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Example of an exterior home design in Charleston

Inspiration for a timeless bathroom remodel in Houston

The nearly 90 year old millwork in this home was refreshed along with the original red oak floors being refinished. Once blocked in by a previous DIY attempt to convert the archway into a closed shelving unit the space was brightened up by refurbishing the archway. Careful paint color considerations went into the design of this living room to coordinate with the 100% handwoven New Zealand wool rug, a reproduction canvas art piece special ordered, and the brickwork of the fireplace. The homeowner chose to retain their existing furniture pieces for this area for the time being.

Stuart Wade, Envision Virtual Tours The second-largest and most developed of Georgia's barrier islands, St. Simons is approximately twelve miles long and nearly three miles wide at its widest stretch (roughly the size of Manhattan Island in New York). The island is located in Glynn County on Georgia's coast and lies east of Brunswick (the seat of Glynn County), south of Little St. Simons Island and the Hampton River, and north of Jekyll Island. The resort community of Sea Island is separated from St. Simons on the east by the Black Banks River. Known for its oak tree canopies and historic landmarks, St. Simons is both a tourist destination and, according to the 2010 U.S. census, home to 12,743 residents. Early History The earliest St. Simons Island Village record of human habitation on the island dates to the Late Archaic Period, about 5,000 to 3,000 years ago. Remnants of shell rings left behind by Native Americans from this era survive on many of the barrier islands, including St. Simons. Centuries later, during the period known by historians as the chiefdom era, the Guale Indians established a chiefdom centered on St. Catherines Island and used St. Simons as their hunting and fishing grounds. By 1500 the Guale had established a permanent village of about 200 people on St. Simons, which they called Guadalquini. Beginning in 1568, the Spanish attempted to create missions along the Georgia coast. Catholic missions were the primary means by which Georgia's indigenous Native American chiefdoms were assimilated into the Spanish colonial system along the northern frontier of greater Spanish Florida. In the 1600s St. Simons became home to two Spanish missions: San Buenaventura de Guadalquini, on the southern tip of the island, and Santo Domingo de Asao (or Asajo), on the northern tip. Located on the inland side of the island were the pagan refugee villages of San Simón, the island's namesake, and Ocotonico. In 1684 pirate raids left the missions and villages largely abandoned. Colonial History As Fort Frederica early as 1670, with Great Britain's establishment of the colony of Carolina and its expansion into Georgia territory, Spanish rule was threatened by the English. The Georgia coast was considered "debatable land" by England and Spain, even though Spain had fully retreated from St. Simons by 1702. Thirty-one years later General James Edward Oglethorpe founded the English settlement of Savannah. In 1736 he established Fort Frederica, named after the heir to the British throne, Frederick Louis, prince of Wales, on the west side of St. Simons Island to protect Savannah and the Carolinas from the Spanish threat. Between 1736 and 1749 Fort Frederica was the hub of British military operations along the Georgia frontier. A town of the same name grew up around the fort and was of great importance to the new colony. By 1740 Frederica's population was 1,000. In 1736 the congregation of what would become Christ Church was organized within Fort Frederica as a mission of the Church of England. Charles Wesley led the first services. In 1742 Britain's decisive victory over Spain in the Battle of Bloody Marsh, during the War of Jenkins' Ear, ended the Spanish threat to the Georgia coast. When the British regimen disbanded in 1749, most of the townspeople relocated to the mainland. Fort Frederica went into decline and, except for a short time of prosperity during the 1760s and 1770s under the leadership of merchant James Spalding, never fully recovered. Today the historic citadel's tabby ruins are maintained by the National Park Service. Plantation Era By the start of the American Revolution (1775-83), Fort Frederica was obsolete, and St. Simons was left largely uninhabited as most of its residents joined the patriot army. Besides hosting a small Georgia naval victory on the Fort Frederica River, providing guns from its famous fort for use at Fort Morris in Sunbury, and serving as an arena for pillaging by privateers and British soldiers, the island played almost no role in the war. Following the war, many of the townspeople, their businesses destroyed, turned to agriculture. The island was transformed into fourteen cotton plantations after acres of live oak trees were cleared for farm land and used for building American warships, including the famous USS Constitution, or "Old Ironsides." Although rice was the predominant crop along the neighboring Altamaha River, St. Simons was known for its production of long-staple cotton, which soon came to be known as Sea Island cotton. Between Ebos Landing the 1780s and the outbreak of the Civil War (1861-65), St. Simons's plantation culture flourished. The saline atmosphere and the availability of cheap slave labor proved an ideal combination for the cultivation of Sea Island cotton. In 1803 a group of Ebo slaves who survived the Middle Passage and arrived on the west side of St. Simons staged a rebellion and drowned themselves. The sacred site is known today as Ebos Landing. One of the largest owners of land and slaves on St. Simons was Pierce Butler, master of Hampton Point Plantation, located on the northern end of the island. By 1793 Butler owned more than 500 slaves, who cultivated 800 acres of cotton on St. Simons and 300 acres of rice on Butler's Island in the Altamaha River delta. Butler's grandson, Pierce Mease Butler, who at the age of sixteen inherited a share of his grandfather's estate in 1826, was responsible for the largest sale of human beings in the history of the United States: in 1859, to restore his squandered fortune, he sold 429 slaves in Savannah for more than $300,000. The British actress and writer Fanny Kemble, whose tumultuous marriage to Pierce ended in divorce in 1849, published an eyewitness account of the evils of slavery on St. Simons in her book Journal of a Residence on a Georgian Plantation in 1838-1839 (1863). Another Retreat Plantation large owner of land and slaves on St. Simons was Major William Page, a friend and employee of Pierce Butler Sr. Before purchasing Retreat Plantation on the southwestern tip of the island in 1804, Page managed the Hampton plantation and Butler's Island. Upon Page's death in 1827, Thomas Butler King inherited the land together with his wife, Page's