This is New Nanoglass Created by China Marmoglass Co.,Limited. New Manoglass - Italy Serpeggiante Marble You can contact us for stock slab and price imediately ! Slab Sizes: 240/300x120/134/140/160/180cm Tile Size: 300x600x12mm 12"x24"x1/2" 600x600x12mm 24"x24"x1/2" 300x600x18mm 12"x24"x3/4" 600x600x18mm 24"x24"x3/4" 800x800x18mm 32"x32"x3/4" 900x900x18mm 36"x36"x3/4" 1000x1000x18mm 40"x40"x3/4" 1200x1200x18mm 48"x48"x3/4" 2460x1240x18mm 96"x48"x3/4" 2860x1340x18mm 110"x52"x3/4" 3060x1340x18mm 120"x52"x3/4" Advantages: 1. Compact structure: Molecular microcrystalline particle size of the super nanoglass reaches the nanometer level. Fibrous crystal molecular structure makes it excellent material for processing such as round cutting, drilling, carving, 45°cutting and other edge design processing to users’ requirement. 2. Easy-to-cut: Cutting can be done at the construction site by the bridge cutting machine and portable cutting machine. 3. High hardness: The hardness Mohs of the surface reaches at Level 4. High compressive strength, high tensile strength. No white off, no deformation and no crack even it is exposed to the sunlight. The special feature makes it widely used in the floor laying. 5. Low expansion coefficient: Super nanoglass can bear the temperature range from -18C to 1000C with no influence on the structure, color and shape. 6. Corrosion resistance and acid & alkali resistance, and color will not fade off and strength stays same after a long period of time. 7. No water and dirt absorption. It is easy and convenient to be cleaned. 8. Non-radioactive, environmental friendly and reusable. Application: Used in the decorative building as the floor, exterior and interior wall, column, kitchen countertop, countertops, tabletop, stair railing, skirting, hospital laboratory work bench, various handicrafts and others. Finish Options: Polished, Honed, Sandblast, Bushharmered Packing: Packed in fumigated strong wooden bundles, reinforced with metal strap outside Item Code: GS001, SN002, Nano2011, Nano3, Marmo2015 Thickness tolerance: +/-1mm All products checked by experienced QC pieces by pieces and then pack Our Advantage: 1) Factory Pirce, Directly shipping 2) High Quality with Well Technology on Marmoglass E Nanoglass for more than 10 Years 3) Well equipped with complete facilities and a wealth of experienced & talented staffs 4) High Quality, competitive prices, fast delivery time and good service are our foremost concern. 5) Have Project Experience for super market, Villa, Hotel, Hostipal, Temple and so on. You are welcome to contact us any time for further information. We hope for any opportunity to work with you.

This is New Nanoglass Created by China Marmoglass Co.,Limited. New Manoglass - Italy Serpeggiante Marble You can contact us for stock slab and price imediately ! Slab Sizes: 240/300x120/134/140/160/180cm Tile Size: 300x600x12mm 12"x24"x1/2" 600x600x12mm 24"x24"x1/2" 300x600x18mm 12"x24"x3/4" 600x600x18mm 24"x24"x3/4" 800x800x18mm 32"x32"x3/4" 900x900x18mm 36"x36"x3/4" 1000x1000x18mm 40"x40"x3/4" 1200x1200x18mm 48"x48"x3/4" 2460x1240x18mm 96"x48"x3/4" 2860x1340x18mm 110"x52"x3/4" 3060x1340x18mm 120"x52"x3/4" Advantages: 1. Compact structure: Molecular microcrystalline particle size of the super nanoglass reaches the nanometer level. Fibrous crystal molecular structure makes it excellent material for processing such as round cutting, drilling, carving, 45°cutting and other edge design processing to users’ requirement. 2. Easy-to-cut: Cutting can be done at the construction site by the bridge cutting machine and portable cutting machine. 3. High hardness: The hardness Mohs of the surface reaches at Level 4. High compressive strength, high tensile strength. No white off, no deformation and no crack even it is exposed to the sunlight. The special feature makes it widely used in the floor laying. 5. Low expansion coefficient: Super nanoglass can bear the temperature range from -18C to 1000C with no influence on the structure, color and shape. 6. Corrosion resistance and acid & alkali resistance, and color will not fade off and strength stays same after a long period of time. 7. No water and dirt absorption. It is easy and convenient to be cleaned. 8. Non-radioactive, environmental friendly and reusable. Application: Used in the decorative building as the floor, exterior and interior wall, column, kitchen countertop, countertops, tabletop, stair railing, skirting, hospital laboratory work bench, various handicrafts and others. Finish Options: Polished, Honed, Sandblast, Bushharmered Packing: Packed in fumigated strong wooden bundles, reinforced with metal strap outside Item Code: GS001, SN002, Nano2011, Nano3, Marmo2015 Thickness tolerance: +/-1mm All products checked by experienced QC pieces by pieces and then pack Our Advantage: 1) Factory Pirce, Directly shipping 2) High Quality with Well Technology on Marmoglass E Nanoglass for more than 10 Years 3) Well equipped with complete facilities and a wealth of experienced & talented staffs 4) High Quality, competitive prices, fast delivery time and good service are our foremost concern. 5) Have Project Experience for super market, Villa, Hotel, Hostipal, Temple and so on. You are welcome to contact us any time for further information. We hope for any opportunity to work with you.

Designed + Built by Cascade West Development Inc. Website: https://goo.gl/XHm7Un Facebook: https://goo.gl/MCD2U1 Cabinets by Northwood Cabinets - https://goo.gl/tkQPFk Paint by Sherwin Williams - https://goo.gl/nb9e74 Windows by Milgard Window + Door - https://goo.gl/fYU68l Style Line Series - https://goo.gl/ISdDZL Supplied by TroyCo - https://goo.gl/wihgo9 Lighting by Destination Lighting - https://goo.gl/mA8XYX Original Plans by Alan Mascord Design Associates - https://goo.gl/Fg3nFk Photographed by Exposio HDR+ Website: https://goo.gl/Cbm8Ya Facebook: https://goo.gl/SpSvyo

Our Modern Aspen ave. project was a home that grew out of our clients desire to have a modern home in the heart of the art filled, mountain-biking-community of Fruita, Colorado. Our original concept was to renovate an older existing home to be able to better function as a 2-3 bedroom home for her friends and family to come stay, ride bikes, play and enjoy downtown Fruita. Due to a combination of the poor quality of the existing structure, an almost non existent foundation and discovered geotechnical site conditions, the project became a new construction dream getaway. Design Concept: In developing this project our client desired, a modern, open floor plan home filled with natural light and a durable maintenance free exterior. From this program we massed the home into 3 distinctly separate zones contained within 3 simple modern forms; a transitional entry space, the public living spaces and the private bedroom spaces. These zones of the home were each to become visible from the exterior through the use of 3 separate durable exterior material claddings of wood, stucco and steel respectively. Spaces: The entry of the home, clad in wood, was created as a transitional space between the exterior and the living spaces by creating a feeling of compression before entering into the voluminous, light filled, living area. The large volume, tall windows and natural light of the living area allows for light and views to the exterior in all directions. The custom kitchen cabinets and cabinetry storage are “tucked in” under the stairs and loft allowing for a sense of refuge while in the “command center” of the home. In this design every inch of usable space was thoughtfully incorporated into its function. The private bedroom zone of the home has bedrooms stacked on 2 levels with the master suite on the main level and guest bedrooms and guest bath above. These Bedrooms adjoin a loft area that flows onto a covered and well shaded 2nd level deck. The loft and 2nd level deck allows for a separate living space to relax and gather with family and friends. Garage and Exterior landscaping: This project also considered our clients' need for storage and love for travel by creating storage space for an Airstream camper in the oversized 2 car garage at the back of the property. The design of the garage was flat roofed in order to preserve views and light on the north side of the home, while also allowing room for a photovoltaic (PV) solar system to offset electrical needs. The “lawn” and landscaping of the home were designed as a part of a no maintenance exterior requirement. Although wanting to be maintenance as maintenance free as possible on the exterior, her love for dogs required the home to have some form of grass, so we opted for a K-9 Grass turf system that is designed for pets and allows the turf to be rinsed into the soil through the use of a typical sprinkler system. Energy Efficiency: As in all of our homes, we design and built this project with increased energy efficiency standards in mind. Our standards begin below grade by designing our foundations with insulated concrete forms (ICF) for all of our exterior foundation walls, providing the below grade walls with an R value of 23. As a standard, we also install a passive radon system and a heat recovery ventilator to efficiently mitigate the indoor air quality within all of the homes we build. Above grade, the exterior walls on this home are built with 2x6 construction and sheathed with the Zip R-3 system allowing for an air and weather tight, R-27 exterior wall assembly. The flat roofs of the home are insulated with a hybrid closed cell foam and batt insulation system creating an affordable R-45 insulation. These roofs are covered with a reflective white, TPO membrane roof to reflect the excess heat during the hot summer months. The pitched roofs of the home are vented insulated with a breathable R-50 blown fiberglass insulation.

