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dsb8 · 2 months

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Narrow Side Return Extensions in London: Creative Solutions for Small Spaces

In the bustling urban landscape of London, space is a premium commodity. Homeowners and developers constantly seek innovative ways to maximize their property's potential. Narrow-side return extensions offer a splendid solution to this difficulty, particularly in areas like Chelsea, where traditional expansion options may be limited. This blog explores the transformative impact of side house extensions in London, emphasizing rear home extensions, house refurbishment, and creative interior solutions such as micro cement flooring.

1. Understanding Narrow Side Return Extensions

A narrow side return extension typically fills the unused space at the side of terraced or semi-detached homes, turning it into a valuable part of the living area. This type of extension is prevalent in London due to the structure of many homes and the restricted urban space. By choosing a proficient Building Company, Chelsea, homeowners can ensure that even the smallest space is optimized creatively and efficiently.

2. Benefits of Side House Extensions in London

Expanding your home with a side extension can dramatically increase your living space without the need to relocate. Here are several advantages:

Enhanced Functional Space: Perfect for kitchens, dining rooms, or utility rooms.

Increased Property Value: Extending your home can significantly boost its market value, especially when done by a reputable London Loft Conversion Company.

Improved Natural Light: With the right design, side returns can enhance light in your home, making it appear larger and more welcoming.

3. Popular Design Features in Side Return Extensions

When planning your extension, consider incorporating features that not only enhance space but also add to its aesthetic and functional appeal:

Skylights and Transparent Doorways: Designed to optimize the influx of daylight into your home.

Microcement Flooring: This versatile and stylish option complements modern decor and is provided by specialists in microcement flooring in London.

Bespoke Storage Solutions: Custom cabinets and shelves can help utilize every inch of your new extension.

4. Key Considerations When Planning Your Extension

Before embarking on your extension project, consider the following to ensure a smooth process:

Permissions and Regulations: Understand the local building regulations and obtain the necessary permissions.

Choosing the Right Builder: Select a building company in Chelsea known for quality and reliability.

Budget Management: Keep track of your finances to avoid overspending.

5. Transforming Spaces with Innovative Materials and Designs

Modern materials like micro cement are durable and sleek, ideal for contemporary extensions. A London Loft Conversion Company can also suggest innovative ways to integrate lofts with side extensions for additional space.

Conclusion

Narrow-side return extensions are brilliant for London homeowners looking to expand their living space. With careful planning and creative design, these extensions can transform a cramped area into a beautiful and functional part of your home. Choosing the right professionals, from designers to builders, will ensure your home extension succeeds.

FAQs Related to Narrow Side Return Extensions

Q. What are the typical costs associated with a narrow-side return extension in London?

A. The costs vary widely based on materials, size, and the Building Company Chelsea you choose. It's best to get several quotes and have detailed consultations.

Q. How long does it take to complete a side house extension in London?

A. Depending on the complexity and scale, it could take 12 weeks to several months. Consult with your London Loft Conversion Company or builder for a realistic timeline.

Q. Do I need planning permission for a side return extension in London?

A. Only sometimes, as some extensions fall under permitted development rights, is it crucial to check with your local council or a professional house refurbishment London company.

Q. Can microcement flooring be customized to match my home decor?

A. Yes, micro cement flooring in London offers a diverse selection of colours and textures that can be customized to match your home's aesthetic.

Q. What are the best ways to ensure that my extension is environmentally friendly?

A. Discuss sustainable building materials and energy-efficient designs with your Building Company, Chelsea, to minimize environmental impact.

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wallpaperinstallation · 6 months

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Peel Away With Perfection At Wallpaper Removal Services London

Wallpaper is always an exciting factor in enhancing the beauty of interiors. However, they are convenient to use and are available in various designs, patterned to offer homeowners options to navigate accordingly and opt for the best. It's time to transform your interiors with majorly established wallpaper removal services in London, helping your creativity to present as your vision. Need help with old wallpaper? Do not worry. The professionals at Wallpaper Removal Services London promise a flawless removal process, leaving the walls pristine and ready for a fresh, exciting look. We understand every wall tells its unique story, and our team tries to employ new strategies and techniques by efficiently stripping away old wallpaper without causing damage to underlying surfaces. Whether residential, commercial, or any other organization, the professional career relates to London's diverse architecture. They are responsible for removing outdated designs and preparing the walls for new wallpaper installation.

Now, wallpaper installation has become convenient with wallpaper removal in London. The wallpaper installation services bring options and varieties that match your vibe perfectly. Whether it is classic, contemporary, or other creations, the experts favor turning your imagination into reality. From analyzing every view, design, and pattern to offering the look one has chosen, the wallpaper removal team adds magic to your space. The dynamic lifestyle of London is always reflected in homes and interiors, motivating people to think more about that. They take pride in transforming your offices or homes the way you dream. Opting for Wallpaper Removal Services in London means choosing quality craftsmanship with the freedom of infusing new energy into your surroundings with seamless wallpaper services. We assure you that every wall should tell its unique story, matching your visions.

Wallpaper Removal London Here's Your Smooth Walls

Wallpaper Removal London provides reliable services ensuring seamless wallpaper removal by correcting all the related imperfections, making the walls look beautiful and ready for new wallpaper. Uplift your interiors with removable wallpaper London, a convenient, hassle-free solution to transform your space. The collection of removable wallpapers has various options, allowing you to play with different patterns, colors, and styles that go with your vibe. The services and wallpaper removal are easy, catering to people's dynamic lifestyles.

With our Wallpaper Design London, you can express your creativity without leaving a permanent impression on your home—perfect for renters, homeowners, or anybody looking for a quick decor update. Accept the flexibility to rearrange your décor to suit your moods. Our assortment of removable wallpaper in London offers a wide selection to suit any taste, whether you're more into strong statements, delicate elegance, or modern designs. It sticks to walls firmly but removes easily with no residue left behind. It's time to redefine your interiors, adding new energy to your working spaces that express sophisticated and elegant views. The amazing collection embarks on a design journey reflecting personality while maintaining the urban living demands.

The Ideal Wallpaper Installation London

Wallpaper Installation London is highly opted for because of their wallpaper repair services London, which take care of every wall, tear, and bubble, analyzing imperfections properly to address every damage with precision, ensuring every wall looks as good as desired. Whether residential or commercial wallpaper repair, London has a dedicated team reviving every wall with skills to ensure it gets its new look. They ensure preserving the integrity of walls by creating a flawless finish, enhancing the aesthetic appeal of your interiors. Any problem relating to wear and tear, peeling edges, small tears, or discolouration on wallpaper can be resolved by Wallpaper Repair London.

Experts in wallpaper repair in London are committed to solving flaws and maintaining the individuality of the walls, taking every problem carefully. Their job of flawlessly monitoring their services extends to every corner, from analyzing every rip to improving. Modern and old buildings alike need specialized techniques for repairing wallpaper. Professionals in the city possess the expertise to navigate the intricacies of various designs, ensuring that repairs seamlessly complement the overall aesthetic of the space. In conclusion, ornamental elements survive longer thanks to London's Wallpaper Repair London, allowing homeowners to continue enjoying the visual appeal of their interiors.

#Wallpaper Removal Services London #Wallpaper Removal Services in London #Wallpaper Removal London #Wallpaper Design London #Wallpaper Installation London #Wallpaper Repair London

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decoratores · 1 year

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Transform Your Walls with Flawless Wallpapering Services in London

When it comes to giving your home a fresh and vibrant look, wallpapering is one of the most effective ways to transform your walls. Wallpaper adds character and style to a room and enhances its aesthetic appeal. Hiring a professional Wallpapering service in London can make all the difference if you want to revamp your living space. This blog will explore how a flawless wallpapering service in London can help you achieve stunning results and breathe new life into your walls.

