A 6,000 square foot 2-story new home complex in Milpitas was designed to facilitate the owners’ large business parties and gatherings, to have rooms for the kids to come back to upstairs, and a ground floor master suite with a huge walk-in closet. Several separate structures make up the dwelling: The main house, 3-car garage with carport for overflow parking, and a separate entertainment and recreation building separated by a courtyard from the main house. The business activities include gatherings in the hundreds of people, so parking was maximized and guests can flow in through a separate gate to party in the courtyard and recreation building. Inside this structure is a wet bar, billiard room, workout gym and home theater. The main house ground floor has formal and informal living rooms, open kitchen and master suite with views and expansive windows in every direction. The house is sited on the crestline of a hill with views of the San Francisco Bay and private golf course below. The indoor-outdoor aspect of the house is further accentuated with outside living and dining areas. High ceilings and expansive glass walls dissolve the sense of enclosure taking advantage of the site’s openness and privacy. The owner’s suite is downstairs in anticipation of aging-in-place, and upstairs there are three bedrooms and four bathrooms plus a sitting area lounge and casual TV loft area. The house sits on one acre at the top of a low hill range overlooking Milpitas. The city was very cognizant of the importance of keeping a low profile at this crestline and required extensive story poles and photo evidence of the proper height and siting so as not to be seen from certain selected vantage points. GENERAL CONTRACTOR: JCD Builders Inc. LANDSCAPE DESIGN: Morf Chang Landscape Architecture / ODS Architecture PHOTOGRAPHS: Paul Dyer Photography

A 6,000 square foot 2-story new home complex in Milpitas was designed to facilitate the owners’ large business parties and gatherings, to have rooms for the kids to come back to upstairs, and a ground floor master suite with a huge walk-in closet. Several separate structures make up the dwelling: The main house, 3-car garage with carport for overflow parking, and a separate entertainment and recreation building separated by a courtyard from the main house. The business activities include gatherings in the hundreds of people, so parking was maximized and guests can flow in through a separate gate to party in the courtyard and recreation building. Inside this structure is a wet bar, billiard room, workout gym and home theater. The main house ground floor has formal and informal living rooms, open kitchen and master suite with views and expansive windows in every direction. The house is sited on the crestline of a hill with views of the San Francisco Bay and private golf course below. The indoor-outdoor aspect of the house is further accentuated with outside living and dining areas. High ceilings and expansive glass walls dissolve the sense of enclosure taking advantage of the site’s openness and privacy. The owner’s suite is downstairs in anticipation of aging-in-place, and upstairs there are three bedrooms and four bathrooms plus a sitting area lounge and casual TV loft area. The house sits on one acre at the top of a low hill range overlooking Milpitas. The city was very cognizant of the importance of keeping a low profile at this crestline and required extensive story poles and photo evidence of the proper height and siting so as not to be seen from certain selected vantage points. GENERAL CONTRACTOR: JCD Builders Inc. LANDSCAPE DESIGN: Morf Chang Landscape Architecture / ODS Architecture PHOTOGRAPHS: Paul Dyer Photography

SeaThru is a new, waterfront, modern home. SeaThru was inspired by the mid-century modern homes from our area, known as the Sarasota School of Architecture. This homes designed to offer more than the standard, ubiquitous rear-yard waterfront outdoor space. A central courtyard offer the residents a respite from the heat that accompanies west sun, and creates a gorgeous intermediate view fro guest staying in the semi-attached guest suite, who can actually SEE THROUGH the main living space and enjoy the bay views. Noble materials such as stone cladding, oak floors, composite wood louver screens and generous amounts of glass lend to a relaxed, warm-contemporary feeling not typically common to these types of homes. Photos by Ryan Gamma Photography

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.

Casey Dunn
Inspiration for a contemporary kitchen remodel in Austin with a farmhouse sink, flat-panel cabinets and white cabinets

Farmhouse white exterior home photo in Austin

This new residence in Lincoln Park is designed for maximum efficiency of room-to-room layouts and floor-to-floor circulation. With an abundance of natural light, the main floor of kitchen-dining-living is set 10’ above street level and cantilevered out over the ground floor entry. This provides a comfortable separation from the busy activities below, while still connecting the home to the neighborhood.

