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Casa Oleta Pililla, Rizal Ancestral house interior. Entresuelo – Mezzanine; literally meaning "between floors", this is the area where clients, tenants or estate managers (if the owner was a rich landowner) wait before being admitted to the oficina (office) Escalera – Stairway; Escritorio – A large chest of drawers, commonly adorned with ...
A mezzanine (/ ˌ m ɛ z ə ˈ n iː n /; or in Italian, a mezzanino) [1] is an intermediate floor in a building which is partly open to the double-height ceilinged floor below, or which does not extend over the whole floorspace of the building, a loft with non-sloped walls. However, the term is often used loosely for the floor above the ground ...
This list of house styles lists styles of vernacular architecture – i.e., outside any academic tradition – used in the design of houses. African
The original design of Villa Shodhan was commissioned to the secretary of the Millowners, Surottam Hutheesing, in 1951. His intention was to showcase his social and economic position prior to his impending marriage by building a house reflecting his lifestyle. [4] However, the plans were then sold to fellow millowner, Shyamubhai Shodhan.
A villa with a superimposed portico, from Book IV of Palladio's I quattro libri dell'architettura, in an English translation published in London, 1736 Plan for Palladio's Villa La Rotonda (c. 1565) – features of the house were incorporated in numerous Palladian-style houses throughout Europe over the following centuries.
A loft or mezzanine is also the uppermost space in a building, but is distinguished from an attic in that an attic typically constitutes an entire floor of the building, while a loft or mezzanine covers only a few rooms, leaving one or more sides open to the lower floor. [citation needed] Attics are found in many different shapes and sizes.
Poplar Forest, note the octagonal design. One characteristic which typifies Jefferson's architecture is the use of the octagon and octagonal forms in his designs. Palladio never used octagons, but Jefferson employed them as a design motif—halving them, elongating them, and employing them in whole as with the dome of Monticello, or the entire house at Poplar Forest.
Memphis was born on the evening of December 11, 1980, when Sottsass invited a group of young designers and architects to discuss the future of design. [3] Together, they wanted to change the concept of what design had been focused on, which had been Modernism and aimed to do so by creating and forming a new design collective.
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