Why You Need Professionals for Wallpapering Services in London

The Importance of Professional Wallpapering

Wallpapering is a delicate and meticulous process requiring skill, precision, and expertise. While embarking on a DIY wallpapering project may seem tempting, hiring a professional service ensures a flawless finish. Professionals have the knowledge and experience to handle various types of wallpaper, tackle challenging surfaces, and overcome potential obstacles.

Personalized Wallpapering Solutions

A reputable wallpapering service in London understands that each homeowner has unique preferences and requirements. They offer many options, including extensive wallpaper designs, patterns, colors, and textures. Whether you're looking for a bold statement wall or a subtle, understated design, professional wallpaper installers can guide you in choosing the perfect one. This complements your existing decor and reflects your style.

Surface Preparation

A skilled wallpapering service will inspect your walls, identify imperfections, and prepare them accordingly. This may involve filling cracks and holes, sanding uneven surfaces, and ensuring a smooth and clean canvas for wallpaper application. Professionals invest time and effort in surface preparation to ensure wallpaper adheres well.

Expert Installation Techniques

A professional Wallpaper Installation in London employs expert techniques to ensure a flawless finish. They are well-versed in the intricacies of hanging wallpaper, including accurate measuring, precise cutting, and seamless alignment of patterns and seams. With their attention to detail and commitment to perfection, professionals can eliminate bubbles, wrinkles, and other imperfections that can detract from the overall aesthetic appeal of your walls.

Efficient and Timely Service

In a bustling city like London, time is crucial. Hiring a professional wallpapering service ensures timely completion. Experts understand the importance of minimizing disruptions and strive to deliver high-quality results within the agreed-upon timeframe. By entrusting your wallpaper installation to professionals, you can enjoy your newly transformed walls sooner without sacrificing quality.

Long-Lasting Results

Investing in professional wallpaper installation in London enhances your walls' visual appeal and ensures long-lasting results. Professionals use high-quality materials, adhesives, and tools, combined with their expertise, to ensure your wallpaper stands the test of time. By employing proper techniques and best practices, they create a durable, resilient finish that remains beautiful for years.

The Best Wallpapering Service in London Transforming your walls with a flawless Wallpapering Service in London offers many benefits, from personalized solutions and expert installation techniques to efficient service and long-lasting results. You can achieve stunning, visually appealing walls in your living space when you hire I&G Decorator Ltd. So, why settle for ordinary walls when you can elevate your home's aesthetic appeal with a reputable wallpapering service in London? Embark on this exciting journey of wall transformation and enjoy the beautiful results for years to come.

#Wallpapering Service in London #Wallpaper Installation London #London #Wallpaper Installation #Wallpaper

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simsphonysims · 2 years

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Thrift and Bubble Tea Store

Hi, my fellow simmers!

Today I’m sharing with you a new Thrift and Bubble Tea Store that I’ve built in Copperdale (The Sims 4 High School Years), on a 20x15 lot!

I wanted this Thrift and Bubble Tea Store to be colorful and teenage years compatible so I've mixed different pastel colors to get that cozy and youthful vibe.

Also, I included a small internet area where sim students can come and study or playing The Sims game drinking their favorite bubble tea flavor.

SUPPORT ME ON Ko-fi ♡

Note: If you want to change my original walls or wallpapers, for everything to stay in the place you need to install the Better BuildBuy mod from the Twisted Mexi and turn on deletion protection as an option in BBB's filter panel. Turn it on while necessary and turn it back off immediately after.

Hope you like it! ♡

youtube

Download:

HOUSE (Tray): Thrift and Bubble Tea Store

CC list:

BRAZEN LOTUS Highspirits steezy skis

CHARLY PANCAKES Maple & S. constractions Pt.1 (Early access) , Maple & S. constractions Pt. 2 , The strandkorb , Modish , Lavish , The candle

FELIXANDRE Grove Pt.4 , Berlin Pt.2 , Shop the look 2 , Colonial Pt.3 , London Exterior , Paris Pt.1

HARRIE Kwatei (Early access) , Spoons Pt.2 , Octave Pt.2 , Brutalist

HOUSE OF HARLIX Baysic , Harluxe , Orjanic Pt.1 , The bafroom

KING FALCON Fuvwara 2

MAX 20 Classic kitchen , Poolside Lounge , Dining room

MLY'S Tall bookcases

PEACEMAKER/SIMSATIONAL DESIGNS Splashback Glass Tiles

PIERISIM Domaine du Clos 1 , Domaine du Clos 2 (Early access) , MCM Pt.3 , Winter garden Pt.2 , Oak House Pt.1

RVSN Clothes minded accessories , Anybody's dress bridal shop , Body form displays

SURELY SIM The kichen of tommorow

THE CLUTTER CAT Flower power (patreons only) , Busy Bee

TUDS SHKR kitchen , Vime closet

#simblr #sims 4 custom content #sims 4 build #sims 4 cc build #sims 4 tray #sims 4 cc list #sims 4cc #sims 4 trift

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ego-meliorem-esse · 1 year

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A Clear Shift

1942(ish), London

Amidst the tumultuous turmoil of war, the Kirkland family found themselves gathered in the solemn atmosphere of Arthur's countryside estate, located on the outskirts of London. The living room, or rather the parlor, served as the setting for this tense encounter. The once-grand parlor, contrary to the turmoils of war itself, was adorned with no signs of wear and tear. The room, bathed in muted hues of deep mahogany and faded gold, bore no witness to the toll that the conflict had taken. The wood paneling had not lost its sheen, its edges weren't marred with scratches or scuffs. The vibrant, newly installed wallpaper, showed no sign of peeling at the corners. It still very much showcased the semi-vibrant pattern chosen by its owner. The room was adorned with antique furniture, the air heavy with an unspoken tension that seemed to permeate every corner. It served as a temporary and solemn gathering place for the Kirkland household. The somber atmosphere hung heavy in the air as if the weight of the world had settled upon their shoulders.

Seated around a once expensive, sturdy wooden table were Matthew, Zee, Jack, and their father Arthur, each one bearing the visible marks of war, bandages wrapped tightly around their weary bodies. Their countenances mirrored the weight of their experiences, etched with lines of concern and shadows of exhaustion. The war had taken its toll on them, physically and emotionally.

Alfred, the only one not seated at the table, occupied the couch on the opposite side of the room. His piercing gaze surveyed the book and its contents. His eyes conveyed an unyielding determination and a sense of detachment. Alfred sat quietly. Much more quietly than he had ever sat anywhere. More quietly than he was known for sitting. For once a grand room was not filled with Alfred's thunderous voice, but rather the lack of it.

Alfred was seemingly in his own world, burdened by his own thoughts and concerns.

Jack and Zee sat opposite their father at the much too-long table, simply watching and enduring the scene unfolding in the room. Or rather, they were watching the lack of a scene. Usually evenings like this resulted in shouting, arguments, and someone getting thrown out of the house by midnight. No such thing happened the entire evening and while they were glad a sense of normalcy engulfed the parlor and its occupants, a sense of unease resided within its walls as well. Namely, the source of that unease sat right opposite of them.

