abandoned house descriptive essay

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10 Words that Describe an Abandoned House

By Ali Dixon

A house that is no longer inhabited can make a mysterious setting in a novel across so many genres. If you need  some words  that describe an abandoned house, use the following 10 as a source of inspiration.

1. Deserted

An area devoid of life ; a wild or forbidding place.

“The quiet house appeared completely  deserted , though they still approached it with significant caution.”

“The  deserted  house stood in the middle of the empty plain. The only signs of life were the sounds of mice scuttling and scavenging for what the previous owners had left behind.”

How It Adds Description

The word deserted often implies an intention when it’s used in this context. The people who used to live in the house you’re describing may have left it on purpose, and you can use that to make your readers feel unnerved as they read about it.

2. Desolate

Empty of inhabitants or life ; joyless or sorrowful, usually because of some kind of separation; lacking comfort or hope.

“The floorboard of the  desolate  house creaked under his feet as he explored the rooms.”

“While the other houses on the street teemed with life, this one was cold and  desolate. ”

When you use the word desolate to describe an abandoned house, this can help to make the house seem even more threatening. It can also give off a real sense of bleakness to your readers.

Reflecting or displaying discouragement or listlessness ; lacking in comfort or cheer; somber or gloomy.

“The inclement bad weather on the horizon made the house appear even more  dreary .”

“The moth-eaten curtains fell still as the breeze stopped, the atmosphere in the room suddenly becoming  dreary  again.”

Describing something as dreary will instantly set a cold and gloomy mood. If you want to make sure that your readers understand that this house is something completely devoid of any life, this is a good word to use. The dreariness of the house could also represent a lack of motivation or hope in your characters.

4. Derelict

Abandoned by an occupant ; voluntarily abandoned.

“The house used to be owned by a wealthy woman who had abandoned it some years ago. Now it stood empty and  derelict .”

“The  derelict  house had not been maintained, and she worried that it would fall apart with her inside.”

The word derelict implies that something has been abandoned purposefully, which can help add an ominous tone to your description. Perhaps something inside it was dangerous that forced the previous occupant to leave it behind which your character must now discover.

Not having anything in it; uninhabited or unoccupied.

“He could imagine the house in its heyday with beautiful decorations and plenty of visitors instead of the  empty  shell he saw before him now.”

“The owner had taken all of her things with her, leaving the house now completely  empty .”

The house you’re describing may literally have nothing inside it, which makes this word a great one to use to describe it. You can also use it to make it seem like it’s empty, and then have something surprise your characters and readers later.

6. Untended

Not managed or watched over .

“The plants in the house’s  untended  garden had been left to grow wild, and now vines completely covered the south side of the house.”

“The house was large enough to warrant cleaning staff, but since it had been abandoned it had been left completely  untended , and she doubted it would ever look the way it once had again.”

Describing the abandoned house you have in your story as untended can help readers feel as though there is almost something wild about it now that no one is caring for it.

Not well-kept ; lacking in quality; faded from wear.

“The house looked  shabby —it was clear that no one had lived in it in a long time.”

“The once comfortable and beautiful furniture had faded and become  shabby  with age and time.”

Shabby is a good word to use to describe the way that the abandoned house in your story looks. By describing it using this word, you’ll give readers the sense that it’s not a good-looking house or that it’s been neglected for some time.

8. Forgotten

Disregarded ; something that people have lost remembrance for; overlooked, sometimes intentionally.

“Whoever had been left in charge of caring for the house hadn’t done so in some time, and now the house appeared to be completely  forgotten .”

“To find the old journal, they would have to sift through the abandoned,  forgotten  house at the end of the street.”

Using the word forgotten tells readers that not only is this house abandoned, but the person or people meant to care for it have disregarded its existence entirely. You can imply a much more somber mood by using this word.

9. Forsaken

To forsake something is to turn away from it entirely ; forgotten.

“They were quick to help the man in need, but they left the house itself  forsaken .”

“The house had been  forsaken  long ago, and she wasn’t eager to investigate it now to see why.”

If you describe the abandoned house in your story as forsaken, your readers will immediately get the sense that this isn’t a house that’s simply been left behind. It’s something that was intentionally abandoned or turned away from for whatever reason.

10. Neglected

Not cared for or provided with the necessary attention .

“The house had obviously been  neglected  for some time, and it was now overrun with small animals and dust.”

“Even while they were living there, the previous owners had left the house  neglected , and now that it was abandoned it looked worse than ever.”

