Sentences with phrase «feature walls in our home»

One of the feature walls in our home is in the dining room.

We just painted the feature walls in our home a lovely soft sage green, and it looks so restful now.

I just finished a feature wall in my home of my hometown, with shells and ocean pictures.

Designer wallpaper from Andrew Martin creates the perfect feature wall in any home interior due to the unusual designs, which are eye - catching without being overpowering.

Create a statement feature wall in your home with a Wall Mural.

Vintage and contemporary wallpaper designs ideal for a feature wall in a home environment, business or retail outlet like a bar or restaurant.

Not exact matches

While renovating a home he recently bought for $ 38,000, Gonzalez discovered a copy of Action Comics No. 1 - published in 1938 and featuring the first appearance of Superman - stuffed into a wall.

Her work in social enterprise and impact investing has been featured in The Wall Street Journal, NPR's Marketplace, Fox Business News, Forbes.com, Huffington Post, Ladies Home Journal, AOL's WalletPop, Rick Roberts Show and the Acumen Fund blog.

Christian elevator music wafted through the sales floor, store teams were encouraged to open in prayer each morning, and the home décor section featured wall art portraying noble bald eagles soaring above verses from Psalms.

The clamp features soft rubber covers on the mounting surfaces, so you will not damage your walls over your doorways, and you can move the jumper to any door in your home quickly and easily.

Her work has been featured in: Time, Newsweek, Goop, Seventeen, Fitness, Harper's Bazaar, Real Simple, Women of Power, The National Enquirer, Family Circle, Ladies» Home Journal, Glamour, Cosmopolitan, InStyle, Woman's World, Ebony, Muscle & Fitness, Runner's World, Health, Parade, First for Women, The New York Times, The Los Angeles Times, The San Francisco Chronicle, The Wall Street Journal, USA Today, Publisher's Weekly, Hadassah Magazine, London Daily Mirror, Bella, SHE, Russian Vogue, SELF, Australian Woman's Day, The Huffington Post, AOL

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lovely artificial wreath will look beautiful on any wall in your home and features iridescent tips.

Featuring a beautifully distressed map in rich shades of blue, the expansive Indigo Countries Pinewood Wall Art from Parvez Taj brings the world to your home.

I'm stopping by to let you know that your gallery wall is being featured today in a roundup of home decorating ideas.

Featuring the image of steer horns in a monochromatic work of art, the Bleached Horns Canvas Wall Art from Marmont Hill brings South Western style to your home.

Featuring 2 gorgeous abstract works of art, encased in handsome black frames lined in silver, the Set of 2 Trajectory Framed Wall Art from Uttermost will bring sophisticated beauty to any room of your home.

In this issue's feature layout, a home with great bones goes from «Neutral» to «New Romantic» with a vibrant new wall colour, applied mouldings and wallpaper, and layers of romantic décor and furnishings.

Sac Running Tours — a local group that hosts history and sightseeing excursions, as well as outings to visit Wide Open Walls murals — is starting a 3 - mile, two - hour walking tour that will feature stops at Lady Bird sites like Club Raven, Pasty Shack, the McKinley Park rose garden and the blue manse in the Fab 40s that served as the title character's dream home.

As political arguments both on the podiums and in homes fire up in the United States ahead of the federal election, The Wall Street Journal has released the first full trailer for the upcoming independently produced and pro-Objectivism feature...

The IFP Gotham Awards were handed out at Cipriani Wall Street in New York City tonight, and A24's Moonlight was off to a good award - season start, taking home Best Feature and Best Screenplay to go with its previously announced special jury ensemble award.

He has written for Ladies Home Journal, Family Circle, and Parenting, and articles featuring his work have appeared in the New York Times, the Wall Street Journal, the Washington Post, USA Today, and Good Housekeeping.

It has all the normal Echo features, plus built - in ZigBee smart home hub, which allows for simple and direct setup of compatible ZigBee lights, locks, plugs, and in - wall switches from brands like Philips Hue, GE, and Yale.

The decorative wall finishes, high ceilings with crown molding, and ceiling fans are just some of the features included in your home.

This extension to a woodland home in Ontario by Canadian studio UUfie features charred cedar walls and a mirrored entrance.

