Paging through the Destination Guide I came across an entry for Outpost Bay, sitting within the region hosting The Boathouse, and which at the time of my last visit has been a private space for Sorcha. So, intrigued, I had to pop over and have a look.
Outpost Bay, July 2026
Listen to the gentle sound of waves and birds as you take a peaceful stroll down to the beach and relax by the vintage changing huts. When you’re ready, wander into the cosy Concept Store to pick up a fresh coffee, breakfast, and something good to read. Settle in at a table on the deck to enjoy the morning sea breeze, or head over to the lighthouse and take a boat out on the water. Outpost Bay is a warm, rustic place made for slowing down, unwinding, and living in the moment.
– Outpost Bay Destination Guide Entry
Outpost Bay, July 2026
One of the things I really appreciate with Sorcha’s designs is how she can take a relatively small space and turn it into something that is inviting and encouraging of visits.
The Boathouse Café, for example sits on 3120 sq metres; Outpost Bay is barely bigger, sitting on a 3136 sq metre parcel. Yet both are visually impressive and photogenic, carrying plenty of detail without either parcel ever feeling overcrowded.
Outpost Bay, July 2026
Given the two locations are within the same themed region (and sitting just across a water channel from one another), they share something of a similar look, both in terms of the flora and the buildings present on them.
This is not a critique: by using the same flora and similar architecture, Sorcha creates a sense of continuity flowing between the two islands – and with the rest of the estate. It also suggests that both islands were developed as little places of commerce around the same time, the buildings sharing ta wooden construction style as they were built around the same time and shared the same readily-available materials in the form of the trees growing on them.
Outpost Bay, July 2026
With Outpost Bay, the main building was once a warehouse-come-seafood market, the original signage conjuring images of fishing boats coming alongside and their catch going from boat through cleaning to sale.
Now, however, the building serves as a café-come-store (do note that the doors are phantom, rather than opening, so just walk through them). It’s a little tired inside, to be sure – perhaps a statement to its frequent use – but there is more seating outside on a wooden deck for those who prefer.
Outpost Bay, July 2026
The one exception to the dominance of wooden buildings in both settings is the tall white tower of Outpost Bay’s lighthouse. This looks out over a rocky corner of the island which might cause boats passing along the channel between it and the next island over.
With the lighthouse and café located on the east side of the island, the rest is relatively open as a wild garden which partially surrounds the cafe’s deck before giving way to a cosy beach alongside a short, rocky length of coastline.
Outpost Bay, July 2026
The sands of the beach is patrolled by godwits and watched over by ibis whilst offering humans a place to relax and enjoy the summer Sun.
There is a main path wandering through the setting, and it does so in a manner intended to reveal rather than simply lead, winding out from the cafe’s deck it gently reaches out to the lighthouse and the beach, allowing people to gently explore and discover many of the little touches Sorcha has placed around the setting.
Outpost Bay, July 2026
In all – and as I noted with The Boathouse Café – Outpost Bay is an utterly delightful setting with a lot to offer for those seeking to relax and those wishing to take photos. Individually or taken together, these are locations well worth visiting.
Nathhimmel – Sula Sgeir, July 2026 – click any image for full size
Sula Sgeir – or Sùlaisgeir in Gaelic – is one of the most remote isles to be found in the British Isles. Less than a kilometre in length and about 200 metres across including a headland, it is marked by high cliffs, frequently inhospitable weather, and remains uninhabited by humans for most of the year.
The island is most famous for its population of gannets, and (more infamously) for the annual autumnal ‘guga’ hunt for young gannets by men from the Isle of Lewis, 70 kilometres away, where the bird is considered a delicacy.
Nathhimmel – Sula Sgeir, July 2026
I mention all of this because Sula Sgeir is the name given to the latest Nathhimmel region build by Konrad Rune and Saskia Rieko, this time additionally assisted by Art Oluja (Artistik Oluja) who has added a fantastic soundscape to the setting.
However, rather than focusing on the actual island of Sula Sgeir and its bloody and callous hunt, Nathhimmel’s Sula Sgeir focuses on an underwater environment through which visitors can engage in their own far more pleasant adventures: diving, swimming and exploring the ocean depths either freely or aboard a 2-seat mini sub or on a “jelly(fish) ride”.
