

The new design improves this connection with a two-storey courtyard at the heart of the house that features a new garden at its centre. A new staircase wraps around the courtyard, providing a rich spatial experience and offering views through the house and garden as one moves from one level to the next.

At the lower-ground floor level, the pitched ceiling of the extension helps to define the kitchen. This space includes a dining area with a large window seat that that looks out over the garden. The new artist’s studio at the far end of the garden responds in form to the profile of an old summer house that had previously occupied the site.

Detailed with rigour, the palette of materials includes hand-made tiles, natural lime plaster, pre-patinated copper, and charred larch. Where possible, the timbers are native, chosen to add a maturing depth of texture and character as they age.

The old and the new are clearly legible, with the contrast of styles enhancing the whole.

Harbour House

photo © James Morris

RIBA region: South Architect practice: john pardey architects Date of completion: July 2019 Client company name: Project city/town: Hayling Island Contract value: Confidential Internal area: 265.00 m² Cost per m²: Confidential Contractor company name: Rice Projects

Consultants:

Structural Engineers: Eckersley O’Callaghan Ltd

Landscape Architects: Nicholas Dexter Studio

Quantity Surveyor / Cost Consultant: APS Associates

Flood Risk: Ambiental

Awards: • Regional Award Short List • RIBA House of the Year longlist • House

Jury Report

The Montague House is intriguing in both form and context. Approaching on a dull grey rainy day, the upper storey of this house appears to meld into the horizon with a dark grey brick base that feels appropriate to this gritty context at the end of the island. Height and building lines of this house are generated by its neighbours and tight site constraints.

Arriving at the southern street frontage, the front side of the house is, unfortunately but not untypically in this part of Hayling Island a parking zone, with garage used for boat storage and toys. Whilst the generous timber entrance doors are set back within the façade creating a welcome overhang, the overall impression is of a car laden driveway where the grey metal roller garage doors dominate the visitor experience. The architecture experience then is left to the large oriel window at first floor, and whilst dramatic it appears elevationally at odds with the long thin bathroom window adjacent creating a tension that feels unresolved. It is a problem inherent in these highly spatially pressurised contexts but one that needs to be addressed.

The entrance corridor quickly arrives into a double-height ‘knuckle point’ in the plan that helps to alleviate what might otherwise have been a point of tension. The width of the tapering plot demands a central corridor to access rooms on either side, a practical move that feels a reluctant but necessary compromise. Bedrooms are compact with back-to-back en-suites and the family den space on the ground floor is the most successful room on this level with the stunning view beyond the garden to the harbour.

The piece de resistance of this home is the first floor living dining room with generous terrace and stunning view. The large floor to ceiling windows on two sides create a feeling on being on the bridge deck of a ship. The beautifully designed and executed joinery elements create a luxury feeling of crafted attention throughout. This is the heart of the home and is a really great space to linger.

The master-bedroom located on the north (street-side) with large oriel window accommodating a window seat, continues the rather awkward feeling that began externally. The northern view is of a toilet block and whilst the client appears to relish this honesty, I was not convinced and the exposure and immediacy of such a large window to the street felt disconcerting.

Particularly note-worthy is the small but exquisite garden with hardy marine plants that soften the angular lines of the house and hardscaping.

This is a ‘taut’ house on a tight site that is thoughtful and maximizes the stunning setting and albeit limited plot. The architect has used skills and experience to bring drama where it is possible and to take advantage of the views and the garden approach from the north. However, the experience of arrival and some of the internally uninspiring spaces undermine the drama that unfolds above. In many ways the site itself both gives the opportunity for drama and disappointment. It will be a super home and very enjoyable to live in.

House for Theo and Oskar

photo : Andy Matthews – ABSTRACT

RIBA region: South East Architect practice: Tigg + Coll Architects Date of completion: May 2019 Client company name: Project city/town: Surrey Contract value: Confidential Internal area: 240.00 m² Cost per m²: Confidential Contractor company name: Ballymore

Consultants:

Structural Engineers: Engenuiti

Awards: • RIBA Regional Award • Regional Small Project of the Year • Regional Award Short List • House

Jury Report

Theo and Oskar suffer from Duchenne Muscular Dystrophy. The challenge was to remodel a small family cottage into a home that would cater to the children’s developing needs, considering their reducing mobility and interaction with their environment, both now and in the future.

Whilst the interventions appear radical from the rear, the extension wraps around the side of the cottage to form a new front entrance, maintaining the important existing horizontal eaves line and the suggestion of a pitched roof. The existing approach was stepped so the intention was to provide a ‘budget led’ ramp to allow wheelchair access to the new entrance. The groundworker instead voluntarily graded the entire frontage up to the threshold level so resulting in a more holistic, less ‘Part M’, arrival. Wall cladding was detailed based on the materials the sub-contractor arrived with rather than what was designed & specified, the architects constantly having to think on their feet to maintain site progress but not at the expense of the architecture.

The rear façade is dominated by the timber diagrid roof form, cantilevering over the sliding glazed walls which provide the children’s bedrooms with unincumbered access to the covered terrace. The existing cottage is almost so diminutive that the presence of this low-slung “spaceship” next to it seems not only fun and exciting in equal measure but also curiously appropriate. Inside, the visual connection between the rough, exposed timbers of the original ceilings and those of the new diagrid roof (articulated inside as outside) is very successful and not jarring. The internal circulation has been rationalised with seamlessly integrated pocket sliding doors to afford full access throughout. The identity of the original cottage is not only retained but invigorated.

This project is witness to the client’s commitment to their children’s quality of life to procure a relatively simple intervention in a highly imaginative way; the architect’s commitment to delivering something functional but special in the face a constantly evolving procurement process; and the commitment of the contractors and suppliers who put this building together, offering their time, advice and materials within a very tight budget.

This project is a testament to collaboration.

House in Assynt

photo © David Barbour Photography

Architect practice: Mary Arnold-Forster Architects Date of completion: May 2018 Client company name: Confidential Project city/town: Perthshire Contract value: Confidential Internal area: 100 m² Cost per m²: Confidential

Consultants:

Structural Engineer: Carbon Dynamic

Awards: • RIAS Award • House of the Year longlist

Jury Report

Arriving at House in Assynt is an unforgettable experience. The tortuous nature of the road and the seemingly inaccessible location of the site create a sense of anticipation on the journey, which is met by curiosity on arrival, and is instantly transformed into marvel as the front door opens.

The quality of natural light and the well-balanced proportions of the spaces reveal themselves along the procession from the front door to the primary living space which culminates with a breath-taking view over the mountains.

Setting aside the innovative off-site fabrication, the transportation and construction challenges and the harsh exposure of the site, this building is an exquisite study in volumetric space and light which has produced a house which is exactly tailored to the client’s brief and is a joy to experience. House in Assynt is an exemplary model of sustainable and considered architecture which makes as minimal an impact on its environment as is possible and yet which leaves a lasting legacy for its occupants to enjoy.

House on the Hill

photo : Paul Riddle

House on the Hill

RIBA region: South West & Wessex Architect practice: Alison Brooks Architects Date of completion: December 2018 Client company name: Private client Project city/town: Lydney Contract value: £1,950,000.00 Internal area: 623.00 m² Cost per m²: £3,130.00 / m² Contractor company name: E G Carter & Co

Consultants:

Structural Engineers: Akera Engineers Environmental / M&E Engineers: Peter Deer & Associates Environmental: Bearwood Associates Garden Designer: Stoney & Janson Quantity Surveyor: Measur Construction Consultants Landscape & Pool House Contractor: Barker & Barker Trunkarb Tree Surgery: Mark Harris Environmental Co-ordinator: Helena Ronicle

Jury Report:

A small eighteenth century farmhouse on an exceptionally beautiful site, the highest point of Gloucestershire, has been transformed, in a four-phase programme over ten years, into a very special place, both a home and a gallery of Indian and African sculpture.

House on the Hill is a labour of love by client and architect working together with what appears to have been a complete unity of purpose. An art collection might sometimes be a sobering influence on the liveability of a home, but here the overall mood is never didactic or pompous. The house and its contents represent a near perfect amalgam of architecture, landscape, inhabitation and art that is notably poised and elegant as well as being light, fresh and airy. The overall mood is calm and entirely assured.

The first phase converted the original farmhouse. On one side three storeys have been united into one complex new space to make a lofty but intimate display room. The house’s original stair remains, linking a series of small rooms and culminating in a suspended landing high up in the ridge.

The extension, larger than the original house but clearly subordinate to it, contains a luminous interior. The architect’s distinctive skewed geometries make an architecture of shifted planes in plan, section and elevation. This gives rise to an extraordinarily complex and fully resolved play of solids and voids, and a sense of openness, with carefully considered views in all directions. And yet, underlying the elasticity of the architecture is a strong spatial ordering: the sidelong homage to Mies van der Rohe in the form of delightfully light cruciform steel columns (skewed, of course) is well-founded. As importantly, this carefully calibrated geometrical warping creates a relaxed ambience entirely in tune with the spirit of the project and the place.

A beautifully resolved staircase structure houses a grid of small sculptures. The kitchen commands the heart of the plan. The upstairs rooms – bedrooms, study – are comfortable and full of light. Deep brown fibre cement cladding to the new extension recalls the darkness of the nearby Forest of Dean. It is counterpointed by small flashes of highly polished stainless steel.

The landscape treatment all around the house connects it with its garden, and is outstanding. The project hugely enhances an already lovely setting.

House-within-a-House

photo : Jack Hobhouse

RIBA region: London Architect practice: alma-nac Date of completion: April 2019 Client company name: Project city/town: London Contract value: Confidential Internal area: 233.00 m² Cost per m²: Confidential Contractor company name: David Stewart Building Contractor

Consultants:

Structural Engineers: Constant Structural Design Energy Assessors: Vision Energy Approved Building Inspector: JHAI Ltd.

Awards: • RIBA Regional Award • Regional Award Short List • London South East • House

Jury Report:

One can feel the stress of everyday life start to recede the moment one enters the front garden of this charming three-storey, six-bed, detached family home in a conservation area.

The new building repairs the Victorian street that had suffered bomb damage during World War 2 and had housed a nondescript building built in the 1960s in the meantime. Although the house has a new skin, it is built around the existing 2 storey house.

The architect’s solution in effect wraps the retained external walls in a thick warm coat to bring it up to contemporary standards. Many of the inner walls were also retained and skilfully integrated into the new. Where there are new additions, above and to the rear, they are made of lightweight structure, mostly exposed timber. The detailing is robust, exposed and attractive.

The inside is not entirely open plan. Two rooms to the front, which could be used as a study and a snug, look onto the front garden. The living quarters are split-level, the sitting room stepping down to the single-storey kitchen and dining room at the back, which looks on the rear garden. The stairs are separated from the living room with a sliding door, rising up through the middle of the house to the bedrooms.

The composition of the elevations, having retained a lot of the original opening, is very pleasing, poetic and fluid. Combined with the pale grey colour of the brick cladding, the overall effect is respectful of its context and nicely restrained, communicating in a beautiful whisper.