daughter, Anna Matilda Page King. King expanded his father-in-law's planting empire on St. Simons as well as on the mainland, and by 1835 Retreat Plantation alone was home to as many as 355 slaves. The center of life during the island's plantation era was Christ Church, Frederica. Organized in 1807 by a group of island planters, the Episcopal church is the second oldest in the Diocese of Georgia. Embargoes imposed by the War of 1812 (1812-15) prevented the parishioners from building a church structure, so they worshiped in the home of John Beck, which stood on the site of Oglethorpe's only St. Simons residence, Orange Hall. The first Christ Church building, finished on the present site in 1820, was ruined by occupying Union troops during the Civil War. In 1884 the Reverend Anson Dodge Jr. rebuilt the church as a memorial to his first wife, Ellen. The cruciform building with a trussed gothic roof and stained-glass windows remains active today as Christ Church. Civil War and Beyond The St. Simons Island Lighthouse outbreak of the Civil War in 1861 put a sudden end to St. Simons's lucrative plantation era. In January of that year, Confederate troops were stationed at the south end of the island to guard the entrance to Brunswick Harbor. Slaves from Retreat Plantation, owned by Thomas Butler King, built earthworks and batteries. Plantation residents were scattered—the men joined the Confederate army and their families moved to the mainland. Cannon fire was heard on the island in December 1861, and Confederate troops retreated in February 1862, after dynamiting the lighthouse to keep its beacon from aiding Union troops. Soon thereafter, Union troops occupied the island, which was used as a camp for freed slaves. By August 1862 more than 500 former slaves lived on St. Simons, including Susie King Taylor, who organized a school for freed slave children. But in November the ex-slaves were taken to Hilton Head, South Carolina, and Fernandina, Florida, leaving the island abandoned. After the Civil War the island never returned to its status as an agricultural community. The plantations lay dormant because there were no slaves to work the fields. After Union general William T. Sherman's January 1865 Special Field Order No. 15 —a demand that former plantations be divided and distributed to former slaves—was overturned by U.S. president Andrew Johnson less than a year later, freedmen and women were forced to work as sharecroppers on the small farms that dotted the land previously occupied by the sprawling plantations. By St. Simons Lumber Mills 1870 real economic recovery began with the reestablishment of the timber industry. Norman Dodge and Titus G. Meigs of New York set up lumber mill operations at Gascoigne Bluff, formerly Hamilton Plantation. The lumber mills provided welcome employment for both blacks and whites and also provided mail and passenger boats to the mainland. Such water traffic, together with the construction of a new lighthouse in 1872, designed by architect Charles B. Cluskey, marked the beginning of St. Simons's tourism industry. The keeper of the lighthouse created a small amusement park, which drew many visitors, as did the seemingly miraculous light that traveled from the top of the lighthouse tower to the bottom. The island became a summer retreat for families from the mainland, particularly from Baxley, Brunswick, and Waycross. The island's resort industry was thriving by the 1880s. Beachfront structures, such as a new pier and grand hotel, were built on the southeastern end of the island and could be accessed by ferry. Around this time wealthy northerners began vacationing on the island. Twentieth Century The St. Simons Island Pier and Village opening in 1924 of the Brunswick–St. Simons Highway, today known as the Torras Causeway, was a milestone in the development of resorts in the area. St. Simons's beaches were now easily accessible to locals and tourists alike. More than 5,000 automobiles took the short drive from Brunswick to St. Simons via the causeway on its opening day, paving the way for convenient residential and resort development. In 1926 automotive pioneer Howard Coffin of Detroit, Michigan, bought large tracts of land on St. Simons, including the former Retreat Plantation, and constructed a golf course, yacht club, paved roads, and a residential subdivision. Although the causeway had brought large numbers of summer people to the island, St. Simons remained a small community with only a few hundred permanent residents until the 1940s. The St. Simons Island outbreak of World War II (1941-45) brought more visitors and residents to St. Simons. Troops stationed at Jacksonville, Florida; Savannah; and nearby Camp Stewart took weekend vacations on the island, and a new naval air base and radar school became home to even more officers and soldiers. The increased wartime population brought the island its first public school. With a major shipyard for the production of Liberty ships in nearby Brunswick, the waters of St. Simons became active with German U-boats. In April 1942, just off the coast, the Texas Company oil tanker S. S. Oklahoma and the S. S. Esso Baton Rouge were torpedoed by the Germans, bringing the war very close to home for island residents. Due in large part to the military's improvement of the island's infrastructure during the war, development on the island boomed in the 1950s and 1960s. More permanent homes and subdivisions were built, and the island was no longer just a summer resort but also a thriving community. In 1950 the Methodist conference and retreat center Epworth by the Sea opened on Gascoigne Bluff. In 1961 novelist Eugenia Price visited St. Simons and began work on her first works of fiction, known as the St. Simons Trilogy. Inspired by real events on the island, Price's trilogy renewed interest in the history of Georgia's coast, and the novelist herself relocated to the island in 1965 and lived there for thirty-one years. St. Simons is also home to contemporary Georgia writer Tina McElroy Ansa. Since Epworth by the Sea 1980 St. Simons's population has doubled. The island's continued status as a vacation destination and its ongoing development boom have put historic landmarks and natural areas at risk. While such landmarks as the Fort Frederica ruins and the Battle of Bloody Marsh site are preserved and maintained by the National Park Service, and while the historic lighthouse is maintained by the Coastal Georgia Historical Society, historic Ebos Landing has been taken over by a sewage treatment plant. Several coastal organizations have formed in recent years to save natural areas on the island. The St. Simons Land Trust, for example, has received donations of large tracts of land and plans to protect property in the island's three traditional African American neighborhoods. Despite its rapid growth and development, St. Simons remains one of the most beautiful and important islands on the Georgia coast.

