The Leonis Adobe
The Leonis Adobe was built in stages; however, who and when the original portion of it was built is still under research. At first, there appears to have been a simple adobe farmhouse with whitewashed walls. This original portion of the house is believed to date back to 1844, and if this is so it is almost certain that Leonis did not build it. In any event, about 1880 he extensively enlarged and remodeled the house into the gracious Monterey style mansion you see today, and he and Espirtu moved into it and made it their home.
The building of this project was not an easy one. A great deal of research and studying along with skillful work went to the restoration of this mansion. But there is one or two exceptions. For instance, the present living room was originally two rooms, a parlor and living room, separated by a wall just to the right of the front door. The wall was removed around 1925 and has not bee replaced in order to provide a large room for group meetings.
When Leonis enlarged and remodeled the house, he sheathed the outside front of the house, and paneled the interior living room walls with wood. He walled-in the rear and northeast side porches, both upstairs and downstairs, to add more rooms. He added the Victorian fretwork balcony along the front of the house, and other enhancing details and features. The bright colors that highlight the house were discovered under many layers of paint, and presumably were the ones Leonis used. The paint used to repaint the house was carefully matched to achieve the exact feeling the Leonis Adobe brings.
The present living room, the family portraits hang on the wall where they used to hang, but the mirror originally hung where the dining room door now is. This door was cut through in the 1920’s. Before that, as in many of the California houses, one walked along the porch to reach the dining room.
Both the kitchen and the dining room are board and batten construction added during Leonis’ remodeling. The adobe dirt floors were discovered under modern wood flooring that has been removed. The fireplace in the dining room and stove in the kitchen provided the only heat in the house. The stove, while not original to the house, carries a date of 1875.
Out side, at the northwest corner of the house, a large Mexican “beehive oven” with a shed over it for protection from the rain, was used to bake bread.
The ceiling was made of plasterboard and the walls were of Masonite coved with artificial leather.
building, Albert DeSalvo. During the time they were working on the house, one of their
In 1776 the Padre Serra decided to make the mission at a new location. They moved closer to the Indians. When they decided to make a new mission they uses adobe for the walls and they used tile roofs. They used this because they don't burn quickly. They did not want to be attacked again. Adobe is heavy clay soil. The mission was also made of wood for the beams. The priests taught the Indians about making adobe into bricks. They dug a ditch and mixed clay with grass or straw.
Her use of primary colors and complementary colors are illustrated in the background, at the top of the fabric and in the outer view of the house and in the front yard. There is shading being shown in the two geometric windows. The entire work presents lines and implied lines as a focal point or as a means to describe a scenery. The texture of the garment is silky and very smooth like bed sheets. Post and lintel are crafted on the rectangular door frame and in the small window inside the door frame. Fine art is depicting in the background of the house; the painting is going in its own direction but still have a meaning behind it. The grass, tulips, and the weeds in the foreground appear naturalistic and lifelike which give the painting a multiple use of variety. The composition of the house is centered and upright. Marisela Esteves uses asymmetrical balance in the pathway and on the walkway to the flower garden. On the left side of the house there is a lot of variety elements and implied lines been demonstrating. Also, there is a lot of space in the background which grabs my attention because the line portrays a billboard in my mind that is covered by the vibrant, bright colors. The material that Marisela Esteves use was probably a knife or paint brush to mix, dye, and print on the fabric
The house, of which Mr. Jefferson was the architect and often one of the workmen, is rather elegant, and in the Italian taste, though not without fault; it consists of one large square pavilion, the entrance to which is by two porticoes, ornamented with pillars. The ground floor consists chiefly of a very large, lofty saloon which is to be decorated entirely in the antique style; above it is a library of the same form; two small wings with only a ground floor and attic story, are joined to this pavilion,
The Monticello mansion lies atop a mountain which bears its namesake, the home is surrounded by an elaborate garden which grows an unrivaled variety of plants. The complex possesses forty-three rooms is 110 feet long, 90 feet wide, and over forty feet high in some areas. This combined with the thirteen feet thick walls, culminate to offer roughly eleven thousand square feet of living space. The home possesses an iconic octogonal dome over its central portion, numerous skylights, and an altogether unique design, reflecting the innovative mind of its owner. Monticello borrows heavily from Roman and Renaissance styles, with some influence from Enlightenment France as well, culminating in a masterpiece of engineering. The home is symmetrical
First and foremost are the architectural elements. These encompass the structural components that Chareau uses to emphasize the current site’s condition, the regularity of the grid used, the characteristics of the materials, the spatial alignment of the program, and so forth. The Maison de Verre would not have been designed the same way if it had been erected elsewhere. The same design principles would have been apparent, but there were extenuating circumstances that the client and the architect encountered at the site. The clients, Dr. and Mrs. Dalsace, inherited the building and the surrounding property from her father, and had the sole intention of tearing down the existing building and resurrecting a new, modern structure that would showcase Chareau’s furniture designs. (Vellay 63). The only thing stopping them was an elderly woman who lived on the second floor of the existing building who refused to leave her apartment (Frampto...