Hove House

photo : French-Tye

RIBA region: South East Architect practice: Turner Works (formerly Carl Turner Architects) Date of completion: November 2019 Client company name: Baobab Project city/town: Brighton & Hove Contract value: Confidential Internal area: 430.00 m² Cost per m²: Confidential Contractor company name: The Magnificent Works Co

Consultants:

Structural Engineers: Ian Wright Associates Environmental / M&E Engineers: Nu Planet Sustainable Solutions Planning: Dowsett Mayhew Landscape Architects: nd:studio Lighting Design: Light Bureau Project Management: Baobab Construction Party Wall Surveyor: Bowden Property Consulting Structural Engineer: Ian Wright Associates Ltd Drainage Consultant: Hodel Pool Specialist: Guncast CDM Administrator: Goddard Consulting

Awards: • RIBA Regional Award • Regional Award Short List • House

Jury Report: This new house is a series of simple brick forms, largely single storey, with mono-pitch wildlife flower covered roofs, wrapped around a beautifully landscaped courtyard space.

The Courtyard can be accessed directly from all living spaces along with the Master Bedroom. Guest and children’s bedrooms are situated in a quieter area of the lower ground floor – each room with access to the lower garden.

A short flight of cast concrete steps leads you from entrance level to courtyard level. As you rise the stunning courtyard view reveals itself inviting you into the heart of the house.

The spaces flow well together, the scale appropriate to a domestic setting and the use of the exposed white painted steel trusses throughout the interior and muddy, grey brick wrapping the elevations provides an overall unity to the scheme.

The changes in level throughout the building as you radiate further from central courtyard are cleverly placed to bed the structure into the naturally sloping site.

An established wildflower roof attenuates rain-water run-off, improves summer cooling, and enhances site biodiversity. An important and delightful part of the overall project and a generous act of consideration to the surrounding neighbours.

Although hemmed in by the neighboring buildings, the house manages to feel both light and open. Windows and doors frame key views and there is careful dissolution of solid boundaries between indoors and out, as living spaces within, flow freely to terraces, decks, courtyards and play spaces.

At every turn the many textures, colours and materials contribute to produce a vibrant and playful mix. Modern and bold but by no means minimalist. It is easy to imagine a party round the pool, reminiscent of Neutra’s iconic Palm Spring house.

The jury thought this a successful collaboration between the architect and client and a wonderful house for living in. Both delightful and practical with a robust quality that will only continue to improve with age.

Kyle House

photo © Alexander Baxter

Architect practice: Groves-Raines Architects Studios Ltd. Date of completion: June 2018 Client company name: Confidential Project city/town: Sutherland Contract value: Confidential Internal area: 70 m² Cost per m²: Confidential Contractor company name: K MacRae and Sons Ltd.

Consultants:

Structural Engineer: David Narro Associates Ltd. M & E Engineer: Atelier Ten Ltd. Concept Design Director: Ruth Kramer Landscape Designer: Richard Preston Garden Design Ltd

Awards: • RIAS Award • House of the Year longlist

Jury Report: The restoration at Kyle House has brought a previously derelict building back into use enabling its occupants to appreciate a new level of opulence in the splendour of its Highland setting.

Kyle house has been restored with immaculate attention to detail producing an architectural essay in Less is More. The result is an exquisitely simple, elegant, and architecturally luxurious holiday cottage.

The palette of materials is tastefully restrained to include locally sourced Caithness stone and wide oak lining boards. Windows and doors have been thoughtfully detailed to maintain the character of the original Highland house whilst bringing a contemporary feel. The central stair and cloakroom, a new intervention in the centre of the plan, has been carefully considered and executed with a level of care usually reserved for fine cabinetry.

This is a skilful restoration demonstrating how the client, architect and contractor can work together to produce crafted architecture, which is sustainable, enduring, and beautiful.

Pele Tower House

photo : Luke White

Pele Tower House RIBA region: North West Architect practice: Woollacott Gilmartin Architects Date of completion: July 2019 Client company name: Project city/town: Cumbria Internal area: 678.00 m² Contractor company name: Adam Carr Building Contractor

Consultants:

Archaeologist: John Trippier Archaeology Ecological Consultant: Lucy Gibson Consulting Structural Engineers: Reid Jones Partnership Ltd Environmental Energy Consultants: Doherty Energy Ltd Historical Building Conservation: Jubb Clews

Awards: • RIBA Regional Award • Regional Award Short List • House

Jury Report:

This is a project which displays considerable inventiveness and sensitivity in meeting the challenges of transforming a remarkable, but decaying, group of historic buildings into a 21st century family home. Considerable love and care have gone into the works, from client and architect, resulting in a scheme of real delight and personality.

Highly characterful, and displaying multiple layers of history, the buildings sit in a spectacular setting at the head of a valley. The works enhance both building and landscape, removing modern farming structures and extensive areas of hardstanding. Externally the interventions are modest and understated, responding to the qualities and materials of the historic structures. The 14th century Pele tower’s character as a ruin – a memorable and long-standing feature of the site – has been successfully retained by deeply recessing new glazing within the massive depth of the walls, creating shadow externally and beautifully illuminated reveals to the interior spaces.

Internally, the project unfolds in a series of episodic events reflecting the diverse age, significance and character of the different elements of the existing buildings. Historic elements, however humble, have been retained. Modern additions can be clearly read as distinct from the historic fabric, whilst maintaining an effective dialogue between new and old.

Much of the design and fabrication has taken place on site through an unusually collaborative relationship between architect, local contractor and craftsmen and this is reflected in the display of traditional skills and craftsmanship, in particular the bespoke joinery. The careful treatment of internal walls, and the sensitive repointing and repair of the external walls show a real understanding of the original construction and specific local building techniques.

Despite an apparent lightness of touch, the scheme works hard to upgrade the environmental performance of the retained existing buildings to modern standards of insulation, air tightness and thermal bridging, all whilst working within considerable conservation challenges of the listed buildings. Careful upgrading of the existing fabric, in a sensitive and pragmatic way, has realised considerable benefits in terms of reduced energy use and creating a more comfortable place to live. The successful negotiation of the difficult balance between upgrading the existing structures and maintaining their character is a particular triumph of the scheme.

This sensitive and sustainable approach to the existing building is complemented by renewable energy generation from ground source heat pumps and a micro-hydroelectric scheme which produces more energy than the house consumes, further reducing its carbon footprint. In the wider landscape extensive hard standing from farming activities has been returned to pasture and the client is undertaking landscape restoration initiatives, in collaboration with the local community, to improve biodiversity.

The client and architect are to be applauded for the holistic approach taken in a project which has safeguarded the future of these historic structures, embracing conservation and sustainability in the creation of a unique and delightful scheme which brings new qualities to this already outstanding site.

River House

photo : James Morris

RIBA region: South Architect practice: john pardey architects Date of completion: August 2019 Client company name: Project city/town: Wargrave Contract value: Confidential Internal area: 334.00 m² Cost per m²: Confidential Contractor company name: Ridgetree Projects

Consultants:

Structural Engineers: Momemtum Ennginerrs Quantity Surveyor / Cost Consultant: APS Associates Lighting Design: Electric Blue Environmental / M&E Engineers: BBH Energy Strategies

Awards: • RIBA Regional Award • RIBA National Awards • Regional Award Short List • House

Jury Report: The house sits on a stunning plot on a bend in the River Thames. Accessed from a long private road, the plot sits in flood zone 3b and floods periodically up to 1.2m. As a reminder of this, a dinghy is on show in the undercroft of the house.

The external steel staircase appears both elegant and durable; somewhat akin to embarking a ship. The crafted front door opens into the long corridor space which creates dramatic tension. The house is an elevated box, eroded between the living and sleeping wings to create a partly covered courtyard space. This is a welcome move, given that physical connection to the garden below is difficult and allows the client to be in the landscape and enjoy the stunning setting.

The long form is an elegant parti, with open plan living, dining and cooking to the eastern end, and all the sleeping accommodation and bathrooms to the western end. The influence of the client is clear in the morning terrace and view as well as the interior details which enhance the architecture beautifully.

The living space is completely glazed to the south with a deep overhang to prevent excessive solar gain. The parti is an extruded raised volume in counterpoint to the flat landscape. This is without a doubt a beautiful house and worthy of a RIBA Award.

Simple House

photo : Richard Fraser

Simple House RIBA region: East Architect practice: Haysom Ward Miller Architects Date of completion: May 2018 Client name: Private client Project city/town: Cambridge Contract value: confidential Internal area: 85.00 m² Cost per m²: confidential Contractor company name: Croucher Combined Services

Consultants:

Structural Engineers: Cambridge Architectural Research

Awards:

• RIBA Regional Award

Jury Report

Simple House is an extraordinary piece of inventive design.

The two-bedroom house is completely hidden behind a garden wall. The owner didn’t want to impose on the already settled neighbourhood and decided to opt for a discreet design and construction.

Set in a very small plot, originally a simple garden plot, the house embraces nature in all directions. The clients’ aim was to re-instate what they took away from nature. And they have achieved just that!

It’s an open and generous space connected to both garden areas with large windows raising up to the top of the main living area, creating a beautiful atmosphere.

It is inventive, creative and unusual, yet absolutely in equilibrium with the surrounding houses, flooded with natural light coming from all directions including some exceptional round roof lights and high-level windows. The connection with the sky through these generous openings constantly changes the light and internal ambience and mood, generating an interesting atmosphere across all seasons.

Natural and simple materials – unpainted exposed joists, aggregate concrete floor and birch-ply details – give the space a natural look and organic feel. Some details have been purposely left unfinished to create a sense of unsophisticated flawlessness in total balance with the natural and organic feel of this small home.

The client wanted something different from a two-up two-down typical arrangement and, considering the small budget available, the level of design and detail are quite remarkable and results exceptional.

Within a relatively small house built on a tight budget, on a constrained and overlooked site, the architect has created a calm, open and beautiful space in harmony with both nature and its surroundings.

The Modern Oast

photo : Friedrich Ludewig

RIBA region: South East Architect practice: ACME Date of completion: August 2018 Client company name: Project city/town: Marden Contract value: Confidential Internal area: 228.00 m² Cost per m²: Confidential Contractor company name: Harry Barnes

Consultants:

Structural Engineers: AKT Environmental / M&E Engineers: Etude Building Control: Wilkinson Construction Consultants MEP: Furness Green Partnership Planning consultant: Barton Willmore

Awards: • RIBA South East Award • RIBA House of the Year longlist

Jury Report:

The Modern Oast is a new build house closely based on the local vernacular used to dry hops. The house accommodates a family with two young children. Each roundel performs a different function in the makeup of the home. A triple-height central roundel links all the spaces, with a kitchen and sitting room connected to this space on the ground floor, along with a spare bedroom, study, bathroom, and utility room. On the first floor, a double height living room and curved landing provides access to the 3 bedrooms that are housed in the three remaining roundels.

As you approach the site, glimpses of the five shimmering towers appear somewhat magically, peeping through the treetops. Oast buildings are common in the South-East, but this building is totally unique.

The scale and shape of this home are not at all ordinary. The series of concentric roundels are reminiscent of Tudor castles (Camber & Deal). The initial defensive appearance soon dissipates as you begin to marvel at the iridescence of the ceramic tiles that make up the entire skin of the building. From earthy tones at the base, to light blue-sky colours at the very tip, these are a delight.

This project is at once both a work of sculpture and a work of architecture and craft. The design process has clearly been very rigorous, yet there has been enough flexibility to allow the client (who lived on site during the build) and architect to explore solutions together as the project developed.

As such the building offers a clever response to a unique set of problems. Ultimately, that hops dry in dark spaces whilst families prefer living in light spaces.

A spirt of ingenuity has suffused this project. The jury felt that this was a very successful, enjoyable and thought-provoking work of architecture.

A celebration of a client architect relationship that has led to such an unusual building.