**Spatial Composition & Architectural Volume** This is an exercise in the architecture of the alcove — a vanity niche carved from a continuous run of full-height oak joinery, its recess reading less as furniture placed against a wall than as volume subtracted from mass. The composition is governed by a strict orthogonal discipline: the reveal-jointed cabinet stiles establish a vertical rhythm that the photographer's oblique sightline compresses into layered planes, while the cantilevered vanity slab introduces a single decisive horizontal that arrests the vertical drift. The niche is capped by a soffited overhead panel, giving the recess a deliberate lintel and lending the aperture the proportional gravitas of a doorway. Depth is orchestrated through nested framing: the pocketed sliding door in the foreground crops the scene, the joinery reveal frames the alcove, and the full-height mirror frames a reflected secondary volume — a window, a Roman shade, a second bloom — extending the room's apparent envelope well beyond its physical bounds. To the right, the plane pivots into a marble-clad wall and a deeply reveal-set casement whose broad oak jamb and stool are detailed with the same tectonic logic as the millwork, unifying opening and cabinetry into a single architectural grammar. Above, a recessed perimeter shadow-gap ceiling floats the plaster plane free of the wall, dematerializing the junction and heightening the sense of contained, cabin-like intimacy. **Materiality, Color & Texture** The palette is narrow, warm, and rigorously controlled — a study in tonal adjacency rather than contrast. Rift-sawn white oak dominates, its cathedral and straight-grain figure deliberately book-matched and run vertically to accentuate height, finished in a matte, low-sheen sealer that reads as raw yet refined; note the subtle chromatic modulation between the honeyed door leaves, the slightly cooler carcass panels, and the pale, almost bleached drawer fronts, a gradient that provides articulation without resorting to hue shift. Against this, the Calacatta- or Carrara-type marble wainscot introduces a cool, silvery counterpoint, its soft grey veining offering the only real graphic incident in the field. The mirror surround — a hand-cast, rope-twist metal frame in polished nickel or silvered bronze — supplies a jewel-like glint and a moment of organic, almost baroque relief against the sobriety of the flat panels, echoed in the pair of églomisé or reverse-painted glass insets set flush into the alcove wall like recessed cabochons. Textiles are handled with restraint: a raw-silk or textured linen Roman shade in a tobacco-taupe stacks in generous, softly rumpled folds, while the swivel chair is upholstered in a taut, sueded greige leather whose sculpted, scrolled back offers the room's most sensuous curve. The tan saddle-leather tray and the milk-glazed ceramic bud vase complete a haptic register that moves from cool stone to warm hide to matte ceramic to silken wood. **Lighting, Atmosphere & Style Profile** Illumination is almost entirely daylit and side-cast, with the diffused southern wash filtered through the linen shade to produce a luminous, shadowless bloom across the marble and a raking, grain-revealing light along the oak. The design conspicuously withholds decorative fixtures; instead, light is architecturalized — the églomisé panels flanking the mirror function as concealed backlit apertures, glowing softly to provide flattering vertical face-lighting at the vanity, while the perimeter ceiling reveal implies a cove source for ambient wash. This suppression of visible hardware is central to the atmosphere: serene, hushed, and hotel-like in its precision, yet domesticated by the flowers and the intimate scale of the nook. Stylistically the project synthesizes into a refined **Soft Minimalism with a couture-modernist inflection** — the reductive planarity and reveal-detailing of contemporary minimalism warmed by mid-century Scandinavian wood craft and elevated by discreet Art Deco–adjacent flourishes in the metalwork and glass. It is a vocabulary of quiet luxury, where value is signaled not through ornament but through the tolerances of the joinery, the calibration of tone-on-tone, and the confidence to let a single ranunculus carry the room's only note of chroma.

**I. Spatial Composition & Architectural Volume** This vignette operates as a masterclass in the choreography of compressed urban space, deploying a classic enfilade strategy to extract depth from a modest footprint. The composition is organized around a cased opening — flanked by heavy, mitered pilaster-style jambs and a substantial crown-capped header — that frames the kitchen beyond like a proscenium, establishing a telescoping sightline from the foreground banquette nook through to the range wall and its marble backsplash. The immediate volume is a canted, faceted room; the angled corner walls and the polygonal ceiling perimeter generate a subtle rotational geometry that is echoed, with deliberate rhyme, in the octagonal tabletop and its faceted plinth base. Architectural discipline is supplied by comprehensive millwork: recessed applied-molding wall panels calibrated to the wall heights, a built-in bibliothèque with adjustable shelving and integrated media niche on the left, and a bench base detailed as cabinetry with a plinth and reveal, so the seating reads as architecture rather than furniture. The crowning gesture is a stone-clad soffit and cove above the multi-part cornice, which visually lifts the ceiling plane and dissolves the corner conditions of the canted plan into a continuous, luminous band. **II. Materiality, Color & Texture** The palette is a study in low-chroma tonal layering, structured on a base of dove-grey lacquered joinery whose cool, faintly greige undertone reads as both patrician and contemporary. Against this, book-matched white marble with grey and taupe veining appears in three registers — the ceiling cove, the kitchen backsplash, and the honed tabletop — creating a vertical and horizontal continuity of stone that binds the two rooms into one material narrative. Underfoot, wide-plank white oak laid in a herringbone pattern is finished in a wire-brushed, cerused grey-brown, its open grain supplying essential tactility and directional energy that counteracts the smoothness of the cabinetry. The tonal reserve is punctured by a single decisive chromatic move: the oxblood-to-cognac aniline leather banquette, its capitonné-adjacent piping and channeled seat cushion delivering saturated warmth and a supple, patinating counterpoint to the cool minerals. Metals are deliberately stratified — brushed stainless on the appliance suite, polished nickel on the cabinet hardware and pendant collars, and a high-mirror chromed column and base on the table that pulls reflected fragments of the room into itself. Textile relief arrives through a heather-grey wool bolster and the woven, honeycomb-textured sconce shades, while the sunflowers and pantry provisions behind glazed muntin doors introduce a curated, humanizing note of the quotidian. **III. Lighting, Atmosphere & Style Profile** The lighting scheme is layered and hierarchical. Ambient illumination is borrowed rather than direct: the kitchen functions as a light well, its own concealed under-cabinet lighting and cove-washed ceiling projecting a cool, diffuse glow forward through the cased opening, so the brighter volume beyond reads as both destination and light source. In the foreground, symmetrically paired wall sconces with textured drum shades cast a warm, amber-filtered ellipse of light onto the paneling — providing intimate, low-level modeling that emphasizes the millwork's shadow lines and flatters the leather's depth. The kitchen's aligned trio of spun-metal dome pendants, with polished collars and diffused lenses, reinforce the axial perspective and supply task-appropriate downlight, while the marble cove above serves as an indirect reflector, softening any residual harshness. The cumulative atmosphere is hushed, refined, and slightly cinematic — a quiet formality more contemplative than performative. Stylistically, the project synthesizes into a form of Transitional Classicism, or more precisely a tailored American Neoclassicism recalibrated for contemporary living: the vocabulary of paneled millwork, crown profiles, and cased openings is retained, but stripped of ornament, flattened in profile, and rendered in a monochrome envelope, then energized by faceted geometries, mirror-finish metal, and a single confident stroke of leather. It is restraint deployed as luxury.