Nathhimmel – Sula Sgeir, July 2026
The Landing Point is a small deck on an outcrop of rock rising above the waves and loomed over by a gigantic Moon. While this island is small, it does contain the skeletal remnants of a great dome standing behind it – a possible hint of a waiting mystery?
The deck includes givers for a swimming HUD, the “jelly ride” (which is a wearable vehicle by Art), and a rezzer for the mini sub. The latter is of Konrad’s design, and a neat little 2-seaters for sharing with someone or simply enjoying on your own.
Nathhimmel – Sula Sgeir, July 2026
Beneath the waves is a strange and haunting world, one in which it is very easy to take on the spirit of Jacques Cousteau when exploring its depths.
However you opt to go, once you are underwater it is essential you have local sounds enabled to add to the sense of immersion as you move amidst fields of tall seaweed, forests of twisted corals, and over an almost alien landscape of strange luminant aquatic plant life.
Nathhimmel – Sula Sgeir, July 2026: “We cruised on, slowly descending to leave most sunlight behind, our headlamps spearing the darkness. At first there was nothing, then, slowly out of the watery haze, giant and majestic figures emerged…”
In the shallower waters, sunlight attempts to probes the water, shafts of light spearing down. Elsewhere it is possible to spot the red glow of ocean floor vents and the now quiet mouths of fumaroles gaping wide, the heat that may have once caused them to once belch clouds of mineral-rich gases long since moved on.
As visitors skirt jellyfish and schools of fish, the flickering, hazy light will eventually reveal the giant denizens of this world. A trio of giant manta rays appear to holding a council session; humpback whales slowly emerge through veils of shimmering, fading sunlight, whilst the ghostly forms of blue whales appear from within the forests of seaweed and kelp-like growths.
Nathhimmel – Sula Sgeir, July 2026: “as we slowly circled the motionless leviathans, we realised they were not alone. To figures floated listlessly, victims of some catastrophe we had yet to understand, and the whales remained, bodies inclined with heads down, as if mourning this tragic passing…”
This is a place holding secrets as well. The humpback whales have their great heads dipped as if in mourning, the lifeless forms of two divers in deep sea gear with airlines detached and the visors of their helmets glowing eerily, floating before them, caught in a state of neutral buoyancy before they could reach the surface. What happened to these poor souls is open the question – perhaps they are connected to the secret hidden in deeper waters.
Then there are the glowing fronds and planets and the strange blue veins to be found in some of the rocks. What do they signify?
Nathhimmel – Sula Sgeir, July 2026
It is to the north and west where this ocean’s secret lays. Here, the the sea floor falls away sharply and sunlight is left behind. At first it appears to be an abyssal deep where not even the whales stray, leaving only the tall fonds and watery growths. But then, from between the growths comes a dance of light, a flash which demands attention.
Close on this lone point of light and it will reveal itself as an abandoned deep ocean structure, its domed roof mindful of the wrecked dome at the region’s Landing Point. Pipes run into it from the surrounding seabed, but what might it be? And what is it lying within, expanding and contracting slowly as if in respiration? Those are questions to be answered by your own imagination.
Nathhimmel – Sula Sgeir, July 2026: “Our descent into this strange world continued, slowly approaching the limits of our dive capabilities. We were about to come to a halt and start an ascent when something loomed up from the sea floor, something which should have been impossible: a structure apparently made by human hands…”
For my part, I will only suggest that getting down to this strange structure is possibly best done using one of Konrad’s mini subs. Whilst a little choppy on the controls, they handle well enough, and going down into the depths of the setting in one definitely heightens the sense of mystery and deep-diving adventure.
My only other observations would be to make sure you obtain introductory notecard at the Landing Point – it contains a backstory touching on the mysterious nature of Sula Sgeir. Also, as if it needs mentioning, do make sure you use Nathhimmel’s Shared Environment when visiting, and for the best immersion, make sure you are running a PBR capable viewer.
Nathhimmel – Sula Sgeir, July 2026
I have never failed to be impressed by the designs Konrad and Saskia create for Nathhimmel, and this remains the case with Sula Sgeir. Fascinating, and engaging, it is a genuinely captivating aquatic environment given additional life by Art’s soundscape, and definitely not a destination to be missed.
Grauland / Primary Colors, September 2024 – click any image for full size
MorganaCarter, who is one of multiple people who have pointed me to various regions and parcels over the years, dropped me an IM directing me to Jim Garand’s Grauland Flickr group, and specifically to an image and message simple in form, but very saddening:
Many people in SL have regarded Grauland as a favourite location; a place to visit and enjoy, each new iteration bringing something special to our digital world.