Arthur, for once not sitting at the head of the table, but rather at the side of it, grasped a bottle of not-at-all-expensive American whiskey in his hand, drinking from it slowly and yet with a certain urgency. A lone figure, illuminated by the dim light filtering through the partially drawn curtains. The amber liquid seemed to fuel his frustrations and exacerbate his anxieties. Each swig, lacking Arthurs's usual politeness and propriety, seemed to fuel his frustration. Despite his current engagement in this particular vice, his words weren't any more slurred or unclear. In fact, Arthur had seemed to only find his footing and eloquence in the matters at hand when his glass was only recently empty and refilled as needed. And Arthur had deemed it a necessity indeed.

As the room fell into a heavy silence, broken only by the occasional sound of Arthur's ungentlemanly gulps of the American corn whiskey, his children exchanged worried, yet at the same time quite numbed glances.

Matthew dared to suggest that perhaps it was time to retire for the night. His voice was laced with worry.

"Maybe it's best if you put that down and get some rest," Matthew cautiously ventured, his eyes filled with genuine concern.

Arthur, his words surprisingly unslurred by the effects of alcohol, dismissed Matthew's concern with a wave of his hand, demanding the undivided attention of his children.

"Matthew, I unequivocally do not need your lectures today," he retorted sharply, yet not as loudly as he had wished. His tone laced with frustration and alcohol-infused defiance.

Matthew recoiled slightly at his father's curt response, his voice lowering in tone.

"I'm just saying... you'll feel better if you rest, considering your injuries and all," he added, his words trailing off, not knowing how to finish the sentence in a way that would make Arthur listen and comply.

"Oh, now you find your voice?" Arthur snapped, his anger bubbling to the surface. "Now you have the cheek to command men around?" His voice dripped with bitterness, an underlying resentment that had been building over time. Though, presumably, the anger released was not really aimed at Matthew personally. Not really.

"Truly, I would have loved to see that resolve and strength of will during the shit-storm that met us at the damn Dieppe." Dieppe became a textbook example of "what not to do" in amphibious operations. And while Arthur knew that there was nothing Matthew could have done to prevent the disaster, his anger wasn't really looking for a rational approach.

Matthew fell silent, his eyes slightly downcast, his attempt to help met with scorn. He felt the weight of his Arthurs disappointment bearing down on him. In situations like this, where he attempted an altruistic approach with his mentor, the aim of the metaphorical gun only seemed to turn towards him.

At last, he backed off and settled back into his chair, silently pondering his fruitless efforts. As he was used to doing.

In that tense moment, Alfred, who had only come out of his own thought and gazed up upon hearing his fathers scorn filled voice, observed the scene unfold. He rose from the couch without a word, setting down the book he was reading in a calm and slightly eerie manner. He strode purposefully toward the table where his family sat, his expression unreadable and uncanny. The room and its occupants barely registered his approach as he lifted the bottle from the table, his emotionless eyes fixed on his father.

With a sudden shift in tone, Alfred flung the bottle against the wall with all his might. Indicating his disapproval of Arthurs's words and settling the matter without any use of his own. The sound of shattering glass shattered the room's uneasy silence, and the fragments of the bottle scattered across the floor like the exploded shrapnel parts of a handheld grenade.

Arthur, his eyes widening by mere millimeters, did not utter a word. His face was unchanging. Alfred stood tall beside him, his gaze unwavering, an unspoken declaration of his strength and authority. The shift in the power dynamic was never as obvious to the onlookers as it was at that moment.

Alfred turned away, retreating to the couch, his face a mask of unyielding composure.

He picked the book up and reticently continued where he left off on the page.

The room fell into a heavy silence, the weight of the shattered bottle a tangible metaphor for the fractured relationships and undeniable swap in dynamics within their family. Arthurs's anger, if even present, was meticulously hidden behind a facade of stoicism. He stood up on his wounded leg, aided by his cane for support, and without a single word he made his way through the dark hallway, up the large, creaky stairs, to the master bedroom. The sound of Arthur's footsteps and the rhythmic clack of his cane echoed through the hallway as he retreated upstairs. The weight of his absence lingered in the air, a stark reminder of the changing hierarchy within their family.

Zee, breaking the silence, mumbled under her breath, barely audible but laden with significance, that she too should retire for the night. Her voice carried a mixture of resignation and, surprisingly even to her, relief. The weariness of the situation was etched on her face. Jack, his gaze fixed on Zee's retreating and visibly fatigued figure, followed suit without uttering a word, silently beckoning Matthew to accompany him.

Matthew, caught between the remnants of Arthur's authority and the newfound power Alfred had asserted, rose hesitantly from his seat, his gaze never leaving his brother at the opposite side of the room. He exchanged a brief glance with Jack, the weight of unspoken words passing between them. With a nod, Matthew followed him, their footsteps fading into the distance, leaving Alfred alone in the parlor.

He remained seated, the silence enveloping him as he stared blankly at the word-filled page before him. The room, once filled with the echoes of heated arguments, now resonated with the quiet realization that their lives were starting to and were going to change. Alfred's emotionless facade masked a tumult of thoughts and feelings, his mind a labyrinth of complexities.

Outside, the world engulfed by the night's murkiness continued its relentless march, oblivious to the fractured harmony within the walls of the manor. The war raged on, each passing day leaving scars both seen and unseen.

As the final embers of the candle (because Arthur insisted on candles while they resided in the manor) in the center of the table flickered and died, Alfred closed his eyes, allowing the silence to envelop him even for a moment. Silence was never something Alfred liked. And while that could mean peace to everyone else, for Alfred silence meant unease and boredom. Though unease he could stand, boredom he could not. In the stillness of the parlor, he sought solace by turning on the radio on the cabinet next to the grand table his family was occupying a while ago, finding temporary refuge from the tumultuous realities of their wartime existence, as well as the anxious silence he seemed to avoid like the plague.

The night pressed on, leaving the manor cloaked in darkness, its occupants scattered to their own private realms of introspection and unrest. The only source of sound was the radio Alfred kept on as a way to ease his discomfort with quietude. Alfred couldn't help but wonder about his siblings' worries and the unrest that plagued their minds. He had no doubt in his mind that new, uncertain things were afoot. Change was coming. Change of his own making at that.

Good thing he had no problem with change.

But for now, they remained suspended in the suffocating grip of uncertainty.

Alfred looked at the ridiculously oversized Victorian grandfather clock in the corner whose ticking had stopped a good 5 years ago. He sighed, deciding that 3 am was a decent time to retreat to his room and go to sleep. He calculated that if he fell asleep in half an hour and woke up a bit earlier than 8 am, he'd get at least a solid 4 hours and 30 minutes of rest. Nodding to himself, he turned off the radio, which by now was playing an unknown tune from the 1920s. He went to blow out the candle but realized it had already reached the end of its life. Alfred realized he was sitting (now standing) in almost complete darkness for quite a while.

The remnants of shattered glass glimmered on the floor, which only now started to annoy Alfred. Deciding against cleaning up the mess, he stepped over it and closed the door behind him, leaving the room pitch black.

----

what can I say: Arthur, whiskey bottles and those same whiskey bottles being thrown at a wall are my kryptonite.