**Paragraph 1: Spatial Composition & Architectural Volume** This terrace operates as an outdoor room in the fullest architectural sense — a compressed foreground plane opening onto one of the most consequential borrowed landscapes in the world. The composition is organized along a strong diagonal: an L-shaped seating arrangement anchors the lower left and right quadrants, its low-slung horizontality deliberately calibrated to sit beneath the sightline of the parapet rail so that the vista remains uninterrupted from a seated position. The spatial logic is one of layered thresholds. First, the intimate zone of the furniture group; second, the clipped boxwood hedge set within a matte-dark planter, functioning as a green datum line and soft balustrade; third, the slender vertical picket railing, whose rhythmic cadence reads as a fine-grained screen rather than a barrier; and finally the middle-ground canopy of Central Park and the distant supergraphic of the Billionaires' Row skyline. To the left, a mature juniper mass performs as a living pilaster, terminating the composition and screening the adjacent stone masonry wall — a rough-hewn ashlar remnant of the prewar building envelope that grounds the scheme in its architectural provenance. The stepped stone paving and the raked geometry of the railing as it descends to the right introduce a subtle asymmetry, preventing the picturesque from becoming static. **Paragraph 2: Materiality, Color & Texture** The material palette is disciplined to the point of austerity, precisely so the horticulture and the skyline may carry the chromatic load. Powder-coated aluminum in a deep graphite-bronze forms the furniture armature — slender, squared-section framing with an almost Miesian restraint — paired with performance-grade upholstery in a warm dove grey whose greige undertone reads neither cold nor sallow against the surrounding foliage. The single decorative gesture, ikat-patterned scatter cushions in charcoal and ecru, introduces a hand-loomed irregularity that humanizes the machined frames. Underfoot, large-format bluestone or cast-stone pavers in a cool grey provide a matte, granular ground plane, echoed in the honed surface of the low cocktail table. Against this monochrome scaffolding, the botanical register supplies saturation: the dense, glossy, small-leaf texture of the boxwood; the feathery, blue-green needling of the juniper; trailing ivy softening the planter edge; and, in the near foreground, the blowsy, dessicating panicles of hydrangea in blush, sage and antique rose. A ceramic vessel of coral-and-butter garden roses and a pair of banded stoneware cups on a rimmed tray introduce warm terracotta accents — small, deliberate points of chromatic heat within an otherwise tonal field. **Paragraph 3: Lighting, Atmosphere & Style Profile** The scheme is lit almost entirely by ambient, high-latitude daylight, diffused through a stratus-laced sky that acts as an enormous softbox. The result is shadowless modeling: the upholstery reads as luminous rather than glaring, the foliage retains full chromatic depth without specular hotspots, and the pale limestone and glass towers beyond are rendered in atmospheric perspective, receding into a silvered haze. No artificial fixtures assert themselves in the frame — a confident editorial choice that keeps the scheme legible as a daytime sanctuary and defers entirely to the natural theatre of the site. The prevailing mood is one of cultivated repose: urbane but unhurried, private without being hermetic. Stylistically, the project synthesizes into what might be termed **Refined Metropolitan Naturalism** — a hybrid of Soft Minimalism's tonal restraint and reductive geometry with the structured horticultural formality of a classical English terrace garden. The vocabulary is contemporary and materially honest, yet it observes the compositional manners of the prewar building it inhabits, treating the skyline not as backdrop but as the primary work of art around which the entire interior architecture of the terrace has been quietly framed.

**Spatial Composition & Architectural Volume** The room is organized around a single, decisive architectural gesture: a full-height sliding glazed wall that dissolves the boundary between the sleeping chamber and an enclosed garden court. The composition is fundamentally horizontal — a low-slung bed platform anchoring the right-hand foreground, a seating vignette calibrated to the left, and between them an uninterrupted sightline drawn through the aperture to the ivy-clad boundary wall beyond. This lateral emphasis is reinforced overhead by a recessed shadow-gap ceiling detail and a stepped perimeter cove that reads as a floating plane, subtly compressing the volume at its edges while lifting it at centre. The glazing itself is elegantly restrained: slim black-framed sliders set within a warm timber reveal, the sill deep enough to function as a threshold rather than a mere junction — an architectural pause between interior and exterior. Circulation is generous and diagonal, the ottoman and lounge chair angled to acknowledge both the bed and the view, establishing a soft triangulation of use. The tall marquetry armoire at the right terminates the composition vertically, providing the single strong axis of ascent in an otherwise recumbent plan, and its sculptural crown — a bronze group of standing figures — punctuates the ceiling zone with deliberate counterpoint. **Materiality, Color & Texture** The palette is an exercise in tonal modulation within a narrow chromatic band: greige, taupe, dove, mushroom, all carried on warm grey undertones with no true white and no true black save the slender window mullions. Textural variation, rather than colour contrast, performs the compositional work. The curtains — likely a slubbed silk or textured linen-viscose blend — hang in deep pinch-pleat falls whose vertical striation animates the flanking walls, while the grasscloth wallcovering behind the armoire introduces a fine, dry, horizontal weave. Against these soft-focus surfaces, the armoire delivers the room's most emphatic tactile statement: a hand-carved, faceted diamond-relief pattern in pale limed oak, bleached almost to bone, whose faceted geometry catches and fragments light. Upholstery in supple dove-grey leather on the chair and bench is offset by a crushed-velvet cushion and a finely pleated bolster at the bedhead, layering matte against lustre. Metallics are used sparingly and warmly — antiqued brass sabots on the furniture legs, a brushed bronze plinth-form side table — while the bed's pale coverlet, incised with a fine embroidered arabesque and studded buttoning, contributes a subtle graphic line. Underfoot, a hand-knotted rug in mottled silver-sage over honed stone completes a gradient from cool floor to warm wall. **Lighting, Atmosphere & Style Profile** Natural light is the primary luminous instrument here, admitted as a broad, diffuse northern wash through the glazed wall and rendered soft by the surrounding foliage, which filters and greens the light before it enters. The absence of visible decorative fixtures is intentional: illumination is concealed within the ceiling cove and shadow gaps, implying an evening register of low, indirect ambient light supplemented by discreet task sources. This restraint sustains an atmosphere of hushed, cloistered calm — a sanctuary sensibility in which the garden functions as a living tapestry, its verdant saturation supplying the room's only chromatic release. Stylistically, the scheme reads as Soft Minimalism inflected with Contemporary Continental luxury: a lineage traceable to mid-century French decorative tradition — Jean-Michel Frank's plinths, Royère's rounded silhouettes — reinterpreted through a modernist discipline of tonal reduction and planar clarity. The result is neither austere nor decorative but precisely balanced: a quiet, artisanal luxe in which craft (the carved oak, the cast bronze, the hand-finished textiles) supplies the ornament that colour deliberately withholds.

