Sentences with phrase «new wall construction»

Republicans have attacked the Democrats» opposition to new wall construction, noting that a number of prominent Democratic lawmakers had endorsed new funding in an immigration package passed by the Senate in 2013.

Not exact matches

Often during the construction of new Shacks, particularly those in new markets, we reimagine the often uninspiring plywood walls that surround a construction site and use this space as a canvas to begin the process of integrating the Shake Shack brand into the community prior to it even opening.

Some of the Awe Sum features of the new building include: LED Lighting, hi - tech Energy Management Systems for HVAC, big open skylights with lots of natural lighting, all Energy Star certified office equipment, occupancy sensors for infrequently used areas, dual - flush low - flow toilets and aerators, DIRTT walls that divert construction materials from landfills and are easily reconfigurable, carpet tiles that are 100 % recyclable, Breathe Walls that produce rich fresh oxygen, and many other wonderful additwalls that divert construction materials from landfills and are easily reconfigurable, carpet tiles that are 100 % recyclable, Breathe Walls that produce rich fresh oxygen, and many other wonderful additWalls that produce rich fresh oxygen, and many other wonderful additions.

For now though, I think the political actors are happy with the status quo so expect greater amount of settlements into West Bank, violence in new settlements from Palestinians in reaction to encroachment and then wall extension and construction as Israel's booming economy gobbles up more land whereas the hobbled Palestinian economy continues to underperform.

Gov. Andrew Cuomo continues to push protecting New York City from what he fears is a new pattern of violent storms, possibly including construction of levees and sea walNew York City from what he fears is a new pattern of violent storms, possibly including construction of levees and sea walnew pattern of violent storms, possibly including construction of levees and sea walls.

«It was a tough project, but it came up beautiful,» said Daniel Mercado, Northern Manhattan Parks Manager, who explained that construction had been challenging from the beginning given the elevated slope of 150 feet.The new 1100 - foot - long, switch - back ramp includes new lighting, railings and retaining walls, pavement markings and signage, and numerous trees and plantings.

At the same time, Cuomo outlined the differences between Democrats and Republicans more broadly, returning once again to the theme of Donald Trump's plan to build a wall along the Mexican border and the symbolism of the new Tappan Zee Bridge construction.

Trump's budget director on Friday said Democrats need to agree to funding for border security such as the hiring of new enforcement agents and down payment on the construction of a wall along the Mexican border.

According to The Wall Street Journal, the plan includes the construction of approximately 7,500 new units.

Part of a construction wall came down last week on the Lexington Avenue / 63rd Street F station's downtown platform, revealing the new passenger platform for the Q train, according to the New York Ponew passenger platform for the Q train, according to the New York PoNew York Post.

Meanwhile, other groups developed new ways of killing bacteria with vancomycin: One alteration found a novel way to halt cell wall construction, whereas another caused the outer wall membrane to leak, leading to cell death.

New York City noise is one example — he lives down here now, in Tribeca, he says, after fleeing an apartment in Chelsea several years ago, partly because of actual construction noise from a building site next door: «Our walls cracked, our doors wouldn't shut.»

A young, mild mannered construction worker of The Wall (John Boyega) decides to join the forces of the Jaeger Project and takes the now destroyed Gypsy Danger and a new partner (Scott Eastwood) in order to battle the Kaijus which continue to threaten our world and our existence.

06.30.2015 - School - to - Work Student Receives All - Star Award 06.08.2015 - Career Center Students Earn Perfect Attendance Awards 06.04.2015 - Career Center Automotive Technology Students Succeed in Competitions 05.27.2015 - Students Beautify Burchfield Park in Holt 05.26.2015 - Career Center Offering Summer Camp Opportunities in Construction, Manufacturing 05.22.2015 - Career Center Programming Students Place in Top 10 at National Leadership Conference 05.18.2015 - Three CACC Students Awarded Michigan 2015 Breaking Traditions Awards 05.12.2015 - CACC Offering New Programs, Hosting Information Night Event 04.20.2015 - CACC Students Demonstrate Skills in Year - End Showcase 04.15.2015 - CACC National Technical Honor Society to Host Professional Clothing Drive 04.08.2015 - CACC Inducts First Wall - of - Fame Recipients and Awards Scholarships 04.08.2015 - CACC Health Occupations Students Earn Trip to State Leadership Conference 03.31.2015 - Ingham Intermediate School District Announces Board of Education Openings 03.18.2015 - CACC Students Stir Up Excitement at Michigan ProStart Competition 03.05.2015 - Ingham ISD Announces New Superintendent, Dr. Scott Koenigsknecht 03.02.2015 - CACC Programming Students Move on to State Competition 02.25.2015 - CACC Offering New Programs, Hosting Information Night Event 02.23.2015 - Ingham Intermediate School District Selects Finalists for Superintendent Position 02.16.2015 - Parent Advisory Committee to Hold Transition Fair 02.09.2015 - Candidates to Interview for Superintendent Role 01.15.2015 - Kogut Retires - Ingham ISD Superintendent Search Underway 09.19.2014 - Culinary Arts Program Ranked Amongst Top 50 in the Nation

