104 Sentences With "main bedroom" | Random Sentence Generator

The carpeted main bedroom upstairs, under the gable, includes a fireplace.

The main bedroom has floor-to-ceiling windows with views and a fireplace.

The main bedroom has a slate gas fireplace with a hand-carved mantel.

Also off the main bedroom was this dressing area, which was about the size of my whole apartment.

My red leather-covered Smythson jewelry box, which had been in a locked drawer in the main bedroom, reeked of smoke.

Andrew explained that particular rooms, couches and beds had different associations for Tigger (for example, he would retreat to the main bedroom when anxious).

On either side of the main bedroom are "his" and "hers" bathrooms, and stepping out of the patio doors leads directly to a rose garden.

The main bedroom is at the front of the house and holds double sets of French doors that open to the upstairs balcony overlooking Mandeville Street.

The main bedroom has a spacious balcony looking onto the front lawn, private enough to sit and compose music on, watch the sunrise or just read a book.

For some weird reason, the shower has a frosted glass window that lets you see silhouettes in the main bedroom area, which is very awkward for a family trip.

Upstairs, the main bedroom is part of a suite overlooking the great room that includes a bathroom with a soaking tub and a study that could be converted into a bunk room.

The upstairs level, also lined in oiled plywood, includes Mr. Sjogren's office, a bedroom reserved for visits by the couple's 12-year-old grandson, and the main bedroom with a balcony facing onto the sunroom.

The owner of a house in the Old City, who asked Reuters to withhold his name for fear of retaliation from officials, said he had asked the Civil Defence for weeks to come and remove two bodies from the main bedroom of his basement home.

Much of this remains, such as an exhaust fan, cupboard and servery joinery and fitments. The kitchen is linked to the main bedroom by a dumb waiter.

To the right of the entry a door leads the main bedroom, and to the left is the living room. Both of these rooms have doorways to a narrow dining area at the back of the main block. Brandeis' study, a glassed-in space, lay just off the main bedroom off the north end of the porch. Louis Brandeis was appointed to the Supreme Court in 1916 by President Woodrow Wilson.

The interiors are clad with tongue and groove boarding and the ceilings sheeted and battened. The kitchen cupboards, linen cupboard, dining room cupboard and main bedroom wardrobe remain. The terrazzo floor to the bathroom survives. The grassed and concreted grounds are well maintained.

On the interior, a long stair hall is located to one side, with a parlor off the hall. A single large room is in the rear. Upstairs is a hall with a main bedroom, and a short side hall leading to two more rooms.

A pair of bi-folding doors provides access to the new room to the west. Early built-in joinery cabinets are located throughout the house including a linen press extending to the ceiling in the hallway, a former servery, cupboards and a pantry/broom cupboard extending to the ceiling in the kitchen, a wardrobe with storage cupboards extending to the ceiling in the main bedroom and a cupboard in the parlour. All rooms have walls lined with v-jointed boards and ceilings of fibre-cement with cover strips. The main bedroom, parlour and sitting room have plaque rails and cornices are of a similar design.

Sherry 1991, p.43 There is considerable use of Australian fauna and flora in the glass. The classical muse in the dining room incorporates native birds and animals, including bandicoot, possum and kangaroo. The Four Seasons in the main bedroom includes kookaburra, cockatoo, Waratah and wattle.

The main bedroom has an early pendant light fitting and two early brass wall lights in the north-east corner. The bay window contains the original bench window seat and brass window hardware. The second bedroom mirrors this decoration scheme. The enclosed western verandah serves as a third bedroom.

And you want that space in the > living room and dining room and maybe the main bedroom, but not in the other > rooms (kitchens, baths, home office etc). And we were allowed to exclude the > mezzanines from the floor area based on memorandums that were circulating in > the 1980s.

But the former laboratory remains intact. The upper level contains three bedrooms, a nursery and a bathroom. The main bedroom, located on the eastern corner of the house, opens onto a private balcony. Positioned over the curved corner of the ground floor living room, the balcony overlooks the side garden and street.

There were three telephones at the farm on the night, all on the same landline. There was usually a cream rotary phone in the main bedroom on Nevill's bedside table; a beige Statesman digital phone in the kitchen; and a blue Sceptre 100 digital phone in the office on the first floor. (There was a fourth phone too, an Envoy cordless phone in the kitchen, but it had been picked up for repair on 5 August.) The rotary phone had at some point been moved out of the main bedroom and into the kitchen, where the police found it with its receiver off the hook. They found the beige Statesman digital phone still in the kitchen but hidden in a pile of magazines..

Bedrooms are located on both side of this corridor, to the east and west, toward the gables. The east-side bedroom, used for the daughter, is known as anjong. The west-side bedroom, the main bedroom of the household, is known as jurei. The bedrooms can be accessed from the back section via doorways.

