#burnt timber cladding

[koshigurajumy]

Jumy-M Yakisugi / 焼杉の家

[charred-wood]

The Art of Elegance: Exploring the Unique Charms of Burnt Timber Cladding

In the world of architecture and design, burnt timber cladding has emerged as a distinctive and captivating choice, offering both aesthetic appeal and functional benefits. This technique, also known as Shou Sugi Ban in Japanese tradition, involves charring the surface of wooden planks to create a striking, textured finish. Let’s delve into the allure and advantages that burnt timber cladding brings to the realm of construction.

At its core, burnt timber cladding is an art form, where the controlled charring process transforms the wood’s surface, enhancing its natural grain and creating a unique, smoky aesthetic. The result is a visually arresting facade that exudes a sense of elegance and timelessness. The play between light and shadow on the charred surface adds depth, giving structures adorned with burnt timber cladding a dynamic and sophisticated presence.

Beyond its visual appeal, burnt timber cladding offers practical benefits. The charring process not only enhances the wood’s resistance to insects, fungi, and decay but also imparts a level of fire resistance. This dual functionality makes burnt timber cladding an environmentally friendly and sustainable choice, aligning with the growing demand for eco-conscious building materials.

In conclusion, burnt timber cladding stands as a testament to the marriage of art and functionality in architecture. Its visually stunning appearance, coupled with its natural resistance and sustainability, positions it as a compelling choice for those seeking a unique and enduring expression of design in their built environments. Whether used as an accent or as the primary facade, burnt timber cladding makes a bold statement, leaving a lasting impression on admirers and occupants alike.

[ecotimber3]

The Beauty in Imperfection: Exploring Burnt Timber Cladding

Burnt Timber Cladding: An Ancient Technique with Modern Appeal

Timber cladding, a method of covering a building's exterior with wooden boards, has been used for centuries to provide shelter, insulation, and a pleasing aesthetic to structures. One contemporary twist on this age-old practice is the use of burnt timber cladding, which has gained popularity for its unique appearance and enhanced durability. This technique, known as Shou Sugi Ban in Japan, has been adapted and embraced worldwide, showcasing the marriage of tradition and innovation in architectural design.

Burnt timber cladding involves charring the surface of wooden boards, creating a layer of charred, carbonized wood that acts as a protective shield against the elements. The process is not only functional but also results in a striking visual effect that has made it a favorite among architects, designers, and homeowners alike. This article delves into the reasons behind the rise in popularity of burnt timber cladding and explores its distinct qualities and advantages.

The Art of Shou Sugi Ban: Aesthetic Elegance

One of the most striking aspects of burnt timber cladding is its visual appeal. The charred surface has a sleek, blackened appearance that contrasts beautifully with the natural grain of the wood. The resulting texture is both rustic and modern, making it a versatile choice for various architectural styles, from traditional to contemporary. The deep, rich tones of the charred wood can evoke a sense of timelessness and a connection to nature.

Durability and Resilience: Functional Excellence

Beyond its aesthetic qualities, burnt timber cladding offers numerous functional benefits. The charring process significantly enhances the wood's resistance to rot, pests, and decay. The carbonized layer acts as a natural barrier against moisture and UV radiation, which helps extend the lifespan of the cladding. This increased durability makes it an excellent choice for both interior and exterior applications, ensuring that your investment will stand the test of time.

Sustainability and Environmental Responsibility

In a world where sustainability is paramount, burnt timber cladding aligns with eco-friendly design principles. This technique utilizes natural materials, reducing the need for more resource-intensive building materials. The charring process does not involve the use of harmful chemicals, making it a non-toxic and environmentally responsible choice. As the wood ages, it does not require chemical treatments or staining, further reducing its environmental footprint.

Low Maintenance and Easy Care

Burnt timber cladding is known for its low maintenance requirements. Unlike traditional cladding materials that often demand regular upkeep, charred wood remains stable and attractive with minimal care. As it ages, it develops a natural patina that adds to its charm, eliminating the need for costly and time-consuming refinishing. The occasional cleaning with a soft brush or light water pressure is usually sufficient to keep it looking its best.

Versatile Applications

Burnt timber cladding is not limited to just external façades. Its unique aesthetic and functional benefits make it suitable for various interior applications as well. Whether you are looking to add a touch of elegance to a living room, create a cozy atmosphere in a bedroom, or bring a rustic element to a kitchen, burnt timber cladding offers endless possibilities.

In conclusion, burnt timber cladding is a testament to the enduring appeal of natural materials and the ingenuity of architectural design. It seamlessly blends the ancient art of Shou Sugi Ban with modern innovation, offering a visually striking, environmentally responsible, and durable cladding option for those who value both form and function in their architectural choices. Whether you are designing a new home, renovating an existing structure, or simply looking to add a unique touch to your interior, burnt timber cladding might be the perfect choice for your next project.

[deckinggoldcoast]

Millboard Enhance Your Outdoor Spaces With Enhanced Grain and Weathered Oak

Millboard is a high-performance wood-look composite decking and cladding that enhances outdoor spaces with enduring distinction. It is hand-moulded from impressions of real oak timbers and comes in a range of styles including Enhanced Grain and Weathered Oak.

The Lastane layer helps resist scratches and stains for a beautiful appearance that’s also low maintenance. The material is highly resistant to algae growth and rot, making it a great choice for pathways along waterways or wetlands.

Versatility

Suitable for decking, stairways, balconies, roof gardens, bridges, boardwalks & pontoons. It is the most versatile composite material on the market.

Coppered Oak’s rich brown hues are reminiscent of high-quality hardwoods – timeless, elegant and classic. With more tonal variation than any other colour in the Millboard range it is a dramatic showstopper.

Golden Oak is an enduring and stylish length that gives you the appealing look of newly sawn natural timber. Its light tones are a natural complement to many different styles.

Reminiscent of aged hardwoods like Mahogany & English Walnut, Antique Oak’s natural warm tones are perfect for heritage designs. It has more tonal variation than any other colour for a truly organic look.

Durability

Millboard is a strong and durable product that can be used for a wide variety of outdoor projects. It can be used for decking, cladding, screens and much more. It’s easy to clean and won’t rot or splinter. It’s also highly resistant to scratches, food and drink stains and everyday wear and tear.

The Enhanced Grain collection is moulded from different Oak pieces and then hand finished with a secondary colour to create the natural variation that real wood has. This makes it a great choice for those who want the look of natural timber but without all of the drawbacks.