The photograph is constructed as a deliberate act of framing — an enfilade view captured through a threshold, in which the aperture of a doorway becomes both proscenium and compositional device. The image is organized around a strong vertical tripartite division: a dark stile of paneled millwork at the left edge, the luminous rectangle of the adjacent sitting room at center, and a substantial pier of figured hardwood joinery at right, terminating in a plinth-like pedestal. This asymmetrical clamping of the bright volume between two dark masses produces a pronounced sense of compression and release, a Wrightian sequencing in which the constricted, wood-lined passage funnels the eye toward the softer, higher-key room beyond. The architectural vocabulary within that inner volume is restrained and orthogonal: crisp painted plaster planes, a shallow soffit or dropped beam crossing the ceiling to modulate the overhead datum, and a simple flat-stock baseboard that reads as a quiet ground line rather than an ornamental flourish. The sightline is layered and telescopic — foreground jamb, mid-ground seating group, background artwork on the far wall — establishing depth through overlapping planes rather than perspectival theatrics. Underfoot, a herringbone-laid oak parquet in the passage gives way to a large-format sisal rug bound in linen tape, its rectilinear geometry reinforcing the axis while softening the transition between circulation and repose. The material argument here is one of calibrated opposition: dense, saturated hardwood against pale, absorptive plaster and textile. The framing joinery — most plausibly a rich mahogany or stained cherry, its cathedral grain and ribbon figure fully legible under raking light — carries a deep oxblood-to-umber tonality and a satin, hand-rubbed sheen that lends the passage a library-like gravity. Against this, the interior room is rendered in a warm off-white with distinctly yellow-ochre undertones, avoiding the clinical chill of a true cool white and instead reading as parchment or unbleached linen. The upholstery — a rolled-arm wing chair and matching ottoman in a camel or buff-toned cotton velvet — supplies the tactile fulcrum of the composition: a napped, light-absorbing pile that contrasts against the coarse, tightly woven boucle of the sisal below and the smooth lacquer of the vertical joinery. Accent notes are sparing and precise: a pale celadon embroidered cushion introduces the only cool chromatic interruption; a rectilinear bench in blond ash with a woven black leather strap deck delivers a graphic, near-Nordic counterpoint; and a monolithic white ceramic vessel atop the pedestal provides a hard, matte punctuation. The abstract work on paper — a gestural monochrome in charcoal, ink and Payne's grey, generously matted behind glass — functions as the room's tonal anchor, its cool achromatics preventing the warm palette from tipping into sentimentality. Sprays of yellow oncidium orchid supply the single high-chroma gesture, echoing the ochre undertone of the walls. The lighting strategy is layered, low-lumen and unapologetically warm, eschewing ambient wash in favor of discrete pools of illumination. A slim linear picture light, bronze-finished and cantilevered from the wall, grazes the artwork with a scalloped throw that reveals the tooth of the paper and establishes the far wall as the room's luminous terminus. A chrome-shaded articulating floor lamp — a modernist task fixture with a distinctly mid-century pedigree — provides a secondary, reflective glint and introduces the only cool metallic in the palette. Daylight enters obliquely and unseen from the left, softly modeling the plaster and the velvet nap without ever flattening the composition; the foreground joinery, meanwhile, sits in deep shadow, its grain caught only in a slow, specular gradient. The cumulative atmosphere is one of hushed, crepuscular intimacy — a room calibrated for reading and retreat rather than reception. Stylistically, the project resolves into a form of Transitional Warm Modernism: the classical proportioning, paneled millwork and rolled-arm seating are drawn from a traditional American vocabulary, yet they are stripped of applied ornament, edited to essentials, and disciplined by the graphic austerity of the abstract art and the blond-and-black bench. It is a sensibility best characterized as quiet luxury — tonal, textural, and materially honest, deriving its authority from the resonance of grain, nap and light rather than from any declarative gesture.

Wolf 24" Coffee System EC24/S - Stainless Available at Universal Appliance and Kitchen Center | uakc.com Striking stainless steel design. Strikingly delicious drinks — espresso, cappuccino, latte, macchiato, long or short coffee, even hot water for tea. Simply touch a couple of buttons and in seconds you’ll be enjoying a professional-quality coffee drink, made your way. On top of that, the Wolf coffee system lets you easily customize the details of your drink, from temperature to strength to level of foam, to meet your personal definition of the “perfect cup.” You’ll also enjoy how hassle-free the Wolf coffee system is to own. It needs no plumbing connections, and it steam-cleans the milk nozzle with one push of a button; milk never enters the system’s internal mechanisms. The 24” coffee system in stainless can be installed with a 24" cup warming drawer to create an ultimate in-home coffee station, and coordinates beautifully with Wolf convection steam and microwave ovens of the same size. For ideal pairing with 30” Wolf ovens, the 24” coffee system in black (EC24/B) should be purchased and customized with any of five accessory trim kits. DESIGN AND PERFORMANCE FEATURES Make all your favorite coffee beverages: What's your pleasure? Make long or short coffee, espresso, cappuccino, latte, or a macchiato in seconds. Even steam or froth milk for, say, a chai latte or the kids' hot chocolate. Coffee, made to size: Select the size you want from four pushbutton presets, everything from a one-ounce espresso shot to a 12-ounce coffee. Unique sizes (up to 7 oz.) can be programmed and saved using the customizable "My Coffee" setting. Strength, to your taste: When brewing from whole bean coffee, five strength settings from extra-mild to extra-strong give you precisely the flavor you prefer at any selected size. No plumbing needed: Unlike units that must be connected to a water line, the Wolf coffee system can be installed anywhere without additional plumbing. The easily accessible water reservoir holds 60.9 fluid oz. (1.8 liters), enough for several drinks between refills. Easy to clean: Unlike coffee systems that pipe milk through the internal mechanism, the Wolf system cleans with pushbutton ease. Rinse the brew head, or clean the milk spout with a jet of steam. It's all done in seconds. The milk carafe is dishwasher safe, too. Uses whole-bean and pre-ground coffee: The machine holds a generous supply of whole-bean coffee — about half a pound — and grinds it automatically to make your drink. It can brew single-cups from pre-ground coffee, too, so you can have your breakfast blend even when the bean reservoir is full of espresso roast. Adjustable built-in stainless steel burr grinder: Thirteen grind settings allow you to customize your whole-bean coffee for the taste and body you prefer. Make it a double: For two identical coffees, just press the Double Coffee button and position a cup under each of the two spouts. Or select Double Coffee and place your mug under the spouts to make a double-size coffee for one. Removable milk carafe for freshness and convenience: The dishwasher-safe carafe plugs into the machine to make milk drinks, then can go right in the refrigerator to keep milk fresh. Milk is steamed and frothed without passing through the system's internal components. That makes cleaning infinitely easier. Hot water on demand — tea, anyone? Tea, hot chocolate, oatmeal, you name it. The system can deliver up to 14 ounces of hot water with the push of a button. How hot? That's up to you. The temperature is adjustable. Push-button control panel: Brewing the drink you want at the size and with the taste you want is as easy as pressing a few buttons. The bright LCD control panel provides clear information. Programmable start time and auto off: Program a time for the system to turn on and warm up automatically, it will be ready to brew when you're ready to enjoy. For safety and energy efficiency, the system powers down after a set period of inactivity. More enjoying, less cleaning: After the system prepares a coffee drink, it ejects the compressed grounds into a container, then lets you know when the container is ready to be emptied. Meanwhile, a removable drip tray catches excess water from brewing and rinsing. Simply rinse it out just as you would your coffee cup. Built into cabinetry, works like a drawer: Designed to be built seamlessly into your kitchen cabinetry, the Wolf coffee system has an ingenious feature: glide rails that enable you to slide the unit out from the wall for easy access to the whole-bean and ground coffee reservoirs. It's like opening a drawer. Supplies are in reach but out of sight: Pull the unit out on its glide rails to access handy integrated storage trays where you can keep bottles of flavored syrup, sugars and other supplies at the ready. Auto-descale reminders: Minerals from water naturally build up on heating surfaces and reduce efficiency. The Wolf coffee system is engineered to monitor this and let you know when to descale the system. Result: Your drinks always come out at the temperature you expect. TECHNICAL FEATURES: - Electrical Requirements: 120 V AC, 60 Hz, 15-amp dedicated circuit, grounded - Shipping Weight (lbs): 60 - Water reservoir (fl oz): 60.9 (1.8 L) - Whole Bean Reservoir (oz): 8.8 (~1/2 lb) - Removable milk carafe holds just over 3 cups

