156 Sentences With "front rooms" | Random Sentence Generator

So it was shown semi-clandestinely in peoples front rooms or little holes.

Some of the most striking pictures are of the front rooms of migrants' new English homes.

The two front rooms have walkout windows that were designed to skirt 19th-century taxes on doors.

Next door 2551 Dreams: Arts & Culture Collective features art shows in its front rooms that serve as a gallery.

It warns that front rooms facing Forty‑Third Street get more street noise, and the back rooms get less light.

Cameramen entering the honeycomb of the Old City return with footage of bodies, old and young, lying under blankets in front rooms for days.

NagaCorp is building additional facilities and a luxury retail complex, while Solaire, where VIPs play in opulent ocean-front rooms, is also unrolling new amenities to lure VIPs.

When you watch Sivan, you could be watching any of us, in those precious, stolen moments when we're dancing around our front rooms and flats, lip syncing and flailing our arms about—thriving, not just surviving.

All you know is that one of the Fryes, or both, loved what you see before you, and that the museum's curators have tried to continue the legacy with rotating exhibitions of mostly modern art in the front rooms.

Right now, though, the platform welcomes some non-gaming attractions that, for my money, are more representative of how VR use in the home is going to look if this medium manages to gain a meaningful foothold in front rooms.

If they want to talk about it in their front rooms with their wives or their husbands that's up to them, but as soon as they bring it out on to the streets and intimidate people, then that's our responsibility to stop it.

Outside the French doors of the massive front rooms lie the bare black boughs of the Avenue Montaigne in winter, as though in a Stieglitz photograph; inside are decades of French design, gently stripped back to its essence and buffed to an impossible edge.

This winter saw restoration work to architectural details in the foyer of the mansion, where the two front rooms, the drawing room and the dining room on the first floor have been restored and now offer a fascinating record of the Jay family's accomplishments and influences, including an 508 manumission document freeing a slave and a 506-foot-long genealogical chart of the Jay family.

The renovated front rooms are available for rental and are used for special events.

The owners have allowed the patios and front rooms to be hired to host 1920s-themed tea parties.

The two front rooms open into the street with French glass doors. Those on one side are the dining & drawing rooms, the others, chambers. The front rooms, when inhabited by Americans, are the family rooms, & the back rooms the chambers.”Benjamin Henry Latrobe, Impressions Respecting New Orleans, Diary & Sketches, 1818-1820.

The front rooms have triple bay windows. Above the front door are ornamental leadlight panels, the centre one of which includes the word "ANZAC". The building has pressed metal ceilings. "Restoration" displays in the front room of the cottage, 2015-11-07 The two front rooms and the kitchen/dining room have fireplaces.

All windows have cedar splayed reveals and most are of the colonial twelve paned pattern. Windows to the two front rooms have cedar panels extending twelve paned pattern. Windows to the two front rooms have cedar panels extending from the sill to the floor. All chimney pieces are cedar fluted with roundels except one which is white marble.

Both levels follow a four-room plan, flanked by a side hall. The front rooms feature a fireplace. An addition to the rear houses a bedroom on both levels.

Its hall and two front rooms have cove cornices. Mary Bayne, who lived there, wrote Crestlands about the founding of the Christian Church. With It has also been termed The Coachstop.

She used the front rooms of The Minories as her consulting rooms, and also opened Colchester's first infant nursery there. One of the Bensusan-Butt's three children was the English economist, David Bensusan-Butt.

Decoration in the front rooms includes relatively modest vernacular paneling. The upstairs presently has three rooms, two in front and a single large one in the back, although there is evidence that the room configuration has changed over the years.

Above the doorway to the Regent's room, a board with the list of names of the regents hangs with the dates of their appointment, which are also the dates of their oval portraits that hang in the two front rooms.

The author dedicates the novel to 'the old gentlemen of Industry - sought out in homes for the aged, their little front rooms, in the street and on park benches......without the aid of such men this book could not have been written'.

There is small nine light window over the north door. The first floor has four rooms. The larger of the front rooms has the central front entrance. The smaller room on the left is connected to the large room by a single door.

Two skylit staircases, with turned balusters and newels and a curved molded handrail rise to the upper story in the front and rear. Off them, the hallways have simple wainscoting. Fireplaces in the front rooms have a mix of classical, Italianate and Eastlake decorative touches.

Retrieved 22 December 2018. According to music critic Everett True, dolewave's "recalcitrant and ramshackle" sound mirrors the "makeshift venue culture" that many of the bands find themselves in: "underneath decrepit Queenslanders, in open park spaces, in warehouses, rundown pubs, front rooms of share houses".

The two rear rooms are the same size. They are divided by the central hall with staircase. The front rooms have barrel-vaulted fireplaces with high mantels on their back walls. The left hand rear room has had small bathroom added at a later period.

The front and western verandahs are supported by precast aluminium doric columns. Pairs of French doors on either side of the projecting vestibule have wooden shutters. Brick walls divide the interior into four rooms. The two front rooms share a back-to-back fireplace.

Inside, the entrance, another Dutch door with four-light transom, opens on a central hall. The front rooms are larger than the rear ones. All have fireplaces with early 19th-century mantels. The one in the northwest room has an Arts and Crafts-style tile inlay.

Four rooms are organised off a central hall which narrows halfway along. The main entrance to Nash Street is a four-panel timber door with sidelights and fanlights. Both front rooms have fireplaces with carved timber surrounds. Ceilings throughout the residence are plastered and plain with no cornices.

In the rear he had the servants' quarters converted into the porch and added the Palladian window. Inside, he had the two front rooms on the east side combined into a large parlor. He also landscaped the backyard. There have been no other significant changes to the house since.

A transverse rear hall was added around 1923, joining the main block with a detached kitchen. The main stairway to the second floor was moved to this hall, replacing separate stairhalls in the front rooms. See also: The house was listed on the National Register of Historic Places in 1982.

The main front rooms have french windows at the sides surmounted by cedar ogee pattern panels above. All reveals of doorways are panelled to correspond with the panelling of the doors. The front door, D1, is 5 panelled, the upper panels now glazed. It appears to be an Edwardian period replacement.

The original interior doors are of panelled timber with pressed metal push plates. Evidence of the original dark stained finish is evident under layers of paint. The bay windows are substantially intact despite having been relocated from the corner of both front rooms. A decorative internal timber fretwork grille is fitted to both of them.

The wooden depot is similar in design to other small-town stations along the Central of Georgia line. The one-story, gable-roofed structure is clad with board and batten siding. Two front rooms with separate entrances were used as passenger waiting rooms. At the opposite end of the station is a large freight room.

The butler's pantry was located immediately off the hall. Like the middle hall the front hall also contained chairs for waiting visitors. The two front rooms were used as a dining room and a drawing room. The dining room was originally the furthest from the kitchen, but in the twentieth century this arrangement was reversed.

One of the front rooms originally house the town library, and the hall has been used for town meetings as well as theatrical productions and other performance events. The building is an unusually sophisticated example of Colonial Revival architecture for what was, at the time of its construction, a small community of limited means.

