Bradbury Custom House

This novel barely mentions a painted house until nearing the end. It actually almost seems insignificant to the plot unless you analyze how the characters are feeling. The Chandlers are one of the few people in their town with an unpainted house. One of the antagonists Hank Spruill mocked

On May 3rd when I visited the site where the Norman Blumberg Housing Project once stood, the air was hauntingly peaceful. I had read about the notoriety of the site during my research, how over its existence it had become an area of concentrated poverty and crime, but on this day this urban setting was quiet and calm. On the two square city blocks where a complex of apartment buildings once ruled the landscape, only a single high-rise remained among the unchecked wild grass. However, even in the peacefulness of this day in Sharswood, the looming presence of the infamous Norman Blumberg Apartments could still be felt.

People started running around frantic making sure that the new future Ashby wives had everything they would need or want once they were brought into their new house. Housemaster Vaughn is said to arrive in less than an hour with the three girls who were rescued out of their miserable lives to be brought into this house that we’ve all called home for most of our lives. All I can think about is this house having something new brought in to change it up a bit. The past couple of weeks the house has been filled with sadness because of Rose getting sicker and sicker, so all we need is something to help take our minds off of it. While we’re finishing filling the rooms with clothes, bedding, and all the makeup and bath supplies the girls would

A popular, dominating style of home in Colonial America was the “Georgian” which can be traced to the prime of Europe, the Italian Renaissance. Georgian homes as presented lay on a raised foundation and are held by multiple pilasters, which happen to be equally distributed, for another characteristic of these early homes is symmetry. When the line of symmetry is drawn or imagined, the two halves appear identical. From even further than the ground up, from the foundation above, both houses have pillars, pilasters, windows, wood, glass, chimneys and so on of uniform size and style. Even the entablature that lies above the windows and columns appear to have no variation. Within this symmetrical design, there is stability, a decrease in the possibility that the house may cave in; rather than asymmetry, which has a higher likelihood of collapse.

The house is architecturally significant because it is one of the last examples of a simple, two- storey stone house on the gold fields. It was built in two sections, the single storey being built in 1856 had a symmetrical front facade of local coursed sandstone rubble and dressings to openings. The second section being built in 1861 was built to match the earlier part of the house with the same materials being used. Across the first floor there is an elegantly detailed cantilevered timber balcony with a hipped concave roof and with two French windows opening into it. Cantilevered balconies used to be common in Bendigo, but they are now rare, thus giving the people of Bendigo a visual of how buildings have changed throughout the years, making it a significant part of history. Along with the architectural significance is the historical significance, as it is among the few that was documented as being run as a brothel in the nineteenth century. Again this building is not an Antique or a Shrine as it is a piece of vital evidence about the past, and how houses were built and what materials were mainly used in past times which also demonstrates the evolution of Australia’s

Throughout the years of when constructing homes were being thought of through blueprints, pictures, or even just a simple drawing it could be a start to a new era of style in the housing industry. The different styles that were made through the centuries have certainly stuck around and can be seen anywhere. Growing up in the south, there were so many different styles of houses seen but the most prevalent to some would have to be the Georgian. The huge pillars defining the front of the house were described as a classic southern home to some, very commonly related to a ‘Plantation Home’.

The church is of national architectural significance as it is considered one of the most excellent-perfect (late 19th Century) quality designs of Austin and Paley’s work. The building its self is also considered as one of the finest examples of church buildings of its era in the whole North West of England. According to the Conservation Plan (2007, p.43) the church also ‘’ makes a positive contribution to the national corpus of late Victorian churches through its quality of design and execution….’’The interior arrangement of the church building is bizarre and unusual for its construction period since it has a dramatic statement of openness and light, producing so an extremely visually stunning atmosphere. Relatively simple but of high quality internal fittings are harmonizing and emphasizing the structure and the design of the church. (TFC Cultural Heritage, 2007,

When considering the life and the work of Charles Vyse, one should not overlook the influences that shaped his artistic sensibilities. Those unfamiliar with late nineteenth century Stoke-on-Trent, may find it anomalous that this city should exert such a strong influence on his formative years. This unlovely city, known throughout Britain as The Potteries, exercised a power over all its inhabitants, bending their will to the service of its two enormous industries, Pottery making and Coal Mining. Here talk of diverse pot making activities permeated the daily lives of its inhabitants (Fig 01). The Potteries, so often maligned for its lack significant architecture, the meanness of its worker’s houses; conversely, is capable of producing

