Sentences with phrase «moving walls in her home»

To be enable her to work and live in the same Tokyo apartment, and to avoid paying high office rents, Japanese architect Yuko Shibata added a series of moving walls in her home to allow her to create extra client meeting spaces and libraries.

Not exact matches

In short, you can't do anything structural (move load - bearing walls, add rooms) or change the footprint of the home.

I visited Solonika back in 1970, the homes of over 80,000 Jews were still empty with the star of David painted on the walls i was a young boy and that fear stayed with me till i moved here to Israel.

And I didn't just move into residence, I went all the way from my home in Calgary, Alberta to Tulsa, Oklahoma in the days before texting and FaceTime or reasonable rates for long distance phone calls from our plugged - into - the - wall phones (in fact, my first email address was assigned to me from the Freshman Orientation team and I remember saying to my parents, «Why in the world would I need THIS?»).

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.

Many parents even leave their children unsupervised to move around the home in their walkers, which is why thousand of babies end up in doctor's chambers and emergency rooms from falling down the stairs or bumping into walls and furniture.

The second part of the purpose has to do with location: if the gate will be used in only one particular spot in your home, a wall mounted gate may be best, while a pressure mounted gate is portable and can be moved from place to place in your home, or taken with you when you visit other residences.

President Donald Trump in a Wall Street Journal interview this week seemingly suggested residents in struggling upstate communities abandon their homes and move to more prosperous areas in order to get jobs — drawing concern from Republican Rep. Claudia Tenney.

It is easy to replace any standard in - wall switch with a smart GE alternative, so it's a great choice for people who want to make a move towards a smarter home.

Prior to moving here and staying at home with my kids, I worked in experiential education (high ropes courses, teambuilding, climbing walls) and more traditional education as well as freelance writing.

I actually don't know my home office wall color as it was already painted that color when I moved in.

The walls in our home have been a bit blah since we moved in, not totally bare but a photo here, a clock there kind of decorating, just nothing special.

Meanwhile, on the other side of the script, Dr. Kate Forster (Sandra Bullock) is in the process of moving out of the same glass - walled home on the lake.

After her junior year of high school Walls moved away from home to live in New York City with her older sister, Lori.

Moving a wall to, say, create two bedrooms out of one means you can stay in a home you love, while making it fit your lifestyle.

In short, you can't do anything structural (move load - bearing walls, add rooms) or change the footprint of the home.

Wall plug - in diffuser units with refills and the spray bottle has helped us during new introductions, and when certain things have come up with displaced aggression, traveling in hotels, even when moving into a new home.

Dogs will also spread their toys all over the house, drip water after drinking, bring in dirt, shed hair, sling slobber onto your walls when they shake their heads, and move your rugs and furniture if they start racing around the home.

The villagers started to leave their homes and move to safer grounds after they saw cracks in the walls of their houses, reminding them of a recent landslide that buried 28 people alive in Banaran, a neighboring village, last Saturday.

Prior to moving here and staying at home with my kids, I worked in experiential education (high ropes courses, teambuilding, climbing walls) and more traditional education as well as freelance writing.

This app covers the basics of all 40 characters in the game including each character's: * Core Moves — Top Moves / Bind Moves / Homing Moves * Stances * Launchers * Punishers * And of course, combos and wall combos

You'll be able to project a game of Minecraft onto any wall in your home with a HoloLens, but if that's not exciting enough, you can move the game to a flat surface and experience your entire Minecraft world in 3D.

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.

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).

This week the Barnes Foundation is debuting its first contemporary art show since moving to its new home in Philadelphia, showing five wall sculptures by Ellsworth Kelly to mark both the foundation's 90th birthday and that of the artist.

Japanese designer Yuko Shibata shows an approach that might work in Graham Hill's LifeEdited project: Moving walls that change the character of the space from home to office.

More small spaces in TreeHugger: 15 Modern Sheds For the Move Home to Mom 7 Ways to Get Rid of the Bed Frugal Green Living: Posters for the Movement Transformer Furniture: 7 Objects That Aren't What They Seem Less is More: Fold Away Wall Desks Less is the New More: Making the Most of Small Spaces

Prior to moving here and staying at home with my kids, I worked in experiential education (high ropes courses, teambuilding, climbing walls) and more traditional education as well as freelance writing.

Some indications that your spouse, partner, husband or wife has gone too far include: getting angry at you when you disagree; punching holes in walls; throwing objects (aimed at nothing or at you); destroying belongings; threatening to hurt you or leave you for the purpose of intimidating you; physically preventing you from leaving home; putting pressure on you not to work when you want to; insulting or ridiculing you; becoming jealous of your friends, activities, or hobbies; making you account for your whereabouts at all times; using promises and lies to manipulate you or to get you to forgive their angry or threatening behavior; isolating you from friends or family; making you ask permission to go out or make a career move; and threatening to harm your possessions, pets, or children.