Other rooms have simpler picture rails. Skirtings are clear-finished timber in the parlour, sitting room, new room and main bedroom with simpler beaded skirtings in other rooms. Floors throughout the house are hardwood except for the hall and the second bedroom, which are pine. The floor to the kitchen is finished with recent ceramic tiles.

The west wing's south end features a large bay window on each floor.Gradidge (1981), pp. 142–3. At ground level, the south end contains a neoclassical dining room with a huge fireplace, as high as the room. Above the dining room, the main bedroom has a sleeping balcony (for outside sleeping), built over arches, on its west side.

Much of the original door and window furniture is retained. The house has several built-in storage cupboards with timber shelves. The opening between the foyer and the hall has an arched and battened fanlight. An early bell system survives with buttons in the main bedroom and the drawing room connected to bells in the back hall.

This provides three large spaces of increasing protection and privacy as one moves up the levels. A separation of service rooms in a rear lean-to zone is an echo of the iconic Australian outhouse. Outdoor decks are prominent on the north and east elevations and extend from the main habitable areas. A smaller balcony is accessed from the main bedroom.

Nunthorpe Grammar School was centred on Nunthorpe Court, a large Victorian house built in 1856. The house was adapted to meet its new role as a school in 1920. At first the school was entirely contained within the mansion. Now the house is used purely for offices and staff rooms, the Headteacher’s office being situated in what was the main bedroom.

Brad and Alvaro both rush to cover up the breakage and seal it off. Together, they manage to calm Lexi down. Brad then seals off the main bedroom from the rest of the house so that Lexi can get into it. Lexi receives a call from her mother, who realizes that she was near the explosion and is probably infected.

She has nowhere else to go, and the gallant Gerald agrees to give her refuge at Rookery Nook. Putz comes to the house with his dog, looking for Rhoda, but, thwarted, he departs in a loud rage. Gerald cedes the main bedroom to Rhoda. He is extremely uneasy and fears that, despite the purity of his intentions, there will be a scandal.

In the hall are located the only skirting boards to be found in the house. The floor is polished timber boarding, as are all others excluding those in the bathroom, ensuite, kitchen and laundry. The ceilings in both segments of the hallway are pressed metal, as are the cornices. There are further pressed metal ceilings in the living room, kitchen and main bedroom.

The superintendent's quarters were situated at the front, using the main bedroom and the drawing room. The McCredie' bathroom and dressing room had been converted to a "temporary bedroom" and bathroom with a partition installed. The dressing room at the rear on the North side appears to have been extended. This may therefore date after the 1922 plans for new works.

Internally a central hall extends from the entry to the rear verandah. This hall is divided centrally by a doorway, creating a formal entry portion and informal rear. Flanking the entry hall is a main bedroom to the north and a formal dining room to the south. These rooms include central bay windows with floor to ceiling double hung windows.

The rear external timber stairs connect to the former residence above. The residence has a kitchen, living room, dining room, an open verandah balcony, three bedrooms and a bathroom. The living room, dining room and main bedroom open by French doors onto the verandah balcony. There are glazed fanlights above these French doors and side lights to those off the dining room.

The central stair is constructed of concrete with terrazzo treads and a concrete balustrade. Each flat has decorative plaster ceilings to most rooms, and multi-paned French doors open from the main bedroom to the enclosed sleep-out. Doors, architraves and skirtings are finished in painted timber, with plate rails to the living and dining rooms. Leaded diamond paned swing doors separate the living and dining rooms.

New kitchen cabinets were added and an internal room was made into a bathroom in the mid-1990s. A built- in bookcase was installed after 2005 along with half-height partition walls in the parlour and main bedroom. A recent timber-framed staircase has been added to the side porch. A recent shade structure has been erected over the front driveway in front of the house.

The use of mortised joints and anchor bolts cyclone-proofed the house. Leadlight windows and high ceilings were notable features of the interior of the house. It comprised a typical room format for a large interwar house being formal dining and lounge rooms, main bedroom, bathroom, second bedroom, study and kitchen. Verandahs were located on both sides and at the rear of the house.

In the Middle Ages the great chamber was an all-purpose reception and living room. The family might take some meals in it, though the great hall was the main eating room. In modest manor houses it sometimes also served as the main bedroom. By the seventeenth century communal meals in the hall had been abandoned and the great chamber was the best dining room.

The longcase mahogany-veneered oak clock, , is a family heirloom. At the end of the hallway is an Irish regency mahogany side table, . Main bedroom: The mahogany queen-sized bedstead is William IV. The flame mahogany chest of drawers, the dressing table and the breakfront wardrobe are all Victorian pieces. The patchwork bed covering was made by Mrs Fuller to tone with the curtains.

Initially there was no door on the study, allowing the entire living wing to be open. A door has since been added, enabling the space to be made private. The veranda between the main living area and the study has been closed in and two bedrooms added. An initially external wall of grey weathered timber now forms the interior wall of the main bedroom area.