The word neglect implies an intentional act to leave something or to not care for it. If you use this word to describe the house in your story, you can also use it as a way to symbolize that the character looking at it may also feel neglected in some way.

A scary house - descriptive essay

samuraitom 23 / 18   Sep 23, 2007   #1 Prompt was to describe a place. I think I did a good job with that. I tried not to use too many "I" but that proved to be a bit difficult. I'm trying to get rid of all the vague sentence starters that my teacher informed me about. 1) Is my thesis statement ok? 2) Is my conclusion alright? Critique as always, please. The Scary House As I stood, gazing at the dilapidated house. I shivered, as though, ice had replaced my spine. The cold air enveloped the entire body. The multiple layer of clothing could not protect against the deathly cold. The walkway leading up to house were cracked. Weeds and dandelions poked out from these cracks. Red roses grown wildly in thick batches by the gate. The moonlight cast a ghoulish glow on the house. Vines formed a twisted maze upon the side of house, reaching their tentacles towards the roof. The house's walls showed black decay by neglect. Splotches of original paint hinted at the house former prosperity. Cobwebs covered the corners of the doors, tiny black spiders threading towards their prey. The house is fit for the kings and queens of the supernatural. The door begrudgingly creaked open. A musty, dank order creep into my nose. The house was dead silence except for the intermittent creaks and moans. Black and brown mold dotted the ceiling in clusters, evident of rain seeping through the roof. I quietly entered the dark living room. Windows covered with grime and dirt, the calm moonlight struggled to penetrate the darkness in thin thread rays. Sharp shadows roamed around the room. The sofa and chairs overturned revealing deep grooves on the ground where they used to sit. Wallpaper lay curled on the floor. A large jagged hole dug through the wall stood as though daring any to enter. Picture frames hanged off-centered. Sharp shadows roamed around the room. A misplaced grand bookcase stood the corner of the room, undisturbed for a long time. Selecting the correct book could reveal a secret doorway into a labyrinth. I made my way back into the hallway, a slimmer of light came from behind a door. I approached and opened the door. I had reached the bathroom. The single window was mildly dirty, a flood of light flowed into the room. Dust swirled around the room as I made my way inside. The medicine cabinet mirror lay shattered in pieces on the floor tile. Empty medicine bottle lay in the porcelain sink. The only sound to be heard is the drip, drip of the faucet. A closer look revealed the discoloration of the water, a brownish concoction. A lone mouse stood sentry at the bottom of the tub. Never having a visitor in a while, it curiously eyed me before scuttling away. Approaching the bathtub, a violent odor made it way to my nose. Pinching my nose, I leaned over and peered inside. Crusty rags filled the bathtub, little hints of movement underneath them. It would be unadvisable to see what is under the rags. I arrived at the foot of the staircase. I stood and peered at the top, wondering when a twisted head person will crawl down and have me for dinner. I summoned strength and tiptoed my way up the stairs. Each step intensified the moaning and creaking as if the steps could collapse at any moment. I turned to the right, and met my final destination. The door did not give way easier, a forceful push was needed. Stepping inside, a dresser seem to have been pushed against the door, attempting to deny anyone entry. I could make out the silhouette of bed, edging in closer for a better look. A toy dinosaur lay missing its head on the bed. The sheet was splattered with a dark color. The wind intensified outside, the rustling of the leaves and branches were louder. In the corner, a little chair began to rock slowly. The room had once belonged to a boy. The thin strips of wallpaper showed little trucks. Crayon markings scrambled upon the wall where wallpaper used to stick. The carpet squished as I walked. Little picture frames remained facedown on the carpet. A howl echoed throughout the house. It was time to leave, I told myself. I closed the bedroom door behind as I carefully walked down the stairs. I hoped I did not disturb anything or its somber rest. I made my way outside where my group of friends was standing. They asked me what took me so long; I replied that escaping the ghosts was difficult.

