Marika-Alderton House Analysis

The transition from childhood to adulthood is a monumental part of one’s life. The change brings about many new responsibilities and expectations needed for adulthood. As the story, The House on Mango Street, follows the gradual maturation of the main character, Esperanza, readers can see the struggles of the transition to adulthood. In the novella, The House on Mango Street, by Sandra Cisneros, two main challenges are discussed, becoming self conscious and losing innocence.

Miss Lottie’s old house symbolizes the deterioration of the entire nation during the Great Depression while the marigolds she plants represent hope in the face of despair. In detail, having Joey deciding to go to Miss Lottie’s house, Lizabeth describes the house as “...the most ramshackle of all [the] ramshackle homes.” (257). During the Great Depression, everyone has many money problems. So the fact that Miss Lottie’s house isn’t the best of all of the houses, shows how the Great Depression causes hardships. The Great Depression makes it so that the nation suffers in an ongoing poverty, which is why Miss Lottie’s house is very much broken. Furthermore, Lizabeth continues to describe the house when she states “a brisk wind might have blown it down… There it stood...a gray, rotting thing with no porch, no

(hook) Written by Sandra Cisneros, The House on Mango Street is a beautiful coming-of-age story from the perspective of a little Latina girl named Esperanza Cordero, who has just moved to a new house on Mango Street with her family. The story follows Esperanza and the people she encounters during her time on Mango Street as she struggles to find herself as an individual/her identity. During the story, Esperanza discovers how her culture and social class affects her, how she relates to the roles of women in her community, and how to process her hopes and dreams as she matures. These pieces eventually come together in order to help Esperanza form her identity.

In the book “The House on Mango Street” by Sandra Cisneros we are advised the story of the protagonist Esperanza over a sequence of short scenes. Esperanza is a adolescent lady who moved out of her old home along with her parents into a new area called Mango Street. The new house is not what Esperanza wanted, she anticipated a big, white, provincial house with a backyard. Rather, she got a tiny, red, recap apartment in a Latino area in Chicago. It is a coming of age story where Esperanza blooms in many attitudes, all over the whole book we appreciate she wants to move out of Mango Street into her own house. One of the complications that Esperanza faces is the experience of shame. This happens through House on Mango Street, Rice Sandwich, Bums in the Attic, and Monkey Garden; the first three have to do with her despise of the new house. In the scene Rice Sandwich, Esperanza ambitions to eat in the canteen with the other “special kids” rather of having to walk back home to make lunch. She asks her mom to write a letter to the nun who is the principal of the school, she doesn't accept the letter as the grammar was amateurish and asks Esperanza where she lived.

Mark Haddon once said, “Reading is a conversation. All books talk. But a good book listens as well.” Although, there are many children's adventure books, The House on Mango Street by Sandra Cineros is the best by far. The book is intriguing, funny, heart-warming and full of adventure. The book paints a vivid picture of Esperanza and her family living in their new house on Mango Street. Sadly, the house doesn’t meet up to Esperanza’s expectations, but she learns to adjust to her new home. The character of Esperanza in The House on Mango Street expresses the difficulty, adventure, friendships, and maturity in her lifestyle. While living on Mango Street, Esperanza faced many challenges. She acclimated to the consistent move from place to place with her family. In The House on Mango Street page.3, it says, “But what I remember most is moving a lot.” Esperanza moved about four times before moving on Mango Street. She transitions from apartment to apartment, but now her family finally has a home they can call their own. Unfortunately, the house isn’t the house Esperanza dreamed of or seen on T.V. It wasn’t the luxurious three bathrooms, big flat screen television, and large backyard kind of house. This house was small, red with tight steps and small yard. The red bricks are crumbling, the door was swollen, and everyone shared bedroom. Currently, the house accommodates six people: Mama, Papa, Carlos, Kiki, Esperanza and her sister, Nenny. Learning to adjust to her new home,

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)

In a series of vignettes, The House on Mango Street, by Sandra Cisneros, covers a year in the life of Esperanza, who is about twelve years old. During the year, she moves into a house on Mango Street. It is the first home her parents actually own, however she has had a plethora apartments in her life. However, the house is not what Esperanza has dreamed of, for the reason that it is run-down and cramped. For the duration of the vignettes, the readers watch Esperanza struggle but overall mature. In the rest of the vignettes, the readers receive a glimpse of the lives of the women on Mango Street. When reading the readers get to learn and understand these women. They are extremely important because they act as character foils to help the readers better understand Esperanza. During the novel, the women on Mango Street are confined and go through many struggles. The reader also learns about Esperanza's identity.

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

Further one this assignment will continue on the infrastructure of the economy which supports construction, this will include told, power tools, transport for materials and any objects used in order to complete a construction project which has to be order, rented or a special efforts made n order to allow for these certain services.

It’s uncommon for unique homes with historical provenence to become available on the market and yet that’s exactly what will take place on Saturday, September 26, 2015 when Mack Coulter of Coulter Realty and Auction raises the hammer on the Arrowhill Mansion in Talbott, Tennessee.

Brown, Deidre. 2009. Maori architecture : from fale to wharenui and beyond. Rosedale, N.Z: Penguin.

“Human houses should not be like boxes, blazing in the sun, nor should we outrage the Machine by trying to make dwelling places too complementary to Machinery. Any building for humane purposes should be an elemental, sympathetic feature of the ground, complementary to its nature-environment, belonging by kinship to the terrain.”

Memmot (2007) explains how Indigenous building methods, based on semi-permanent structures utilized original styles, local materials and, like their culture. They were poetically wedded to the distinct sense of place for which this isolated continent is renowned. Indigenous architecture is pure vernacular (Memmot 2007). While this is respectfully acknowledged, this essay will examine the period after European settlement, during which Australian architecture has sourced the bulk of materials and styles internationally and has never been purely vernacular (Drew 2006). For example, while corrugated iron is seen as Australian it was produced in the steel mills in England and heavily used throughout Britain and the British Empire. Drew (2006) discusses how it is accepted that since 1788, Australian vernacular buildings have always contained a plethora of international influences - both stylistic and material - and were never truly original or unique in the same manner of Indigenous vernacular shelters. Consequently, the aim is to find architecture which possesses vernacular elements that overshadow the universal, international elements. To substantiate the arguments and isolate a period in Australia’s history, two case studies from the Mid 20th century will be examined – The Rose Seidler House (figure 2), by Harry Seidler and the Curry House 2 (figure 3), by Bruce Rickard.

Home is the place one spends more time in their life and share special moments with family. Where one expects to live permanently carefree and feel protected under the roof of their house. One day I want to have a home that makes me feel well and where I can be safe and happy. The purpose of this essay is to illustrate the decisions I made about designing my future dream house.

Buildings have lifespan, and eventually it comes to its end. A physical permanence of the building is paradoxical. ‘Everything ages: buildings and place weather. The process of deterioration of architecture is part of a natural evolution of elements, natural or artificial in the environment.’ (Hornstein, 2011, p.86)