the ideal house essay summary

Selected Essays of Robert Louis Stevenson

By robert louis stevenson, "the ideal house".

• Year Published: 1911
• Language: English
• Country of Origin: Scotland
• Source: Stevenson, R. L. (1911). Essays of Travel. New York: Charles Scribner's Sons.
• Flesch–Kincaid Level: 9.0
• Word Count: 2,192
• Genre: Essay
• Keywords: personal experience, travel
• ✎ Cite This

Stevenson, R. (1911). "The Ideal House". Selected Essays of Robert Louis Stevenson (Lit2Go Edition). Retrieved October 04, 2024, from https://etc.usf.edu/lit2go/110/selected-essays-of-robert-louis-stevenson/5116/the-ideal-house/

Stevenson, Robert Louis. ""The Ideal House"." Selected Essays of Robert Louis Stevenson . Lit2Go Edition. 1911. Web. https://etc.usf.edu/lit2go/110/selected-essays-of-robert-louis-stevenson/5116/the-ideal-house/ >. October 04, 2024.

Robert Louis Stevenson, ""The Ideal House"," Selected Essays of Robert Louis Stevenson , Lit2Go Edition, (1911), accessed October 04, 2024, https://etc.usf.edu/lit2go/110/selected-essays-of-robert-louis-stevenson/5116/the-ideal-house/ .

Two things are necessary in any neighbourhood where we propose to spend a life: a desert and some living water.

There are many parts of the earth’s face which offer the necessary combination of a certain wildness with a kindly variety.  A great prospect is desirable, but the want may be otherwise supplied; even greatness can be found on the small scale; for the mind and the eye measure differently.  Bold rocks near hand are more inspiriting than distant Alps, and the thick fern upon a Surrey heath makes a fine forest for the imagination, and the dotted yew trees noble mountains.  A Scottish moor with birches and firs grouped here and there upon a knoll, or one of those rocky seaside deserts of Provence overgrown with rosemary and thyme and smoking with aroma, are places where the mind is never weary.  Forests, being more enclosed, are not at first sight so attractive, but they exercise a spell; they must, however, be diversified with either heath or rock, and are hardly to be considered perfect without conifers.  Even sand–hills, with their intricate plan, and their gulls and rabbits, will stand well for the necessary desert.

The house must be within hail of either a little river or the sea.  A great river is more fit for poetry than to adorn a neighbourhood; its sweep of waters increases the scale of the scenery and the distance of one notable object from another; and a lively burn gives us, in the space of a few yards, a greater variety of promontory and islet, of cascade, shallow goil, and boiling pool, with answerable changes both of song and colour, than a navigable stream in many hundred miles.  The fish, too, make a more considerable feature of the brookside, and the trout plumping in the shadow takes the ear.  A stream should, besides, be narrow enough to cross, or the burn hard by a bridge, or we are at once shut out of Eden.  The quantity of water need be of no concern, for the mind sets the scale, and can enjoy a Niagara Fall of thirty inches.  Let us approve the singer of

‘Shallow rivers, by whose falls Melodious birds sing madrigals.’

If the sea is to be our ornamental water, choose an open seaboard with a heavy beat of surf; one much broken in outline, with small havens and dwarf headlands; if possible a few islets; and as a first necessity, rocks reaching out into deep water.  Such a rock on a calm day is a better station than the top of Teneriffe or Chimborazo.  In short, both for the desert and the water, the conjunction of many near and bold details is bold scenery for the imagination and keeps the mind alive.

Given these two prime luxuries, the nature of the country where we are to live is, I had almost said, indifferent; after that inside the garden, we can construct a country of our own.  Several old trees, a considerable variety of level, several well–grown hedges to divide our garden into provinces, a good extent of old well–set turf, and thickets of shrubs and ever–greens to be cut into and cleared at the new owner’s pleasure, are the qualities to be sought for in your chosen land.  Nothing is more delightful than a succession of small lawns, opening one out of the other through tall hedges; these have all the charm of the old bowling–green repeated, do not require the labour of many trimmers, and afford a series of changes.  You must have much lawn against the early summer, so as to have a great field of daisies, the year’s morning frost; as you must have a wood of lilacs, to enjoy to the full the period of their blossoming.  Hawthorn is another of the Spring’s ingredients; but it is even best to have a rough public lane at one side of your enclosure which, at the right season, shall become an avenue of bloom and odour.  The old flowers are the best and should grow carelessly in corners.  Indeed, the ideal fortune is to find an old garden, once very richly cared for, since sunk into neglect, and to tend, not repair, that neglect; it will thus have a smack of nature and wildness which skilful dispositions cannot overtake.  The gardener should be an idler, and have a gross partiality to the kitchen plots: an eager or toilful gardener misbecomes the garden landscape; a tasteful gardener will be ever meddling, will keep the borders raw, and take the bloom off nature.  Close adjoining, if you are in the south, an olive–yard, if in the north, a swarded apple–orchard reaching to the stream, completes your miniature domain; but this is perhaps best entered through a door in the high fruit–wall; so that you close the door behind you on your sunny plots, your hedges and evergreen jungle, when you go down to watch the apples falling in the pool.  It is a golden maxim to cultivate the garden for the nose, and the eyes will take care of themselves.  Nor must the ear be forgotten: without birds a garden is a prison–yard.  There is a garden near Marseilles on a steep hill–side, walking by which, upon a sunny morning, your ear will suddenly be ravished with a burst of small and very cheerful singing: some score of cages being set out there to sun their occupants.  This is a heavenly surprise to any passer–by; but the price paid, to keep so many ardent and winged creatures from their liberty, will make the luxury too dear for any thoughtful pleasure–lover.  There is only one sort of bird that I can tolerate caged, though even then I think it hard, and that is what is called in France the Bec–d’Argent.  I once had two of these pigmies in captivity; and in the quiet, hire house upon a silent street where I was then living, their song, which was not much louder than a bee’s, but airily musical, kept me in a perpetual good humour.  I put the cage upon my table when I worked, carried it with me when I went for meals, and kept it by my head at night: the first thing in the morning, these maestrini would pipe up.  But these, even if you can pardon their imprisonment, are for the house.  In the garden the wild birds must plant a colony, a chorus of the lesser warblers that should be almost deafening, a blackbird in the lilacs, a nightingale down the lane, so that you must stroll to hear it, and yet a little farther, tree–tops populous with rooks.

Your house should not command much outlook; it should be set deep and green, though upon rising ground, or, if possible, crowning a knoll, for the sake of drainage.  Yet it must be open to the east, or you will miss the sunrise; sunset occurring so much later, you can go up a few steps and look the other way.  A house of more than two stories is a mere barrack; indeed the ideal is of one story, raised upon cellars.  If the rooms are large, the house may be small: a single room, lofty, spacious, and lightsome, is more palatial than a castleful of cabinets and cupboards.  Yet size in a house, and some extent and intricacy of corridor, is certainly delightful to the flesh.  The reception room should be, if possible, a place of many recesses, which are ‘petty retiring places for conference’; but it must have one long wall with a divan: for a day spent upon a divan, among a world of cushions, is as full of diversion as to travel.  The eating–room, in the French mode, should be ad hoc: unfurnished, but with a buffet, the table, necessary chairs, one or two of Canaletto’s etchings, and a tile fire–place for the winter.  In neither of these public places should there be anything beyond a shelf or two of books; but the passages may be one library from end to end, and the stair, if there be one, lined with volumes in old leather, very brightly carpeted, and leading half–way up, and by way of landing, to a windowed recess with a fire–place; this window, almost alone in the house, should command a handsome prospect.  Husband and wife must each possess a studio; on the woman’s sanctuary I hesitate to dwell, and turn to the man’s.  The walls are shelved waist–high for books, and the top thus forms a continuous table running round the wall.  Above are prints, a large map of the neighbourhood, a Corot and a Claude or two.  The room is very spacious, and the five tables and two chairs are but as islands.  One table is for actual work, one close by for references in use; one, very large, for MSS. or proofs that wait their turn; one kept clear for an occasion; and the fifth is the map table, groaning under a collection of large–scale maps and charts.  Of all books these are the least wearisome to read and the richest in matter; the course of roads and rivers, the contour lines and the forests in the maps—the reefs, soundings, anchors, sailing marks and little pilot–pictures in the charts—and, in both, the bead–roll of names, make them of all printed matter the most fit to stimulate and satisfy the fancy.  The chair in which you write is very low and easy, and backed into a corner; at one elbow the fire twinkles; close at the other, if you are a little inhumane, your cage of silver–bills are twittering into song.