The Old School

photo from RIBA

RIBA region: Yorkshire Architect practice: ArkleBoyce Architects Date of completion: December 2018 Client company name: Confidential Project city/town: York Contract value: Confidential Internal area: 195.00 m² Cost per m²: Confidential Contractor company name: Fairways Contracts Ltd

Consultants:

Structural Engineers: Alan Wood & Partners Environmental / M&E Engineers: Award Energy Consultants Approved Inspector: Clarke Banks

Awards: • RIBA Regional Award • Regional Small Project of the Year • Regional Award Short List • House

Jury Report:

The Old School house is a Grade II Listed former school in a small village close to Malton. The building had been extended previously on the rear elevation when the client had bought the property and their proposed scheme looked to modify this and extend the building further. The existing former school house remains much the same externally when viewed from the road and is accessed at the side of the building. This lets the school element function as a main family room at ground floor level, which is double height in places. The existing spiral staircase provides access to the upper levels for the new extension via a new glazed link which works well.

The new extension is contemporary and at ground floor level extends the building considerably to the southern elevation and into the garden. This contains a kitchen-diner and small living space with lots of storage running along one wall. The main walls facing the garden incorporate large sliding glass doors which give easy access into the garden. The steel structure helps keep the space free of columns and supports the drystone wall facet that clads the ground floor structure. This is beautifully made with coursed stonework that appears dry jointed and continues the use of stone on the external façade of the original school. The extension creates a fantastic viewing platform to the south of the site, looking out over fields.

At upper levels a smaller contemporary wooden extension is built to create an additional bedroom and en-suite. This is clad in a timber called Frake which is weathering well and has a consistent silver-grey finish. The bedroom has a large fixed glazed window giving views over the countryside and a smaller window for ventilation. The roof to the remaining ground floor structure has a green sedum roof to help the home’s sustainability credentials, which also include a biomass boiler located within the new extension.

This project cost was great value, creating a simple new extension which has no impact on the existing Listed building or village when viewed from the main road. It is clear that the client, who is an Architect, had a good working relationship with the contractor and the workmanship on the new extension is testimony to this. Improving access to move freely from inside to outside, provides a great quality of life for the young family and their pets. Overall, this is a scheme that should continue to age well due to the choice of materials and good detailing on the façade.

Adding contemporary modifications to Listed buildings can be challenging when bringing them back into use. The Old School does this perfectly and wins our Small Project Award. They employed a great design team and created a clever new dwelling.

The Outfarm

photo : Rory Gardiner

RIBA region: South West & Wessex Architect practice: TYPE Studio Date of completion: January 2020 Client company name: Private client Project city/town: Devon Contract value: Confidential Internal area: 199.00 m² Cost per m²: Confidential

Consultants:

Structural Engineers: PCA Consulting Engineers

Jury Report:

Within a typology of barn conversions, this place is approaching work-of-art status. It tells a wonderful story of family ambition with father, son and partner working hard with vision and restraint.

This unique and rediscovered barn was no ordinary barn, and this is clear to see in the quality of its masonry, its scale, its proportion, and its immediate landscape setting, complete with its subtle but powerfully anchoring crescent shaped enclosure.

It was a place for prize cattle, and now through its faultless execution has transformed this previously abandoned building into something worthy of being a scheduled monument.

It was found by chance, as a ruin on a plot of land, with no permission for re-use. Since then, it has truly been rescued and should be recognised as a building of high architectural and historical significance.

As a piece of contemporary design, everything that has been added brings continuity to its past and present life and sets up a wonderful future of further interpretation and use. From the structural steel shoes that stabilise the original half-rounded columns, to the new roof, specifically engineered to allow for an additional mezzanine if and when necessary.

The jury could not find fault in any of the decisions, from the lightest of touches in the treatment of the landscape, to the hand-forged balustrades. A gem in the rough.

The Slot House

photo : Jim Stephenson

RIBA region: London Architect practice: Sandy Rendel Architects with Sally Rendel Date of completion: May 2019 Client company name: Project city/town: Peckham, London Contract value: £224,000.00 Internal area: 64.00 m² Cost per m²: £3,500.00 / m²

Consultants:

Structural Engineers: Structure Workshop

Awards: • Regional Award Short List • RIBA House of the Year longlist • London South East • House

Jury Report: With housing demand what it is, especially within thriving areas that see families and key workers gradually priced out of neighbourhoods, there exist a multitude of “slot”, corner, slither, and back-land sites. “Slot House” demonstrates how with a little more time spent coordinating structure, waste and supply pipes, staircases and cabinetry the tightest of sites can be inhabited without several more wall, floor and ceiling linings needed to hide the often uncoordinated.

It is after all only careful and combined design time, it doesn’t cost any extra but rewards its occupants with credible habitable spaces filled with light, uplifting and with outlook. Simply and modestly illustrating what architects do, finding the beautiful and seemingly inevitable from the meagre and ignored.

The Water Tower

photo : Dennis Pedersen

RIBA region: East Architect practice: Tonkin Liu Date of completion: February 2020 Client name: Dennis Pedersen Project city/town: Norfolk Contract value: £575,000.00 Internal area: 160.00 m² Cost per m²: £3,594.00 / m² Contractor company name: MNB Services

Consultants:

Project Management: Dennis Pederson Structural Engineers: Rodrigues Associates Environmental / M&E Engineers: Integration

Awards: • RIBA Regional Award • RIBA National Award

Jury Report:

The Water Tower is an extraordinary family second home in Norfolk, where a derelict structure has been brought back into viable use. It is situated above and to the north of the local village, down a lane, surrounded by fields. Its prominent position led to concerns from local residents about overlooking and light pollution, and the impact of inhabiting a structure that once provided functional utility to the village but lay dormant as a decaying local landmark.

The building is divided into two elements, in Kahn’s terms ‘served and servant spaces’: accommodation to the north, served by a stair tower to the south. Accommodation comprises ground floor kitchen/dining, two floors of bedrooms and an upper living/dining/kitchen tank room at the top.

The stair and lift tower has no windows and faces towards the village, resolving the overlooking and light issues. The stair is formed from two layers of CLT, with an interlayer spacer, with balusters reusing reinforcement from the original tank room. It is a delightful helical stair, spiralling within its rectilinear box and lit from a rooflight at the top. A glazed ‘bridge’ link provides access to the northern accommodation tower, with each room enjoying a fully glazed elevation looking out across arable fields. At the top, the stair tower gives access through a rooflight to a terrace above, with PVs and balustrading.

The new structure sits within the original metal framing and is made from CLT. It provides structural stiffness to the original tower, which had previously been provided by the weight of the water, but which otherwise would bend and twist under wind loading in its absence. The interior spaces within the new structure are exposed CLT, wrapped in corrugated reflective metal on the exterior. The interior has warmth and a visual ‘weight’ to it from the exposed CLT finish. Externally, the play of light on the corrugations and the reflectivity picking up the colour of the sky and passing weather is a delight. It is a complementary visual contrast to the ironwork of the original structure, which criss-crosses in front of it.

The upper tank room enjoys a ribbon window around three sides, neatly cut through the middle of the tank, providing panoramic views of the Norfolk countryside, and a rooflight giving views of the sky. The interior retains the original exposed metal panels from the plant room, with the original ballcocks and valves being retained as decorative features. The exterior is wrapped in insulated render, painted grey, which transforms the original tank room into a ‘look out’ with a 1930s architectural language.

The client is a photographer, who, in order to achieve the vision and bring it in within an affordable budget, became the main contractor. The care and attention that has been given to the details, with the photographer’s eye, is evident throughout, as was the approach to retain as much as possible of the original building structure, and to reuse any elements that were surgically removed during construction.

The Water Tower is an example of how an unloved redundant structure can be given a new sustainable life through intelligent design, carefully and diligently applied by a committed and driven client. The effort to preserve and retain as much of the original structure as possible and the rigour of the execution is exemplary. It shows how good retrofitting design can combine low embodied energy and architectural delight.

Weybridge House

photo : Sarah Hogan

RIBA region: South East Architect practice: Wilkinson King Architects Date of completion: October 2019 Client company name: Project city/town: Surrey Contract value: Confidential Internal area: 350.00 m² Cost per m²: Confidential Contractor company name: Excalibur Construction Ltd

Consultants:

Structural Engineers: Packman Lucas Structural Designers

Awards: • RIBA Regional Award • Regional Award Short List • House

Jury Report: This new five-bedroomed house and photography studio creates a light filled family home for a young couple who work from home.

The front elevation is carefully composed, with an upper storey of handmade brickwork detailed with rustication of extruded horizontal coursing. This spans over a wide opening to the ground floor, allowing views right through the house to the garden beyond.

A series of brick steps bring you to a sheltered entrance courtyard, marked with a single oversized concrete column. The brickwork above extends down the façade and inside the building, leading you to arrive at the centre of the main internal space.

This house works exceptionally well in plan and section, the architect cleverly bringing natural daylight deep into the plan while seamlessly extending the living room into a south-facing external courtyard with wide glazing. Privacy from the neighbours is achieved by the architect gathering the utility rooms and storage areas neatly into two brick-clad wings that bookend both sides of the main living space. The top floor is efficiently laid out, with good sized bedrooms and bathrooms grouped around a stairwell that is positioned at the heart of the house.

Deep structural timber beams supporting the first floor and roof are deliberately exposed in the main spaces, visually connecting the whole house as a single building. Handmade brickwork and the timber ceilings lend a reassuring solid, tactile feel to the house. This is deftly balanced against the lightness of floor-to-ceiling glazing which draws the inside and outside spaces together. There is a restraint in the limited palette of materials used, and the junctions between them are extremely well detailed and executed.

The inherent thermal mass of the building keeps heating and cooling demands to a minimum and deeply-recessed southerly glazing shades from the summer sun while allowing solar gain in winter.

There is an honesty and craft in the way the materials are composed, enhancing a well-thought-out and flexible plan form to create a wonderful house that is a delight to the family.

Wolds Barn

photo : Andy Haslam

Wolds Barn Wolds Barn RIBA region: Yorkshire Architect practice: ID Architecture Date of completion: October 2018 Client company name: Project city/town: North East Lincolnshire Contract value: £750,000.00 Internal area: 340.00 m² Cost per m²: £2,206.00 / m² Contractor company name: CLS Construction Ltd

Consultants:

Project Management: Belvin Construction Environmental / M&E Engineers: EB7 Structural Engineers: GGP Consult

Awards: • RIBA Regional Award • Regional Award Short List • House

Jury Report:

Wolds Barn follows recent precedent of Paragraph 55 planning approvals in North-East Lincolnshire, which can only be a good thing to offer encouragement to other would-be clients. The client has built the house with the support of his family’s construction business who are more used to larger projects than one-off dwellings. The site overlooks the Bronze Age Barrow Mound to the west and is set within the bank, turning its back to the main road and reading as a single storey from the east. The mixture of material of corten, concrete and black metal bedroom pods makes a striking composition and one that has stimulated many local visitors to find out what the building is.

The overall massing of the building has been broken down in scale and not assembled as you would find in more conventional two-storey dwellings. The corten upper level barn contains four of the bedrooms which are linked by a single corridor that is glazed at both ends. The bedrooms overlook green roofs to the west, which sit on top of the ground floor accommodation. The main bedroom is set forward on the ground floor plan and cantilevers out, creating great views of the Barrow and distant views to the west.