I have a part 2 but it's not really all that related to this situation hmmmm

#hetalia #hws england #hws america #hws australia #hws new zealand #meli writes #hetalia fanfiction #historical hetalia #dont take this seriouslyyy #shift in dynamicssss #pater familias is no longer all that powerful huhuhuhuhu

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longlistshort · 2 months

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Sarah Meyohas, “Interference #19”, 2023, Holograms, mirrored black glass, aluminum

Georgia O’Keeffe, “Poppy”, 1927, Oil on canvas

Francis Picabia “The Church of Montigny, Effect of Sunlight” 1908, Oil on canvas (left); Christian Sampson “Projection Painting”, 2023, Acrylic and films with LED light; and Claude Monet “The Houses of Parliament, Effect of Fog, London” 1904, Oil on canvas (right)

The Nature of Art exhibition at the Museum of Fine Arts St. Petersburg merges art from the museum’s collection with loaned works to explore- “art’s crucial role in our evolving quest to understand our relationship with nature and our place in the cosmos”.

One of the benefits of an encyclopedic museum is that visitors have the opportunity to experience art throughout history, and to revisit works that resonate with them. For the section titled Artist as Curator, Sarah Meyohas and Christian Sampson chose pieces from the museum’s collection to pair with their own work.

From the museum-

At first glance, perhaps, these may seem like unusual combinations, but upon deeper contemplation, their selections reveal complementary artistic intents. For instance, Meyohas and Georgia O’Keeffe share an interest in close looking, particularly in finding new ways to examine underappreciated aspects of the natural world. Sampson, influenced by the California Light and Space Movement, is interested in current scholarship that suggests the hazy fog found in Claude Monet’s work is an early depiction of air pollution, offering an entirely new perspective on the artist’s representations of light.

Sampson also created the four-part installation, Tempus volat, hora fugit, on view until 2025 at the museum.

Below are some of the works from additional sections of the exhibition.

Postcommodity, “kinaypikowiyâs”, 2021, Four 30.5-metre industrial debris booms

Postcommodity is an interdisciplinary art collective comprised of Cristóbal Martínez (Genizaro, Manito, Xicano), and Kade L. Twist (Cherokee).

About Postcommodity’s work, kinaypikowiyâs, (seen above) from the museum-

This work is composed of debris booms, used to catch and hold environmental contaminants such as garbage, oil, and chemicals. The colors of the booms correspond to different types of threats— red (flammable), yellow (radioactive), blue (dangerous), and white (poisonous)-in the labeling system for hazardous materials. To indigenous peoples, these are shared medicine colors that carry knowledge, purpose and meaning throughout the Western Hemisphere. Suspended like hung meat, the booms represent a snake that has been chopped into four parts. Each part represents an area of the colonial map of the Western Hemisphere: South America, Central America, North America, and all of the surrounding islands. The title, kinaypikowiyâs, is a Plains Cree word, meaning snake meat. Divided by borders, Postcommodity asserts that all people living in the Americas are riding on the back of this snake.

James Casebere, “Landscape with Houses (Dutchess County, NY), 2009, Archival pigment print mounted to Dibond

James Casebere creates architecturally based models for the large scale photographs seen above.

Duke Riley's Reclaimed ocean plastic sculptures and “Tidal Fool” wallpaper

Duke Riley’s work, which was previously shown at Brooklyn Museum, addresses issues of environmental pollution by using discarded plastics found in the ocean and other waterways to create new work inspired by the past. You can hear him discuss his work in this video.

From the museum-

Inspired by the maritime museum displays he saw while a child growing up in New England, Riley’s scrimshaw series is a cutting observation of capitalist economies-historic and today-that endanger sea life. The sculptures were created for the fictional Poly S. Tyrene Memorial Maritime Museum, and are contemporary versions of sailors’ scrimshaw, or delicately ink-etched whale teeth and bone. Riley first thought about using plastic as an ode to scrimshaw when he saw what he thought was a whale bone washed up on the beach in Rhode Island; it turned out to be the white handle of a deck brush. Riley regularly removes trash from beaches and waterways, and often uses this refuse in his work.

Riley collaborated with Brooklyn-based Flavor Paper to create these two custom wallpapers for his solo exhibition DEATH TO THE LIVING, Long Live Trash at the Brooklyn Museum. Tidal Fool exhibits Riley’s trademark humor in the face of devastating water pollution; notice the Colt 45-guzzling mermaid. Wall Bait vibrantly references Riley’s meticulous fishing lures, which he crafts from refuse found in the waters around New York City.

Daniel Lind-Ramos,"Centinelas de la luna nueva (Sentinels of the New Moon)", 2022-2023, Mixed media

From the museum about this work-

In Centinelas de la luna nueva, he evokes the elders of the mangroves, spiritual beings who watch over and ensure the health of this essential coastal tree. Mangroves are the basis for a complex ecosystem that shelters sea life and serves as the first line of defense in the tropical storms that batter the sub-tropics -including Florida.

Lind-Ramos's practice reflects the vibrant culture of his native Loíza, Puerto Rico, by honoring local agriculture, fishing, cooking, and masquerade. His sculptures also evoke Hurricane Maria (2017), the COVID-19 pandemic, and ongoing environmental degradation. Lind-Ramos is committed to the survival and sustenance of Afro-Taíno traditions and people of the Puerto Rican archipelago. However, his art engages the global community through shared emotions, parallel histories, and the commonality of human experience.

The next post will discuss two other artists in the exhibition, Brookhart Jonquil and Janaina Tschäpe.

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justforbooks · 5 months

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In 1967 when Radio 1 was founded as a successor to the BBC Light Programme, one of its aims was to reach housewives – and to attract them, the station employed only male DJs (or “husband substitutes”, as they were known behind the scenes) for the first three years. It was only in 1970, bending with the times, that it took on its first female presenter, Anne (later Annie) Nightingale, a former journalist and television presenter with almost no radio experience.

The original male presenters have long since left the station, but Nightingale was still working for Radio 1 at the time of her death, aged 83, and had become its longest-serving broadcaster, most recently on air in December 2023. Known to fans as the Queen of Breaks – breakbeat was her specialist genre – she defied the station’s usual career trajectory (five years as a top-tier presenter, then off to weekends or Radio 2) by staying relevant. She introduced listeners to prog rock, punk, indie and dance music, and was unfeignedly passionate about them all. At 75, she told a dance magazine: “I listen to what 13-year-olds listen to because that’s the future. [I’ve] got to be ahead of the game all the time.”

As a dance music specialist from the late 1980s onward – playing “the biggest bass bangers”, as Radio 1’s website put it – Nightingale spent the second half of her career broadcasting to people too young to have known that she had been friends with the Beatles and Marc Bolan. But her age was immaterial because of her stature in the dance world. In 2001, she received Muzik magazine’s Caner of the Year prize in recognition of her late-night lifestyle – her favourite of all her awards, which also included an MBE in 2002 for services to broadcasting (advanced to CBE in 2020), and an honorary doctorate in journalism.

She was a highly knowledgable musical curator, and an expert at exploiting the intimacy of radio. Though Nightingale prioritised music over DJ patter, she recognised that a human voice was still an essential part of the mix; husky-toned and self-deprecating, she belied the station’s early fear that a female DJ would lack authority. According to the writer Irvine Welsh, who listened to her while growing up, her “cool, funky tones” stood out against “the flatulent sounds of loud, boring, thick and egotistical men strafing the airwaves”.

An only child, Nightingale was born in Osterley, west London, to Basil, who ran a wallpaper company, and Celia (nee Winter), a chiropodist. Educated at the independent Lady Eleanor Holles school in Hampton, she left before her A-levels. Overriding her parents’ request that she have “something to fall back on”, she enrolled on a journalism course at the Regent Street Polytechnic (now the University of Westminster). Moving to Brighton after graduation, she married a Fleet Street journalist, Gordon Thomas, and had two children. After a short stint at the Brighton and Hove Gazette, she became the only woman in the newsroom at the Brighton Argus.