Joined along by a passage, you may reach the great, sunny, glass–roofed, and tiled gymnasium, at the far end of which, lined with bright marble, is your plunge and swimming bath, fitted with a capacious boiler.

The whole loft of the house from end to end makes one undivided chamber; here are set forth tables on which to model imaginary or actual countries in putty or plaster, with tools and hardy pigments; a carpenter’s bench; and a spared corner for photography, while at the far end a space is kept clear for playing soldiers.  Two boxes contain the two armies of some five hundred horse and foot; two others the ammunition of each side, and a fifth the foot–rules and the three colours of chalk, with which you lay down, or, after a day’s play, refresh the outlines of the country; red or white for the two kinds of road (according as they are suitable or not for the passage of ordnance), and blue for the course of the obstructing rivers.  Here I foresee that you may pass much happy time; against a good adversary a game may well continue for a month; for with armies so considerable three moves will occupy an hour.  It will be found to set an excellent edge on this diversion if one of the players shall, every day or so, write a report of the operations in the character of army correspondent.

I have left to the last the little room for winter evenings.  This should be furnished in warm positive colours, and sofas and floor thick with rich furs.  The hearth, where you burn wood of aromatic quality on silver dogs, tiled round about with Bible pictures; the seats deep and easy; a single Titian in a gold frame; a white bust or so upon a bracket; a rack for the journals of the week; a table for the books of the year; and close in a corner the three shelves full of eternal books that never weary: Shakespeare, Molière, Montaigne, Lamb, Sterne, De Musset’s comedies (the one volume open at Carmosine and the other at Fantasio); the Arabian Nights, and kindred stories, in Weber’s solemn volumes; Borrow’s Bible in Spain, the Pilgrim’s Progress, Guy Mannering and Rob Roy, Monte Cristo and the Vicomte de Bragelonne, immortal Boswell sole among biographers, Chaucer, Herrick, and the State Trials.

The bedrooms are large, airy, with almost no furniture, floors of varnished wood, and at the bed–head, in case of insomnia, one shelf of books of a particular and dippable order, such as Pepys, the Paston Letters, Burt’s Letters from the Highlands, or the Newgate Calendar. . . .

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Essay on My House in English: Check 300, 500 & 800 Words Essay

Home is where the heart is, and within the sanctuary of our homes lies a special place that holds memories, shelter, and comfort – my house. From the architectural style to the interior design, every aspect of the house speaks volumes about who we are and what we value. But beyond its physical attributes, the house holds a deeper significance in our lives. It’s where we create cherished memories, celebrate milestones, and forge bonds with loved ones. A house is more than just a place to live; it’s a symbol of stability, love, and the countless moments that make life worth living.

In this article, we’ll explore writing an essay on my house, exploring its significance, structure, and the role it plays in shaping our lives.

Table of Content

Important Terms for House

10 lines on my house, 500 word essay on my house, 800 word essay on my house.

Here are some terms that can help you write an essay on my house:

• House: A building or structure where people live, providing shelter and accommodation.
• Home: Not just a physical structure, but also a place of belonging, comfort, and emotional attachment.
• Architecture: The art and science of designing and constructing buildings.
• Interior Design: The arrangement and decoration of the interior spaces of a house to create a functional and aesthetically pleasing environment.
• Floor Plan: A diagram showing the layout of rooms and spaces within a house, including dimensions and furniture placement.

Here are 10 lines that can help you write an essay on My House:

1. My house is a cozy place where I feel safe and happy.

2. It has a welcoming door and colorful flowers in the garden.

3. Inside, there’s a living room where my family plays games and watches TV together.

4. The kitchen smells delicious with Mom’s cooking, and I love helping her sometimes.

5. Upstairs, my bedroom is my favorite spot, filled with my toys and books.

6. From my window, I can see the trees and birds chirping in the morning.

7. Outside, there’s a swing where I love to play with my friends.

8. Sometimes, we have a barbecue in the backyard, and it’s so much fun!

9. My house is where I make lots of happy memories with my family.

10. I’m grateful for my house because it’s where I feel loved and cozy every day.

My small house may be tiny in size, but it is bursting with charm and coziness that make it a special place for me. Situated in a quiet corner of the neighborhood, my cute little house stands out with its colorful exterior and welcoming front porch that beckons visitors with its friendly vibe.

As I step through the front door, I am greeted by a snug living room that feels like a warm hug. The space may be small, but it is filled with love and laughter, making it the heart of our home. A comfy sofa sits against the wall, inviting me to sink into its soft cushions and relax after a long day at school. The kitchen, though compact, is a bustling hub of activity where delicious meals are cooked with care and shared with family. Every inch of space is cleverly utilized, from the neatly organized cabinets to the cozy dining nook where we gather for meals and conversations. The aroma of freshly baked cookies or simmering soup fills the air, creating a sense of comfort and warmth. Upstairs, my bedroom is a cozy retreat that reflects my personality and interests. The limited space has been transformed into a magical haven where I can dream, play, and unwind. A colorful bedspread adorns my bed, while shelves filled with books and toys add a touch of whimsy to the room.

One of the most delightful features of my small house is its backyard, a tiny oasis of greenery and tranquility where nature’s wonders unfold. A small garden patch blooms with vibrant flowers and fragrant herbs, attracting butterflies and bees that flit about in the sunshine. A swing set beneath a shady tree offers hours of fun and laughter as I soar through the air with glee. Despite its size, my small house is filled with big memories and moments that make it truly special. From family movie nights in the living room to impromptu picnics in the backyard, every corner of my house is alive with joy, love, and togetherness.

In conclusion, my small house may be petite in size, but it is grand in charm, coziness, and character that make it a cherished haven for me. Its compact layout encourages creativity and imagination in design, while its warm ambiance fosters a sense of comfort and belonging. My cute little house may be small on the outside, but it is mighty in love, laughter, and happiness – qualities that truly make it feel like home.

My house in Delhi is not a grand mansion, but a cozy middle-class home that holds a special place in my heart. Situated in a bustling neighborhood, it stands tall with four floors that offer ample space for my family and me to live, play, and create memories together. Despite its modest size, our house is filled with love, laughter, and warmth that make it a cherished haven for us.

As I walk through the front door of our house, I am greeted by a cozy living room on the ground floor that serves as the heart of our home. The walls are adorned with family photos and colorful artwork, creating a cheerful and inviting atmosphere. A comfortable sofa and a small coffee table sit in the center of the room, inviting us to relax and unwind after a long day at school or work.

The kitchen, located on the first floor, is a bustling hub of activity where delicious meals are prepared with love and care. The aroma of spices and cooking fills the air as we gather around the dining table to share stories and laughter. Despite its compact size, the kitchen is well-equipped with all the essentials needed to whip up our favorite dishes and treats.

Each floor of our house has its own unique charm and purpose. The second floor houses our bedrooms – cozy retreats where we rest and recharge after a busy day. My room is filled with my favorite toys, books, and posters that reflect my interests and personality. From my bed by the window, I can watch the world go by and daydream about adventures yet to come.

The third floor is a versatile space that serves as a family room where we come together to watch movies, play games, or simply spend quality time with each other. The walls are lined with shelves filled with board games, books, and family photos that tell the story of our lives. It is a space where memories are made and bonds are strengthened through shared experiences and laughter.

The fourth floor leads to our rooftop terrace – a hidden gem that offers panoramic views of the city skyline. From here, we can watch the sunset paint the sky in hues of orange and pink, listen to the sounds of the city below, or simply bask in the warmth of the sun on lazy afternoons. It is a peaceful retreat where we can escape the hustle and bustle of daily life and enjoy moments of tranquility together.

In conclusion, my house in Delhi may not be extravagant or luxurious, but it is filled with love, laughter, and cherished moments that make it truly special. Its four floors offer ample space for us to live, play, and grow together as a family. From cozy bedrooms to bustling kitchens, from family rooms to rooftop terraces, every corner of our house holds memories and experiences that shape who we are and bring us closer together. Our middle-class home may not be grand in size or stature, but it is rich in love, warmth, and happiness – qualities that truly make it feel like home for me and my family.

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My House Essay- FAQs

What is a house.

A house is a structure designed for human habitation, providing shelter, comfort, and privacy. It typically consists of rooms for living, sleeping, cooking, and other activities.

What are the different types of houses?

There are various types of houses, including single-family homes, apartments, townhouses, condominiums, and mobile homes. Each type has its own layout, size, and ownership structure.

What factors influence the design of a house?

The design of a house is influenced by factors such as location, climate, cultural preferences, budget, and the needs of the occupants. These factors determine aspects like architectural style, materials used, and layout.

