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Description
Forest Garden Xtend Premium 2.98 x 2.9m Insulated Garden Office with 1/2 WindowForest Garden Xtend 3. 0M Premium Achieve your work life balance with the Xtend range of garden buildings from Forest Garden. These new buildings have everything you could wish for in a home office contemporary looks, real energy efficiency, ease of construction and keen pricing. Space is at a premium in most homes and extensions are costly. An Xtend garden building is constructed from high quality, energy efcient materials and is underwritten with a
Forest Garden Xtend 3.0M Premium
Achieve your work/life balance with the Xtend range of garden buildings from Forest Garden. These new buildings have everything you could wish for in a home office - contemporary looks, real energy efficiency, ease of construction and keen pricing.
Space is at a premium in most homes and extensions are costly. An Xtend garden building is constructed from high quality, energy efficient materials and is underwritten with a 15 year structural guarantee
Xtend is a clever choice for your garden building as it comes delivered in pre-cut modular SIP panels ready for assembly. Some of the best designed new homes are now made this way, so why not your new garden building? A step-by-step guide means the build is incredibly straightforward.
Keeping you warm in winter and cool in summer, Xtend delivers real energy efficiency. Double glazed windows, highly efficient insulated walls, roof and ?oor combine to drive down energy costs. It’s a fact that Xtend garden buildings can be as energy efficient as a new-build home – with an EPC energy rating of B.
Features:
STRUCTURAL INSULATED PANELS (SIPS)
- The core structure of an Xtend building is made from SIPs panels - high performance material for building construction. The 21st century way to build
- 9 7mm thick insulated walls consist of 75mm of polystyrene insulation sandwiched by two sheets of oriented strand board (OSB)
- Gives structure and insulation in one pre-assembled and cut-to-size panel
- Total wall thickness including SIPS panels, internal and external cladding and cavities is 177mm
- Roof is 11mm OSB + 100mm insulation + 11mm OSB = 122mm total
External Cladding
- Pre-cut external timber cladding panels for quick and easy assembly
- No measuring and cutting every single batten and board to size before mounting
- Cladding panels are simply positioned on the building and screwed into place
- Panels are made with 15mm thick premium interlocking tongue and groove boards mounted to framing battens
- Comes untreated and we recommend the application of any of the following:c
- Sikkens Cetol HLS Plus • Restol Wood Oil • Timmersol ETS Double Protectant • Osmo Country Colour • Osmo Natural Oil Woodstain
Internal Cladding
- Pre-cut interior MDF panels for quick and easy assembly for walls and ceiling
- No measuring and cutting every panel
- Wall panels are mounted to 28mm thick battens creating a cavity perfect for routing electrical wiring
- Roof battens are 45mm thick to allow for recess roof lights
- Comes with primer applied – can be painted in a colour of your choice using standard interior emulsion paint
- The panel design has a vertical beaded profile
- The floor is left unfinished for you to add your own choice of covering
Roof Covering
- External roof covering is made from 1.2mm thick EPDM black rubber
- It creates a maintenance free waterproof membrane
- Does not crack, split or rot
- Does not support moss or algae growth
- UV stable & environmentally friendly
- Safe and easy to install – the system is laid with cold applied adhesives (supplied)
- One piece sheet means no joints and no leaks
- 50 years roof life expectancy
- Anthracite grey fascias include
Windows & Doors
- Window material: uPVC 5 chamber
- Window colour: Anthracite grey externally with grained finish Smooth white internally Window locking: Two double clasp, mushroom headed espagnolettes
- Door material: uPVC reinforced 5 chamber
- Door colour: Anthracite grey externally with grained finish Smooth white internally
- Door locking: 7 point multi-lock with ultion three star security barrel
- Glazing 28mm, A rated, double glazed, safety glass
Energy Efficiency
- Highly efficient insulated walls roof and floor
- Double glazed windows
- Warm in Winter, cool in Summer
- Energy efficiency model rating of 78 (category C)*
- Potential to increase to 82 (category B) with the addition of a photovoltaic solar panel
- *based on lighting from 3 x 4 watt LED bulbs and heat from a high efficiency wall mounted heat pump
Tech Specs:
- Dimensions: 290 × 298 × 250 cm
- Construction Type: SIPs panels with external Tongue & Groove cladding/internal MDF cladding.