The upper-level bedrooms are made of timber-frame construction and are well insulated. The corten cladding externally is well-detailed to help with the weathering impact on other materials. The main ground floor accommodation uses GGBS in-situ concrete retaining walls to set the building into the hillside, as well as for the façade treatment on the east elevation. The finish of the concrete shows how it has changed during compaction when poured and this does not detract from the crafted feel of the scheme. The open-plan ground floor uses concrete extensively to create wall dividers, fireplaces and kitchen units. Great attention to detail has been made to the alignment and setting-out holes for joints.

The overall site incorporates a garden for the family and beyond a field of wild grasses and flowers, a pond for wildlife, bees and a chicken run help with the family’s approach to a sustainable lifestyle. The client should be congratulated for employing a young and ambitious local firm of Architects who had the determination to obtain a Paragraph 55 planning approval.

RIBA House of the Year 2021 Longlist images / information from Royal Institute of British Architects

Location: UK

16 Dec 2016

RIBA House of the Year Awards

Richard Murphy’s House in Edinburgh is RIBA House of the Year 2016

UK’s best new house: This whimsical ‘Wallace and Gromit’ home in Edinburgh is the 2016 RIBA House of the Year photo : Keith Hunter

Covert House, Clapham, south London, by DSDHA photo : Hélène Binet

RIBA House of the Year

RIBA Awards 2016

Manser Medal

RIBA Manser Medal 2012

RIBA Manser Medal 2011

RIBA Manser Medal 2010

RIBA Awards

Stirling Prize

RIBA Awards

RIBA Special Awards

RIBA Royal Gold Medal

Architecture Studios

Lubetkin Prize

RIAS Award for Architecture – Best Building in Scotland

Civic Trust Awards Scotland

Architecture Tours Europe

Comments / photos for the RIBA House of the Year 2021 Longlist page welcome

The post RIBA House of the Year 2021 Longlist appeared first on e-architect.

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ftyvtydry · 3 years

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writesandramblings · 6 years

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The Captain’s Secret - p.100

“The Captain’s Secret”

A/N: Concludes episode 15, "Will You Take My Hand?" Any resemblance to a certain deleted scene you might have seen on Youtube... that's not coincidental, it's that the show writers essentially reached the same conclusion I did. I just did not write fast enough to get my version posted before theirs. I realize no one has any reason to believe me on this count, but it's true!

Two more chapters and then we're done. Also, this is farewell to O'Malley and Groves, but say hello to a familiar face you probably didn't expect to hear from again.

Full Chapter List Part 1 - Objects in Motion << 99 - Sigh No More 101 - The Memory of Your Heart >>

Locked away in the bowels of Discovery, Lorca could only guess at the details of Discovery's present mission. He was aware when the spore drive engaged, jumping them to a location that made the ship creak under pressure, and aware when they jumped again, but entirely ignorant as to what happened in-between.

Lalana, however, was watching and listening to the bridge, so she heard when Burnham contacted Discovery from the surface of Qo'noS to inform them that what they thought was a mapping mission to locate military vulnerabilities was in fact an attempt to detonate a hydro bomb in an active volcano chain and cause an explosion that would render the whole of the planet uninhabitable. Worse, the bomb was already too far within the planet's crust to extract.

It was, to Saru and the rest of the bridge crew, an unthinkable atrocity. "Is this how Starfleet wins the war?" Burnham demanded of Cornwell. "Genocide?"

Cornwell was gone from Discovery now, back at Starfleet's current temporary command, far from the front lines where her tendency to freeze on the bridge would not undermine the efficacy of an active starship. Lalana listened as Cornwell responded to Burnham's criticisms by defending the decision as a necessary atrocity. "We do not have the luxury of principles!"

Saru rose from the captain's chair. "We are Starfleet," he said. Around him, Detmer, Owosekun, Bryce, and the rest of the bridge crew rose in support of their acting captain. They had been to another universe where humans committed these kinds of atrocities and they were determined to prove that they were different from the Terrans in every way that counted.

"What is it you're suggesting?" asked Cornwell, registering shame as she realized her proposal to destroy Qo'noS was more of a threat to Starfleet than the Klingon incursion. The Klingons could only physically destroy the institutions of the Federation. Cornwell's plan threatened to destroy the Federation's soul.

There was no reversing the course of the bomb, but they could give control of it to someone who could use the bomb's presence as a bargaining chip against the many disparate Klingon houses.

L'Rell was surprised when they returned her clothes to her and released her from the brig—even more surprised when they handed her the detonator controlling the bomb and told her what it was. "Klingons respond to strength. Use the fate of Qo'noS to bend them to your will," instructed Burnham. "Preserve your civilization rather than watching it be destroyed."

L'Rell had once followed T'Kuvma, a visionary who believed in a united Klingon Empire, all houses working together under a single banner of strength. She still believed in that ideal. Now she possessed a tool that would enable her to see this vision made manifest. L'Rell wondered what part her scarred friend from the brig had played in orchestrating this moment. From where she stood, her freedom seemed to be the culmination of Petrellovitz's promise, and more.

She stood before the assembled houses, revealed that she held the power to destroy Qo'noS in the palm of her hand, and the war ended not with the destruction of a planet, but with something almost approaching diplomacy.

"Prepare for transport" was the only warning given. Light shimmered around Lorca and Groves and they rematerialized in a proper guest room with windows and real seating. After what had been a long and exhausting night, the beam-out genuinely felt like escaping from a hole.

Saru was waiting for them. "Apologies for not releasing you sooner, a great deal has transpired. The war is over." This was a slight oversimplification. There were still Klingon stragglers, a few houses resistant to the idea of giving up on so glorious a victory even when their planet's fate depended on it, but the larger part of the Klingon forces had withdrawn.

"How?" asked Lorca. He watched Groves turn greenish at hearing how Cornwell had ordered the annihilation of Qo'noS. It was, Lorca silently thought, a tactically sound plan, as much as it reeked of Georgiou. Still. Some part of him was relieved it had not panned out exactly as intended. Discovery's crew—his crew—had held fast at the crucial moment. He hoped that rankled Georgiou. "Where is she now?"

"She has been released, as per her agreement with Starfleet."

It seemed unthinkable. Georgiou was being allowed to go free and impersonate herself in this universe. "And my agreement?" said Lorca.

"Arrangements are being made. I am not privy to the details."

Sighing, Lorca shook his head in disbelief. Cornwell had essentially taken everything he wanted and given it to Georgiou, right down to winning the war and being the great hero everyone would remember until the end of time.

"Now what?" asked Groves.

They were at Tri-Rho Nautica, the last remaining active Federation shipyard. It had become a crucial Starfleet installation, its repair facilities the only thing keeping the remaining one-third of the fleet operational, and more resources had been committed to its defense than almost anywhere else.

Now, the engineers at the shipyard were preparing to dismantle Discovery's spore drive and revert Lab 26 to its original design specifications.

"Whoa," said Groves to that. "Hold on. Does Mac know about this?"

Saru was reluctant to answer the question, but he did. "Colonel O'Malley is presently unavailable."

"Well, one of us has to be there!" Groves exclaimed. "Can I—can I be excused?"

Cornwell had ordered Groves and Lorca confined to Groves' room, but Cornwell was gone and word had come that no charges were being sought against Groves. "You may."

"'Unavailable?'" Lorca asked pointedly when Groves was gone. In the back of his mind, he was still mulling over the decommission of the spore drive. That had been his last and best chance of getting back home.

"I..." Saru pressed his fingers together. It was difficult to admit that he wanted to consult a man who had turned out to be a fake Starfleet captain, but for almost a year, Saru's captain was what Lorca had been. "I wish to ask you something. I am aware that you are close with Colonel O'Malley. I believe I may have made an error in telling him something..."

Lorca listened quietly. It helped a bit, having someone else's problems to focus on. When Saru was done, Lorca said, "You made the right call."

"He is... devastated. I did not realize it until recently, but Emellia was his sister."

"He never told you?" said Lorca, surprised.

Saru turned away, slightly annoyed. "I take it then that he did tell you." It had been Groves, actually, at that abortion of a dinner, but Lorca only nodded. Saru remained looking away from Lorca and brought his hands together. The situation clearly disturbed him. "I had thought the colonel and I were friends. It appears I was mistaken."

Lorca's tongue clicked lightly. "I wouldn't take it personally. He didn't like people knowing."

"Cadet Tilly was aware."

That sounded entirely bizarre to Lorca, but then, everything connected to Lab 26 tended to be. "I don't know what to say, Saru."

"I wish he had trusted me," said Saru.

"Sometimes... Sometimes it's not about the person you're lying to. By not telling you, he made it so there was one place he didn't have to be her brother. My guess is he was lying to himself."

Saru realized that statement applied just as much to Lorca as it did O'Malley. It was an entirely unintentional self-description, but it put into context many of Lorca's actions during his time commanding Discovery. "I am sorry."

"Sorry?" echoed Lorca, eyebrow raising and face twisting into a demand for something less nebulous than three generalized words.

"That you did not trust me with your secret."

Lorca considered that. "I would've," he said in a way that sounded like a promise. Out of everyone on the ship, Saru impressed him the most. The Kelpien had risen to the challenge of serving as first officer with bravery, intelligence, and compassion.

Saru's fingers gracefully pressed together one after the next. "Perhaps. We will never know."

Disappointment filtered across Lorca's face at the truth of it. He might have told Saru eventually, but more likely he was still lying to his former first officer and himself. He had always been too afraid of the consequences of telling anyone. Fear was the great constant in the Terran Empire and despite all the months in the Federation, he had yet to find a way to escape the emotion. Maybe in time he would have found the strength to tell the truth, or maybe he would have pushed aside the universe of his origin and hidden in the life belonging to the other Lorca forever. Instead, here they were in this moment, and neither thing was true.

"You look like death," was Lorca's greeting.

"Thanks," said O'Malley bitterly, despondent as he stared at some imagined point on the floor.

In all honesty, they both did at this point. Lorca was haggard from not getting enough sleep and O'Malley from getting entirely too much of it in sickbay—and both had received enough bad news in the past twenty-four hours to thoroughly remove whatever vestige of hope they had remaining.

At least Lorca was being permitted to keep the guest quarters for the moment, and Saru had been amenable to stocking it with a few necessities like clean clothes and bourbon. "Drink?"

O'Malley did not answer. Lorca poured out two drinks anyway and offered O'Malley one. O'Malley reached over, took the whole bottle, and went and sat in an armchair. With a faint shrug, Lorca tipped the first cup into the second and sat down on the couch opposite.

"You have some questions, I imagine."

O'Malley didn't drink from the bottle. He hugged it to his chest, one hand firmly gripping the neck. "No one could tell me what happened. Implant... overload?"

"Sort of," said Lorca, taking a deep breath. For the second time he found himself trying to explain Mischkelovitz's actions and falling far short. O'Malley stared off into space as he listened. Lorca concluded with, "I told her not to."

"Told her?" said O'Malley, voice soft and small. "You told her not to do it. You just... told her." His head shook back and forth. A tear rolled down his cheek and plinked quietly onto the bottle. He finally looked over at Lorca with a look of pained accusation. "You should have stopped her!"

"I tried," lied Lorca, because while he had attempted to talk Mischkelovitz out of it, some part of him had not wanted to stop her and he had failed to do the one thing he knew would have worked: woken O'Malley up.

O'Malley curled around the bottle. The inanimate object was probably more affectionate than his new fake sister Petrellovitz would be in the long run.