• Short Story

The Abandoned House

• An Hoang, Grade 6

I looked nostalgically at the old abandoned house that was standing there gloomily. The house used to be alive and cheerful but it was now forgotten and had an air of melancholy. Cobwebs littered the house, with the wooden roof and walls falling in. Sunlight no longer danced through the windows and sounds of laughter were no longer heard; all that was left was the remains of a long since dead house. The lights stared downwards miserably at a table that would never serve anyone ever again, with chairs that had not been warm in many years. Dust blew past the dark hallways, a sad reminder that this house would never be whole again. The house was not always dead. I can forlornly recall all of my visits to this once beautiful house. Every summer holiday, my parents had brought me to this house, my grandparents’ house. I had lived in the city, so the experience of living in a rural area was very different and yet it was so much fun. The bright sunshine, the gentle wind and the quietness that had been introduced to me in that wonderful house had all come to be things that I loved. After the first visit, I was always enthusiastically waiting to visit what had become my second home. I remember being so eager to help out, trying to help in any way I could, like attempting to help paint the house with grandpa, handing the right bolts and nails for fixing the fence or collecting the eggs from the hens with grandma. I had almost always messed up everything I tried to do but my grandparents had kindly taught me again how to do it properly. The house that my grandparents once lived in had so many good memories of my fun and carefree childhood that I knew that I would have to visit it again one day. After waiting patiently for ten years, I had went to the address that I used to happily go to every year. At first, I thought I had gone to the wrong house and yet, after going back and forth, I had come to the horrible realisation that the destroyed, abandoned house I was looking at was the right house. I could not believe my eyes as I mentally recounted how the now ruined house used to be when I was but a young child. The house was always bright and had young, hyperactive children (including me) running around, playing tag. The house was extensively cared for as my obsessive compulsive grandmother and my effervescent grandfather treated like an additional child. Flowers of all colours filled the elegant garden, brightening the entire area. In that one simple house, birthdays had been celebrated, laughs were shared and fireworks were watched. The house was the epitome of liveliness and yet it was now dead. It was now merely a shadow of its former glory, for the house was no longer alive, and never would be again.

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Describe an abandoned village

Dense fog gathered in the centre of the moor. Over a small hill to south, nestled in a valley, lay an abandoned and desolate village. It was bitterly cold, I stood looking out across the moor as the fog slowly crept its way towards the village; tendrils, like fingers, clawed its way closer, quickly smothering it from view. A grey afternoon chill descended upon the surrounding hills, as slowly the sky began to darken. The village was distant, quiet as I quickly worked my way down the dew sodden grass towards it.  

The sky had darkened further as I approached the village from a far; it had taken only a few minutes even though my ragged breathing suggested otherwise. I stood at the start of a gravel road that cut its way through the heart of the village like a knife. Small cottage like houses intermingled with the odd shop lined each side of the gravel track, as a church rose up far in the distance, they all looked so old as they appeared to be withering before my eyes, each one helpless and crippled by age. The silence was deafening, interminable, restless. The insurmountable stench of rotting rubbish and wood engulfed the air. Nauseated, I rushed down the gravely street.

This is a preview of the whole essay

The duvet of dark and threatening clouds was disturbed as the first glimpse of moonlight shone through the trees that encircled many of the houses. They were dead with dark trunks and thin branches and glazed each window; stained and shattered, every window representing the life of those who had once lived there.  I approached a cottage with a wrought iron gate barring my passage, each spike wrapped with old vines that gave the place a dejected look. A wall of overwhelming scent hit me, piles of rubbish resembled rotting animal carcasses onto which thousands of flies were drawn to, like a beacon of light.

The sky was navy blue as the sun sank beneath the horizon; the door opened with a creak. A pungent odour filled my nostrils mixed in with a whiff of stale tobacco that shrivelled my taste buds. The door directly opened into a small sitting room. Layer upon layer of dust lined every inch of the room, hiding the layers of secrets and darkness whilst cobwebs infested every corner like a chronic disease. The furniture veiled the sofas like a dress; ants were crawling, scrounging, searching for everything and anything, scurrying past me out into freedom. Feeling queasy, I left this spider infested hole and moved away from the dark cottages and towards the church. The hazel frame of the church door had a corner missing, and the wrought iron door knocker had been eroded with rust and the centuries of decay had faded the once harsh gold colour.

In the shadow of the church lay a cemetery. Darkness set in as the bone chilling wind howled, creating sounds like the whispers of those who lay beneath the ground. All around, the numerous dead were kept company by the stone gargoyles that perched comfortably in the blackness of the sky as stone angels peered down at you as if to keep you away or perhaps to invite you in. There were no flowers. Instead in their place, a bed of thorns, sticks and dismay.