Along with reporting local news at the parish-council level, she was given a music column called Spin With Me, which gave her access to the biggest pop stars of the 60s. Her friendship with the Beatles later helped open doors at Radio 1 – the band’s publicist, Derek Taylor, persuaded the station controller to let her audition after her own requests were repeatedly refused.

At a Dusty Springfield gig in 1964, she met Vicki Wickham, producer of Ready Steady Go!, who hired her as co-presenter of a new pop show called That’s For Me. It lasted only a few months, but the exposure led to writing work at the Daily Express and Cosmopolitan, and radio appearances on Today and Woman’s Hour. It was the era of pirate stations such as Radio Caroline; she considered applying to Caroline but was put off by the idea of “living out at sea with a bunch of blokes”.

Finally installed at Radio 1 in 1970, she was hampered at first by a lack of technical knowhow – her first day was marked by eight seconds of dead airtime when she accidentally pressed the “off” switch in the middle of a record. Yet she quickly established herself, choosing her own playlist almost from the start. Her skill at persuading listeners that what she wanted to hear was what they wanted to hear led in 1978 to the job of presenting BBC Two’s “serious” rock programme, The Old Grey Whistle Test. It had failed to keep up with musical fashion, a problem she tackled by booking the most challenging artists she could get away with and braving the consequences. She was delighted to bag Public Image Ltd for a live appearance, though frontman John Lydon repaid her enthusiasm by admonishing her for being “so fucking patronising”.

Four years at Whistle Test were followed by a return to Radio 1’s highly popular Sunday afternoon request show for 12 years. When acid house gained traction in the late 80s, she credited it with changing her life; from that point, she played solely dance music on Radio 1, first in the influential Chill Out Zone slot, then on a longstanding programme that went out at 1am on Wednesdays. Her free time, she said, was consumed by listening to the thousands of demo tapes she received every week.

Despite her achievements, Nightingale claimed she lacked confidence until she was robbed in Havana, Cuba in 1996. The attack left her unable to walk for months, but made her “a stronger person”, she said.

Though she hated nostalgia, she did reflect that ageing had been isolating. The death of John Peel, her friend from the early days of Radio 1, provoked the unusually downbeat comment: “Now John’s gone there’s nobody I know in my age group who remotely likes this kind of thing. I don’t understand why. I’m driven by it.”

She published two volumes of autobiography, Chase the Fade (1982) and Wicked Speed (2000), and a 50th-anniversary volume, Hey Hi Hello: Five Decades of Pop Culture from Britain’s First Female DJ, in 2020.

She is survived by her children, Alex and Lucy, from her first marriage, which ended in divorce. Her second marriage, to the actor Binky Baker in 1978, also ended in divorce.

🔔 Anne Avril Nightingale, broadcaster, born 1 April 1940; died 11 January 2024

Daily inspiration. Discover more photos at Just for Books…?

#just for books #annie nightingale #in memoriam

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jareckiworld · 2 years

Photo

Anthea Hamilton — Prude Wallpaper (installation view at Thomas Dane Gallery, London, 2019)

#Anthea Hamilton #british art #installation art #art installation #feminist art

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exhibitionsvisited · 1 year

Text

2023

This year I visited 178 exhibitions, here is my top ten.

Vermeer, Rijksmuseum, Amsterdam

Perhaps not just an exhibition of the year, but one of a lifetime. Astonishing perfection in every brush stroke; words and reproductions do not capture the empathy contained in every painting that survives by Vermeer. Most of which were brought together at the Rijksmuseum for a truly exceptional exhibition. Unlike so many blockbusters of this type, the paintings did not feel (well ok too crushingly) crowded or overwhelmed by the throngs. Each was given space and a carefully considered semi-circular barrier so visitors could fan out from it. There was little in the way of text panels, no need to contextualise with artworks by other artists; the paintings were each given lots of space in sensitively and richly painted and floor-to-ceiling curtains. They were allowed a dignified space in order to sing to us. I contracted Covid-19 from the trip to Amsterdam which developed into Long-Covid; this left me changed fundamentally as a human as I battle(d) fatigue for months on end. I am still not sure if the impact on my health was worth the trip, but as I write these words I know it was. I will always remember the opportunity to see 28 of the 37 Vermeer’s all in one place at one time.

2. Philip Guston, Tate Modern, London

I want to lick and consume Guston’s paintings metaphorically and perhaps even literally, they ingest the eyeballs and linger in the mouth. Seeing the paintings together made so much sense, perhaps the curation sold the narrative but the exhibition made me think that the foray into full-on abstract expressionism was actually the inconsistency; right from the earliest paintings there was story-telling, narrative, figuration, politics, turmoil and a desire to point out what needs to change societally. With the pure abstract works, ambiguity felt too strong, everywhere else the balance was perfect, enough to be led and enough to form your own thoughts. So many works of greatness all together, the final room of grief was as heart-breaking and poetic as it comes.

3. Hilma af Klint and Piet Mondrian, Tate Modern, London

This was an exhibition I had to see. I spent weeks preparing for the trip to go and see it. Having Long-Covid meant that I had to conserve and use my energy intensely - when everything saps strength and leaves you exhausted, from having a shower, to walking up stairs to reading a page of a book, then you have to be careful. T0 go to London for the day to see this exhibition was something I trained and equipped myself for/. I was so glad I did. The exhibition made me feel happy and lightness...an injection of art through the eyes which is so good for the soul. af Klint was paired with Mondrian, which made unexpected sense (to me, I know not to others) with so many surprising overlaps such as in their botanical paintings,and more general link to natural forms, the link to Theosophical thought and of course abstraction. One of my favourite rooms in the exhibition was titled the ether and was filled with sketchbooks, books, works by other artists and this amazing model of Mondrian's New York studio.

4. Mike Nelson, Hayward Gallery, London

A proper art-as-experience encounter, the atmosphere of being within each of the installations by Nelson, restated at the Hayward was palpable; senses, memories, possibilities spiralled outwards, creating new stories and narratives. An embodied and tacit experience of speculative and to be-found-out-and-created knowledge. A novel or series of novellas contained in a material-led happenstance. This felt like the sort of show a big institution is made for, enabling a coming together of elements that would not be possible in the world without the structure behind it.

5. Rebecca Fortnum, Henry Moore Institute, Leeds

In many ways the opposite of the behemoth of the shows of the year above; this was a quiet and intimate exhibition of new drawings, paintings and hand-printed wallpaper by Fortnum. The paintings are transcriptions of sculptures by fifteen women who visited or worked at Auguste’s Rodin’s studio. An intention of the work is to offer insight and exposure to these often-overlooked female sculptors. Rodin is known to have trained women to sculpt in the late nineteenth century when they were not allowed to enter into art schools in France, and employed some of them as studio assistants (or the ‘praticienne’ of the show’s title). Many of the women artists that Fortnum has selected to make work from had in what the text panel calls “an extraordinary, and in many cases unpublished, life narrative.” The show also featured drawings of men that were sculpted by the women artists, creating a gendered distinction between female subjects in paint and male subjects in drawings, albeit that the subject of Fortnum’s work is actually the unpictured female artists.