The explanation was not the main reason Lorca had summoned O'Malley. Mischkelovitz had died and Lorca felt obliged to fulfill her request. "She asked me to tell you something. A message. 'Just as much.'"

Closing his eyes, O'Malley exhaled until he could exhale no more. Words emerged in a soft, high-pitched trickle. "I never said it, did I. It seemed... I didn't hear it growing up and the first time I did say it was to a girl I had a crush on and she ran for the hills. Fair enough, I was a scrawny, spotty thing, it was entirely unrequited, and as you've pointed out, I don't look much better nowadays. But after that, it seemed... impossible to say, and when she said it to me, I couldn't say it back. I started saying 'just as much' and it became our thing. That way I never had to say it. I just said those stupid words instead."

O'Malley drank from the bottle at last, taking a hefty swig. Lorca sipped at his own drink. There was an additional fact in there that O'Malley kept to himself. Lorca had said "just as much" when they first met. A casual three-word utterance that had amused O'Malley with its accidental relevance and set off a cascade of events that Lorca would have ascribed to fate.

"How did I go twenty years without ever telling my sister I loved her?"

"Mac," said Lorca, shaking his head and actually smiling in amusement. For all the hours of entertainment Mischkelovitz had given him on the lab security monitors, he decided to fix at least one thing for her and her brother. "You told her you loved her every day and she heard you. It's not the words you say. It's the words you mean. That's what she wanted to tell you."

The words were an effective consolation to O'Malley. He drank again, just a small taste this time, and asked, "How are you holding up?"

Lorca lifted his cup as if toasting and said proudly, "One piece, thanks." It wasn't really an answer because the last thing Lorca wanted to do right now was think about his own problems, which seemed insurmountable. He would rather enjoy the distraction of O'Malley's. "So, tell me. Anton?"

There was only one person that question could have come from. "Please tell me you're not willingly making yourself messenger of John's torture."

"Depends. I told you my story. Seems you left a few things out of yours."

"I'm going to kill John."

Lorca snorted. "No, you're not."

"But I should."

"No argument here."

O'Malley sighed and gave Lorca what he wanted, as always. "James Narvic was the face of QORYA and the impetus for its creation. Anton Nguyen was... You could call him the shadow master of the whole thing. He was handsome, charismatic, suave, deadly smart, and slippery. Could sell a man his own shoes. Little bit like you. Entirely and exactly like you. D'you know, if I saw him now, I'd still..." O'Malley sighed deeply at whatever unmentionable intent had just popped into his head. "Well, what can I say? I suppose I have a type. Tall, dark, and jackass."

Lorca imagined Groves was having a good laugh right now and grimaced. At the end of the day, even O'Malley only apparently had feelings for Lorca because he was reminded of someone else, and worse, this pretty much destroyed the tiny sliver of hope Lorca had been holding out regarding the significance of O'Malley's marital status. "I'm not gay."

"I know. Why on earth would I want something I can actually have. It's not like I'd ever leave..." O'Malley froze. He fumbled with the bottle and attached it to his mouth and left it there with the impression he had no intention of removing it. The level of bourbon in the bottle visibly dropped by a quarter. Lorca reached over and pulled the bottle away. "Oh, come on! Give it back!"

"Drink yourself to death on someone else's bottle," said Lorca.

"How many months do you suppose it took them to declare us legally dead? Two? Four? I bet Aeree didn't even wait that long."

"At least you get to go back to being alive. I don't even get that," growled Lorca, betraying for a moment the extent of his lurking fury.

O'Malley's head tilted back. The alcohol was already hitting his bloodstream and he was not paying attention to Lorca. "He was the one named them Mischka. Anton. He used to call them little mice, and in his grandmother's tongue, 'mischka' means mice. D'you know, he got out first? Cracked a deal for early release. And I was glad! I helped him get it!"

"Since when are you such a lightweight," Lorca grumbled. While a quarter of a bottle was a lot of bourbon to imbibe in one go, O'Malley had never demonstrated such an embarrassingly quick and low tolerance before. Unbeknownst to Lorca, the last time O'Malley had eaten was in another universe, and then his meal had consisted of a fortune cookie. He was operating on several days of IV fluids at this point.

"When I met you, it was like, here we go again. I knew you from the first minute... Have you ever seen something so clearly you know what's about to happen and you're powerless to avert it?"

Powerless was not something Lorca typically felt. Fear, yes, but something within him always told him he had the power to change things and shape his own destiny. Even now when people were telling him he had to be dead to history and he felt like this was the end of everything, that inner drive remained, suggesting there was some way to wriggle out of this to a fate less awful. It was the only thing keeping him going. "Nope."

"Do you know my favorite part of it all? The way you compartmentalized us, controlled who had what information at what times. It was brilliant! I know. Turns out I don't mind being compartmentalized. I'm not that claustrophobic. It's nice to have a little something to myself now and again."

Lorca decided to call Saru. Forget distraction, forget whatever Mischkelovitz thought Lorca was going to do to "fix" O'Malley, this was an abject mess he had no interest in dealing with. "Computer, contact—"

The door chimed. Lorca allowed entry, expecting this would clear the problem up entirely, because only Groves and Saru knew Lorca was in here and both of them were capable of taking O'Malley off his hands.

The woman who walked in was entirely unfamiliar to Lorca. He had never seen her before in either universe. She was medium-height, in her sixties, with a short shock of latte-white hair and a strong jaw. Her uniform indicated she was a vice admiral, but Lorca had studied the command structure of Starfleet down to the level of its captains as part of his subterfuge and had not encountered her anywhere in it.

O'Malley turned to see what Lorca was looking at and jumped unsteadily to his feet. "General Myers!"

No wonder he didn't recognize her, Lorca realized. This was O'Malley's mentor. She wasn't proper Starfleet, she existed somewhere in the unpublicized command structure of Internal Security.

Lieutenant General Janet Myers looked at her protégé and judged him to be drunk. "Really, Mac? It's fourteen hundred hours." She had a twang that came from somewhere deeper in the American countryside than Lorca's did.

O'Malley wavered. He looked very much like he was going to fall over and Lorca tensed, expecting O'Malley to get a well-deserved dressing-down.

Contrary to expectation, Myers dropped all pretense of formality and asked with genuine concern, "Are you okay?" O'Malley managed about two seconds before he shook his head and began crying. Myers embraced him and O'Malley blubbered something unintelligible into her shoulder. "You and your monsters."

They remained like that for a good minute, Lorca standing off to the side like an afterthought. Myers finally patted O'Malley on the back and released him, turning her attention towards Lorca. "Well," she said with something approaching wry amusement. "How are we going to spin doctor this?"

"How about in a way that gets me back my ship," said Lorca, crossing his arms to mirror the cross expression on his face.

Myers smiled faintly as she shook her head. "He's ballsy, just like you said. Here's how this works. Tit for tat. If you're straight with me, I'll be straight with you. I can get you a command, but it's not gonna be what you think. As far as regular Starfleet goes, you are dead, and from what Johnny tells me, you need to stay dead or history is gonna come knocking and she is a harsher mistress than I."

There was a lot of information to parse in that. Lorca immediately gleaned that Myers was the origin of O'Malley's little fair trade shtick and that she had come prepared to offer him something that might be commensurate with what Starfleet had given Georgiou, albeit with some additional strings attached.

"I'm listening," said Lorca, deciding he liked Myers. She was quick on the draw.

"Black ops. You're a little old for a commando, but you're good with tactics. There are places the Federation wants to influence that we don't exactly have jurisdiction. Complete disavowal of your actions. New cover identity. No allowances made for contacting anyone from your old life. That won't be a problem, will it?"

Lorca started to smile. "What old life?"

O'Malley was stricken. Myers caught the look, frowned at her underling, and said, "You know the rules, Mac. No more pets."

"But—"

"I already let you have the one."

This was not the answer O'Malley wanted. He started crying again, partly because he knew his wife had abandoned him for dead months ago in this universe, partly because he was upset at the fact this was more upsetting to him right now than losing Mischkelovitz, and entirely because the alcohol had completely overtaken the IV fluids. "Then I quit! I'm done! I don't want to do this anymore."

Unphased, Myers flipped open her communicator. "Myers to Quelron. Ree, stop sniffing around the cargo bay and get in here already. Your husband is losing his shit."

The crying stopped. "Aeree?" But Myers had already closed her communicator.

"You can thank me later."

Thanks were not going to be the next thing to come out of O'Malley's mouth. His shoulders gave an involuntary jerk and he dashed to the bathroom to throw up. Lorca chuckled. This was kind of great. He tilted his head towards Myers and said, "Level with me. The reason you took Mac on, guilt? Pity?"

Myers squinted as they watched O'Malley's back through the open door. "Why would you say that?"

"The man's got no useful skills and he's a drunk, emotional wreck."

The twinkle in Myers' eye was entirely knowing. "Is that what you think? He's got the only skill that matters in our line of work. He can put himself in someone else's shoes and completely see things their way. He's taken the side of every criminal he's ever sat down with. Gives us everything we need. Without that, well, you'd be up shit creek without a paddle, wouldn't you, 'captain?'"

Lorca's lip twitched.

Myers smirked. "Course, I don't think he's coming back from this one. It was only a matter of time before he snapped and threw the baby out with the bathwater." She was remarkably frank as she essentially deconstructed O'Malley in discussion with a man she barely knew. (She knew more than Lorca realized. O'Malley was not the only person who reported to her about Lorca, and the other operative had already submitted an informative initial report.) "This is something else, though. You seem to have broken him fairly thoroughly."

"Admiral Cornwell took a few whacks first," said Lorca. His own drawl was growing more pronounced in response to Myers'. "She had him trying to serve two masters. That never ends well."

"Geez. That woman is too emotional. They both are. You know what happens when you put two people that emotional in a room together?" A beat. "If you're lucky, they run out of oxygen." She laughed quietly at her own joke.

Maybe Lorca would never have told Saru the truth, but he suddenly had the impression that if he had met Myers sooner, he would have told her because she was entirely, disarmingly appealing. He suspected this was a calculated gimmick on her part. Probably everyone felt this way when they met her. O'Malley was a fumbling, meandering mess in comparison; Myers was the master he was trying to emulate and not quite managing to.

"You're not Terran, are you? 'Cause you'd fit right in where I come from," said Lorca, meaning it as a vague disparagement.

"Thank you," said Myers, who found that idea about as disparaging as a bowl of home-cooked grits.

Lorca wondered who, where, and what Myers was in the Terran Empire and why he had never met or heard of her. Perhaps she was that rare individual whose Terran counterpart was not as formidable as this version of her. Perhaps she'd simply died before his time. Lifespans were a little shorter for Terrans on average.

They watched O'Malley move from the toilet to the sink and rinse out his mouth. Myers took a turn asking a question. "I've been wondering something myself. How'd you know that Mischkelovitz'd be the one to pull off your little plan?"

"I had one in my universe," said Lorca. The way Myers phrased it, Lorca guessed she did not know his version was the one currently on the ship.

"Only one? They're much better as a pair."

Lorca frowned thoughtfully as he recalled Emellia Mischkelovitz's desperate and likely doomed desire to unite with herself in another universe. "I think they'd agree with you, general."

O'Malley emerged from the bathroom looking slightly less worse for wear as the door chimed again. The alien who entered was grey-skinned, a full head taller than Lorca, slim and graceful, with red slits for eyes. The silken white gown she wore shifted as she moved, fabric seeming almost to float on the air. There was a statuesque beauty to her.