Also, the inside of the house felt cooler inside than outside once walking a few steps inside. When walking to the left along the hallway is a living room with a window to look out at the front yard, a multi-purpose pool table set and a couple of couches. I kept walking down the hallway until I reached the dining room; the long wooden table was empty except for the same oak chairs surrounding the table as if they were worshipping the table. The seven candle holder against the right side of the wall isn 't lit because the dining room had enough light from the sun shining through the sliding glass door that is past the main living room. From here I could hear my turtle tank and my fish tank filters splashing the water like kids in a
Altough Gray admired Corbusier’s work and took inspiration from him especially from his ‘Five Points of the New Architecture’, their philosophies had fundamental differences, which became clear when Gray continued her architectural work. Gray did not agree with his famous dictum that a house should be a “machine for living”. This was evident within the E.1027 villa, a modernist structure but with playful elements. Although Corbusier was the master mind behind ‘Five points of the New Architecture’, Gray was actually the first to take action and put these points into place within the planning of her E.1027 and this is what sparked the bitter jealousy Corbusier had towards Gray. A woman in a male dominated world of design had created this fine piece of modern architecture. Gray was self thought she had no qualifications in architecture, she was known as a designer of furniture and interiors. Was Le Corbusier threatened by her?. After Gray and Badovici had separated in 1938 Badovici had invited Le Corbusier as a guest at the villa. Although her admired E.1027 and at one stage even wanted to purchase it. He ignored Gray’s wish of keeping the villa free of any decoration and vandalised the pristine walls with offensive and garish murals in an act of sabotage. The murals were a way for Corbusier to mark his territory and his presence. There is a photo of Corbusier himself painting the walls of E.1027 naked. Corbusier’s actions were spiteful and an act of jealousy. He didn’t stop there he built a prefabricated house directly behind
It began as a country house designed by James Hoban, but throughout time, it had renovations, expansions and many additions used to enhance it to fit with the standards of the president and the ever-changing America and finally built up to of the White House that is there today. But what stuck with the original plan and is still apparent today, is the use of Greek Architecture within the plans of James Hoban. “Hoban's Georgian design reached back to Roman and Greek styles. His plan called for a rectangular, threestory structure containing thirty-six rooms. It featured a tripped roof, a balustrade, and large symmetrically arranged windows with alternating triangular and curved pediments”
To of the most striking descriptions used to portray the house are those of the windows and the fissure. He describes the windows as “vacant [and] eye-like.” With this description the narrator effectively anthropomorphizes the house. Thus he almost gives the status of character to the house. The other outstanding description is that of the fissure. It is described as “a barely perceptible fissure, which [extends] from the roof of the building in front, [making] its way down the wall in a zigzag direction, until it [becomes] lost in the sullen waters of the tarn.” It is interesting to note that the narrator spends so much time describing a feature that he describes as barely perceptible.
The feeling of security that was so pure. It became a reminder of a time when everything was simple and it was so easy to find happiness in the most unexpected ways. I remember considering myself lucky whenever my mother would indulge in my pleas to play the piano. Never would have I thought that listening to the notes of “Send In the Clowns” or a song from Forrest Gump could give me so much joy. Another fond memory was our parents allowing my siblings and I to play in the rain. Being given permission to do so was already a big thing for us. To be able to enjoy such a simple act is something I hold unto. This house is the symbol of my childhood innocence and a life unmarred by worries. This is the place where I 've felt contentment in its most basic
After adopting my mom my grandparents realized more space was needed. My grandpa built a second story onto the house with the help of my uncles. Deep brown and red bricks cover the bottom half exterior of the house, while caramel colored wood covers the top half. A rustic brick walkway corresponds with the exterior walls. The walkway leads to a chestnut colored door. Through the door is the entryway with mahogany colored wood floors.
the house I am surrounded by four columns leading to the most elegant doors I