Houses were generally allowed to be used for commercial purposes, with many front rooms being converted to a shop front and giving rise to the corner shop. By the 1890s, larger terraces designed for lower-middle-class families were being built. These contained eight or nine rooms each and included upstairs bathrooms and indoor toilets.

The hallway between the dining room and two front rooms features a high ceiling for ventilation in Georgetown's hot summers. The second floor walls were plastered and painted. Chair rails were added to prevent damage to the walls. In the dining room, a dumbwaiter concealed by recessed pine cabinetry delivered food from the kitchen below.

The latter is built around a courtyard. The family wing contains on the ground floor two large rooms-drawing room and dining room and five smaller rooms used as an office, bedrooms and sitting rooms. It also contains a wash room and bathroom. These front rooms open onto a central hall, while the back rooms open onto a crosshall.

Floors throughout the central hall and the front rooms are 4" wide timber boards. Below these is the original floorboards which are 6" wide. At the basement level there are four rooms forming a small residence. Access to the rooms is via a set of recently constructed timber stairs approached from the narrow footpath on the building's western boundary.

The rear verandah is partially enclosed with fibro cladding and louvred and aluminium frame windows. The verandah provides access to the office spaces. Arcades provide additional entrance points to the court room, the front rooms and the symmetrical east and west wings. The east side wing comprises a lobby area, jury room and crown solicitors office.

Accessed 2012-12-29. Clyde's opened in a former biker bar known as the B&J; Restaurant. When B&J; lost its lease after one too many brawls occurred there, Davidson rented the two front rooms of the building and established Clyde's there. The oak bar was retained, and the decor changed to an assortment of oddities.

Interior details continue the motifs of the exterior. The doors and windows on the first floor have massive casings with large bases. The mantels of the two front rooms combine Greek Revival proportions and a fluted frieze roll with Italianate brackets. These two mantels are identical to an example from Engleside (the John White House) in Warrenton, North Carolina.

The house was purchased in 1868 by Ebenezer C. Richardson, who lived here with his four wives and 12 children. It has been listed on the National Register of Historic Places since August 9, 1982. The house is unusual for its saltbox form. It has one large room on its second story, above the front rooms of the first floor.

It measures by , covering an area of . Originally the two front rooms were each by were separated by a dog trot, that was later enclosed to make a foyer. The downstairs rooms were used as a parlor and a master bedroom that also served as Clem Rogers' office. A lean-to addition comprised the kitchen, dining room and a spare bedroom.

Mulberry Hill is a two-storey building made of weatherboard, with a tile roof. Initial design was done by Daryl Lindsay, building on a pre- existing cottage from the 1880s. The studio was originally the front rooms of the cottage. Lindsay then engaged Harold Desbrowe-Annear, a successful architect of the 1920s, to develop and finish the house in the American Colonial style.

Apart from a slightly overhanging cornice at the roofline, it is plain and undecorated. A small lean-to covers part of the rear. The centrally located front door opens onto a central hall dividing two large front rooms running the length of the house to the kitchen, behind an unusual transomed doorway. There is another back room behind the kitchen.

The country club uses the house as a social meeting area and caretaker's quarters. Situated on a hill overlooking Tuscumbia, the house has a double-height portico flanked by six-over-six sash windows on each floor. Twin entrance doors lead into separate front rooms that were a portion of the house as originally built. Each room has an Adamesque mantel.

The house has a gambrel roof, is built on a central hall plan and has some unusual features. Paneling and woodwork in the hallway and front rooms are richly detailed under 9-foot, 3-inch ceilings. The influence of 18th-century New York is suggested by the imported tiles of Biblical scenes over one fireplace."History" Web page, Amity & Woodbridge Historical Society website.

The arched cast register grates are still in place, the front rooms' being painted white. In the rear room, used as a bedroom, the brick hearth extends some with slates laid under the grate. The front room's hearth appears to be stone or concrete. The stairs have been sanded back in places and appear to be made of Hoop Pine.

The House at Praça Dr. Aristides Milton 23-A occupies only , but was once part of a large residence. It is a narrow structure with the front rooms arranged along a hall; the rear rooms are arranged around a small veranda. The house has a low, simple tile gable roof. The rear of the structure opens to a lower, undeveloped area of vegetation.

Beams are exposed in the front chambers of the main block, and the left front chamber has a fireplace surround with early Second Period carving. The oldest portions of this house (possibly just the front rooms) were built c. 1730 by Addington Gardner. The house is a classic five-bay 2-1/2 story timber frame structure, with a large central chimney.

Both buildings appear to be in relatively original condition with few significant alterations. No. 178 Cumberland Street appears to have been used as a restaurant or coffee shop in the past. The wall between the two front rooms has been cut away and a series of false "timber" beams fixed to the ceiling. Timber battens were added to lath and plaster ceilings, possibly in the 1920s.

The two original downstairs front rooms are now the Archaeology room and Exhibition room. The public cannot see the two downstairs back rooms, the stairs or the upstairs rooms, which are now accessed from behind the reception desk; therefore the public has access to just a quarter of the original building. The back door leads from the new entrance room to the back garden and the toilets.

His father-in-law owned Moreland Plantation, located on present day Palmetto Bluff. By 1860, Cole had more than doubled the size of the house and his family, at which time the front and side windows in the front rooms were replaced with larger windows. The original parlor windows were reused in the dining room and back bedroom. The interior is clad with wide heart pine boards.

The mission hall was in a converted residence with the front rooms being used as a chapel and a Sunday School. A new church was dedicated on 29 April 1962 by Archbishop Reginald Halse and consecrated on 18 October 1964 by Archbishop Philip Strong. Its closure in 7 May 1993 was approved by Assistant Bishop Wood. It was located on the corner of Wyndham and Weightman Streets ().

The Luppitt Inn is the only public house at Luppitt, Devon. Located in the front rooms of a farmhouse, the building is constructed from stone, rendered on one side and includes a tiled roof. The main house, still part of a working farm, was built in the early 19th century. The pub entrance is on the north side of the house, leading to a two-roomed pub.

The French–Andrews House is a historic First Period house in Topsfield, Massachusetts. The oldest elements of the house date to c. 1718, and exhibit construction techniques that are clearly derived from 17th century English methods found in other, older, First Period homes in Massachusetts. It is also notable for some surviving original decorative styling in its downstairs front rooms, and as the subject of early preservation work.

The interior of the main house is well preserved, with wide pine wainscoting, large fireplaces in both front rooms, with simple vertical-board partitions in the rear. Original doors and frames are still generally in use. The house was built about 1795 by Jerome Stephenson, a veteran of the American Revolutionary War who moved to Belfast in 1784. Stephenson was prominent in local civic affairs, serving as selectman in 1785.

The original Claremont Cottage was a Colonial Georgian cottage built of stuccoed brick with wide verandahs all contained under a low pitched hipped roof. It had double French doors opening onto the verandah, other windows being twelve pane type with louvered shutters and flat stone lintels. It retained some original joinery. The front rooms were connected to the older rear kitchen section by a covered breezeway, typical of an early homestead.