For more than seven years I’ve routinely visited it to appreciate Jim’s work and to blog about it. And while I didn’t managed to captures every single version of the region which arose in that time, I did cover 30 – and I will genuinely miss being able to visit it and see what else has come forth from Jim’s fertile imagination.
The builds Jim has presented with Grauland were always unique, although there were certain themes to which he would return – sci-fi, urban, minimalist, industrial -, but no single design ever re-tread exactly the same path as any previous design.
My first visit was in March 2019; I think that was to the first region build Jim had opened to the public – but I could well be wrong on that. At that time, the region was leaning heavily into a landscape-as-gallery, featuring things like an arrangement of great concrete blocks (a geometric motif which would oft appear in Jim’s designs in various guises), an indoor galley and outdoor 3D displays.
Art always remained a part of Grauland, be it front-and-centre, as in March 2020 with Grauland Castle and Art Park and again in July of that year in which an ancient henge, modern architecture and statuary all combined with the landscape, or with June 2021’s Grauland Falls; sometimes it was more subtle, as with October 2021’s Grauland’s Lights, where geometrics forms and a cityscape served to highlight the use of lighting in Second Life; sometime it even appeared to be a natural part of the architecture or urban space – a graffiti-marked statue here, wall paintings there…
As well as offering unique designs, Grauland could also present places inspired by locations in the the physical world – tropical islands, deserts, urban centres and industrial outlands and more. Iceland in particular became the focus of two designs (both favourites of mine, as I’ve always loved the times I’ve spent in that country) – July 2023’s Grauvik and February 2025’s Grauvik 2 – both of which were set on a fictional island just off the Icelandic coast.
As noted earlier, Grauland also took us to places far away from Earth. Some of these carried with them the opportunity for visitors to create a back story to account for the mystery which might be implied within them (November 2023’s Grauland / The Deity Machine) or engage their their sense of adventure, as with January 2023’s visit to a space station and a Mars-like planet, together with The Grauland Cluster (September 2025) and June 2026’s visit to the Spires of Sector 7.
One – The Last Trees, from April 2024 – might be seen as gentle warning about the perils of unchecked global warming here on Earth, whilst Arrakis / Fremen Home in May 2025 offered a take on Frank Herbert’s Dune.
One of my favourite industrial designs Jim produced was Grauland / Primary Colors (September 2024), a marvellous setting in which primary colours were very much part and parcel of the build, often in the most subtle of ways (just look at the use of red on the locomotive), and which very cleverly gave a hint as to where it might reside were it in the physical world thanks to an advertising board.
Grauland is going to be missed by many, and there is so much more that might be written about it, but I’ll close here with the words I left for Jim on the Grauland Flickr group – if you’re also a fan of his work, I hope you’ll leave some words of appreciation as well -, and a couple more images.
Will always appreciate the work you put into Grauland, Jim, and in being able to visit and blog. Many, many, thanks for all the time and effort and consistently building special places for us all to enjoy.
The Looking Glass, July 2026 – click any image for full size
It has been a decade(!) since I last visited The Looking Glass, the stunning region that is home to creative genius of Marcus Inkpen and Sharni Azalee, supported by ColeMarie Soleil.
It’s been a place which has captured imaginations time and again down the years, and has been on my list of places to revisit for a fair while, particularly since the more recent graphical and performance improvements made to the viewer.
The Looking Glass, July 2026
For those who may not be familiar with the work of Marcus (aka artist, musician, writer and actor J. Matthew Root) and Sharni, they are two long-time Second Life creators with a focus on fantasy designs.
Those who participate in the annual Fantasy Faire will likely be more than familiar with their work; between them they have over a decade and more, produced marvellous regions for that event.
The Looking Glass, July 2026
For his part, Marcus specialises on architecture, while Sharni creates everything from furnishings and décor items to plants and flora to mystical and fantasy elements, many of which are used to bring life to their designs, as is amply demonstrated in the Fantasy Faire worlds and within The Looking Glass.
Both are incredibly talented artists, and I’ve had the pleasure of witnessing their work in the past as both a reviewer and judge of University of Western Australia art events (now sadly gone from SL), in which Sharni’s work has been justifiably the recipient of multiple awards.
