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used in The Fountainhead

15 uses
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face or visible appearance
  • "And the facade?" he asked, when Roark threw the pencil down.
    1.5 — Part 1 Chapter 5 (66% in)
  • "Yes," said Keating, a faint coating of diffidence over the tone he had used in discussions with his classmates, "but windows are less important than the dignity of a building's facade."
    1.3 — Part 1 Chapter 3 (39% in)
  • As one stands before its southern facade, one is stricken with the realization that the stringcourses, repeated with deliberate and gracious monotony from the third to the eighteenth story, these long, straight, horizontal lines are the moderating, leveling principle, the lines of equality.
    1.4 — Part 1 Chapter 4 (4% in)
  • Roark threw aside the sketch of the graceful facade with the fluted pilasters, the broken pediments, the Roman fasces over the windows and the two eagles of Empire by the entrance.
    1.5 — Part 1 Chapter 5 (64% in)
  • His clients would accept anything, so long as he gave them an imposing facade, a majestic entrance and a regal drawing room, with which to astound their guests.
    1.6 — Part 1 Chapter 6 (48% in)
  • You will kindly take this photograph—and I do not wish any building as Cameron might have designed it, I wish the scheme of this adapted to our site—and you will follow my instructions as to the Classic treatment of the facade.
    1.8 — Part 1 Chapter 8 (25% in)
  • The cupids are well fed and present a pretty picture to the street, against the severe granite of the facade; they are quite commendable, unless you just can't stand to look at dimpled soles every time you glance out to see whether it's raining.
    1.9 — Part 1 Chapter 9 (94% in)
  • He would add an enormous dome to the flat roof of a finished structure, or encrust a long vault with gold-leaf mosaic, or rip off a facade of limestone to replace it with marble.
    1.10 — Part 1 Chapter 10 (8% in)
  • Or buildings that contain a single hall, but with a facade cut up into floor lines, band courses, tiers of windows.
    1.11 — Part 1 Chapter 11 (83% in)
  • And when he had to hear it, he did not mind the comments on "the masterful blending of the modern with the traditional" in its facade; but when they spoke of the plan—and they spoke so much of the plan—when he heard about "the brilliant skill and simplicity...the clean, ruthless efficiency...the ingenious economy of space..." when he heard it and thought of...He did not think it.
    1.15 — Part 1 Chapter 15 (40% in)
  • I understand that you modernists attach no great importance to a mere facade, it's the plan that counts with you, quite rightly, and we wouldn't think of altering your plan in any way, it's the logic of the plan that sold us on the building.
    1.15 — Part 1 Chapter 15 (75% in)
  • It's only a matter of a slight alteration in the facade.
    1.15 — Part 1 Chapter 15 (75% in)
  • But it gives you our general idea and you'll work it out yourself, make your own adaptation of the Classic motive to the facade.
    1.15 — Part 1 Chapter 15 (79% in)
  • He explained why this structure could not have a Classic motive on its facade.
    1.15 — Part 1 Chapter 15 (81% in)
  • The facades of the buildings around him were like the walls of secret backyards suddenly exposed: decay without reticence, past the need of privacy or shame.
    4.16 — Part 4 Chapter 16 (86% in)

There are no more uses of "facade" in The Fountainhead.

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