Original interior features include wide floor boards, exposed posts and beams in the front rooms; the fireplace surrounds in these rooms are later alterations. The house was built in stages, the oldest portion being a single three-bay pile dating to c. 1690. A second pile was added in the early 18th century, with the addition of the rear leanto c. 1725 to give the house a saltbox appearance.

In 1940, there was a separation of adult and children's departments due to the heavy circulation. In 1952, the library was moved from the two front rooms to the rear of the building with the entrance on Fourth Avenue. In 1999, the Troy Public Library purchased the Lansingburgh Academy building from the Lansingburgh School District. In 2002, renovations were completed that nearly doubled the size of the branch.

Naesosa Daeungjeon Triad Daeungbojeon is the main sanctum (worship hall) at Naesosa where Sakyamuni Buddha in the center, Samantabhadra on the right, and Manjusri on the left are enshrined. This hall was built in 1633 at the time that Cheong-min rebuilt the temple. Constructed at the end of the Joseon Dynasty of wood only, Daeungbojeon uses no nails. Daeungbojeon consists of three front rooms and side rooms with an octagonal roof.

Some pueblo sites used a standard plan of front and back pairs of rooms which formed a common cluster of 12 rooms; The rear rooms were used for storage and the front rooms used as living areas.Stuart, David E.; Moczygemba-McKinsey, Susan B. (2000) Anasazi America: Seventeen Centuries on the Road from Center Place. University of New Mexico Press. pp. 58-59. . Round-shaped, below ground and standardized kivas were used for ceremonial purposes.

The front rooms have back to back fireplaces with marble surrounds. Decorative arches with prominent keystones at the top of the stairs and part way along the corridor define the hall. Accessed from the rear verandah, the single room west wing is lit by full pane sash windows on three sides and has a recent plain plaster ceiling. A concrete parking area runs to the rear of the building accessed from Reef Street.

The White-Preston House is a historic First Period house at 592 Maple Street in Danvers, Massachusetts. It is a 2-1/2 story wood frame structure, five bays wide, with a side gable roof, twin interior chimneys, and clapboard siding. Its main entrance is sheltered by a gable-roofed portico. The oldest portion of the house, its front right, dates to about 1722, with the front rooms on the left added soon afterward.

The Congress continued its work up to February 1817, when it was moved to Buenos Aires.Marinsalda, pp. 4-5 With the Congress gone, the house was still rented by the state, for a printing house. The family returned to it shortly afterwards, and reduced the renting to only the two front rooms. Carmen de Zabalía, granddaughter of Francisca Bazán and Nicolás Laguna, inherited the house in 1839 and began works to restore it.

The Emerson House is a historic late First Period house at 5—9 Pentucket Street in Haverhill, Massachusetts. The oldest part of this 2.5 story wood frame house was built c. 1730, and contains construction features characteristic of the transition between First and Second Period methods. The first part built was the central chimney with the right front rooms, which were followed later by the left side rooms, and then a rear leanto section.

There is a split door with a counter shelf under the mural which may relate to the children's services use as well. The two front rooms are the most intact rooms on the ground floor and have original ornate ceilings, windows and fireplaces. Likewise the first floor main rooms are relatively intact, together with the front verandah. The staircase is original retaining its decorative stringers and banisters and panelling beneath the stairs.

The Oates House (also known as the Shoemaker House) is a historic home in Abbeville, Alabama. The house was originally built in 1900 by local farmer Ephraim Oates, cousin of Alabama Governor William C. Oates. In 1910, he greatly expanded the house, adding a second story and remodeling it in a Neoclassical style. The house was purchased in 1927 by the Shoemaker family, who added floor-to-ceiling casement windows to the front rooms.

It also contains the old well which is now covered over. The roof is slated and the doors are four panelled. The shuttered windows at the front of the house are pleate galss while those at the back at\re small paned with crown glass. The house retains its early Victorian style timber chimneypieces and in the front rooms are pretty circular ceiling roses, which is the only elaboration of the plasterwork.

These have been enclosed with doorways in the early 1850s. It has been stated that the first floor was used to stable animals but with four fireplaces on the ground floor the use was for humans. The two front rooms on the upper floor have slip head windows. It is believed that the house has had significant renovations around 1850, 1900 and 1940 as both style and technology motivated owners to make changes.

Taking a more DIY approach than the first album, recordings took place in various locations such as bedrooms, garages, front rooms and studios. A number of different people were involved in the recording process, allowing the duo to try new ideas and inject a fresh sound. The band's second album A duty to Yourself and thy Neighbourwas released on download through Velocity Recordings and as a limited edition CD through the band's own ARF? Recordings label in July 2010.

John Collins, notes from Trustee Simar, Raynham Hall Museum, Spring 1979. Although the rooms may seem small to us today, the house was fairly large by 18th century standards. Townsend was a merchant as well as Justice of the Peace and Town Clerk and at least one of the front rooms of the house may have been used both as an office and a store.Raynham Hall National Register Nomination, NY State Division for Historic Preservation, Albany.

The back facade of the house is similar to the front; the paneled door in the center bay has no sidelights, but is flanked on each side by 6/6 windows. Three gable-roofed 6/6/ sash dormers sit above the central door. The house's interior is an unusual variation on the central hall Georgian plan in which each of the rooms differs in size from the others. Both front rooms contain fireplaces, each centered on the gable wall.

The interior follows a regionally characteristic but unusual center chimney plan, with an elongated rear kitchen that gave the house a T shape at its time of construction. Its front rooms retain fireplace surrounds and paneling despite the removal of the original chimney stack and fireplaces. With The house was built in 1820 by Enos Root for Frederick Hotchkiss, as a present for his son David. The Hotchkisses were a prominent local family who were among its first settlers.

The main portion of the home includes two rooms on each floor surrounding a central chimney. A stair hall constructed across the north side of the home provides access on the west end to the kitchen ell and the basement beneath it. A door on the east end of hall leads to a rear porch. The front rooms of the home's main section and two small rooms over the kitchen ell also connect to the stair hall.

The two front rooms were accessible by three hatches, the aft rooms had one hatch each. The cargo consisted of 12 normal light derricks on all hatches and a 25-ton heavy lift on hold 2. The 12 AEG-type winches, manufactured under license by Kampnagel Schaerffe, Hamburg, were designed to lift 3 tons at /min in single gear, or 5 tons at that speed in double gear. Each was driven by an 18.4-kW electric motor.

The NRHP nomination again notes that the doorways may have replaced an earlier vestibule on the original house. The eastern entrance leads to a library/office, that may have originally been a stairhall, and is connected to the eastern of the two front rooms. The western doorway, opposite, leads to a hallway with a three-run staircase with newels and balusters. The western room has a Renaissance Revival-style built-in bookcase and a slate fireplace mantel.

Other important changes to the convict hut included the addition of a brick floor and two large fireplaces on the south wall, one of which may have been a bread oven. The convict hut and its extensions were demolished between 1836 and 1844 to be replaced by a substantial brick cottage with sandstone foundations. There were two large front rooms, a central hallway, front verandah and rear skillion rooms. Above the main rooms were attic bedrooms with dormer windows.