**I. Spatial Composition & Architectural Volume** This powder room operates as a compressed, processional vestibule — a jewel-box volume whose narrowness is deliberately weaponized to intensify the encounter with a single focal event. The plan reads as a tight rectilinear corridor, entered obliquely past a pivoting sculptural door leaf at the left foreground, with the sightline funnelling directly to a recessed alcove at the terminal wall. That alcove is the compositional engine of the room: a deep, orthogonal reveal framed in slender blackened-metal profiles, within which a monolithic marble vanity cantilevers as a full-width plinth, its shadow-gap plinth detail dissolving the mass into apparent levitation. The full-height glazed screens flanking both side walls — divided into a disciplined grid of stile-and-rail metal mullions above a stone dado — introduce a Miesian rhythm of verticals that visually widen the space while preserving enclosure. Above, a crisp plaster soffit with a razor-thin perimeter reveal caps the volume, while the mullion grid's continuation across the ceiling plane and door surround creates a cage-like armature, an architectural drawing rendered in three dimensions. The suspended, wall-hung water closet at left is deliberately subordinated, half-concealed by the stone return, ensuring the axial procession terminates not on plumbing but on art. **II. Materiality, Color & Texture** The material palette is orchestrated as a controlled dialogue between the geologic, the vegetal, and the metallic. Book-matched Calacatta Viola — or a closely related Paonazzo — sheathes the dado and vanity in slabs whose oxblood, umber, and graphite veining reads as gestural brushwork, its cool bone-white ground counterweighted by the warm ferrous rust of its fissures; the veining on the right-hand wall is sequenced to cascade, treating stone as a continuous painterly field rather than a modular cladding. Against this, the foreground door presents a deeply carved, three-dimensional sculpted timber relief in a mid-tone oak or walnut, its undulating, plaited chevron texture introducing a haptic, almost textile-like tactility that provides the composition's most overtly artisanal register. The glazed screens deploy reeded or fluted glass in a smoky sage-olive cast, their striations diffusing and abstracting whatever lies beyond into vertical striae of light — a translucent counterpoint to the opacity of stone and wood. Blackened bronze or patinated steel mullions supply the graphic scaffolding, while unlacquered brass appears as accent punctuation: the gooseneck spout with exposed swivel collar, and, most emphatically, the flame-patinated bronze oval of the mirror frame, whose molten amber bloom is the single high-saturation event in an otherwise desaturated envelope of greys, greiges, and bone. Underfoot, chevron-laid oak parquet in a soft tobacco stain grounds the palette and repeats the door's zigzag geometry at a domestic scale. **III. Lighting, Atmosphere & Style Profile** Lighting is handled with theatrical restraint and a distinctly museological logic. The terminal alcove is backlit by a full-height plane of sheer, pinch-pleated linen sheers washed with daylight — an ambiguous, screened luminance that functions as a lightbox, silhouetting the mirror and reading as a window without conceding a view. Concealed cove or perimeter LED at the soffit reveal lifts the ceiling and grazes the plaster, while the reeded glass side screens capture and refract borrowed light along their flutes, producing a soft vertical shimmer that keeps the narrow volume from collapsing into gloom. The lower register is intentionally darker, the recessed shadow gap beneath the vanity and the bronze toe detail anchoring the composition in a low-key, chiaroscuro base. The atmosphere is hushed, contemplative, and faintly ecclesiastical — the alcove operating as a reredos, the framed portrait glimpsed in the mirror's reflection functioning as an unexpected, wry apparition that injects narrative and humor into an otherwise austere scheme. Stylistically, the room synthesizes into what might be termed *Tactile Luxe Modernism* or Refined Warm Modernism: the structural clarity and metal-gridded transparency of mid-century International Style, tempered by Italian post-war sensuality in the bronze and marble, and finally humanized by contemporary craft-forward texture. The result is a space of considerable discipline that nonetheless privileges touch, patina, and surprise over minimalist abstinence.

This dining room operates as a processional volume, choreographed along a deep axial sightline that terminates not in a wall but in a garden — an ivy-clad plane of green glimpsed through full-height glazing. The architecture is fundamentally additive rather than decorative: a coffered, stepped ceiling plane with recessed reveal channels floats above the seating zone, its subtle datum lines describing a rectangular "room within a room" that anchors the table without recourse to enclosing partitions. Flanking this central passage, two millwork pylons — one clad in pale limed oak on the right, one in a fine bone-toned wallcovering on the left — function as vestigial pilasters, compressing the entry threshold before releasing into the loftier dining volume. The floor reinforces this directionality through a wide-plank chevron parquet laid on the primary axis, its herringbone rhythm accelerating the eye toward the terrace. The furniture plan is deliberately non-orthogonal: an elongated oval table on twin cylindrical pedestals softens the room's rectilinear discipline, while the loosely arrayed chairs break parade-ground symmetry in favor of a more inhabited, gestural composition. Deep-set corner windows and a low banquette-height sill with integrated casework at left introduce a secondary spatial episode, a quieter alcove that relieves the room's axial insistence. ## II. Materiality, Color & Texture The palette is a study in warm neutrality calibrated across a narrow tonal band, with contrast delivered through texture rather than hue. The foundational register is greige-to-oatmeal: floor-to-ceiling drapery in a heavy, densely gathered linen falls in pin-sharp cartridge pleats, its matte drape absorbing light and softening the glass wall's hard geometry. Against this, the dining chairs are upholstered in a slubbed, striated fabric — likely a raw silk or abaca-like bast fiber — whose horizontal grain reads almost as bark, and which is set in taut opposition to the ebonized, tapered hardwood frames in the Italian mid-century idiom of Gio Ponti or Ico Parisi. The tabletop, a mottled verdigris-and-bronze stone or fossilized surface, introduces the room's only earth-toned saturation, echoed by the burl-and-walnut plinth supporting a slender fluted bronze sculpture. The oak millwork is limed and open-grained, deliberately dry and tactile beside the high-polish patinated brass of the pendant. Underfoot, a hand-knotted silk rug in cloud-grey with charcoal ombré edges introduces atmospheric perspective — a painterly gradient that dematerializes the floor plane. Chromatic release arrives entirely from two sources: the framed abstract expressionist canvas at right, with its viridian, cobalt and violet gestural detonations, and the living wall of ivy beyond the glass. Both function as color events, not color schemes. ## III. Lighting, Atmosphere & Style Profile Daylight is the primary luminaire here, entering as a broad, north-soft wash through the terrace glazing and diffused further by the ivy screen, which acts as a natural lambrequin filtering glare into a cool, even green-tinted light. Artificial sources are deployed sculpturally rather than functionally: the pendant — a folded, petal-form composition of smoked glass and patinated metal — reads as a suspended object of art, throwing a warm downward pool onto the table while its dark bronze silhouette provides essential visual weight against the white ceiling. Wall-mounted alabaster sconces bracket the room at both thresholds, their translucent stone glowing with a low-lumen, candle-adjacent warmth that establishes perimeter intimacy after dusk. The resulting atmosphere is serene, curated and quietly patrician — a room engineered for extended conversation rather than display. Stylistically, the project synthesizes a **contemporary Soft Minimalism** with a strongly collected **Mid-Century Italian** sensibility: the restraint of the architectural envelope and monochromatic textile program provides a gallery-like neutral ground, upon which a small number of high-character objects — the sculptural pendant, the Ponti-esque seating, the abstract canvas, the exterior stone sculpture — perform as museum-grade punctuation. It is an interior that achieves luxury through material integrity and negative space rather than ornament.