Wall Of Debt Could Crush State's Role In Funding School Construction Unless there is a major turnaround in the California economy in the next two years, schools may be looking at a future without financial support from the state for building new classrooms and upgrading old ones.

It was brand - new construction, just finished last August, and the cafeteria was state - of - the - art, with modern skylights, shiny tables with blue plastic seats, and cheery blue - and - white tile walls.

Highlights for this Dallas Home Inspector include: Stairways, Radon Gas Testing Services, Walls (interior And Exterior), Home Inspection, Fireplace / chimney, Grading And Drainage, Pool & Spa Inspections, New Construction Inspections, Roof Structure And Attic, Drainage Issues, Home Inspection Services, Windows, Radon Testing, Doors, Flower Mound Pest Inspections, Mold Testing, Balconies, Foundation, Attached And / or Abutted Porches, Termite Inspection Services, Ceilings And Floors, Structural Systems, and Roof Covering Materials.

A memorial wall will be erected as part of the new construction.

Cubic Feet: 1.9 Suitable Housing For: 1 - 3 Dwarf Hamsters (Campbell Dwarf Hamsters and Winter White Dwarf Hamster pairs generally need more floor space, Roborovski pairs get along better in this cage) Average Price: $ 35 - $ 65 New Pros: Flexible and durable plastic construction, well made accessories, integrated carrier, expandable with additional habitats and accessories, full length second floor with walls Cons: Floor space is partially dominated by wheel and tube access to second level.

As guests walk into the dining room they will be greeted with high ceilings and open beam construction reminiscent the coastal cannery feeling, but the finish of the tables, chairs, and interior walls and design touches will be more refined, as if an old building has been repurposed into a new use.

Many of the walls were simply built upon during the construction of a new Spanish city.

And, don't forget about what goes on behind the stage: new wall set, construction props and metropolis wall tiles together with Planet Coaster's existing themes will allow you to build those far - from - glamourous... but essential backlots.

The new show ends with one crazy - looking mode after another, mostly in the form of wall - hung constructions, created since the early nineteen - seventies.

The show, comprised of plywood walls that resemble temporary construction fences in New York City, will be on view from 22 September through 12 November 2017.

Throughout the complex, industrial residues peek out from new construction and design: old floor tile, red and yellow hazard paint, metal knobs and levers protruding from scabby walls.

Industrial light fixtures, bent and angled, shared wall space with boxy structures made out of the same blue - painted plywood that fences construction sites in New York City.

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 greatnew 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 greatNew 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 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 greatnew 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 greatnew 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 greatNew 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 greatnew 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 greatnew 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 greatNew 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 greater.

In the 1950s he began producing large numbers of stabiles — large - scale constructions made from cut and painted metal sheets — and simultaneously explored new forms such as Towers (wall - based wire constructions with moving elements) and Gongs (sound - producing metal pieces).

These are hung alternately on unfinished gypsum and freestanding, aluminum - cladding walls, built to spec as cross sections of the layers of thermal insulation and environmental protection needed for new construction.

In his new studio on Long Island's East End, the artist experimented with different forms of neon, acrylic and aluminum, and transformers, to create a series of wall - to - floor constructions.

Other featured artists include Anita Arliss, whose mixed - media canvases are included in the permanent art installations at Hartsfield - Jackson Atlanta International Airport; Bethany Collins, who recently completed a residency at the Studio Museum in Harlem; and Justin Rabideau, who salvages wood from new construction sites and houses on the verge of collapse to create scaled pieces — from very tiny wall pieces to very large installations and large - scale sculptures — for his brightly - colored «Shim» series.