I saw above me what looked like a balcony protruding from the church roof, conveniently a long ladder snaked its way up to it. I climbed. My hands bitter cold. I stood looking out across this small village, the small cottages and the few shops seemed to have been wiped away except from memory although a kind of spirit still seemed to linger. The village looked relatively small, cradled like a baby in the arms of the surrounding hills. I stood, shivering, until night lay with me and the moon struggled to penetrate the canopy above. The leaves were unyielding, hanging on firm in the sudden chill that succeeded sunset. The sounds of unseen creatures and the sound of the creeping dead chilled me to the bone as I slowly breathed in the dark mustiness, the earth laden chill filled by nostrils, burning my insides.

Darkness had fully set in now, only the waning glimmer of light from the moon illuminated my path out of the village. I walked out down the treaded gravel road and up back into the hills from whence I came. Feeling empty with a wretch inside my stomach, I looked back. Only the thin rays of moonlight illuminated the village, it made me sorrowful to know that this was once a thriving village now turned into desolate consummation of filth and misery.

Document Details

• Author Type Student
• Word Count 782
• Page Count 2
• Subject English
• Type of work Coursework

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Making sense of Narkomfin

2 October 2017 By Alla Vronskaya Essays

Translated into English for the first time, Moisei Ginzburg’s ‘Dwelling’ reveals the real significance of his architectural masterpiece

 One of the most celebrated buildings of Soviet Modernism, the Narkomfin, has recently received significant attention from scholars, architects, activists and the media, partly in an effort to save the building from imminent ruin and partly to devise a comprehensive restoration programme. Dwelling , first published in Russian in 1934, summarises the research of its author – the architect and leading theoretician of Soviet Constructivism, Moisei Ginzburg (1892-1946) – on developing architecture for modern, technological and socialist society based on principles of standardisation and efficiency. 

In 1929, Ginzburg headed the Section of Typification (Sektsia Tipizatsii) of the Construction Committee (Stroikom) of the Economic Council of Russian Soviet Federative Socialist Republic (RSFSR), an organisation created a year earlier with the purpose of ‘general regulation and rationalisation of construction in the territory of the RSFSR’. Its goals included developing legal regulations for architecture and construction, elaborating standardised solutions for various types of buildings, and performing calculus research for the construction industry. It was responsible for developing types for standardised construction (including construction methods and minimum requirements) and the construction of prototype buildings. Dwelling is a statement of this research in one area: residential construction. 

Dwelling ginzburg spread 4

Spread from chapter ‘Experimental Construction of Transitional-Type Houses’

Dwelling ginzburg spread 5

Spread from chapter ‘The First Posing of the Problem of Socialist Housing’ 

The work of Stroikom responded to the international turning of Modernist architects towards an interconnected set of concerns in respect of urbanism, mass housing and standardisation. Ginzburg was, not coincidentally, the Soviet delegate to Congrès International d’Architecture Moderne (CIAM) from its foundation in 1928 until 1932. Unlike many of his Western colleagues, he sought to reconcile the imperative of economy with respect for the dignity of the resident. Ginzburg’s ambition was far greater than simply developing a Soviet model of an economical architecture of Existenzminimum . His programme, in other words, was the humanisation of Modernism, which he saw in contemporary, experimental psychology – studying the effects of space, form, colour and light on the mindset and the emotional wellbeing of the human, while conducting his own experiments within the framework of Stroikom.

So the scope and ambition of Dwelling significantly transcends technical solutions for standardised residential construction. Rather, it serves as a manifesto of Ginzburg’s views on collective forms of domestic living and the design of their architectural containers, the latter driven by the Modernist economic imperative of efficiency. Tracing connections between architectural form on the one hand and family and social structures on the other, the research of precedents covered rich anthropological and historical material. Examples ranged from African villages to Tatar architecture in Crimea, to traditional Japanese houses, to medieval European dwellings and recent German Siedlungen . Studying them first hand, Ginzburg analysed spatial layouts, inhabitation patterns and technological advances to conclude that ‘between the eclecticism of architects serving the bourgeois vanity of the ordinary person and the narrowly pragmatic primitivism of builders, must be found the characteristics of our new socialist culture of the habitation’.

Dwelling ginzburg spread 1

Dwelling ginzburg spread 2

Spreads from chapter ‘The Culture of Habitation’

The concept of a ‘transitional type of dwelling’ was born: Ginzburg suggested combining, in the same building, several apartment types, differing in the level of privacy, ranging from three- and two-room apartments for families with children to one-room apartments and dormitories for singles and childless couples. The sense of community was fostered by joint use of circulation areas, and communal spaces and facilities, such as dining halls, kitchens and bathrooms, to encourage residents accustomed to old, family-based, lifestyles, to transition to collective modes of living.