The sleeping level above contains two bedrooms, a study and bathroom. This level extends from the southern end of the lower level spaces and cantilevers over the deck. The internal spaces are unified by the raked ceiling that falls from the southern side of the bedrooms to the north side of living areas. Storage space is located to the north of the main bedroom.

Each flat has decorative plaster ceilings to most rooms, and multi-paned French doors open from the main bedroom to the enclosed sleep-out. Doors, architraves and skirtings are finished in varnished timber, with plate rails to the living room. Internal walls are plastered, with paint or paper finish, and the kitchen has been refitted. A detached single garage is located on the northern side of the building fronting Moray Street.

On the night of the dinner-party, Raffles and Bunny meet near the house. They sneak through the garden, and observe that all the house's inhabitants are in the dining room. They use Raffles's rope-ladder to ascend to the balcony of Bunny's old room, and proceed to the main bedroom. Raffles jams the door with wedge and gimlet, and Bunny draws the bolt on the connected dressing-room's outer door.

There are full glass walls in the living, dining, playroom and 3 bedrooms; above waist height windows in the kitchen, laundry and main bedroom and above shoulder height in the en-suite bathroom. Direct or close contact to related outdoor areas is available for each room. The bi-nuclear plan clearly separates living areas from sleeping and bathrooms. These are connected by the flexible transitional zones of the playroom and deck.

The drawing room displays a classical muse playing a lyre, surrounded by other artistic implements. In the dining room the windows depict English farming scenes as well as the four traditional meats - beef, venison, fish and game. The main bedroom window is an adaptation of the firm's most sought-after design, the Four Seasons. The Day Nursery is decorated with nursery rhyme images published between 1870 and 1881.

The pole cupboard housing the pole that connected the residence and the station below is adjacent to the bathroom. The interiors are clad with tongue and groove boarding and the ceilings sheeted and battened. Original fabric remains including kitchen cupboards, linen cupboard, dining room cupboard and main bedroom wardrobe. The bathroom is substantially intact with the terrazzo floor, pressed metal wall sheeting and the original hot water heater remaining.

The original timber floors remain, the corrugated ceiling remains in the main bedroom of one dwelling and the telephone (connecting the lighthouse and the dwelling) remains intact in both hallways. Although the original fireplace and chimneys remain, the tiling and hearth have been replaced. The kitchen, laundry and bathroom have been remodelled. A stand-alone workshop/paint/store building is located between the lighthouse tower and the Head Keeper's Quarters.

Above each doorway is a pivoted fanlight with waxed paper inserts. The first room to the left is the main bedroom, formerly a parlour, with a large double-hung sash window opening to the front verandah. It has a very fine pressed metal ceiling in Art Nouveau pattern. The second and third rooms on the left are currently used as bedrooms with French doors opening to the eastern side verandah.

Pressed metal ceilings feature throughout the house and are emphasised by the height of the ceilings and the polished timber floors. Detailing is fine with extensive cedar joinery and marble fireplaces to the main bedroom, living and dining rooms To either side of the entrance hall are two equally proportioned rooms. The remaining rooms open from the ballroom. The southern wing contains the dining and the modern kitchen.

There is an encircling verandah to the upper level with a separate roof supported on timber posts. Subsidiary L-shaped bedrooms are built into each corner of the verandah so that there is an open section in the centre of each elevation. The handrail across these verandah sections is timber, with steel mesh filling the area below. This upper floor contains a living room, main bedroom and two smaller bedrooms in the core section.

The House, featuring a total of 85 cameras, was once more designed by Peter Faragher. The new House was two stories, with the top floor consisting of the main entrance and two bedrooms. One bedroom was the Head of Household suite, while another was the Have-Not bedroom. The main bedroom had a red and white color scheme, while the Head of Household suite featured light blue walls with elegant chandeliers hanging.

The loggia extends into the living/dining space, which is cantilevered out over the small stream. The living room revolves around a large fireplace, and is adjoined by the dining area. A small kitchen is a two-story space, with a small stairway leading downward to the lower level bedroom. The main bedroom wing is raised half a story above the loggia, with a hallway/gallery on one side and three bedrooms and two baths.

Architect Claude Chambers, whose Brisbane work spanned fifty years (1885-1935), won a competition to design the residence known as Drysllwyn. The building was large and spacious with richly decorated main interior spaces. The ground floor contained dining, breakfast and drawing rooms, library, kitchen, bathroom, laundry and storerooms. On the first floor were located a main bedroom with dressing room and bathroom, two other bedrooms, another bathroom, a visitor's room and servant's bedroom.

In plan, the kitchen is "L" shaped and one enters from the hallway at its corner. Three more rooms open off this space. The first is currently (2003) a main bedroom, the second is the main bathroom, and the third room is a small laundry. A bank of timber, casement windows line the external wall of the kitchen, and open onto a patio, which is recent and roofed with clear PVC sheeting.