The Lastane surface is non-porous so nothing can penetrate the boards, this means it’s incredibly resistant to moss, algae and other plants that can wreak havoc on traditional wood-based decks. It’s also water and stain repellent. It’s highly slip-resistant too and meets the highest standards required for commercial and public spaces, although it will feel hotter underfoot than wood in direct sunlight.

Low Maintenance

If you choose a composite deck from East Coast Decking Sales you’ll get the look of premium timber without the hassle. Its colour range has options for every taste, from the dark boards of Burnt Cedar to the autumnal richness of Coppered Oak. There’s also the enduring style of Golden Oak – moulded from impressions of real sawn natural oak timber and designed to retain its stylish appearance over time.

Millboard’s Lastane finish is highly resistant to food and drink stains, everyday wear and tear and scratches. However, as with any material exposed to the Australian climate, it will fade over time, so some regular cleaning is a good idea.

Unlike timber, it won’t rot and doesn’t attract termites or other insects. It is also easy to clean and can be cleaned using a pressure washer or garden hose. Alternatively, the deck can be scrubbed with a soft brush and soapy water to remove stains.

Natural Appearance

Embrace the natural look and feel of real timber decking with Millboard. Its dual-tone Lastane surface is hand tinted to establish authentic colour variations that mimic the appearance of real wood. The result is a stunningly realistic composite decking experience that’s also durable and stain resistant.

Millboard composite decking is available in several gorgeous colours that suit a wide range of applications. Enhanced Grain provides the appealing look of freshly sawn oak timber, while Golden Oak offers a lighter golden hue that retains its stylish look over time. Antique Oak’s natural, warm hues are similar to those of tropical hardwood, while Burnt Cedar is a dramatic statement in smooth charred tones. Coppered Oak gives a rich autumnal finish that evokes high-quality ipe or teak. The Weathered Oak collection is moulded from real 100 year old wharf timbers, and achieves a soft and lived-in look that complements many design aesthetics.

source https://deckinggoldcoast339420397.wordpress.com/2023/06/17/millboard-enhance-your-outdoor-spaces-with-enhanced-grain-and-weathered-oak/

[pd-architecture]

ON SITE:

Home Extension in Leicester

This single storey home extension was designed to create a new open plan Kitchen, Dining and entertaining space, (within the rendered section) along with a Boot Room and Utility Room, (within the burnt timber clad section of the building).

To ensure the modern design fitted with the existing dwelling, the black and white colour palette of the mock tudor detailing on the existing building was replicated using a smooth white render and burnt timber cladding - we are all looking forward to seeing this exciting project develop on site through to completion.

Architectural Design: Paul Day MCIAT BSc (Hons) of PD Architecture Planning: Charnwood Borough Council Building Control: Turton Building Control Structural Engineer: CDS Consulting

Find out more about our home extensions in Leicester or take a look at our case-studies

...or find out more about this project at single storey home extension in Leicester  

#Architecture #Design #Residential #HomeExtension #PDArchitecture #ArchitecturalDesign #Leicester #Rearsby #SingleStoreyExtension

PD ARCHITECTURE . . . #designed4living Architectural Practice

[whatdoesshedotothem]

Sunday 1 July 1838

5 40

12 ½

Rainy morning F64 ½° at 6 am by 6 ½ nearly fair or merely damp and small rain – good beds and comfortable last night – off from Langon (hotel de la poste) at 7 ¼ left 5/. with the maitre de poste for Pierre at Bordeaux – Langon small town – the people standing in group as if a market day – Damp rainy disagreeable morning at 7 ¼ - asleep – at Bazas (1 3/4p.) at 8 ½ - stopt at bon Pasteur hotel to breakfast – was beginning to write but breakfast soon ready – Rained from setting out till afternoon – A- and I out at 10 to see the church, formerly cathedral, in the picturesque Italian-like, arcaded grande place la fête de St. Jean – a weed or herb common here  [?] into crossed over peoples’ doors – very handsome old gothic church the top part of west end modern and 3 chiefly sculptured west doorways the history of our saviour – in the style of Reims cathedral – the handsome interior plain and clean – the people at high mass – organ west end of nave – one side aisle and 1 aisle of little chapels – no transepts – 5 massive-round columns in the nave up to the organ, and then 6 clustered columns up to the apse, so that the nave is of 2 periods – very picturesque little ville –walked about while A- sketched the west front – we had breakfasted well and been very comfortable but the woman charged 5/. and on my quietly observing afterwards to the man that I had never paid so much for breakfast not even in Paris – he said it was 4/. for breakfast and 1/. for the room (double bedded room) in which we breakfasted – things dearer here than in Paris! – Road rough pavé last stage and this – the parterre quite cut up, so much rain lately – country hedged like England – no heath – all the ground in cultivation – at 11 40 the amphitheatric line of hill en face, and right and left as far as one can see, covered with wood – at 11 43 cross the little Ciron brook and enter the plantation of pins à resine (Scotchy fir) the trees in great numerous cut (little more than the bark cut 3 or 4 or 5ft. in length from the bottom) the piece as it were shaved off, so as to let the sap (turpentine) gush our; and here ‘on entre dans les immenses plaines des lands qui se me présentement que l’image de la stérilité et de la tristesse; quelques champs dérobés à ces landes offent seuls à l’habitant laborieux une modique nourriture’ midi. p. 49. Itinèraire de France – and here along the road-side charcoal-rings 6 or 8 yards diameter – the charcoal burnt in a conical heap in the middle covered over with sand, and, when sufficiently burnt, raked out and placed in a circle all round, so as to form the rings mentioned – the charcoal sent to Langon for the six bateaux à vapeur that ply on the Garonne – white sandy soil the firs when largeish seem mossy – a little cut-leaved oak intermixed with the firs – the commerce of Bazas is in wood and charcoal – at 12 10 en sortant from the fire-forest, a little heathery common (left) then rye (right) 1st we have seen cut – bad road – the wood pavé all in holes – at 12 25 very bad for ¼ hour – acacia hedges roadside – Captieux at 12 ½ picturesque little white, red-tile-roofed, scattered town – the blue clad men and crimson petticoated women of Bazas and here very picturesque – 5 minutes from Captieux white sand and heather, and fir and oak forest all round at a little distance – still bad wooden road – heather and whins on the ground clear of wood – From Captieux to Trévers (Porteau