How does a house contribute to our well-being?

A well-designed house can contribute to our physical, mental, and emotional well-being. It provides a safe and comfortable environment for rest, relaxation, and social interaction, promoting overall quality of life.

What are some common household maintenance tasks?

Common household maintenance tasks include cleaning, repairs, landscaping, and regular inspections of systems such as plumbing, electrical, and HVAC. These tasks help ensure the safety, functionality, and longevity of the house.

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My Dream House Essay | Essay on My Dream House for Students and Children in English

February 13, 2024 by Prasanna

My Dream House Essay in English: Having an idea about a dream house sets up a goal for an individual to achieve. Having a dream is essential for triggering that spark within a person that he or she needs to work hard towards making this dream into reality.

We have some long and short essays about one’s dream house that can be used by the students.

You can also find more  Essay Writing  articles on events, persons, sports, technology and many more

Long And Short Essays On My Dream House for Kids and Students In English

We are providing children and students with essay samples on a long essay of 500 words and a short essay of 150 words on the topic “My Dream House” for reference.

A Long Essay on My Dream House is helpful to students of classes 7, 8, 9, 10, 11 and 12. A Short Essay on My Dream House is helpful to students of classes 1, 2, 3, 4, 5 and 6.

Long Essay On My Dream House 500 Words In English

If I were to choose and describe my dream house, I would choose a house according to my personality. It helps people to get an impression about you, and this leaves a long-lasting effect on others.

I would love a house in Frankton, Indiana. There are so many reasons why I love this area. It quiet, and there are not many people around this locality. Everything is within walking distance, and that is where I have grown up. These are some of the reasons why I would love to stay in this rural community.

I love gardening, and having a yard full of trees and plants has been my dream. Freshly bloomed flowers cast a magic spell on me, and I am relaxed when I see it. I would like to have a little treehouse for my kids to play in.

For my living room, I would like a cozy setup. The living room would have a plasma screen television paired with a black leather couch, a white rug, and two recliners. I would love a beautiful wooden finished dark floor—a coffee table, preferably black colour, with white coasters. As I am a plant fanatic, I love succulents and indoor plants. A mini cactus sitting directly in the middle of the table.

I would love to imagine a little hallway and a little bit of a staircase that would lead to the kitchen and dining room. I love ceramic wares, and I want the utensils to be aesthetic. A beautiful granite island top table in the kitchen with some small plants in ceramic bowls would be the perfect set up.

I look to cook, and I would love to invite my full family for dinner, and we would sit around this long skinny table and have a laugh while enjoying the meal.

It was a childhood dream on mine to have a fully furnished basement that people would easily mistake for a bedroom—a movie screen, with a superb sound system. There must be space in the basement where my dogs would run around and play. A bunk bed would be beautiful for the kids to enjoy.

In my garage, I want to have enough room for my car and my two-wheeler. I would also like to do my laundry in the garage, as the garage offers the ideal space one needs to do their laundry.

Coming to the main rooms, I want a study, where my books for study, books for reading in my free time, CDs of my movie collection would be kept. There must be a cozy corner in that room, where there will be a small couch by the window, where I can relax and spend my own sweet time.

The bedroom will be sweet and, with a queen-size bed and a lot of pillows, I have no such specifications about it. Just an addition to my bedroom would be a tiny bed for my dogs.

All in all, I want a sober and peaceful house where I can turn into a home.

Short Essay On My Dream House 200 Words In English

I want to build a dream house with a garden where I can grow my fruits and vegetables.

I want a spacious living room with four other rooms which can be used as bedrooms and a study room. One bedroom will be there for my grandparents and the other one for my parents.

My bedroom must have a very comfortable bed where I can relax. It would also be nice to have a PlayStation in my room. My room should be brightly colored, and on the walls, my favorite cartoon characters should be drawn.

For the living room, there must be a giant television where we can watch movies together. I also wish to have a pet cat or a pet dog, so there must be an area for them in my dream house.

Overall, my dream house is a house where my family, along with my pets, and I can live happily.

10 Lines On My Dream House In English

• My ideal dream house would be a house where I can live along with my family.
• A beautiful balcony is a must in my dream house.
• It must have a garden in which one can play or plant trees and enjoy it.
• There should be a sense of comfort in my dream house.
• All rooms should be spacious and airy.
• My pets should have their corner.
• A cozy study room is a necessity in my dream house.
• Even if the house is not large, it should give out positive energies.
• The interiors should be well planned.
• There must be a lot of plants in my dream house.

FAQ’s on My Dream House Essay

Question 1. Why do people have a dream house?

Answer: People have a dream house to make this a target and work and fulfill this aspiration and live peacefully there.

Question 2. Is there a difference between a home and a house?

Answer: There is a difference between a home and a house. People can build a house with cement and bricks, but a home is built with love and warmth.

Question 3. Does a dream house need to be planned?

Answer: Even if one cannot entirely place the interiors and everything, one must at least try to figure out how he wants to decorate his house.

Question 4. Is it a good idea to have a garden in your dream house?

Answer: Greenery is good, so it’s a splendid idea to have a garden in your dream house.

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My House Essay for Student in English

Table of Contents

In this essay about my home, I will discuss both my current residence and my ideal house. In the first part, I will provide a detailed description of my present home, covering its structure, layout, and the unique elements that make it meaningful to my family and me. In the second part, I will describe my dream home, explaining its design, amenities, and preferred location. These essays aim to offer insight into the significance of our living spaces and how they impact our lives

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My House Essay – Short Essay

My house essay 150 words.

I reside in a truly enchanting home, a sanctuary where I find comfort and security, a place where I yearn to spend my days. Our residence consists of three spacious bedrooms, a welcoming dining area, a well-equipped kitchen, and modern bathrooms. Positioned before the house is a vast courtyard adorned with vibrant blossoms, while in the backyard, we cultivate a variety of vegetables.

Our house boasts a sturdy construction, combining bricks, wood, tiles, and elegant marble flooring that gleams under the daylight. The bedrooms are awesome sized, awesome bathed in natural light, and the bathrooms have ample space, complete with refreshing showers. Our dining room is perfectly decorated, and the open kitchen provides a scenic view of the serene backyard.

However, it is not just the physical aspects that make our house exceptional; it is the presence of my beloved family members that fills it with warmth and character. My affection for our home knows no bounds; it is truly a place of cherished memories and contentment.

My House Essay 250 Words

A home serves as a sanctuary from the daily grind, providing solace and security. I reside in a charming abode nestled within a bustling urban neighborhood. This location boasts convenient proximity to a bus stop, educational institutions, shops, and more. My home is my haven, a place where I feel at ease and self-assured, and one where I yearn to spend most of my time.

Inside, there are three spacious bedrooms, a welcoming dining area, a well-equipped kitchen, and well-maintained bathrooms. In the front yard, we’ve cultivated a delightful garden with colorful flowers, while the backyard is dedicated to growing our own vegetables. Abundant natural light permeates the house, enhancing its inviting ambiance.

Constructed from a combination of sturdy materials like bricks, wood, tiles, and marble, my home exudes a timeless charm. The marble flooring lends an air of elegance throughout. The bedrooms are generously proportioned, well-ventilated, and flooded with natural light. Our bathrooms are commodious and feature modern showers, while our dining area is tastefully adorned.

The open kitchen allows us to savor the view of our backyard while preparing meals. Notably, our windows, constructed from rich brown wood, are broad and open wide during sunny days. The window in our dining room particularly captivates me, as it overlooks a street lined with majestic, ancient oak trees.

Our neighborhood is graced with friendly and considerate neighbors who readily extend their kindness and support. While my house is undeniably beautiful, it is the presence of my family that truly infuses it with warmth and charm. I hold a deep affection for my cherished home.

My House Essay 300 Words

A home holds a special place in our hearts, for it’s where we truly live and thrive. It’s a fundamental need for all of us, and we design our homes to suit our unique needs, using materials like wood, cement, iron, mortar, and bricks.

Speaking of my home, I consider myself truly blessed to reside in the serene Adarsh colony of Gorakhpur. Ours is a modest abode, as we belong to a middle-class family. But within these walls, our family thrives, comprising my dear father, caring mother, my three beloved sisters, and our ever-smiling grandmother.

Inside, our home offers us two bedrooms, a spacious veranda, a well-equipped kitchen, a cozy living room, a convenient bathroom, and a charming little garden outside, which also doubles as a garage. My father takes it upon himself to ensure our home gets a fresh coat of paint and regular maintenance every year. Right in front of our house, there’s an empty plot adorned with various trees and plants, enhancing the beauty of our surroundings.