LOS ANGELES, CA / SINGLE FAMILY RESIDENTIAL The commission for this 4,300-square-foot residence came with significant challenges for the architects – a house had once existed on the lot but had burned down and the attempt to replace the house had stalled, leading to an abatement order and a lapse of permits. Our first challenge was to revive the lapsed construction permit by proposing to “modify” the existing structure. The practical effect this had was to fix the footprint of the new home to the existing structure’s plan outline. Having thereby inherited the large, dense block of the original house, the new strategy became one of substituting selective areas of indoor space for outdoor courtyard. This strategy of trading indoor space for outdoor courtyard allowed an erosion of the formerly monolithic structure into a series of distinct volumetric elements, and further suggested that the architectural pieces could cohere as a “village.” The main level is further eroded by large, glazed planes, merging indoor with outdoor, and virtually stretching the landscape across interior space. Moving the detached garage from the rear yard to beneath the new living space allowed for a 75-meter lap pool and a shaded olive garden. The gardens include built-in seating, extensive use of ornamental grasses and Zen-like interior courtyards. A material palette of fossilized stone, bonderized-galvanized metal, and natural Douglas fir allows for the warmth desired by the wife, while providing the modernity required by the husband. Programmatically, her music room borrows from the calm and protected olive court in the rear, while his office becomes a pavilion set in the landscape, which both addresses the street and acts as a sheltering monument for the terraced entry garden.