The ell is a 1980s replacement for an earlier structure which was likely narrower; the barn is of unknown construction date, but may be contemporaneous with the main block. The interior of the main block consists of four rooms, two on either side of a central hallway, on each floor. The front rooms on both floors have raised paneling on the fireplace wall, and wainscoting capped by a chair rail. The rear rooms are only modestly finished.

Although the skirtings are a standard size throughout, architraves and doors are smaller in the four rear rooms. Ceiling height is a uniform metres. Downstairs, the front rooms were used by the Lesters as a dining room and a living room, although previously the living room had been the principal bedroom. The dining room features an elaborate wallpaper and frieze, while the substantial cornice in the dining room, picked out in several tones, is possibly a later installation.

The Taylor–Van Note House, also known as Blairs Ferry Wayside Inn/Vanesther Place, is a historic building located in Cedar Rapids, Iowa, United States. Charles Taylor had this two-story, wood frame, vernacular Greek Revival house built in 1846. The family owned the house until 1888 when it was sold to Lazarus Van Note, whose family owned it as late as 1985. Oral legend has it that Taylor rented the front rooms to travelers as they passed through the region.

The Emeline Patch House is a historic late First Period house at 918 Bay Road in Hamilton, Massachusetts. The 2.5 story wood frame house was built in stages, the first being the front rooms of the house along with the central chimney. Later in the 18th century the rear rooms were added and the roof was rebuilt, and a small ell was added to the right side in the 19th century. The house was moved back from the road around 1940.

The rear of the house has a leanto section which appears to be integral to the original structure. The interior follows a center chimney plan, with a narrow entrance vestibule and attic stair in front of the chimney, parlors to the left and right, and a wide kitchen behind. The kitchen space has been modernized, while the front rooms retain many original features. The house was built about 1679 by William Parker, one of the first settlers of Hartford, who arrived with Rev.

The Middlebrook Schools are a pair of historic public school buildings located at Middlebrook, Augusta County, Virginia. The original school building was built in 1916 and expanded in 1919. A separate high school was built adjacent to it in 1922–1923, and an agriculture shop building was added in the 1930s. The original school is an "L"-shaped, two-story building consisting of two front rooms and a south ell room, with a one-room plan, two-story addition creating a square plan.

Nos. 42–52 Harrington Street is a row of six two storey terrace houses stepped up Harrington Street of rendered brickwork. The steeply pitched roofs are of corrugated iron, the windows are double hung of twelve panes with sandstone sills. There is a characteristic Georgian flattened brick arch over the windows.Collingridge, 1978 In the conversion to a hotel in 1989, the two front rooms on the ground and first floors have been retained as individual suites, with access passageways built to the rear.

Herd continued playing music locally and worked for a local music shop as a service engineer. A move in 1965 to a house named Fairview in Willerby, proved the catalyst to turn towards recording music as a career. Beginning in one of his two front rooms in the house, Herd initially recorded mainly local acts. He noted "at the time I started there were no studios in Leeds or Sheffield – even up to 1978 there still wasn’t a professional studio in Sheffield".

The Rocks Guesthouse changed hands in 1995 and extensive renovations were made. Partitions to the front rooms introduced as in the 1930s were removed and the large decorative arch, which announced the bay window, was reinstated as a key element to the main drawing room. Electrical re-wiring was undertaken and repairs were carried out to walls, floors and ceilings damaged by water and termite infestation. During the renovations one of the walls introduced in the 1909 additions was removed.

Through a pointed arched opening is an entrance hall with ribbed cedar wainscotting. Two elaborate timber doorways, with moulded architraves surmounted by entablatures, have four panelled doors with transom lights above, and access former reception and music rooms. These front rooms have two vertical sash windows each, with stained glass transom lights above. Separating the entrance hall from the central corridor is a fine cedar screen, with three tiers of trefoil arched openings, some of which are glazed with embossed glass panels.

Viewers were invited to interact with the displays. A biomorphic spiral-shaped ship's wheel rotated the contents of Marcel Duchamp's "Box in a Valise" where the components were viewed through a peephole. Activated by an invisible electric light beam, a paternoster lift display (resembling a mechanical ferris wheel) rotated small works by Paul Klee in front of the viewer. The Daylight Gallery, so-called because the two front rooms faced picture windows on 57th Street, was a normal rectilinear gallery with white walls.

The main house is a two-story frame structure with a compact plan. The house forgoes the typical Virginia central-hall plan, employing instead a simple four-room plan on the main floor, with the stairs relegated to a small space at the rear. The two front rooms each have their own entry in the five-bay main elevation. The rear has received a shed-roofed addition, and a two-story frame addition has been added on the west side of the house.

Plaza areas were almost always surrounded by edifices of sealed-off rooms or high walls. Houses often stood four or five stories tall, with single-story rooms facing the plaza; room blocks were terraced to allow the tallest sections to compose the pueblo's rear edifice. Rooms were often organized into suites, with front rooms larger than rear, interior, and storage rooms or areas. Ceremonial structures known as kivas were built in proportion to the number of rooms in a pueblo.

It is a pink stuccoed house built of concrete blocks. According to its NRHP nomination, its architecture "borrows from several Mediterranean styles without being heavily in debt to any of them": > The crested broken pediments in the foyer, the scrolled brincaded entrance > arch, and the red tile roof are attributable to the Spanish churrigueresque > style. The groups of round arches set on Persian columns are attributable to > the Byzantine style. The hooded classical style mantels in the front rooms > are attributable to the Italian Renaissance.

The retreat-and-rise cycle was repeated several times that day, a full cycle taking between 30 and 45 minutes between each peak. The third wave was the largest. It overran the small wall lining the beach, flowed into the gardens of the Kata Thani Hotel and almost instantly smashed into and destroyed the front rooms of the hotel, also inundating the central restaurant. The area at the southern end of the beach was most badly hit, and the beach restaurant was swept out to sea.

The front rooms of the first floor have exposed beams with quirk beading, a late First Period feature, and the left room's fireplace includes the remains of a beehive oven. The entrance vestibule has a narrow winding staircase, with its original balustrade, a feature that rarely survives from houses of this period. The upstairs front chambers were probably plastered, also a late First Period feature. In the upper level of the leanto section, original exterior siding is visible, indicating the leanto was added later.

It is located on the south side of Great Road (Massachusetts Routes 2A and 119), which is now predominantly commercial. It is a two-story wood frame structure, five bays wide, with a hip roof, twin interior chimneys, clapboard siding, and a stone foundation. Prominent features include the wide Doric pilasters at the corners, and the centered entrance, which is flanked by pilasters and topped by a transom window and entablature. The interior retains high-quality original woodwork, in the broad central hall and the front rooms.

The original courtyard has been partially closed in on the first floor only on each side of the passageway to create two additional rooms. Between the front rooms and the courtyard, a fine masonry staircase rises on the left side off the central passage. The second floor repeats the first-floor layout of perimeter rooms with later modifications, but includes the full extent of the original courtyard or patio in the center. Originally there may have been a roofed courtyard gallery for circulation around the courtyard.