The three of us sisters share one room, painted in our favorite shade of blue, a space we utilize for our studies. We take pride in keeping our room spotlessly clean. My mother, a stickler for cleanliness, extends her touch of orderliness to the entirety of our home, both inside and out.

Though we might be a small family, our home radiates with happiness. It’s a haven that envelops me in a feeling of security and comfort, a place where my fondest childhood memories were crafted. During festivals and special occasions, our home undergoes a magical transformation as we adorn it with decorations, making it even more enchanting.

In Conclusion

My home is my sanctuary, the ultimate place for relaxation and contentment. The very mention of it fills my heart with warmth and affection. It’s a dwelling brimming with positivity and blessings, all thanks to the loving souls that make up my wonderful family, who transform it into a beautiful abode.

My House Essay 500 Words

A home is a special place that provides comfort to all who reside in it. This is because a home is brimming with love and vitality. Just like anyone fortunate, I too have a home and a caring family. In this essay about my home, I will describe its characteristics and share its significance in my life.

A Peaceful Place I Call Home

Nestled within the heart of the city lies my beloved home. It’s not overly spacious, nor is it too petite; rather, it’s just the right size for my family and me. Our household consists of my father, mother, sister, and grandparents. What makes our dwelling particularly special is its vintage character, as it’s been passed down through generations.

Despite its age, our home stands resilient and strong. It boasts six rooms, each with a unique touch that reflects the individuality of its occupant. For instance, my elder sister, a passionate music enthusiast, has adorned her walls with posters featuring her favorite musicians, including BTS and RM.

The centerpiece of our home is the spacious living room, boasting lofty ceilings. Here, we still cherish the vintage sofa set that my grandmother received as a wedding gift. Adjoining it, you’ll find antique relics like an old television and radio, both of which my grandmother continues to use to this day.

My personal sanctuary lies just next door – my bedroom. It’s my most cherished space, housing all the things I hold dear. Notably, my pet guinea pig resides in a cozy cage here. Additionally, our storage room is a repository of items we no longer employ but can’t quite bring ourselves to part with.

Stepping outside, our front lawn boasts a charming garden. It’s here that my mother tends to her kitchen garden, a labor of love where she cultivates various seeds, introducing new varieties each month to enhance our culinary experiences.

Yet, the fondest memories I hold dear are tethered to our terrace. This spacious outdoor haven is adorned with an array of flourishing plants. It’s witnessed countless joyous family moments and serves as a playground when my cousins come to visit. As a result, every nook and cranny of my home carries a special place in my heart.

In the course of life, I’ve come to a profound realization – not everyone enjoys the same kind of home as I do. Some have considerably less, and sadly, some have no home at all. This awareness has deepened my sense of gratitude and appreciation for the place I fondly call home. I understand that not everyone is fortunate enough to have a good home and a loving family, and for this, I feel truly blessed. Appreciation Towards My Home The reason I hold my home in such high regard is that, as I journey through life, I know that I will look back on the cherished memories I’ve created here with warmth and nostalgia. The simple act of reminiscing about those moments will be all the more special due to the consistent sense of safety and security that my home has always provided. It genuinely is an ideal place to live.

In conclusion

My home occupies a unique and cherished place in my heart because it instills in me a profound sense of belonging, regardless of the circumstances. It aids me in comprehending my role in the world and my connection to the vast universe. For this reason, I am profoundly thankful to have a place that I can wholeheartedly call my own.

My House Essay 10 Lines

• My home is a comfy and relaxing place where I can unwind and be myself.
• It’s situated in a calm and serene neighborhood, surrounded by a lovely garden.
• Inside, the house is warm and welcoming, with a living room, kitchen, and bathroom on the ground floor.
• Upstairs, there are two bedrooms and a small balcony where I can sit and enjoy the view.
• I enjoy spending time in my home, especially during the summer when I can open the windows and let in the fresh air.
• One of the things I love about my home is the big fireplace in the living room, which keeps us warm and cozy on chilly winter nights.
• I also like cooking in the kitchen, which is stocked with all the tools and appliances I need to make tasty meals.
• My home isn’t very large, but it’s just the right size for my family and me.
• We’ve decorated the house with our favorite colors and personal touches, so it feels like our own space.
• All in all, my home is a special place that brings me happiness and joy.

My House Essay FAQs

How can i write about my house.

To write about your house, describe its appearance, rooms, and special features that make it unique.

How do you write 10 lines on a house?

To write 10 lines about a house, discuss its size, color, location, rooms, and how it makes you feel.

What is a house in short notes?

A house is a place where people live, providing shelter and a sense of belonging.

What is 5 sentences on my house for Class 1?

My house is cozy and small. It has a bedroom, kitchen, living room, bathroom, and a garden.

How do I write an essay about my home?

To write an essay about my home, describe its significance, your experiences, and what makes it special.

What can you write about your home?

You can write about your home by sharing its unique features, memories, and why it's important to you.

How to write essay class 4?

To write a class 4 essay, describe your home, its role in your life, and how it makes you feel.

What is home in your own words?

Home, in my words, is where I feel safe, loved, and comfortable.

What is the importance of home?

The importance of home lies in providing shelter, love, and a sense of belonging.

What is the feeling of home?

The feeling of home is warmth, comfort, and a place where you are truly yourself.

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Home — Essay Samples — Life — House — My Home As the Most Beautiful Place For Me

My Home as The Most Beautiful Place for Me

• Categories: House My Favorite Place Personal Experience

About this sample

Words: 1132 |

Published: Apr 8, 2022

Words: 1132 | Pages: 2 | 6 min read

Works Cited

• Cheng, J. (2019). The Psychology of Home: Why Where You Live Means So Much. Psychology Today. https://www.psychologytoday.com/us/blog/the-novel-perspective/201903/the-psychology-home-why-where-you-live-means-so-much
• Fredrickson, B. L., & Levenson, R. W. (1998). Positive emotions speed recovery from the cardiovascular sequelae of negative emotions. Cognition and Emotion, 12(2), 191-220.
• Gifford, R., & Nilsson, A. (2014). Personal and social factors that influence pro-environmental concern and behaviour: A review. International Journal of Psychology, 49(3), 141-157.
• Howells, J. (2018). A Sense of Home and Belonging. The Psychologist, 31, 38-41. https://thepsychologist.bps.org.uk/volume-31/november-2018/sense-home-and-belonging
• Kim, J., Kaplan, R., & Chun, B. (2016). Predicting Emotional Responses to Nature-Based Recreation Activities. Leisure Sciences, 38(1), 1-24.
• Oliver, M. (2014). Home as a lived space: the first-person perspective and beyond. Home Cultures, 11(2), 185-207.
• Padilla-Walker, L. M., & Christensen, K. J. (2011). Adolescent sleep and the impact of technology use before sleep on daytime function. Journal of Adolescence, 34(4), 665-673.
• Russell, J. A., & Carroll, J. M. (1999). On the bipolarity of positive and negative affect. Psychological Bulletin, 125(1), 3-30.
• Searle, S. (2017). Affect and Emotion: A New Social Science Understanding. Routledge.
• Wohlwill, J. F. (1976). The Concept of Home. Environment and Behavior, 8(4), 489-508.

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The mathematics of the Ideal Villa: Palladio and Le Corbusier compared

31 March 1947 By Colin Rowe Archive

Colin Rowe’s essay on The Mathematics of the Ideal Villa, Palladio and Le Corbusier compared

Originally published in AR March 1947, this piece was republished online in August 2010

“There are two causes of beauty - natural and customary. Natural is from geometry consisting in uniformity, that is equality, and proportion. Customary beauty is begotten by the use, as familiarity breeds a love to things not in themselves lovely. Here lies the great occasion of errors, but always the true test is natural or geometrical beauty. Geometrical figures are naturally more beautiful than irregular ones : the square, the circle are the most beautiful, next the parallelogram and the oval. There are only two beautiful positions of straight lines, perpendicular and horizontal; this is from Nature and consequently necessity, no other than upright being firm,” SIR CHRISTOPHER WREN.

Palladio’s Villa Capra, called the Rotunda, has, perhaps more than any other house, imposed itself on the imagination of subsequent generations, and as the ideal type of central building, it has become part of the general European experience. Mathematical, abstract, four square, without apparent function, its dry aristocratic derivatives have enjoyed universal diffusion; when he writes of it Palladio is lyrical.

“The site is as pleasant and delightful as can be found, because it is upon a small hill of very easy access, and is watered on one side by the Bacchiglione, a navigable river; and on the other it is encompassed about with most pleasant risings, which look like a very great theatre and are all cultivated about with most excellent fruits and most exquisite vines; and, therefore, as it enjoys from every part most beautiful views, some of which are limited, some more extended, and others which terminate with the horizon; there are loggias made in all, four fronts.”