Narkomfin plans

Narkomfin floor plans

The development of this concept was physically materialised in the Narkomfin, one of Stroikom’s prototype buildings and today an icon of Soviet Modernism. It was designed by Ginzburg and his student Ignatii Milinis in 1928 for the People’s Commissariat of Finance (Narkomfin) whose head, Nikolay Milyutin, Ginzburg’s patron and himself a Narkomfin resident, espoused a deep interest in urbanism. Ginzburg describes the Narkomfin’s design programme as a response to its social mission, with the building divided horizontally into two parts. Whereas the lower levels provided large apartments (type K) for families, the upper floors featured one-room apartments that encouraged more collectivised living, and the adjacent communal block (housing a gym, a kitchen and dining halls) served to ‘facilitate a rapid and painless transition to higher social forms of housekeeping’. In the interior, low bedroom ceilings are made tolerable by the double height of living rooms, large windows allow architecture to reunite with nature, and the colour schemes – developed by Bauhaus designer Hinnerk Scheper, working in Moscow at that time – visually modify spatial arrangements and affect the energy balance of the residents. 

Narkomfin sections

The design development of the Narkomfin resides in a wider critical discussion on the development of modes of collective living. Since 1925, Constructivist architects had participated in the debate on new types of living both in the pages of the journal Sovremennaia Arkhitektura (Contemporary Architecture) and within the Union of Contemporary Architects (OSA). In Dwelling , Ginzburg criticises the inhumanity of the early-Modernist radical concept of ‘house-commune’, whose icon the Narkomfin often serves, due to misunderstandings of Ginzburg’s term ‘social condenser’. Instead, he offers an example of his own earlier town-planning projects, such as the masterplan for Magnitogorsk, and the Green City (both 1929). He believed these, unlike the house-commune projects, aimed not to universalise and control the residents but to foster their personal development. Responding to the danger of dehumanisation inherent in standardised dwelling design, Ginzburg recommends detailed typification according to family and social type, and advocates the use of durable materials, the creation of a network of service centres allowing for decentralised collectivisation and careful zoning.

Narkomfim flat plans

Narkomfin apartment type plans

Both timely and important for scholars and students of modern architecture, the translation of Dwelling into English fills a long-felt lacuna. It finally makes Ginzburg’s voice heard against the backdrop of representations (and misrepresentations) of his intentions by others, giving a clue to the understanding of the Narkomfin building, and complicating the received style-centred notion of Soviet Constructivism. When Ginzburg’s Style and Epoch (1923) was published by MIT Press in the Oppositions Books series in 1982, it immediately secured its author a position within the canon of modern and contemporary architectural theory – next to Adolf Loos, Aldo Rossi and Alan Colquhoun, whose writings appeared in the same series. This publication has been a blessing and a curse: on the one hand, distinguished by outstanding academic rigour (the text appeared in the translation of historian Anatole Senkevitch, with the foreword by Kenneth Frampton), it introduced the English-reading audience to Ginzburg’s theoretical work, yet on the other, it offered a skewed perspective on this legacy, representing it by an early book concerned with stylistic debates along the lines of Le Corbusier’s Vers une Architecture . Responding to the agenda of the Institute for Architecture and Urban Studies, responsible for the editorial work on the series, such a perspective presented Soviet Constructivism as, first and foremost, a style. Meanwhile, Ginzburg’s other texts, along with his and his colleagues’ different concerns and ideas, remained in the shadow of early stylistic battles. It is therefore gratifying finally to see Ginzburg’s remaining major publications – Rhythm in Architecture (1923) and, most recently and importantly, Dwelling – appearing in English translations. 

Dwelling ginzburg spread 3

Spread from chapter ‘The Culture of Habitation’

The design by Ginzburg Design Limited of the current translation follows the original layout and format of the book, reproducing all the many photographs, architectural drawings and plans, with which the original was illustrated. The proximity to the original is certainly one of the assets of the current edition. And the translation comes at the right time, hand in hand with the launch this year of the restoration of the Narkomfin, headed by Ginzburg’s grandson Alexey Ginzburg, after decades of decay.

All visual material courtesy of Alexey Ginzburg and Natalia Shilova unless otherwise stated.

Dwelling: Five Years’ Work on the Problem of the Habitation

Author: Moisei Ginzburg

Publisher: Fontanka

The English translation of ‘Dwelling’ is scheduled to go on sale in October 2017

October 2017

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

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