On the other hand, the execution can verge on the primitive, and so perhaps Pettibon's is a kind of idiosyncratic folk art like graffiti — you can almost imagine it appearing overnight scrawled across the walls of an underpass, or the previously pristine screening erected around the construction site of some shiny new high - rise development.

The same wall - like constructions continued in the later Haarlem paintings, begun after a visit to New York.

In New Orleans decomposition has always been as inexorable as construction — the tropics love to eat away at foundations, lattices, paint on the wall.

The exhibition includes new works produced during her 3 - month residency, including a large spatial construction, installation works and wall pieces.

The walls of 80WSE Gallery have not been opened since its construction in 1974 and following the close of the exhibition the new powder coated steel studs will be plastered over to reinstate the gallery walls, becoming a permanent yet unseen presence in the gallery.

In the new body of seventeen works on view at MCQ Fine Art, Ryan has reduced scale, from the bright and sassy wall constructions for which he is known to intriguing, intimate works the size of manila envelopes.

«Some Assembly Required,» an Exhibition of Ted Larsen's Latest Salvaged and Repurposed Metal Constructions at David Richard Gallery, Santa Fe David Richard Gallery will present an exhibition of the most recent constructions by Ted Larsen comprised of salvaged and repurposed metal that features sixteen new wall - hung, floor and pedestal pieces.

These glass building blocks called Solar Squared can be integrated into building walls in new construction or as part of renovations in existing buildings.

This is being carried out using the new RPA99 / 2003 which impose new construction method as introducing shear walls in schools avoiding short columns, improving the quality of materials and control and best of all the accountability of the contractors, control engineers, design offices, administration, etc..

That in our day we still build brand new tract homes with flex duct strung carelessly about a ventilated attic, that many have little to no roof overhangs for shading and wall protection, that many shamelessly orient nearly an entire facade of glazing due west, pierce their ceilings full of recessed lights, place unsealed, non-insulated pull - down attic stairs inside the house and air handlers either in attics or garages... in spite of wonderful innovations in building science over the past several decades... blunders like these and other egregious errors in design and construction continue apace.

Experts walked past new walls, construction and highways, yet they didn't record them?

Installation only requires one penetration through the exterior wall, making it ideal for retrofit and new construction projects alike.

In addition to our expertise in designing and installing green roofs, green walls, and organic urban farm systems, our team can provide business planning support, program design, and insight into integrated sustainable design for new construction and building retrofits.

What you can expect to see: Projects include retrofits and new construction utilizing super-insulated walls, triple - pane windows, heat - recovery ventilation systems, superior air - sealing and just plain good design.

I've redesigned / renovated / replaced about 75 % of my space but if I was working with a blank slate it would all be coherent; more natural light, a variety of interior lighting, new construction materials (like frosted acrylic walls that change color).

1 Oscar Baldry getting down to work in the old newsagent's shop; 2 laying Kingspan and Ecotherm insulation in the ground floor of the old shop; 3 first floor metal web joist detailing, with membrane behind the joists for airtightness; 4 ground floor walls feature 50 mm Xtratherm internal insulation; 5 this is followed inside by an Intello vapour control barrier and a further 25 mm Xtratherm; 6 the new timber frame first - floor twin - stud walls and roof rafters are of a fully breathable construction and full - filled with Warmcel cellulose insulation; 7 holes in the timber - frame where the Warmcel insulation was pumped in; 8 a pro clima Intello membrane on the inside of the first - floor walls and roof; 9 and finally, 50 mm Thermafleece (sheep wool) lined service cavity to the interior.

By contrast, the new timber frame first - floor walls and roof are of a fully breathable construction consisting of a twin - stud wall filled with Warmcel cellulose (recycled newspaper) insulation.

In order to foster the utilization of passive energy sources, building codes should be adjusted so that new home construction requires the largest surface area of the roof to face south, and kitchens be designed such that refrigerators be normally placed against exterior walls in order to provide access for direct thermal exchange with cold winter air.

These beehive monitoring tools can be integrated into an existing or new hive body, but APiS Tech also offers an innovative new Langstroth hive, which has a triple - wall construction and a coating of cork particles, both of which are said to together make the APiS hives more thermally efficient and provide up to 50 % more temperature control in the hive.