When the mind is prepared for the one by the other, a passage from Le Corbusier’s Précisions is unavoidably reminiscent of this. No less lyrical, but rather more explosive, he is describing the site of his Maison Savoye at Poissy.

“Le site, une vaste pelouse bombée en dome aplâti…. La maison est une boîte en l’aire au milieu des prairies dominant Ie verger. II est à sa juste place dans l’agreste paysage de Poissy. Les habitants venus ici parce que cette campagne agreste était belle avec sa vie de campagne, its la contempleront maintenue intacte du haut de leur jardin suspendu ou des quatre faces de leurs fenètres en longueur. Leur vie domestique sera inserée dans un rève virgilien.”

The Savoye House has been given a fair number of interpretations: it may be a machine for living in, an arrangement of interpenetrating volume and external space, another emanation of space, time and architecture. It is probably all these things; but the suggestive reference to the dreams of Virgil, and a certain similarity of site, solution and feeling put one in mind of the passage in which Palladio describes the Rotunda. The landscape there is more agrarian and bucolic, there is less of the untamed pastoral, the scale is larger, but the effect is somehow the same.

Palladio, writing elsewhere, amplifies the ideal life of the villa. Its owner, from within the fragment of created order, will watch the maturing of his possessions, and savour the piquancy of contrast between his fields and his gardens; reflecting on mutability, he will contemplate through the years the antique virtues of a simpler race, the harmonious ordering of his life and estate will be an analogy of paradise.

“The ancient sages commonly used to retire to such places, where being oftentimes visited by their virtuous friends and relations, having houses, gardens, fountains and such like pleasant places, and above all their virtue, they could easily attain to as much happiness as can be attained here below.”

Perhaps these were the dreams of Virgil. Freely interpreted, they have gathered round themselves, in the course of time, all those ideals of Roman virtue, excellence, Imperial splendour and decay, which make up the imaginative reconstruction of the ancient world. It would have been, perhaps, the landscape of Poussin that Palladio would have longed to penetrate, to roam among the portentous apparitions of the antique: it is possibly the fundamentals of this landscape, the poignancy of contrast between the disengaged cube and its setting in the paysage agreste, between geometrical volume and landscape which has the look of unimpaired nature, which lie behind Corbusier’s Roman allusion. If architecture at the Rotunda forms the setting for the good life, at Poissy it is certainly the background for the lyrically efficient one; and if the contemporary pastoral is not yet sanctified by conventional usage, apparently the Virgilian nostalgia is still present. From the hygienically equipped boudoirs, pausing while ascending the ramps, the memory of the Georgics no doubt interposes itself, and, perhaps, the historical reference adds relish as the car pulls out for Paris.

A more specific comparison that presents itself is that between Palladio’s Villa Foscari, the Malcontenta, and the house which in 1927 Corbusier built for M. de Monzie at Garches. A diagrammatic comparison will reveal the fundamental relationships.

In general idea, as can be seen, the system of the two houses is closely similar. They are both conceived as single blocks, with one projecting element and parallel principle and subsidiary façades. Allowing for variations in roof treatment they are blocks of corresponding volume, eight units in length, by five and a half in breadth, by five in height. In both cases six ” transverse” lines of support, rhythmically alternating double and single bays, are established; but the rhythm of -the parallel lines of support, as a result of Corbusier’s use of the cantilever, differs slightly. At the villa at Garches it is ½ : 1½ : 1½ : 1½ : ½, and at the Malcontenta 1½ : 2 : 2 : 1½. In plan, Corbusier thus obtains a sort of compression for his central bay, and interest seems transferred to his outer bays, which are augmented by the extra half unit of the cantilever; while Palladio secures a dominance for his central division, and a progression towards his portico, which focuses interest there. In both cases the projecting element, terrace or portico, occupies 1½ units in depth.

Structures, of course, are entirely different, and both architects look to structure to some extent as a justification for their dispositions. Palladio employs a solid bearing wall, and of this system he writes…

“it is to be observed, that those (rooms) on the right correspond with those on the left, that so the fabric may be the same in one place as in the other, and that the walls may equally bear the burden of the roof; because if the walls are made large in one part and small in the other, the latter will be the more fit to resist the weight, by reason of the nearness of the walls, and the former more weak, which will produce in time very great inconveniencies and ruin the whole work.”

Palladio is concerned with the logical disposition of motifs dogmatically accepted; but he attempts to discover a structural reason for his planning symmetries. Corbusier, who is proving a case for structure as a basis of the formal elements of design, contrasts the new system with the old. He is a little more inclusive.

“Je vous rappelle ce plan paralysé ‘du maison’ de pierre et ceci à quoi nous sommes arrivés avec la maison de fer ou de ciment armé. plan libre façade libre ossature independante fenêtres en longueur ou pan de verre pilotis toît jardin et l’interieur muni de casiers et débarras de l’encombrement des meubles.”

Palladio’s structural system makes it almost necessary to repeat the same plan on every level of the building; and point support allows Corbusier a fairly flexible arrangement; but both architects make a claim, which is somewhat in excess of the reasons they advance. Solid wall structures, Palladio declares, demand absolute symmetry; a frame building, Corbusier announces, requires a free arrangement: these must be, at least partly, the personal exigencies of high style, for asymmetrical buildings in the traditional manner in fact remain standing, and frame buildings of conventional plan continue to give aesthetic satisfaction.

In both houses the principal rooms are on the first floor, linked to the garden by an external feature and flight of steps. The main floor of the Malcontenta shows a cruciform hall, and symmetrically disposed about it are two suites of three rooms each, two staircases and a portico. At Garches the central hall remains, one of the two staircases occupies a similar position, but the other has been turned through an angle of ninety degrees, the entrance hall has been revealed from this level by an asymmetrical well, and the external feature corresponding to the portico becomes partly a re-entrant volume, obliterating a line of support and placed in a less perceptible relationship to the main room. The cruciform shape has disappeared, and a Z-shaped balance is achieved by throwing the small library into the main apartment. There is a subsidiary cross axis at Malcontenta, which is suggested at Garches by the central voids of the end walls. These convey a certain careful character to the plan, but there is no through vista.

The wall at the Malcontenta forms the traditional solid pierced by vertical openings, with the central emphasis in the pediment; and the outer ones have the windows placed towards the extremities of the façade, a device which seems to reinforce the cubic quality of the block. The double bay in the middle is expressed by a single door, or in the rear elevation by a “Roman baths” motif, and carries the upper pediments of the roof. Horizontally the wall falls into three main divisions: base; piano nobile, corresponding to the ionic order of the portico, terminated by a flattened entablature; and a superimposed attic with cornice. The base plays the part of a projecting, consistently supporting solid, upon which the house rests; but while the attic and piano nobile are rusticated, the base is treated as a plain surface. A feeling of even greater weight carried here is achieved by this highly emotional inversion of the usual order.

In the Villa at Garches the exploitation of the structural system has led to the conception of the wall as a series of horizontal strips, alternating void and solid, a system which places equal interest in both centre and extremity of the façade, and is maintained by Corbusier’s almost complete suppression in elevation of the wider spans of the double bays, which are arranged to read as two separate bays. Any system of central vertical accent, and inflection of the wall leading up to it, is profoundly modified. The immediate result in the garden elevation at Garches shows itself in the displacing of portico and roof pavilion from the central position which they occupy in the Malcontenta. They are separated, the one occupying the three bays to the left of the façade, and the other a central position in the solid, but an asymmetrical one in the whole elevation. The diagonal of the staircase forms the balance.

The entrance elevation retains the central feature in the upper storey, but it is noticeable that the further development of this feature within itself is asymmetrical. The downward indication of weights in this sort of façade is impossible; and to see the central feature, interrupted by the horizontal voids, centrally repeated in the base, would be grotesque. Displacement and breaking up of the feature are again compensated by diagonal relationships; and in the ground floor entrance marquise and service door fulfill these purposes.

The other chief point of difference lies in the idea of the roof. In the Malcontenta it forms a pyramidal superstructure dominated by the temple fronts of the upper pediments, which occur above, and augment the central features of the main wall. Interest and silhouette are provided by the highly romantic chimneys, which possess a mediaevalizing quality, recalling the complicated machicolations of the now disappeared courtyard walls. Garches has a flat roof on two levels, treated partly as enclosure cut out of the block, and scattered with the irregular incident of gazebo, perforation and pavilion. The main plastic elements, the framed terrace of the entrance elevation and the pavilion of the garden front, are placed respectively in symmetrical and asymmetrical relation to the façades below. As at the Malcontenta, they are dominant features in the composition, but in neither case are they placed in direct vertical relationship with the principal features of the lower wall.