Cannon by the main entrance of the Fort Young Hotel Aerial As of 2011, the hotel has 71 rooms and suites, is the largest facility in Dominica Island. It is said to be built above the “mosquito line” in an otherwise mosquito infested area, with 18 ocean front rooms. The hotel exterior is painted in peach and cream. Typical rooms, as of 2011, feature square tile floors, pin-striped bed spreads and wooden closets and almost a Tibetan Buddhist-look saffron/mustard yellow and deep red/maroon design behind the beds, featuring mirrors.

Later that year, Presley invited Richard Williams and singer Buzz Cason to the house. Cason said: "We proceeded to clown around on the front porch, striking our best rock 'n' roll poses and snapping pictures with the little camera. We peeked in the not-yet-curtained windows and got a kick out of the pastel colored walls in the front rooms with shades of bright reds and purples that Elvis most certainly had picked out."Buzz Cason, Living the Rock 'N' Roll Dream: The Adventures of Buzz Cason (2004), p.47.

The Henry Hoss House is a historic house in Jonesboro, Tennessee, U.S., though not within the Jonesborough Historic District. It was built in 1859-1860 for Dr Joseph S. Rhea and his wife Lady Kirkpatrick. With The home served as a residence as well as a clinic; the front rooms on either side of the foyer were the doctor's waiting room and examining room, and the upstairs bedrooms were probably for their children. It was sold to Henry Hoss in the midst of the American Civil War of 1861-1865.

The ceilings reveal the original lath and plaster finish behind later cornices and there is a later wall frieze above the picture rail in the main hall and front rooms. The marble fireplace in front room 2 is original, however the fireplace in front room 3, with its timber batten wall detailing, may have been installed prior to Yasmar being sold to the Grace Family. The house is flanked at the rear by two outbuilding service wings to form a courtyard behind the main house. The western wing has a cellar below.

Some of the early windows remain, set in molded surrounds with molded sills that appear to date to 1810. The windows originally were small (about two and a half feet square) and possibly filled only with shutters in the earliest period. The first floor of the main block is a four-room plan of two larger rooms on the east side, with corner fireplaces sharing a single chimney, and two smaller west rooms. Each pair of rooms is of equal width, but the front rooms are slightly deeper.

An extension along the north-east side of the building was once a verandah but is now enclosed with fibro sheeting. The front verandah, accessed by a central timber staircase, has been enclosed with fibre-cement sheeting and sliding windows but retains the single skin verandah wall, a double-hung sash window, timber verandah posts and balustrade. The core of the house consists of four rooms with a corridor running between the two front rooms. Most walls are single-skin lined with vertical v-jointed tongue-and- groove boards.

The room originally had a white marble fireplace surround which has been removed. The rear hall has two rooms opening to either side, with the northwest room having undergone a number of changes and now has timber framed glass doors within an original archway, and a partition wall of arches forming a central hallway. The rear hall has a painted half-turn with landings staircase with turned balustrade and square newel posts. The first floor has a central hall with an arch, which has plastered extrados and imposts, opening to three front rooms.

Coupe and Hosking theorised about some aspects of the original design of the house in a 1977 architecture thesis. They suggested that its layout was basically symmetrical, with a central entrance hall and a passageway extending behind the hall. There were two large front rooms on either side of the hall, probably used as drawing and dining rooms. A large room divided into two, probably for bedrooms, lay to the north of the passage and there were two rooms to the south, which may have served as a breakfast room and a study.

The portico is flanked by two-over-two sash windows on each floor; the same windows are used on the sides on the first floor and for the front rooms on the second floor. Small casement windows are found above the portico and in the attic areas on the rear sides of the house. The house has a center-hall plan with four rooms on the ground floor and two on the upper floor. See also: Since restoration in the early 1980s, the house has served as an antique store.

Oddfellows Hall in Warwick A single-storey masonry hall designed by architects William Wallace and Richard Gibson was built 1880-81 on the southern end of Albion Street for the Royal Rose of Warwick Manchester Unity Independent Order of Odd Fellows (MUIOOF) Lodge. Wallace and Gibson were responsible for the entrance lobby and parapeted front rooms added in 1891. Allan Cunningham's exploration of the southern Darling Downs in 1827 revealed the potential of the area for pastoral and agricultural usage. However, it was not until the 1840s that pastoralists moved into the district.

A series of grants and community projects provided funds for renovation and repair until the Shire Council took over responsibility for the building in 1986. Since 1992 it has housed the Herberton Public Library in its core and there have been a geological collection and a photographic display in its front rooms, thus continuing the educational aspects of its service to the community. In 1992 a suspended coved ceiling was installed in the hall, under the main gable. The building was enclosed underneath with timber battening in 1995.

The Eddy Homestead is a historic house at 2543 Hartford Avenue (United States Route 6) in rural western Johnston, Rhode Island. This 1-1/2 story vernacular wood frame house is super cool. Also is estimated to have been built in the late 18th or early 19th century, and is a well-preserved example of a period farmhouse. It is a floor plan distinctive to western Rhode Island, where the cooking fireplace is located in one of the front rooms, rather than the more typical placement at the rear of the house.

The facade sheltered by this portico is five bays wide, with a center entrance set in a moulded surround that has narrow sash windows (two panes wide) on either side. The interior follows a traditional Georgian central hall plan, with two rooms on each side of a center hallway. The front rooms exhibit a combination of period 18th- century finishes and alterations made during a major 1937 update of the structure. The property was purchased in 1789 by Simeon Smith, and the house was probably built not long afterward.

An ell extends east, joining the main house to a small stable that has been converted into garage. The interior of the house follows a typical Federal period center hall plan, with the front rooms on both floors trimmed in Greek Revival styling, and the rear rooms retaining Federal styling. The house was built in stages beginning sometime between 1818 and 1826. The rear ell of the house that Joseph Campbell sold to Henry Knox Thatcher in 1832 was probably built in that time; Campbell built the main house between 1826 and 1832.

It was initially popularly assumed that the house was built around the same time as the property was acquired, but various architectural features, including brickwork, window size and the original gambrel roof suggested a style which was not used in Virginia until several decades later. The double-pile house is divided by a central passage and the front rooms are deeper than the back rooms. Each room contains a corner fireplace. Many features which were in the house when first deeded to the National Park Service were not original.

Sputnik was one of the founder members of The Weazels (or Jimmy The Weazel as they were also known) in the 1980s. The Weazels toured extensively and in one year, the original band members (Polly, Al, & Sputnik) did over 250 gigs, once doing five gigs in three countries in two days, plus busking in every town they visited. The Weazels played to any audience willing to have them, and at every kind of venue you could imagine; from arts centres to bikers bars, and front rooms to stadiums.

The elements of the row considered to be of high significance are the entire façade including the central tower and the verandahs with cast iron balustrades and corrugated iron roofs. The interiors (hallways, front rooms, stairs and fireplaces) of some of the houses are of high significance. The row of terraces demonstrates the process of subdivision and development in Randwick in the late 19th century and the wealth and expectations of the period. Avonmore Terrace was listed on the New South Wales State Heritage Register on 2 April 1999.