## Spatial Composition & Architectural Volume This is a kitchen conceived less as a service zone than as a precisely calibrated architectural volume, resolved through an L-configuration of full-height cabinetry that terminates against a monolithic island set on an intentional diagonal to the orthogonal grid of the herringbone flooring. The island's waterfall treatment — a slab returning to the floor in a single unbroken plane — functions as both a peninsular counter and a piece of quasi-sculptural infrastructure, its overhang generating a shallow banquette-adjacent seating zone without resorting to a conventional breakfast bar. Above, a coffered soffit executed in flush drywall with a continuous cove-lit reveal establishes a datum line that both compresses and defines the working core, while the adjacent tray ceiling reads as a distinct volume, spatially decoupling the kitchen from the living room beyond. That threshold is the composition's most disciplined gesture: a wide cased opening framed in mitered rift-cut oak paneling, its architrave articulated as a shadow-gapped reveal rather than applied trim, drawing a deep enfilade sightline through to the window wall, its Roman shades, and the mid-rise cityscape beyond. Millwork here performs structurally as well as visually — the oak-clad pilasters and the fluted, hand-carved textural panel at right operate as pseudo-columnar elements, organizing the plan into legible bays. ## Materiality, Color & Texture The palette is constructed on a deliberate dialectic between two wood registers. The envelope employs a pale, quarter-sawn white oak with a honeyed, faintly amber undertone, its figure suppressed and its finish matte, functioning as a luminous neutral ground. Against this, the cabinetry deploys a deeply fumed or ebonized ash — likely a heavily lacquered, open-grain veneer — where the cathedral figuring is exaggerated into near-graphic striation and the high-gloss sheen produces a lacquered, almost Art Deco lustre. This contrast of value (blonde against bitter chocolate) and of sheen (matte against specular) is the project's principal tension. Mediating between them is the stone: a white quartzite or dolomitic marble with soft grey-taupe veining and a distinctly warm, cream-adjacent field, book-matched across the full-height backsplash and repeated on the island slab, its subtly honed surface refusing the glare of a polished finish. Metallic accents are restrained and consistently warm — satin brass on the pendant canopies and stool footrails, blackened bronze on the hardware, glazing frames, and the stools' slender tubular frames. Textiles introduce a low-frequency counterpoint: nubby bouclé upholstery on the sectional, a striated woven sheer at left, ikat-patterned cushions, and a tonal blue-grey geometric rug that supplies the only chromatic departure from the room's ochre-to-espresso spectrum. ## Lighting, Atmosphere & Style Profile The lighting scheme is layered with unusual rigor. Daylight is admitted obliquely, filtered through the plaid-toned Roman shades of the adjacent living room, so the kitchen receives it secondhand — soft, directional, and already warmed. Artificial light works in three tiers: the recessed cove uplighting that grazes the soffit and dissolves the ceiling's edges; concealed under-cabinet illumination that renders the stone backsplash as a glowing plane; and the pair of spun-brass disc pendants suspended on slender blackened stems, whose downward-facing diffusers deliver a controlled pool of task light while their polished undersides register as small suns in the composition. The absence of visible downlight clutter is notable and disciplined. The resulting atmosphere is enveloping and low-glare — cosseting rather than clinical — with a distinctly residential, almost salon-like decorum reinforced by the framed genre painting hung casually on the oak paneling, a curatorial gesture that domesticates the kitchen decisively. Stylistically, the project reads as **Warm Modernist Luxe**, drawing on the vocabulary of high-craft European cabinetry and mid-century Milanese interiors: the grain-forward veneers, brass discs, and slender bronze seating carry a whisper of 1970s Italian sophistication, while the flush detailing, shadow-gap reveals, and rigorous suppression of ornament situate it firmly in contemporary practice. It is tailored rather than austere — a demonstration that minimalist discipline and material sensuality need not be adversaries.

**Paragraph 1: Spatial Composition & Architectural Volume** This dressing vestibule is an exercise in the choreography of compression and release — a narrow processional corridor that opens onto a shallow window alcove, terminating the sightline in a single, deliberately staged tableau. The plan is organized between two parallel planes of full-height joinery: at left, a monumental run of flush-faced wardrobe doors executed in bespoke decorative panelling, and at right, a mirror-clad pier whose reflective face doubles the room's apparent width and recapitulates the window, the bench, and the herringbone floor in a quiet trompe-l'oeil. The millwork is detailed with an admirable restraint — reveal-shadow gaps rather than architraves, concealed pivot hinges, and slim bronze-toned frames that read as drawn lines rather than mouldings. Overhead, a stepped soffit and recessed cornice detail lower the datum at the corridor, then release into the fuller ceiling height of the alcove; the effect is subtly perspectival, drawing the eye toward the luminous aperture. The punched window, generously reveal-deep and set within a wide oak surround, functions less as a view and more as a light well, its frosted glazing dissolving the exterior into pure illuminated field. The upholstered bench, centered beneath it and flanked casually by a pair of double-monk shoes, provides the anthropometric anchor — a note of inhabited scale that keeps the geometry from tipping into abstraction. **Paragraph 2: Materiality, Color & Texture** The palette operates within an exceptionally disciplined tonal register — a graduated field of oyster, greige, bone, and pale putty, all sharing a warm mineral undertone that prevents the achromatic scheme from turning cold. The hero surface is undoubtedly the wardrobe fronts: a hand-applied, gesso-like plaster or lacquered artisanal finish, its brushed and troweled passages bearing faint calligraphic incisions and pinpricked stitch-like perforations, evoking a Japanese ink study or an aged fresco fragment. Against this painterly softness, the joinery frames and window casings deliver rift-sawn oak with a fine, linear grain, while the perimeter walls are dressed in a subtly striated textile or grasscloth wallcovering punctuated by small inlaid tesserae — a low-frequency rhythm that reads as texture at distance and as craft detail at proximity. Hardware provides the scheme's only true contrast: elongated blackened-bronze pulls, rectilinear and unornamented, act as punctuation marks on the pale field. Metals are otherwise handled with restraint — satin brass sabots capping the bench legs, an unlacquered brass sconce armature — introducing warmth without glitter. Underfoot, the chevron-laid oak parquet supplies directional energy, softened by a plush viscose or silk-blend rug whose sheen shifts from pearl to shadow. The tactile logic is one of graduated softness: matte plaster against silk pile, honed timber against brushed textile, with mirror as the single hard, cool interruption. **Paragraph 3: Lighting, Atmosphere & Style Profile** Natural light is the primary compositional instrument here, and it has been diffused rather than admitted — the obscured glazing and half-drawn linen Roman shade convert daylight into a soft, north-facing luminous plane, evenly modelling the plaster and revealing its topography in raking gradients. This ambient wash is calibrated against a single decorative gesture: a wall-mounted sconce in alabaster or hand-formed opaline glass, its warm amber core providing the room's only chromatic accent and a welcome note of imperfection against the otherwise machined precision. Architectural lighting is entirely concealed — no downlight apertures interrupt the ceiling plane — reinforcing the sense that illumination emanates from the surfaces themselves. The resulting atmosphere is contemplative, hushed, almost sacral: a threshold space treated with the gravity of a chapel narthex. Stylistically, the project sits at the confluence of Soft Minimalism and contemporary Parisian couture interiors — the reductive planarity and monochromatic discipline of the former married to the artisanal, hand-wrought materiality and bronze detailing associated with the latter, with a distinctly Japandi sensibility in its reverence for wabi-sabi surface irregularity and asymmetric compositional balance. It is a scheme that achieves luxury not through ornament or contrast but through the sustained rigour of tonal control, the quality of the hand in its finishes, and the confidence to leave the volume largely empty.