A 6,000 square foot 2-story new home complex in Milpitas was designed to facilitate the owners’ large business parties and gatherings, to have rooms for the kids to come back to upstairs, and a ground floor master suite with a huge walk-in closet. Several separate structures make up the dwelling: The main house, 3-car garage with carport for overflow parking, and a separate entertainment and recreation building separated by a courtyard from the main house. The business activities include gatherings in the hundreds of people, so parking was maximized and guests can flow in through a separate gate to party in the courtyard and recreation building. Inside this structure is a wet bar, billiard room, workout gym and home theater. The main house ground floor has formal and informal living rooms, open kitchen and master suite with views and expansive windows in every direction. The house is sited on the crestline of a hill with views of the San Francisco Bay and private golf course below. The indoor-outdoor aspect of the house is further accentuated with outside living and dining areas. High ceilings and expansive glass walls dissolve the sense of enclosure taking advantage of the site’s openness and privacy. The owner’s suite is downstairs in anticipation of aging-in-place, and upstairs there are three bedrooms and four bathrooms plus a sitting area lounge and casual TV loft area. The house sits on one acre at the top of a low hill range overlooking Milpitas. The city was very cognizant of the importance of keeping a low profile at this crestline and required extensive story poles and photo evidence of the proper height and siting so as not to be seen from certain selected vantage points. GENERAL CONTRACTOR: JCD Builders Inc. LANDSCAPE DESIGN: Morf Chang Landscape Architecture / ODS Architecture PHOTOGRAPHS: Paul Dyer Photography

A design for a busy, active family longing for order and a central place for the family to gather. Optimizing a small space with organization and classic elements has them ready to entertain and welcome family and friends. Custom designed by Hartley and Hill Design All materials and furnishings in this space are available through Hartley and Hill Design. www.hartleyandhilldesign.com 888-639-0639 Neil Landino Photography

Side view of a recently styled family room complete with stone fireplace and wood mantel, medium wood custom built-ins, sofa and chairs, black console table with white table lamps, traverse rod window treatments and exposed beams in Charlotte, NC.