6. Oliver Ventress, Project Space Plus, Lincoln

A beautifully installed coming together of sculpture, sound and video by Ventress that all speculates on what is out there, what might be out there in a delicate oscillation between despair and hope of what our present and future might be. The work beckoned me in quietly, gently insisting that I spend time with it, to slow down by heartbeat to become in line with the tide in one sculpture or the sound emanating from a large grey spherical sculpture (apparently at 210.42hz the theoretical frequency of the moon. With the tuning in to the resonance of the work, came an opportunity to speculate on the future in the present from a position of calm, not panic, all too rare an opportunity in 2023.

7. Chad McCail, Turntable Gallery and tt88

You gotta love a bit of bonkers; a serpentine urban and rural landscape sweeps the carpet tiles on the high street, giants roam the gallery constructed from discarded detritus of the capitalist waste-culture, brains exude from trees and gonzo lizards pelt churches with walnut-like objects. Poke a bit further though and melancholy descends as the worst aspects of humanity seep everywhere: capitalist-greed, paedophilia, and environmental-apocalypse.

8. Brendan Lyons, Bridewell, Liverpool

A joyful form of institutional critique of painting, one rich in materiality. In one gallery several paintings line the walls, completely conventional in description. In one gallery a range of fixings for hanging paintings line the walls, completely conventional in description. That the description is for one and the same gallery is the magic of Lyons work. Each fixing has been constructed fully from paint, being both itself and a simulacra of the hidden elements of painting, an opening up and unlocking. In the other gallery three new pieces are bold in the way the first gallery is subtle. Ivy creeps down the walls and over canvas; parcel tape tries to fix a smashed glass of an empty frame; multiple blank canvas are tapped to the wall with Gaffa and parcel tape…or look a bit closer.

9. Rosa Barba, Tate Modern, London

The Tanks at Tate Modern are a brilliant space to encounter Barba’s work; the atmosphere of the space evokes the type of places the artist is attracted too, places that are pregnant with a past. 3 35mm film installations affectingly occupy the space, the visuals draw you in, the sound quivers with the image, but perhaps most evocatively the projectors percolate all the space in their industriousness that comes close to humanity in their presence.

10. Lynette Yiadom Boakye, Tate Britain, London

I could have had several number tens on this list, significantly I whittled a shortlist down to five, all of which were painting exhibitions. So why does Yiadim Boayake become number ten? Perhaps it is the way she handles paint, something I wish I could inhabit? Or perhaps it is the way she creates stories with paints? Or perhaps it is the way she conjures personal lives, and memories of histories in the people she paints from imagination? Perhaps it is the way she invents archetypes for our time in the presence of the people? Or perhaps it is because I want to look, to spend time, to look harder, nearer, closer, more attentively? Or perhaps it is because I struggle with the words, the paintings do what (my) words can’t, reach the soul.

In 2023 I visited the following exhibitions:

30 December, Pesellino, National Gallery, London

30 December, Discover Liotard and the Lavergne Family Breakfast, National Gallery, London

15 December, Corrupt Vision, General Practice, Lincoln

15 December, Sam Scorer, Usher Gallery, Lincoln

30 November, 8 Acts of Love, Project Space Plus, Lincoln

24 November, Made in Scunthorpe, Fountain Arts, Scunthorpe

24 November, Glow Up , 2021, Scunthorpe

24 November, Swords into Ploughshares: Knives into Jewels, 2021, Scunthorpe

17 November, Daniel Richter, Thaddaeus Ropac, London

17 November, Endless Variations, Ordovas, London

7 November, Avery Singer, Hauser & Wirth, London

7 November, Christina Quarles, Pilar CorriasLondon

7 November, It All Starts With a Thread, Whitechapel Gallery, London

7 November, Anna Mendelssohn, Whitechapel Gallery, London

7 November, Johanna Billing, Whitechapel Gallery, London

7 November, Nicole Eisenmann, Whitechapel Gallery, London

7 November, In the Studio, Tate Modern, London

7 November, El Anatsui, Tate Modern, London

7 November, Phillip Guston, Tate Modern, London

7 November, Joan Mitchell, Tate Modern, London

14 November, Tread Softly, Gloam, Sheffield

14 November, Paul Housely, Persistence Works, Sheffield

14 November, Autumn Almanac III, Persistence Works, Sheffield

13 November, Nature Positive, Project Space Plus, Lincoln

27 October, Tim Murray-Browne, St. Marks, Lincoln

27 October, Maria Mavropoulou, St. Mary Le Whigford, Lincoln

27 October, Beccy McCray Engine Shed, Lincoln

27 October, Filthy Luker, Lincoln

27 October, Camille Baker, The Drill, Lincoln

27 October, Lumo Workshop and The Network, Lincoln

27 October, Dangerous Times, Lincoln

27 October, Lauren Hubbard, Waterstones, Lincoln

27 October, Touch & Glow, St. Marks,Lincoln

27 October, Marc Renshaw, Wealth Streams Development Agency, Gainsborough

24 October, John Dowling, Link Corridor, Lincoln

24 October, Birth and Design 23, Project Space Plus, Lincoln

21 October, Creativity Unlocked, Salthouse, Lincoln

21 October, Sam Tahmassebi and Harrison Taylor, Cornhill, Lincoln

21 October, Soft Egg, Don't Wear It, Salthouse, Lincoln

21 October, Unweeded, General Practice, Lincoln

21 October, Tyler Barker, Zara Sands, Walking Together, The Collection, Lincoln

21 October, Past and Present Practice, St Mary Le Whigford, Lincoln

21 October, SLQS - Straight from the Horses Mouth, St Mary Le Whigford, Lincoln

21 October, In My Perfect State, Cornhill, Lincoln

20th October, Artists in the Now, The Link Up, Limcoln

19 October, Obscene Pomegranate, Salt House, Lincoln

19 October, Gurminder Sikand, Trace, Nottingham

14 October, Nahem Shoa, Walker Art Gallery, Liverpool

14 October, John Moores Painting Prize, Walker Art Gallery, Liverpool

14 October, Tom Wood, Walker Art Gallery, Liverpool

14 October, Tim Spooner, Bluecoat, Liverpool

14 October, Brendan Lyons, Bridewell, Liverpool

14 October, About Face, 50_MV, Liverpool

14 October, Anthony Gormley, Crosby beach, , Liverpool

6th October, Grayson Perry, Lincoln Museum

6th October, Oliver Ventress, Project Space Plus, Lincoln

28 September, Ridykeulous (Nicole Eisenman & A.L. Steiner, with Sam Roeck): Ridykes’ Cavern of Fine Inverted Wines and Deviant Videos, Nottingham Contemporary