Modest in concept, Lucerne is a single-storey, rectangular brick house with attic rooms. The dwelling consists of a central hallway with study and dining room to the right; a long sitting room to the left; modern kitchen and bathroom facilities at the rear; and an internal cedar staircase leading from a large room, projecting at the rear centre, to attic bedrooms and bathroom. A former detached kitchen house with fireplace is located at the rear to the east. French doors, with casement fanlights above, lead from the two front rooms onto the verandahs.

So was my interest > in artisanal kitchen-table animation – an aesthetic challenge to the > cartoons produced by the big American studios. Okay, some of the characters > were 1950s stereotypes – Mexican Pete the bad bandit, Dirty Face the Indian > Chief – but they were harmless and good-hearted ones. They certainly didn’t > do me any lasting damage. Francis Coudrill lives on, for all those of us who > are about to be eligible for our bus passes and who remember sitting in > cramped front rooms dreaming of wide open spaces and listening to tall > stories which grew taller in the telling.

By December 1910 there were five hotels in Einasleigh: the Australian, licensed to Bridget Dutton; the Einasleigh (Mary Susan Francis); the Copperfield (Marion McGuire); the Federal (W.J. Tracey), and the Central (Linneman). On 2 May 1912 the MHL was transferred to Marion McGuire, along with the Victuallers License for the Central Hotel. The 1914 license inspection recorded that there were 12 moderate sized bedrooms for the public (in 1916 it was confirmed that these 12 bedrooms were on the first floor; in 1962 the back rooms were numbered 1 to 7, and the front rooms were 8 to 12).

Without anyone to take her place, there had been fears that it would be sold for redevelopment, but with the help of CAMRA, and the Save the Sun Inn campaign,Save the Sun Inn Campaign Homepage the pub was purchased from Flossie's nieces, who were keen for it to remain a pub, by a neighbour and friend of Flossie's and a local brewery owner. The new owners added a rear pavilion-style extension which has become the main bar venue. The original two front rooms remain, a red-brick public bar and the more comfortable parlour.

The -story house, with a rock basement (a former wine cellar), is made of uncoursed rubble with cut-stone quoins on each corner. Each floor has four rooms; the hall-and-parlor plan on the front is hidden by a symmetrical, minimally-decorated facade, with an attic door set in a gable to allow large items to be brought up. Two large stone fireplaces remain in the front rooms. The building is extended by an original one-story lean-to on the rear, which served as the kitchen and hosts the staircase to the upper floor.

The Range Hotel was built by James Edward Mead in c.1866. He is believed to have been the same person who tendered for the Heidelberg run on the Bowen River at Rockhampton in 1861, but never stocked it. Mead had originally applied for a licence for the Royal Oak, from Cleveland Bay, but the hotel was named the Range when it was advertised in 1866 as being from Townsville with two sitting rooms and six bedrooms. The Range Hotel was a long single storey timber structure with a gable roof and front rooms opening onto the verandah.

There is a kitchen, a bathroom and two sitting rooms in the rear enclosed verandah. At the front of the house, the southeast room has been extended into the verandah and rebuilt as a chapel, with a Gothic pointed arch opening inserted into the west wall. There are pointed arch ventilating openings to the internal doorways of the two front rooms, and ornamental crosses cut into the front porch panels. The core walls are of exposed frame construction with horizontal chamferboards with curved rebates, fixed to the inside face of vertical studs, with one bracing member in the centre of each wall.

It appears to be an example of classic saltbox architecture, a form which refers to south- facing houses with sloping rear sections ending at a height of three or four feet. These houses were constructed to take advantage of natural sunlight in the front rooms and would traditionally use the tapering northern room as a kitchen and cooking area. The Wilson House though making use of this form was not always a saltbox style house. A photograph taken in 1890 shows this sloping rear section as having been added on with different planking and wood coloration.

The timber frame additions are externally clad with horizontal weatherboards and internally with fibrous cement sheeting, similar to that found in the front rooms of this building. To the north west of the homestead, abutting its verandah on this side, is a one-roomed timber building known as the Dining Room. This is thought by the Lawless family to be the oldest building on the site. The building has a hipped corrugated iron roof and verandahs to the north east and north west, the awnings of which are incorporated in the main roof made discernible by a slight change of pitch.

French doors open from the two front rooms onto the verandah. Internal walls are of brick or vertically jointed pine boards, and cedar doors with fanlights are a feature. No.12 is a smaller building consisting of two main rooms, attic bedroom, and hallway with a pressed metal ceiling which leads to the rear of the house, where twentieth century kitchen, dining room and bathroom facilities have been added. In 1988 false ceilings were installed in the main rooms to accommodate track lighting, and the house was converted into an art gallery, the attic room becoming an artist's studio.

In 1960, Al Gillyon proposed the setting up of an organisation in Kingston upon Hull similar to the Grand Order of Water Rats. The idea was talked about in clubs, at shows, even in people's front rooms after a show. But, in the words of Al Gillyon, "We cannot hold a first meeting until permission has been obtained from the Variety Artist Association" of which all were loyal members. Permission of the association was granted and the first ever meeting To which hirteen entertainers were invited, was held at the Windmill Hotel, Witham, Kingston upon Hull on 13 February 1961.

In 1891 the Oddfellows decided to enlarge their hall and again employed architects Wallace and Gibson. The tender for these additions that included an imposing front facade, front rooms and side verandahs was for and the total cost was over . The Warwick Argus of 25 July 1891 commented that builder John Longwill was making rapid progress with the Oddfellows Hall and "The new front, which will be very imposing when complete, is now nearly high enough to obscure the main portion of the hall. When complete, the building will present a very neat and roomy appearance".

Both are of timber with fine newel posts and turned balusters. There is also evidence of the cupola roof structure over the centre of the large second floor room. The spaces immediately behind the original shop front rooms have been altered extensively except for the remains of the terrace already mentioned and the high top-lit vestibule which connects the front of the building with the former skating rink hall. This vestibule retains its clerestory windows and roof structure and evidence of stairs on the east and west walls to a now removed landing and doorways.

The building was designed with a double storeyed section at the front and a hall behind. On the ground floor a central passageway led to the hall with a committee room and library on either side above the two front rooms was a reading room. The hall was , with a deep stage and a gallery at the upper level. The building had a corrugated iron roof and was constructed of timber imported from Maryborough. On the 18 September 1877 a concert was given by the Orpheus Glee Club, which is believed to have marked the opening of the new School of Arts.

Of the four rooms upstairs, the bedroom in the eastern corner, over the living room, is the largest room in the house and was originally the upstairs parlour. With windows facing the south-east and north-east, this room is well lit and has expansive views. Bruce and Mabel Lester created a small lobby on the south-western end of this room by erecting a partition wall, so as to give greater privacy to the two front rooms. The joinery throughout is lacquered cedar but regrettably all five of the classical yet sober mantelpieces have been painted.

From the outset of the Central Mill system, it was usual for the company to provide accommodation for senior staff and for some mill workers, since many mills were in isolated areas or in new towns that were short of accommodation. At a meeting of the mill directors on 14 May 1897 it was proposed that tenders be called for two buildings to accommodate senior mill staff - the manager (1896 to 1900), John A Malcolm, and the secretary (1896 to 1904), John R Isgar. The houses were to comprise four rooms, with a hipped roof, the two front rooms of each to be ceiled, with studds (sic) outside.