The photograph is composed as a deliberate enfilade study, framing the dining room through a deep, mahogany-cased cased opening that functions as both proscenium and threshold. This heavy portal — with its substantial reveal, plinth-like jambs and crisply mitered head casing — establishes a strong rectilinear armature that compresses the foreground and, by contrast, releases the eye into the luminous volume beyond. The plan reads as a classic pre-war apartment sequence: an axial sightline runs from the gallery floor, across the field of the dining room, and terminates at the window wall, where a curtained bay borrows daylight from the street. The ceiling is articulated by shallow beam drops or applied soffits — a coffer-adjacent treatment that registers the building's structural grid while lending the room a subtle sense of enclosure and datum. Geometry is orchestrated around opposing figures: the orthogonal rigor of casings, valance, beam lines and picture frames set against the centralized circular table, whose radial symmetry anchors the room's midpoint directly beneath the chandelier. Furnishings are held in a loose, non-touching arrangement, with generous circulation clearance at the perimeter, so that the room's volume — rather than its contents — remains the primary subject. Secondary sightlines to the left, toward a mirrored console and gilt-framed panel, and to the right, toward a picture-lit artwork, quietly widen the perceived footprint and imply adjacent rooms beyond the frame. The material narrative is built on a controlled tonal ascent from dark to light. The foreground is dominated by richly figured, warm-red mahogany millwork and a chevron-laid oak parquet whose bleached, honeyed grain reads with a slight gray wash — a directional pattern that visually propels the viewer toward the interior. Within the dining room, the palette shifts to a low-saturation envelope of chalky off-white plaster walls and putty-toned textiles: floor-length linen or silk-blend drapery panels with a faint slubbed weave, gathered beneath a tailored, flat-front upholstered valance whose crisp horizontal band imparts an atelier precision. Underfoot, a natural sisal or seagrass rug with a linen tape border introduces a coarse, granular tactility that grounds the refined upholstery above; its woven, matte texture is deliberately calibrated against the smoother satin sheen of the dining chairs' subtly striped fabric. The room's tonal fulcrum is the antique carved pedestal table — a near-black, deeply modeled Anglo-Indian or Colonial Revival piece whose pierced apron, scrolled tripod base and paw feet supply the composition's only ornamental exuberance and its darkest value. Accents are chosen for restraint: silvered leaf on the console's fretwork facing, water-gilt on the framed panel, polished nickel or silver on the chandelier and the flower vessel, and the cool white of massed oriental lilies. Undertones remain uniformly warm — greige, ecru, taupe, oatmeal — with cool relief supplied only by the metals and the daylight itself. Lighting is layered with quiet discipline. Natural light enters as a diffused, north-facing wash through a sheer-veiled window, its intensity softened by roller or Roman shading so that the glazing reads as a luminous plane rather than a view; this creates a gentle contre-jour that silhouettes the chandelier and the table's carved base. The multi-arm chandelier — a silvered, pagoda-crested fixture with slender candle sleeves and faceted drops — serves as sculptural punctuation more than as a working source, its warm 2700K glow registering as ambient sparkle. Accent illumination is deployed with curatorial intent: a picture light grazes the framed work at right, while the recessed downlights and the darkened foreground casings produce a chiaroscuro that heightens the sense of arrival. The cumulative atmosphere is one of hushed formality — composed, aerated, and almost monastic in its refusal of visual noise. Stylistically, the room synthesizes into what might be termed Transitional Classicism, or Warm Neutral Modern Traditional: the bones and millwork are unmistakably pre-war Beaux-Arts-derived, yet the flat-front valances, unadorned wall planes, natural-fiber flooring and simplified parson-back chairs reflect a contemporary editorial sensibility. The single antique table operates as a considered anachronism — a note of patinated gravitas within an otherwise pared-back, texturally driven interior — demonstrating a designer's confidence in restraint punctuated by one authoritative gesture.

This homeowner had extensive collections of both high end wines and bourbon. Wine and bourbon require completely different storage solutions, so naturally, two unique and completely separate rooms were created to showcase them both. The homeowners were fantastic in meeting with our team to collaborate on a bourbon room and wine cellar design that worked within their special spaces and budget. The House itself has a rustic, yet refined and modern farmhouse feel throughout. The modern, elegant, yet vintage style look of the small wine cellar, especially, fit seamlessly with the interior design. The Bourbon cellar is not cooled, but resides in a shaded interior section within the house as to maintain a constant temperature. Additionally, with close proximity to the Pacific Ocean, sunny Ladera Ranch, a community in Orange County, California never really sees average temperatures above 80 Degrees. The Bourbon Room showcases a custom wrought iron door, and upon entering features a modular style show cabinet with multiple levels. Custom wine cellar doors, and custom wrought iron doors truly add that special feeling and look to your walk in wine room. A door used for a wine room would be fitted with dual pane glass as to better maintain temperature and humidity within. A room such as this could also double as craft beer storage. Beer storage, requires bottles to stand straight up as to not rust the cap, as well as compress any remaining yeast residues at the bottom of the bottle instead of mixed throughout. Craft beer as a whole has become an incredibly burgeoning industry, especially in places like San Diego, Orange County, Los Angeles, and San Francisco in California, and Portland in Oregon. The small wine cellar / wine closet / wine room is located right off the kitchen, allowing easy access for social gatherings or just to bring out that special wine with dinner. This small walk in wine cellar incorporates a custom wrought iron door as well, fitted with glass as discussed prior. The wine room has one solid wall of individual bottle storage, leading into the showcase wall with room for case storage and more individual bottle storage above the countertop and decanting area. The homeowner also shows a rogar wine bottle opener - a rustic, yet timeless contemporary style that's here to stay in wine rooms, wine closets, and large custom wine cellars throughout the US. Vintage Cellars has built gorgeous custom wine cellars and wine storage rooms across the United States and World for over 25 years. We are your go-to business for anything wine cellar and wine storage related! Whether you're interested in a wine closet, wine racking, custom wine racks, a custom wine cellar door, or a cooling system for your existing space, Vintage Cellars has you covered! We carry all kinds of wine cellar cooling and refrigeration systems, incuding: Breezaire, CellarCool, WhisperKool, Wine Guardian, CellarPro and Commercial systems. We also carry many types of Wine Refrigerators, Wine Cabinets, and wine racking types, including La Cache, Marvel, N'Finity, Transtherm, Vinotheque, Vintage Series, Credenza, Walk in wine rooms, Climadiff, Riedel, Fontenay, and VintageView. Vintage Cellars also does work in many styles, including Contemporary and Modern, Rustic, Farmhouse, Traditional, Craftsman, Industrial, Mediterranean, Mid-Century, Industrial and Eclectic. Some locations we cover often include: San Diego, Rancho Santa Fe, Corona Del Mar, Del Mar, La Jolla, Newport Beach, Newport Coast, Huntington Beach, Del Mar, Solana Beach, Carlsbad, Orange County, Beverly Hills, Malibu, Pacific Palisades, Santa Monica, Bel Air, Los Angeles, Encinitas, Cardiff, Coronado, Manhattan Beach, Palos Verdes, San Marino, Ladera Heights, Santa Monica, Brentwood, Westwood, Hancock Park, Laguna Beach, Crystal Cove, Laguna Niguel, Torrey Pines, Thousand Oaks, Coto De Caza, Coronado Island, San Francisco, Danville, Walnut Creek, Marin, Tiburon, Hillsborough, Berkeley, Oakland, Napa, Sonoma, Agoura Hills, Hollywood Hills, Laurel Canyon, Sausalito, Mill Valley, San Rafael, Piedmont, Paso Robles, Carmel, Pebble Beach Contact Vintage Cellars today with any of your Wine Cellar needs! (800) 876-8789 Vintage Cellars 904 Rancheros Drive San Marcos, California 92069 (800) 876-8789