not correspond with

SH:7/ML/E/21/0136

supprimé as a poste aux chevaux) great deal of heathery land, and at 1 ¼ the covering of the nutty way seems a mixture of black bog earth with white sand – obliged to go foots’ pace – if we went off the starting boards, the carriage wheels would sink up to the nave in sand of the parterre – at 1 ¾ rough stone pavé again after another piece of this board-road ‘planchéiée avec des madriers on des poutres équarries et assemblées comme des planchers’ Itinéraire de France midi. p.51 – these pieces of timber 8 or 9ft. long – mud and water gushing out from them at every joining as we pass along – at 1 48 leave the Gironde and enter the department of the Landes and have a bit of tolerable going on the parterre the sand now hard enough to bear us – at 2 5 la poste at Trevers (1 3/4p.) a large barn-like stable with a 3 roomed wood cabin (cahutte) at the back and a little bit of corn land in the midst of heather and wood – better road from here – a new stone pavé in progress and the road newly planted on each side with poplar, acacia and platanus – bad bits of road now and then – pulled up and not yet pavé at all – still heather brackens and pine forest – at 2 ¾ a deepish drain shews yellow-ochre coloured sand at the depth of a foot or 2 – all this stage and the last patches of rye every now and then near the picturesque little farmsteads, a good deal of it cut – now at 3 5 road bad again but commonly bad – a rubbled road, worn in consequence of the great quantity of rain – Roquefort at the poste at 3 ¾ (1 3/4p. from Trevers) not the place celebrated for its cheese – handsome new stone 3 arch bridge over the picturesque little river Douze just before arriving at the post, and hill – alight for a minute or 2 to look back upon the picturesque town with its old little chateau in the midst – at the top of the hill (left) new looking road to Tarbes – our road is now a rubble-road – not paved – and tho’ wet and worn, it is a godsend after the holy stone pavé and starting planks that we have come over – our road lies chiefly thro’ forest of fir, and oak, on these 2 mixed – row of trees on each side of the road – now good, large, handsome, old oaks (many of them having been once over truncated) and now fine, handsome (beautiful) large Spanish chestnuts in full flower – at 4 ¾ took up Dr. Léon merchant on mineral waters very interesting – at 5 Caloy a single house farmstead – From Roquefort to Caloy most interesting drive today – the road generally below the level of the forest which slopes up [?] on each side – the forest, too, the most interesting and continuous tho’ every now and then broken as it had been more or less all today by picturesque little farmsteads and patches of rye – rye in foot broad ridges with foot broad spaces between – off from Caloy at 5 10 along straight line of poplar avenue reaching as far as one can see, and in fact reaching to Pont de Marsan – the ground clear of wood, but covered with brackens, for some distance on each side the road – all the amphitheatric line of hill in the distance en face seems forest – rubble-road – cut up – but very fair considering the great quantity of rain – it has rained almost incessantly (they say) for the last 3 weeks – They said at Langon, we should probably sleep at Mont de Marsan – they better knew the state of the road than I did – it seems they sent word from there by courier de poste to tell the people at the postes on the road that we were coming .:. we have not had to wait for horses anywhere – It takes the malle poste 48 hours to go  go the 26 ¾ p. from Bordeaux to Bayonne – at Mont de Marsan at 5 55 hotel des ambassadors and du roi de Naples who was here 1 May 1830. very nice hotel – the courtyard very pretty with creepers etc. growing against the external gallery against the house – very nice people – veuve and her son and daughter – out soon after 6 for ¾ hour – peeped into the modern  good church – then to the 8 good Bains du nord very picturesque midway the picturesque bank of the now muddy Douze, and then immediately crossed the picturesque wood bridge over this little river to the Pépinière Départemental – very pretty so interesting (determined to breakfast here tomorrow, and see it in the morning for instructions’ sake as to the different trees) dinner at 7 – soup and salmon – mutton rouleau piqué and mutton cutlets, and fricandeau de veau, and a large roast fowl au cusson – potatoes au naturel (with their skins on served in a napkin as everywhere here nowadays) and good pears and 4 most excellent ortolans (which last made our dinner 5/. a piece instead of 4/. well worth it) besides an ample dessert gateau de riz (good) biscuits and macaroons sweetmeat, and honey as I had desired Roquefort being famous for it (and it is very good) and strawberries and cherries – by far the most bountiful dinner we have had and by far the best – the ortolans would have satisfied the veriest epicure – never ate ortolans so parfaits before – like marrow dissolving in one’s mouth – sent from here to Paris – killed by holding their little heads in brandy, then picking and packing them in vine-leaves – (sent to table here on a silver skewer) a thin crisp bit of toast between each, and each wrapt in a thin leaf of lard, and even that a shred of vine-leaf – fed in the dark in a cage on millet – cost 2 or 3 sols a piece at 1st but ¾ die in the feeding, and if they are not taken just at the moment and cooked (roasted) au point (to ½ a turn) they are spoilt – the murier very like the ortolan – rather smaller and never so fat as the ortolans fed here – aux eaux the ortolans will be muriers – diner downstairs in a private salle à manger and came upstairs at 8 – sat with A- in her room talking till 9 – then (having had Josephine about 9 ¾ or 10) till 11 55 wrote out the whole of today – Rainy day till near 5 pm afterwards fair and finish – F63 1/2° at 11 66 pm A- right today I shall take no notice when she gets wrong again and core [care] for and think of it less and less by degrees

[theskyeandsea]

One Bad Trip || Luis & Skylar

Timing: Late at night, January 15th, 2021 (Takes place several days before this chatzy)

Location: Deep in the Woods

Tagging: @ontheluis & @theskyeandsea

Description: Luis and his friends had a chill little bonfire night in the woods. Skylar makes it decidedly less chill.

TW: Drug Use, Addiction, Body Horror, Violence

The night air whipped Skylar’s hair around her ears as she ran through the woods. Her feet moved of their own accord, gliding across the forest floor with ease. The constant pressure of her hearing aids were gone, she didn’t need them, didn’t care if she couldn’t hear. Because why did she need to hear when she could feel everything like this? The pills, the vials, the cigarettes, the everything coursing through her veins, it made her feel more alive than she ever had. It was better than anything, better than Bliss. Out of the corner of her eye, Skylar caught sight of a flickering brightness in the midst of the inky black of the night. A fire? Or lamps? She couldn’t tell, but she could see shadows that looked like people. Her teeth, free of their veneers clicked together as she shifted from one foot to another, weighing things. She shouldn’t… but she wanted to. And if she wanted to, she would. Skipping through the forest, she popped up next to the small gathering of people, peering at them from behind a tree. “Hi.” She said with a dazed smile on her face. 

Luis lifted pale and unfocused eyes at the newcomer’s greeting. The werewolf was clad in only a pair of faded jorts and an addled smirk. He stirred from where he sat by the fire to wave at Skylar, eliciting grumbles of protest from the similarly stoned young men and women who’d fallen asleep against him. 