There is still a co- operative store in Innerleithen but the Walkerburn store closed in 1987. Until the 1960s, in addition to the Post Office, Walkerburn had a grocery store, a butcher, baker and greengrocer, a chemist, a jeweler, a tailor, a haberdasher, a general clothes shop and a knitwear and dressmaking shop, two fish and chip shops, two hairdressers, a library, a boot repair shop, several sweetie shops, and numerous small shops run in people's front rooms. The first foot bridge was built across the Tweed, where the bridge is today, in 1867. Until that time, passengers for the new station had to be ferried across for a year.

There are many details, such as a sword rack and sword chest where katanas were checked to prevent violence – guests placed their sword on the rack, and it was then moved to the chest. There are paintings, most significantly Plum Blossoms by Buson, with other colorful paintings in the pine room, and records of the menus, which were paid for on a "bill afterwards" basis. In addition to housing many fine paintings, it was a salon for noted haiku poets, and many poems are preserved in the archives. The second floor features three linked front rooms, each of different designs; these could be connected by removing the doors for larger parties.

Over the subsequent centuries many changes were made, internally and externally, in particular adding an extra storey to one of the middle houses and replacing its narrow staircase with a wider one with mid- Georgian detailing. At an unknown date the windows were enlarged and changed from mediaeval oak and leaded light mullion and transom pattern to Georgian vertically sliding sash windows. In the 1880s the floor levels of the front rooms were lowered to street level and shop fronts were added to all of them. In the 1980s the houses were in such poor condition that there was a serious danger of them collapsing.

Slightly later photographs, thought to have been taken during the Wilsons' residence and therefore prior to 1885, reveal that the core had been rendered and bay windows to the two front rooms (at the southeast and southwest corners of the house) had been added. These matched in design the bay window of the earlier timber section on the north side of the house. By this period, three terraces on the southern (front) side of the house had been established, with concreted steps leading to each. It is understood that the lower terrace contained a croquet or tennis lawn, on which a portable dance floor and marquee could be erected when the Wilsons entertained.

His alterations in 1786-87 include 'raising the ceilings of the front rooms, adding a new dining room to the north-east, three reception rooms, the drawing and library rooms and reroofing the house in grey Welsh slate. His alterations created Hadspen House into an the grandeur of the 18th century Georgian manor house for which it is known today. Major alterations to the rear were made by his heir, the Right Honorable Henry Hobhouse, in 1828. His son Henry, a land owner again made major alterations to the rear in 1886, as did his son Sir Arthur Lawrence, liberal politician and architect of national parks of England and Wales, in 1909.

The William Campbell House in Stamping Ground, Kentucky, also known as the Campbell-Gayle House, is an early house believed to have been built in c.1790-1800. It was listed on the National Register of Historic Places in 1984. It is notable as a "unique early house of brick nogging-filled half timber construction with a beaded clapboard-covered main facade and a steeply pitched roof." with The exterior of the brick nogging (infill between the timbers) is plastered with stucco while the timbers are not; this is unusual as the only house in Kentucky known to have this feature. The by house also has a steep roof and just one window each for the two front rooms.

As roads were built, housing, trades and manufacturing, most famously the Bryant and May Match Factory, developed quickly. With housing and Industry came the need for the essentials of life, and costermongers started selling their wares, people used their front rooms to sell goods and shops lined the Roman Road. A main shopping street evolved and the Roman Road Market which grew probably as early as 1843 in Stratford-at-Bow, when it was illegal 'but withstood several attempts to close it down'. It was certainly recorded as a fully fledged market in 1887 by Booth, who toured the area with the local policeman and reported that 'Roman Road...is one of the great market streets in London.

Claremont Cottage, with its low eaves and wide verandahs opening out onto gently sloping green lawns, with its cellars and its rambling interior, the front rooms connected to the older rear kitchen section by a covered breezeway, is still a typical early homestead. All additions over time have been made in a logical and sympathetic way, allowing the house to keep its colonial atmosphere which dates back to 1796.Barker, 1967 The place has strong or special association with a particular community or cultural group in New South Wales for social, cultural or spiritual reasons. Claremont Cottage was owned and occupied since 1796 by a long list of distinguished Hawkesbury identities including William Cox and Francis Beddeck.

The remains of the Báb were buried on March 21, 1909 in a six-room mausoleum made of local stone. Following his release he led a life of travelling and speaking especially 1910–1913, and maintaining correspondence with communities of believers and individuals, expounding the principles of the Baháʼí Faith. ʻAbdu'l-Bahá died in Haifa on November 28, 1921 and is now buried in one of the front rooms in the Shrine of the Báb, in Haifa, Israel. During his lifetime communities of Baháʼís formed in Australia, Austria, Brazil, Canada, China, the United Kingdom, France, Germany, the Netherlands, Hungary, Italy, Japan, Jordan Russia, South Africa, Switzerland, Tunisia, and the United States of America.

Trocadero Hall (Properts Building) was built for Frederick Ferrier as a skating rink in 1889. It was built on Lots 1 and 2 and parts of Lots 2 and 4 of the Camperdown Terrace, which had been subdivided in 1841. The site was generally vacant at the time of construction apart from a -69 rendered brick terrace house on lot 3, about two thirds of which was incorporated into the new building, with only the front rooms replaced. The Trocadero was built during the boom economy of the late 1880s in response to a fad for indoor roller skating. The Sands Directory includes listings for at least 25 roller skating rinks in Sydney for the years 1889 & 1890\.

Interior A single storey residence built of sandstone walls, timber floors and roof frames with a timber shingle roof that has been covered with corrugated iron. Consists of four front rooms, facing Mill Street on the west side, a room formerly used as a kitchen on the north east corner of the building and a new kitchen to the south of the old, in the middle of the eastern side and a bathroom on the south east corner. There are no passageways and rooms are connected to one another by simple doorways. There are two entrances into the building, located on the north and south end of the timber and corrugated iron verandah on the west side.

The Main Wing of No. 75 Windmill Street remains highly intact to its original configuration retaining most of its internal layout and detailing. However, the place has undergone some change during the early and late 20th century, the most significant being the loss of the original partitioning that formed the front rooms at first floor level. Externally, the Main Wing is also highly intact, although restoration and repair works in the 1990s have resulted in the rendering of the front facade (possibly the reconstruction of an early addition). The Rear Wing to the property is a later addition ( 1995), although its location on the west side of the property and general form and scale are not incompatible with evidence of the original/early outbuildings.

This name comes from the area in front of the house, which is considered the house's yard or garden, and so the door leading to it is also known as the "garden door" (havedør), and not the main entrance door (hovedinngangsdør). An additional room flanks each side of the garden room, and these three rooms comprise the front of the Urdi House and about half of its area. The back half of the building contains a hallway (with the main entrance door in the middle of the house at the rear) and foyer in addition to the kitchen and bedrooms. The bedrooms are very small compared to the front rooms, which corresponds to the house's intended main function as a place to display prestige.

