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Each building can be recognised by distinctively different facades, one being residential the other commercial. The professional, private and social functions are served by three separate staircases, one of which was used to seat guests at home concerts.

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Unusual to Brussels the designer employed windows to the rear of the buildings allowing light to flood into all areas from the front, back, side and roof lights. Another speciality of this house is the use of white glazed bricks found in the dining room and vaulted ceilings, also the use of American oak, marble, copper and gold as decorative surfaces.

Josef Maria Olbrich designed five homes in the Darmstadt artists' colony, another was designed by Behrens plan de tannay suisse anti aging had no formal architectural training.

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This high pitched roofed home in the Jugendstil or Art Nouveau totally bucked the trend followed by turn of the century Germans. The lean massing of this home, under three differing roof forms, appears to resemble a small castle. The rounded red brick detailing of the gable walls flows from a decorative use of green glazed brick in a playful use horizontal and vertical elements. The blue finished music room is contrasted with the solemn mood of the white painted and furnished dining room.

Interior elegance is portrayed by the use of organic forms and fixtures. Almost every part of this home, including crockery and cutlery was designed by Behrens.

On a sloping site above the River Clyde a home was designed for a publisher in an elegant residential area where the main facade dominates the skyline. This home defined a new architectural language that employs asymmetry. Each room, from the entrance inward, adopt special spatial characteristics. The large bay windows appear to be added at a later date, in fact they where designed to encourage relaxation, reading and enjoying the views.

The interior furnishing, ironmongery and cabinetry is found to be richly decorated, yet not plan de tannay suisse anti aging. The facade being typically Finish in the use of timber and stone, whilst the roof form and interior design had a more international feel. The ground floor mostly comprised of a large living room affording access to a dining room via an archway.

Access to the upper floor by stairs was orientated around the living room's staircase in the English tradition. The vaulted dining room has a medieval church like atmosphere.

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The building follows Arts and Crafts principles, where all objects and architectural motifs are as one. Even the furniture was designed by Saarinen and his wife using the same materials as the house itself. Frank Lloyd Wright: Robie House, Chicago, USA, This house runs parallel to the street, characterised by a stone capped roman brick wall, shallow roofs and projecting eaves.

The ground floor, which in principle is one space, separated by a fireplace and staircase locates the living and dining rooms on a longitudinal axis. Successfully fulfilling the client's requested for a home that does not treat separate spaces as boxes, without need for usual "ornaments", curtains, carpets, etc. The building with exaggerated eaves is decorated in glazed ceramic tiles of the Art Nouveau style combined with fenestration following a modern pattern.

This duality of style is dissolved by means of a subtle use of subdued blue and white glazed ceramic tiles.

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The interior style is a rampant continuation of the exterior decoration, incorporating abstract glass compositions. Instead of building a house under a single span to accommodate the width of one room this project allows for one and a half room width, thus allowing space for contemporary features. The external appearance of this timber house suggests rural simplicity. The Schröder House is a pure expression of the abstraction and continuous spaces created by the Dutch De Stilj movement. The house is made up from a system of right angles applied to lines and planes.

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Black, white, red, blue and yellow colours are dominant, reminiscent of a three dimensional Mondrian painting. Although this house is connected to its neighbour, the Schröder house ignores its direct environment, rendering the importance of the past as being obsolete and old. The same use of colours and forms apply to the interior of this home to maintain coherence. The upstairs party walls can be repositioned, allowing the three bedrooms to comprise different spaces or a single space.

Strongly influenced by cubism and expressionism, this building expresses it's concrete construction as a structural and decorative exercise.

Antonin and his wife hoped to set an example for the Japanese construction industry to follow, including the design of electrical and mechanical solutions, textiles and furnishings.

The massing of this house is orientated towards the garden the main functions in a two storey wing, the kitchen in a single storey wing.

Summer and winter access to the interior spaces is made via a conical corridor. Angles in the floor plan are found to be filled with "inaccuracies" that Asplund suggests provide a sense of intensity. Steward: The making of a modern japanese architecture to the present, Kodansha, Japan, Walter Gropius: Own House, Dessau, Germany, Gropius was commissioned to build three semi-detached homes in Dessau, to house teachers at the Bauhaus Mastersplus a detached home for the director.

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The new houses, including the director's Gropius were to promote he "New Architecture" - a tool to demonstrate the new aesthetic. These homes present previously developed theories of industrial fabrication and standardisation.

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The interior design also uses Bauhaus workshop produced furnishings, including the Wassily chair by Marcell Breuer, first seen here. Many of the details are practical, efficiently organise daily life, such as rotating cabinets accessible from both sides, or ventilated clothes and bedding cabinets. These homes where almost completely destroyed in World War II and reconstruction started in The framed building with cantilevered slabs supports non-structural ribbon walls and windows, as a membrane, to separate the interior from the exterior.

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The building manifests itself as a purist composition which contains objects within a frame. The Stein Villa and the Palladian Villa Foscari are both based upon a proportion of eight units wide, five and a half units deep, five units high.

Using exactly the same structural layout of an A-B-A-B-A pattern, giving this modern villa the impression of a classical building. Fischer Residence, Barmen, Germany, This house is located on the intersection of two streets, providing the basis for a plan that stands oblique to the land division grid. Sitting on a gently sloping site plan de tannay suisse anti aging home is approached from two directions to a common terrace area. Structurally orientated around two full height load bearing walls providing views from the first floor living space's terrace to the main living room and dining room.

Henry van de Velde: Own House, Tervuren, Belgium, The characteristic cornice and rounded corners of this building resemble an elaborate treasure chest. This feeling is present in the interior spaces, bringing a coherence to the custom designed fireplace and living room furniture.

Unique, adjustable tilting outdoor furniture forms an integral part of the external them. Rounded corners are found leading from the garage, towards the entrance via garden stairs, towards the entrance, continuing inside the house upstairs leading to the "L" shaped library which is expressed on the longer of the building's elevations.

Loos designed homes in volumes modelled at the inception stage.