Houses and Ornaments of Early Filipino Age

Upstairs there are three bedrooms, two baths: total square footage, twelve hundred and sixty-five”, (p.2) Castagna demonstrates solidity, security, clean conventional lines as well as borders which symbolises Antonio’s settlement in

wooden front porch, with roof, and entry through the front door that led to a front hall.

At the most remote end of the crypt there appeared another less spacious. Its walls had been lined with human remains, piled to the vault overhead, in the fashion of the great catacombs of Paris. Three sides of this interior crypt were still ornamented in this manner. From the fourth the bones had been thrown down, and lay promiscuously upon the earth, forming at one point a mound of some size. Within the wall thus exposed by the displacing of the bones, we perceived a still interior recess, in depth about four feet, in width three, in height six or seven. It seemed to have been constructed for no especial use within itself, but formed merely the interval between two of the colossal supports of the roof of the catacombs, and was backed by one of their circumscribing walls of solid

What’s the difference between a young Hispanic girl and a soldier in the Vietnam War? It sounds like a bad joke with an even worse punchline, but though there may be many true answers to this question, there are more similarities than one might imagine. These similarities can be observed in Sandra Cisneros’ The House on Mango Street and Tim O’Brien’s The Things They Carried and their main characters, Esperanza and O’Brien, respectively. Both novels divided into non-chronological stories, both involve characters who feel stuck in their situations, and both realize the importance of returning for the people they left behind.

Before me loomed the old observatory which would be our home for the next year. Its walls were an expanse of red brick stacked on red brick, contrasting the two white front doors and the white domed tower. It sat atop Henrick Cliff with large fields sloping down from the front of the house. The tower could be seen rising from the back of the house, with the cliffs edge and sea beyond that. The observatory looked like a forgotten castle, waiting for the next rulers to occupy it.

The fourth floor is the children's floor and it has four bedrooms and a play stage. This is where the children slept and where they would host plays. The rooms are lined with beautiful hardwood floors, white walls, and they have windows in each room looking into the other room. There is even a little door that the kids used to hide in. Each room had a fireplace in them for the cold

The architect's choice of material for the Fisher House is cypress wood set on top of a quarry stone platform. Use of cypress wood and lack of ornamental decorations throughout the building accentuates the cubical and geometrical features of the house. The large windows, window bays and the vertical slits on the facade create the impression of depth and massiveness of the walls, though not true, they add to the stability and sense of balance of the structure. With the passing of time and aging of the building the color of cypress wood changes and this is reminiscent of Kahn's belief that a building must carry its scars. (Figures 5 and 6)

A review of the house itself suggests that an architectural hierarchy of privacy increases level by level. At first, the house seems to foster romantic sensibilities; intrigued by its architectural connotations, the narrator embarks upon its description immediately--it is the house that she wants to "talk about" (Gilman 11). Together with its landscape, the house is a "most beautiful place" that stands "quite alone . . . well back from the road, quite three miles from the village" (Gilman 11). The estate's grounds, moreover, consist of "hedges and walls and gates that lock" (Gilman 11). As such, the house and its grounds are markedly depicted as mechanisms of confinement--ancestral places situated within a legacy of control and

Egress was by means of a stairway to the street or from the second floor through a window onto a roof.

Upon opening the back door, Vasquez observed that there was just enough space to squeeze past the refrigerator blocking the exit. The air smelled of burned rubber and melted wires; a damp ash covered the ground, sticking to their boots. In the kitchen, Vasquez and Fogg discerned only smoke and heat damage—a sign that the fire had not originated there—and so they pushed deeper into the nine-hundred-and-seventy-five-square-foot building. A central corridor led past a utility room and the master bedroom, then past a small living room, on the left, and the children’s bedroom, on the right, ending at the front door, which opened onto the porch. Vasquez tried to take in everything, a process that he compared to entering one’s mother-in-law’s house for the first time: “I have the same curiosity.”

homes made of planks from cedar. There were no windows on the house itself, but there is a

Where the colorless tiles ended, a dark carpeting started. He looked further right, to the wall beyond the flooring, seeing the silhouettes of several stacks of boxes and metal racks used to hold clothing. From there, he looked ahead the thirty-foot space to the far wall, the view showing him empty floor space from where he stood, its emptiness ending at the building’s right wall.

From the observation tower the horizontal building’s three parallel bands can be seen that extend into the lush landscape. The architects’ concept was to immerse the museum in nature by creating a set of three bracketed pavilions under one roof surrounded by gardens. The roof can be seen as

The following area is the Office and Wrights part time design studio. The building is a light and spacious room, with exposed wooden beams sustaining a translucent canvas roof and slightly slanted walls that give the illusion that the ground is at a slant. A low drafting table stood in the middle of the room with chairs surrounding it facing the adjacent walls. It is a studio and a space where Wright showed his clients his work and ideas.

The entryways of the building come from four different sides and meet in the middle. The overall shape of the building creates different views and facades. The building was not created just on the looks of it; it is made up of a three dimensional, stimulating, tactile human thing.