- Roof Type: Pent
- Treatment: None (Kiln Dried)
- Colour: Natural Timber
- Product Size (h x w x d) cm Overall dimension when assembled, including overhangs: 250 x 298 x 290
- Width at base (footprint) (cm): 297
- Depth at base (footprint) (cm): 250
- Estimated Weight (kg): 1800
- Material: Various – see spec breakdown.
- Country of Origin: United Kingdom
- Wall Cladding Thickness (mm): External 15mm / Internal 9mm
- Door Type (single / double): Double
- Number of Windows: 2 (opening)
- Glazing: Yes – Double
- Glazing Material: Glass
- Roof Material Inner: SIPs panels
- Roof Thickness (mm): 122mm
- Roof Material Outer: EPDM Rubber Membrane
- Floor Material: SIPs panels
- Floor Thickness (mm): 108mm
- Door Locking (eg: plate/wire hasp & staple): 7 point multilock
Shipping Notes
- Free Standard Shipping on $100+ Orders to the USA.
- Except Preorder products are shipped in 48 hours.
- Delivery to the USA:
- Standard Shipping : 3-10 business days
- If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
- We offer a 30-day return/exchange service after receiving.
- Final sale items are not eligible for returns or exchanges.
- To process your return/exchange, please contact us at [email protected]
- Please click here for more details>>> Return & Exchange Policy
4.8 ★★★★★
Based on 8 reviews
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Product Reviews
★★★★★ 5
It's All Right Here. All of it.
Format: Hardcover
I shouldn't even be writing this review because doing so only creates my competition. I'm writing it for Robert McKee out of respect and love for him as one of the best instructors I've never met. I have both STORY and now, DIALOGUE in hardcover, on my Kindle, and the audio version (he narrates his books) in my headphones. I read it, I listen to it and take it with me when I travel. Sometimes I listen and read at the same time. Most nights I listen to the audio version in my sleep. In other words, I eat, sleep and breathe this book. I did the same thing with Story, his other book. I may go to my grave never fully comprehending the vast wealth of knowledge contained in these two books. That's OK. What I can tell you is this. With nothing but STORY as my guide, my very first screenplay took seven months and thirty-five drafts from start to finish. But. That screenplay became a Hallmark Movies and Mysteries feature film. The producers liked it so much they gave me another assignment. That one took six weeks, and they bought the first draft. I'm now working on my fifth script; this one is in the six-figure category, with five figures upfront just for the Treatment. And I owe it all to everything I've learned from studying Robert McKee, supplemented by what I learned from everyone else. Over the past thirty years, I’ve studied with forty plus instructors and highlighted hundreds of books and listened to dozens of recorded seminars. All that information is summed up and thoroughly explained in Robert McKee's two books STORY and now DIALOGUE. I won't live long enough to absorb everything he teaches. And I still study two hours a day as a warm up for my writing. I’d recommend Aaron Sorkin, Warner Hertzog, William Goldman (both Sorkin and McKee say he's the greatest), Blake Synder, Chris Vogler, Michael Hauge, William Akers, and anybody else you can find who’s willing to share their knowledge. Because you never know when a concept you didn’t realize you didn’t understand or needed is going to show up. Especially when presented from a different perspective. Having said that, if you are serious, and I mean dead serious, about becoming a working screenwriter, or any other kind of fiction writer for that matter, then you have no choice but to study McKee like your literary life depends on it. Buy the hardcover, buy the Kindle version, and buy the audio version of DIALOGUE and STORY. And supplement these two works with any other material that speaks to you. If you do this, you will become a first class screenwriter or novelist or playwright, because all three genres are only different ways of presenting a Story. If you can’t commit to this, unless you’re a genius or prodigy, you’re wasting valuable time which could be spent following your true life calling. But if your heart’s desire is to become a working writer, then sooner or later you’ll have to know everything in McKee’s two books. So, you might as well bite the bullet and jump in head first. It's all right here in STORY and DIALOGUE. All of it. Thank you, Mr. McKee. You, sir, changed my life.-- Jimmy Hager
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Reviewed in the United States on September 21, 2016
★★★★★ 5
A book on dialogue should be experienced first as a book on tape
Format: Audio CD
I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
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Reviewed in the United States on August 30, 2018
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful.
McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do.
However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies!
If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why.
McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism.
Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging.
With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else.
In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree.
But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
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Reviewed in the United States on December 12, 2019
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
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Reviewed in the United States on April 18, 2017
★★★★★ 5
So to speak
Format: Kindle
Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
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Reviewed in the United States on June 12, 2017
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