Corbusier’s treatment of the base is not continuous. In the cantilevered façades it is affirmed by set-backs or horizontal voids, elsewhere it is not expressed.

Mathematics and musical concord as the basis of ideal proportion was a common belief in Palladio’s North Italian circle, where there was felt to be a correspondence between the perfect numbers, the proportions of the human figure and the elements of musical harmony. Sir Henry Wotton, as Ambassador at Venice, reflects some part of this attitude when he writes:

“The two principal Consonances that most ravish the Ear are, by the consent of all Nature, the Fifth and the Octave, whereof the first riseth radically from the Proportion between two and three, the other from the double Interval between one and two, or between two and four, etc. Now if we shall transport these Proportions, from audible to visual Objects, and apply them as shall fall fittest…, there will indubitably result from either, a graceful and harmonious Contentment to the Eye.”

It was not in fact suggested that architectural proportions derived from musical harmonies, but rather that the laws of proportion were established mathematically and universally diffused. The Platonic and Pythagorean universe was compounded of the simpler relationships of numbers, and such a world was formed within the triangle made by the square and cube of the numbers 1, 2, 3. Its qualities, rhythms and relationships were established within this framework of numbers up to 27; and if such numbers governed the works of God, it was fitting that the works of man should be similarly constructed, and that a building should be a representative in microcosm, of the same process exhibited to a larger scale in the workings of the world. In Alberti’s words “Nature is sure to act consistently and with a constant analogy in all her operations,” what is patent in music must also be so in architecture, proportions are a reflection of the harmony of the universe, their basis, scientific and religious, was quite unassailable. Palladio had the satisfaction of an entirely objective aesthetic.

Corbusier has expressed similar convictions about proportion. Mathematics bring “ des verités réconfortantes ,” and “ on ne quitté pas son ouvrage qu’ avec la certitude d’être arrivé à la chose exacte .” It is, indeed, exactness, precision, neatness that he seeks, the overall controlling shape; and within, not the unchallengeable clearness of Palladio’s volumes, but a sort of planned obscurity. Consequently, while in the Malcontenta geometry is diffused through the internal volumes of the building, at Garches it resides only in the total block and the disposition of its supports.

The theoretical basis on which Palladio rested broke down in the eighteenth century, when proportion became a matter of individual sensibility and inspiration; and Corbusier, in spite of the comforts which mathematics afford him, occupies no such unassailable position. The functionalist theory was, perhaps, an attempt to re-assert a scientific aesthetic with the objective value of the old. Its interpretation was crude. Results can be measured in terms of the solution of a particular process; proportions are apparently accidental and gratuitous. It is in contradiction of this theory that Corbusier imposes mathematical patterns upon his buildings: these are the universal “ verités réconfortantes .”

Thus, either because, or in spite of theory, both architects share a common standard, a mathematical one, defined by Wren as “natural beauty”; and within the limitations of a particular programme, it is not surprising that the blocks should be of corresponding volume - 8 : 5½ : 5. Corbusier has carefully indicated his relationships by regulating lines, dimensions and figures, and over all he places the ratio of the golden section, A : B = B : (A+B). Thus he indicates the ideal with which he would wish his façade to correspond, although in actual fact the figures 3 : 5 = 5 : 8 thus represented are only approximate.

Palladio also provides his plan with cryptically explanatory dimensions, and thus the rooms comprising the suites of three can be read as a progression from a 3 : 4 to 2 : 3 relationship. They are numbered 12 : 16, 16 : 16, and 16 : 24.

The façade is divided vertically into four main units, the two central ones being really a single division by their common expression as portico. The horizontal divisions are complicated by the introduction of the order, which presupposes alongside the “natural” proportions, a series of purely “customary” relationships. In fact these horizontal divisions are uneven although, as the figures show, they roughly approximate to a division into fifths-a fifth part to the attic and approximately three-fifths of the remaining wall surface to order and entablature.

Corbusier also divides his façade into four units; but in his case horizontally. The two central units are partly unified by their placing alongside the garden terrace, and could be considered as corresponding to Palladio’s piano nobile. The vertical divisions are in the relationship indicated by the equation (3 : 5), which Palladio uses horizontally. In both cases there are elaborations in detail of dominant, complicated by imposition upon subsidiary system. It is by vertical extension into arch and vault, diagonal of roof line and parapet, that Palladio modifies the geometrical asperities of his cube; and the use of the circular and pyramidal elements with the square, seems both to conceal and amplify the real nature of the volumes. Some of these resources are the prerogatives of solid wall construction, freedoms of the “ plan paralysé ,” and the introduction of arched forms and pitched roofs is a liberty which Corbusier at Garches is unable to allow himself. In the frame building it is not, as in the solid wall structure, the enclosing walls that are a dominant, but the horizontal planes of floor and roof.

The quality of partial paralysis, which Corbusier has noticed in the plan of the solid wall structure, in the frame building is transferred to the section. Perforation of floors giving a certain vertical movement of space is possible; but the sculptural quality of the building as carving has disappeared, and there can be none of Palladio’s firm sectional transmutation and modeling of volume. Extension must be horizontal following the established horizontal planes; free section is replaced by free plan, paralysed plan by paralysed section; and the limitations in both cases are equally severe; as though the solid wall structure had been turned on its side, the former complexities of section and subtleties of elevation are now transferred to plan.

The shapefulness and spatial audacities of the Garches plan continue to thrill; but it is an interior which seems to be regulated by the intellect only, operating, as it were, inside a stage vacuum. There is a permanent tension between the organised and the apparently fortuitous. To the intellect it is clear, to the senses deeply perplexing; and it seems not to be possible to stand anywhere in it, at anyone point and receive the palpable impression of the whole. Both buildings can be absorbed from without; but from within, in the cruciform hall of the Malcontenta, there is a clue to the whole building, which is crystallized and focused there. At Garches, the theoretical equidistance between floor and ceiling conveys an equal importance to all parts of the volume in between. Allowed a sufficient height, it might be treated as a single volume, but otherwise the development of focus becomes a somewhat arbitrary proceeding. Corbusier accepts this limitation, and accepts the principal of horizontal extension; at Garches the central focus has been consistently broken up, concentration at one point is disintegrated, and replaced by a peripheral dispersion of incident. The dismembered fragments of the central focus become, in fact, a sort of serial installation of interest round the extremities of the plan.

The system of horizontal extension comes up against the rigid bounding lines of the rectangular block, which is fundamental to the programme. Elaborate external development is, therefore, impossible, and Corbusier logically employs the opposite resource, inversion in the place of extension, gouging out large volumes of the block as the terrace and the roof garden, and exposing them to the outer space. Thus the peripheral incident, which replaces the focus, sometimes becomes one and the same with the inversions, which represent an essentially similar feature to Palladio’s vertical extension.

This system of regular diffusion of interest and irregular development of points of concentration, throws into intense relief the geometrical substructure of the building. A comparable process to that in the plan takes place in the elevations, where the horizontal window treatment conveys equal interest to the centre and verge of the façades, and produces similar disintegration of vertical emphasis and displacement of the central feature. Elimination of focus immediately transfers interest to extremities of the block, which acquire a clarity and tautness, as though they were trying to restrain the peripheral incident from flying out of the block altogether.

A specific comparison is less easy to make between the Villa Rotunda and the Savoye House of 1930, the houses which seemed to provoke it. The problem, although at first it appears to be more severe, in actual fact offers a wider range. The emotional impression, concentrated in two fronts at Garches and the Malcontenta, is diffused here through all four, resulting in a more complex internal disposition and a greater geniality of external effect. The structural system of the Poissy house is less clear, and its central character is somewhat discounted by the cantilevered prolongations of what are presumably the east and west façades; and by the “directed” expression of the ground floor, with its porte cochère and utility entrances. There is a noticeable easiness and lack of tension in these façades; but there are analogous developments from the earlier houses in both cases. Such are Palladio’s development of central emphasis in both plan and elevations; and Corbusier’s extended interest throughout his façades and dispersing of focus. The complicated volumes of the roof gardens replace the Palladian pitched roof and cupola; Palladio’s four projecting loggias are replaced within the block as the first floor roof garden, which could also be considered, as the dominant element of this floor, to correspond to the domed saloon of the Rotunda.