28 September, Green Unseen, Dajongly Gallery, Nottingham

28 September, Reimagining the Victorians, Dajongly Gallery, Nottingham

28, Community Choice, Usher Gallery, Lincoln

21 September, Method Lab 3, Trace Gallery, Nottingham

21 September, John Becka nd Matthew Cornford, Bonnington Gallery, Nottingham

21 September, Art (School) Histories, Bonnington Gallery, Nottingham

16 September, Chad McCail, Turntable Gallery

16 September, Chad McCail, Turntable 88 Gallery

10 September, Mark Judson, the hub, Sleaford

10 September, Together we are Powerful, the hub, Sleaford

10 September,Adaesi Ukairo, the hub, Sleaford

9, September, George Boole School, Lincoln Museum

9, September, CODED: Digital Art that Defies Definition, Lincoln Museum

8 September, MA Fine Art, University of Northampton

1 September, The Power of Printed Matter, Beam, Nottingham

27 August, A Sense of Place, Willoughby Memorial Gallery, Corbey Glenn

25 August, Bare, Project Space Plus, Lincoln

24 August, Strange Friends, Hauser and Wirth, London

24 August, Connect, Reveal, Conceal, Hauser and Wirth, London

24 August, Holding Space, Hauser and Wirth, London

24 August, To Bend the Ear of the Outer World: Conversations on contemporary abstract painting, Gagosian, London

24 August, Glenn Brown, The Brown Collection, London

24 August, The Belly and the Guts, Alice Amati, London

24 August, Tomas Saraceno, Serpentine Gallery, London

24 August, Lina Ghotmeh, Serpentine Gallery, London

24 August, Gabriel Massan, Serpentine Gallery, London

24 August, Atta Kwami, Serpentine Gallery, London

24 August, Matthew Collings, Wellington Arch, London

24 August, Summer Show, Skarstedt, London

24 August, Malediction and Prayer, Modern Art, London

24 August, Moki Cherry, ICA, London

24 August, Samson Kambalu, London

24 August, Nira Pereg, Tate Modern, London

24 August, Vivian Sundaram, Tate Modern, London

24 August, Jannis Kounellis, Tate Modern, London

24 August, Rosa Barba, Tate Modern, London

24 August, Rasheed Araeen, Tate Modern, London

24 August, Art and Text, Tate Modern, London

24 August, Lawrence Weiner, Tate Modern, London

24 August, Hilma af Klint and Piet Mondrian, Tate Modern, London

10th August, Erwin Wurm, Yorkshire Sculpture Park

10th August, Lindsey Mendrick, Yorkshire Sculpture Park

10th August, Leonardo Drew, Yorkshire Sculpture Park

10th August, Catriona Robertson, Art House, Wakefield

10th August, The Royal Society of Sculptors presents: The Gilbert Bayes Award, Art House, Wakefield

10th August, Tony Wade, Art House, Wakefield

10th August, The Art of the Potter: Ceramics and Sculpture from 1930 to Now, Hepworth, Wakefield

10th August, If Not Now, When? Generations of Women in Sculpture in Britain, 1960 – 2022, Hepworth, Wakefield

10th August, Hurvin Anderson Curates, Hepworth, Wakefield

10th August, Hurvin Anderson, Hepworth, Wakefield

25, July, Kresiah Mukwazhi: Kirawa, Nottingham Contemporary

25, July, Abbas Zahedi: Holding a Heart in Artifice, Nottingham Contemporary

25, July, Eva Koťátková: How many giraffes are in the air we breathe? , Nottingham Contemporary

25, July, Jade Foster, TG, Nottingham

25, July, Line Nielsen, Beam, Nottingham

25, July, Residents & Members | Video Materials, Primary, Nottingham

25, July, Sam Keogh, Primary, Nottingham

21 July, The Weight of Words, Henry Moore Institute, Leeds

21 July, Egon Altdorf, Henry Moore Institute, Leeds

21 July, Things Left Unsaid: Percy Wyndham Lewis, Iris Barry, Helen Saunders and the story of Praxitella, Leeds Art Gallery

7th July, Patrick Hartigan, Moon Grove, Manchester

7th July, Office of Arte Útil, Whitworth Art Gallery, Manchester

7th July, Standardisation and Deviation The Whitworth Story, Whitworth Art Gallery, Manchester

7th July, (Un)defining Queer, Whitworth Art Gallery, Manchester

7th July, Traces of Displacement, Whitworth Art Gallery, Manchester

7th July, Albrecht Durer, Whitworth Art Gallery, Manchester

7th July, Economics the Blockbuster – It’s not Business as Usual, Whitworth Art Gallery, Manchester

7th July, Tino Sehgal, Whitworth Art Gallery, Manchester

7th July, The Poetics of Water, Castlefield Gallery, Manchester

7th July, Yaoi Kusama, Factory International, Manchester

7th July, What's New?, Manchester Art Gallery

7th July, Friends, Family and Other Animals, Manchester Art Gallery

7th July, Rethinking the Grand Tour, Manchester Art Gallery

7th July, Room to Breathe, Manchester Art Gallery

7th July, Climate Justice, Manchester Art Gallery

7th July, Trading Station, Manchester Art Gallery

7th July, Suzanne Lacy, Manchester Art Gallery

7th July, Out of the Crate, Manchester Art Gallery

11 June, Demo Valley, Peter de Wint building, Lincoln

3 June, Sonia Boyce, Leeds Art Gallery

20 May,Opera North: Race, Representation and Authenticity, 1979–2023, The Stanley & Audrey Burton Gallery, Leeds

20 May, Arcadia for All? Rethinking Landscape Painting Now, The Stanley & Audrey Burton Gallery, Leeds

20 May, Andrew Black, The Tetley, Leeds

20 May, Samra Mayanja, The Tetley, Leeds

20 May, Rebecca Fortnum, Henry Moore Institute, Leeds

20 May, Michael E Smith, Henry Moore Institute, Leeds

19 May, Re:Collection, Lincoln Museum

26 March, Vermeer, Rijksmuseum, Amsterdam

26 March, Rijksmuseum & Slavery, Rijksmuseum, Amsterdam

26 March, Operation Night Watch, Rijksmuseum, Amsterdam

25 March, Choosing Vincent, Van Gogh Museum, Amsterdam

25 March, Titus is Back Home ,Rembrant House, Amsterdam

25 March, The Art of Drawing,Rembrant House, Amsterdam

24 March, Visitant Queens, Project Space Plus, Lincoln

19 March, Charlotte Johnnesson, Nottingham contemporary

19 March, Carolyn Lazzard, Nottingham contemporary

19 March, Rosalind Nasashibi, Nottingham Contemporary

19 March, A Commonplace, Nottingham Contemporary

Helen Dearnley, St Mary le Whigford, Lincoln

18 March, Annie Morrad and Joana Coffee Cerda, Cornhill, Lincoln

13 March, Blubber, General Practice, Lincoln

26 February, Harriet Plewis, General Practice, Lincoln

24 February, Peter Doig, Courtaud Gallery, London

24 February, John Akomfrah, Tate Britain, London

24 February, Haroon Mirza, Lisson Gallery London

24 February, Lines of Empathy, Patrick Heide Gallery, London

24 February, Atiena R. Kilfa, Camden Arts Centre, London

24 February, Mohamed Sami, Camden Arts Centre, London

24 February, Hannah Quinlan and Rosie Hastings, Tate Britain, London

24 February, Aubery Williams, Tate Britain, London

24 February, Lynette Yiadim Boayake, Tate Britain, London

24 February, Ingela Ihrman, Gasworks, London

24 February, group show, Corvi Mora, London

24 February, Nakeya Brown, Greengrassi, London

24 February, Mike Nelson, Hayward Gallery, London

19 February, Horror in the Modernist Block, Ikon Gallery, Birmingham

10th February, Twin Realms, General Practice, Lincoln

27th January, Kai Speed and H.Eaven, General Practice, Lincoln

27th January, David Remfrey, Usher Gallery, Lincoln

20th January, Hollow Earth, Nottingham Contemporary

16th January, Bodies of Practice, Project Space Plus, Lincoln

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handy4home · 18 days

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wallpaperinstallation · 7 months

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findtechnologystudio · 1 month

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lampladi · 2 months

Link

Check out this listing I just added to my Poshmark closet: Anthropologie House of Hackney London Rose Wallpaper.

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simsphonysims · 2 years

Photo

Minimalistic studio apartment

Hi, my fellow simmers! ♡

Today I'm sharing my first ever minimalistic apartment renovation in the Sims 4. This Sims 4 apartment is renovated as a full glass, modern, minimalistic, light, and elegant studio apartment.