This level was the main floor of activity, recognizable by the greater ceiling heights and two Doric columns that adorn it. From the description of Androuet du Cerceau, ceilings of this floor were quite remarkable, especially the enrayure-style box struts that are aligned diagonally with the room walls. A small room, identified as a washroom, is connected to the main bedroom. A water discharge, through the window sill, suggests a bathtub was once present.

The residence on the first floor has a kitchen, living room, dining room, an open verandah balcony, three bedrooms and a bathroom. The living and dining rooms and main bedroom open by French doors onto the verandah balcony. There are glazed fanlights above these French doors and side lights to those off the dining room. The pole connecting the residence and the station below is housed in a cupboard adjacent to the bathroom.

Renovations in the 1960s relocated the kitchen further to the south-east edge of the house, in the position formerly occupied by the maid's room. A round-arched loggia links the utility areas to the garage which provides accommodation for three cars. The second story accommodates four bedrooms, a bathroom and a sleepout. The expansive main bedroom is located directly above the lounge room in the north-east corner and has several built-in cupboards.

Evelyn Court contains six two bedroom flats, each with a kitchen, bathroom, living room, dining room and enclosed sleep-out. Each flat is accessed via a central hall and stair, and also a rear entry. The central stair is constructed of concrete with a metal balustrade, and the hall has a terrazzo floor. Each flat has decorative plaster ceilings to most rooms, and French doors with leaded glass panels open from the main bedroom to the enclosed sleep-out.

1880 the wall dividing the sitting and dining rooms was demolished to form one larger living room. The fireplace was relocated to the western wall of the room, using the original cedar mantle (Edwards CMP). The fireplace in the main bedroom is believed to have been added or renovated in 1880 at the same time as the living room fireplace, using the same bricks. The ceiling in this room is thought to have been replaced c.1920.

Three bedrooms are on the upper floor, as is a servant's bedroom (no.4). All four bedrooms have ensuites/attached bathrooms, mostly original with some 1980s/90s fittings added (vanities etc.). All bathrooms are elaborately tiled with gold, iridescent blue, or green, or plain white tiles. Three main bedrooms all have inbuilt wardrobes in painted cabinetry, the main bedroom having an unusual fold-out door with two-full- length leaf mirrors, and a revolving five-tiered hat stand.

In the main bedroom were late Medieval and early Renaissance paintings by Paolo Veneziano, Sassetta, and Bergognone. Cerruti often allowed his works to be shown at exhibitions and small groups of art lovers were allowed to view his collection. Appropriately, Cerruti also collected books in fine bindings. He owned the Atlas Maior by Joan Blaeu in 12 volumes and an edition of À la recherche du temps perdu in an Art Deco design by Pierre Legrain.

The rich dark finish of the internal joinery, including timber veneered doors and timber architraves and skirtings, contrasts with the white walls. A recess in the reveals of the windows accommodates curtain tracks. A similar recess is located in the opening between the dining and living area and originally was fitted with brown velvet curtains. The original built-in heating system is no longer used but electric radiators remain in the walls of the former surgery and main bedroom.

The highly detailed bathroom has an alcove bath, a built-in shower recess, a decorative sandblasted mirror designed by the architect and a strong single colour scheme of carefully detailed blue tiles. On the exterior, the main bedroom projects slightly and is supported by corbels. On the northern wall, multi-paned French doors open out to a small semi-circular "Juliet" balcony. These doors are surrounded with raised rendered decoration similar to that around the front entry door.

Carty stated that he was the driver for those who broke into the house, and that he selected them and was involved in plotting the attack. He did not state that he was one of the three or that he directly attacked others. Grimaldi stated that the identity of the triggerperson remains unknown. After demanding all the money in the house and ransacking the main bedroom, the three men took Bich and Hann to the basement where they shot them multiple times.

There, the second and main bedroom wing (finished in the 1950s in Tudor style) burned down on December 30, 1992, and BDA was contracted to rebuild it. Sensitive to the problem of recreating the ambiance, BDA used Sugar Pine paneling in keeping with other rooms on site, wrought iron from Poland and from local blacksmiths, stones quarried locally, and Renaissance-era fireplaces. Today, the estate is owned by the Hearst Corporation, and is not open to the public. Wyntoon is located at approximately .

Huddington Court was confiscated along with all their estates. However, it was back in family ownership by 1607, most probably via the payment of large fines by the Talbot estates. Robert's wife, Gertrude, being the daughter of Sir John Talbot of Grafton Manor. Etched into the glass in the main bedroom of the house are the words "past cark, past care", reputedly carved by Lady Wintour with her diamond ring while her husband hid in the woods around the house before his capture.

The small church sat some 60 people, and for over a century it served the rural and sparsely populated farmers of the region. In 1950 there were 79 members of the church. The 1950s saw the rapid spread of residential subdivisions across the once rural Wexford as Scarborough became one of Toronto's main bedroom communities. By the mid 1950s the area was home to some 1,000 families, and the church was greatly over crowded with many services required each Sunday.