Luis inhaled deeply, letting the warmth of scented smoke sink in till the pleasant heat seemed to slide down his throat to unknot something deep in his dug. The werewolf’s senses, usually keen to the point of being painful, were mercifully dulled and fuzzy around the edges. The campfire was both right by his bare feet, but also impossibly distant, shining like a lighthouse of shifting colors on some far shore of the forest. 

“Hey there,” Luis managed finally, looking up at Skylar as another young woman ran rainbow fingernails through his hair. Luis took one more drag on the roll and handing it to his companion, and started to play the guitar again. 

Soft chords seemed to rise to mingle with the camp as they wafted over the scene of relaxed debauchery. 

 “You with Emilio,” Luis asked, apparently mistaking Skylar for someone’s late date. 

Skylar watched the way the smoke trailed through the air, thick and cloying as it hang in the cold winter air. It looked different from the cigarette she’d smoked… before. That one had been thick, with smoke that coated her throat with a taste that was unmistakably like that of the night sky. Pulling her hand free from the tree, Skylar made her way towards the group of people, looking at the man who’d spoken to her. She didn’t know who Emilio was, but she wanted what they had-- it looked sweet and mellow and her heart was pounding in her ears, far, far, far too fast. She wanted to be like them, lying on the ground, sleepy and content. She should have taken the Daverin, should have let the numbness override the wild manic high that was cresting in her blood. “Too late, too late,” She muttered to herself, not realizing she’d spoken out loud as she ran a hand through her hair. Darting forward, Skylar plucked the joint from the other man’s lazy fingertips and smiled at them. “Nope. Not with anyone, no.”

Several dazed hands reached from the joints, most not coming even close to Skylar as campfire partiers just grasped at the mydriatic haze in their vision. Mumbles of protest came from the tangle of relaxed bodies, but it was Luis that managed to actually stand from among them. 

The young werewolf regarded Skylar with a conflicted air, arm reaching back to scratch the back of his head as thought sloshed slowly. Everyone was welcome. It was no big deal. 

But there were other less human thoughts in Luis that instinctually recognized the offness in the newcomer. 

She was a threat.

But Luis pushed that primal part of himself away, despite it having saved his life over and over. “Hey like...like..you know,” Luis scrunched his face, trying to focus on a single train of thought. “You don’t have take stuff…,” he made a grab for the joint. “Just be chill and you can hang with us.”

Taking a long drag from the joint, Skylar let the smoke settle in her lungs. It should hurt her throat, it should burn, but it felt as though there was sunlight being shown on her insides. She smiled as she let the smoke stream out of her nostrils and stared at the lit end of the rolled joint. The little ember between her fingers was hot and bright. Looking over at the boy who’d spoken up, she tilted her head at his words. “Mmmmm, I don’t know about that. I don’t want to chill.” She paused before taking another hit, the end of the joint glowing an even brighter red. “But you can chill if you want to.” She said before pressing the burning end hard against the skin of the boy’s hand.

Duuuuuudeeee

The exclamations of his campmates were soft faraway sounds in Luis’ ears. The stranger’s features snapped into telescopic clarity as Luis’ senses sharpened past the drugs and focused. The fingers on Luis’s burned hand distended as fingernails bent into talons.

“Why did you...shit”

Luis tried to reign in that anger, to push it back down. He focused on that hand, slowing his breathing, inwardly begging it to fade back to humanity. 

“Oh no..”

But hallucinogens had numbed Luis' will, and robbed him of any dynamism that could fight against the Shifting. It was like trying to pull back on a dog’s chain with greased fingers. 

The struggle went into free-fall as lupine eyes lifted to regard Skylar, illuminated to electric blue with reflected firelight. Luis’ last human words, begging for everyone to run, were choked off by the sickening crack of a human jaw splitting into a fanged maw until all that came out was a low snarl. 

Skylar didn’t even notice the way that Luis’ hand began to shift in front of her, she was too focused on the way that the smoke filled the air, the scent of weed and burnt skin mixing together. It was a strange smell that clung to her lungs as she inhaled it. Her eyes slid back into focus over the boy-- oh. “Oh, that’s bad.” Skylar said with a burble of a laugh, her hands coming up to cover her mouth as she watched the boy in front of her shift and change, his bones cracking and breaking until there was a feral shape snapping at her. “Whoops, whoops.” She giggled again and began to back away, her feet light and floating over the forest floor as she slipped through the trees.

As she ran through the woods, screams echoed behind her along with the sound of bones and flesh giving way to ferocious jaws. Skylar laughed to herself as she ran, giddy with excitement. But, in the back of her mind, there was another emotion that she didn’t quite have a name for, whispering faintly in her ears. She brushed it aside as the screams reached their crescendo, her meandering path through the woods illuminated by the watchful glow of the moon above.

 —- — —-

Cold wane light filtered through bare branches as winter morning dawned through the woods. The pain of his naked skin on the ground’s forenoon frost stirred Luis to dim wakefulness. There was a familiar bone-marrow deep ache that came after shifting, letting Luis’ sinking heart know what he would see even before groggily opening his eyes. 

There was always the temptation to just keep his eyes closed, a childish impulse to just deny reality. 

The burnt timber wisps of lingering campfire smoke mingled with the acrid coppery scent of cold blood and burst innards. Strips of meat with the texture of beef, except sweeter and softer, lingered in Luis’ mouth.

Coughing those red chunks out of his throat, Luis opened his eyes to see the half eaten faces of revelries staring back at him. 

[myhouseidea]

Bangalley is a project designed by Casey Brown Architecture. A home inspired by its location, perched on a rising monolithic headland of sandstone and shale, jutting out into the Pacific Ocean just north of Sydney in the beachside suburb of Avalon. Designed to respond to this dramatic environment with a rustic rugged exterior and a raw but highly crafted interior. Photography by Charlie Baker, Michael Nicholson.

Marine Pde. North Avalon

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Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Marine Pde. North Avalon

Briefed by a couple of journalist empty nesters to ‘do the site justice’, ‘be part of nature’ and to ‘last 100 years’. A rigorous design process ensued, before a topographical response produced a series of steeped, staggered and linked blocks or pavilions set carefully amongst the boulders and twisted tea trees strewn over the headland.

Constrained by 3 massive Norfolk pines, flame zone bushland, a precipitous cliff edge and arduous council assessment, the site enjoys dramatic long distance southern ocean and coastline views as well as immediate near vertical views over the cliff edge to surfers and dolphins at Avalon Beach.