O'Malley was elated to see his wife, but before he could manifest this elation into some form of happy embrace, Aeree sniffed at the air and her eye slits widened almost into orbs. Her head swiveled towards Lorca. "Why do you smell like my husband!" When her mouth opened, it revealed sharklike rows of frilled teeth. The sense of ethereal beauty from five seconds earlier was completely lost.

News of the transfusion did little to quell Aeree's anger. "If you ever take my husband's blood again, I will drink every drop you contain. And you, if you ever give your blood without my permission..." This admonishment continued out into the hall. Lorca and Myers did not see the conclusion of it, which would have revealed to them both it was not a true admonishment at all.

"She's a real peach," said Lorca.

"Peach pit, more like. But she's useful. Formidable species, Misellians. I'd stay on her good side if I were you."

Lorca heard the implication in there and raised an eyebrow. "Now why would I have to do that, general?"

"Senior operative assigned to you requested my best, and Aeree is as good as they come."

"Your best person is married to O'Malley? Come on, now."

"It's an incestuous little department I run," admitted Myers, though the truth was a little more nuanced than her words belied.

Lorca snorted, enjoying the pun. "As for this senior operative... It's not a command if there's oversight. I don't need someone looking over my shoulder." As far as he was concerned, Cornwell and Terral's attempts to do just that had been part of the problem the first time around.

"Don't think of it as oversight. Think of it as backup. At least till you've learned the ropes."

"You can't call a spade an onion with me."

"And you can't have a command without some conditions. I'm not trying to put a fox in a dress here. It's a pretty reasonable request for you to work with someone we trust. So what's it gonna be?"

The engineers were already at work when Groves arrived in the lab, crating up every loose item and carting out furniture. Petrellovitz was nowhere in sight. "Who's in charge?" Groves demanded.

"I am," said a gracefully athletic woman with thin lips and faded blonde hair pulled into a bun. Her uniform identified her as a commander.

"Great. Commander..." Groves extended a hand.

"Billingsley," she supplied. She did not extend a hand in return. Instead, she glared at him with barely-restrained bitter disapproval. "Are you the one responsible for this mess?"

"No, but I am the one who's gonna help you clean it up," he grinned. She rolled her eyes at that. There was something in her glare that intrigued Groves. "I'm John, but you can call me Rove. My friends do."

Her eyes narrowed. "Are we friends?"

She was extremely defensive. Delightfully so. "No, but maybe I can take you to dinner and fix that?"

Billingsley scoffed at him and directed her underlings to fill the crates so they could begin the real work in the walls. Only once the piles of engineering detritus were gone did they begin to remove panels and the full scope of the task came into focus. The modifications requiring reversion were not restricted to Mischkelovitz's secret null time spore project. There were also the many cubbyholes she had specified in her schematics, the double-door security lock, the reinforced plating to prevent anyone from transporting into the lab and accidentally displacing Lalana, and Lalana's room itself. The engineering crew worked from the back of the lab to the front, meaning Lalana's area was the first part to go.

They did not finish the work the first day, nor did they seem to appreciate the man hanging around watching and waiting on them to finish. "Is there somewhere else you'd rather be?" asked Billingsley the following morning.

"And miss seeing your smiling face?" replied Groves. Billingsley growled and looked away, but every time she glanced over at Groves, she saw him smiling at her unreservedly.

When the engineers removed the section of wall behind Mischkelovitz's desk, her hidden sleeping alcove finally revealed itself. This was what Groves had been waiting for.

The clutter inside matched the former clutter of the lab at large. The difference was that the items in the secret room had no engineering use; they were everyday objects, a random collection of things that, at a glance, had no reason for being in there.

The largest of the collected objects was an old red guitar. Groves practically shoved the engineers out of the way to retrieve it. "She did have it!" he exclaimed, retreating with his prize. "I knew it."

"What the hell is this?" asked Billingsley, peering at the blankets and assembled objects lining the compartment.

"It's a pattern." Groves felt a momentary pang of despair. Each item represented someone of importance to Mischkelovitz. There was a set of nesting dolls belonging to Milosz's mother Agnieszka, an old leather suitcase belonging to O'Malley, a threadbare stuffed bear that had once been Milosz's, and a lock of Faiza's hair. This was Mischkelovitz's way of keeping the people she loved with her when they could not fit through the door to her hiding place. There was even a bowl Saru had eaten blueberries from and a glass tumbler O'Malley would have recognized as belonging to a set in Lorca's original quarters. "Box it up and make sure none of it gets damaged."

"I'm sorry, your rank is?" said Billingsley, glaring daggers.

"Grand Vizier," declared Groves, settling down in his chair on the other side of the room and tuning the guitar.

"You should know I have no sense of humor."

"Oh? Who told you that?"

Billingsley sniffed disdainfully and looked away. "Your friend Gabriel Lorca."

"I hate that guy!" exclaimed Groves, with such earnest emphasis it was clearly the truth. "He's wrong, by the way. I can tell you're laughing right now."

Billingsley looked at Groves again, her face seemingly impassive, her lips a thin line, but then the laughter wasn't on her lips. It was in her eyes. It had always been there, even back in 2247. Lorca had missed it entirely. Groves could see it just fine.

Groves strummed the guitar experimentally and continued tuning. Billingsley ignored him initially, but then he plucked a few notes of a tune, testing the sound, and began to play.

"Pale, pubescent beasts roam through the streets and coffee shops..."

"Do you mind? We're working," scowled Billingsley after the end of the first verse.

"Just a little accompaniment to pass the time," replied Groves, playing in an extra set of bars to keep the tune going uninterrupted. She would have interrupted during the intro if she really wanted him to stop. He resumed, "Young uniform minds in uniform lines..."

The first song ended. Groves began another. "Katherine kiss me, slippy little lips will split me, split me where your eye won't hit me..."

Billingsley pretended to ignore him. She seemed as cold and unflinching as ever to most of the people around her, but Groves could see the laugh, the smile, the pretend. When the work was finished, she sent the rest of the team away and remained behind. "Dinner," she said, spitting the word sharply at him. "One condition."

"Name it."

"Let's see your teeth."

That, Groves decided, was the most delightfully strange request imaginable and he couldn't wait to find out why she'd made it. He bared his teeth for inspection. They seemed to pass muster. Billingsley sniffed in approval and almost smiled.

"So what do I call you?" asked Groves. "Commander seems a little formal."

"Sarah," she said. They set a time and place and she left just as a lightly hungover O'Malley arrived to collect the box with Mischkelovitz's belongings.

"I'm gonna marry that woman," declared Groves, staring at the door with a delighted grin.

"Then she has my sympathy," said O'Malley, wondering how Groves could even think of such a thing while he was holding a box of everything they still had left of their sister.

The answer, of course, was that sometimes when you met someone for the first time, you just knew that you were willing to give them everything you had. Maybe because they were an alien from an unknown species asking for your help, or because they possessed a unique fearlessness even while hiding under a table, or there was a laugh hidden in their eyes only you could find, or simply because they happened to say your three favorite words. Regardless of the reason, it was the closest thing to fate there was.

At last Lalana turned up. She was so late coming he had begun to wonder if she was coming at all. "Apologies for not being here sooner, I have been very busy making arrangements."

"That's fine," said Lorca. He would have minded, but between Myers' proposal and the sobering particulars of his current situation, there had been plenty to occupy his thoughts.

He was presently sitting on the couch with his feet up, Larsson's book in hand. Groves had dropped it off as some sort of peace offering. At first, the run-on sentences had been kind of annoying, but Larsson's literary voice was moderately amusing and the Uanar-Barosic Wars were an unknown conflict in Lorca's universe, so the content in the book was all new to him. Lorca tilted the cover towards Lalana so she could see he was honoring her dead friend with his choice of reading material. "I've been keeping busy. Sorry about Larsson."

"No, you are not," said Lalana. She crossed over to Lorca in three and a half strides, stepping easily across his legs and flopping onto the couch beside him. "But that is all right. I am glad you found him in the end."

"His book anyway."

"That is the best part of him." She knew that better than anyone. "Discovery will be leaving soon, so it is also time for us to go."

"Us," said Lorca in clear judgment of the unilateral decision-making her words suggested.

"Yes. Unless you wish to live in this room for the rest of your life. I do know how much you love Discovery, so perhaps Saru would let you." She pressed her tongue to the roof of her mouth, essentially biting back laughter.

"A gilded cage is still a cage." No amount of love for the ship was going to make confinement to a single room aboard it palatable. Besides, there were things on this ship Lorca was desperate to get away from. He'd come to that conclusion after a considerable amount of thought, abandoned as he had been by everyone for most of the past day.

Lalana's tail swept through the air in a whimsical circle. "Then let us fly out together."

Lorca clucked his tongue, which from him was an admonishment, not a laugh. "It's kind of you to offer, but I got some stuff brewing of my own."

"Oh? Do tell!"

He took a deep breath. "They offered me a command. Nothing fancy, few officers and a ship. Guess someone out there realized what an asset I've been for Starfleet, past nine months notwithstanding."

"But of course they do. Had we never left this universe, you would have eventually won them the war, provided Discovery remained under your command."

"Let's not relive that again," said Lorca with a grimace. The what ifs were a rabbit hole he needed to avoid for his own sanity.

"Apologies. What do you know of your new command?"

"It's an off-the-books operation, cloak and dagger. Head off into the reaches and do things the Federation wants done without anyone connecting it to them." Honestly, that was the worst part of it. Lorca knew this universe wasn't perfect, but the wide-eyed idealism here was something he admired, and this black ops business spat in the face of it.

Lalana saw a flicker of disdain. "You are not happy about this?"

"It's not very Starfleet, is it? And there's the fact it'll mean putting aside going after Georgiou, at least for now."

"Now that she is the hero of the war, I do not think you can kill Georgiou without being revealed."

"Doesn't mean I shouldn't try."

"That is exactly what it means, Gabriel."

This topic was another angry dead-end for them both. Lorca was dangerously close to snapping at Lalana even though they both knew she was neither the crux nor the cause of the problem, it was the ridiculous threat of somehow collapsing reality. That vanished holodisc was starting to make even Lorca think there was something to it. He'd been in the room the whole time and could not figure out where the disc had gone. Vanished from time was as good an explanation as any.

Lalana shifted to a different tangent. "Have you met your crew yet?"

"One of 'em, apparently, is Mac's wife. I met her. She's... hard to forget, I'll say that." (Cornwell had met Aeree once, too, and would have described her the same way.) "There's also some 'senior operative' who's supposed to oversee me. We'll see how long that lasts."

"I would expect it to last a long time. Assuming, that is, that you accept the offer. Otherwise I suppose I shall have to find something else for us to do."

He heard the plural again and began to smile. Since returning to this universe, there had been very few moments containing any sort of genuine humor. O'Malley vomiting was the closest he had come to laughing at anything. "Arrangements." He snorted and shook his head. "You..." He started laughing. "You little minx!"

Lalana's tongue clicked rapidly and her hands spun. "I am sorry, I could not resist! That was what Hayliel and I would call an effective joke."

Her security clearance, her intelligence work, her friends in high places and enduring loyalty to his face. He should have seen it coming. "How am I gonna get rid of you?"

The laughter was written on every cell of his face. Lalana saw the stars returned to his eyes. "Why, Gabriel Lorca, would you even try to?"

His laughter finally faded into a sigh. "If I’d met you in my universe, I would've killed you."

"Then it is good we met in mine."

Then another sigh, raspy and melancholy. "I don't know if I can do this. I don't fancy being some dusty footnote in history."