It's a perfect apartment for a sim couple who enjoy city living.

San Myshuno (The Sims 4 City living)

930 Medina studios apartment

1 bedroom, 1 bathroom, 1 toilet

This apartment is uploaded as a room and it should be placed in the 930 Medina studios apartment. In order for your windows to change you need to delete the original ones using T.O.O.L. I would recommend you to check Twisted Mexi’s YouTube channel.

There is a lot of YouTube tutorials on how to use it! Pick the one that works for you!

Also, if you want to change my original walls or wallpapers, for everything to stay in the place you need to install the Better BuildBuy mod from the Twisted Mexi and turn on deletion protection as an option in BBB's filter panel. Turn it on while necessary and turn it back off immediately after.

♡ Check it out this speed build: I've built a MINIMALISTIC studio apartment for the 1st time EVER!!! || The Sims 4 Speed build

Hope you like it!

♡ CC needed:

Simsphony’s CC LIST - complete! (Here is the whole list of packs with their links that I’m using in my game)

Felixandre (Grove, Berlin, Paris, Colonial, Florence) - This sets are behind paywall

Felixandre free (Shop the look, London, December 2017, January 2018)

Harrie (Brownstone, Octave, Brutalist, Spoons, Shop the look)

House of Harlix (Baysic, Kichen, Bafroom, Livin'rum, Harluxe, Orjanic)

Pierisim (MCM, Oak house, The office, Rold skov, Calderone)

Charly Pancakes (Lavish, Miscellanea, Munch)

Simsational designs (Vara office, Hudson bathroom, Kitayama dining, Kitayama living, Atwood living)

Myshunosun (Nora, Freja, Luna, Lottie)

Kiwisim 1, Kiwisim 2

Tuds (Beam, Cross, Ema, Shkr)

Clutter cat (Mermaid mansion, Busy bee, Spring spirits, Mama Mia, 222) - This sets are behind paywall

S- imagination

Rustic sims (Sayulita, Lofi pt.1)

Max 20

♡ Tray files: Minimalistic studio apartment

Happy simming! ♡

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simba-bonfamille-lyons · 3 months

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Strawberry Hill – Simber's London Residence

@ber-bonfamille-lyons

Overview:

Strawberry Hill is a 4 bath, 7 bedroom, 3 reception room cottage that dates to the 1400s, but was renovated in the 1700s and again in 2024 before Simber moved in. It is a historical house, so most of the renovations were done with this in mind and has an overall historical vibe to the decor. The pictures tend to swing more modern in style, because it was hard to find the right balance, but I think the dining room photo above and the kitchen give the best feeling of the overall vibe of the house.

It is located in Richmond Upon Thames, an affluent neighborhood just Southwest of London. It is a quick train ride into the city and out of the city as well.

See below for information on individual rooms.

For more notes specifically on the renovation of Strawberry Hill, see this post and this post!

Residents:

Berlioz Bonfamille-Lyons, Simba Bonfamille-Lyons, Ashlee Bonfamille-Lyons (occasionally), Prince David Bowie, Queen Nina Simone, and Turtle.

Strawberry the ghost: Strawberry is the house ghost. She lived in the house before Simber and was a sorceress. She enjoys playing music and whenever parties are thrown.

**note: pictures in the aesthetic are to give an overall #feel of the house, but don’t necessarily indicate the exact furniture/decorations/floorplan. the floorplan, on the other hand is not quite to scale but i did the best i could.

The Receiving Hall

The receiving hall has a big, open, fresh feeling when you first walk in with eye-catching diamond black and white tile. They kept the vintage globe that was in the room. In the winter, there is sometimes even a fire going in the fire place. The floor does get muddy with the dogs and Simba, lol, but it is usually kept pretty tidy.

The Living Room

The living room has a cozy and colorful vibe, with lots of modern art, but also touches of classic pieces. Including Simba's djembe drums and tapestries on the walls. It is painted a nice pale green that is very bright and cheery. The feature is the large, comfy emerald couch.

The Kitchen

Big windows let in lots of light and look out over the back garden, with a door that goes out onto the small stone patio. The cabinets have a classic feel to them and are painted a nice cream. It probably has a fun, funky wallpaper. The cabinets are more modern marble.

There is a large island in the middle of the room that is an actual island and not a table (like in the picture.) There are stools on one side and this is where Simber sits to eat most of their meals when it is just them.

The Dining Room

Painted maroon with cherry wood furnishings, the dining room is more warm and intimate as opposed to the bright and airy living room, receiving hall, and kitchen. The doors to it are usually closed unless they are entertaining.

Back Garden

The back garden is remarkably large, even for the area. It is also surrounded by trees and shrubbery, giving Simber plenty of privacy. They will probably eventually put up a privacy fence as well, mostly for the dogs.

Other Rooms/Notes on Ground Floor:

The house has a nice flow to it, especially between the living room and kitchen. There are also fire places in every room that work and are used to heat the house in the winter. (Even though they also have had central heating installed.)

Simber's Room and Bathroom:

The best room in the house, of course! Their bedroom is painted a soft purple, with dark purple bedsheets on their large bed. There is a little couch and table in one corner of the room, as well as bookshelves (mostly for Ber's use.) There is also a large dog bed in the corner for the dogs. Some of Berlioz’s favorite maps are also framed and hung on the wall.

The Ballroom:

The ballroom is a room in the house that doesn't get used often, except for entertaining, or when Berlioz feels like playing the piano. But, they leave the door open because it gets great light and the dogs like to go in there to nap in the sun. It is painted a lovely baby pink. Unlike in the picture above, it probably does not have portraits hanging up--though, maybe one that Simba brought from his ancestral home.

Instead, it has some fun modern art, probably of people dancing. (Maybe one even painted by Lou?)

The Office:

This is mostly for storage--of all their records: birth certificates, marriage license, etc. Simba uses it sometimes if he has to work from home, but it doesn't get used by him much.

Other Rooms/Notes on First Floor:

There is a spare bedroom on this floor. It doesn't get used very much, because it is right next to Simber's. (And no one wants to stay there, lbr. Though, they're good and keep their hands to themselves when guests are in the house...usually.) But if they are hosting multiple people, it is the overflow.

Ashlee's Room:

For Art. <3

Rooms and Notes on Second Floor:

The second floor, besides Ashlee's room, is all guest rooms. They are always made up and ready for someone to come stay. They each are themed by a place simber loves/has a connection to. One room is Vegas Wedding Chapel themed and features their wedding dashikis framed on the wall. Another is Paris themed. And the final one is Kenyan themed. <3

There is also a brand new bathroom, in a definite cottage core style with one of those old school sinks. It also has a claw foot tub and a standing shower.

Berlioz's Studio:

Berlioz’s study is a warm and cozy space with organized clutter. The walls are painted charcoal grey, so it’s quite dark in there, but it also has a plush, cozy couch you can fall into. There’s a separate recording booth, and then a desk with his computer on it and a mixing board. He’s got several guitars and a keyboard in there as a well. Various records are hung up kinda like art.

The Game Room:

The game room is right at the bottom of the stairs. There is a large TV for playing games, as well as several gaming consoles. (Rich boys life.) There are vintage arcade games and a fully stocked snack bar.

Other Rooms/Notes on the Cellar:

The bathroom for the ground floor is down here. Additionally, it is where the washer/dryer is. Also, it is mostly storage.

#strawberry hill #simber #simber stuff #inspiration

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