Robert Adam was brought into the build of the country House after the initial plans were begun as “Kedleston Hall was begun in 1759, by Brettingham, continued by Paine and completed by Robert Adam” when Sir Nathaniel Curzon became impressed by Adam’s work shortly after his travels to England, Rome and the Grand Tour. He’s described as the “greatest British architect of the later 18th century” and

Jenny Uglow’s masterpiece chronicles the life of William Hogarth, one of the greatest illustrators in history. The book leads the reader on a journey of Hogarth’s birth, early life, entry into art and his eventual maturity as an artist. It explains that William Hogarth’s birth took place in the United Kingdom in November of the year 1697. He was the son of an uneventful writer and schoolmaster from Westmoreland. In the early years of his adulthood, William Hogarth was an apprentice of a goldsmith. By the year 1710 William began producing his engraved projects (Uglow 23). Later on in his life, William Hogarth began oil painting where he began by painting small portraits groups named ‘conversation prices’. Motivated by the previous projects, William Hogarth proceeded with more projects that contained satirical paintings. The paintings mocked modern customs inspired by early Italian prints. The

London Houses were black and white, and the designs were high distinctive for its typical Elizabethan architecture. Elizabethan London Houses had vertical and diagonal timbers, leaded windows, thatched roofs, high chimneys, overhanging first floors, dormer windows and pillared porches.

The Victorian style of houses dates back to the reign of Queen Victoria. This luxurious style comes in copious different varieties, but is all tied together with minuscule detail work. The Victorian era spurred a worldwide want to decorate houses with decorative trimming and beautiful colors to make them more ornamental. Pastel reds, blues, and greens were common in these houses, making them appear bright. They also had exquisite designs around the windows, spindles that twisted in bizarre shapes, and all kinds of different sized windows. These houses and styles were incredibly common as well as a result of mass-production, making the materials cheaper for production and shipping. Inventions such as the steam engine and railroads made shipping these materials much easier than ever before. This led to even more ornamental designs around gables, porches, and windows. Even porch fencing and posts were decorated with scroll-sawn spindles and cornice. These minuscule details that could be closely compared to the ever so popular lace of that time were integral to the Victorian house for the reason that it took empty areas and dressed them up. These grand and elegant victorian houses had complex looking exteriors and that’s likely to be by cause of the maze-like layout that creates odd shapes, the elaborate trimming, and the materials and colors used.

the precise ratio of lawn to perennials in the front yards to the scrollwork on the Victorian porches to the exact relationship of column, capital and entablature on the facades of every Colonial Revival, had been stipulated – had in fact been spelled out in the gorgeous and obsessively detailed “Pattern Book” that governs every facet of architectural and even horticultural life at Celebration. I knew all that, yet now I felt it too, and how it felt was packaged, less than real, somewhat more like a theme park than a town” (Pollan 1997. p 56).

Morris was born in Essex to a wealthy middle-class family, Morris then studied Classics at Oxford University. After university he trained as an architect and developed a close friendship with Philip Webb, a fellow designer. Webb and Morris went on to design a family home, Red House in Kent (see figure 2), where the Morris’s lived for six years from 1859 to 1865, before relocating London. In 1861, with a group of friends, they started a business called Morris,

Shutters drawn, shops barred. A red glow here and there to mark a tryst. Brusque the facades, almost forbidding; immaculate except for the splotches of shadow cast by the trees. Passing by the Orangerie I am reminded of another Paris, the Paris of Maugham, of Gauguin, Paris of George Moore. I think of that terrible Spaniard who was then startling the world with his acrobatic leaps from style to style. I think of Spengler and of his terrible pronunciamentos, and I wonder if style, style in the grand manner, is done for. I say that my mind is occupied with these thoughts, but it is not true; it is only later, after I have crossed the Seine, after I have put behind me the carnival of lights, that I allow my mind to play with these ideas. For the moment I can think of nothing – except that I am a sentient being stabbed by the miracle of these waters that reflect a forgotten world. All along the banks the trees lean heavily over the tarnished mirror; when the wind rises and fills them with a rustling murmur they will shed a few tears and shiver as the water swirls by. I am suffocated by it. No one to whom I can communicate even a fraction of my feelings…