The owners knew they wanted to create spaces in their backyard that be useful and encourage them to be outside more often, but because their backyard space is so massive the scope and size of the project was initially difficult to define. After a few initial rounds of design, the project ended up creating a series of spaces near their house and pool rather than try to utilize the entirety of their yard. The existing pool was situated in proximity (and almost entirely aligned) to a detached garage. The garage was perfectly useful for parking cars, but nothing special Architecturally and certainly not functionally associated with the pool. The cabana would have been too far away from the main home if it were located on the opposite side of pool and would have been too large and visually obtrusive if arrange to the side of the pool. The design of the cabana was conceived as an addition to the garage that more appropriately capped the end of the pool with an openable space that could be used for cooking, lounging in the shade poolside, or playing games in with the space itself. There wasn’t enough space between the garage and pool to contain all the uses they wanted, so an additional shade structure with a dining space and a fire pit with build-in benches was included to the project, located near their existing living room. Board formed concrete walls were used as a common element between the shade structure and the cabana. The base used as a planter wall and back to the bench in the shade structure is maintained in the base of cabana to develop aesthetic cohesion between the two spaces. The cabana engages a build in bar to a series of folding glass walls for compact efficient use. The interior of the cabana had to maintain the existing garage roofline for structural stability, but the interior is vaulted to the highest extent possible. The interior of the vault is lined with wood to frame the space for visual clarity enhancing transparency. A goal of the project was to make a vast backyard more useful at a walkable scale by creating outdoor spaces close to each other and the existing living areas in and around the home. Rather than attempt to encapsulate the entire backyard it creates density around the edges that look onto the backyard. Because the spaces engage with the existing conditions the space has become a much-used outdoor living space. (Photos of After Construction Conditions by Sara Essex Bradley)

The project consists of three primary additions, one a workshop and garage, the second a basement expansion that juts out over the lake, and a third, which expands the existing living areas with a wall of glass. This third addition, originally not part of the project, was a recommendation by Architecture Office well received by the client because of how it transformed the existing living areas. The existing architecture consists of a historic neo-classical house with a less purist addition that attempts to mimic the original. We took the approach of contrasting the existing to avoid having two additions lacking the craft and integrity of the original. This contrast is a welcoming change to previously dark interiors. The concept opens up opportunities for capturing lake views, creating modern living areas that flow from one to the next. The rear garage and second floor workshop compliment the owners entrepreneurial spirit, a person who enjoys the act of a making. The form is simple but clearly delineates itself form the brick construction with black metal siding and a glass walkway connecting the two. The structure draws from old factory buildings that gather daylight from above, synthesized through a milky polycarbonate portion of roof. The basement addition expands on an existing subterranean space used for storage and utilities. This room is converted into a living space with sleeping quarters, wet bar, and restroom facilities. This living room is a mini oasis from the rest of the house with views secluded to the water and sky. The openness of the balcony expand the view in all directions, with the sun blocked under a cantilevered shade cover.

The project consists of three primary additions, one a workshop and garage, the second a basement expansion that juts out over the lake, and a third, which expands the existing living areas with a wall of glass. This third addition, originally not part of the project, was a recommendation by Architecture Office well received by the client because of how it transformed the existing living areas. The existing architecture consists of a historic neo-classical house with a less purist addition that attempts to mimic the original. We took the approach of contrasting the existing to avoid having two additions lacking the craft and integrity of the original. This contrast is a welcoming change to previously dark interiors. The concept opens up opportunities for capturing lake views, creating modern living areas that flow from one to the next. The rear garage and second floor workshop compliment the owners entrepreneurial spirit, a person who enjoys the act of a making. The form is simple but clearly delineates itself form the brick construction with black metal siding and a glass walkway connecting the two. The structure draws from old factory buildings that gather daylight from above, synthesized through a milky polycarbonate portion of roof. The basement addition expands on an existing subterranean space used for storage and utilities. This room is converted into a living space with sleeping quarters, wet bar, and restroom facilities. This living room is a mini oasis from the rest of the house with views secluded to the water and sky. The openness of the balcony expand the view in all directions, with the sun blocked under a cantilevered shade cover.