Staging a home for sale or for a major transition is a strange in-between state. You are still living in the space, but you are also preparing it to impress strangers, support showings, and remain functional until the final move-out day. That tension between “home” and “product” is where storage quietly becomes one of your smartest tools. Used well, storage lets you reduce clutter, protect important items, and create the kind of rooms that photograph beautifully and feel calm when buyers walk through the door. A staged move is rarely just about shifting boxes from one address to another. It is about managing timing, presentation, and stress at the same time. When storage is built into the plan from day one, the entire process feels less rushed and more strategic. Rooms open up gradually, essentials stay accessible, and you never feel like you are drowning in half-packed chaos. Understanding how to use storage as a staging partner, not just a place to dump excess stuff, is what turns a messy transition into a controlled, professional-looking move. Why Storage Is the Backbone of Every Staged Move Visual space is emotional space. When every surface is covered, and every corner is full, buyers feel crowded before they have even evaluated the layout. Storage gives you a way to pull back without making drastic decisions about what to keep or donate. Seasonal décor, bulky furniture, duplicate items, archives, and personal collections can be moved out early, so the home reads cleaner and more open while still feeling lived-in. That balance between warmth and simplicity is exactly what good staging tries to achieve. In more complex situations, such as live-work properties or home offices, storage becomes even more important. You may need to keep a business running while also presenting a polished environment to viewers. Partnering with local movers in Boston makes it easier to shift equipment, files, and nonessential pieces into storage in phases, so work can continue while the visible areas of the property stay controlled and presentable. How Staging and Storage Work Together to Control Visual Impact Staging works best when every object in a room has a clear purpose. A sofa frames a conversation. A table suggests gathering. A lamp softens the mood. Everything else that is not essential to that story competes for attention. Storage supports staging by giving you a clean staging bench off-site, where nonessential items can wait without being constantly shuffled between rooms or piled into overstuffed closets. The art lies in deciding what stays and what goes. Family photos, extensive collections, excess seating, and rarely used appliances often move into storage first. What remains should be enough to show scale, comfort, and function without revealing the full weight of daily life. Commercial properties go through a similar filtering process. Extra desks, surplus equipment, outdated signage, and inactive files often move out early so the active workspace feels lean, efficient, and future-ready before a relocation supported by commercial movers takes place. Strategic Timing of Storage before the Actual Move The worst time to think about storage is when boxes are already stacked in the hallway. In a staged move, storage decisions ideally begin as soon as you know the property will be listed or the space will be transitioned. That might be a month or more before the main moving date. Starting early gives you time to sort, label, and prioritize instead of throwing things together in a panic. An early storage phase also helps you test how the home feels with less in it. You may discover that removing a few large pieces transforms a cramped room into an open, inviting space. For commercial spaces, early storage lets operations continue with fewer interruptions. Departments can send nonessential items out in waves. When the main relocation comes, much of the excess is already safely stored, and what remains is easier for a commercial movers Boston team to handle with speed and care. The Emotional Psychology behind Letting Storage Hold Your Belongings Letting belongings leave the house ahead of you can feel unsettling. There is always a quiet fear that once something is out of sight, it will be forgotten, damaged, or harder to reclaim. That is why some people resist using storage even when they know it would make the staging process easier. Acknowledging that emotion instead of dismissing it helps you plan more honestly and avoids last-minute regret. The reality is that good storage is not a black hole; it is a temporary pause. When items are packed thoughtfully, labeled clearly, and placed in an environment you trust, they become easier to manage than when they are tucked into random cupboards or stacked in spare rooms. For many people, living with fewer visible possessions during staging actually reduces tension. The home feels lighter and easier to maintain. Businesses notice the same effect when storage removes outdated equipment and clutter from the floor. The workspace looks more focused, and staff can concentrate on current tasks instead of navigating around accumulated history. Protecting Assets While They Live in Storage Sending belongings into storage is only a good idea if they come back in the same or better condition. That is where quality control matters. Furniture, textiles, electronics, files, and artwork each have different vulnerabilities. Moisture, temperature swings, dust, and rough handling can all damage them in ways that only become obvious later. Choosing the right type of storage and packing accordingly is central to the genius of using storage as part of a staged move rather than as a desperate overflow container. Climate-controlled units, padded wrapping, elevated pallets, careful stacking, and clearly marked boxes all reduce risk. The goal is to handle items fewer times, not more. When storage is integrated into the move plan, belongings can travel directly from the home to storage and later from storage to the new address with minimal extra movement. Many owners coordinate those transfers through a well trusted movers in Boston, so the same team that moves items out early also manages their final delivery, preserving continuity and accountability. How Storage Reduces Risk during Multi-Phase Moves Few staged moves happen in a single clean step. There are often gaps between listing and selling, between selling and closing, between closing and final move-out. If renovations, inspections, or office reconfigurations are involved, the timeline becomes even more layered. Storage absorbs those gaps, so you are not forced to live among towers of boxes or stack equipment in hallways waiting for the next phase. By treating storage as a flexible middle ground, you can move things out gradually while still having access when needed. For example, archived files can go first, followed by