Unfortunately, his wall bed design lost popularity, especially after World War II when Americans moved into large homes in the suburbs.

Yet home buyers are moving to the sidelines nonetheless, most likely in reaction to double - digit price gains that occurred in many metro areas — making affordably hit a wall, particularly in California.

While a roof's drainage system diverts thousands of gallons of water from a home's exterior and foundation walls, it's important to keep the process moving in order to avoid water damage.

If you choose a nice, neutral color carpet and nice neutral color wall paint (both things the best home stagers can help you with) most home buyers will see your home as more desirable because it is move - in - ready.

I'm carefully watching every move I have a room just the same in my home and I think your built - ins wall will be perfect for us too!

I adore these wall vinyls, I'd love to have this one as an addition to my holiday decor and I'm going to order one regardless for our house, I've been shopping around for vinyls since we moved... I think its a great way to jazz things up and have something really unique in your home:).

We are moving into our new home in a month and I already have the perfect wall in mind for these!

They seem so majestic and grand when you first walk into a perfectly staged model home... Then, you move in, start trying to decorate them and realize that the task is bigger than the wall itself.

Whether you're moving into halls, renting your first place or kitting out a new bedroom, it can be tricky to make a sparse room feel like home — especially if you're not able to whip out a paint brush or put holes in the walls!

We moved into a home with a very large red painted wall in the living room,

I have looked into moving it, but due to the fact that we live in a terribly old home home filled with years of character, the switch is not going anywhere unless the wall comes down.

We took three months to do all the renovations on our home before moving in... there was a lot more than just the kitchen happening so I can't say how long just the kitchen walls would take or cost!

We just moved into a new home and it is in need of things to hang on the walls.

Thanks so much for this post... had to comment as you made me LOL at your last question as my husband likes to tease me that our home's square footage has drastically decreased since we moved in from all the layers of paint on the walls!!

I recently moved back home for the summer, and my childhood room needed an upgrade in the wall art department.

When we opened up the walls, we also moved our stairwell to the center of the home and added a ceiling fan in the room of the woodstove to help circulate the air.

Finally I painted an accent wall in a cool toned blue - green and yeah, I kept that color and moved it to our next home... all 13 years there.

When Muriel Solomon, a media executive, and her husband, Jordan, a biofuel business owner, moved into this turn - of - the - century midtown Toronto home in 2002, they opted for a quick cosmetic fix at first, pulling up carpet, stripping old wallpaper and painting the walls white.

Lamp — Aiden Gray Slipcovered Ottoman — See Our Tutorial Mirrored Chest — Haynes Furniture Mirror Above Fireplace — Restoration Hardware Stenciled Pail — White Home Collection (Wilton, NH) Pillows — Dear Lillie Basket On Ottoman — Savvy (Williamsburg, VA) Mantel — Consignment Shop and beadboard put in behind it Silver Urns — Seasons (Williamsburg, VA) Draperies — JCPenney Wall Color — Was here when we moved in (Similar to Cream Fleece by Benjamin Moore)

Sofa — Pier One Coffee Table — Pottery Barn (Clearance Floor Model Stripped and Repainted, See Tutorial) Side Table — Pottery Barn (Clearance Floor Model Stripped and Repainted, See Tutorial) Computer Armoire — Office Depot (Painted, See Tutorial) Toile Chair — $ 35 find and recovered with fabric from Joann's Pillows — Dear Lillie Zebra Nailhead Ottoman — Target Rug — Pottery Barn Chandelier — Lighting Store in Florence, SC Chalkboard — Made By Us (See Tutorial) Mirror between Chairs — Pottery Barn Wing Back Chairs — Lee Industries Painted Sign — White Home Collection (Wilton, NH) Wall Color — Was Here When We Moved In (Similar to Cream Fleece by Benjamin Moorin Florence, SC Chalkboard — Made By Us (See Tutorial) Mirror between Chairs — Pottery Barn Wing Back Chairs — Lee Industries Painted Sign — White Home Collection (Wilton, NH) Wall Color — Was Here When We Moved In (Similar to Cream Fleece by Benjamin MoorIn (Similar to Cream Fleece by Benjamin Moore)

We recently moved into a new home, we'll last summer, and I so wanted to add lots of board and batten wall treatment but the interior designer I had asked for help in paint color and such suggested I not do that because it would make the ceiling height seem low which I'm desperate to try to make them seem +9 ′.