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A Young couple appartment in Trakai became black and white loft. The greatest attention we paid to functional multipurpose spaces and architectural context. After new apartment planning was made, second level and roof windows were built. We attempted to create a cozy, artistic and romantic atmosphere including industrial design accents. It was left a lot of free space for clients future needs and self realization. Photos: www.andstep.com

The Brooke Residence ‘Addi- tion by Subtraction’ remodeling project was recognized with numerous regional and national awards and was selected for Fine Homebuilding’s Annual Issue on Houses. This 1920’s Craftsman Bungalow had been poorly modified in the 70’s in an attempt to address poor energy performance with a scabbed on solarium. The design solution removed the solarium and completely reimagined the floor plan: The kitchen was relocated to the rear; the stairway was relocated to enhance function, and a better connection to the family room was created.

Marble is known for its premium quality, toughness and aesthetic, making it a very popular choice for bathroom countertops, such as this one at a house in Northampton. However just because it’s tough doesn’t mean that Marble can be cleaned with the usual household cleaners. Like all natural stone, Marble is acid sensitive and unsuitable products can have a very damaging effect on its appearance. In this situation, the property owner had used a limescale remover to remove some unsightly marks from the countertop. Unfortunately, the product was acid-based and instead of making an improvement it just made it worse and caused severe etching. The first photo above shows the limescale marks from where toiletries have been placed on the side whilst wet. Since Northampton is a hard water area, the limescale deposits over time caused these marks to appear. The only way to effectively remove the Limestone deposits – while at the same time rectifying the damaged caused by the botched cleaning attempt – was to use a system of hand-held diamond encrusted pads and hand help blocks of various grits to cut back the stone and re-polish it, a process we call burnishing. Before officially beginning the burnishing process, I ran a few tests to determine the type of pad I would need to use to achieve the best results. I found that, in most areas, I would need to use the Tile Doctor 400 Grit (Coarse) pad to resurface the tile and remove the damaged layer of stone, but in some areas where the etching was worse, I would need to use the 200 Grit (Very Coarse) pad. After burnishing the affected areas with the Coarse and Very Coarse grit pads, I started to incrementally polish the stone to achieve a high-quality shine, working my up through the Medium, Fine and Very grit pads. No chemicals were used during this process – only water for lubrication, combined with the six-inch diamond encrusted burnishing pads fitted to a hand-held buffing machine. The final part of the restoration was to seal the stone to maintain a long-lasting, deep polished appearance. To do this, I used Tile Doctor Shine Powder, which is a crystallising sealer in powder form. The powder is applied directly and combined with water, before being worked into the stone to seal it. The customer was very happy with the results and the level of shine achieved. I gave the customer a complimentary bottle of Tile Doctor Stone Soap, which is our aftercare cleaner for polished natural stone, along with instructions on periodic maintenance to help maintain the finish we had achieved for as long as possible. Phil Vissian Northamptonshire Tile Doctor

After an unsuccessful attempt at finding the original brick for this home, we were excited to present Eldorado Stone to our homeowners for its very natural look, high quality, and reputation. We chose the Cambria Cliffstone for its elegance and rich color tones. The residents wanted to expand the kitchen into a large open space where they could entertain family and friends, so the design goal was to create a comfortable outdoor space that complimented the home’s existing exterior. Additionally, large windows were installed in an effort to bring the outdoors in as well as compliment their landscaping. Eldorado Stone proved to be a perfect fit for the exterior of this addition, as it blends in with the greenery around the home in addition to the neighborhood as a whole. Eldorado Stone Profile Featured: Cambria Cliffstone installed with a Standard Grout Eldorado Stone Profile Featured: Cambria Cliffstone installed with a Standard Grout Architect: Brock Eustice Builder: RJK Construction, Inc. Website: www.rjkconstructioninc.com Designer: Designs by Skill, LLC Website: www.designsbyskill.com Mason: Ricky Webster Phone: 540-446-3661 Photography: Greg Hadley Website:www.greghadleyphotography.com