The Chase Home Equity Line of Credit features variable rates based on the Prime Rate (as published in The Wall Street Journal), which as of 3/23/2018, range from 5.00 % APR to 7.39 % APR for line amounts of $ 50,000 to $ 99,999, from 5.00 % APR to 6.89 % APR for line amounts of $ 100,000 to $ 149,999, from 5.00 % APR to 6.89 % APR for line amounts of $ 150,000 to $ 249,999, and from 5.00 % APR to 6.89 % APR for line amounts of $ 250,000 to $ 500,000.

Opal Seas» picturesque lagoon pool area, bordered by a decorative rock wall wrapped in lush green plants and flowers, offers one of the home's most stunning features.

The spacious kitchen (and the only spot in the home with white walls) features all the necessary gadgets to create a home - cooked meal.

The sites feature walls, crests, coral gardens and sand flats, and it is home to the Blue Hole, made famous by Jacques Cousteau in 1970.

This stunning landmark hotel, adjacent to the remaining ancient Ming Dynasty City Wall and a five - minute driving to Forbidden City, Tiananmen Square, and Silk Market, 2 - minute walking distance to Jianguomen Subway Station.It is home to 649 elegantly decorated rooms and suites, featuring Marriott's trademark «Revive» New Bedding, connectivity to plug and play iPods and other personal devices.The meeting space comprises of 4,000 square meters which is one of the largest amongst the hotels in Beijing.Wireless high speed Internet is accessible in all public areas and meeting rooms, a pillar-less ballroom that is interchangeable to suit your needs.

Hilo's bright, handsomely restored clapboard and stucco buildings near the bayfront are home to flower and antique shops, boutiques featuring the creations of local aloha wear designers, exotic ethnic restaurants and fun hole - in - the - wall eateries with favorite Hawaii dishes.

Circular in design, the home features expansive walls of glass which look onto the circular pool and spa in the foreground, with stunning 180 - degree jetliner views of the Valley beyond.

Other sections take place at The Wall (featuring the best fight of the series so far — albeit a quick time event, like pretty much every action sequence in Telltale's games), the Forrester home of Ironrath and, far away to the east, Meereen, where a certain would - be queen puts in an appearance — along with her unruly pet.

In 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greateIn 2005, the artist opened lesser new york in her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein her Williamsburg loft, which was a response to Greater New York (2005) but it was lesser; it was a greater response to the lesser limits of the art world that she saw reflected in PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein PS1's concurrent survey; this lesser exhibit / installation was organized under the auspices of a «fia backström production,» a lesser production of curated ephemera such as press releases, invites, posters, and so on culled from found materials and the work of a greater local network of friends and peers; the lesser aesthetics of dejecta, pasted directly onto the walls, reflects a greater decorative pattern, not unlike Rorschach images of a lesser art industry itself within a critique of a greater institutional relationship to art production; as such, the lesser display of curated ephemera (from nonartists and artists alike) not only comments on the greater vortex of art and capital, but also serves as a lesser gesture toward something like a memorial wall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall, not unlike a collection of posters on the greater Berlin Wall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greaWall, or a lesser improvisational 9 - 11 wall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall, or, more recently, a greater Facebook wall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall, or the lesser construction wall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greawall surrounding the Second Avenue gas explosion in the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein the East Village, all pointing to a lesser memorial for the greater commodified institution of art consumption; whereas in Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein Backström's lesser new york each move repels consumption by both the lesser value of the pasted paper and its repetition, which dispels the greater value of precious originals; so the act of reinstalling lesser new yorkten years later at Greater New York — the very institution that rejected her a decade earlier — speaks to the nefarious long arm of Capitalism that can morph into an owner of its own critique; so that lesser new york is greater than its initial critique, greater than a work of institutional critique: it is a continuous institutional relationship, a lesser critique that keeps on giving in its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein its new contexts; the collective spirit of artists working together playfully is lesser, whereas the critique of how artists can imagine working alongside the institution is greater, or vice versa; the lesser gesture of a curated mixed - media installation in one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein one's home with no clear identification and no commercial validity becomes untethered when it is greater, and this particular lesser becomes greater in the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein the Greater New York (2015) context; still, the instabilities of the organizing systems by Backström continue to put pressure on both the defining features of art production in both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein both the lesser context and the decade - later greater one; further, the greater question of what constitutes an art as a lesser art becomes a dizzying conundrum when the greater art institution frames the lesser to be greater, when the lesser is invested in its lesser relationship to the greatein its lesser relationship to the greater.

Featured in Home Improvements are works that transform the mundane and pay tribute to quotidian domestic materials: shopping bags, a wall mirror, bath towels, staples, a stroller.