Highly visible from the popular public beach, the house replaces a rendered pink Tuscan style villa with a modest sized 350m2 house rooted in the hillside on 3 tectonic platforms enclosing a sun drenched and wind sheltered entry courtyard to the North, while overlooking the ocean and beach to the South and West

The scale, form and material pallet all seek to work with the terrain; cantilever terraces and balconies, exposed hoods and deep recessed openings ensure light and shade enhance the modulated facades. The five attached pavilions are linked by a double cross over axis, directing the entry and vertical movement pattern of the house and aligning with the two principal aspects the house enjoys – the long distance southern coastal view and immediate western beach view.

Vertically, the plan is arranged into three functional areas; the top floor private master suite, the ground floor garden level comprising the kitchen, dining, living and studies, and the lower cave like sheltered guest rooms tucked into and between the rocks.

Access is via a battle axe drive through a Corten and copper gatehouse into a sheltered garden court dominated by a giant Norfolk pine tree. A vaulted entry canopy projects into the courtyard, appearing to float inside while supported externally by a natural sandstone column found on the site. The house’s cliff-top aspect is completely concealed until the front door is opened revealing a double height space aligned with the coastal headlands, stepping down into the main living room.

The tectonic expression of the Ken Murtagh engineered concrete skeleton inside and out provides large openings protected from sun and rain while reflecting the horizontal layering of the cliffs below. The living room has fully retractable doors to two sides allowing a panoramic corner view and access to the terraces, made possible by a slender load defying brass clad post.

The buildings materiality is raw as the brief required. Constructed both inside and outside from 500×40 bricks by S. Anselmo. Smoky burnt grey/black bricks externally blend with the weathered sandstone surrounds. White bricks internally create an ever changing play of patterns and light as the sun moves around the building. Stone floors throughout reinforce the earthy materiality of the spaces while vaulted timber ceilings rise to northern rooflights flooding south facing rooms with light and sun. Fine brass railings mellow in the sea air, and allow views through to the ocean and surrounding heathland. All timber is FSC Certified Mailkaro including the double glazed Praarhammer fabricated Bal 40 windows and doors.

Central to the house is a finely crafted floating concrete stair connecting the 3 levels featuring a brass sculptured screen by Caroline Casey who was also responsible for all the highly resolved and detailed joinery and furnishings throughout the house.

Bangalley by Casey Brown Architecture Bangalley is a project designed by Casey Brown Architecture. A home inspired by its location, perched on a rising monolithic headland of sandstone and shale, jutting out into the Pacific Ocean just north of Sydney in the beachside suburb of Avalon.

[parametricarchitecture]

Cone shape like Arctic Visitor Center of @snohetta for Svalbard's Global Seed Vault. A structural frame of cross laminated timber in combination with stiffening wall discs in solid wood forms a rectangular building volume that rests on pile foundations in the bedrock. The building is suspended off the ground to prevent heating of permafrost and accumulation of snow. The entrance building is clad with burnt wood and dark glass panels, while the interiors consist of exposed wood elements. Roof areas are designed to accommodate solar panels for harvesting solar energy. Post by: @hamithz ——————————————————————— * Turn ON Post Notifications to see new content * Instagram 👉🏼 instagram.com/parametric.architecture * Website: 👉🏼 www.parametric-architecture.com * Facebook: 👉🏼 facebook.com/parametric.archi * Pinterest: 👉🏼 pinterest.com/parametricarchitecture * YouTube: 👉🏼 youtube.com/parametricarchitecture * Twitter: 👉🏼 twitter.com/parametricarch * Snapchat: 👉🏼 snapchat.com/paarchitecture * Reddit: 👉🏼 reddit.com/parametricarch * Tumblr: 👉🏼 parametricarchitecture.tumblr.com ——————————————————————— #snohetta #svalbard #cone #architectural #architect #architectureporn #architecture #architecturelovers #architecturephoto #digitalfabrication #parametricism #architects #architecteye #architectlife #architecture_best #architecturelove #architecturedaily #parametric #architecturephotos #architecturepicture #parametricarchitecture #parametricdesigm #architecturebuilding #architecturephotography #designporn #designart #designinspiration #designlovers #islamicarchitecture (at Svalbard) https://www.instagram.com/p/B4zpxWCnxSh/?igshid=1cg0bto77xdrv

[eludin-realm]

Meeting Adalsteinn of Elorenydd (writing by yours truly)

Note: This piece is INCOMPLETE. This part is something I might add in the FINISHED version. Keyword: MIGHT. But, with that being said, enjoy! As always, read below cut:

As DV continued on through the bustling area, his gaze locked onto a line of stalls - market stalls, at that. With a curious hum of thought, he slipped his hands into his pockets and headed off, slipping through the crowds to look. A lot of items were on display in various stalls: Weaponry, jewelry, foods, clothing, and more. Taking a few more steps, he stopped in front of the stalls selling weapons, red eyes taking a look at what was for sale. “Are you looking to make a purchase?” asked up the stallholder. “We sell some of the finest weapons besides the smithies in town!” “Hm? Uh, n-no, no... I’m, er-I don’t...” DV frowned for a minute. “I’m just browsing... Um... If it’s okay to ask - where am I?” The stallholder tilted his head in curiosity. “Where... Are you? Are you lost? You’re at Grand Sanctum Square.” “Right...” DV’s frown seemed to only deepen. “... Where is this place, this...square, located in general, is what I meant.” “You’re at Grand Sanctum Square, in Elorenydd.” “Elorenydd. Elorenydd... Never heard of it,” muttered the dark-clad in confusion. “Um... I’ll be on my way now. Thanks for helping me out.” Before the stallholder could say anything else, Dark had turned, and left. Elorenydd. Elorenydd. I’ll be damned, I AM in a different world entirely! he thought, mind awhirl. How would he find somewhere to stay? Where would he even get money? How long would he be STUCK here? The only plan seemed to be to just... Walk aimlessly until he found a building that said ‘inn’, ‘hostel’, or ‘hotel’ - or something of the sort, for now... With a sigh, Dark took a left and looked around, surprised at the amount of half-timbered buildings, wealden hall homes, and the occasional modern-type buildings. It was almost like back at Aeredale... Stopping in his tracks for a moment, he tried a double take to see if any of the buildings had a sign implying that it was an inn, hotel, hostel, ANYTHING... Nothing. Gazing down to his shoes, he groaned, and went ahead. Not far off in the distance, there was a white horse hitched to a post. That’s when he realized... Did the horse belong to a traveler? A regular around here? Maybe they’d be willing to help him once they came back?  Approaching the horse, Dark blinked a few times. “Hello,” he greeted softly. In response, the horse whinnied gently, and the dark-clad carefully raised a hand to stroke its forehead. “Taken a liking to Evita, have you?”  The dark-clad jumped at the mysterious voice, whipped around, hands behind his back. “Oh, gods! I’m sorry...” As the stranger came over, he gave DV a soft smile.  “My sincerest apologies - I didn’t mean to startle you! There’s no need to be sorry, she likes to be petted, actually.” DV paused to take in the man’s appearance: tall, with short burnt-orange coloured hair and caramel eyes... “You don’t seem to be from around here,” noted the stranger. “Are you lost?” “Well... I mean... I guess... I’m just looking for somewhere to stay, and I don’t really have any, uh... money.” The other male hummed in thought. “That’s quite the situation... perhaps I can help accommodate you. It’s a prince’s job to help others, after all!” Dark froze in place. “You’re... What did you say? Holy frick, wait. I’m in the presence of ROYALTY? Hell, I didn’t know this place had royalty...” With another warm smile, the Prince gave a respectful bow, hand to his chest. “Why, yes. Yes, I am! My name is Adalsteinn, and I am the Prince of Elorenydd. I’d be happy to assist you in any way I can. You said you were looking for somewhere to stay, correct?” “Yeah...t-that’s right. Someplace decent, at least.” Adalsteinn nodded his head, turning around for a moment. “There is a small store not far off from here that sells maps - I can buy one and we can figure out where to go from there. Would you like to come with?”  When Dark hummed in the affirmative, Adalsteinn turned to Evita, giving her a gentle stroke himself. “Just a few more minutes, girl. Right, then... Follow me!”