"Simply because you must remain hidden does not mean you cannot make a mark on history. You simply cannot make it as yourself."

"Then who am I supposed to make it as? Captain Nemo?" He did not need her to answer because the moment the name left his lips he realized the truth of it. That was exactly what he was supposed to do. That was what Nemo had done, too, in taking the name. "All right. I'm in."

Lalana watched the spreading satisfaction on his features and quietly spun her hands. He had seen a path he could run and she was ready to run it with him. "Excellent. The ship is still a few hours out. Are you enjoying Einar's book?"

"There are a lot of run-on sentences."

"Yes, that is how Einar wrote. Will you read it to me?"

"Sure." He found his place and began. "In the second quarter of the fall season three scouts of the Seventh Durallan Legion were engaged in locating a rumored source of tritanium in the Karser Sector when they came across sixteen Barosic cruisers hiding in the debris field of the Battle of Kallam-Horical who were in the process of refurbishing derelict Uanar ships with the intent to execute..."

Hearing the words spoken aloud, Lalana recalled the truth she had learned from the first Lorca. Words really did hold the power to keep the people you loved alive. Right now, they were both of them alive, Hayliel and Larsson, thanks to the survival of another universe's Lorca.

Lalana left Discovery first, but because she had to travel by shuttlecraft, she would arrive at the new ship after everyone else did. Lorca used the opportunity to review some personnel files Myers had sent, as well as a list of potential missions they might dive into at a moment's notice. Officially, Lalana had final say for all of it, but Lorca had a feeling she would go along with whatever he wanted up to and eventually including hunting down Georgiou when the time was right.

Aeree's skillset was a little terrifying. Essentially she was a bloodhound who could shoot a phaser but would rather slice things open. "I can taste fear on the air," she informed him. "As well as lust and sickness and kindness. Do you know what I taste on you?"

"Your husband's blood?" offered Lorca dryly. She hissed through her many teeth at him.

"Impotence!"

He tilted his head and fixed her with a look. "Yep. More sex, less consequences. Don't foist your lack of children on me. I made that choice for myself. You got anything else?"

They were going to get along horribly. Even bringing O'Malley into the room to try and mediate failed to produce any promising common ground. They would have a few more days to try because O'Malley was going to hitch a ride and make up for time he had missed with his wife, but Lorca was ready to write the whole thing off after ten minutes.

The only positive was that the occasion seemed to merit some social lubricant, so at least they were standing around with drinks. Then it turned out Aeree preferred to drink her alcohol through her husband, and since O'Malley had finally eaten a few square meals, he was not drunkenly falling over himself for Lorca's amusement.

It also turned out O'Malley had decided he was done with space for the foreseeable future. "It was Melly who loved starships. She hated staying still. Maybe I'll finally get that cat."

Lorca was a little disappointed as he stared at the smear of bourbon remaining in his glass. While he had no official use for O'Malley, unofficially, he was going to miss the comic relief. He sighed and asked Aeree, "But you like starships?"

"No," she said. "They're means to an end."

In the middle of this ill-fated search for commonality, Groves wandered in with news to share and no one else to share it with. "I asked her to marry me!" he announced, pouring himself a drink.

O'Malley was horrified. "That engineering woman? You've known her for twelve hours!"

"No, I've been dating her for twelve hours, I've known her for two days."

"Groves, get out of here," said Lorca, but not only did Groves not leave, he launched into an enthusiastic ramble on the finer points of his new love, "Rah." She sounded like a real piece of work, whoever she was. "And this woman agreed to marry you?"

"No, but I'll keep asking."

"John, that's ridiculous, you can't stay here. You're coming home with me." O'Malley had by this point realized the abandon with which Groves was throwing himself at some unknown woman was probably a coping method to deal with Mischkelovitz being gone. (Lorca had realized the same and reached that conclusion within four minutes rather than the twelve hours it had taken O'Malley.)

"I'm not going with you," said Groves, returning to his usual veneer of casual boredom. "I've got work to do here."

Lorca could see the rising panic on O'Malley's face and knew it had nothing to do with present circumstances and everything to do with the way Groves had responded to family deaths in the past. "Really? Starfleet's gonna keep you on?"

Something came over Groves. He straightened, looked at them all with determination, and said, "Someone needs to hold Cornwell and the rest accountable. I know I said I wasn't ethical, but she seriously considered destroying an entire planet. More than that, it was the Klingons' homeworld. What kind of person even considers that? Someone who shouldn't be in command in Starfleet, that's for sure."

O'Malley shifted his weight, glancing at Lorca. He knew Lorca had done something of similar evil on a much smaller scale aboard the Charon when he deployed Georgiou and Stamets' weaponized spores.

If O'Malley had been smarter, he would have seen the trouble Lorca saw in Groves' future. Anything Groves did regarding the hydro bomb on Qo'noS was going to potentially undermine the tentative new peace. Groves was about to poke one of the biggest bears in the galaxy.

Lorca put a hand on O'Malley's shoulder in some sort of reassurance and said, "Sounds like you finally have a purpose, Mr. Groves."

Groves scrunched up his face in distaste. "Took a while, but I guess I got there in the end. Sort of thanks to you? There's some cosmic irony in that the person who showed me what Starfleet was wasn't even Starfleet himself. Guess it's true what Mac says. You really do give everyone exactly what they need."

Lorca's eyebrows shot up and he tilted his head, looking down at O'Malley. "Suppose you had to choose between me and Anton..."

"Oh my god, I'm going to kill you," intoned O'Malley flatly.

Lorca laughed and yanked O'Malley's shoulder, half-staggering the smaller man a step, then slid an arm around O'Malley's neck. "There's no one I'd rather have do the deed."

O'Malley's face split into a smile and he chuckled happily, flushing red. "I hate you!" he laughed, shaking his head.

And with a glint in his eye, Lorca said, "Just as much."

Weirdly, this was the moment Aeree decided she liked Lorca.

The last person Lorca spoke to on Discovery was also the first person he had welcomed into its crew. The change between now and then was immense. Gone were the deference and trepidation that had marked their first meeting a year earlier. In their place stood a truly formidable commander. Lorca smiled with subtle pride. "Well, captain, guess this is goodbye."

Saru's head tilted in respectful disagreement. "I have not been promoted. I am merely acting captain until our new commanding officer is appointed."

"Captain Saru," insisted Lorca. "I'm leaving Discovery in your hands. Far as I'm concerned, there's no one better for the job."

Saru considered that. Just like Lorca before him, he was a captain with a secret. He could have resented Lorca for it. Instead he felt sympathy. The position of holding a secret was not an easy one. "Your confidence means a great deal to me."

There was a glimmer in Lorca's eyes. Not full tears, but enough to show how much those words meant to him and how much he was going to miss this ship and its crew. "Thank you for everything, Mr. Saru."

And for the last time Lorca would ever hear it, Saru replied, "You are welcome, Captain Lorca."

Part 101

#Star Trek Discovery #fanfiction #fanfic #Star Trek #Gabriel Lorca #Saru #Commander Saru #Discovery #USS Discovery #Will You Take My Hand?

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anaheetahomes · 7 months

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orbemnews · 3 years

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Second Life for Shipping Containers: Selling Bao Buns and Baked Goods To drum up publicity for his downtown Indianapolis food hall, Craig Baker posted photos of orange, turquoise and hot pink shipping containers on Instagram. They might seem like an odd way to promote a food emporium and culinary incubator, but the steel boxes piqued locals’ curiosity. “They’re very much like Legos, right?” Mr. Baker, an entrepreneur and a chef, said of the shipping containers inside the AMP, an artisan marketplace and a former utility garage where vendors will sell PB&J sandwiches, Ethiopian cold-brewed coffee and chocolate-covered strawberries coated in edible glitter. “We’re building our own little village inside a giant garage,” he said of the 40,000-square-foot space, which also contains a full-service restaurant, an open-air bar, a community prep kitchen and a stage. “People want to see what you built.” Shipping containers have been heralded as a trend in residential design, where they are used for modular homes, but they’re also winning over commercial planners who have used them to liven up the bars, cafes and restaurants within developments anchored by food halls. When used in industrial areas or port cities, the containers give the projects a sense of community, critical in a pandemic when retailers and restaurants are shutting their doors. But the shipping containers also present challenges for developers, including adapting them for indoor uses and making them safe for guests and employees during a pandemic. Most food halls rely on shipping containers to populate the vendor stalls, but some also use them as a canvas for art installations or as common spaces. As food halls proliferate, builders are using forward-looking design to stand out from the pack to avoid resembling a sterile cafeteria. “Food halls are a dime a dozen these days; there’s a lot of them doing the exact same thing,” said David Weitz, a co-founder of Carpe Real Estate Partners, which this month opened Oasis, a food and entertainment hub built on the site of a former ship engine repair firm in Miami’s artsy Wynwood neighborhood. Six yellow, pink and lavender shipping containers are used to sell bao buns and gyros while 16 more form a 75-foot-tall central Tower Bar painted in the same colors by the Spanish artist Antonyo Marest. The Oasis is one of a dozen food halls that use shipping containers and one of several opening this year, along with the AMP in Indianapolis and BLVD MRKT near Los Angeles. There are 242 food halls operating in the United States, a jump from 222 at the start of the pandemic, and cities have been relying on their creative concepts and communal dining spaces to re-energize dormant neighborhoods. At least 190 more are in the works, according to a Cushman & Wakefield report. The trend started in 2013 with the Downtown Container Park, a project conceived by Tony Hsieh, the Zappos chief executive, who died last November. The development, which was central to the $350 million revitalization of downtown Las Vegas, inspired other developers like Barney Santos, who will open BLVD MRKT this summer in the predominantly Latino neighborhood of Montebello after seven years of planning. “I remember seeing the container park and feeling so inspired by the design,” Mr. Santos said of the Las Vegas development. “I wanted to recreate that experience in my neighborhood, to do something no one would expect to see.” Developers like Mr. Santos said using shipping containers was a design choice rather than a cost-saving one. Used shipping containers cost $2,000 to $3,000, but builders can expect to pay five times that amount to add windows, doors, support structures, and kitchen and other equipment to pass local health inspections. That makes the cost comparable to installing regular food stalls. Today in Business Updated May 11, 2021, 10:07 a.m. ET For entrepreneurs, opening a food stall in a shipping container allows them to add flourishing touches to personalize their space. At many indoor food halls, stalls often look the same except for a few variations in signage. “The creativity that opens up is the most curious,” said Mr. Baker, the project lead for the AMP. “You’re giving them a canvas, and you say: ‘Look, here’s your space. What are you going to do with it?’” That resonated with Joanna Wilson, owner of an AMP dessert shop, Punkin’s Pies. Ms. Wilson chose colors that matched her brand, adding black-and-white floors and awnings to the hot pink shipping container as well as a sparkly chandelier that shines like her glitter-covered strawberries. The semi-enclosed space also allows her to tuck away most of her kitchen equipment. “I’m trying to make it look dainty and neat,” Ms. Wilson said. “I don’t like showing my refrigerator, microwave and the kitchen area.” The design choice makes sense in major port cities like Long Beach, Calif., where the developer Howard CDM built SteelCraft, one of the earlier incarnations of a shipping container dining venue. “There’s shipping containers everywhere” in Long Beach, said Kimberly Gros, the founder of SteelCraft, which manages two other Southern California locations, in Garden Grove and Bellflower. “So we thought we would create a structure that was different, that really connected to us.” Reusing materials appeals to many consumers, both from an environmental and aesthetic standpoint. “I think when you take an item and subvert its original intent and create an entirely new use for that item, that’s always interesting,” said Erik Rutter, a co-founder of Carpe Real Estate Partners. For indoor food halls like the AMP, bright hues liven up an otherwise gray space while maintaining an industrial feel. “The color palette for the containers really pops,” Mr. Baker said. But there are a few caveats to using shipping containers in food-centric destinations. Some developers advise sticking to outdoor uses to avoid complex retrofitting. In an outdoor setting, oven ventilation can go straight from the oven hood through the roof, which is the most common setup. But for a food hall at the bottom of a 50-story building, the process becomes more complicated because the venting may have to go up 50 stories, said Mr. Weitz of Carpe. Most developers have stuck to outdoor uses, but some food halls in the Midwest, such as the AMP, Detroit Shipping Company and Parlor Food Hall in Kansas City, Mo., have placed them indoors. Design experts say the key is to stick to bakeries and other light cooking uses indoors instead of, say, a shop that requires a deep fryer. That’s why the AMP used shipping containers for businesses with limited cooking requirements and conventional stalls for those that required more, said John Albrecht, a principal at the architecture firm DKGR, which designed the AMP. Coping with the pandemic is also a bigger challenge for indoor food halls where guests often jockey for coveted seats. Most have pushed takeout and delivery services and have reconfigured their seating to enable social distancing, said Phil Colicchio, a co-leader of Cushman & Wakefield’s food and beverage consulting group. But perhaps the biggest struggle for shipping container-led developments is staying relevant as more open. “The worry is that the more that go this route, the more the spaces start to look alike,” said Trip Schneck, also a co-leader of Cushman & Wakefield’s food and beverage group. Expect shipping container developments to keep popping up, especially as cities identify more industrial areas in need of revitalization. But it won’t be long before architects identify the next big thing, said Howard CDM’s president, Martin D. Howard. “Brilliant thinkers and creative minds will come up with other ways to make it interesting for people to come out and eat and drink and have a good time,” he said. Source link Orbem News #baked #Bao #Buns #Containers #goods #life #Selling #Shipping