The Looking Glass, July 2026
The Looking Glass offers a truly marvellous means of immersion into their combined work. Almost everything within the region has been created by either Sharni or Marcus, and can be found in The Looking Glass (TLG) store, which is perfectly blended into the setting, residing as it does within a number of buildings.
However, the region isn’t merely a showcase of designs; it is a world to be explored from its waterfront Landing Point through to the islands serenely floating in the sky. Within it can be found places of romance such as the ballroom, places to share in the company of someone close, gardens of fae and magical delights, places for celebrating dance and music, corners of mystical goings-on – there is even a hidden crystal chamber awaiting discovery (among other hidden places).
The Looking Glass, July 2026
And, of course, there is the citadel climbing nigh-on 200 metres into a sky slowly brightening in response to a rising Sun.
With hundreds of windows lit from within and staring all around, the citadel alone is a place of wonder in its design and size and as a place of exploration and discovery. Not only does it feature the core of The Looking Glass store (with more to be found within the Basilica and the Feed your Head store close by), it houses an art gallery recalling Fantasy Faire Builds by Marcus and Sharni from times past, together with an exhibition of Marcus.
The Looking Glass, July 2026
To help people find their way around, there are teleport stations, but for initial explorations, I really recommend stating on foot; the stations are plentiful enough to be easily found during on-foot explorations.
That said, there are areas within the region which do require the teleport system to reach them. Chief among these are the upper reaches of the citadel, which include a Library with an outdoor space and neighbouring room However, the teleports do not connect to all the points of interest; some, such as the floating islands and upper reaches of the citadel (which I believe are open to the public) appear to require flying to reach them.
The Looking Glass, July 2026
Stretching out from the citadel tower and diagonally across the region is a great bridge, its arches taller than any of the buildings clustered to either side of it. Easily spanning woodland at water channels, the bridge extends out to the events amphitheatre whilst offering a magnificent, lantern-lit look back at the great tower.
With its own dome of stars twinkling under the lavender-tinged sky and cross which blazing meteors arc, this is another magical place. As well a offer a stunning view at the citadel, the bridge offers an excellent vantage point to look out over the town and lands below, providing a marvellous view of the great open-air ballroom in its ring of ruins.
The Looking Glass, July 2026
A ramp curls around the tor on which the amphitheatre stands, providing access both to and from the ground. I do suggest walking up (or down, if you come to the amphitheatre from the citadel) it and through its tunnel.
Keep your eyes peeled as you do, and you might find the entrance to one of the hidden secrets of The Looking Glass. Another is to be found here as well, just be prepared to get a little wet when accessing it J .
The Looking Glass, July 2026
The Looking Glass is a place of great beauty and a huge attention to detail. Tucked away throughout are corners presenting places of retreats along with the floating islands. There are also touches of whimsy to be found as well – who knew hobbits drove VW Beetle convertibles, for example!
There are also more semi-hidden places to steal away to, some of which add a certain sense of character and life to the setting. Several of the buildings, far from being mere display pieces are furnished, with one or two heightening the sense of mysticism present throughout.
The Looking Glass, July 2026
Even some of those which are not furnished have been set to enhance the feeling that this is a place where times and life passes: lights shining from windows, fires visible in hearths – even a bureau tucked into the small bay of a house, topped by an ornate Moroccan tea set and softly lit by a lamp, gives the impression someone is at home.
To summarise – a genuine work of art from the tallest tower to the most hidden of chambers. Timeless, it sits as a song to the creative potential of Second Life.
The Mobile Learning Centre: general information boards
Back in June 2026, I wrote a piece on the Mobile Learning Centre, a Linden Lab created experience geared towards incoming users accessing Second Life via the Second Life Mobile app (and those existing users who are new to SL Mobile) gain familiarly with using the app and finding out more about Second life as a whole.
As there is also a broadly similar experience for new users coming into Second Life using the Desktop, I thought it only fair that I revise / replace the original piece with one covering both. Hence this new article.
The Mobile Learning Centre is one of the SL Mobile Experiences seen when logging-in to the App, and accessed by tapping the GO button.
Like most tutorial experiences current and past, the Learning Centres take a familiar route of guiding users through a series of lessons.
However, and unlike many past tutorials of this nature, these avoid trying to cover everything some might regard as “essential”, these Learning Centres focus on the absolute basics in getting started: moving, jumping, chatting, sitting, standing, teleporting. This allows them to be useful without being overwhelming because of the volume of information a new user is being asked to digest in a single pass.