The expansion will feature a new glass - walled building, to be named the Rothko Pavilion, in recognition of the artist's legacy in Portland — his home as a youth after immigrating from Latvia — and the Museum, where he took art classes as a teenager and where he received his first solo exhibition.

Aptly titled «Why Pictures Now,» after a 1981 photograph by the artist, the exhibition features Lawler's photographic investigations into how pictures function: Charming images of Jasper Johns paintings adorning the walls of collectors» homes, Richters being moved from one museum to another, or an in - museum shot of a Thomas Struth photograph of museum crowds surrounding ruins within a museum (you'll get it once you see it).

In terms of the wide range of media employed, the show looks like it could have been made by several different artists: sculptures similar to the ones shown a the Whitney occupy one gallery; another room boasts huge, scribbly pencil drawings on walls that surround a replica of a hearth («the traditional focal point of the American home»); in another, stacks of mannequins wearing identical outfits and wigs create a chute through which you can walk to view floor - facing monitors screening videos featuring the real - life character the mannequins seem to be modeled after (the artist's motherIn terms of the wide range of media employed, the show looks like it could have been made by several different artists: sculptures similar to the ones shown a the Whitney occupy one gallery; another room boasts huge, scribbly pencil drawings on walls that surround a replica of a hearth («the traditional focal point of the American home»); in another, stacks of mannequins wearing identical outfits and wigs create a chute through which you can walk to view floor - facing monitors screening videos featuring the real - life character the mannequins seem to be modeled after (the artist's motherin another, stacks of mannequins wearing identical outfits and wigs create a chute through which you can walk to view floor - facing monitors screening videos featuring the real - life character the mannequins seem to be modeled after (the artist's mother).

Studio Voltaire produces wool blankets featuring the work of their artists, proving that art in the home doesn't have to be relegated to tabletops or walls.

We are thrilled to announce that gallery artist Lucas Ferreira's striking wall sculptures are featured in this month's House & Garden where we lent the artwork for a photo shoot in a private home, in collaboration with interior designer Pippa Paton.

This 1,600 sq ft (interior), 2 bedroom, 1 bath home was completed in the spring of 2016 and features super-insulated strawbale walls, natural clay plasters, adobe mass accent walls, straw - clay partition walls, reclaimed wood, stained concrete floors, photovoltaics, hybrid heat pump water heater, efficient lighting, high fire - resistance, and an age - in - place layout.

The construction of the home features specialized hurricane - resistant structural reinforcement and windows for coastal storm conditions, spray foam insulation in the wall cavities, rigid foam to eliminate thermal bridging, and a mix of fiber cement and cedar siding on the exterior for long term durability and low maintenance.

The previous edition of Construct Ireland featured an article by leading green architect Joseph Little analysing the insulated dry - lined blockwork walls typical of many homes in Irish housing estates, looking particularly at moisture movement within the external walls.

Sustainably - designed and featuring over 40,000 linear feet of wall, roof, and canopy that is covered in panels from Metal Sales Manufacturing Corporation, the country's largest planned net zero energy community is UC Davis West Village, a 205 - acre project that will be home to 662 apartments and 343 single - family homes, along with commercial and recreational facilities.

The aVoid home, by Leonardo Di Chiara, has a total floorspace of only 9 sq m (96 sq ft) but is surprisingly fully - featured thanks to all its furniture being hidden in the walls.

Key features include: - Optimized building envelope design provides rain screen, high R - value, and air sealing - High efficiency Daikin Altherma electric heat pump to provide 100 % of heating and cooling - ERV (Energy Recovery Ventilator) provides fresh air and exhausts interior stale air 24/7 - LED lights throughout the home - Energy Star rated appliances - American made high efficiency windows (U-value = 1.9)- Standing seam metal roof with high recycled content, durability, and longevity - Radiant concrete floor slab in basement - Dual flush toilets throughout - Cabinetry with no added urea formaldehyde and low VOC content - Countertops made from recycled Quartz and glass - Zero VOC paints used on all interior walls and ceilings - Zero VOC clear finish on wood floors - Marmoleum flooring (a linseed oil based product) in mud room and bathrooms

This means that instead of repairing or replacing features typical of older homes, like plaster walls and hard wood floors, with similar materials, the policy will pay for repairs using the standard building materials and construction techniques in use today.

The decorative wall finishes, high ceilings with crown molding, and ceiling fans are just some of the features included in your home.