Double Glazed Doors Quotes

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Places are supposed to look smaller when you go back to them, but my road just looked schizoid. A couple of the houses had had nifty little makeovers involving double glazing and amusing faux-antique pastel paint; most of them hadn't. Number 16 looked like it was on its last legs: the roof was in tatters, there was a pile of bricks and a dead wheelbarrow by the front steps, and at some point in the last twenty years someone had set the door on fire. In Number 8, a window on the first floor was lit up, gold and cozy and dangerous as hell.
Tana French (Faithful Place (Dublin Murder Squad, #3))
London was fifteen hundred years old, and was a great town—for that day. It had a hundred thousand inhabitants—some think double as many. The streets were very narrow, and crooked, and dirty, especially in the part where Tom Canty lived, which was not far from London Bridge. The houses were of wood, with the second story projecting over the first, and the third sticking its elbows out beyond the second. The higher the houses grew, the broader they grew. They were skeletons of strong criss-cross beams, with solid material between, coated with plaster. The beams were painted red or blue or black, according to the owner’s taste, and this gave the houses a very picturesque look. The windows were small, glazed with little diamond-shaped panes, and they opened outward, on hinges, like doors.
Mark Twain (The Prince and the Pauper)
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Double Glazing Doctor Essex
Of Jacob’s arrival, on a February night in 1760, in Częstochowa They get on the Warsaw highway. The wheels of the carriage clatter over the slick cobblestones. The horses of the six armed men must pull forward and keep to the narrow road so as not to fall into the mud. Dusk approaches, and the last scraps of color fade into darkness, white murks into gray, gray becomes black, and black vanishes into the abyss that opens up before human eyes. It is everywhere, under every thing in the world. The little town of Częstochowa is situated on the left side of the Warta River, facing the monastery on the hill. It is made up of some dozen little homes, low, unsightly, damp, set up around a rectangular marketplace and along several little streets. The market is almost empty, its uneven, undulating cobblestones thinly iced over so that they seem to be covered in a shiny glaze. Yesterday’s trade fair has left horse droppings, trampled hay, and litter not yet swept up. Most of the little houses have double doors protected by an iron bar, which means that business is conducted inside them, although it would be difficult to guess what sort.
Olga Tokarczuk (The Books of Jacob)
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Not the perfect place for a studio,” he told Thomas, noting that it was under the flight path to Machrihanish airport. “But that’s what you’re going to do.” “What, a studio here?” “Yeah,” Paul responded, “this is the studio. I want a mezzanine with a solid wall in front of the mezzanine so that if you’re down here, you can just see the tips of the violin bows when they play a top C.” “How high is that?” Thomas asked. “I don’t know, work it out,” Paul told Thomas, and then led him to the next room—the milking area—and said, “This is going to be the control room. You don’t have to worry about [the equipment], because that’s all going to be coming up from London in a lorry. But the windows have to be double or triple glazed, and each glass panel has to be at a different angle so that the sound doesn’t go through, and I want soundproofed double doors. And the farmhouse has to be completely redone for human habitation, because that’s where the band is going to stay, and the technicians.” Thomas looked over at the farmhouse and began organizing his thoughts about what would be necessary, and how to approach it, when Paul added one more requirement. “Oh, by the way,” he said, “you’ve got a month.” “What?” Thomas and Whitmore asked in unison. “Yeah, yeah, you’re fine,” Paul said. “People are very willing to work quite hard up here. Use everybody local you can, because there’s so much unemployment up in Campbeltown.” But why, Thomas wondered, must the studio be ready in a month? “Because this record I’ve got in mind is going to be the biggest seller of all time, and we all know that’s down to Christmas,” Paul told him. He then explained the timeline, working backward from the release. “EMI need a month to press and distribute it, and I need a week to record it, so therefore you’ve got this bit, which is a month.”34
Allan Kozinn (The McCartney Legacy: Volume 2: 1974 – 80: A comprehensive look at Paul McCartney's life and work post-Beatles.)
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