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