Symbolically, and in what might be called the sphere of “customary” beauty, these two groups of buildings are in different worlds. Palladio sought complete clarity of plan, the most lucid organisation of conventional elements based on symmetry, as the most memorable form of order, and mathematics as the supreme sanction in the world of external forms. In his own mind his work was essentially that of adaptation, the adaptation of the ancient house; and at the back of his mind were always the great halls of the Imperial thermae, and such buildings as Hadrian’s villa at Tivoli. He has several schemes of archeological reconstruction of Greek and Roman domestic buildings, based on Vitruvius and Pliny, and incorporating elements, which in Greek and Roman practice would have been found only in public buildings, but which he regarded as general. Rome for him was still alive, and if the ancients had adapted the temple from the house, their large scale planning was no doubt similarly reflective. Development was, therefore, less a matter of innovation, than an extension of ideas already implicit.

Corbusier has an equal reverence for mathematics, and would appear to be sometimes tinged with a comparable historicism. He seems to find a source in those ideals of convenance and commodité displayed in the ingenious planning of the rococo hotel, the background of a social life at once more amplified and intimate. The French have an unbroken tradition of this sort of planning; and one discovers, in a beaux arts utilisation of an irregular site, elements which, if they had not proceeded Corbusier, would have been curiously reminiscent of those suave boudoirs and vestibules. Corbusier admires the Byzantine architecture of the Mediterranean world, and there is also present a purely French delight in the more comprehensible aspects of mechanics… the little pavilion on the roof at Garches is at the same time a temple of love and the bridge of a ship, the detail is precise, the most complex architectural volumes are fitted with running water.

Geometrically, both architects may be said to have approached something of the Platonic archetype of the villa, which the Virgilian dream could be held to represent. The idealisation of the cube house must lend itself very readily to the purposes of Virgilian dreaming. Here is set up the conflict between the contingent and the absolute, the natural and the abstract; the gap between the ideal world and the too human exigencies of realisation receives its most pathetic presentation. The bridging must be as competent and compelling as a well-executed fugue, charged as in these cases with almost religious seriousness, or sophisticated, witty allusion; it is an intellectual feat which reconciles the mind to the fundamental discrepancy of the programme.

Palladio is the convinced classicist with the sixteenth century repertoire of well-humanised forms. He translates this “customary” material with a passion and a high seriousness fitting to the continued validity that he finds it to possess; the reference to the Pantheon in the superimposed porticoes; to the thermae in the cruciform saloon; the ambiguity, profound, in both idea and form, in the equivocal conjunction of temple front and domestic block. These are charged with meaning, both for what they are and for what they signify; and their impression is poignant. The ancient house is not re-created, but there is in its place a concrete apparition of antique virtue, excellence, Imperial splendour and stoicism: Rome is there by allusion, the ideal world by geometry.

By contrast, Corbusier is in some ways the most ingenious of eclectics. The orders, the Roman allusion, are the apparatus of authority, customary, and in a sense universal forms. It is hard for the modern architect to be quite so emphatic about any particular civilisation; and with Corbusier there is always present an element of wit, suggesting that the historical reference has remained a quotation between inverted commas, possessing always the double value of the quotation, the associations of both old and new context. The world of classical Mediterranean culture, on which Palladio drew so expressively, is closed for Corbusier. The emblematic representations of the moral virtues, the loves of the Gods and the lives of the Saints, the ornamental adjuncts of humanism, have lost their former historical monopoly.

Allusion is dissipated at Garches, concentrated at the Malcontenta; within the one cube the performance is mixed, within the other; Roman; Corbusier selects the irrelevant and the particular, the fortuitously picturesque and the incidentally significant forms of mechanics, as the objects of his virtuosity. They retain their original implications of classical landscape, mechanical precision, rococo intimacy; one is able to cease hold of them as known objects, and sometimes as basic shapes; but they become only transiently provocative. Unlike Palladio’s forms there is nothing final about their relationship: their rapprochement would seem to be affected by the artificial emptying of the cube, when the senses are confounded by the apparent arbitrariness, and the intellect more than convinced by the intuitive knowledge, that here in spite of all to the contrary, there is order and there are rules.

Corbusier has become the source of fervent pastiches, and witty exhibition techniques: the neo-Palladian villa became the picturesque object in the English park. Content is different in both cases, and a bad portico is usually more convincing than an ill-executed incident. It is the magnificently realisable quality of the originals which one fails to find in the works of neo-Palladians and exponents of “ le style Corbu .” The difference is that between the universal, and the decorative or merely competent; perhaps in both cases it is the adherence to rules which has lapsed.

August 2010

Since 1896, The Architectural Review has scoured the globe for architecture that challenges and inspires. Buildings old and new are chosen as prisms through which arguments and broader narratives are constructed. In their fearless storytelling, independent critical voices explore the forces that shape the homes, cities and places we inhabit.

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• My Dream House Essay in English for Students

Read My Dream House Essay on Vedantu

English is one of the leading languages ​​in the world. Since English is the language of international trade, English is a basic requirement for everyone. Not only that, you can also interact with people from all over the world. Today, fluency in English is one of the basic requirements for a trouble-free life. To be perfect in any language, you must be able to write, read, and speak. These skills include understanding the grammatical aspects of English, writing letters, essays, etc.

Essay-writing is a fun activity for every kid. Kids enjoy writing essays as it gives them creative freedom and allows them to express their thoughts. Essay writing has many benefits: it improves students’ command over the language, allows them to learn sentence formation, etc. Kids can get free essays on several topics on Vedantu’s site. 

My Dream House- An Essay 

I always imagine how my future house will be. A home is a place surrounded by the people one loves. A house is not made beautiful by its furniture or decor, but by the people that live inside it. My dream house should be a house that I can share with my family when I grow old. I always dream of a wooden house in the hilly areas. My dream house should be the one facing a small river. Through the windows, I could see the sun setting and disappearing into the mountains. My dream house would have a small garden where I will grow my own vegetables and fruits. 

The house that I fancy would be considerably big with four rooms and a spacious common area. My dream house should be comfortable for my parents, grandparents and siblings. The house should be equipped with all the modern amenities. It should have a big TV with a home theatre system and a Playstation attached to it. The walls of the house will have light colours that will make it appear bright. There will be sufficient light bulbs and lamps in every room. I also dream of a chandelier in the guest room and a big sofa where everyone will sit and enjoy watching TV together. My grandparents love reading. I wish that my dream house will have a reading space with lots of books.

I have a 3-year old pet dog called Tiger. I also want to have a small yet cosy space in my house for Tiger where he can sleep and relax when he grows old. The house will have beautiful interiors and will have all the facilities like a modern kitchen, three bathrooms, a staircase leading to the terrace, ACs, etc. My dream home should be the one where we all can live happily and comfortably.  

FAQs on My Dream House Essay in English for Students

1. Why should students write essays about My Dream House?

Essay writing is loved by all ages. When writing an essay on any topic, they can describe their chain of thoughts and ideas. Children must be able to understand the importance of home. Home is a symbol of togetherness and love. Writing an essay about my dream house gives students the opportunity to express their feelings about the dream house in simple words. My dream house essay tries to introduce children to the most important aspects of a home that they can include in their essay. Everyone has their own idea of ​​the perfect home. With this article, the experts try to write what a children's dream house looks like. Writing a short essay about my dream house encourages children to gather their thoughts and develop their own ideas about the subject. It develops better language skills and increases self-confidence. Therefore, writing essays has been a part of the curriculum since the formation years of children. 

2. What is a dream house?

Home is the dream of many people because it is one of the few things that give happiness and comfort to everyone. Dream homes can have designs that vary from person to person and this has led to many beautiful dream homes. A dream home should be a place where the person finds comfort, no matter where they go, they will find peace at that one place. A dream house is a place that a person dreams and each day wishes to be in that place. There are many essays on dream homes that can easily be found on the Vedantu website for the students to refer to. 

3. Why should students be encouraged to write essays?

An essay is written to convince someone about a certain topic or just to inform the reader. In order to convince or properly inform the reader, the essay must include several elements that are important to be convincing and logical. Essay writing is a very important part of the English curriculum because it understands how to describe something in words or how to express your point of view without losing its meaning. Essays are the most important way to understand the structure of writing and present it to the reader.

4. How does Vedantu help students write essays?

Writing an essay takes a little guidance and a lot of practice. To understand this, Vedantu offers students various essays on various topics to understand the proper way to write an essay. Students can refer to these essays and reproduce them in their own style to get a better test. On the Vedantu website, there are complete guidelines on how to write an essay and its types. These tips and ample examples available on the website are the perfect guide for any student to write an essay.