[amandajeanwrites]

In the Writer's Studio: April 2022

The wind’s changed. Dreary cold has been swapped for watering can sprinkles and anime daffodils. The birds have migrated back to their perches. The bees thunk mercilessly at the window panes, taunting the dog. With spring comes abundance, renewal, the promise of longer days and baby lambs.

My writer’s studio is gathering dust. The metaphorical studio, the mind studio. My actual studio, an aforetold dining table and adjoining chest of drawers, did get a declutter and reorganization a week or two ago. But the writer’s studio in my mind palace, that wood clad timber attic room looking over the ocean on one side and the forest on the other, with amble desk space and a collage of inspiration along each wall, that hasn’t been touched in a while. 

I’m not sure what prompted it, the Block. That great Block which all writers fear most (and some deny). But it came like the moody clouds that I welcome in the winter skies. It settled into the pit of me, this despair, this unsure footing. Each word I typed was worse than the last until it became a downward spiral of self-doubt and crippling anxiety. The Block came and then the Depression and then the Anger, or perhaps they were all rolled into one, a product of bad brain chemicals fueled by caffeine and social media. And the trauma that has been the Last Two Years.

January was relatively sound. A new writing planner brought forth inspiration in the form of shiny stickers and a barrage of New Year-New Me thrills. I continued slogging through my Dark Academia Ghost Story until somehow I got stuck in the mud I’d dredged, and after years of doing this, instead of calling for help, I think I just dug myself deeper. Knee deep, waist deep, until February came along in a wash of colder rain and less inspiration. 

Not less, just different. In February I’d managed a handful of 5k+ days. Inspiration struck, thank God!, and I powered through a handful of fan fiction short stories that I’m rather proud of. Those flew out of me like some life-force tucked itself under my fingertips and did the work for me. I hadn’t felt that in years.

But again, the Block swept me away again.

March was rough. March was a deluge instead of a mud pit. It was rapid waters with no boulders or sticks to grab onto. It was panic. It was grasping desperately for an idea, anything to come along that I could build a raft out of. And March dumped me into the ocean where I could tread water on short stories and the residual praise from short stories of long, long ago. 

I tread through the beginning of April, exhausted, needing a change. A change of pace, of scenery. I think being in the ocean made me realize just how little my life had changed in the past few years. It was a constant deluge of ideas followed by a drowning of overwhelm, followed by the disappointment of unfinished projects. I felt I was letting my friends and family down. I’d isolated myself to an island and burnt my boat. I needed something new. 

And then, as my head was beginning to submerge, a lifeline came. An idea. A buoy.

I’ve always loved film. If you’ve known me for any amount of time, years, a conversation in a coffee shop, I think you’ll recognize that about me. If I’m not quoting a movie, I’m asking you what your favorite are (and judging accordingly). If I’m not referencing a television show, I’m equating our conversation to a scene in my head. Movies have always been my life, my second love only to writing. Well, probably my first love, but movies are way harder work.

So after a particularly difficult day treading water, I talked to Sean and my Mom, and they suggested I search for freelance writing gigs. If something is going to get me out of my funk, it may be writing for others. I’ve searched before, several times over the years, and have always quit due to overwhelm, but it couldn’t hurt to try again. 

So I decided, this time, to whittle my options. I began searching for freelance writing gigs in topics I’m passionate about. Writing, obviously, and film. If you’ve been on the blog, or following my work for a while, you’ll know I absolutely love writing film and television reviews. It’s the perfect way to articulate how I’m feeling after I’ve finished watching something I enjoyed (or didn’t! Yikes!). And after a few days of searching, I found some options. I found my buoy. 

My course is changing, like the winds. Like winter to spring, I feel a new life breathed into my lungs. The birds have come back to me. The life-force has returned beneath my fingertips, and I’ve found myself writing again. I’ve found myself joyful again, the sun shining on my face, drying my hair and hands. 

I’ve dusted out my studio and thunked a stack of DVDs on the desk top. I’m writing reviews again, and feature articles, and my career path has changed, I think for the better. 

For those of you wondering, I am still writing fiction. I’m still experimenting with short stories and micro fiction. Every day, I’m finding myself thinking of the main characters in my novels, itching to write their stories again. Itching to get back to work. This new venture is just exciting me again, rejuvenating all that I’ve lost over the past couple of years, filling me with freedom and adventure and self-worth. All it took was a change of perspective. 

As for this space, and my YouTube channel, I want to continue to document my writing. I want to write about writing, because I love to do it and I love to talk about it.

The world has opened up again, and I want to write in my places. I want to see more things. I want to write about more adventures. 

So keep an eye on this space, is what I’m offering. Come back here to see how my writing’s going, to talk about writing, to be inspired to take little retreats and adventures for your own writing, or just for your own self care. Be with me. Float with me. 