The Churchill corner electric fireplace inspired by MagikFlame is the ideal unit for going into the corner of your home or condo/apartment where two walls come together. Discover our electric fireplaces: https://magikflame.com/product-category/buy-electric-fireplaces/ The triangular shape goes perfectly into the 90 degree angle between your walls, and a TV can be placed above. Clean, beautiful styling is perfect for modern and traditional homes. Built in America with our patented Holographic projection technology. Also includes a heater and can be operated with an iPhone app or built in touch screen. Includes a 5,200 BTU heater to warm 800 sq/ft. Dimensions: 52"W x 42"T x 40.5"D At MagikFlame, our goal is to create the most realistic electric fireplaces ever made. We also believe in improving quality of life by providing people with the best possible cozy and relaxing environment every night. Using our patented holoflame technology, we've innovated the electric fireplace to bring you effortless cozy with friends and family. Because quality family time and relaxation after a hard workday or activity is life changing. Experience 30 Flames. Built-In Heater. Sound. Subscribe to our channel for tips on how to enhance your interior design, accessories, and focal points. Learn more about fireplace technology and the cozy, relaxation, and family atmosphere improvements to your home. We have everything you need to guide you on a journey to forge the American home and better living atmosphere. Shop With Us Online: https://magikflame.com Like MagikFlame on Facebook: https://www.facebook.com/MagikFlame Follow MagikFlame on Instagram: https://www.instagram.com/magikflamefireplaces/ Tweet With Us: https://twitter.com/MagikFlameFire Pin With Us: https://www.pinterest.com/MagikFlameElectricFireplaces We attempt to be as accurate as possible. However, MagikFlame cannot guarantee that product descriptions, images or other content of products or services are 100% accurate, complete, reliable, current, or error-free. Some items may appear slightly larger or smaller than the actual size due to screen defaults and photography techniques. This also includes any momentary stutters or artifacts in frames of the flame video loop. Other items may be represented at a larger than the actual size in order to clearly show details, or smaller than the actual size to show the entire item.

At the end of 2012, Danberry came across what was then a rundown home in the Casco Point neighborhood of Orono, in desperate need of some design help. A failed attempt by the previous owner to remodel it as an investment had left it abandoned for years. But when the Danberry’s got a glimpse of this diamond in the rough, they knew it had potential. The project included a completely remodeled kitchen, bathroom, basement and living room.

The Brooke Residence ‘Addi- tion by Subtraction’ remodeling project was recognized with numerous regional and national awards and was selected for Fine Homebuilding’s Annual Issue on Houses. This 1920’s Craftsman Bungalow had been poorly modified in the 70’s in an attempt to address poor energy performance with a scabbed on solarium. The design solution removed the solarium and completely reimagined the floor plan: The kitchen was relocated to the rear; the stairway was relocated to enhance function, and a better connection to the family room was created.

This house is one of 34 post WWII Mid Century Modern homes build in a development in Princeton. This house includes an addition of what used to be a dance studio and master bedroom suite, designed by Michael Graves in the late 1970's. Also at that time the original kitchen was replaced by Graves with white plastic laminate faced cabinets. Over the years, this kitchen started delaminating, which inspired the current owner to renovate the kitchen. The owner has a collection of Biedermeier furniture and decided to use birdseye maple and cherry stained cabinets for the new kitchen in an attempt to tie the house together.

The project consists of three primary additions, one a workshop and garage, the second a basement expansion that juts out over the lake, and a third, which expands the existing living areas with a wall of glass. This third addition, originally not part of the project, was a recommendation by Architecture Office well received by the client because of how it transformed the existing living areas. The existing architecture consists of a historic neo-classical house with a less purist addition that attempts to mimic the original. We took the approach of contrasting the existing to avoid having two additions lacking the craft and integrity of the original. This contrast is a welcoming change to previously dark interiors. The concept opens up opportunities for capturing lake views, creating modern living areas that flow from one to the next. The rear garage and second floor workshop compliment the owners entrepreneurial spirit, a person who enjoys the act of a making. The form is simple but clearly delineates itself form the brick construction with black metal siding and a glass walkway connecting the two. The structure draws from old factory buildings that gather daylight from above, synthesized through a milky polycarbonate portion of roof. The basement addition expands on an existing subterranean space used for storage and utilities. This room is converted into a living space with sleeping quarters, wet bar, and restroom facilities. This living room is a mini oasis from the rest of the house with views secluded to the water and sky. The openness of the balcony expand the view in all directions, with the sun blocked under a cantilevered shade cover.

Modern Farmhouse set against the hills of San Luis Obispo. Industrial and simple in form, and accented with warm cumaru siding. Glass hallways connect the public and private spaces, while drawing the beautiful Live Oak landscape into the interior spaces. Interior spaces are open with a minimalist approach to detailing, to attempt to maintain focus on the unique landscapes beyond.