5. What perspectives should students keep in mind when writing an essay entitled My Dream House?

Home is a completely safe place to live with our family. We live with our parents, grandparents, and siblings and it is a place that gives us love and warmth. In this article, we'll review the essay ook, "My Dream Home," and understand the importance of a dream home from a toddler's perspective. When I write "My Dream home", the child needs to understand the importance of the dream house in his life. In addition, children should see the house as a symbol of human togetherness, a place where everyone learns the first steps in his life.

Summary: Using it Wisely

What this handout is about.

Knowing how to summarize something you have read, seen, or heard is a valuable skill, one you have probably used in many writing assignments. It is important, though, to recognize when you must go beyond describing, explaining, and restating texts and offer a more complex analysis. This handout will help you distinguish between summary and analysis and avoid inappropriate summary in your academic writing.

Is summary a bad thing?

Not necessarily. But it’s important that your keep your assignment and your audience in mind as you write. If your assignment requires an argument with a thesis statement and supporting evidence—as many academic writing assignments do—then you should limit the amount of summary in your paper. You might use summary to provide background, set the stage, or illustrate supporting evidence, but keep it very brief: a few sentences should do the trick. Most of your paper should focus on your argument. (Our handout on argument will help you construct a good one.)

Writing a summary of what you know about your topic before you start drafting your actual paper can sometimes be helpful. If you are unfamiliar with the material you’re analyzing, you may need to summarize what you’ve read in order to understand your reading and get your thoughts in order. Once you figure out what you know about a subject, it’s easier to decide what you want to argue.

You may also want to try some other pre-writing activities that can help you develop your own analysis. Outlining, freewriting, and mapping make it easier to get your thoughts on the page. (Check out our handout on brainstorming for some suggested techniques.)

Why is it so tempting to stick with summary and skip analysis?

Many writers rely too heavily on summary because it is what they can most easily write. If you’re stalled by a difficult writing prompt, summarizing the plot of The Great Gatsby may be more appealing than staring at the computer for three hours and wondering what to say about F. Scott Fitzgerald’s use of color symbolism. After all, the plot is usually the easiest part of a work to understand. Something similar can happen even when what you are writing about has no plot: if you don’t really understand an author’s argument, it might seem easiest to just repeat what he or she said.

To write a more analytical paper, you may need to review the text or film you are writing about, with a focus on the elements that are relevant to your thesis. If possible, carefully consider your writing assignment before reading, viewing, or listening to the material about which you’ll be writing so that your encounter with the material will be more purposeful. (We offer a handout on reading towards writing .)

How do I know if I’m summarizing?

As you read through your essay, ask yourself the following questions:

• Am I stating something that would be obvious to a reader or viewer?
• Does my essay move through the plot, history, or author’s argument in chronological order, or in the exact same order the author used?
• Am I simply describing what happens, where it happens, or whom it happens to?

A “yes” to any of these questions may be a sign that you are summarizing. If you answer yes to the questions below, though, it is a sign that your paper may have more analysis (which is usually a good thing):

• Am I making an original argument about the text?
• Have I arranged my evidence around my own points, rather than just following the author’s or plot’s order?
• Am I explaining why or how an aspect of the text is significant?

Certain phrases are warning signs of summary. Keep an eye out for these:

• “[This essay] is about…”
• “[This book] is the story of…”
• “[This author] writes about…”
• “[This movie] is set in…”

Here’s an example of an introductory paragraph containing unnecessary summary. Sentences that summarize are in italics:

The Great Gatsby is the story of a mysterious millionaire, Jay Gatsby, who lives alone on an island in New York. F. Scott Fitzgerald wrote the book, but the narrator is Nick Carraway. Nick is Gatsby’s neighbor, and he chronicles the story of Gatsby and his circle of friends, beginning with his introduction to the strange man and ending with Gatsby’s tragic death. In the story, Nick describes his environment through various colors, including green, white, and grey. Whereas white and grey symbolize false purity and decay respectively, the color green offers a symbol of hope.

Here’s how you might change the paragraph to make it a more effective introduction:

In The Great Gatsby, F. Scott Fitzgerald provides readers with detailed descriptions of the area surrounding East Egg, New York. In fact, Nick Carraway’s narration describes the setting with as much detail as the characters in the book. Nick’s description of the colors in his environment presents the book’s themes, symbolizing significant aspects of the post-World War I era. Whereas white and grey symbolize the false purity and decay of the 1920s, the color green offers a symbol of hope.

This version of the paragraph mentions the book’s title, author, setting, and narrator so that the reader is reminded of the text. And that sounds a lot like summary—but the paragraph quickly moves on to the writer’s own main topic: the setting and its relationship to the main themes of the book. The paragraph then closes with the writer’s specific thesis about the symbolism of white, grey, and green.

How do I write more analytically?

Analysis requires breaking something—like a story, poem, play, theory, or argument—into parts so you can understand how those parts work together to make the whole. Ideally, you should begin to analyze a work as you read or view it instead of waiting until after you’re done—it may help you to jot down some notes as you read. Your notes can be about major themes or ideas you notice, as well as anything that intrigues, puzzles, excites, or irritates you. Remember, analytic writing goes beyond the obvious to discuss questions of how and why—so ask yourself those questions as you read.

The St. Martin’s Handbook (the bulleted material below is quoted from p. 38 of the fifth edition) encourages readers to take the following steps in order to analyze a text:

• Identify evidence that supports or illustrates the main point or theme as well as anything that seems to contradict it.
• Consider the relationship between the words and the visuals in the work. Are they well integrated, or are they sometimes at odds with one another? What functions do the visuals serve? To capture attention? To provide more detailed information or illustration? To appeal to readers’ emotions?
• Decide whether the sources used are trustworthy.
• Identify the work’s underlying assumptions about the subject, as well as any biases it reveals.

Once you have written a draft, some questions you might want to ask yourself about your writing are “What’s my point?” or “What am I arguing in this paper?” If you can’t answer these questions, then you haven’t gone beyond summarizing. You may also want to think about how much of your writing comes from your own ideas or arguments. If you’re only reporting someone else’s ideas, you probably aren’t offering an analysis.

What strategies can help me avoid excessive summary?

• Read the assignment (the prompt) as soon as you get it. Make sure to reread it before you start writing. Go back to your assignment often while you write. (Check out our handout on reading assignments ).
• Formulate an argument (including a good thesis) and be sure that your final draft is structured around it, including aspects of the plot, story, history, background, etc. only as evidence for your argument. (You can refer to our handout on constructing thesis statements ).
• Read critically—imagine having a dialogue with the work you are discussing. What parts do you agree with? What parts do you disagree with? What questions do you have about the work? Does it remind you of other works you’ve seen?
• Make sure you have clear topic sentences that make arguments in support of your thesis statement. (Read our handout on paragraph development if you want to work on writing strong paragraphs).
• Use two different highlighters to mark your paper. With one color, highlight areas of summary or description. With the other, highlight areas of analysis. For many college papers, it’s a good idea to have lots of analysis and minimal summary/description.
• Ask yourself: What part of the essay would be obvious to a reader/viewer of the work being discussed? What parts (words, sentences, paragraphs) of the essay could be deleted without loss? In most cases, your paper should focus on points that are essential and that will be interesting to people who have already read or seen the work you are writing about.

But I’m writing a review! Don’t I have to summarize?

That depends. If you’re writing a critique of a piece of literature, a film, or a dramatic performance, you don’t necessarily need to give away much of the plot. The point is to let readers decide whether they want to enjoy it for themselves. If you do summarize, keep your summary brief and to the point.

Instead of telling your readers that the play, book, or film was “boring,” “interesting,” or “really good,” tell them specifically what parts of the work you’re talking about. It’s also important that you go beyond adjectives and explain how the work achieved its effect (how was it interesting?) and why you think the author/director wanted the audience to react a certain way. (We have a special handout on writing reviews that offers more tips.)

If you’re writing a review of an academic book or article, it may be important for you to summarize the main ideas and give an overview of the organization so your readers can decide whether it is relevant to their specific research interests.

If you are unsure how much (if any) summary a particular assignment requires, ask your instructor for guidance.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

Barnet, Sylvan. 2015. A Short Guide to Writing about Art , 11th ed. Upper Saddle River, NJ: Prentice Hall.

Corrigan, Timothy. 2014. A Short Guide to Writing About Film , 9th ed. New York: Pearson.

Lunsford, Andrea A. 2015. The St. Martin’s Handbook , 8th ed. Boston: Bedford/St Martin’s.

Zinsser, William. 2001. On Writing Well: The Classic Guide to Writing Nonfiction , 6th ed. New York: Quill.

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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