Thanks, as always, for reading xo 

Tldr; I write movie reviews now. (@amandawatchesmovies)

[laurinravenscourt]

Learning to Burn Wood, Yakisugi

Learning to Burn Wood, Yakisugi

We recently tried something new that we had seen on TV. It seemed an interesting treatment for one of our cedar pergolas. Yakisugi (焼杉) is a traditional Japanese method of wood preservation. Yaki means to heat with fire, and sugi is cypress.[1][2] It is referred to in the West as burnt timber cladding and also known as shou sugi ban (焼杉板) which uses the same kanji characters but an incorrect…

[homeworlddesign]

This Rural Cottage in Iceland Have Turf Roofs and Burnt Timber Cladding https://homeworlddesign.com/rural-cottage-turf-roofs-burnt-timber-cladding/

[architectnews]

Carlos Gris creates Malaysian-informed home in the Cambridgeshire Fens

Lightly charred timber clads the walls of Sayang House, a house conceived by designer Carlos Gris for an aunt who had returned to UK after 20 years abroad.

Gris designed the home for his aunt Gretta Funnell, who decided to leave her home in Malaysia and move to the Cambridgeshire Fens to be closer to her sister following the death of her husband.

The house is single-storey with a large roof terrace

Gris wanted to make connections to Asia in his design for Funnell's new home, a minimal building with glazed facades and an overhanging roof.

For the exterior walls, he specified a Japanese technique known as shou sugi ban, which involves charring the wood to give it texture and a natural layer of protection against decay.

The exterior is clad in wood that has been lightly charred

While this technique usually blackens the wood, here it gives the material a rich brown tone.

"We went for this brown coloured shou sugi ban and it really does sit it into the fen marshlands," said Carlos in a video about the house.

"I hope that it captures a serenity, a calmness that I think she'd been looking for," he said.

The charring technique, called shou sugi ban, helps to protect the wood

Sayang House featured in the recent series of UK television show Grand Designs.

It is built next door to the home of Gris' parents. In order to build it, the couple sold a portion of their land to Funnell.

Floor-to-ceiling glazing features in every room

The two buildings are distinctively different.

Gretta wanted a more modern, minimal design rather than a traditional English country house.

Read:

Mjölk Architekti updates Czech cottage with burnt-wood cladding and revamped interior

This led Carlos to design a simple, single-storey building topped by a large roof garden. Glazed walls at the front and back offer views of the large garden shared by the two homes.

"It's not trying to be something to grab attention. We wanted to sit it back and almost make it blend into the countryside," said Carlos.

The house contains three bedrooms

There are two guest bedrooms located at the front of the house, along with the main bathroom, a lounge and a boot room that helps to stop mud being trodden into the building.

The third and main bedroom is located at the back, where it boasts an en-suite bathroom and a view of the garden. Alongside it is the largest room in the house, a generous kitchen, dining space and living room.

A freestanding tub is the focal point in the main bathroom

A staircase tucked into the corner of the exterior leads up to the roof, which is expected to become an outdoor living room for the house.

"Whilst the property would appear very clean-lined, it also tries to blend into the vernacular of the fenland," said Carlos.

"The strong geometric roof parapet is a reflection of the long and flat horizons seen in the area."

The corridor faces out to a zen-style garden

Despite its simple form, Sayang House integrates various neat details.

The extra-tall front door is aligned with a view of a weeping willow tree in the garden, while the central corridor faces out to a zen-style garden.

The overhang of the roof creates a sheltered place to sit

Additionally, the overhang of the roof creates a sheltered plan to sit and enjoy the garden, even when it's raining.

"There's nothing unnecessary; everything is done with a purpose," added Carlos.

Other houses that have featured in Grand Designs include the Carl Turner-designed Slip House and Patrick Bradley's home built from shipping containers.

Photography is by Ed Reeve.

Project credits

Architecture: Carlos Gris Studio Project management: Fernando Gris Architectural detailing support: James Rixon, Tony Walton Engineer: JMS Engineers, Matt Greasley SIPS specialist: SIPS building Ltd, Andrew Gillet Steel specialist: Ian Cross Services (ICS) Glazing specialist- Maxlight Carpentry and Shou Sugi Ban cladding: Kings Carpentry Ltd, Phillip King Block and Beam: Kingspan Electrician: Theo Bailey Drains and septic: Drain Store Roofing: Kieran Harcourt Plasterer: Danny Hatley Heating: Eco Installer

The post Carlos Gris creates Malaysian-informed home in the Cambridgeshire Fens appeared first on Dezeen.

[whatdoesshedotothem]

Sunday 1 July 1838

5 40

12 ½

Rainy morning F64 ½° at 6 am by 6 ½ nearly fair or merely damp and small rain – good beds and comfortable last night – off from Langon (hotel de la poste) at 7 ¼ left 5/. with the maitre de poste for Pierre at Bordeaux – Langon small town – the people standing in group as if a market day – Damp rainy disagreeable morning at 7 ¼ - asleep – at Bazas (1 3/4p.) at 8 ½ - stopt at bon Pasteur hotel to breakfast – was beginning to write but breakfast soon ready – Rained from setting out till afternoon – A- and I out at 10 to see the church, formerly cathedral, in the picturesque Italian-like, arcaded grande place la fête de St. Jean – a weed or herb common here  [?] into crossed over peoples’ doors – very handsome old gothic church the top part of west end modern and 3 chiefly sculptured west doorways the history of our saviour – in the style of Reims cathedral – the handsome interior plain and clean – the people at high mass – organ west end of nave – one side aisle and 1 aisle of little chapels – no transepts – 5 massive-round columns in the nave up to the organ, and then 6 clustered columns up to the apse, so that the nave is of 2 periods – very picturesque little ville –walked about while A- sketched the west front – we had breakfasted well and been very comfortable but the woman charged 5/. and on my quietly observing afterwards to the man that I had never paid so much for breakfast not even in Paris – he said it was 4/. for breakfast and 1/. for the room (double bedded room) in which we breakfasted – things dearer here than in Paris! – Road rough pavé last stage and this – the parterre quite cut up, so much rain lately – country hedged like England – no heath – all the ground in cultivation – at 11 40 the amphitheatric line of hill en face, and right and left as far as one can see, covered with wood – at 11 43 cross the little Ciron brook and enter the plantation of pins à resine (Scotchy fir) the trees in great numerous cut (little more than the bark cut 3 or 4 or 5ft. in length from the bottom) the piece as it were shaved off, so as to let the sap (turpentine) gush our; and here ‘on entre dans les immenses plaines des lands qui se me présentement que l’image de la stérilité et de la tristesse; quelques champs dérobés à ces landes offent seuls à l’habitant laborieux une modique nourriture’ midi. p. 49. Itinèraire de France – and here along the road-side charcoal-rings 6 or 8 yards diameter – the charcoal burnt in a conical heap in the middle covered over with sand, and, when sufficiently burnt, raked out and placed in a circle all round, so as to form the rings mentioned – the charcoal sent to Langon for the six bateaux à vapeur that ply on the Garonne – white sandy soil the firs when largeish seem mossy – a little cut-leaved oak intermixed with the firs – the commerce of Bazas is in wood and charcoal – at 12 10 en sortant from the fire-forest, a little heathery common (left) then rye (right) 1st we have seen cut – bad road – the wood pavé all in holes – at 12 25 very bad for ¼ hour – acacia hedges roadside – Captieux at 12 ½ picturesque little white, red-tile-roofed, scattered town – the blue clad men and crimson petticoated women of Bazas and here very picturesque – 5 minutes from Captieux white sand and heather, and fir and oak forest all round at a little distance – still bad wooden road – heather and whins on the ground clear of wood – From Captieux to Trévers (Porteau