As a brief overview, both experiences:
Present the same lessons, information and challenges in the same environment, in a manner consistent with whether the user is using the Desktop viewer or SL Mobile.
Take the form of a space station, with learn-by-doing lessons progressing through a number of rooms to which the user gains access by “collecting” (walk through) large stars, whilst including a “side quest” in which the user “helps” the captain of the space station.
Have teleport portals and boards to places like the Welcome Hub and other new user experiences to help the user increase their engagement with the platform and learn more.
Control additional options and challenges, offering opportunities for entertainment whilst learning.
The stars to be “collected” are colour-coded to the the rooms to which they are required in order to gain access, and form a core part of the lessons being provided in each of the learning rooms. The number of stars required to access a room is presented on the door to that room.
The arrival point for both experiences comprises informational boards on most of the above – collecting stars, the side quest, etc. Together with the first elements of the tutorial signage.
These tutorial graphics are simple, direct and easy to follow. They’ve been specifically designed to communicate necessary information without relying heavily on text, thus avoiding complications of translation, localisation, etc. They are also obviously application focused: users at the SL Mobile Learning Centre will see graphics specific to the Mobile app, and those at the Desktop Learning Centre will see graphics specific to the Desktop viewer.
Learning Centres: movement tutorial graphics for SL Mobile (left) and Desktop (right)
This does mean that in places, the Desktop Learning Centre does have more such graphics than the Mobile Learning Centre, but this is to be expected because of things like the different modes of control available in the Desktop viewer. This can be seen at the arrival point of the Desktop Learning Centre, which includes graphics on text chat range and camera manipulation (the former included not only because it is essential to understanding text chat but also because it was found new users often ask a question of a mentor within places like the Welcome Hub – and then walk out of range before a reply could be provided).
From the arrival point, and after walking through two yellow stars, users can progress down a ramp to collect the stars needed to access the next tutorial room – this one focused on avatar navigation using an elevated walkway. This is followed by a room focused on jumping / flying (placing users in an aquarium!), prior to a visit to the ship’s bridge to earn the thanks of station’s Captain.
The Mobile Learning Centre: elevated walkway
At the lower end of each experience, there is a large, galleried social space. This contains places to sit (with graphics on how to do so) and the option to collect red stars to open a floor accessway to the tar Run challenge, located underneath the area and accessible once five red stars have been collected. However, this is where the similarities between the respective areas in the two experiences end.
Within the Mobile Learning Centre, this area includes the teleport portal to the Welcome Hub, a teleport board to other experiences and instructions on how to access the Destination Guide and teleport to locations. There is also a side room with a picture gallery of locations in Second Life, together with windows looking out over what appears to be a black hole.
The Learning Centre: portal to the Welcome Hub and instructions on accessing experiences and the Destination Guide
By contrast, the same area within the Learning Centre makes no reference to the Destination Guide, and as the Welcome Hub teleporter is located at the arrival point (together with a portal to the Adult Hub), it is also absent. However, it does provide access to a much larger social area.
Called the Moonview Zone, it comprises group of beanbags set around low tables which are all set around a central bar. A huge viewscreen / window to one side looks out over an alien world. Facing this are two further teleport board and instructions on setting a home position and creating landmarks (but, again oddly, nothing about accessing the Destination Guide). Also within the Moonview are the entrances to two challenges: an obstacle course to further refine walking / jumping abilities and the Ring Challenge to test flying skills. Rewards may be given on the completion of either.
Desktop viewer Moonview Zone
The Desktop Learning Centre also offer a “mid-level” area which includes links to the Second Life social media outlets; a landmark giver for various community gateways offering free items to new users; and two boards of the single-player Merge game (Darkmoon Edition), and a Group joiner for the SL Friends For Life Group.
Whilst a similar area is present in the SL Mobile Learning Centre, it is currently empty, perhaps because of the current level of SL Mobile’s capabilities.
Desktop viewer learning Centre: Ring Challenge
It’s likely that some might feel the Learning Centres don’t cover enough essentials – what about IMs? what about text chat in the Mobile app? What about inventory access? And so on. However, offset against this is the need to keep things as useful as possible in order to get users started without overwhelming them.
Take IMs as an example: do you just cover person-to-person IMs? Then what about Group IMs? If you are covering Group IMs, then surely at least the concept of groups needs explaining (even allowing for the joiner mentioned above). And what about conference calls? And so things spiral – and the same is true for things like inventory on the Desktop.