**I. Spatial Composition & Architectural Volume** The photograph frames the space through a deep, cased opening — a device that immediately establishes a proscenium condition, compressing the viewer's aperture and heightening the sense of discovery beyond. The room reads as an ancillary galley or scullery-pantry: a compact, U-shaped plan whose counter runs return at the right to form an L, generating an efficient work triangle within a footprint of considerable modesty. Vertical ambition compensates for lateral restraint. The wall cabinetry rises in a tall, unbroken register, terminating in a stepped cornice and a subtle crown that carries the eye to a ceiling plane of generous height, while a bracketed corbel at the upper left signals the transition to the adjoining volume. The millwork is the primary architectural gesture here: inset, beaded-face frame construction with recessed panel doors, mitred stiles and rails, and a rhythmic alternation between solid and glazed fronts. Those mullioned glass doors — divided into two- and three-light configurations — perforate the cabinet mass, dissolving what could have been a monolithic wall into a permeable, vitrine-like screen. The lower casework counters this with a disciplined stack of graduated drawer banks, the deepest at the counter line and diminishing downward, a compositional hierarchy borrowed from classical apothecary and butler's-pantry precedent. Sightlines are deliberately layered: the herringbone floor draws forward, the sunflower stem anchors the center axis, and the pendant fixtures descend in perspectival sequence, reinforcing depth along the room's short axis. **II. Materiality, Color & Texture** The palette operates within a narrow tonal bandwidth, deriving its interest from textural rather than chromatic contrast. Cabinetry is finished in a cool, greige-inflected pale gray — a low-saturation hue with just enough green-gray undertone to read as architectural rather than decorative — hand-applied to a satin sheen that registers the shadow-lines of the beaded frames with precision. Against this, the backsplash of honed marble subway tile, laid in a running bond with tight, matched grout, introduces linear grain and soft gray veining that echoes the cabinetry's undertone. The countertop and the returning waterfall-edge marble continue the vein pattern in a broader, more sculptural expression, its polished-to-honed surface catching light in diffuse planes. Metals are curated with restraint and consistency: polished nickel bin pulls, knobs, and cup handles supply a warm-silver punctuation across the casework, while brushed and mirror-polished stainless steel — the wall oven, the microwave drawer, the professional refrigerator with its cylindrical tubular handle — introduces a cooler, more industrial register. The oak flooring, laid in a fine-scale herringbone with a pale, wire-brushed, matte finish, delivers the room's essential warmth and its only pronounced pattern, grounding the cool upper volume. Small accents of natural material — an end-grain butcher block, turned wooden pepper mills, a hammered silver kettle — reintroduce the tactile and the hand-made against so much precision-milled surface. The sunflowers, in a matte white vessel, provide the single saturated chromatic event, and their yellow is deliberately reprised in the pantry's glazed shelves of packaged goods, transforming provisions into intentional color composition. **III. Lighting, Atmosphere & Style Profile** The lighting strategy is unapologetically artificial and theatrical. Three oversized, spun-metal industrial pendants — polished nickel or chrome domes with heavy cast collars and flush opal-glass diffusers — hang in a linear array, their scale intentionally disproportionate to the room, which is precisely the source of their impact. They function simultaneously as luminaires and as sculptural objects, their reflective canopies mirroring the ceiling and multiplying the light. Illumination beneath the wall cabinets grazes the marble tile at a raking angle, revealing its subtle relief and the depth of its veining, while the interior-lit glazed cabinets glow as illuminated vitrines, converting storage into display. Natural light is inferred rather than shown — a suggestion of daylight from the right — leaving the space in a controlled, even, shadow-managed luminosity that reads as both crisp and enveloping. The atmosphere is one of ordered domestic industry: pristine, quietly luxurious, and legibly functional. Stylistically, the room resolves as *Transitional Classicism with a Warm Industrial inflection* — the inset, beaded millwork and stepped cornices citing Georgian and Edwardian butler's-pantry tradition; the professional-grade stainless appliances and factory-scale pendants asserting a contemporary, utilitarian counterpoint; and the herringbone oak and marble mediating between them. It is a synthesis in which historical grammar governs the composition while modern hardware and lighting supply the accent, producing a space that feels neither pastiche nor austere, but assured, timeless, and thoroughly of the present moment.

Wolf 24" Coffee System EC24/S - Stainless Available at Universal Appliance and Kitchen Center | uakc.com Striking stainless steel design. Strikingly delicious drinks — espresso, cappuccino, latte, macchiato, long or short coffee, even hot water for tea. Simply touch a couple of buttons and in seconds you’ll be enjoying a professional-quality coffee drink, made your way. On top of that, the Wolf coffee system lets you easily customize the details of your drink, from temperature to strength to level of foam, to meet your personal definition of the “perfect cup.” You’ll also enjoy how hassle-free the Wolf coffee system is to own. It needs no plumbing connections, and it steam-cleans the milk nozzle with one push of a button; milk never enters the system’s internal mechanisms. The 24” coffee system in stainless can be installed with a 24" cup warming drawer to create an ultimate in-home coffee station, and coordinates beautifully with Wolf convection steam and microwave ovens of the same size. For ideal pairing with 30” Wolf ovens, the 24” coffee system in black (EC24/B) should be purchased and customized with any of five accessory trim kits. DESIGN AND PERFORMANCE FEATURES Make all your favorite coffee beverages: What's your pleasure? Make long or short coffee, espresso, cappuccino, latte, or a macchiato in seconds. Even steam or froth milk for, say, a chai latte or the kids' hot chocolate. Coffee, made to size: Select the size you want from four pushbutton presets, everything from a one-ounce espresso shot to a 12-ounce coffee. Unique sizes (up to 7 oz.) can be programmed and saved using the customizable "My Coffee" setting. Strength, to your taste: When brewing from whole bean coffee, five strength settings from extra-mild to extra-strong give you precisely the flavor you prefer at any selected size. No plumbing needed: Unlike units that must be connected to a water line, the Wolf coffee system can be installed anywhere without additional plumbing. The easily accessible water reservoir holds 60.9 fluid oz. (1.8 liters), enough for several drinks between refills. Easy to clean: Unlike coffee systems that pipe milk through the internal mechanism, the Wolf system cleans with pushbutton ease. Rinse the brew head, or clean the milk spout with a jet of steam. It's all done in seconds. The milk carafe is dishwasher safe, too. Uses whole-bean and pre-ground coffee: The machine holds a generous supply of whole-bean coffee — about half a pound — and grinds it automatically to make your drink. It can brew single-cups from pre-ground coffee, too, so you can have your breakfast blend even when the bean reservoir is full of espresso roast. Adjustable built-in stainless steel burr grinder: Thirteen grind settings allow you to customize your whole-bean coffee for the taste and body you prefer. Make it a double: For two identical coffees, just press the Double Coffee button and position a cup under each of the two spouts. Or select Double Coffee and place your mug under the spouts to make a double-size coffee for one. Removable milk carafe for freshness and convenience: The dishwasher-safe carafe plugs into the machine to make milk drinks, then can go right in the refrigerator to keep milk fresh. Milk is steamed and frothed without passing through the system's internal components. That makes cleaning infinitely easier. Hot water on demand — tea, anyone? Tea, hot chocolate, oatmeal, you name it. The system can deliver up to 14 ounces of hot water with the push of a button. How hot? That's up to you. The temperature is adjustable. Push-button control panel: Brewing the drink you want at the size and with the taste you want is as easy as pressing a few buttons. The bright LCD control panel provides clear information. Programmable start time and auto off: Program a time for the system to turn on and warm up automatically, it will be ready to brew when you're ready to enjoy. For safety and energy efficiency, the system powers down after a set period of inactivity. More enjoying, less cleaning: After the system prepares a coffee drink, it ejects the compressed grounds into a container, then lets you know when the container is ready to be emptied. Meanwhile, a removable drip tray catches excess water from brewing and rinsing. Simply rinse it out just as you would your coffee cup. Built into cabinetry, works like a drawer: Designed to be built seamlessly into your kitchen cabinetry, the Wolf coffee system has an ingenious feature: glide rails that enable you to slide the unit out from the wall for easy access to the whole-bean and ground coffee reservoirs. It's like opening a drawer. Supplies are in reach but out of sight: Pull the unit out on its glide rails to access handy integrated storage trays where you can keep bottles of flavored syrup, sugars and other supplies at the ready. Auto-descale reminders: Minerals from water naturally build up on heating surfaces and reduce efficiency. The Wolf coffee system is engineered to monitor this and let you know when to descale the system. Result: Your drinks always come out at the temperature you expect. TECHNICAL FEATURES: - Electrical Requirements: 120 V AC, 60 Hz, 15-amp dedicated circuit, grounded - Shipping Weight (lbs): 60 - Water reservoir (fl oz): 60.9 (1.8 L) - Whole Bean Reservoir (oz): 8.8 (~1/2 lb) - Removable milk carafe holds just over 3 cups

This 3 BR, 3 1/2 bath home allows the owners to live on one level most of the time. The Master Suite is on the main level along with the Living Room, Kitchen, Dining, pantries, Sun Room and service areas. The upper level houses two ample bedrooms while the lower level supports a rec center, media room, wine cellar, shop and full wet bar. Conceived as a Great Room house, the main level is designed as one seamless space that flows onto an ample deck overlooking the rear yard. We also incorporated a variety of green building techniques - photo-voltaic shingles on the roof of the garage to generate a portion of the home's energy, a super insulated building envelope, rain water harvesting, high performance windows and doors, a high efficiency heat pump, low flow bath & kitchen fixtures, Energy Star appliances and LED lighting - that greatly reduced this structure's carbon footprint. All of the strategies amounted to a 30% reduction in the energy consumption in this home relative to comparable structures.