seasonal décor, then surplus furniture. As each stage ends, fewer items remain to be shifted on the final date. This phased approach reduces the risk of rushed, late-night packing sessions, careless stacking, and damaged items. It also makes it easier for commercial moving crews to work efficiently because they are handling a manageable volume of goods at each phase rather than everything at once. Using Storage to Maintain Clean Show-Ready Conditions One of the hardest parts of staging is keeping the property consistently show-ready. Every viewing becomes its own small event. Floors need to be cleared, surfaces wiped, and personal items tucked away. When too many belongings remain in the home, each showing takes a heavy amount of effort. Storage cuts that workload dramatically by taking nonessentials completely off the stage. With fewer items to move and hide, maintaining a neutral, inviting look becomes much more realistic. You are not scrambling to stuff things into closets or push items under the bed. Instead, the home sits closer to show condition all the time, and the final touches before a viewing are minimal. In commercial environments, using storage helps maintain a professional appearance for clients and staff, even while the space is being prepared for a larger transition. Active tools and furniture stay in play, while inactive pieces quietly support the future from storage. Storage as a Strategic Tool in Business Relocation Planning For businesses, storage is more than a convenience; it is part of risk management. Office relocations and staged commercial moves have to juggle lease deadlines, equipment deliveries, IT cutovers, and staffing realities. Trying to shift everything in one move often results in downtime, lost files, and strained teams. Storage turns the move into a series of controlled steps instead of a single disruptive jump. Unused furniture, archived documents, and non-critical inventory can be moved into storage weeks ahead of the main relocation. As the new space becomes ready, items can move out of storage and directly into position. This reduces double-handling and keeps the old and new locations from filling with half-unpacked material. A business that coordinates these flows with professional commercial movers in Boston usually experiences smoother transitions, because storage is treated as a working part of the operational plan rather than a leftover problem. The Hidden Cost Benefits of Proper Storage Planning On paper, storage looks like an extra expense. In reality, poorly managed moves cost far more. When everything is rushed into boxes at the last minute, items are damaged, misplaced, or transported multiple times. Extra labor hours, emergency packing supplies, replacement furniture, and extended timelines quickly outweigh the cost of well-used storage. Staging without storage also tends to keep homes and offices crowded longer, which can hurt impressions and, in the case of a sale, influence offers. When storage is integrated from the beginning, you minimize waste. You handle items fewer times, you know where things are, and you avoid paying people to shift the same objects repeatedly. Staged homes that look better often sell faster or draw stronger interest, which helps recover investment on the back end. Businesses benefit from less downtime, safer handling of equipment, and predictable work schedules. Those gains are why many clients prefer partnering with a commercial moving company in Boston that understands storage as a cost-control tool, not just a place to park overflow. Conclusion The true genius of using storage during a staged home move is that it quietly rewrites the rules of transition. Instead of treating space as something that must absorb every box and belonging until the last possible moment, you treat storage as a flexible extension of the home or office. This shift in thinking opens rooms, clears sightlines, and makes every phase of the move more intentional. Staging becomes easier, maintenance becomes lighter, and the stress of living in a half-moved environment drops noticeably. When storage is chosen carefully, used early, and coordinated with the overall moving plan, it protects both physical assets and emotional energy. Buyers and visitors see a calm, collected space. You experience a less chaotic path from “here” to “there.” Whether you are selling a home, repositioning a business, or managing a complex phased relocation, storage can turn a disruptive event into a managed, almost elegant process. For people who want that level of control and care during a staged move, Stairhopper movers have built a strong reputation by treating storage, timing, and transport as parts of one connected strategy. Their team is known for listening closely, planning around real-life constraints, and moving both residential and commercial clients through transitions with calm, steady execution. They approach every project as a partnership, aligning storage use, staging needs, and final delivery so that what matters most arrives safely, on schedule, and with as little disruption as possible. Frequently Asked Questions Q1. When should I arrange storage for a staged home move? Ideally, four to six weeks before listing or transition, so clearing, packing, and staging can happen gradually without rushed decisions or last-minute stress. Q2. Is climate-controlled storage necessary for staged moves? It is highly recommended for wood furniture, electronics, artwork, and documents, since temperature and humidity swings can quietly damage materials over time. Q3. How does storage help keep a home show-ready? By moving nonessential items off-site, daily tidying becomes simpler, and each room can stay closer to a staged condition between viewings or inspections. Q4. Can storage reduce the length of the final moving day? Yes. When many items are moved into storage in advance, the final moving day focuses on essentials, which shortens timelines and reduces physical and mental strain. Q5. Is storage useful for short-term business relocations? Even in short relocations, storage helps prevent overcrowded offices and allows departments to move in phases without interrupting everyday operations. Q6. How do I decide what should go into storage first? Start with rarely used items, seasonal décor, surplus furniture, and archived materials, then work toward pieces that are visually distracting or make rooms feel cramped. Q7. Will using storage make it harder to find things later? Not if packing and labeling are done carefully. Clear categories, room-based labels, and simple inventories make stored items easier to locate than when scattered at home. Q8. Does storage still make sense if my move happens in one day? Yes, because staging and preparation begin well before that day. Storage keeps the home functional and attractive during the weeks leading up to the final move.

