Sentences with phrase «open wall invite»

The high ceilings and open wall invite a lovely breeze into your evenings, while ceiling fans and central air keep you cool.

Each of the villas faces this central terrace, with wide open walls inviting delicious breezes indoors and creating an expansive space for dining and relaxation.

Not exact matches

Cain invited New Orleans Baptist Seminary to open a Bible college within the prison walls.

[3] An open posture may be sitting up straight, facing people and not a wall, with your arms and shoulders back and in an inviting posture.

Locate bathrooms and laundry rooms on the perimeter and keep walls and partitions to a minimum to give the whole area an open and inviting feel.

Folding walls open the front of the house to a spacious deck, where an infinity pool and row of loungers invite you to take in the views at your leisure.

A fold - back glass wall lets you open the villa's great room to the deck for a seamless indoor - outdoor living area, while a sitting area with pops of a purple ikat print and a pedestal dining table make for inviting places to read, nap or catch up.

An entire wall of the living room opens to the pool terrace, inviting fresh air and lovely light into the villa's stunning interior.

So you can feel free to relax completely in the inviting open - concept great room, which is bookended by sea - blue feature walls and offers a sitting area, dining area and fully equipped kitchen.

Vaulted ceilings and ten - foot glass and screen sliding doors disappear into the walls so the gentle ocean breezes can cool you and its huge open floor - plan of its great - room invites all to enjoy a movie together on comfortable huge sofas or enjoy a dinner for up to 10 at its huge teak slab dining table.

It's time once again, when our art - loving mayor opens her office and invites the public to see the new work that hangs on her walls.

Sliding glass walls open between the pool terrace and the villa's main interior living area, inviting delicious breezes and sublime views into the home.

An open glass wall invites a lovely alfresco ambiance throughout the open - concept interior.

An open wall joins the terrace with the villa's interior living area, inviting the ocean views and air indoors.

The villa's great room is a bright, inviting space that opens to the terrace via nearly wall - to - wall windows at one end.

Glass walls open from the veranda to the villa's interior, inviting a lovely plein - air feel indoors.

The bathroom invites in nature through an open wall and a plush outdoor rain shower.

Across the room, an open wall titled, «I'm not a feminist, but if I was, this is what I would complain about...» led to sincere postings as invite guests are invited to pick up markers and compose.

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 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 greater.

Join us for the opening reception of Deck The Walls, an unjuried show where members are invited to bring framed prints to the Gallery to sell during the holiday season.

Several months before the opening, the curator invited all of the artists to design four pages in the catalogue and thus to present current works and ideas on the book's pages, similar to the walls of a gallery space.

In 2013 Roast Coffee & Tea Trading Company opened its walls to the Patchogue Arts Council, inviting PAC members to exhibit their artwork.

Borrowing from the late Shirley Glass» metaphor of «walls and windows» (2003) to protect from infidelity, the couple in recovery needs to be attentive to the possible return of the uninvited - invited guest of substance abuse and to build solid walls against it and open up windows to each other in order to communicate their recovery needs and challenges.

Removing walls, especially in mazelike office or flex spaces, can also help open up a space to make it more inviting, says Paula Buffa, CCIM, director with Grubb & Ellis Commercial in Tampa, Fla..

Wall design with huge windows invites lots of light into the open living space.

You would lose wall space but open up the area where the view may invite guests to enter that room first.

This open - concept design showcases four standout features: A mirrored bar area, a paneled television wall, light - inviting breakfast room windows, and a steely range - hood set against a marble backsplash, make one area as visually appealing as the next.

Lit by the Christmas tree's almost overwhelming lights, the holiday - spirited interior decor with wood walls invites to opening gifts and taking trips down memory lane over a cup of perfumed hot chocolate.

A notably narrow front hall has been opened up, and walls removed, creating a much more free - flowing and inviting entrance.

But beyond designs that include sliding walls that open to invite the outdoors in, these unique floor plans offer homes that really can pay for themselves.