51 Other historically significant details include a Norman window in the main bedroom, a 17th-century kitchen, and an "imposing" Tudor fireplace in the sitting room. Architectural historian Anthony Emery believes that the house originally consisted of a large single room on each floor with a vaulted chamber on the ground floor.Discovering medieval houses, Anthony Emery, Osprey Publishing, 2007, p. 30 Major remodelling was carried out in the 17th century being undertaken during the ownership of two generations of the Flower family.

A system of electric bells located in the downstairs hallway, operates doorbells at the house and consulting room entries and connects the main bedroom to the former maids quarters. The house retains some original light fittings in the entry hall and dining room. The planning of the house is typical of modernist designs of the period. There is an emphasis on open planning in the living and dining spaces, which flow out to the garden and occupy the most favourable orientation.

The bottom portion of the wall at the rear of the stable would have to be removed, a double door erected, and a concrete floor laid. In 1965 and 1967 Senior Constable Alan Walker (1964–67) requested a septic system, and in 1968 this request was repeated by Senior Constable Luis Olsen (1968–73), who also asked that the back entrance landing be enclosed, as well as part of east veranda, where rain was beating against the doors into the main bedroom and the lounge.

The Minton tiled vestibule inside the front porch leads to the sitting room, drawing room, dining room and cedar staircase to the second floor. There are five bedrooms, some of which contain period features like bay windows and the original chain window sashes. All have marble fireplaces (there are seven in the house) cedar and mahogany joinery, and high ceilings. The main bedroom is huge, and it has two floor-to-ceiling windows leading to the balcony, a wall of built-in cupboards and a study annexe.

Each flat contains two bedrooms, a living room, kitchen, bathroom, separate toilet, an enclosed sleep-out, and an enclosed 'smoker's balcony'. The entrance has a timber open well staircase with winders, and square balusters and newel posts. Ground floor internal walls are rendered masonry, and first and second floor walls are timber framed with recessed fibrous cement panels. Each flat has decorative plaster ceilings to most rooms, multi-paned French doors open from the main bedroom to the enclosed sleep-out, and multi-paned single doors open to the enclosed 'smoker's balcony'.

An elaborate Edwardian staircase opposite bedroom leads to the first floor. The first floor plan largely reflects the floor below and contains eight bedrooms, bathroom, a separate lavatory, a linen room and en suite off the main bedroom. On the southern side of the house is the two- storey service wing containing pantry, kitchen, scullery, laundry, and staff dining room and boot room on the ground floor. On the first floor is the present caretaker's accommodation consisting of two bedrooms, sitting room, bathroom, a small kitchen and verandah.

The kitchen is at the northwest corner of the house opening off the sunroom. Enclosed with fibrous cement sheeting, the verandahs to the west and east accommodate a study and laundry to the west and an ensuite bathroom and part of a bedroom to the east. There is a range of wall and ceiling treatments, floor coverings and joinery through the house. Reflecting a typical 1930s interior treatment, the walls and ceilings of the living room, main bedroom and parts of the smaller bedrooms to the east are lined with battened fibrous cement sheeting.

Following the violent drinking spree, Balaban returned home and grabbed a claw hammer. He first turned towards his wife Thelma, who was sleeping in the flat's main bedroom and killed her. Then, he moved onto the smaller bedroom, where Phillip and Ackland were, brutally attacking and critically injuring them as well. Finally, Balaban attacked 24-year-old Verna Manie, a waitress who lived in a sleep-out at the balcony, but the woman tried to fight back, breaking the room's lamps and smearing the walls with blood in the process.

Internally the house is designed on three levels with an entrance stair hall leading down to an open planned living dining room opening onto a small kitchen. The open stairwell leads to the upper level which contains two bedrooms, a study and a bathroom The main bedroom and study open onto the balcony. Internally the house is without decoration and is flooded with light from the large windows. The house is very intact and has many of the original light fittings and "modern" features such as built-in cupboards in the kitchen and bedrooms.

The house was built -18 and is one of the best examples of an early Californian Bungalow style house in Australia. IThe proportions, materials and craftsmanship are typical of the early examples of the style. The house is large and contains a billiard room, large sunroom, dressing room and ensuite bathroom to the main bedroom, kitchen, laundry and scullery configured for use by domestic staff. The house is little altered in the past 60 years with the exception of extension of Bedroom 3 into the northern verandah and kitchen cupboards installed in the 1960s.

In 1876, American pioneer John T. "Buckskin Johnny" Spaulding and his brother-in-law Thomas J. Davis built the first home, a two-story log cabin, two and a half miles southeast of present-day Belle Fourche. It was constructed from logs felled in the Black Hills between Crook City and Deadwood; the logs were then hauled to the site. The house was made up of a living room, parlor, kitchen, children's room, and a main bedroom. This cabin housed Spaulding; Davis; Davis's wife, Lucinda; and the Davis' children.