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travelingtheusaandeurope · 3 years

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The Ultimate Camping Spots in Yosemite National Park

Yosemite National forest covers a significant location, however one of the most spectacular area of the park is Yosemite Valley. This sensibly little component of the park is open year-round, as well as house to one of the most popular destinations, including Yosemite Falls, Fifty Percent Dome, and also El Capitan. If you can shield a camping area at one of the outdoor camping websites in this field, it will save you an astounding amount of driving time. At the rear of the valley, near Curry Community (formerly Fifty percent Dome Community), and not much from Yosemite Village, are 3 wonderful outdoor camping locations: Reduced Pines, Upper Pines, and likewise North Pines. All 3 of these are clumped with each various other close to one another. The only various other camping area in the valley is the tent-only Camp 4, with an extensive background as a base for hill climbers. Still within the park, about a human resources's drive west of Yosemite Town, nonetheless on 2 different roadways, are Wawona Camping Area as well as Hodgdon Field Camping Location A range of little first-come, first-served outdoor camping websites are discovered along the Tioga Roadway (open in summertime only) in addition to a few various other areas around the park. On the eastern side of the Tioga Pass is Tuolumne Meadows Campground. From November until May or June, when the Tioga Road is closed, there is no access to the Yosemite Valley from this camping website. For complete information on each camping area see our listing of one of the most effective camping sites at Yosemite National Park. Hodgdon Field Outdoor Camping Area Hodgdon Field Outdoor camping area is a little much less than a hr's drive west of the heart of Yosemite Valley, off Freeway 120, yet still within the park. The magnum opus of this outdoor camping website is its simplicity and also year-round access. Nonetheless, this place has actually been heavily influenced by California's extended drought, in addition to many trees have been removed. For that reason, personal privacy along with shade are doing not have at much of the sites. The 105 websites are instead tiny, unequal, as well as additionally the ground is great dirt, making this an untidy area to camp. Places near the entrance are the least preferable. The surrounding area has actually been fire impacted. Reservations can be produced mid-April to mid-October as well as additionally can be scheduled about five months beforehand. Websites are first-come, first-served the rest of the year. North Pines Camping Website Establish amid impending pines, granite cliff walls, as well as along with a hurrying river, North Pines Camping website has a beautiful setup, a superb location, and a woodsy feel. Located at the back of the Yosemite Valley, near Curry Village, you can stroll right from this camping site to some neighboring treking tracks. With just 81 internet sites, a great deal of which are large along with well spaced, it is generally silent, as well as countless websites provide personal privacy. Waterside web sites are extremely stunning. Tents, Motor homes as long as 40 feet in size, along with trailers approximately 35 feet are welcome here. This outdoor camping website opens up in April and additionally confines really early November. Sites are reservable as much as five months beforehand and also are launched in a block on the 15th of the month. Upper Pines Camping Website. With 238 campsites, Upper Pines Outdoor camping area is the largest of the 3 camping locations in the Yosemite Valley. Split right into a variety of specific loopholes, this doesn't appear like a large camping site, as well as uncovering your means around is basic. Globs of massive pines as well as also cedars deal a mix of color as well as also sunshine, in addition to in between are views to the surrounding valley wall surfaces. The majority of sites are rather open as well as offer little personal privacy. You can quickly walk from listed below to the begin of numerous trailheads. Websites are smaller sized than those at North Pines Camping website, as well as devices lengths are limited to 35 feet for Recreational vehicles as well as 24 feet for trailers. This outdoor camping location is open year-round. Like North Pines, sites are reservable about five months ahead of time as well as released in a block on the 15th of the month. Reduced Pines Camping Area Lower Pines is the tiniest of the three outdoor camping areas near Curry Village. With a mix of pines and deciduous trees, this is a very satisfying camping location, with sights in all instructions. Websites in the facility are rather open and also revealed, with much more personal and also well-treed sites along the sides. One side of the camping location leaves the river. In the spring, the camping website is susceptible to flooding, along with websites in this area are commonly shut as a result of flooding. If you have really set up a site along this side in Might or June on a year when the river is high, your consultation might be ended, leaving you hurrying to find a location to continue to be under the wire. This camping area has 60 web sites along with is open from the end of March to the beginning of November. Motor homes up to 40 feet in length as well as additionally trailers roughly 35 feet are accepted. You can schedule websites as much as 5 months beforehand. Web sites are released in a block on the 15th of the month. Camp 4. Camp 4 is renowned among climber. In the 1960s along with 1970s, popular climbers encamped below throughout the going up season, containing such popular names as Royal Robbins as well as Warren Harding. The background of this specific camping website is so essential in the background of rock climbing up that the camping area is listed on the National Register of Historic Places. Today, this campground is still very carefully gotten in touch with the going up society. Embed in the heart of the Yosemite Valley, near Yosemite Falls, this camping site has its very own one-of-a-kind ambiance, along with it's other than everybody. Set among big evergreen, the 35 outside camping tents web sites are all walk-in simply from the surrounding parking area, in addition to shared, with 6 individuals designated per outdoor camping site. From mid-May to mid-September, camping areas are assigned via a lotto game system someday ahead of your wanted night. You will absolutely need to pay a $10 charge as well as register on a per-person basis in addition to camp with whoever is assigned to the six-person camping site with you. From mid-September to mid-May, Camp 4 operates on a first-come, first-served basis. In the spring as well as fall, you need to straighten at 8:30 in the early morning (ideally earlier if you want to be made certain of an internet site) as well as register with the ranger. In the cold weather, the camping location seldom fills out, as well as self enrollment remains in area. Remember that if you are right below with a team, you may be broken up. Pets are not allowed. Camping outdoors tents and also Cabins at Curry Town Although it's extra pricey than bringing your extremely own tools and additionally leasing an outdoor camping site, you can rent canvas outdoor camping tent cabins or small, rustic cabins at Curry Town. An overall quantity of 319 cabins are readily available. They are really carefully spaced however stay in a terrific location Each exterior tents cabin has a wood flooring, cot-style beds, as well as light, as well as additionally some have gas heat easily offered from fall up till spring. The outdoors tents do not have electrical outlets. The camping tents are completely outfitted with linens and treatments. Washrooms as well as showers are just a short leave, and also daily residence cleansing is included. Rustic wood cabins are furnished in a similar fashion. Of the 70 conveniently available, 56 have running water and bathrooms. All have warmth and also electrical outlets. For those 14 cabins without restrooms, showers as well as additionally bathrooms are shown to the nearby camping outdoor tents campers. These cabins additionally feature everyday housekeeping solution. Wawona Outdoor camping location. Positioned near the south entranceway along Highway 41, on the road going into the park from the directions of Fresno, Wawona is virtually a hr drive from Yosemite Valley, and additionally longer if you run into traffic congestion and blockage. Nevertheless, if you can not protect outdoor camping in the valley, this is the complying with finest alternate if you desire an outdoor camping website you can schedule. The camping location is developed together with the South Fork Merced River, in addition to sites are spread out amongst pines. The elevation below is around 4,000 feet. Loophole A, situated closest to the campground entrance, is rather open, and also Loopholes B as well as also C offer much more personal privacy and additionally a little better setting. Loop A is open all year-round, and Loopholes B and likewise C are open seasonally from spring up until autumn. The camping site's 93 web sites can suit outdoors tents, Recreational vehicles, and also trailers approximately 35 feet in size. Appointments are offered five months in advance April using September, and websites are launched on a block basis on the 15th of monthly. Sites are first-come, first-served from October to April. Bordering attractions include the Mariposa Grove, with a grove of big sequoias, as well as the Leader Yosemite Background Facility. Summerdale Outdoor camping site About 1.5 miles outside the south entryway to the park on Freeway 41 is the individually run Summerdale Outdoor camping site. Sites are spread around a main area as well as collection amongst cottonwoods, cedars, as well as additionally sugar pines. A river moves along one side of the outdoor camping location. The outdoor camping website offers 30 essential sites and additionally rise commodes, in addition to water is offered. Each internet site has a getaway table and fire ring. Animals price. Sites are reservable 6 months ahead of time on a moving day basis. Indian Flat Recreational Vehicle Park On Highway 140, heading in the direction of Merced, the individually run Indian Flat Motor Home Park is an excellent option if you can not locate a campground in the park or are seeking even more functions. The park makes use of 25 tent and also 25 Motor Home web sites, some with full links, and also guests can access the outdoor swimming pool at the bordering lodge. Large, leafed trees provide great deals of shade and additionally a woodsy feel. Generators are not made it possible for. Tuolumne Meadows Camping Area If you are seeing the park in summertime season in addition to interested about looking into the walks in addition to websites along the Tioga Roadway, Tuolumne Meadows Campground is an outstanding alternative. The elevation right here is 8,600 feet, so also in summertime, nights can be actually great. The Tioga Roadway is enclosed winter season, and likewise this campground normally does not open up till July as well as also encloses September. The camping area can fit outdoors tents, Recreational vehicles, and additionally trailers around 35 feet. The 304 web sites are a mix of first-come, first-served and likewise reservable. Reservable websites can be booked about 5 months ahead of time, along with websites are launched on the 15th of monthly. The camping area has flush commodes along with secure and also tidy water nevertheless no links. Exterior outdoor camping Facts Bookings for campgrounds in the park can be made online. To attempt your good luck getting a campground at a first-come, first-served campground, show up early in the day and have a back-up technique.

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