Neel's apartment here had far more light, and she worked in two of its rooms: one giving onto West End Avenue, the other onto the side street.
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Adjacent to the main staircase to the right (south) was the elevator, and then a small door and corridor giving onto the servants' section in the rear of the mansion's first floor. Northwest of the billiard room was an automobile garage, with the garage door giving onto Dupont Circle. Northeast of the garage, and connected to the garage and the cloakroom, was a bicycle storage room. In the rear of the ground floor was the servants' area.
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In fact there was a second 20-ton trapdoor in the roof of the empty passage, giving onto a second empty passage, also at a right angle to the first. This too had a 20-ton trapdoor giving onto a passage at a right angle to its predecessor (thus the interior of the pyramid was circled by these passages). However this passage ended in a large area of mud and stone blocking that presumably concealed the burial chamber. This, however, was a blind and merely filled a wide but shallow alcove.
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The footprint of the ZSO nr6 occupies an entire block, between the following streets: Staszica, Lucjana Szenwalda, Kopernika and Władysława Reymonta. The plot comprises the building itself, but also outdoor sporting facilities (e.g. basketball and football pitches). The main building has a L shape, with its main facade giving onto Staszica street.
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A parlor opens off the entry hall through double doors, continuing on to French doors giving onto a screened porch overlooking the swimming pool. A large marble-faced fireplace dominates the parlor. Another set of double doors opens onto the dining room, with a view of the Potomac River through large windows. Another large fireplace dominates the dining room.
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Carstairs offers him wine and he cannot refuse. Later that night, Carstairs visits him with two men and command him to come in the morning and ask to stay over the weekend. He pretends to obey. When Carstairs leaves, he inspects the library and discovers a secret door, giving onto steps leading down to the cellar.
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At the top of the Grand Gallery, there is a step giving onto a horizontal passage some metres long and approximately in height and width, in which can be detected four slots, three of which were probably intended to hold granite portcullises. Fragments of granite found by Petrie in the Descending Passage may have come from these now-vanished doors.
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This building has a "U" shape with a massive body giving onto Jagiellońska street, and a high tower in the north-western corner. This younger edifice is bigger and taller than the building on the riverside. The transition from the old to the new happens at half the length of Pocztowa street. The construction has three-storey, with an attic and a basement.
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The building has a large atrium covered with a glass roof. The ceilings are supported by columns and the four levels are giving onto the atrium, receiving directly natural light. Travel between stories from the ground floor to the fourth floor is made by elevator and stairs, which are smartly separated in 3 different stairways. The interior department store displays simplicity and functionality.
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The house is of three floors. The reception rooms are all on the ground floor, most with large plate glass windows (a Victorian innovation) giving onto the south-facing terrace overlooking a grassy parterre with views over the Hughenden Valley. The west wing was built in 1910, long after Disraeli's death, when the house was in the ownership of his nephew, the politician Coningsby Disraeli.
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Indeed, the city expanded during the second half of the 19th century along the Brda river and many industrial plants such as tanneries, breweries and distilleries began to emerge here. Frontages with odd numbers were the back of houses on Jezuicka street and even numbers were borne by building courtyards giving onto Młynówka river, as one can still observe today along the water side (Venice of Bydgoszcz).
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The accretion of other buildings has further altered the exterior appearance of the chapel. The building is divided into three stories of which the lowest is a very tall basement level with several utilitarian windows and a doorway giving onto the exterior court. Internally, the basement is robustly vaulted to support the chapel. Above is the main space, the Sistine Chapel, the vaulted ceiling rising to .
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The structure is in essence an elongated box, consisting of two identical storeys. The ground floor is occupied by the studio (giving onto the street), garage, and children’s room. The remaining internal space is divided into several living spaces over the different levels. While the designers found it important to maintain an “open-style plan”, they have also incorporated “soft walls” made of woven felt materials to inform circulation in a subtle way. There are clearly identifiable living, dining and children’s play areas.
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As originally conceived there were to be offices on the ground floor and apartments for rent on the upper floors, in order to generate income from the investment. The main facade, dominated by the tower and giving onto the corner of Via Laietana and what was then the Plaça de Bilbao, has the principal entrance doors on the ground floor, and above them the grand windows of the boardroom and the senior management offices, while entry to the rental apartments was from the frontages on the side-streets.
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The palace was acquired in 1798 by the del Giudice family, and during the Siege of Belmonte (1806), Tommaso del Giudice was killed by the Jacobins and his pregnant consort was hung from the windowsill of the palace by the mob. The window was thereafter blocked up, and remained so until the 1970s. The palace takes the form of an “open U” giving onto a courtyard in which the prince's armoury and stables were located. Below the palace, along perimeter walls, there is a garden, from which runs an underground secret passage from the palace to the Palace of Rivellino at Marina di Belmonte.
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Oldbury resembles a small English farmhouse, particularly in its setting of English trees which do well in this locality. Its style is unusual in Australia, and it is an interesting example of the good building craftsmanship of the time, in what was in 1828 quite a remote area of settlement (National Trust of Australia (NSW), 1981). The importance of the garden relies solely on its rare surviving layout - the rare combination of a small, formerly enclosed, "cottage" garden before the house, giving onto an impressively scaled carriage circle. The use of small enclosed gardens before homesteads appears to have been quite common once but few are now intact, their boundaries having been extended.
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Paul Storz Tenement (left), and Otto Riedl Tenement (right) The role of Gdańska Street, till 1850, was principally that of a means of communication; after this date, it became a representative, bourgeois area and the expanding axis of downtown Bydgoszcz. The buildings giving onto the street have been housing a mix of wealthy representative officials, manufacturers and traders of different professions, whereas craftsmen and laborers lived in the outbuildings and more modest homes. Habitation ground floors were generally designed to house commercial or catering service. The area of Gdańska Street soon experienced a booming trade expansion: craft workshops developed -20 tailors and 25 shoemakers were referenced in the street at the end of the 19th century, as well as small industry and gastronomy.
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This church, which 18th-century English visitors much preferred to the ornate Sicilian Baroque, clearly shows the emerging migration from Baroque decoration towards a more sober order. In his design for the church of San Francesco di Sales, located in Corso Calatafimi of Palermo (1772–76, consecrated 8 May 1818), Marvuglia interpreted a classicizing Palladian program of paired pilasters in the piers of an abbreviated arcade giving onto two pairs of side chapels, supporting an uninterrupted cornice carried entirely round the space, integrating the sober pedimented tabernacle of the high altar, all in a restrained tonality of white and cream that to an early viewer was "semplice e senza ornamenti" ("simple and without ornaments") as indeed it was in the context of Late Baroque Palermo. As an architect, Marvuglia showed great understanding of proportion and mass. His Palazzo Constantino, a project he took over in 1787, shows a fusion of both the Neoclassical and Palladian.
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