When the Barnard's sold the property in 1958 it passed through a number of hands and underwent some alterations. The back verandah was enclosed sometime during the late 1950s and the original timber flooring was removed, leaving the main bedroom with a rough concrete floor and the living area with a dirt floor. The mantels over the central fireplace were also removed at some point and the wall separating the two bedrooms demolished, effectively changing the cottage from 3 rooms to 2. A number of conservation works have taken place since the Gayndah Shire Council purchased the Brick Cottage in 1969.

The house consists of two bedrooms (a main bedroom in the south-east corner and a second bedroom to the south), a sleep-out known as "the new room" (c.1930s-1940s) to the west, a kitchen in the north-east corner, two bathrooms, a hall, a sitting room and a parlour. A side porch off the kitchen provides access to the lower garden to the north via recent stairs. The front porch provides entry to the parlour which features built-in early cabinets with leadlight glazed doors and recessed bookcases surrounding a face-brick fireplace with concrete hearth.

The south wall onto the front verandah is of post and rail construction with a single-skin of vertical tongue and groove timber boards. A door from the enclosed west verandah, a central entrance door and two sets of french doors from the bedrooms open onto the front verandah. An opening for earlier french doors east of the central entrance doorway is infilled with vertical timber boards. The central entrance door opens into a large living room off which the main bedroom opens to the west, a smaller bedroom to the east and sunroom extension to the north.

At the head of the principal staircase an Anteroom divides the former Great Chamber from what would have been the main bedroom. During the 19th century, this room was furnished as an armoury. The adjoining bedroom, the Garden Chamber, was used as a bedroom by Lord Curzon during the early 20th century, and as such was equipped with a plumbed bath hidden in a wardrobe, one of the few in the house. The Hall Chamber Further rooms on this floor include the Crimson Chamber, which together with its small adjoining dressing room formed one room accessed from the Great Chamber.

To the right of the entrance hall is the parlour and community room which are separated by two full-height three-leaf timber folding doors, extending the width of the room. A white marble fireplace with early ceramic tiles is featured in the parlour, and an ebonised timber fireplace, featuring etched relief patterns, is in the rear community room. To the left of the entrance hall is the room now used as a prayer room, but originally likely to have been the main bedroom. A number of bedrooms open from the corridor beyond the entrance hall.

Throughout the building, the skirtings, architraves, doors and floor boards are cedar. Doors are panelled with etched, arched glass fanlights, and evidence of early decoration include brackets for curtain rods. Drawing room, 2015 The drawing room originally had a white marble fireplace surround with relief carving of fruit, and the dining room had a black marble fireplace surround, both of which have been removed. The main bedroom, on the south, has a cedar fireplace surround and evidence of a shelving unit which was located between the chimney breast and adjacent wall but was probably not an original fitting.

Barbara is questioned by local police, and they find top-secret documents which the men who killed Rob planted in the vase in the main bedroom, framing him. The military takes over the investigation and Rob's commanding officer, General Clay Howard (John Colicos) bails Barbara out of the questioning. Rob's squadron gives her the American flag out of respect, since Rob didn't receive a military funeral, due to being investigated for having top-secret documents in his possession. Persistent journalist Mark Halstead (Clark Johnson), who has been investigating the helicopter crashes and suspects a cover-up, confronts Watson about the cover-up.

A Balé pavilion within Balinese house compound. Unlike European architecture, Balinese houses and puri (palaces) are not created as a single huge building, but rather a collection of numerous structures within walled enclosure each with a special functions; such as front open pavilion to receive guests, main bedroom, other bedrooms, pelinggihan or pemrajan is a small family shrine, living areas and kitchen. Kitchen and living areas that hold everyday mundane activities are usually separated from family shrine. Most of these pavilions are created in Balinese balé architecture, a thatched roof structure with or without walls similar to Javanese pendopo.

The first floor consists of two bedrooms, two bathrooms (one en-suite), the former maid's quarters with its own entrance (now a third bedroom and workroom). There are four outdoor seating areas, each with a different aspect to the weather. Semi-circular main bedroom - note sandstone fireplace Thomas Fishwick was a client who was technically minded and progressive in his attitudes, allowing Griffin the opportunity to design into the house numerous modern amenities, innovative design ideas and artistic effects which are unique amongst the Castlecrag houses. Griffin was able to develop technical concepts on a larger scale in this house than in other houses in Castlecrag.

The house, the footprint of which is roughly square, has an asymmetrical layout. It contains a core of rooms comprising entry hall, lounge and dining rooms opening onto the now enclosed north- eastern verandah with the large main bedroom and a smaller second bedroom separated by a bathroom opening onto the enclosed western verandah or sleepout. A short hall separates the main living and dining room from the bedrooms. At the rear of the house, a kitchen occupies the south-east corner and is separated from the study in the south- west corner by the enclosed southern verandah that now serves as a long informal living area.