Kitchen - transitional kitchen idea in San Francisco

A design for a busy, active family longing for order and a central place for the family to gather. Optimizing a small space with organization and classic elements has them ready to entertain and welcome family and friends. Custom designed by Hartley and Hill Design All materials and furnishings in this space are available through Hartley and Hill Design. www.hartleyandhilldesign.com 888-639-0639 Neil Landino Photography

Klopf Architecture and Outer space Landscape Architects designed a new warm, modern, open, indoor-outdoor home in Los Altos, California. Inspired by mid-century modern homes but looking for something completely new and custom, the owners, a couple with two children, bought an older ranch style home with the intention of replacing it. Created on a grid, the house is designed to be at rest with differentiated spaces for activities; living, playing, cooking, dining and a piano space. The low-sloping gable roof over the great room brings a grand feeling to the space. The clerestory windows at the high sloping roof make the grand space light and airy. Upon entering the house, an open atrium entry in the middle of the house provides light and nature to the great room. The Heath tile wall at the back of the atrium blocks direct view of the rear yard from the entry door for privacy. The bedrooms, bathrooms, play room and the sitting room are under flat wing-like roofs that balance on either side of the low sloping gable roof of the main space. Large sliding glass panels and pocketing glass doors foster openness to the front and back yards. In the front there is a fenced-in play space connected to the play room, creating an indoor-outdoor play space that could change in use over the years. The play room can also be closed off from the great room with a large pocketing door. In the rear, everything opens up to a deck overlooking a pool where the family can come together outdoors. Wood siding travels from exterior to interior, accentuating the indoor-outdoor nature of the house. Where the exterior siding doesn’t come inside, a palette of white oak floors, white walls, walnut cabinetry, and dark window frames ties all the spaces together to create a uniform feeling and flow throughout the house. The custom cabinetry matches the minimal joinery of the rest of the house, a trim-less, minimal appearance. Wood siding was mitered in the corners, including where siding meets the interior drywall. Wall materials were held up off the floor with a minimal reveal. This tight detailing gives a sense of cleanliness to the house. The garage door of the house is completely flush and of the same material as the garage wall, de-emphasizing the garage door and making the street presentation of the house kinder to the neighborhood. The house is akin to a custom, modern-day Eichler home in many ways. Inspired by mid-century modern homes with today’s materials, approaches, standards, and technologies. The goals were to create an indoor-outdoor home that was energy-efficient, light and flexible for young children to grow. This 3,000 square foot, 3 bedroom, 2.5 bathroom new house is located in Los Altos in the heart of the Silicon Valley. Klopf Architecture Project Team: John Klopf, AIA, and Chuang-Ming Liu 
Landscape Architect: Outer space Landscape Architects 
Structural Engineer: ZFA Structural Engineers 
Staging: Da Lusso Design 
Photography ©2018 Mariko Reed 
Location: Los Altos, CA
 Year completed: 2017

Photo credit: Adam Potts Photography
Example of a trendy kitchen design in Sacramento

Home office - contemporary built-in desk home office idea in Birmingham

A design for a busy, active family longing for order and a central place for the family to gather. Optimizing a small space with organization and classic elements has them ready to entertain and welcome family and friends. Custom designed by Hartley and Hill Design All materials and furnishings in this space are available through Hartley and Hill Design. www.hartleyandhilldesign.com 888-639-0639 Neil Landino Photography

The contemporary master bathroom is awash in natural light from the skylit ceiling above to the Mocha Crema limestone flooring below, surrounding the Victoria Albert standalone tub. Artisanal craftsmanship by luxury home builder Nicholson Companies.

Example of a transitional white three-story house exterior design in Philadelphia with a gambrel roof, a shingle roof and a brown roof