not correspond with

SH:7/ML/E/21/0136

supprimé as a poste aux chevaux) great deal of heathery land, and at 1 ¼ the covering of the nutty way seems a mixture of black bog earth with white sand – obliged to go foots’ pace – if we went off the starting boards, the carriage wheels would sink up to the nave in sand of the parterre – at 1 ¾ rough stone pavé again after another piece of this board-road ‘planchéiée avec des madriers on des poutres équarries et assemblées comme des planchers’ Itinéraire de France midi. p.51 – these pieces of timber 8 or 9ft. long – mud and water gushing out from them at every joining as we pass along – at 1 48 leave the Gironde and enter the department of the Landes and have a bit of tolerable going on the parterre the sand now hard enough to bear us – at 2 5 la poste at Trevers (1 3/4p.) a large barn-like stable with a 3 roomed wood cabin (cahutte) at the back and a little bit of corn land in the midst of heather and wood – better road from here – a new stone pavé in progress and the road newly planted on each side with poplar, acacia and platanus – bad bits of road now and then – pulled up and not yet pavé at all – still heather brackens and pine forest – at 2 ¾ a deepish drain shews yellow-ochre coloured sand at the depth of a foot or 2 – all this stage and the last patches of rye every now and then near the picturesque little farmsteads, a good deal of it cut – now at 3 5 road bad again but commonly bad – a rubbled road, worn in consequence of the great quantity of rain – Roquefort at the poste at 3 ¾ (1 3/4p. from Trevers) not the place celebrated for its cheese – handsome new stone 3 arch bridge over the picturesque little river Douze just before arriving at the post, and hill – alight for a minute or 2 to look back upon the picturesque town with its old little chateau in the midst – at the top of the hill (left) new looking road to Tarbes – our road is now a rubble-road – not paved – and tho’ wet and worn, it is a godsend after the holy stone pavé and starting planks that we have come over – our road lies chiefly thro’ forest of fir, and oak, on these 2 mixed – row of trees on each side of the road – now good, large, handsome, old oaks (many of them having been once over truncated) and now fine, handsome (beautiful) large Spanish chestnuts in full flower – at 4 ¾ took up Dr. Léon merchant on mineral waters very interesting – at 5 Caloy a single house farmstead – From Roquefort to Caloy most interesting drive today – the road generally below the level of the forest which slopes up [?] on each side – the forest, too, the most interesting and continuous tho’ every now and then broken as it had been more or less all today by picturesque little farmsteads and patches of rye – rye in foot broad ridges with foot broad spaces between – off from Caloy at 5 10 along straight line of poplar avenue reaching as far as one can see, and in fact reaching to Pont de Marsan – the ground clear of wood, but covered with brackens, for some distance on each side the road – all the amphitheatric line of hill in the distance en face seems forest – rubble-road – cut up – but very fair considering the great quantity of rain – it has rained almost incessantly (they say) for the last 3 weeks – They said at Langon, we should probably sleep at Mont de Marsan – they better knew the state of the road than I did – it seems they sent word from there by courier de poste to tell the people at the postes on the road that we were coming .:. we have not had to wait for horses anywhere – It takes the malle poste 48 hours to go  go the 26 ¾ p. from Bordeaux to Bayonne – at Mont de Marsan at 5 55 hotel des ambassadors and du roi de Naples who was here 1 May 1830. very nice hotel – the courtyard very pretty with creepers etc. growing against the external gallery against the house – very nice people – veuve and her son and daughter – out soon after 6 for ¾ hour – peeped into the modern  good church – then to the 8 good Bains du nord very picturesque midway the picturesque bank of the now muddy Douze, and then immediately crossed the picturesque wood bridge over this little river to the Pépinière Départemental – very pretty so interesting (determined to breakfast here tomorrow, and see it in the morning for instructions’ sake as to the different trees) dinner at 7 – soup and salmon – mutton rouleau piqué and mutton cutlets, and fricandeau de veau, and a large roast fowl au cusson – potatoes au naturel (with their skins on served in a napkin as everywhere here nowadays) and good pears and 4 most excellent ortolans (which last made our dinner 5/. a piece instead of 4/. well worth it) besides an ample dessert gateau de riz (good) biscuits and macaroons sweetmeat, and honey as I had desired Roquefort being famous for it (and it is very good) and strawberries and cherries – by far the most bountiful dinner we have had and by far the best – the ortolans would have satisfied the veriest epicure – never ate ortolans so parfaits before – like marrow dissolving in one’s mouth – sent from here to Paris – killed by holding their little heads in brandy, then picking and packing them in vine-leaves – (sent to table here on a silver skewer) a thin crisp bit of toast between each, and each wrapt in a thin leaf of lard, and even that a shred of vine-leaf – fed in the dark in a cage on millet – cost 2 or 3 sols a piece at 1st but ¾ die in the feeding, and if they are not taken just at the moment and cooked (roasted) au point (to ½ a turn) they are spoilt – the murier very like the ortolan – rather smaller and never so fat as the ortolans fed here – aux eaux the ortolans will be muriers – diner downstairs in a private salle à manger and came upstairs at 8 – sat with A- in her room talking till 9 – then (having had Josephine about 9 ¾ or 10) till 11 55 wrote out the whole of today – Rainy day till near 5 pm afterwards fair and finish – F63 1/2° at 11 66 pm A- right today I shall take no notice when she gets wrong again and core [care] for and think of it less and less by degrees