The remaining rooms on the second floor comprised a main bedroom containing a full tester bed dressed in crimson harateen, connected to a dressing room and closet in the back. The servants, three or more in number, occupied the garret rooms on the floor above. Handel used his house not only for entertainment, composition and rehearsal, but also for business: in the late 1730s the scores of Alexander's Feast and other works could be purchased directly there. His home also contained an extensive art collection, and by the end of his life Handel possessed over 80 paintings and prints, including works by Watteau, Teniers and Poussin.

Much of the former back wall of the house, between the lounge and the dining room, has been removed to open up this space. The northeast side verandah has been enclosed, possibly at an early date but with later modifications, to create three bedrooms. The southwestern side of the house was modified in the 1960s to provide a suite of rooms for the Bishop, which included a main bedroom (which possibly was originally two smaller rooms), a sitting room and an office on the enclosed side verandah, and a bathroom on the rear enclosed verandah. The office has a private entrance from the southwest garden.

At the southwest corner of the house a large, faceted bay window projects onto the verandah from the main bedroom; this is mirrored at the southeast corner by another faceted bay from the drawing room. Both bays have very fine Art Nouveau leadlights, and there are similar leadlights around the front entrance door. The front exterior wall has later fibrous cement sheeting and timber battening, creating a vaguely Tudoresque appearance. On the western side of the house, the verandah outside the main and second bedrooms is enclosed with casement windows and fibrous cement sheeting behind the timber balustrade, and is separated from the southwest rotunda by large folding timber doors.

The kitchen had built-in cupboards; the bathroom had a laundry chute connecting to a cupboard in the laundry beneath the house; the lounge opened onto the entry hall through 4 large glass paneled doors; the lounge and main bedroom were wallpapered; other walls throughout the house were lined with vertical tongue and groove boards; and the living room had a plate rail. The house was originally painted cream with dark green to the bay windows. Uanda is currently the only identified work of architect and potter Nellie McCredie. The career of Nellie McCredie is typical of the careers of women who entered the architectural profession prior to World War Two.

The living room facing the harbour is in the Western side and the main bedroom is in the middle of the house. It is believed that the Southern and Eastern parts of the Verandah had been built in the 19th century. In 1827, Rear Admiral John Hage, added a picturesque view to the house by planting coconut palms around the house. With the dying of coconut palms, 49 palm trees were brought from the Andaman Islands and planted by the daughter of Admiral Fisher and the wife of Admiral Fullerton. The Banyan tree which was planted during the same year had grown into a large tree by 1955. It expanded covering more than 300 yards.

Upstairs is a main bedroom and a second bedroom for children; to the rear (i.e. the colder, north side), are bedrooms for a servant and the servant lad respectively. Above the kitchen (for transferred warmth) is a grain and fleece store, with attached bacon loft, a narrow space behind the wall where bacon or hams, usually salted first, would be hung to be smoked by the kitchen fire (entering through a small door in the chimney). Presented as having sparse and more old fashioned furnishings, the Old House is presented as being occupied in the upper story only, consisting of a main room used as the kitchen, bedroom and for washing, with the only other rooms being an adjoining second bedroom and an overhanging toilet.

Pages Lane leading to White House Farm After the telephone calls, Bamber drove to the farmhouse, as did three officers from Witham Police Station who later testified that Bamber had been driving much more slowly than them; they passed him on Pages Lane and arrived at the farmhouse one or two minutes before him. His cousin, Ann Eaton, testified that Bamber was normally a fast driver. The group waited outside the house for a tactical firearms unit to arrive, which turned up at 5 am and decided to wait until daylight before trying to enter. Police determined that all the doors and windows to the house were shut, except for the window in the main bedroom on the first floor.

After a conversation with Big Brother, Dennis was allowed to return to the house, and the housemates were split into two groups with Mohamed, Rex, Darnell and Mario being instructed to stay in the main bedroom and all the other housemates in the luxury bedroom, where they remained until the morning. Dennis was then summoned back into the Diary Room where Big Brother informed him that by spitting in Mohamed’s face he had broken strict rules regarding unacceptable behaviour and was subsequently removed from the house with immediate effect. Several of the other housemates, including Dale, Stuart, Darnell, Jennifer and Mohamed had one-on-one conversations with Big Brother about the incident throughout the day, after which they all made peace with one-another and put the incident to bed.