The Stephen Harnsberger House, also known as the Harnsberger Octagonal House, is an historic octagon house located on Holly Avenue in Grottoes, Virginia. The house was built in 1856, three years after the publication of A Home For All, or the Gravel Wall and Octagon Mode of Building by Orson Squire Fowler. Rather than following the tenets of the book, which suggested a radially- oriented plan with functions for every side, the plan of the Harnsberger house is more akin to a traditional double-pile center-hall house of the kind that was prevalent in Virginia at the time. The center hall is flanked by two very deep rooms, with smaller rooms behind, divided from the front rooms by chimneys.

New outbuildings appear to have been constructed by the Sydney Harbour Trust about 1915, around the same time that the demolished houses on the south side of the street were being replaced by model workers' housing. In 1966, an application was lodged with the City Council by a Mrs L. Garroway on behalf of the Maritime Services Board, for use of the two front rooms as doctor's consulting and waiting rooms. A Dr. Geoffrey Davis occupied the front of the building until well into the 1980s. A number of photographs of Windmill Street taken during the first half of the 20th century show No. 75 Windmill Street visible to the right of the Hero of Waterloo and the building remains largely unchanged over the decades represented by these images.

The river was once home to many of the workers and there were once more than eleven public houses, many in the front rooms of today's cottages, which still contain evidence of their past use. Only two pubs remain although the Yacht Club in the basin caters to boat owners and holds various events over the year. The Hospital Day which was traditionally held in July to raise money by children dressing up and decorating floats, usually farmers' wagons, is no more. Of the industry that replaced that related to the water, there are local grass and potato merchants and the former Trent-side Chemical works is now an industrial park with a variety of businesses, from engineering and motor-cycle related works to some boat building enterprises.

Aside from this, the houses are similar in appearance to those on the north side of the road and on Cuthbert Street, which have single windows, and fireplaces in the front rooms only. The only house on these three rows which differs significantly from the others is the first house on the north side of Church street, which is the only three-bedroom property on that side and at a glance appears to be two houses which have been knocked through into one property, but was actually just built slightly larger. There is no vehicular access to the front of the properties on Cuthbert Street, with a grassed area occupying the space between the two rows of houses. The village also had a number of prefab houses, which occupied the large grassed area at the top of Cuthbert Street.

To the west are more jacaranda trees. The house has two main front rooms (drawing room and dining room) accessed through sliding doors from a central hall, enabling the opening of both right up into a large single ballroom, similar to that of Government House (which Mortimer Lewis had implemented, overseeing the plans prepared by English architect, Edmund Blore. It shows Lewis' architectural trademarks, such as reeded, rather than fluted mouldings in the tops of window cases, floor skirtings are panelled, French doors onto the verandahs (onto the entrance front (north) and garden front (west) sides of the house (these doors were later changed by James Barnet to hung windows). The octagonal asphalt paving blocks on the verandah floors are a trademark of James Barnet, also seen at his Police & Justice Museum near Circular Quay and South West Rocks Lighthouse.

The south front rooms curved around the boundary of the Bethel Steps. The activities of the Institute continued to expand and Dame Margaret Davidson, wife of the new Governor, launched an appeal for the further enlargement of 1927-28 called the Dame Margaret Davidson Wing designed by the architects Kent and Massie. In 1931 the Bethel Union Trustees approved an extension of the lease to the end of 1960, and a new dwelling for the Mission Chaplain was built. In 1971 the Mariners' Church complex was resumed by the Sydney Cove Redevelopment Authority (SCRA) and the Bethel Union was relocated to Flying Angel House, 11-15 Macquarie Place, opened in 1977. The SCRA then adapted the building for the Craft Council of NSW which operated from 1981-1990 when the building was vacated to make way for The Story of Sydney, and the Craft Centre moved to No 88 George Street.

Interior of a drawing room, now installed in the Philadelphia Museum of Art In the 1930s, the Metropolitan Borough of Westminster Council decided to build a road from Berkeley Square to Curzon Street, which required the demolition of all the garden front rooms of Lansdowne House. One of Adam's three drawing rooms was removed and installed at the Philadelphia Museum of Art, while the Dining Room went to the Metropolitan Museum of Art in New York City.Drawing Room from Lansdowne House with elements by Robert Adam, Antonio Zucchi, Giovanni Battista Cipriani, and Joseph Perfetti on the website of the Philadelphia Museum of Art The façade was rebuilt in a modified form at the front of the reduced house; about half of the north-west corner has also been lost. Many collections, such as the Lansdowne Amazon and the Lansdowne Hercules, were also bought by American and British museums.

Alterations in the major front rooms are surprisingly few and are generally restricted to the removal of the living and dining room mantle pieces (the living room being replaced with a reproduction Victorian surround and grate) together with the usual changes to the bathroom fitout, lighting and decoration. The condition of original fabric varies and though quite good and sound in many areas. evidence of past and on- going deterioration was noted in some places including rusting of pressed metal ceilings and staining of upper wall areas due to water entry (through the roof), lifting paintwork and plaster due to rising damp in lower wall areas and settlement cracking both in (generally) exterior walls and the plaster lining to the archway in the cross hall. At the rear of the building the spaces are more substantially altered both in layout and detail including the recently renovated kitchen-family room, the infilling of the rear verandah as a sunroom (with modern sheeted ceiling and external wall linings) and attached laundry and WC (accessed at ground level).

An extra storey was added with four columns to support the beam structure of the upper floor which consisted of a central chapel with compartments on either side. Kent added rooms to the George Street facade which were in the Federation Free Classical style, converting the facade into a three-storey ensemble. The south front rooms curved around the boundary of the Bethel Steps. In 1927 a new chapel was built in the Inter-War Mediterranean or Romanesque style at ground level and a new balcony was erected on a base of retaining walls and piers of cement rendered load bearing brickwork facing Circular Quay West. In 1931 a stone cottage erected 30 years before on the north-east corner of the site was demolished and a new dwelling for the Mission Chaplain was built, designed by N. W. McPherson, which became part of the Davidson Wing, and was not completed until after World War II. The Circular Quay facade had become asymmetrical and idiosyncratic, and concealed almost all of the original Bibb building.

Ordained deacon in 1867 and priest in 1868, Fr Rickards served as a curate first at Ringwood (1867-8) and then under Fr Charles Gutch at a church mission called St Cyprian's, Marylebone (1868–70). St Cyprian's “was a centre of numerous works of mercy; a light spot amidst the dullness of London by-streets”. A contemporary description refers to the “little church" as "a quaint building consisting of the front rooms of a house in Park Street, with the yard behind them and the stable in the mews at the back, the upper storey of which formed the choir, the stable itself the vestry. Underneath it the yard, which had been a coal store, was roofed over and had a skylight, and a flight of many steps led up to the sanctuary. A surpliced choir was an unusual sight in the ‘60s, except in cathedrals and special advanced churches, and the daily celebration, which was carried on in this little sanctuary for 36 years, was something still more strange. About 150 people could be squeezed in, when all the gangways were filled up, and the services were very hearty and the congregation regular and devoted”.