Norfolk reeds at Cley next the Sea

click photo to enlarge
Recently, as I've been travelling about, I've chanced upon several thatched buildings undergoing renewal of their roofs. English thatched buildings are generally roofed with either long straw, Norfolk reed or imported reed, combed wheat reed or sedge grass. The material of choice usually depends on local vernacular tradition, the availability of the desired thatching, and the depth of the pockets of the building's owner. In East Anglia, due to the presence of suitable watery areas, the water reed was widely used; elsewhere tall-stemmed varieties of wheat were more favoured. However, the amount of reed available in East Anglia is such that foreign reed, often from the banks of the Danube, has been imported for some years.

On my recent visit to North Norfolk, when passing through Cley next the Sea, I noticed that the reeds of the coastal marsh around the village had been cut for thatching. It was stacked on the flood bank in several piles, under tarpaulins, awaiting selection and use. This activity had denuded the thick reed beds and large, irregular areas were very flat where the reed-cutters tools had been at work. You can see something of this in today's photograph.

photograph and text © Tony Boughen

Camera: Nikon D5300
Mode: Aperture Priority
Focal Length: 20mm (30mm - 27mm equiv.)
F No: f7.1
Shutter Speed: 1/400 sec
ISO:100
Exposure Compensation: -0.33 EV
Image Stabilisation: On

Crowland thatch

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There was a time, long ago, when thatch was the most common roofing material to be found in the British Isles. Not only houses but churches, pubs and barns could (and still can) be found with this kind of covering. As well as the reed and straw, roofs were thatched with flax, heather, gorse and broom. But slowly, down the centuries, this vegetable material was replaced by mineral in the form of stone, slate, clay tiles and finally concrete tiles. Yet thatching never entirely disappeared. Thatching is no longer local and cheap but it can still be reasonably commonly found in the areas where it was once popular, and it is still a very good insulator.

Today long straw thatch and combed wheat - both using by-products of grain production - are still found. So too is reed thatch, occasionally using native reeds from places such as the Norfolk Broads, but more often imported from Eastern Europe, particularly the area of the Danube Delta. Many traditional buildings, often from the fifteenth, sixteenth and seventeenth centuries, that were always thatched, continue to be so roofed. One or two builders offer newly constructed houses with  a thatched roof. I've seen them in Lancashire and Norfolk, both areas where thatch was popular. And, because of the demand for the re-roofing of old buildings and the occasional new-build, the craft of the thatcher continues.

Thatchers have always shown idiosyncrasies in the way they fix together the straw, reed, hazel or briar, and in the manner in which they finish ridges, gable ends and the edges of dormer windows. Many have also been keen to add individual thatch sculptures to their roofs, sometimes as a mark of who made it but often as a piece of whimsy or in response to a request from the owner. I've seen owls, pheasants, witches and cockerels decorating thatched roofs. Today's photograph of cottages in Crowland, Lincolnshire, features a thatched roof with a cat in a characteristically feline pose.

photograph and text © Tony Boughen

Camera: Canon
Mode: Aperture Priority
Focal Length: 24mm
F No: f7.1
Shutter Speed: 1/500
ISO: 100
Exposure Compensation:  -0.33 EV
Image Stabilisation: On

A cricket pavilion and a puzzle

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A cricket pavilion in a village or small town often has to fulfill a number of purposes. It is a meeting place for a team and its supporters; a vantage point (often raised) from which to sit and watch the game; a place in which to change into cricket "whites"; somewhere that refreshments can be prepared and served; and often it includes a scoreboard or box in which the progress of the match is recorded, and a clock.

But, whilst the functional aspects are clearly most important attributes of this type of building, cricket pavilions are often designed with aesthetic considerations in mind too. Often they are symmetrical, with centrally placed steps out of which the players issue. Gable ends and decorative barge boards frequently feature in their make-up. So too do clock turrets, bay windows (for a good view) and balustrades. In fact, they sometimes seem to combine the details of a bungalow and a miniature town hall! And then there are the thatched pavilions! Thatch pretty much died out as a first-choice roofing material in the seventeenth century when clay tiles began to be more widely available and affordable. So one wonders why it re-appeared in the early twentieth century on quite a few houses, barns and, yes, cricket pavilions. The answer lies in the Arts and Crafts Movement which sought to revive traditional techniques and materials, but use them in a modern way.

This pavilion at Uppingham, Rutland, even though it was built as late as 1923, shows the influence of Arts and Crafts ideas in the plain white walls, the simple, vertical, closely spaced windows, the half-height glazing to each side of the entrance door, and in that thatched roof with its thatched bell-tower. There are two further interesting aspects to this pavilion. Firstly, most such buildings have a front facing the field of play - as this one does. They also have a definite "back" that is utilitarian in character because it is often close to the field boundary. The location of Uppinham's pavilion, at a corner where two roads meet has led to the architect giving it a second front at the back - the one in my photograph. The second aspect that puzzles me is this. Why, when so much effort has gone into making the facade (and its landscaping) symmetrical, is its perfection broken by the single small window on the left?

photograph & text (c) T. Boughen

Camera: Lumix LX3
Mode: Aperture Priority
Focal Length: 5.1mm (24mm/35mm equiv.)
F No: f4
Shutter Speed: 1/640
ISO: 80
Exposure Compensation: -0.66 EV
Image Stabilisation: On