It is not known when Qiu Shiliang was born, but it was known that he was from Xun Prefecture (循州, in modern Huizhou, Guangdong). During the brief reign of Emperor Shunzong (805), Qiu became a servant to Emperor Shunzong's crown prince Li Chun, and after Li Chun became emperor later that year (as Emperor Xianzong), he became an imperial attendant, and later served as the eunuch monitor of the army to such circuits as Pinglu (平盧, headquartered in modern Weifang, Shandong) and Fengxiang (鳳翔, headquartered in modern Baoji, Shaanxi).New Book of Tang, vol. 207. On an occasion, when both he and the imperial censor Yuan Zhen happened to be at the imperial messenger outpost Fushui (敷水, in modern Weinan, Shaanxi), he and Yuan got into a dispute over who had the right to use the main bedroom at the outpost, and he battered and injured Yuan.

The hipped roof, which extended in bungalow fashion over the verandahs, had gablets to the eastern and western ends and was clad with corrugated galvanised iron. The internal layout of the 1913 house incorporated two large living spaces in the centre: a front (southern-facing) dining room and the only room in the house to contain a fireplace; and behind this, on the northern side of the building, a tropical lounge , separated from the rear verandah by lattice timber panels and walk-through openings. On the western side of this room, steps led to the sub-floor. The eastern side of the building contained a main bedroom at the front, small office, and another bedroom at the rear; the western side was the service wing, with maid's bedroom at the front (separated from the dining room by a hall leading to the front verandah), pantry and kitchen.

It was not in the original plans but was the result of later modifications to separate the workshop from the garden. It is a small space but it provides light and greenery in the center of the structure. The upper floor is a more private space with thick wood shutters for the windows. Access to this area and the roof terrace is via stone stairs lacking railings, a typical Barragán characteristic. The upper floor contains a master bedroom with dressing room, a guest room and an “afternoon room.” The main bedroom has a window facing the garden and was where the architect slept, simply calling it the “white room.” It contains a painting called “Anunciación” as well as a thirty cm tall folding screen with images of an African model which were cut from magazines. The dressing room attached to the bedroom is also called the cuarto del Cristo or Christ room, with its crucifix.

He had shot Nevill in the bedroom too, but Nevill was able to get downstairs where he and Bamber fought in the kitchen, before Bamber shot him four times, twice in his temple and twice in the top of his head. He had shot Sheila in the main bedroom, next to her mother, and had shot the children in their beds as they slept.. Bamber had then arranged the scene to make it appear that Sheila was the killer, they said. He discovered that she could not have reached the trigger with the silencer attached, so he removed it and returned it to the gun cupboard, then placed a Bible next to her body to introduce a religious theme. After removing the kitchen phone from its hook, he left the house via a kitchen window, perhaps after showering, and banged the window from the outside so that the catch dropped back into position.

Two of the Rigby sons were serving overseas in the armed forces; there was a war-generated shortage of building materials; the property had to be run; and much time and energy was being invested in eradicating the prickly pear that infested The Glebe and other properties in the Taroom district prior to the introduction of cactoblastis larvae in the 1920s. During this period (1916-1919) the family resided in what is now known as the machinery shed, with its slab walls and bark roof overlaid with sheets of corrugated iron. By early June 1921, when an appraisal of rent was made by the Lands Department, The Glebe homestead comprised a new house of 7 rooms, services laid on from 5,000 gallon tank supplied from river, outbuildings etc. Descendants understand that the new house was designed by Florence Mary Rigby - George and Marion's only daughter - with the main bedroom and living room separated from the rest of the house by a wide breezeway, which, though housed under the same roof, was open at both ends.

The building has a fine Liberty style tending towards Moorish; with only one raised floor, it is 350 square metres large, with a magnificent garden enriched by fountains and elegant seats. On the main façade (still surmounted by the owner’s coat of arms and his initials) there is a big balcony with a fine marble parapet, with some carvings with the shape of a Greek cross, and five artistic openings. There are 14 rooms, with the ballroom, about 110 square metres large, in the middle of them. After the restoration made in 1980 (made according to the project of the architects Valeria De Folly, Dannis and Carlo Bruschi), this room has become a more functional space, like a corner rich with different plants, well-lighted by a large skylight and a big white chandelier made of Murano glass dated 1943. The furniture is very appropriate, as they have maintained the family’s one, dating back to the early 1900s; there are also two beautiful fireplaces of grey marble, the first is located in the hall and the other in the main bedroom.

The continuation of the central corridor to the rear bedrooms and living rooms is then itself offset to give useful privacy to this area of the residence - with a cast iron column used to provide the necessary roof support in the line of the corridor wall. The rooms at the rear (east) of the building, though generally within the original envelope, are (as noted in the exterior) both simpler in character and more altered. Throughout the residence much of the original fabric, fitout and finishes survive, these including plastered walls with moulded timber picture rails and plaster vents, decorative pressed metal ceilings and cornices, panelled timber doors (many with glazed fanlights) and timber floors (mostly carpeted). Features of particular interest include the built-in linen cupboard (in the rear cross hall), the original timber mantle-pieces in the main bedroom and Minister's study, the simple timber frieze (with cut out leaf-motifs) to the rear cross hall (so typical of the Federation bungalow) and the window bay to the main living room.