In this, it is also worth noting that these Learning Centres don’t reside in a vacuum or are a one-stop, “That’s all folks!” form of learning. There is at least the Welcome Hub for further guidance – although I do have a small caveat here, which I’ll come to. Further, these Learning Centres have been developed using feedback gathered from users, and they have been involved in A/B testing with other new user on-boarding tutorials, and both have consistently scored well with incoming users.
The Mobile Learning Centre: finding Rilo
My one caveat mentioned above is that currently, the Welcome Hub is geared solely towards the Desktop viewer. Even with mentors present to at least explain the existence of the Desktop viewer, it struck me that this could be confusing to incoming users on SL Mobile. Perhaps a dedicated landing area for those teleporting from the Mobile Learning Centre might help alleviate this? It could even include a teleport back to the Learning Centre for those who may have accessed the portal there prematurely / in error.
Other than this, I found both experiences pleasant and easy to follow. There is potentially space to add further information / tutorial infographics if the need arises (e.g. to reflect SL Mobile’s increasing capabilities, if required). The graphics are mostly language-free, as noted, and of a size and form where they should be easy to follow regardless of nationality or eyesight; the lessons suitable for what they are trying to achieve and the Desktop viewer challenges off of the Moonview Zone reasonably engaging.
The Mobile Learning Centre lack a Moonview Zone, substituting a destinations showcase instead (albeit without location names or teleports)
If you do opt to pay a visit to either, you can follow the SLurl to the Desktop learning Centre as given below (it’s also in the Destination Guide), but for the Mobile Learning Centre, please do so via the App itself – you’ll find the Learning Centre listed in the Experiences.
Soul Deep, July 2026 – click any image for full size
I dropped in to Kaelyn Elara’s Soul Deep recently, some 16 months after my last visit. At that time the region comprised a series of islands under a summer Sun, the design by Kaelyn and Jacky Macpherson. Richly detailed and with paths and trails to wander, it was a place I found relaxing for exploring both on foot and on horseback.
For my July 2026, I found the region was now a single, roughly T-shaped island caught in that period of time when summer is vying with autumn (or fall if you prefer) for our attention.
Soul Deep, July 2026
It’s a setting that comes with an almost poetic description by Kaelyn:
Where the salt wind carries whispers of Autumn. Wander weathered beaches, follow winding paths through golden grasses, and rest beneath trees that lean toward the sea.
Here, hammocks sway, campfires glow, and gulls wheel above an ocean that feels endless. This is a place for slow breaths, long looks, and soul-deep moments, where hope drifts in like the tide and stays a while.
– Kaelyn Elara on Soul Deep
Soul Deep, July 2026
The Landing Point sits close to the northern coastline of the “bar” to the island’s “T”, sitting on a rough path running west-to-east and between two of the three buildings to be found here. One of these, off to the east, is a café space while the one to the west is a cosy cabin. Both have a little camp site close by.
The island is low-lying; a mix of scrub grass, sand and trees, the ground broken here and there by groups of rocks. Off to the south, at the end of the second arm of the island sits a large wooden house (the Piper Hideaway by Cory Edo), this one with a little camp fire outside. Another trail meanders down to it from the north end of the island .
Soul Deep, July 2026
There are two Teegle horse rezzing hitching posts with this setting. When touch, these will offer a selection of horses of various breeds and sizes -turn of your AO and then right-click the horse to mount / sit. The mostly open nature of the island makes riding easy (just mind the beach fencing!).
The beaches offer places to sit and relax as gulls circle overhead (or keep watch on things from local signs!) and sailboats lie offshore. it’s a genuinely relaxing setting, rich in local sounds.
Soul Deep, July 2026
What I love about Soul Deep is the continued simplicity Kaelyn and Jacky place in their designs; the settings are always entirely natural in look and feel, never overcrowded; just rich in details and small touches.
Just take the way the cabin and the house are furnished – both are open to the public – or the way the café and its seating are laid out; they all offer a sense of life and presence, but never of any artificiality or sense of being props.
Soul Deep, July 2026
The same is true for the landscaping and the the items and objects to be found around the island – the rowing boats, the signs – everything has a simple, binding beauty.
Photogenic and peaceful, Soul Deep continues to present the perfect getaway setting to soothe the mind.
Inara Pey: Living in a Modemworld 